p1 elena r tchaikovsky . glinka cui . rimsky-korsakov dargomyzhsky . rachmaninov malcolm martineau a russian a russian romance kelessidi ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 1 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p2 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page2 Malcolm Martineau p3 The Bride’s Lament, op. 47 no. 7The Bride’s Lament, 6.01 Do not tempt me 2.41 Fire in my Veins 1.15 The Soldier’s Wife, op. 8 no. 4 2.13 I still love him 2.09 Oh, do not sing to me, op. 4 no. 4 4.27 The Nightingale and the Rose, op. 2 no. 2The Nightingale and the Rose, op. 2.45 The Fountain of Bakhchisarai 3.53 In my garden at night, op. 38 no. 1 1.49 piano Young Boy and Girl 1.05 In the quiet night, op. 40 no. 3 1.45 The Wind, op. 43 no. 2 1.42 At the Ball, op. 38 no. 3At the Ball, op. 38 2.09 Lullaby, op. 16 no. 1 Lullaby, op. 16 no. 3.46 I touched a flower, op. 49 no. 1 1.39 soprano So soon forgotten (1870)So soon forgotten 3.02 Tell me why 2.13 Had I only known, op. 47 no. 1Had I only known, 4.31 I wait for you! op. 14 no. 1 1.45 Daisies, op. 38 no. 3 2.42 To a Lyre 3.28 Lilacs, op. 21 no. 5 1.49 Margaritki Ja zhdu tebja Noch’ju v sadu u menja Poljubila ja na pechal’ svoju Siren’ ALEXANDER DARGOMYZHSKY (1813–1869) ALEXANDER DARGOMYZHSKY Junoshu, gor’ko rydaja Ja vsjo jeshchjo jego ljublju VLADIMIR VLASOV (1902–1986) Bakhchisaraysky fontan SERGEI RACHMANINOV (1873–1943) Ne poj, krasavica, pri mne Ne veter veja s vysoty CÉSAR CUI (1835–1918) Kosnulas’ ja cvetka Kaby znala ja Zabyt’ tak skoro Zabyt’ tak skoro bala Sret’ shumnava (1804–1857) MIKHAIL GLINKA zhelan’ja V krovi gorit ogon’ K citre Ja li f pole da ne travushka byla Ja li f pole da ne Ne iskushaj menja bez nuzhdy Skazhi, zachem NIKOLAI RIMSKY-KORSAKOV (1844–1908) Plenivshis’ rozoj, solovej O chjom v tishi nochej Elena Kelessidi Malcolm Martineau Total timing: 59.01 PYOTR ILYICH TCHAIKOVSKY (1840–1893) TCHAIKOVSKY PYOTR ILYICH Kolybel’naja pesnja 21 22 20 19 18 14 15 16 17 12 13 2 3 4 6 7 5 8 9 10 11 1 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 3 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p4 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page4 Lyre Three ofthesongsheardhereareamonghisearliestcompositions,datingfromlate 1820s. have adistinctionandcharmthatmarkoutgreatmelodistloverofthe humanvoice. French andItalianstylesthatprevailedinthecosmopolitansalonsofStPetersburg.His earlysongs immersed sincechildhoodinthesoundsofRussianfolkmusic,Glinkawasfirstattracted bythe only begantoemergeinthe1830sand40s,largelyoperasofMikhailGlinka. Although wonderful floweringofpoetry,paintingandarchitectureinRussia,atrulynationalvoice inmusic distinct fromtheGerman Language alonemakestheRussianartsong–usuallyborrowingFrenchtitle‘romance’ –quite with vocallinesintimatelyshapedbypoeticstressesandphrasing. composers ofsettingonenotepersyllableresultsinaparticularlycloseunionwordsandmusic, most rewardingandexpressivelanguagesforasinger.ThealmostuniversalpracticeamongRussian rich clustersofconsonantsanddark,liquidvowels,hasauniquefascination,isalsoamongthe feature thatimmediatelydistinguishesthedifferenttraditionsiscolourofwords.Russian,withits nineteenth-century songrepertorycoversanenormousrangeofmusicalandpoeticstyles,butone Outside Russia,itsometimescomesasasurprisetolearnthat,inadditionthesymphonies, RussianRomance A key elementsinthevocabulary oftheorientalismthatattracted somanyRussiansatatimewhen Russian navy.Thebare fifthsintheaccompanimentandaugmented intervalsinthevoicepartare Rose he wrotearoundeighty,mostofthemquite lateinhiscareer,the1890s. Rimsky-Korsakov isfarbetterknownforhis operasandorchestralmusicthanforhissongs,ofwhich declamation. its effectthroughrepetitionoftheopening phrase,suggestinganincreasinglydesperatestyleof and Girl encouraged anyonewhosethiswordstobeclear,conciseanddirect.Dargomyzhsky’s Alexander Pushkin’sverseswereasinfluentialinmusictheypoetry:forone thing,they different poem,butGlinkalaterfoundtohisdelightthatPushkin’slyricfittedmusic exactly. was exploringwaysofcomposinginanessentiallyRussianidiom.Thistoocomposed toa , however,isoneofhisearliest,datingfrom 1866,whenhewasstillacadetintheImperial was infactoriginallyasettingofItalianwords. is amodelofbrevityandtenderwit,notword