BIS.CD-654 STEREO Eppl Total playing time: 78'30 STENHAMMAR, Wilhelm e87r-rs27) Sju dikter ar Ensarnhetens tankar op.7 (189S_9b) 10'20 Seven Poems from Thoughts of Solituderbp.T fo"t word;shaForlag) (Texts: Verner uon Heidenstam) E I. Dar innerst i min ande 1',33 E II. I enslighetftirsvinna 1'09 l-9JIII. Min stamfar hade en stor -osspokal 1'10 E IV. Kom. vdnner.lAt oss s:itta 0'59 l-!.JV. I Rom, i Rom, dit ung jag kom 7'49 l-9.1VL Du sdker ryktbarhet r'07 lZ VII. Du hade mie kair 2'07 Fem visor till text av Johan Ludvig Runeberg op.g (1895_96) I'10 Five Songs to Texts by Johan Ludvig Runeberg, Op,S f,nwrst _(Texts: Johan Luduig Runeberg) l-91I. Lutad mot giirdet l'25 l9JII. Dottern sadetill sin samla moder 1'05 @ III. Den tidiga sorgen 1',O1 llll IV. Till en ros 2',26 r..jiJv. benasen 1Ca) Fyra svenska singer op.16 (189s_97) 8'32 _ Four Swedish Songs, OpJ6 {net NordishaFort@g) EEI. (Tert: Let oss dciunga Verner uon Heid.enstam) 2'55 ll4 II. (Tert: Guld och grdna skogar Tor Hedberg) 1'13 I J (Text: III. Ingalill Gustaf Frdding) 2',21 L!9IV. Fylgia (Text: Gustaf Frc)ding) I',44 Fem sAnger av Bo Bergman op.20 (1903-04) 11'56 Five Songs of Bo Bergman, Op,2O {x.iks) (Texts:Bo Bergman) E L Stjarnoga r'49 @ II. Vid ftinstret Jdl @ III. Gammal Nederlzindare 1',19 @ IV. MAnsken 2'05 E V. Adasio 2'44 Visor och stdmningar op.26 (1908-09) 27'04 Songs and Moods, Op.28 rwtnemHdnsen) E I. Vandraren (Text: Vilhelm Ekelund) z',0r @ II. Nattyxne (Text: Erik Axel Karlfeldt) '',43 E III. Stlarnan (Tert: Bo Bergman) 1'19 E IV. Jungfru Blond och Jungfru Brunett (Text:Bo Bergman) 4',28 El V. Det far ett skepp (Text: Bo Bergman) t'27 E Vt. Nar genom rummet ltjnsterkorsets skugga ligger r'25 (Text: Verner uon Heidenstam) @ VII. Varftir till ro sA brhtt (Text: Verner uon Heidenstamt 0'49 @ Vfff . Lycklandsresan (Text: Gustaf Frading) 2',04 @ IX. En strandvisa (Text: GustafFrdding) 2',13 @ X. Prins Aladin av Lampan (Tert: Gustaf Fr6ding) 4',43 Efterskiird 10'30 Late Harvest (published posthumously in 1933) (Gehrruns) @ I. Var vAlsignad, milda bmsinthet (1904) (Text: Gustaf Frdding) l',23 @ II. Tlost (1904) (Text: GustafFrdding) 2',28 @ III. Klockan i923) (Text: Bo Bergman) 3'38 @ IV. Manniskornas 6gon (L923) (Text: Bo Bergman) 1'08 @ V. Hjartat (1977) (Text: Bo Bergman) 1'31 Peter Mattei, baritone. Bengt-Ake Lund.in, piano ilhelm Stenhammar (1871-1927)grew and it was precisely in the 1890s that Sten- up in a musical family; his father was a hammar wrote about twenty ofhis most success- successful amateur composer as well as ful songs, setting the works of young Swedish a prosperous architect. Music, especially vocal poets. music, was performed in the family home, and The songs were issued in collections - but Stenhammar composed his first romances when these can scarcely be referred to as cycles, he was only seven. Some of the songs he wrote because even though they sometimes all have as a teenager were so successful that they still texts by the same poet, they do not belong feature in romance recital programmes today. In together thematically. In fact they were compos- the years up to 1924 he composed about 110 ed sporadically over a period of several years, songs, 66 of which were published. In Swedish and aim for contrast and variation rather than musical life of the time - both in the composers' unity. Stenhammar was very conscious of this studios and on the concert platform -vocal and, although he did not often speak about his music was predominant. songs, he left a letter from summer 1900 in 'When Stenhammar's position as the forenost and which he reveals his thoughts: I am most multifaceted Swedish musical personality setting a text I do not sit down and reflect upon at the turn ofthe century is nowadays becoming what I shall find, for I shan't find anything; but I ever clearer. He was probably the best pianist in read and think myself into the poem, listen to the country