 LIEBESTREU 

HELENE WOLD  SOPRANO

LIV GLASER  FORTEPIANO   LIEBESTREU TRE STORE I 1838 skriver Clara Schumann til sin elskede som komponist og glimrende utøver, og ikke Graf-instrument, som var en bryllupsgave fra SANGKOMPONISTER Robert om Mendelssohn: «Han spilte fullendt minst som en lojal venn og rådgiver. Graf personlig. SER DAGENS LYS – jeg kunne ikke holde tårene tilbake … for meg er han den kjæreste av alle pianister …» Brahms sender henne det første stykket fra op. Da Robert Schumann døde i 1856, overtok «Han har ankommet! Dette er den utvalgte!» 119, hans siste verk for klaver, med følgende Brahms C. Graf-instrumentet, og senere, Året er 1853, og den unge Brahms roses opp Robert Schumann har skrevet de berømte ord ord: «Jeg har vært fristet til å skrive et lite kla- da han flyttet til Wien, eiet han et Streicher- i skyene av Schumann i Neue Zeitschrift für om at Mendelssohn er det 19. århundres Mo- verstykke til deg, vel vitende om hvordan det klaver. Begge var wienerinstrumenter, kjent Musik. Artikkelen blir starten på Brahms’ zart, og i en meningsutveksling om et hefte vil behage deg. Det syder av dissonanser … for sin lette mekanikk og klare, intime tone, suksess som komponist. Han blir berømt over fra Mendelssohns «Sanger uten ord» skriver det lille stykket er usedvanlig melankolsk …» i motsetning til de franske og engelske klaver natten. Nå kan han endelig publisere sine han: «Hvem har ikke sittet ved klaveret i som hadde tyngre mekanikk og større tone og første verk. Blant dem: «Der Frühling» og skumringen og sunget en melodi svakt mens  etterklang. Wienerklaverets klare bass er ide- «Liebestreu». Var det disse sangene Brahms man improviserte? Hvis du er heldig og spiller KLAVIERTREU ell for å realisere Brahms’ ofte tette akkorder i fremførte for Clara og Robert Schumann un- melodien og akkompagnementet sammen, og bassen, markert med dynamikken pp. der det historiske møtet den 30. september hvis – mer vesentlig – du er så heldig å være Det er mange møter mellom store musikere 1853 i familien Schumanns hjem, og som fikk Mendelssohn foretrakk franske og engelske en Mendelssohn, vil resultatet bli en vakker der jeg skulle ønske jeg hadde vært en flue Robert Schumann til å juble så høyt? klaver, men var godt kjent med og spilte ofte ’Sang uten ord’.» på veggen! For eksempel den 30. september på wienerinstrumenter. Clara var oppvokst 1853, da Brahms besøkte Schumann første I Mendelssohns sanger finner vi et vell av vakre med wienerklaver og ble desperat første gang Felix Mendelssohn, Clara Schumann og Jo- gang og satte seg ved klaveret for å spille egne melodier, utsøkte harmonier, elegante former hun måtte spille på en Érard i Paris, men i el- hannes Brahms var alle glitrende pianister og komposisjoner for ham. «Den unge ørn», kalte og stor fantasi. Ypperlig egnet for intime set- dre år vennet hun seg mer til både franske og viden kjent for sine improvisasjoner. Clara Schumann ham! tinger i datidens salonger. «Tanzt dem schö- engelske instrumenter. improviserte ofte en introduksjon eller et nen Mai entgegen», «Weinend seh’ ich in die Historien forteller at etter bare noen få takter preludium foran et verk av Robert når det ble Og Robert komponerte og spilte på sitt Graf- Nacht» og «Frage» er alle enkle i uttrykket, reiser Schumann seg brått opp og løper ut for fremført for første gang. Hennes døtre fikk et- klaver. korte og strofiske. Sangene er fra Mendels- ter hvert overtalt henne til å skrive ned noen å hente Clara. «Nå, min kjære Clara, skal du sohns ungdomsår i tiden 1823–1828. Her ly- av dem. Dermed er det lille stykket før «Des få høre musikk som du aldri har hørt maken Selv om Alois Graff fra 1825 kan fortone seg i ser arven etter Mozarts tindrende sangjuveler Abends» bevart for ettertiden. Det gir oss på til.» For de tre ble det et historisk møte, og for eldste laget, eier det wienerklaverets spesielle klart frem. en fortreffelig måte en smak av det som kom- musikkhistorien et av de virkelig store! karakter, et varemerke også for de instrumen- mer, den milde skumring, det første av Robert tene som kom etter, og som jeg synes harmo- «Det går nesten ikke en dag uten at Mendels- Og med min lidenskap for historiske klaver Schumanns åtte «Fantasistykker» fra 1837. nerer med solostykkenes og akkompagnemen- sohn sier noe som ikke er passende for en er jeg naturligvis nysgjerrig på hvilket instru- tets intime atmosfære. inskripsjon i gull!» sier Schumann. Vinteren ment som ble traktert ved denne anledning. Og Clara, med sin store og varme personlighet, 1839–40 tilbringer Mendelssohn og Schumann var et midtpunkt i kretsen rundt Schumann Etter all sannsynlighet var det Roberts Conrad – mye tid sammen. Schumann har vært skeptisk «Auf Flügeln des Gesanges» av Mendelssohn Har han også skjønt hvor vanskelig det vil bli «Nachtlied» er datert juli 1850. Schumann til sangformen, og det av redsel for å ødelegge er en av de vakreste melodier noensinne skre- for ham å elske, og ikke minst for andre å el- er på vei inn i en avsluttende fase av livet. vakker musikk med enkle ord. Nå inspireres vet. Vi blir tatt med på en eksotisk reise. ske ham? Goethe skildrer døden, og tar oss med tilbake han av Mendelssohn til å bruke dikt av utsøkte  til naturen og dens trygge ro. forfattere som Shakespeare, Goethe og Heine. «Neue Liebe» har en herlig rytmisk melodi WILHELM MEISTER- Den 31. januar skilles de gode vennene for en hvor det flørtes med det overnaturlige. Vi mø- SANGENE FRA 1849 Etter Robert Schumanns tidlige død i 1856 periode. Dagen etter setter Schumann i gang ter alver og en stemning som ligner den i mu- lever Clara som enke. Hun fortsetter sitt sin storslagne sangproduksjon. «Der Nuss- sikken til «En midtsommernattsdrøm». Etter å ha lest Goethes gigantiske dannelses- virke som reformerende pianist. Clara spiller baum» er datert februar 1840. roman «Wilhelm Meister» tre ganger kompo- notetro, utenat og nesten alltid med sin store «Bei der Wiege» er en vuggesang, og her hø- nerer Schumann musikk til Mignons liden- kjærlighet Robert Schumanns verk på reper- Sang- og kjærlighetsåret 1840! Etter fem år rer jeg Felix Mendelssohn noe skjelmsk synge skapelige tekster fra romanen. Mignon har toaret. Johannes Brahms og Clara forblir nære preget av en intens kamp med Clara Wiecks sine barn i søvn. blitt kidnappet av røvere. De har ført henne og fortrolige omgangsvenner resten av livet. sterkt avvisende far, får kjæresteparet Clara gjennom Alpene fra Italia til Tyskland, hvor Vennskapet har dog en komplisert undertone. og Robert endelig gifte seg. «Der Nussbaum» Den nedslåtte stemningen i «Schilflied» får hun mishandles og utnyttes av en ond teater- Clara skriver i sin dagbok 1893: «Johannes er hentet fra sangsamlingen «Myrthen» – Ro- meg til å reflektere over Mendelssohns tra- direktør. Wilhelm Meister redder Mignon, og kommer i aften. Hjertet trekker seg sammen berts bryllupsgave til Clara. Her beskrives en giske siste år. Han mister sin kjære søster og de utvikler et tett forhold hvor den unge jenta i