oranoteoutofplace. Lied or theFrench mélodie Fire inmyVeins . Althoughtheearlynineteenthcenturysawa comes from1838,whenGlinka The Nightingaleandthe I stilllovehim Young Boy makes To a p5 , composed The Fountain of The Fountain . I touched a flower The Bride’s Lament and Had I only known was a product of Pushkin’s travels in Southern Russia and the Crimea in the early 1820s, Russia and the Crimea in of Pushkin’s travels in Southern was a product their empire was expanding south and east into the heart of Asia. It was a tradition that continued It was a tradition heart of Asia. east into the south and was expanding their empire the years 1936–42 in Soviet born in Moscow, spent century. Vladimir Vlasov, into the mid-twentieth there. the National Theatre he founded and directed Kirghizstan, where in which he ear for the shades and stresses of the verse – a field around 1890, shows a fastidious essential in Tchaikovsky was quick to defend himself. “The reproached Tchaikovsky for carelessness. opera and reproduction of emotion and state of mind.” In both vocal music,” he insisted, “is truthful an instant to were supremely important. “I should not hesitate for song, purely musical values not forget the truth. These truths differ fundamentally, and I could sacrifice the literal to the artistic “The two are and again, comparing ‘real’ truth with ‘artistic’ truth, second in pursuit of the first…” is simply to confuse them when contrasting speech and song completely different… For people dishonest.” appeal to songs are elegant salon romances which would Many of Tchaikovsky’s hundred-odd settings, for set first-rate poetry (there are very few Pushkin amateur performers. He rarely left him more freedom for musical example), probably feeling that conventional verses and challenges to his interpreters that interpretation. He would often achieve heights of expression output. There are rare insights into various make his songs an important and very personal part of his stylisations, dramatic scenes, and aspects of love (usually the unhappy ones), as well as folk-song often combinations of these, such as Bakhchisarai his setting in 1937, near Sebastopol. Vlasov composed by the ruined Tartar palace and was inspired of the poet’s death. the centenary invasion and remained in had been wounded in the 1812 son of a French officer who César Cui, the large-scale as a writer and critic than as a composer, and none of his Russia, was more influential his An aesthete, a francophile and an accomplished miniaturist, works has survived in the repertory. his many piano pieces and songs. finest music is to be found among Rachmaninov’s songs are as central to his artistic life as Tchaikovsky’s, perhaps even more so, since Rachmaninov’s songs are as central to his artistic life as Tchaikovsky’s, and song provided him with an essential circumstances frustrated many of his operatic ambitions, between the two composers’ songs medium for the blending of words and music. A major difference of Rachmaninov’s earlier songs are within is the type of performer they were intended for. A few the highest degree of technique and the reach of talented amateurs, but generally he demands ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 5 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 6

interpretation from both performers. His piano parts can often be formidably difficult: he later arranged both Lilacs and Daisies for solo piano and played them in his own recitals.

Oh, do not sing to me is another of Pushkin’s Southern lyrics. It was set by several Russian composers, including Glinka and Rimsky-Korsakov. Rachmaninov composed his setting in 1893, shortly after his one-act opera Aleko had been performed at the Bolshoy Theatre and brought him to wide public attention. In my garden at night and Daisies come from his last group of songs, first performed in 1916 in Moscow by the composer and his favourite soprano Nina Koshets. Both songs express an absorption in nature, with rich accompaniments supporting an almost expressionist vocal line, mysterious shadows creating moods of strangeness and uncertainty. Within a year Russia would be convulsed by revolution, and there would be no further place for a language of such sensitivity.