and made his d6but in 1892, at the the sound of the words. until it forms itself into age of 21, in the D minor Concerto by Brahns. music of its own accord, into melodic speech, He was regarded as the leading song accompan- into spoken melody and the harmonies will 'I ist at the turn of the century and he often accord with the mood of the words...': must appeared with great singers such as John Fors- know what I think, and say it as naturally as ell. In addition he was conductor and artistic possible.'He regarded the drive for originality director of the Gothenburg Symphony Orchestra and audacity as pure nonsense, and thought from 1907 until 1922. As a composer he worked that fullness of expression was the only in all genres except for religious music - this condition for true art. From this it follows that 'modem' was a reaction against his strict religious he himself had no interest in thought- upbringing. He thus composed orchestral works, processes - although he was a keen advocate of chamber music, piano music, operas, choral and Rangstriim, Rosenberg and other hotspurs. solo songs * and in all of these genres his works Stenhammar stands out as an aristocrat of have found their way into the Swedish musical music who combined culture, dignity and refine- tradition oftoday. ment. This attitude helped him to protect his The 1890s was a golden decade in Swedish warm and rich emotional life from the rigours of poetry. It was then that poets such as Gustaf the outside world. His songs usually follow the Friiding, Verner von Heidenstam and Erik Axel pattern mentioned above: a natural, straight- Karlfeldt made their breakthrough, encouraging forward declamation which resulted in a the young composers of the period to write their genuine, inner artistry - not without Nordic finest songs- It was a foregone conclusion that melancholy, and in total accord with the poet's poetry and music would stimulate each other, words, whether they were idyllic or dramatically

4 anguished. His music is uniquely personal in hammar to concern itself with the problems of character, and the piano writing is often a work the artist. The final song, Du hade mig hcir (yo\ of art in itself: it is more demanding and more Loved Me) is an entirely genuine, individual fully developed than that of any other Swedish song with autobiographical content, written composer of the period, and at times his song after the ending of a problematic relationship accompaniments rank among the very finest with a young lady. Despite the collection's great examples of his piano writing. artistic merit, it was hard for the young Verner von Heidenstam was one of the composer to make an impression, In December greatest Swedish poets - he won the Nobel 1897 he wrote in a letter that he'was receiving Prize for literature in 1916. In one phase of his so little encouragement from the Swedish work he was influenced by the drastic and terse, publishers that, for example, Schildknecht folk-inspired writings of Runeberg. In his refused to print the first three Heidenstam collection of poetry entitled ValLfart och songs'. uarudringsd.r (1888) there is a group of poems Stenhammar's work was made no easier by called, Ensamhetens tanhor (Thoughts Of his severe self-criticism. When Stenhammar Solitude). In these poems we find something of realised exactly what Sibelius had achieved in Runeberg's intimate manner of expression, and his Second Symphony, he withdrew his own this has also influenced Stenhammar's musical First Symphony and did not feel mature enough settings in Sju d.ihter ur Ensamhetens to attempt a symphony again for another ten 'Thoughts tankar (Seven Poems from Of Solit- years. This was not the only occasion on which ude'), Op.7 (1893-95), a collection of straight- Stenhammar and Sibelius had passed along the forward and natural songs. In the first, Dcr same path. Both composers were interested