angst.» Like før hun dør den 20. mai 1896, ung, vordende bruds sitrende forventning til kollega, Fanny, og opplever også utenomek- speiler Wilhelm Meisters indre følelsesliv. skriver Brahms: «Dersom De tror å måtte for- det som skal komme. Dette året skriver Schu- teskapelige kjærlighetsproblemer. Det dreier Hun inntar rollen som hans tjener. Mignon er vente det verste, må De unne meg et par ord mann mer enn 130 sanger i ren jubel! seg visst om «den svenske nattergalen», Jenny en mystisk person med en androgyn utstrå- slik at jeg kan komme til å se de kjære øynene Lind. Året er 1847. Mendelssohn rakk bare å ling. «Er det gutt eller jente?» tenker Wilhelm åpne, de som lukket så mye for meg.» Elleve Med «Das verlassne Mägdelein», komponert bli 38 år. Meister første gang han treffer henne. I boka måneder senere dør også Brahms. i 1847, blir vi kjent med et av 1800-tallets po- og i tiden symboliserer hun uskyld, under- etiske mesterverk. Diktet er av Mörike. Schu- «Die Liebende schreibt» handler om et in- trykkelse, forsømmelse og tabubelagte følel- – Helene Wold manns musikk lister seg frem med kromatiske tenst kjærlighetsmøte. Goethe var en viktig ser. Mignon blir et offer for sine barndoms- linjer og tilbakeholdt dynamikk. Dette gjør venn og kollega av Mendelssohn. Hans sorg traumer, eldes for tidlig og dør av hjertesorg. den unge jentas smertefulle ensomhet tydelig. var stor da Goethe døde i 1832. Hun har blitt bedratt, og så ... forlatt. «Wilhelm Meister» er en sammenfatning av tidsånden på begynnelsen av 1800-tallet. Mig- Mye tyder på at «Liebeslied» ble skissert i Allerede i «Liebestreu», som er Brahms’ første non blir et symbol på lengselen etter noe man 1840, og fullført i 1850. Sangen inneholder publiserte sang, møter vi hans særegne tette ikke helt kan definere. Hun er den som lever musikalske temaer brukt av Schumann i 1850, harmonier og et voldsomt spenn i uttrykk og kun på følelsenes premisser. mens innholdet i teksten er sterkt relatert til dynamikk. Veldig operatisk! Kan valget av 1840. «Liebeslied» krydres, lik andre sanger «Liebestreu» som første publiserte sang ha Fra «Wilhelm Meister» får vi også møte skik- fra 1840, med Clara og Roberts kjærlighets- vært knyttet til Brahms ønske om å fremstå kelsen Philine. Hun trives med livets nytelser! motiver. som en seriøs og kompromissløs komponist?   LIEBESTREU THREE ILLUSTRIOUS In 1838 Clara Schumann wrote to her beloved rounding Schumann, as a composer and brilliant Robert’s Conrad Graf , a wedding gift from COMPOSERS OF Robert about Mendelssohn: «His playing was con- performer, and, not least, as a loyal friend and Graf personally. When Robert Schumann died in LIEDER SEE THE LIGHT summate – I could not hold back my tears […] for advisor. 1856, Brahms took over the C. Graf instrument, OF DAY… me he is the most cherished of all pianists […]». and, later, when he moved to Vienna, he owned a Brahms sent Clara the first piece from op. 119, his Streicher piano. «He has arrived! This is the Chosen One! » The Robert Schumann wrote the famous words that last works for piano, with the following words: «I year was 1853, and Schumann sang the praises of Both were Viennese instruments, known Mendelssohn was the nineteenth century’s Mozart, have been tempted to write a little piano piece for the young Brahms in «Neue Zeitschrift für Musik». for their light action and clear, intimate tone, in and in a discussion of one volume of Mendels- you, well aware of how it will please you. It seethes The article marked the beginning of Brahms’s suc- contrast to the French and English pianos, which sohn’s «Songs Without Words he wrote: «Who has with dissonances […] the little piece is exception- cess as a composer. He became famous overnight. had heavier action, as well as a bigger sound and not sat at the piano at dusk softly singing a melody ally melancholy […]». Now, finally, he could publish his first works, among longer after-ring. The Viennese piano’s clear bass while improvising? If you are fortunate and play them, «Der Frühling» and «Liebestreu». Were  is ideal for achieving Brahms’s often taut chords melody and accompaniment together, and if – these the songs Brahms performed for Clara and KLAVIERTREU in the bass marked ‘pianissimo’. more importantly – you are so fortunate as to be Robert Schumann during their historic meeting in a Mendelssohn, the result will be a beautiful Song There have been many meetings between great mu- Mendelssohn preferred the French and English the Schumann home on 30 September 1853? Were Without Words.» sicians at which I would love to have been a fly pianos, but he was quite familiar with Viennese they the songs that drew the euphoric response from on the wall. For example, on 30 September 1853, instruments and played on them often. Clara Schumann? Felix Mendelssohn, Clara Schumann, and Jo- when Brahms visited Schumann for the first time had grown up with Viennese pianos, and she felt hannes Brahms were all outstanding pianists and and sat down at the piano to play his own com- desperate the first time she had to play an Érard In Mendelssohn’s lieder we find an abundance of widely known for their improvisations. Clara positions for him. «The young eagle» was what piano in Paris. In her later years, however, she beautiful melodies, exquisite harmonies, elegant often improvised an introduction or a prelude be- Schumann called him! became more accustomed to both the French and forms, and boundless imagination. Marvellously fore one of Robert’s works when performing it for English instruments. suited for intimate settings in the salons of the day, As the story goes, after only a few measures, the first time. Her daughters eventually persuaded «Tanzt dem schönen Mai entgegen»,«Weinend seh’ Schumann jumped up and ran to fetch Clara. her to write down some of them. Consequently, the And Robert composed and played on his Graf. ich in die Nacht», and «Frage» all are simple in «My dear Clara,» he said, «come now and listen short piece preceding «Des Abends» on this re- expression, short, and strophic. They are from Men- to this music. You’ve never heard the like of it.» Although an Alois Graff from 1825 may seem of cording has been preserved for posterity and, in delssohn’s adolescent years, 1823–1828, and in them ancient vintage, it possesses the special qualities of a splendid manner, it provides a foretaste of what For the three, it was an historic meeting, and for the legacy of Mozart’s glittering gems shines forth. Viennese pianos that became a feature also of later is to come – the soft twilight, the first of Robert music history, one of the truly memorable ones! instruments, and which, in my opinion, harmo- Schumann’s 8 Fantasy Pieces from 1837. «Hardly a day passes that Mendelssohn does not nize well with the intimate mood of the solo pieces And with my passion for historic pianos, I am say something worthy of an inscription in gold!», and the accompaniments. And Clara, with her convivial and warm-hearted naturally curious to know which