Ꭿ Andrew Huth, 2008 p6 p7 , in Die ). In . . In 1992 Faust , the Queen Turandot Rigoletto La Sonnambula Giulio Cesare ) and Gilda ( , Amina in and Marguerite in Les Pêcheurs de perles Les Pêcheurs de at the Megaron Hall, directed by at the Megaron in Le nozze di Figaro (Dallas Opera) La Bohème Die Zauberflöte . Since then she has made the role her own . Since then she has made the Susanna Don Giovanni , Mimì in I Capuleti e i Montecchi La Traviata , Giulietta in in Rigoletto (Toulouse), Les Contes d’Hoffmann ) in 1993, followed by Pamina ( ) in 1993, followed Gilda was born in Chimkent, Kazakhstan, of Greek parentage. She completed her musical She completed Greek parentage. Kazakhstan, of in Chimkent, was born The Golden Cockerel , Antonia in at the Theater an der Wien, conducted by Yehudi Menuhin. at the Theater an der Wien, conducted Turandot Liù in Her many subsequent Royal Opera House roles have included Cleopatra in Her many subsequent Royal Opera Elena Kelessidi debut as Leïla in Ata where she made her professional studies at Alma Berlin, Opéra State Opera, Hamburg State Opera, Deutsche Oper with performances at the Bavarian by Plácido and Festspielhaus Baden-Baden, the latter conducted de Monte-Carlo, Zürich Opera of Rossini’s her Vienna debut as Desdemona in a new production Domingo. Also in 1998, she made Otello of Shemakha in she moved to Athens and made her debut with the National Opera of Greece as Konstanze ( with the National Opera of Athens and made her debut she moved to dem Serail Entführung aus of Donna Anna in a new production 1995 she played Ruggero Raimondi. debut at the Royal 1996 when she made her acclaimed international attention in Elena sprang to as Violetta in Opera House, Covent Garden, while her portrayal of Mimì has been acclaimed in London, at the Paris Opera, Vienna State Opera, has been acclaimed in London, at the Paris Opera, Vienna while her portrayal of Mimì New York and in her debut with both the Metropolitan Opera with the Canadian Opera Company and the Staatsoper Berlin. as Liù in a new production of One of the highlights of Elena’s career was her role debut Her other roles include Amsterdam, with a new finale composed by Luciano Berio and conducted by Riccardo Chailly. She Amsterdam, with a new finale composed by Luciano Berio Baltimore, Covent Garden and Japan. has since sung the role worldwide in venues ranging from ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 7 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 8

Malcolm Martineau was born in Edinburgh, read Music at St Catharine’s College, Cambridge and studied at the Royal College of Music. He has presented his own series at St John’s, Smith Square (the complete songs of Debussy and Poulenc), the Wigmore Hall (a Britten series broadcast by the BBC) and at the Edinburgh Festival (the complete Lieder of Hugo Wolf).

Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers, including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Della Jones, Simon Keenlyside, Magdalena Koˇzená, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade and Bryn Terfel. He accompanied at masterclasses at the Britten-Pears School in Aldeburgh for Dame Joan Sutherland, Elisabeth Schwarzkopf, Suzanne Danco and Ileana Cotrubas. His many recordings include Schubert, Schumann and English song recitals with Bryn Terfel, Schubert and Strauss recitals with Simon Keenlyside, recitals with Angela Gheorghiu, Barbara Bonney, Magdalena Koˇzená and Susan Graham, the complete Beethoven Folk Songs and the complete Britten Folk Songs. p8 p9 Lullaby sleep, hushaby! Sleep, my baby, hushaby! Welcome sweet sleep: over you — Nannies three watch Wind, sun, and eagle. The eagle flew home; The sun hid over the water; The wind, after three nights, Comes racing to his mother. His mother asked the wind: “Where have you been hiding all this time? Were you playing battle with the stars? Or just pushing waves around?” “I wasn’t pushing any sea waves around, I didn’t touch the golden stars; I was keeping a baby safe from harm, I was rocking a little cradle!” Sleep, my baby, hushaby! sleep, hushaby! Welcome sweet sleep: Nannies three watch over you — Wind, sun, and