in innerst i min ande (Within My Soul), melodic the poetry of Johan Ludvig Runeberg, and they arches of a boldness unusual for this collection sometimes chose the same poems, Sten- are driven forward by slmcopated chords, and in hammar's songs are generally less dramatic - the second song, I enslighet fdrsuinno mino ar than those of Sibelius but Stenhammar (In Loneliness My Years Pass By) the 24-year- reveals a deep insight into the texts and makes old composer interprets the thought-processes of more detailed observations, whilst Sibelius often an old nan with great insight. In both of these worked with powerful musical blocks. In 1893 songs we also find a striking chorale tone. The Stenhamnar wrote ?uri sdnger ur IdylL och 'Idyll most frequently performed song in this set is epigram (T\o Songs from And Epigram'), Min stamfar hade en stor pohal (My Ancestor Op.4, including Flichan kqrter i Johannenatten Had A Large Goblet), and this melodic pearl was (The Maiden Is Binding On Midsummer Eve) also published separately. The relatively and Flichan hom ifrd.n sin dLskLings mi)te (The melancholy Kom, uiinner, Ldt oss siitto oss ned Maiden Came From Her Lover's Ttyst - set by (Come Friends, Let Us Sit Down) and I Rom, i Sibelius in 1901). Some years later came the Rom, dit ung jag kom (In Rone, In Rome When Fem visor till text av Johon Ludoig Rune' I Was Young) have been performed far less. The berg (Flve Songs to Texts by Johan Ludvig sixth song is called Du sdher ryhtbarhet (You Runeberg), Op.8 (1895-96).Lutad mot giirdet Seek Fane) and is one of many songs by Sten- (Leaning On The Fence) has a choralelike final strophe. The composer dedicated the second familiar sets of songs. With one exception they song, Dottern sade till sin gamla moder (The are all peaceful and inward, with highly charged 'To Daughter Said To Her Old Mother) Helga'in melodic lines. All of the poems come from December 1895. Stenhammar wrote this Bergman's collection Marionetterna (The charming song immediately after a visit to Marionettes) which appeared in April 1903. Gothenburg when his future wife, Helga, had Stenhammar was therefore quick to appreciate accepted his proposal of marriage. Den tidiga these musical poems. The folk-songJike Sljarn- sorgen (Early Sorrow) (8th April 1895) is a short oga (Stareye) was written as early as the song with a powerful atmosphere of sorrow. summer of 1903. Vii ftnstret (At The Window) is There is much melancholy and folk-music in the a realistic song which depicts the monotony of terse formulations, but there is also playfulness the life's later years; here we find swift declam- here. All ofthese songs have texts from Idyll och ation, great contrasts and a discreet chiming epigram. The text of Till en ros (To A Rose) bell towards the end. Gommal Nederlci.ndqre (August 1895) is a translation from Serbian folk- (Ancient Dutchman) is a merry sailor's song. poetry, but musically it is an art song - a Mdnshen (Moonlight) is a nocturne with silvery description which applies in this case more light and a concluding joke, when Puck is 'looking clearly than to any other song in this collection. out for a moonbeam that has lost its The romantic melody is supported by full way'. The final Adagio is an unusually well- chords. Behagen (Delights) was written on integrated cantilena. Stenhammar's honeymoon in Dresden in The collection Visor och stiimningar December 1896 and is full ofthejoys ofyouth. (Songs and Moods), Op.26 (1908-09) consists of The collection Fyra svensha s&nger (Fonr ten extremely varied songs. Once again we Swedish Songs), Op.16 (1893-97) is not encounter texts by Stenhammar's favourite especially unified and includes the work of poets - Heidenstam, Bergman, Erik Arel Karl- various poets with a wide range of content and feldt (who received the Nobel Prize posthum- mood. The songs are Lrit oss db unga (LetlJsDie ously in 1931) and Frdding - but also by the Young; Verner von Heidenstam), GuLd och grdna young innovator Vilhelm Ekelund, whose skogar (Gold And Forests Green; a text by the Vandrqren (The Wanderer) begins the set with then director of the Royal Theatre in Stockholm, an old-fashioned little melodic song. Karlfeldt's Tor Hedberg), IngaLilL (text by Gustaf Friiding, Nottyrne (Butterfly Orchid) is about night and in q'hich the folk-like tone is combined with noonlight, and is full of impressionistic, quiet surprising harmonic turns) and Fylglo (also by piano writing. This songs also begins like a folk- Gustaf Friiding). The Iast of these songs looks song but towards the end of each strophe towards the highest ideals of art and has such becomes more chromatic. Next there are three an extensive piano part that it was issued texts by Bo Bergman. In Stjd.rnan (The Star) separaiery. two motifs are contrasted, one rough and one The remaining songs on this CD date from lyrical. Once again this is a depiction of an the twentieth century. Fen s&nger av Bo unattainable artistic ideal. The course ofthe day Bergman (Five Songs of Bo Bergman), Op.20 and of nature is the theme of Jungfru Blond och (1903-04) has become one of Stenhammar's most Jungfru Brunett (Miss Blonde and Miss Brun- 6 ette). The song begins playfully, becomes Klochan (The Bell) has a simple melody with increasingly nervous and agitated, and ends in bell sounds from the piano, whilst Miinnishor- anguish and fear of death. The piano writing nss ijgon (Human Eyes) is a poem in which both plays a major part in interpreting the text. Del the first and last words of each line rhyme, a far ett shepp (A Ship Sails) is happy, brisk and in feature to which Stenhammar responds by 'rhyming' the folk style, with effective modulations. the intervals. Both of these songs were Heidenstam's poem Ncir genom rummet fonster- composed in 1923, whereas Hjiirtat (The Heattl horsets skugga llgger (When The Shadow Of The $'as written in 1917. It is an unsentimental Casement Falls In The Room) is a morality in little pralel q ilh warm. comfortingchords. the manner of a chorale: one should not pass up Stig Jacobsson the opportunities which life can offer, This poem, like Varftr tilL ro sd brdtt (Why Hurrl' So Peter Mattei, baritone, was born in PiteA in To Rest). is taken from the same collection as the north of Sweden in 1965 and grew up in the seven earlier Heidenstam settings, ,Orusom- LuleA. He began his studies at the Framniis hetens tankar. The last three songs are to poems Music College with Margit Larsson, and by Gustaf Friiding and all come from his continued them at the Royal College of Music in His singing teacher is Solwig collection Stcinh och flihar (Dtops and Patchest. Stockholm. 'a Lltcklandsresan (To The Land Of Bliss), Grippe. In 1989 he was awarded the Kristina mariner's song', is a burlesque sea song but also Nilsson and Martin Ohman Scholarship, and in a song with many layers. En stranduisa (Coastal 1990 he received the Joel Berglund Scholarship. Song) has quite a different atmosphere: it is a He made his Drottningholm d6but in summer fantasy on death at sea and at the same time, to 1990 as Nardo in Mozart's Zo Finta Giardinierq, some extent, a lullaby. The nelody is long-spun and that autumn he commenced his studies at and the accompaniment is sonorous, though it is the Stockholm College of Opera. Since he quiet and in the lower register. Prins Aladin at performed the male lead, Pentheus, in Ingmar Lampan (Aladdin Of The Lamp) once again Bergman's ploduction Daniel Btirtz's opera The deals with the creative artist's difficulties. Bacchantes at the Royal Theatre in Stockholm (a telling of somconc who has lost his creative in 1991 production which was also televised) powers and now appears merely unsuccessful he has been in great demand as a concert and and laughable. This is a tragic portrait of the opera singer throughout