instrument was Schumann wrote. Mendelssohn and Schumann played on this occasion. It was, in all likelihood, personality, was a central figure in the circle sur- – Liv Glaser spent considerable time together during the winter of 1839–40. Schumann had been sceptical of the 1850, while the text has strong ties with 1840. Like Already in «Liebestreu», Brahms’s first published bol of longing for something that cannot wholly be lied form for fear of destroying beautiful music other songs from that year, «Liebeslied» is laced with lied, we encounter his distinctive taut harmonies and defined. Her life is guided by feelings alone. with simple words. Now he was inspired by Men- motifs of love associated with Clara and Robert. enormous range of expression and dynamics. Very delssohn to use the poems of celebrated authors operatic! Can the decision to publish it first have In «Wilhelm Meister» we also meet the figure of Phil- such as Shakespeare, Goethe, and Heine. The good In Mendelssohn’s «Auf Flügeln des Gesanges», one been tied to his wish to be regarded as a serious and ine. She delights in life’s pleasures! friends parted for awhile on 31 January. The fol- of the most beautiful melodies ever written, we are uncompromising composer? Had he also perceived lowing day, Schumann began work on his bril- taken on an exotic journey. how difficult it would become for him to love, and, «Nachtlied» is dated July, 1850, when Schumann liant lied production. «Der Nussbaum» is dated not least, for others to love him? was entering the closing phase of his life. Goethe’s text February, 1840. «Neue Liebe» has a wonderfully rhythmic melody embraces death while guiding us back to nature and embellishing a text that flirts with the supernatural.  the tranquil refuge it represents. The lied and 1840 – the year of love! After five The song is an encounter with the world of elves and WILHELM MEISTER years, characterized by an intense struggle to ob- fairies and with a mood reminiscent of the music LIEDER FROM 1849 Following Robert Schumann’s early death in 1856, tain the approval of Clara Wieck’s unsympathetic for «A Midsummer Night’s Dream». Clara lived as a widow and continued to reform father, the couple was finally able to marry. «Der Having read Goethe’s monumental bildungsroman the role of the concert pianist. She performed from Nussbaum» is taken from the collection entitled «Bei der Wiege» is a lullaby in which I hear Felix «Wilhelm Meister» three times, Schumann then com- memory and with fidelity to the score, and her pro- «Myrthen» – Schumann’s wedding gift to Clara. It Mendelssohn somewhat waggishly singing his chil- posed music to Mignon’s passionate texts found in grammes almost always included works of her be- describes a young future bride’s trembling anticipa- dren to sleep. the novel. Mignon is kidnapped by pirates, who lead loved Robert. She remained an intimate friend of tion of what is to come. In the course of this year, her through the Alps from Italy to Germany, where Johannes Brahms for the rest of her life. But there Schumann wrote more than 130 lieder out of pure The gloomy mood in «Schilflied» causes me to re- she is abused and exploited by an evil circus director. was a complicated undertone to their friendship. jubilation! flect on the tragic final years of Mendelssohn’s life. Wilhelm Meister rescues Mignon, and they develop Clara wrote in her diary in 1893: «Johannes is He lost his beloved sister and musical colleague, a close relationship, in which the young girl mirrors coming this evening. My heart contracts with fear. » With «Das verlassne Mägdelein», composed Fanny, and an extramarital relationship weighed his own emotional life, while she assumes the role of And a short time before her death, on 20 May 1896, in 1847, we meet one of the poetic masterpieces heavy on him. The woman in question seems to his servant. Mignon is a mystical person with an Brahms wrote: «Though you believe you may expect of the 1800s. The poem is by Eduard Mörike. have been the «Swedish Nightingale», Jenny Lind. androgenous aura. «Is this a boy or a girl?», Wil- the worst, grant me nonetheless a few words, that Schumann’s music steals forward with chromatic The year was 1847. Mendelssohn only lived to be helm Meister wonders the first time he meets her. In I may see those precious eyes open, in which – how lines and controlled dynamics, which underscore thirty-eight years old. the book and in the time, she symbolizes innocence, much – for me will close. » Eleven months later, the young maiden’s painful loneliness. She has been oppression, neglect, and tabooed feelings. Mignon Brahms, too, had died. deceived . . . and then forsaken. «Die Liebende schreibt», a text by Johann Wolf- ultimately becomes the victim of her childhood trau- – Helene Wold gang von Goethe, depicts the passionate meeting mas, as she ages too rapidly and dies of heartbreak. There is much to suggest that «Liebeslied» was of two lovers. When Goethe, a close friend and sketched out in 1840 and completed in 1850. The colleague, died in 1832, Mendelssohn experienced «Wilhelm Meister» synthesizes the spirit of the age at song contains musical themes used by Schumann in intense sorrow. the beginning of the 1800s. Mignon becomes the sym- The recording was made using a fortepiano signed by Alois Graff, Vienna 1825. The photo shows a similar model built by Conrad Graf, Vienna 1826. Photo: Christina Kobb (2005). DIE LIEBENDE SCHREIBT, THE PINING LOVER, Weinend muß mein Blick sich senken; Weeping as my eyes look downward, OP. 86, NO. 3 OP. 86, NO. 3 Durch die tiefste Seele geht Passing through my inmost soul Mir ein süßes Deingedenken, Memories of you sweetly gathering FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) JOHANN WOLFGANG VON GOETHE (1749-1832) JOHANN WOLFGANG VON GOETHE (1749–1832) Wie ein stilles Nachtgebet. Like a silent prayer at night. Ein Blick von deinen Augen in die meinen, One fleeting glance from your eyes into my eyes, Ein Kuss von deinem Mund auf meinem Munde, One single kiss from your lips onto my lips, NEUE LIEBE, OP. 19, NO. 4 NEW LOVE, OP. 19, NO. 4 Wer davon hat, wie ich, gewisse Kunde, Can those who have, as I, this certain knowledge, FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) Mag dem was anders wohl erfreulich scheinen? Find something that affords them greater pleasure? HEINRICH HEINE (1797-1856) HEINRICH HEINE (1797–1856) Entfernt von dir, entfremdet von den Meinen, Apart from you, estranged from all my loved ones, In dem Mondenschein im Walde In the moonlight of the forest Führ ich nur die Gedanken in die Runde, My thoughts revolve in circles never-ending, Sah ich jüngst die Elfen reiten, There of late I saw elves riding, Und immer treffen sie auf jene Stunde, Unfailingly alighting on that hour, Ihre Hörner hört ich klingen, There I heard their horns resounding, Die einzige; da fang ich an zu weinen. That treasured hour; and I begin to weep. Ihre Glöcklein hört ich läuten. And their bells I heard them ringing.