eagle. (1840–1893) Kolybel’naja pesnja usni! spi, usni! Spi, ditja mojo, spi, Sladkij son k sebe mani: V njan’ki ja tebe vzjala Veter, solnce i orla. Uletel orjol domoj: Solnce skrylos’ pod vodoj: Veter, posle trekh nochej, Mchitsja k materi svojej. Sprashivala vetra mat’: “Gde izvolil propadat’? Ali zvezdy vojeval? Ali volny vsjo gonjal?” “Ne gonjal ja voln morskikh, Zvezd ne trogal zolotykh; Ja ditja oberegal, Kolybelochku kachal!” Spi, ditja mojo, spi, usni! spi, usni! Sladkij son k sebe mani: V njan’ki ja tebe vzjala Veter, solnce i orla. Apollon Nikolayevich Maykov (1821–1897) PYOTR ILYICH TCHAIKOVSKY 1 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 9 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p10 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page10 2 Count AlekseiKonstantinovichTolstoy(1817–1875) Kaby znalaja,kabyvedala! Napojit’ konjastudenojvodoj? Ne pridjotlion-nenagljadnyimo? Podzhidajuchi, dagadajuchi… Na zavaline,blizkolodezja, Prigorju nivshis’nazavaline Ne sidelabypozdnimvecherom, Kaby znalaja,kabyvedala, Kaby znalaja,kabyvedala! Na rukederzhapjostrasokola. Be projedetlitemprosjolkomon, Na prosjoloktotnegljadelaby V rosenozhen’kinemochilaby, Zo okolicunespeshilaby, Rano dosvetunevstavalaby, V kosudlinnujunevpletalaby, S zolotojkajmojlentualuju Dlja negobyjanerjadilasj, Kaby znalaja,kabyvedala, Suprotiv okonnadybyuzdymal! Zvonko nogogo,dolgogrivogo, Kak likhogokonjabulanogo, Nabekren’ zalomivshimurmolku, Kak onjekhalponashejelice, Ja namolodcarazudalogo Ne smogrelabyizokoshechka Kaby znalaja,kabyvedala, Kaby znalaja If I’dknown,ifrealized! To waterhishorseatthecoldwell! Will hecome,myhandsomeone, Watching andwaitingwondering, On theknoll,nearwell, Grieving ontheknollbyhouse, I’d notbesittinguplateintheevening, If I’dknown,ifrealized, If I’dknown,ifrealized! A speckledfalconridingonhisarm? Will hecomethisway, Watching theroad, Got myfeetwetinthedew, Wouldn’t havehurriedtotheedgeoftown, Wouldn’t haverisenearlybeforelight, A scarletribbonwithagoldborder, Wouldn’t haveplaitedinmylongbraid I wouldn’thavedressedupforhim, If I’dknown,ifrealized, Rearing upoutsidemywindows! Hoofs ringingloud,long-maned, On hisswiftdunhorse, His furcapatajauntyangle, Riding downourstreet, At thedashingyoungman, I’d nothavelookedoutthewindow If I’dknown,ifrealized, Had Ionlyknown p11 So soon forgotten God, To forget so soon, dear our past life! all the happiness of the conversations! All our encounters, so soon! To forget so soon, forget of the first days, To forget the excitement shady branches! of our rendezvous under The wordless exchange of our glances. To forget so soon, to forget so soon! To forget how the full moon gazed at us through the window, the quiet rustling of the curtain, To forget so soon, forget so soon, so soon! To forget love, forget the dreams, remember? forget your vows – remember – do you hours of night! In the darkest hours of night, in the darkest To forget so soon, forget so soon! Dear God! At the Ball Amid the din of the ball, by chance, In all of vain society’s alarms, I caught sight of you, but a mystery Hid your features from me. Your eyes were gazing sadly, But your voice had a wonderful sound, Like notes played on a distant flute, Like waves swelling playfully in the sea. Sret’ shumnava bala Sret’ shumnava bala, sluchajna, F trevoge mirskoj sujety, Tebja ja uvidel, no tajna Tvaji pakryvala cherty. Lish ochi pechal’na gljadeli, A golas tak divna zvuchal, Kak zvon addaljonnaj svireli, Kak morja igrajushchij val. Zabyt’ tak skoro moj, Zabyt’ tak skoro, bozhe prozhitoj! Vsjo schast’je zhizni Vse nashi vstrechi, razgovory, tak skoro! Zabyt’ tak skoro, zabyt’ dnej, Zabyt’ volnen’ja pervykh vetvej! Svidan’ja chas v teni Ochej nemyje razgovory, Zabyt’ tak skoro, zabyt’ tak skoro! Zabyt’, kak polnaja luna Na nas gljadela iz okna, Kak kolykhalas’ tikho shtora... Zabyt’ tak skoro, zabyt’ tak skoro, tak skoro! Zabyt’ ljubov’, zabyt’ mechty, ty, pomnish’ ty? Zabyt’ te kljatvy pomnish’ ty, pomnish’ pasmurnuju poru, V nochnuju pasmurnuju poru, v nochnuju Zabyt’ tak skoro, zabyt’ tak skoro! Bozhe moj! Aleksei Nikolayevich Apukhtin (1840–1893) 3 4 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 