Europe. He appears on 'Prince poet himself. Aladdin touched me deep 4 other BIS records. within my soul as I set down the impetuous Bengt-Ake Lundin studied the piano with figurations.' Irdne Mannheimer at the Royal College of Music In 1933 five songs were published in Stockholm. He has also taken part in master- posthumously in the collection Efterskdrd. classes with Tatiana Nikolayeva, Dmitri Bash- ('Late Harvest', or'Post-Harvest'), and here too kirov and others. At his graduation concert with we find texts by Gustaf Frdding, the settings of the Royal Stockholm Philharmonic Orchestra in whose Vor uiiLsignad, milda 1msinthet (Be 1989 he played Tchaikovsky's Piano Concerto Blessed, Tender-heartedness) and ?ros/ No.-t, his performance receiving wide critical (Comfort) date from 1904. Bo Bergman's acclaim. He has since developed a successful career as a soloist and recitalist and several strenge Religiositait der Familie war. Er Swedish composers have written works for him. komponierte mit anderen Worten Orchester- In 1992 he was chosen to represent Sweden in werke, Kammermusik, Klavierstiicke, Opern, 'North-South'concert the EBU's in Copenhagen Chor- und Sololieder, und iiberall schuf er and he was engaged by the Swedish Broad- Werke, die in der schwedischen Musiktradition 'house casting Corporation as one of their lebendig blieben. artists'for the 1993/94 season. This is his first Die 1890er Jahre waren ein goldenes Zeit- BIS recordins. alter der schwedischen Lyrik. Damals traten Dichter wie Gustaf Frriding, Verner von Heiden- stam und Erik Axel Karlfeldt an den Tag und regten die jungen Komponisten der damaligen .If (187f-I927) Tilhelm Stenhamnar Zeil an, ihre besten Lieder zu schreiben. lll/ wuchs in einer musikalischen Familie Dichtkunst und Musik beeinfluBten sich gegen- Y Y auf. Neben einer gegli.ickten Karriere seitig. Gerade in den 1890er Jahren schrieb als Architekt war sein Vater auch als Laien- Stenhammar an die zwanzig seiner besten komponist erfolgreich. Im Hause wurde Lieder zu Texten junger schwedischer Dichter. - - musiziert vor allem gesungen und bereits Diese Lieder erschienen in Sammlungen, die als Siebenjiihriger schrieb Stenhammar seine kaum als zyklisch bezeichnet werden kcinnen, ersten Lieder. Einige, die er im Teenageralter denn sie hiingen nicht thematisch zusammen, komponierte, waren so gelungen, daB sie heute selbst wenn manche von ihnen zu Texten eines noch bei Liederabenden zu hiiren sind. Bis 1924 einzigen Dichters komponiert sind. Sie ent- schrieb er etwa 110 Lieder. von denen 66 standen vielmehr sporadisch im Laufe einiger gedruckt wurden. Zu jener Zeit war iibrigens Jahre und streben Kontraste und Vielfalt an. das vokale Schaffen im schwedischen Musik- eher als Einheitlichkeit. Stenhammar war sich leben viillig dominant. dessen sehr wohl bewu8t. und obwohl er nur Stenhammars Position als hervorragendste selten iiber seine Lieder sprach, gibt es einen und vielseitigste Musikpersdnlichkeit in Brief aus dem Sommer 1900: ,,Wenn ich einen Schweden um die Jahrhundertwende wird Text vertone, soll ich mich nicht hinsetzen und immer starker befestigt. Er war der vernutlich mir iiberlegen, was ich ausdenken soll, denn ich beste Pianist des Landes und debiitierte als soll nichts ausdenken, sondern ich soll das solcher 1892, im Alter von 22 Jahren, nit Gedicht lesen und mich hineinversetzen. den Brahms' Konzert in d-moLL. Er genolJ das Wortklang anhiiren, bis er sich selbst als Ansehen als fiihrender schwedischer Lied- Tonklang umgestaltet, als melodische Sprache, begleiter um die Jahrhundertwende und als gesprochene Melodie, und die Harmonien erschien haufig mit groBen Sdngern wie John sollen sich der Stimmung der Worte Forsell. AuBerdem war er 1907-22 Dirigent und entsprechendhereinschleichen..." ..Ich muB kinstlerischer Leiter des Giiteborger Orchester- wissen, was ich meine, und dies auf eine vereins. Als Komponist war er in