Die Träne trocknet wieder unversehens: Then, suddenly, my tears no longer flowing; Ihre weissen Rösslein trugen And their snow-white horses carried Er liebt ja, denk ich, her in diese Stille, His love, I muse, can reach me where I ponder, Goldnes Hirschgeweih und flogen Golden antlers and flew swiftly, Und solltest du nicht in die Ferne reichen? And should not yours extend into the distance? Rasch dahin; wie wilde Schwäne Flew away; like wild swans Vernimm das Lispeln dieses Liebewehens; Hear then the whispering of this love-lined breeze; Kam es durch die Luft gezogen. Speeding through the air unbridled. Mein einzig Glück auf Erden ist dein Wille, Your will is my sole happiness on Earth, Dein freundlicher zu mir: Gib mir ein Zeichen! Goodwill toward me: to me please give a sign! Lächelnd nickte mir die Kön’gin, And the queen she nodded, smiling, Lächelnd, im Vorüberreiten. Smiled at me while riding by me. Galt das meiner neuen Liebe? Did it herald my new love? Oder soll es Tod bedeuten? Or was death the sign she gave me? SCHILFLIED, OP. 71, NO. 4 REED SONG, OP. 71, NO. 4 FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) NIKOLAUS LENAU (1802-1850) NIKOLAUS LENAU (1802–1850) BEI DER WIEGE, BESIDE THE CRADLE, Auf dem Teich, dem regungslosen, On the pond’s unmoving surface OP. 47, NO. 6 OP. 47, NO. 6 Weilt des Mondes holder Glanz, Lies the moon’s resplendant sheen, FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) Flechtend seine bleichen Rosen Intertwining pale roses KARL KLINGEMANN (1798-1862) KARL KLINGEMANN (1798–1862) In des Schilfes grünen Kranz. In the verdant wreath of reeds. Schlummre und träume von kommender Zeit, Slumber and dream of the time that will come, Die sich dir bald muss entfalten Which soon for you will unfold. Hirsche wandeln dort am Hügel, Deer meander on the hillside, Träume, mein Kind, von Freud’ und Leid, Dream now, my child, of bliss and woe, Blicken durch die Nacht empor; Gazing to the sky above; Träume von lieben Gestalten! Dream now of shapes so enchanting! Manchmal regt sich das Geflügel Sometimes waterfowl are stirring Mögen, auch viele noch kommen und gehen. Though there be many that come and depart, Träumerisch im tiefen Rohr. Dreamily among the reeds. Müssen dir neue doch wieder erstehen, Yet for you new ones must surely arise. Dort wollen wir niedersinken There to recline is our longing Bleibe nur fein geduldig! Just stay ever so patient! Unter dem Palmenbaum, Under the leaves of the palm, Und Lieb’ und Ruhe trinken Of love and tranquility drinking Schlummre und träume von Frühlingsgewalt Slumber and dream of spring’s renewing power, Und träumen seligen Traum. And dreaming blissful dreams. Schau all das Blühen und Werden, Behold the flowering and beginning. Horch, wie im Hain der Vogelsang schallt, Hear how sweet birdsong resounds in the wood, Liebe im Himmel, auf Erden. Love here on Earth and in Heaven. Heut zieht’s vorüber und kann dich nicht kümmern, This season passes and cannot concern you, FRAGE, OP. 9, NO. 1 QUESTION, OP. 9, NO. 1 Doch wird dein Frühling auch blühn und schimmern. Your spring, however, will blossom and shimmer. FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) Bleibe nur fein geduldig! Just stay ever so patient! JOHANN GUSTAV DROYSEN (1808-1884) JOHANN GUSTAV DROYSEN (1808–1884) WRITTEN UNDER THE PSEUDONYM ’VOSS’ WRITTEN UNDER THE PSEUDONYM 'VOSS' Ist es wahr? Ist es wahr? Is it true? Is it true? AUF FLÜGELN DES GESANGES, ON WINGS OF SONG, Daß du stets dort in dem Laubgang, That you in the arbour always OP. 34, NO. 2 OP. 34, NO. 2 An der Weinwand meiner harrst? By the vined wall wait for me? Und den Mondschein und die Sternlein Ask the moonlight, distant starlight FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) Auch nach mir befragst? What they know of me? HEINRICH HEINE (1797-1856) HEINRICH HEINE (1797–1856) Auf Flügeln des Gesanges, On wings of song I’ll take you, Ist es wahr? Sprich! Is it true? Speak! Herzliebchen, trag’ ich dich fort, Beloved, take you away, Was ich fühle, das begreift nur, What I feel can only she grasp Fort nach den Fluren des Ganges, Away to the fields of the Ganges, Die es mit fühlt, With compassion, Dort weiss ich den schönsten Ort. I know there a lovely place. Und die treu mir ewig, Who forever faithful, Treu mir ewig, ewig bleibt. Ever, ever true remains. Dort liegt ein rotblühender Garten We’ll find a red-flowering garden, Im stillen Mondenschein; There in the quiet moonlight; Die Lotosblumen erwarten The lotus flowers awaiting WEINEND SEH’ WEEPING, I GAZE Ihr trautes Schwesterlein. Their sister so beloved. ICH IN DIE NACHT (1828) INTO NIGHT (1828) Die Veilchen kichern und kosen, The violets giggling, caressing, FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) Und schau’n nach den Sternen empor, And gazing aloft at the stars, ANONYMOUS ANONYMOUS Heimlich erzählen die Rosen Secretly reveal the roses Weinend seh’ ich in die Nacht, Weeping, I gaze into night, Sich duftende Märchen in’s Ohr. To each other sweet-scented tales. Weinend träum’ ich, bis es tagt, Weeping, dreaming until dawn, Es hüpfen herbei und lauschen And capering hither to listen Und doch kennt mein frommes Herz Yet my pious heart knows not Die frommen, klugen Gazell’n; The gentle, clever gazelles; Keinen Wunsch und keinen Schmerz, Yen or anguish to explain Und in der Ferne rauschen And in the distance murmuring Warum ich weine. Wherefore this weeping. Des heil’gen Stromes Well’n. The sacred river waves. Grosse Nacht, du bist so weis, Lofty night, you are so wise, Flieht der Stadt umwölkte Zinnen! Flee the city’s darkened ramparts! Nachtwind, flüst’re du mir leis’, Night wind, whisper quietly, Hier, wo Mai und Lieb’ euch ruft, Here, where May and love invite, Öffnet euren stummen Mund, Pray unseal your silent lips, Atmet, schöne Städterinnen, Lovely ladies of the city, Blumen, Blumen, tut mir kund, Flowers, flowers, pray reveal Atmet frische Maienluft! Breathe in the refreshing air! Warum ich weine. Wherefore this weeping. Irrt mit euren Sonnenhütchen In your summer hats meander Auf die Frühlingsflur hinaus, Over springtime meadowlands, Singt ein fröhlich Maienliedchen, Sing a cheerful little May song, Pflücket einen Blumenstrauß! Pick a fresh bouquet of flowers! TANZT DEM SCHÖNEN DANCE INTO THE MAI ENTGEGEN (1823/24) GLORIOUS MAYTIME (1823/24) FELIX MENDELSSOHN (1809-1847) FELIX MENDELSSOHN (1809–1847) DER FRÜHLING, SPRING, LUDWIG HÖLTY (1748-1776) LUDWIG HÖLTY (1748–1776) OP. 6, NO. 2 OP. 6, NO. 2 Tanzt dem schönen Mai entgegen, Dance into the glorious Maytime, JOHANNES BRAHMS (1833-1897) JOHANNES BRAHMS (1833–1897) Der, in seiner Herrlichkeit Which in all its loveliness JEAN-BAPTISTE ROUSSEAU (1671-1741) JEAN-BAPTISTE ROUSSEAU (1671–1741) Wiederkehrend, Reiz und Segen Now returning, scattering grace and Es lockt und säuselt um den Baum: Enticing breezes round the tree: Über Tal und Hügel streut! Blessings over hill and vale! wach auf aus deinem Schlaf und traum, Awaken from your sleep and dream, Seine Macht verjüngt und gattet It renews and joins together der Winter ist zerronnen. The winter has retreated. Alles, was der grüne Wald, All that lies beneath the shade Da schlägt er frisch den Blick empor, And gazing briskly heavenward, Was