11 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p12 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page12 5 Znat’, znat’takajamajadoljushka! Okh, ty,goremajogorjushka! Da vzhgutikimenjapasvjazali! Vzjali kalinushku,slamali, Ja lifpoledanekrasnajarasla; Ja lifpolenekalinushkabyla, Znat’, znat’takajamajadoljushka! Okh, ty,goremajogorjushka! Na solnyshkefpoleissushili. Vzjali menja,travushku,skasili, Ja lifpolenezeljonajarasla, Ja lifpoledanetravushkabyla, Ja lifpoledanetravushkabyla Count AlekseiKonstantinovichTolstoy(1817–1875) No kazhetsamne,shtoljublju! Ljublju litebja,janeznaju, I vgrjozakhnevedamykhsplju… I grusnaja,takzasypaju Ja slyshuvesjolujurech. Ja vizhupechal’nyjeochi, Ljublju ja,ustalyj,prilech, F chasyadinokijenochi S tekhporvmajomserttsezvuchit. A smekhtvoj,igrusnyjzvonkij, I ves’tvojzadumchivyjvit, Mne stantvojpanravilsatonkij So that’swhatfatehadinstoreforme! Oh, you,woe,heavywoeofmine! And tiedupintoabundleoftwigs! The bushwastaken,cutdown, With berriesred,growinginthefield? Wasn’t Iabushofguelderrose, So that’swhatfatehadinstoreforme! Oh, you,woe,heavywoeofmine! Left inthefieldtodrysun. I wastaken,bladeofgrass,andcutdown, Wasn’t Igrowinggreeninthefield? Wasn’t Iabladeofgrassinthefield, The Bride’sLament But itseemstomeI’minlove! I don’tknowifthismeansloveyou, And dreammysteriousdreams… And, melancholy,Ifallasleep I hearyourgayspeech. I seeyoursadeyes, Tired, Iliketolieback, At nightinsolitaryhours, Rings inmyhearteversince. Your laughter,sadandmusical, And yourpensivelook; I likedyourslimfigure p13 Wasn’t I my father’s little daughter, Wasn’t I my father’s little flower? Wasn’t I my mother’s poor girl, By force they took me, a graybeard I don’t love, And married me to love they married me! To a graybeard I don’t woe of mine! Oh, you, woe, heavy had in store for me! So that’s what fate Fire in my Veins My blood boils with desire, My soul was stung by you; Kiss me – your kisses Are sweeter to me than mirth and wine. Put your lovely head on my shoulder, And I will dream peacefully, Until the happy new day will come, And the night’s darkness will move away. To a Lyre The echo of my sobs Why, oh zither, do you repeat again? Ah, the heart’s sorrows Even love itself cannot express! The strings ring out in vain, They cannot reflect My sighs and sorrows With their ringing sounds. (1804–1857) K citre ‘Ekho mojikh rydanij, citra, zachem zvuchish’ ty vnov’? Akh, vyrazit’ serdca stradanij ne v silakh sama ljubov’! Struny naprasno zazvuchali, net, ne peredat’ strunam zvenjashchim moj vzdokh i ston pechali, zvukam ikh drozhashchim. V krovi gorit ogon’ zhelan’ja V krovi gorit ogon’ zhelan’ja, Dusha toboj ujazvlena; Lobzaj menja, tvoji ljubzan’ja Mne slashche mirra i vina. Sklonis’ ko mne glavoju nezhnoj I da pochiju bezmjatezhnyj, Poka dokhnjot vesjolyj den’ I dvignetsja nochnaja ten’. Alexander Sergeyevich Pushkin (1799–1837) MIKHAIL GLINKA Ja l’ u batjushki ne dochen’ka byla, Ja l’ u batjushki ne dochen’ka ja rasla; U radimaj ne tsvetochek vzjali, Nevolej menja, bednuju, pavenchali, Da s nemilym, s sedym pavenchali! S nemilym, da s sedym Okh, ty, gore majo gorjushka! doljushka! Znat’, znat’ takaja maja Ivan Zakharovich Surikov (1841–1880) 7 6 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 13 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p14 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page14 8 Yevgeny AbramovichBaratynsky(1800–1844) A neljubov’probudish’ty. V dushemojejodnovolnen’je Zabud’ byvalyjemechty! Ja splju,mnesladkousyplen’je, V jegodremotenetrevozh’ I drugzabotlivyj!Bol’nogo Ne zavodioprezhnemslovo Nemoj toskimojejnemnozh Raz izmenivshimsnoviden’jam I nemogupredat’sjavnov’ Uzh janeverujuvljubov’ Uzh janeverjuuveren’jam Vse obol’shchen’japrezhnikhdnej Razocharovannomu chuzhdy Vozvratom nezhnostitvojej Ne iskushajmenjabeznuzhdy Ne iskushajmenjabeznuzhdy Unknown author ne vsilakhsamaljubov’! i vyrazit’serdcastradan’ja akh! mnejejonevidat’uzhvnov’, Ta, komuotdaljavsemechtan’ja, ja neotomvzdykhaju! O chjomteplachutzvuki,– zvuchit struna,rydaja. V otvetnastonymuki And loveshallwakenomoreforthee. Within mysoulisnothingbutturmoil, Forgotten allmyyouthfuldreams! I sleep:howsweettomeoblivion: A convalescent’sdreamingrest. And, kindlyfriend,odonottrouble Say notawordofformergladness. Do notaugmentmyanguishmute; To bedeceivedbyphantomvisions. And cannotsufferonceagain I havenolongerfaithinlove; I cannolongertrustyourpromise; Are allthecharmsofbygonedays! How foreigntothebroken-hearted Affection lostcannotreturn. Do nottemptmeneedlessly: Do nottemptme Even loveitselfcannotexpress! And theheart’ssorrows Ah, Iwillnotseeheragain The onetowhomIgaveallmydreams– Is notthecauseofmysorrow! But thecauseoftheircries The stringsarecrying. As ananswertomysuffering p15 Tell me why appear Tell me, why did you Lila, Before my eyes, young dreams And awoke familiar In my slumbering soul, why? Tell me, why? Tell me, my passion, You are laughing at And you make me lose my mind When I look at you, And you avert your cold gaze. Tell me, why? Tell me, why? I want to prolong my delusion; Avert the harsh blow: You will increase my suffering By asking me why, asking me why. The Nightingale and the Rose Captivated by the rose, The nightingale day And night sings to her, But the rose silently listens to his songs, With his lyre another Poet sings for a young maiden, But the dear maid does not Know to whom he sings And why his songs are so sad. 1844–1908 ca pésnjam vnélmet. sis’ rózoj, c pojót nad nej. cal’nye pésni talk egó. Skazhi, zachem ty Skazhi, zachem javilas’ Lila, ocham mojim, mladaja i vnov’ znakomyje mechty dusha zasnuvshej probudila, zachem? skazhi, zachem? Skazhi, shutja, Nad strastiju mojej zachem s uma menja ty svodish’, kogda zh ljubujus’ na tebja, ty vzor s kholodnost’ju otvodish’, skazhi, zachem? Skazhi, zachem? Skazhi, zachem? Net, pogodi! Khochu prodlit’ ja zabluzhden’je; udar zhestokij otvrati: udvojish’ ty mojo muchen’je, skazav, zachem, skazav, zachem. S. Golitsyn, after Adam Mickiewicz (1798–1855) NIKOLAI RIMSKY-KORSAKOV Plenivshis’ rozoj, solovej Plenívˇ Solovéj iI den’ I noˇ No rósa mólˇ Na lire tak pevéc inój Pojót dlja dévy molodój, A déva mílaja ne znáet Komú pojót i otcegó Peˇ Aleksey Vasil’yevich Kol’tsov (1808–1842) 9 10 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 15 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p16 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page16 12 11 I zanosilkholodnymsnegom. Svistja ivoja,strunyrval I sokrushitel'nymnabegom, Zhitejskij vikhr'jejoterzal Ona, kakgusli,mnogostrunna. Ona trevozhna,kaklisty, Mojej dushikosnulas'ty. Listov kosnulsjanoch'julunnoj. Ne veter,vejasvysoty, Ne vetervejasvysoty Apollon NikolayevichMaikov(1821–1897) Ch’jo imjajatverzhu. Ch’ji ochisvetjatmne, Chej likjavsjudumakhozu, Mne slyshitsja… Chej glasvnochnommolchan’je A torasskazhesh’ty Dushi mojejmechtan’ja. Tebe neperedam Uslada dnejmojikh, Ty, drugmojvetrenyj, I dazhety,mojstikh, To budettajnojvsem. Vsechasno pomyshljaju, O chjomprisvetednja Tajinstevenno mechtaju, O chjomvtishinochej O chjomvtishinochej And buriedeverythingunderthecoldsnow. Roaring andblowing,torethestrings That withadestructiverush, My soulwastormentedbythestormsofeverydaylife It ismulti-voicedlikeapsaltery. It istremblingliketheleaves, You touchedmysoul. That touchedtheleavesonamoonlitnight. It wasnotthewind,blowingfromheights, The Wind Whose nameIrepeatoverandover. Whose eyesshedlightonme, Whose faceIfindeverywhere, In thenight’ssilence… Whose voiceitisthatspeakstome I dothisbecauseyoumighttellsomeone On themeditationofmyheart. Even toyouIshallnotpass Delight ofmydays, You, myunstablefriend, And eventoyou,myverse, Will beamysterytoeveryone. I hourlycontemplate, What inthelightofday In thesilenceofnight, What Isecretlydreamof In theQuietNight p17 Your voice caresses my ears, Your voice caresses Your touch is gentle, Like the petals of flowers, May night. Like the breeze of a I touched a flower I touched a flower with passionate lips; and the fallen petals lie around. I keep only the stem; but the life and fragrance will you restore with feeble tears? You did not love me! Unpityingly, harshly, your deception shattered flower. my heart’s dreams, like the petals of the Will you restore them? again? And will you return happiness to my heart Young Boy and Girl A jealous maiden, weeping bitterly, Chided a young