siimtlichen mdglichst natiirliche Art sagen." Er betrachtete Musikgattungen tAtig, mit Ausnahme der die Suche nach Originalitat und Kiihnheit als sakralen. was vermutlich eine Reaktion auf die reinen Unsinn. und die Ausdruckskraft als die d einzige Voraussetzung ftr eine wahre Kunst. Dcir innerst i min unde (Ganz drinnen in Daraus folgt, da8 er sich, was ihn selbst betraf, meinem Geiste) werden die relativ kiihnen nicht ftr das ,,moderne" Denken interessierte - Melodiebrigen von synkopierten Akkorden vor- aber er unterstiiLtzte gerne Rangstrtim, Rosen- wairtsgetrieben, und im zweiten Lied I enslishet berg und andere junge Hitzkdpfe. fdrsrinna minq qr iIn der Einsamkeit ver- Stenhammars Ausstrahlung war die eines schwinden meine Jahre) interpretiert der bloB musikalischen Aristokraten, der in sich Kulti- 24 Jahre alte Komponist mit groBem Ein- viertheit, Wtirde und Verfeinerung vereinigte. filhlungsvermdgen die Gedanken eines Greises. Dadurch schiitzte er sein warmes und reiches In diesen beiden Liedern ist auch ein auf- Gefiihlsleben vor der AuBenwelt. Seine Lieder fallender Choralton zu finden. Das am sind meistens so gebaut, wie er es schilderte: ein hriufigsten aufgefiihrte Lied der Sammlung ist natiirlicher, schlichter Vortrag, mit einer echten, Min stamfar hode en stor po&ol (Mein Ahnen- innigen Kunst als Ergebnis, nicht ohne die vater hatte einen groBen Pokal), und diese melo- nordische Wehmiitigkeit, und in totaler Uber- dische Perle erschien auch separat. Wesentlich einstimmung mit den Worten des Dichters, ob es seltener sind die relativ schwermritigen Kom. sich nun um Idyllisches oder um angsterfiillte ccinner, litt oss sitta ned (Kommt, Freunde, Dramatik handelt. Der Charakter seiner Musik wollen v'ir uns niedersetzen) und, I Rom, i Rom, ist seltsam perscinlich, der Klaviersatz ist hiiufig dit ung jag &om (In Ron, in Rom, wohin ich als ein ganz eigenes Kunstwerk, viel anspruchs- Junger kam). Das sechste Lied heiBt Du sc)her voller und weiter entwickelt als bei irsendeinem ryktborhet (Du suchst den Ruhm) und ist eines anderen schwedischen Komponisten der von vielen Liedern Stenhammars iber die damaligen Zeit, und manchmal mit Beispielen Schwierigkeiten des Kiinstlertums. Ganz echt des.B,esten, was er jemals fur das Klavier und perstinlich ist das abschlieBende Lied der scnrleD. Sammlung Du hode mig h(ir (.Dt hattest mich Verner von Heidenstam war einer der lieb). das nach der Beendigung einer problema- grolJen schwedischen Dichter - er erhielt 1916 tischen Beziehung zu einem Maidchen den Nobelpreis fUr Literatur. In einer Phase geschrieben wurde. Tlotz dieser ki.instlerischen seines Dichtens wurde er von Runeberss Leistungen war es aber schwierig fiir den drastischerund knapper. durch die Volksliedel jungen Komponisten, sich durchzusetzen. Im inspirierter Dichtung beeinflu8t. In seiner Dezember 1897 schrieb er in einem Brief. daB er Gedichtsammlung Vallfart och uandringsar ,,von den schwedischen Verlegern so wenig (1888) ist eine Gruppe von Gedichten mit dem ermuntert wurde, daB beispielsweise Schild- Sammeltitel Ensamhetens lan&or (Gedanken knecht sich weigerte, die ersten drei kleinen der Einsamkeit) zu finden. In diesen Gedichten Heidenstamlieder zu drucken." gibt es etwas von Runebergs intimer Ausdrucks- Eine ausgesprochen selbstkritische Haltung weise, die auch Stenhammars Vertonungen in erschwerte auch Stenhammars schiipferische Sju d.ihter ur Ensamhetens tanhar (.Siehen Arbeit. Als er verstand, was Sibelius mit seiner Gedichte aus Gedanken der Einsamkeit) op.7 zweiten Symphonle erreicht hatte, lieB er seine (1893-95) beeinfluBte, Lieder, die zumeist eigene ersle Symph.onie einziehen, und es sollte schlicht und ungekiinstelt sind. Im ersten Lied mehr als zehn Jahre dauern. bevor er sich o (Die wieder reif fiihlte, eine Svmphonie zu kompo- emporgehoben. Behagen Reize) wurde nieren. Die Wege der Komponisten Stenhammar wtihrend der Hochzeitsreise