der zarte Halm beschattet, Of green wood and supple grasses, die Augen sehen hell hervor Its eyes now radiantly behold Und die laue Wog’ umwallt. Or by surging, tepid waves. ans goldne Licht der Sonnen. The golden rays of sunlight. Tanz’, o Jüngling, tanz’, o Schöne, Dance, fair youth, and dance, fair maiden, Es zieht ein Wehen sanft und lau, A gentle wafting, warm and mild, Die des Maies Hauch verschönt! Whom the breath of May adorns! geschaukelt in den Wolkenbau Rocked softly in a tower of clouds Menget Lieder ins Getöne, Mingle songs into the pealing, wie Himmelsduft hernieder. Like heavenly fragrance falling. Das die Morgenglocke tönt! Sounding from the morning bells! Da werden alle Blumen wach, The flowers soon will all awake, Singt ins Säuseln junger Blätter, Sing to rustling, budding leaves, the da tönt der Vögel schmelzend Ach, The birds’ sweet sighs, they now resound, Und der holden Nachtigall Lilt of the sweet nightingale’s strains Da kehrt der Frühling wieder. For springtime is returning. Liebejauchzendes Geschmetter; Witnessing love’s exultation, Und erweckt den Widerhall. Let your songs reverberate. Es weht der Wind den Blütenstaub The pollen journeys on the wind von Kelch zu Kelch, von Laub zu Laub, O’er calyses and foliage, durch Tage und durch Nächte. Throughout the day and nighttime. Flieh auch mein Herz, und flattre fort, Be off, my heart, be off, take wing, such hier ein Herz und such es dort, Seek out a heart, look here, look there,, du triffst vielleicht das Rechte. You’ll find perhaps the right one. DER NUSSBAUM, THE WALNUT TREE, DAS VERLASSNE THE FORSAKEN OP. 25, NO. 3 OP. 25, NO. 3 MÄGDELEIN, MAIDEN, ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) OP. 64, NO. 2 OP. 64, NO. 2 JULIUS MOSEN (1803-1867) JULIUS MOSEN (1803–1867) ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) Es grünet ein Nussbaum, vor dem Haus, A walnut tree greens outside the house, EDUARD MÖRIKE (1804-1875) EDUARD MÖRIKE (1804–1875) Duftig, Fragrant, Früh, wann die Hähne krähn, When cocks at daybreak crow, Luftig Airy, Eh’ die Sternlein schwinden, Ere the stars have faded, Breitet er blättrig die Blätter aus. Spreading luxuriant foliage. Muss ich am Herde stehn, At the hearth I must stand, Muss Feuer zünden. Kindle the fire. Viel liebliche Blüten stehen d’ran, Delightful the blossoms that it bears Linde Gentle Schön ist der Flamme Schein, Lovely the fire’s glow, Winde Breezes Es springen die Funken; The sparks how they’re leaping, Kommen, sie herzlich zu umfahn. Come to caress them tenderly. Ich schaue so darein, I gaze into the flames, In Leid versunken. Adrift in sorrow. Es flüstern je zwei zu zwei gepaart, They whisper together, two by two, Neigend, Nodding, Plötzlich, da kommt es mir, Suddenly then I see, Beugend Bowing, Treuloser Knabe, Lad, so unfaithful, Zierlich zum Kusse die Häuptchen zart. Gracefully, gently their heads to kiss. Dass ich die Nacht von dir That I this lonely night Geträumet habe. Of you was dreaming. Sie flüstern von einem Mägdlein, They whisper of a young maiden, das Dächte Who muses, Träne auf Träne dann Tear upon tear it falls, Die Nächte The night long, Stürzet hernieder; Torrent unending, Und Tagelang, wüsste ach! selber nicht was. And days on end, knowing alas nothing more. So kommt der Tag heran- A new day has begun, O ging’ er wieder! Would it had vanished! Sie flüstern – wer mag verstehen so gar They whisper— but who may divine so Leise Soft a Weis’? Song? Flüstern von Bräut’gam und nächstem Jahr. Whisper of a bridegroom, of the year to come.

Das Mägdlien horchet, es rauscht im Baum; The maiden listens, the rustling tree; Sehnend, Yearning, Wähnend Wishing, Sinkt es lächelnd in Schlaf und Traum. Sinking, smiling in sleep and dreams. LIEBESLIED, OP. 51, NO. 5 LOVE SONG, OP. 51, NO. 5 MIGNON – “KENNST DU MIGNON – “DO YOU KNOW ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) DAS LAND”, OP. 98A, NO. 1 THE LAND”, OP. 98A, NO. 1 MARIANNE VON WILLEMER (1784–1860) MARIANNE VON WILLEMER (1784-1860) ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) Dir zu eröffnen mein Herz verlangt mich; To open my heart to you is my desire; JOHANN WOLFGANG VON GOETHE JOHANN WOLFGANG VON GOETHE Hört’ ich von deinem, darnach verlangt mich; To hear from yours is my longing; (1749-1832) (1749–1832) Wie blickt so traurig die Welt mich an! The world, how sadly it regards me! Kennst du das Land, wo die Zitronen blühn, Do you know the land, where the lemon trees blossom, In meinem Sinne wohnet mein Freund nur, In my mind dwells only my friend, Im dunklen Laub die Gold-Orangen glühn, Among dark leaves the golden oranges glow, Und sonsten keiner und keine Feindesspur. No other, and no trace of enmity. Ein sanfter Wind vom blauen Himmel weht, A gentle breeze from blue skies blows, Wie Sonnenaufgang ward mir ein Vorsatz! A resolve dawned on me like a sunrise! Die Myrte still und hoch der Lorbeer steht, The myrtle stands silent, the bay tree lofty — Mein Leben will ich nur zum Geschäfte To dedicate my life Kennst du es wohl? Surely you know it. Von seiner Liebe machen, To his love. Dahin! Dahin There! There Ich denke seiner, mir blutet das Herz, My thoughts of him cause my heart to bleed. Möcht’ ich mit dir, o mein Geliebter, ziehn. Would I with you, my beloved, go! Kraft hab’ ich keine als ihn zu lieben, I have no strength but to love him So recht im Stillen; was soll das werden? Quietly; what will this come to? Kennst du das Haus? Do you know the house? Will ihn umarmen, und kann es nicht. Wish to embrace him, and cannot. Auf Säulen ruht sein Dach, On columns rests its roof, Es glänzt der Saal, es schimmert das Gemach, The hall glitters, the chamber gleams, Und Marmorbilder stehn und sehn mich an: And marble statues stand gazing at me: LIEBESTREU, OP. 3, NO. 1 FAITHFUL LOVE, OP. 3, NO. 1 Was hat man dir, du armes Kind, getan? What have they done to you, poor child? JOHANNES BRAHMS (1833-1897) JOHANNES BRAHMS (1833–1897) Kennst du es wohl? Surely you know it. ROBERT REINICK (1805-1852) ROBERT REINICK (1805–1852) Dahin! Dahin There! There Möcht’ ich mit dir, o mein Beschützer, ziehn. Would I with you, my protector, go! «O versenk’, o versenk’ dein Leid, “Oh drown, o drown your sorrow, mein Kind, in die See, in die tiefe See!» My child, in the sea, in the deep sea!” Kennst du den Berg und seinen Wolkensteg? Do you know the mountain and its cloud-shrouded path? Ein Stein wohl bleibt auf des Meeres Grund, A stone may remain on the ocean floor, Das Maultier sucht im Nebel seinen Weg; The mule seeks its way in the mist; mein Leid kommt stets in die Höh’. My sorrow ever rises to the top. In Höhlen wohnt der Drachen alte Brut; In caverns dwells the ancient brood of dragons; Es stürzt der Fels und über ihn die Flut, The rock drops precipitously, and over it the torrent. “And the love you carry in your heart «Und die Lieb’, die du im Herzen trägst, Kennst du ihn wohl? Surely you know it. Let it go, let it go, my child!” brich sie ab, brich sie ab, mein Kind!» Dahin! Dahin There! There Though a flower dies when broken off, Ob die Blum’ auch stirbt, wenn man sie bricht, Geht unser Weg! o Vater, lass’ uns ziehn! our way lies, oh Father, let us go! treue Lieb’ nicht so geschwind. True love not so swiftly.