man. Leaning on her shoulder, The youth suddenly fell asleep. The maiden immediately fell silent, Nurturing his light sleeping. And smiled at him, Through her silent tears. (1813–1869) (1835–1918) ALEXANDER DARGOMYZHSKY Junoshu, gor’ko rydaja Junoshu, gor’ko rydaja, Revnivaja deva branila. K nej na plecho preklonjon, Junosha vdrug zadremal. Deva totchas umolkla, Son jego ljogkij leleja, I ulybalas’ jemu, Tikhije sljozy lija. Alexander Sergeyevich Pushkin (1799-1837) Tvoja zhe rech' laskajet slukh, Tvoja zhe rech' laskajet Tvojo legko prikosnoven'je, pukh, Kak ot cvetov letjashchij Kak majskoj nochi dunoven'je. Tolstoy (1817-1875) Count Aleksei Konstantinovich CÉSAR CUI Kosnulas’ ja cvetka Kosnulas’ ja cvetka gorjachimi ustami; I lepestki rassypalis’, lezhat. Ja stebel’ lish’ derzhu, A zhizn’ i aromat Vernjosh’ li ty bessil’nymi slezami? Ty ne ljubil menja! Bezzhalostno, surovo, razvejal tvoj obman Serdechnyje mechty, kak lepestki cvetka. Ikh vozvratish’ li ty? I serdcu mojemu vernjosh’ li schast’je snova? (1844–1927) Vasily Vasil’yevich Nemirovich-Danchenko 13 14 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 17 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p18 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page18 16 15 No oMariitymolchal... Khvalu straneprocheljadal’noj; I jatvojmramorvoproshal; Fontan ljubvi,fontanpechal’nyj! Zhurchi, zhurchisvojumnebyl’... Akh, lejsja,kljuchotradnyj! Menja kropitrosojukhladnoj: Tvoja serebrjanajapyl’ I po`eticheskijesljozy. Ljublju nemolchnyjgovortvoj Prinjos javdartebedverozy. Fontan ljubvi,fontanzhivoj! Bakhchisaraysky fontan VLADIMIR VLASOV Yulya ValeryanovnaZhadovskaya(1824–1883) bezumnaja, javsjojeshchjojegoljublju! kogda jazanegosozdateljamolju! i radost’jasnajanaserdcenizletajet, Otrada tikhajamnevdushupronikajet, Ja vsjojeshchjojego,bezumnaja,ljublju! bezumnaja, javsjojeshchjojegoljublju! i vzorgorjachejusljozojnevol’nobleshchet: toska po-prezhnemuszhimajetgrud’moju, Pri imenijegodushamojatrepeshchet; Ja vsjojeshchjojego,bezumnaja,ljublju! Ja vsjojeshchjojegoljublju (1902–1986) But ofMary,neveraword. of far-offparts,woeandgladness from thystonelipslongtalesIheard Fountain oflove,fountsadness Sing, singtomethysagafair. Oh, flow,dearflowing Drops ontomelikedewofmorning, Thy silverdust,hangingintheair, And lyrictears,stillandpleasant. I likethyceaselessmurmur, I broughttotheetworoses,asapresent. Fountain oflove,fountlife, The FountainofBakhchisarai I ammadtolovehimstill! when IpraytotheCreatorforhim! and brightjoyoverwhelmsmyheart, A quietdelightfillsmysoul, I stilllovehim–madly! I ammadtolovehimstill! and hissultrylookbringsglisteningtearstomyeyes. as before,anguishpressesmybreast, At thementionofhisnamemysoultrembles; I stilllovehim–madly! I stilllovehim p19 Fountain of love, fount of life, Fountain of love, fount roses, as a present. I brought to thee two I like thy ceaseless murmur, and pleasant. And lyric tears, still in the air, Thy silver dust, hanging dew of morning, Drops onto me like flowing Oh, flow, flow, dear Sing, sing to me thy saga fair. Oh, do not sing to me Do not sing, my beauty, to me Your sad songs of Georgia… They remind me Of that other life and distant shores. Alas, your cruel melodies They remind me, Of the steppe, the night, and the moonlight Shining on a poor, distant maiden! That sweet and fateful apparition I forget when you appear… But when you sing, before me I picture that image anew. (1873–1943) SERGEI RACHMANINOV Fontan ljubvi, fontan zhivoj! Fontan ljubvi, fontan dve rozy. Prinjos ja v dar tebe govor tvoj Ljublju nemolchnyj I po`eticheskije sljozy. Tvoja serebrjanaja pyl’ khladnoj: Menja kropit rosoju otradnyj! Akh, lejsja, lejsja, kljuch Zhurchi, zhurchi svoju mne byl’... Alexander Sergeyevich Pushkin (1799-1837) Ne poj, krasavica, pri mne Ne poj, krasavica, pri mne Ty pesen Gruziji pechal’noj… Napominajut mne Druguju zhizn’ I bereg dal’nij. Uvy, napominajut mne Tvoji zhestokije napevy, I step’, i noch’, i pri lune Cherty dalekoj, bednoj devy! Ja prizrak milyj, rokovoj Tebja evidev, zabyvaju… No ty pojosh’, i predo mnoj Jego ja vnov’ voobrazhaju. Alexander Sergeyevich Pushkin (1799-1837) 17 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 