nach Dresden im jungen und Sibelius kreuzten sich aber mehrmals Dezember 1896 geschrieben und ist voll Beide interessierten sich fiir den Dichter Johan Gliicks. (Yier Ludvig Runeberg, und es passierte gelegentlich, Die Sammlung Fyra suensha s&nger (1893-97) daB sie dasselbeGedicht wdhlten. Stenhammars schwedische Lieder) op.16 ist nicht Lieder sind meistens nicht so dramatisch wie besonders einheitlich, mit verschiedenen jene von Sibelius. aber er versetzte sich statt- Dichtern, unterschiedlichem Inhalt und (Lasset dessen tiefer in den Text hinein und machte wechselnder Stimmung. Lat ossda arugo detailliertere Beobachtungen, wo Sibelius hiiufig uns jung sterben; Verner von Heidenstam), Guld mit kraftvollen Blocks arbeitet. 1893 och grbna sAogar (Gold und griine Wiilder; Text komponierte Stenhammar Tua sdnger ur ldyll des damaligen Chefs des Stockholmer Kgl. och epigram (Zwei Lieder aus Idyll und Dramatischen Theaters, Tor Hedberg), lngalill, Epigramm) op.4, nit den Titeln Fliclran hnyter i n'o Folklore mit tiberraschenden harmonischen Johannenatten (Das Miidchen bindet in der Wendungen gemischt wurde, und Fylgla, beide Johanninacht) tnd Flichan hom frdn sin zu Texten Gustaf Frddings. Das letzte Lied cilshlings mdte (Das Madchen kam von der blickt zu den hiichsten Idealen der Kunst und Begegnung mit ihrem Liebsten; von Sibelius hat eine so ausgearbeitete Klavierstimme, daB 1901 vertont). Einige Jahre spiiter folgten die es separal erscnren. Fen uisor till text av Johan Luduig Rune' Die restlichen Lieder stammen aus dem 20 6erg (Finf Lieder zu Texten Johan Ludvig Jahrhundert. Dre Fem s&nger au Bo Bergnan Runebergs) op.8 {1895-96).Lutod mot giirdet (Fiinf Lieder von Bo Bergman) op.20 (1903-04) (An den Zaun gelehnt) hat eine choraliihnliche gehciren zu Stenhammars bekanntesten SchluBstrophe. Das zweite Lied Dottern sade till Liedern. Bis auf eine vereinzelte Ausnahme sind sin gamla moder (Dre Tochter sagte ihrer alten sie still und innig, mit tragenden Melodielinien. Mutter) widmete er im December 1895 ,,An Die Gedichte wurden der ersten Sammlung von Helga". Stenhammar schrieb das liebevolle Lied Bergman entnommen, Marionetterno, die im direkt nachdem er bei einem Besuch in Gdteborg Aprit 1903 erschien. Stenhammar lernte also erfolgreich Helga, seiner kiiLnftigen Gattin, einen diese musikalischen Gedichte schnell kennen. Heiratsantrag gemacht halle. Den tidiga sorgen Das volksliedhafte Stjiirndga (Sternauge) (Das frilLhe Leid; 8. April 1895) ist ein kurzes komponierte er bereits im Sommer 7903. Vid Lied mit einer ergreifenden Stimmung der fdnstret (Am l'enster) ist ein Lied des Alltags- Traurigkeit. Man findet hier viel Wehmi.ltigkeit realismus, das die Ereignislosigkeit am Lebens- und Volksmusik, aber auch Verspieltheit. Alle abend beschreibt, mit schneller Deklamation, diese Lieder haben Texte aus ldylL och epigram. groBen Kontrasten und einem diskreten Der Text von TilL eru ros (An eine Rose; August Glockenklang gegen den SchluB. Gammal 1895) ist eine Ubersetzung serbischer Nederlcindare (Alter Niederlander) ist ein Volksdichtung, musikalisch aber, eher als alles frrihliches Seemannslied. Mdnshen (Mondschein.) andere in dieser Sammlung, ein Kunstlied. Die ist eine Nocturne mit silbernem Licht und romantische Melodie wird von satten Akkorden einem abschlieBenden Scherz. als Puck ,,einen 10 Mondschimmer sucht, der die Fiihrte verloren sammlung entnommen wie die sieben friiheren hat". Das abschliellende Adagio lst eine unge- Gedichte von Heidenstam, Ensqmhetens tanhar wcihnlich einheitliche Kantilene. (Gedanken der Einsamkeit). Die drei Ietzten Die Sammlung Visor och stiimningar Lieder sind zu Gedichten von Gustaf Frridins. (Lieder und Stimnungen) op.26 (1908-09) Llrklondsreson retwa Die Reise ins Land des besteht aus zehn sehr unterschiedlichen Gliicks) ist ein burleskes Seemannslied, hat Liedern. Abermals finden wir Texte von Sten- aber viele Blickwinkel. En stranduisa (Ein Lied hammars bevorzugten Dichtern: Heidenstam. am Strande) bringt vrillig andere Stimmungen: Bergman, Erik Axel Karlfeldt (der 1931 postum es ist eine Phantasie tiber den Tod an Meer. den Nobelpreis erhielt) und Fr