«Und die Treu’, und die Treu’, “And faithfulness, and faithfulness, ’s war nur ein Wort, in den Wind damit hinaus.» Is but a word, cast it to the wind.” O Mutter und splittert der Fels auch im Wind, Oh, Mother, though the rock may splinter in the wind, Meine Treue, die hält ihn aus. My faithfulness will endure it. HEISS’ MICH NICHT REDEN, BID ME NOT SPEAK, Nach jener Seite. In yonder direction. HEISS’ MICH SCHWEIGEN, BID ME BE SILENT, Ach! der mich liebt und kennt Oh, he who loves and knows me Ist in der Weite. Is far from me. OP. 98A, NO. 5 OP. 98A, NO. 5 Es schwindelt mir, es brennt My head reels, my entrails ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) Mein Eingeweide. Are afire. JOHANN WOLFGANG VON GOETHE (1749-1832) JOHANN WOLFGANG VON GOETHE (1749–1832) Nur wer die Sehnsucht kennt Only one who knows longing, Weiss, was ich leide! Knows what I suffer! Heiss’ mich nicht reden, heiss’ mich schweigen, Bid me not speak, bid me be silent, Denn mein Geheimnis ist mir Pflicht; For to keep my secret is my duty, Ich möchte dir mein ganzes Innre zeigen, To you I would bare my soul, Allein das Schicksal will es nicht. But fate wills against it. SINGET NICHT IN DO NOT SING IN TRAUERTÖNEN, MOURNFUL TONES, Zur rechten Zeit vertreibt der Sonne In due time the sun’s path dispels OP. 98A, NO. 7 OP. 98A, NO. 7 Lauf Die finstre Nacht, und sie muss sich erhellen; The dark night, and it must brighten; ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) Der harte Fels schliesst seinen Busen auf, The hard rock unlocks its bosom, JOHANN WOLFGANG VON GOETHE JOHANN WOLFGANG VON GOETHE Missgönnt der Erde nicht die tief Not begrudging the earth access to its deeply (1749-1832) (1749–1832) verborgnen Quellen. concealed springs. Singet nicht in Trauertönen Do not sing in mournful tones Ein Jeder sucht im Arm des Freundes Ruh, We each seek peace in a friend’s embrace, Von der Einsamkeit der Nacht. Of the loneliness of night. Dort kann die Brust in Klagen sich ergiessen; There the soul can pour out its sorrow; Nein, sie ist, o holde Schönen, No, it is, o charming ladies Allein ein Schwur drückt mir die Lippen zu, But an oath has sealed my lips, Zur Geselligkeit gemacht. Made for our companionship. Und nur ein Gott vermag sie aufzuschliessen. And only a god can unlock them. Könnt ihr euch des Tages freuen, Can you pleasure find in daytime, Der nur Freuden unterbricht? Which inhibits our delight? Er ist gut, sich zu zerstreuen; It may serve as a distraction, NUR WER DIE SEHNSUCHT ONLY ONE WHO KNOWS Zu was anderm taugt er nicht. But is good for nothing else. KENNT, OP. 98A, NO. 3 LONGING, OP. 98A, NO. 3 Aber wenn in nächt’ger Stunde Yet as soon as night has fallen ROBERT SCHUMANN (1810–1856) ROBERT SCHUMANN (1810–1856) Süsser Lampe Dämmrung fliesst, In the lamplight’s twilight glow, JOHANN WOLFGANG VON GOETHE JOHANN WOLFGANG VON GOETHE (1749–1832) (1749–1832) Und vom Mund zum nahen Munde And from lips to lips immediate Scherz und Liebe sich ergiesst. Jests and tenderness pour forth, Nur wer die Sehnsucht kennt Only one who knows longing, Weiss, was ich leide! Knows what I suffer! Wenn der rasche, lose Knabe, When that swift and untamed cherub, Allein und abgetrennt Alone and separated Der sonst wild und feurig eilt, Wild and ardent otherwise, Von aller Freude, From all joy, Oft bei einer kleinen Gabe In exchange for small gifts often Seh’ ich an's Firmament I look to the heavens Unter leichten Spielen weilt, Tarries for amusement’s sake, Den Gürtel und den Kranz zurück. The girdle and the garland. Wenn die Nachtigall Verliebten When the nightingale for lovers Liebevoll ein Liedchen singt, Sings so lovingly its song, Und jene himmlischen Gestalten, For there amongst celestial beings, Das Gefangnen und Betrübten Which to those confined and saddened Sie fragen nicht nach Mann und Weib, No heed they pay to man and woman, Nur wie Ach und Wehe klingt, Sounds like anguish and lament, Und keine Kleider, keine Falten No clothes, no flowing garments will Umgeben den verklärten Leib. Enfold my body now transfigured. Mit wie leichtem Herzensregen Then with buoyant hearts do you not Zwar lebt’ ich ohne Sorg’ und Mühe, I’ve had, ‘tis true, no frets or cares, Horchet ihr der Glocke nicht, Listen to the tower bell, Doch fühlt’ ich tiefen Schmerz genung. Of sorrows, though, I’ve known my share, Die mit zwölf bedächtgen Schlägen Which with twelve deliberate tollings Vor Kummer altert’ ich zu frühe; From grief I’ve aged before my time; Ruh und Sicherheit verspricht. Peace and safety promises. Macht mich auf ewig wieder jung! Restore to me eternal youth! Darum an dem langen Tage, Therefore when the day seems endless, Merke dir es, liebe Brust; Ever call to mind, dear heart; Jeder Tag hat seine Plage, Every day is fraught with troubles, NACHTLIED, NIGHT SONG, Und die Nacht hat ihre Lust. And each night has its delights. OP. 96, NO. 1 OP. 96, NO. 1 ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) JOHANN WOLFGANG VON GOETHE JOHANN WOLFGANG VON GOETHE SO LASST MICH SCHEINEN, SO LET ME SEEM, (1749-1832) (1749–1832) OP. 98A, NO. 9 OP. 98A, NO. 9 Über allen Gipfeln Over every mountaintop ROBERT SCHUMANN (1810-1856) ROBERT SCHUMANN (1810–1856) Ist Ruh, Tranquility, JOHANN WOLFGANG VON GOETHE JOHANN WOLFGANG VON GOETHE In allen Wipfeln In each treetop (1749-1832) (1749–1832) Spürest Du You feel So lasst mich scheinen, bis ich werde, So let me seem, till I become, Kaum einen Hauch; Scarcely a stir; Zieht mir das weisse Kleid nicht aus! Do not remove my raiment white, Die Vöglein schweigen im Walde. The birds are hushed in the forest; Ich eile von der schönen Erde I hasten from this lovely Earth, Warte nur, balde Wait but awhile, soon Hinab in jenes feste Haus. Below into that dwelling dark. Ruhest du auch. You, too, will rest.