19 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p20 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page20 20 19 18 Grustnaja iva. I bezuteshnaonaIvushka, Plachet plakuchajaiva, Noch’ju vsaduumenja Noch’ju vsaduumenja Aleksey Pleshcheyev(1825-1893),afterTarasShevchenko(1814-1861) A! Uzh takajamnedoljavypala. Znat’ vchuzhojizbeisostarejus’. I soldatkojja,odinokojja. Uvezli jego,sfalivrekruty… Razluchili nasljudisil’nye… Uzh takajamnedoljavypala. Sirotinushku bestalannago. Poljubila janapechal’svoju Poljubila janapechal’svoju Ekaterina Beketova(1855–1892) Mojo bednojeschast’jecvetjot. Na dushistykhkistjakh… Na zeljonykhvetvjakh, I toschast’jevsirenizhivjot Mne najtisuzhdeno, V zhiznischast’jeodno Ja pojdusvoyeschast’jeiskat’… I vdushistujuten’,gdetesnitsjasiren’, Ja pojdusvezhimutrondyshat’ Po utru,nazare,porosistojtrave, Siren’ Oh willow,sorrowfulwillow. And sheisinconsolable,thewillow, A weepingwillowweeps, In mygardenatnight In mygardenatnight Ah! That isthefatewhichhasbefallenme. It seemsIshallgrowoldinastranger’shome. A soldier’swife,alonelysoul. They tookhimawaytobearecruit… Cruel handshaveseparatedus… That isthefatewhichhasbefallenme. My wretchedlittleorphan. To mysorrowIhavegrowntolove The Soldier’sWife There mypoorhappinessblossoms. In thefragrantbunches… In thegreenbranches, And thathappinesslivesinthelilacs Has beengrantedmebyFate In life,onlyonehappiness I willgotoseekmyhappiness. And inthefragrantshadeoflilactrees, I willgotobreathethecrispdawn At dawn,atdaybreak,overthedewygrass, Lilacs ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 21

Ranneje utro blesnet, The young morning will flash, Nezhnaja devushka Zor’ka A tender girl named Dawn Ivushke, plachushchej gor’ko, Who will wipe away with her curls Sljozy kudrjami sotret. The bitter tears of the weeping willow. Aleksandr Aleksandrovich Blok (1880–1921), after Avetik Isaakian (1875–1957)

21 Margaritki Daisies O, posmotri kak mnogo Oh, look! See how many daisies Margaritok i tam, i tut. Are here and there. Oni cvetut, They blossom, Ikh mnogo, They are many, Ikh izbytok. They are plentiful. Oni cvetut. They blossom. Ikh lepestki trekhgrannyje, Their triangular petals Kak kryl’ja, Are like wings, Kak berlyj shelk. Like white silk. V nikh leta moschch! They display the summer’s power! V nikh radost’ izobil’ja! They display the joy of abundance! p21 V nikh sletlyj polk! They display the bright regiment! Gotov’, zemlja, cvetam iz ros napitok Make a drink of dew, Earth, for the flowers Daj sok steblju… Give sap to a stem… O, devushki, Oh, girls, O, zvezdy margaritok, Oh, dairy starlets, Ja vas ljublu! I love you! Igor Severyanin (1887–1941)

22 Ja zhdu tebja I wait for you! Ja zhdu tebja! Zakat ugas, I wait for you! The sun has set I nochi tjomnyje pokrovy night’s dark covers Spustit’sja na zemlju gotovy are ready to descend I sprjatat’ nas. and hide us. ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 22

Ja zhdu tebja! Dushistoj mgloj I wait for you! With a fragrant mist, Noch’ napojila mir usnuvshij, night suffused the sleeping world I razluchilsja den’ minuvshij and the past day has bid Na vek s zemlej. farewell to earth.

Ja zhdu tebja! Terzajas’ i ljubja, I wait for you! Tormented and in love, Schitaju kazhdyja mgnoven’ja, I am counting each moment. Polna toski i neterpen’ja. Full of anguish and impatience Ja zhdu tebja! I wait for you! Mariya Davidova p22

Executive Producer for Onyx: Paul Moseley Produced and engineered by: Simon Kiln Recording Location: Champs Hill, Pulborough, England Recording Date: 20 & 21 July, 5 & 6 October 2007 Cover Photograph: Sasha Gusov Design: WLP Ltd Transcriptions and translations, tracks 1, 2, 4, 5: © Richard D Sylvester Translations of tracks 6, 7, 9, 12: with many thanks to Anastasia Belina With many thanks to David and Mary Bowerman for their support p23 ONYX 4022 ONYX 4003 4030 ONYX Also available on ONYX with Malcolm Martineau Malcolm ONYX with on Also available ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 15:24 Page 23 Page 15:24 2/9/08 ONYX4031_cd_RussianRomance-a-BL.qxd p24 ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/0815:24Page24 www.onyxclassics.com rONYX 4031