Dort ruh’ ich eine kleine Stille, There I shall rest awhile in peace, Dann öffnet sich der frische Blick; Until the time with sight restored, Ich lasse dann die reine Hülle, I leave behind this mortal frame, English translations by Jim Skurdall  HELENE WOLD SOPRAN/SOPRANO

Helene Wold reiste til London som 19-åring Prize i London. for å studere ved Guildhall School of Music and Drama og National Opera Studio. Hun har blant annet hatt romansekonserter på Troldhaugen, Den Gamle Logen (Norge), Pur- Etter endt utdannelse har hun vært solist ved cell Room, Queen Elisabeth Hall og Wigmore en rekke operahus, blant annet ved Den Nor- Hall (England). Hun har også turnert i Japan, ske Opera og Glyndebourne Festival Opera i Sør-Afrika og i store deler av Europa. Helene England. Av operaroller kan nevnes: Zerlina har sunget med Norges ledende symfoniorkes- («Don Giovanni»), Susanna og Barbarina («Le tre, og har jobbet med forskjellige produksjo- Nozze di Figaro»), Amor («Orfeo ed Euri- ner for Den kulturelle skolesekken. dice»), Silberklang («Der Schauspieldirek- tor»), Belinda («Dido and Aeneas»), Lucy Helene Wold studied at Guildhall School of Mu- («The Telephone») og Oscar («Un Ballo in sic and Drama and National Opera Studio in Maschera»). London. Since completing her studies she has per- formed as soloist with a number of opera houses Ved siden av å være operasanger blir hun ofte in Europe, including the Norwegian National benyttet til oratorier, tidligmusikk, samtids- Opera and Ballet and the Glyndebourne Festival musikk og også som skuespiller. Sommeren Opera in England. 2011 opptrådte hun både som skuespiller og sanger (Helena) i «Alvedronningen» («En Operatic roles have included: Zerlina («Don Midtsommernattsdrøm») av Purcell/Shake- Giovanni»), Susanna and Barbarina («Le speare på Ramme Gaard i Hvitsten. Nozze di Figaro»), Amor («Orfeo ed Euridice»), Silberklang («Der Schauspieldirektor»), Belinda Romanser og lieder står også Helenes hjerte nær. I dette repertoaret samarbeider hun re- («Dido and Aeneas»), Lucy («The Telephone), gelmessig med Liv Glaser (hammerklaver), and Oscar («Un Ballo in Maschera»). In 2011 Eugene Asti (piano) og Vegard Lund (tidlige she was both actor and singer (Helena) in «Al- gitarer). Sammen med Vegard Lund vant hun vedronningen», a combined performance of «The allerede i 1992 The Portallion Chamber Music Fairy-Queen» by Purcell and Shakespeare’s «A LIV GLASER & HELENE WOLD Photo: Maria Kornelia Lund Midsummer Night’s Dream», at Ramme Gaard og Asia. Hun har gitt kurser og mesterklasser fessor i 1994. Hun har i sitt virke og med sin for Simax Classics, three albums performed on a in Hvitsten. Besides performing as an opera sing- her hjemme og i utlandet og vært jurymedlem undervisning bidratt sterkt til en økt interesse fortepiano, and two on a modern grand. er, she often appears in oratorios and concerts of i nasjonale, nordiske og internasjonale konkur- for hammerklaver og for hvordan vi i dag kan early and contemporary music. ranser, blant annet i Japan. fremføre og lytte til musikken som er skrevet Other recordings on the fortepiano have included for eldre instrumenter. Schubert’s «Die Schöne Müllerin» with Per Volles- Hun studerte med i , på The classical song and Lieder repertoire is close to tad in 1997, works for cello and piano by Schubert Conservatoire Supérieur de Musique i Paris Liv Glaser has long been well known to Norwe- Helene’s heart. She performs regularly with Liv and Schumann with her brother, the cellist Ernst med legendariske Vlado Perlemuter, senere gian lovers of classical music. Since her debut in Glaser (fortepiano), Eugene Asti (piano), and Simon Glaser, in 2004, «Muzio Clementi for All hos Lev Oborin ved Moskvakonservatoriet og 1960, she has been counted among the elite of Nor- Vegard Lund (early guitars). Recital-venues have Ages» in 2006, «Lyrical Travels with Edvard med Ilona Kabos og . wegian pianists, with numerous television and ra- included Troldhaugen and Den Gamle Logen in Grieg» in 2007, and «The Poet Speaks», works by dio concerts and performances. , and Purcell Room, Queen Elisabeth I 1965 mottok hun Kongens fortjenesteme- Schumann, in 2010, all on the Simax label. Hall, and Wigmore Hall in England. In 1992 dalje, og i 2004 fikk hun den prestisjetunge She has toured extensively throughout Norway and Helene and Vegard Lund won the Portallion Lindeman-prisen. Liv Glaser has taught at the Norwegian Academy has given concerts in other Scandinavian and Eu- Chamber Music Prize in London. of Music since its founding in 1973 and has held ropean countries, the Middle East, and Asia. She I 1990 satte hun seg atter på «skolebenken», a professorship there since 1994. Through her per- has also held master classes, both in Norway and Helene has sung with Norway’s leading symphony tok timer hos Paul Badura-Skoda i Wien, stu- formance and teaching activities she has contrib- abroad, and she has served on juries in national, orchestras. She has toured in Japan, South Af- derte Mozart-manuskripter ved Mozarteum i uted immensely to a growing interest in the fortepi- Salzburg, og fordypet seg i hammerklaver hos Scandinavian, and international competitions. rica, and Europe, and she also tours regularly ano, and she has helped us better understand how Malcom Bilson ved Cornell University i USA. for Concerts Norway (Rikskonsertene) in various we may perform, interpret, and indeed listen to Dette resulterte i innspilling av Mozarts kom- She studied in Oslo with Robert Riefling, with the productions. music written for instruments from earlier times. plette klaversonater, to CD-er på moderne kla- legendary Vlado Perlemuter at the Conservatoire  ver og tre på hammerklaver (Simax). Superieur de Musique in Paris, and later with In1965 she received the King’s Order of Merit, Lev Oborin at the Moscow Conservatory, as well LIV GLASER Hun har også spilt hammerklaver på innspillin- and in 2004 the prestigious Lindeman Prize. as with Ilona Kabos and Wilhelm Kempff. HAMMERKLAVER/ gene «Die Schöne Müllerin» av Schubert med FORTEPIANO Per Vollestad (1997), verk for cello og klaver av *** In 1990 she again assumed the role of a student, Schubert og Schumann med sin bror, cellisten Liv Glaser er et begrep for norske musikkel- Ernst Simon Glaser ( 2004), «Muzio Clementi taking lessons with Paul Badura-Skoda in Vi- Helene Wold og Liv Glaser har samarbeidet skere. Helt fra debuten i 1960 er hun blitt reg- for all ages» (2006), «Lyrical travels with Ed- enna and studying original manuscripts of Mo- tett i mange år. «Liebestreu» er deres første net blant den norske klaverelite, med utallige vard Grieg» (2007) og «The Poet speaks», verk zart at the Mozarteum Foundation in Salzburg. CD sammen for LAWO Classics. konserter og opptredener i radio og TV. av Schumann (2010) – alle på Simax. In addition, she pursued in-depth studies of the fortepiano with Malcolm Bilson at Cornell Uni- Helene Wold and Liv Glaser have collaborated Hun har turnert Norge på kryss og tvers og Liv Glaser har undervist ved Norges musikk- versity in Ithaca, New York. Her efforts resulted closely for many years. «Liebestreu» is their first gitt konserter i Norden, Europa, Midtøsten høgskole siden den åpnet i 1973, og ble pro- in recordings of Mozart’s complete piano sonatas recording together. ALOIS GRAFF FORTEPIANO FROM 1825.  DIE LIEBENDE SCHREIBT,  DER NUSSBAUM, OP. 25, NO. 3 (02:38) 1 13 RESTORED BY EDWIN BEUNK AND OWNED BY OP. 86, NO. 3 (03:10) ROBERT SCHUMANN (1810–1856) THE NORWEGIAN ACADEMY OF MUSIC. FELIX MENDELSSOHN (1809–1847) JULIUS MOSEN (1803–1867) JOHANN WOLFGANG VON GOETHE (1749–1832)  DAS VERLASSNE MÄGDELEIN, 14 RECORDED IN LINDEMANSALEN,  SCHILFLIED, OP. 71, NO. 4 (02:46) OP. 64, NO. 2 (02:24) 2 OSLO, 3-5 JANUARY 2011 FELIX MENDELSSOHN (1809–1847) ROBERT SCHUMANN (1810–1856) NIKOLAUS LENAU (1802–1850) EDUARD MÖRIKE (1804–1875) PRODUCER: VEGARD LANDAAS

3  NEUE LIEBE, OP. 19, NO. 4 (02:04) 15 LIEBESLIED, OP. 51, NO. 5 (02:06) BALANCE ENGINEER: THOMAS WOLDEN FELIX MENDELSSOHN (1809–1847) ROBERT SCHUMANN (1810–1856) EDITING: VEGARD LANDAAS HEINRICH HEINE (1797–1856) MARIANNE VON WILLEMER (1784–1860) MASTERING: THOMAS WOLDEN  BEI DER WIEGE, OP. 47, NO. 6 (04:02) 16 LIEBESTREU, OP. 3, NO. 1 (02:35) 4 PIANO TECHNICIAN: ARNFINN NEDLAND FELIX MENDELSSOHN (1809–1847) JOHANNES BRAHMS (1833–1897) KARL KLINGEMANN (1798–1862) ROBERT REINICK (1805–1852) BOOKLET NOTES: LIV GLASER AND HELENE WOLD

  MIGNON - “KENNST DU DAS LAND”, AUF FLÜGELN DES GESANGES, 17 ENGLISH TRANSLATION: JIM SKURDALL 5 OP. 34, NO. 2 (02:41) OP. 98A, NO. 1 (04:00) BOOKLET EDITOR: HEGE WOLLENG FELIX MENDELSSOHN (1809–1847) ROBERT SCHUMANN (1810–1856) HEINRICH HEINE (1797–1856) JOHANN WOLFGANG VON GOETHE (1749–1832) LAYOUT: ANNA-JULIA GRANBERG / BLUNDERBUSS 6  FROM SONGS WITHOUT WORDS, 18 HEISS’ MICH NICHT REDEN, ARTIST PHOTO: MARIA KORNELIA LUND OP.19 NO. 4 (02:42) HEISS’ MICH SCHWEIGEN, OP. 98A, NO. 5 (03:23) FELIX MENDELSSOHN (1809–1847) COVER PAINTING: ROBERT SCHUMANN (1810–1856) EDVARD MUNCH: LØSRIVELSE (SEPARATION) 1896  FRAGE, OP. 9, NO. 1 (01:13) JOHANN WOLFGANG VON GOETHE (1749–1832) 7 Oil on canvas, 96.5 x 127 cm, FELIX MENDELSSOHN (1809–1847)  NUR WER DIE SEHNSUCHT Munch Museum, MM M 24 (Woll M 393) JOHANN GUSTAV DROYSEN (1808–1884) 19 KENNT, OP. 98A, NO. 3 (02:22) © Munch Museum / Munch-Ellingsen Group /  WEINEND SEH’ ICH IN DIE NACHT (01:38) ROBERT SCHUMANN (1810–1856) BONO, Oslo 2013 8 JOHANN WOLFGANG VON GOETHE (1749–1832) FELIX MENDELSSOHN (1809–1847) Photo © Munch Museum ANONYMOUS  SINGET NICHT IN 20 TRAUERTÖNEN, OP. 98A, NO.7 (02:21) 9  TANZT DEM SCHÖNEN MAI ENTGEGEN (01:59) ROBERT SCHUMANN (1810–1856) JOHANN WOLFGANG VON GOETHE (1749–1832) FELIX MENDELSSOHN (1809–1847) LUDWIG HÖLTY (1748–1776)  SO LASST MICH SCHEINEN, 21 OP. 98A, NO.9 (03:10) 10 DER FRÜHLING, OP. 6, NO. 2 (03: 14) JOHANNES BRAHMS (1833–1897) ROBERT SCHUMANN (1810–1856) JEAN-BAPTISTE ROUSSEAU (1671–1741) JOHANN WOLFGANG VON GOETHE (1749–1832)

 INTERMEZZO, OP. 119, NO. 1 (03:41)  PRELUDE TO DES ABENDS (00:50) 22 11 JOHANNES BRAHMS (1833–1897) CLARA SCHUMANN (1819–1896)  NACHTLIED, OP. 96, NO. 1 (02:16)  DES ABENDS FROM 23 12 PHANTASIESTÜCKE, OP.12 (03:31) ROBERT SCHUMANN (1810–1856) JOHANN WOLFGANG VON GOETHE (1749–1832) π 2013 LAWO © 2013 LAWO CLASSICS ROBERT SCHUMANN (1810–1856)