Peter Mattei, baryton, est n6 d Pited dans le nord de la Sudde en 1965 et il a grandi ir Lulei Il entreprit ses 6tudes de nusique au conservatoire de Frannds avec Margit Larsson et il les poursuivit au conseryatoire national de Stockholm. Son professeur de chant est Solwig Grippe. En 1989, on lui accorda la bourse Krislina Nilsson et Martin Ohman et, en 1990' la bourse de Joel Berglund. Il fit ses d6buts d Drottningholm d l'6t6 de 1990 comme Nardo dans Io Finta Giurd'iniero de Mozart et, d l'automne suivant, il entra ir l'6cole d'op6ra de Stockholm. Depuis qu'il a interpr6t6 le r6le

to Sju dikter ur.Ensamhetens tankar Seven Poems from Thoughts of Solitude

E Diir innerst i min ande Within My Soul Dar imerst i min mde bor en fista; Withinmy soulthere is a spdk; att lfta den i dagen blev mitt mAl, Bringingit to life is my goal, min lemads lir', mitt fttrsta och nitt sista. TheIife of mylife, my 6rst md mylast. Hon gled mig ude, ttude och ibrbrhde. She slipped away, consued md brmt. Den lilla gnistm tu min rikedom; The little spek is my fortme; den lilla gnistm gor mitt livs eltude, The little spdk is the misery ofmy life.

E I enslighet fiirsvinner mina 6r In Loneliness My Yeare Pass By I enslishet forsvimer mina er. ln loneliness my yeds pass by Jag roimin eld och pjollrr med min hud. I poke rhe fire md fondle my dog. Jag sakne ej den dag, som gick igAr, I do not miss the day that was yesterday men dema lengt forswa stund, But that time long past, de smma tjhde, som krdkt och gra !\tren th€ sme seromt, now so bent md sey btu in min kvallsvdd, gosseva Bringlng in my suppe4 was a lad ochjag ej {ildd. och mor och fa And I not bom, md mother md father i graset lekte h som sma. Played on the gass, still small.

E Min stamfar hade en stor pokal My Ancestor Had A Large Goblet Min stmfil hade en stor pokal, IIy mcestor had a lilge goblet, en iatteDokal av tem. A smt pesftr goblet. Miit hjdrta blir vamt, nh jag braddr den My he&t grows wrm, as I fi]l it full och hdjer den i min sal. And rase it in Ey hall. De susd ur dlet en minnessdng, Then there flows a song ofmemones, vars strofer flamma som bloss, Whose venes flme like a flue. Gud hjalp€ att vera bm en gdng )Iay cod help ou children sometime ma hdra den s6ng€nom ossl To hed the song about us!

E Kom, vdnner, lAt oss setta oss Cone Friends, lct Us Sit Down Kom vannet lat oss satta Come fiends, let us ossned pe lmdet i lup Sit dom in the comby in peace och vakta vAr Lakelus -hd s'atch the stove och gmla sagorb€rattai And tell old tales! Ett battre liv efter d€tta A better life after ths one tdN ingen ltuge tro, No one dtres to b€lieve in noq och dafor lat ossbo So let us live together i frdJdmed vera kfa. In hmony with ou deaest. Det stora morkret to nara. The geat dilkness is close

E I Rom, i Ron, dit ungjag kom In Rome, In Rome When I lYas Young I Rom, i Rom, dit ug jag kom ln Rome, in Rome when I was youg starim€morihelgedom There was a mdble in a t€mple, enjungfru, som e\dgtjag drommer om A virgin, $'hom I dream ol och som fordom levat i foma Rom. And who fomerly lived in mcient Rome Jag &djde mot piedestalenstodd, I paused, lemng on the pedestal. Det vart mina ldppar foment My lips were privileged att mdta hemes, jag son blev fodd To meet hers, I who was bom vi{ tjugu hundrade Ar forsent. Some twenty c€ntuies too late. 17 E Du siiker ryktbarhet You Seek Fame Du s0ker 4ktbilhet: for migjag tror You seek fame; for me I think It a Seater good se helt att gldmmas. To be so forgotten att ingen hor niit namn. ej ens mrn mor That no one hears mv name, not even mJ mother E Du hade mig ker You Loved Me Du hademis ktu..Iag skulle nyss You loved me. I would have lagt alltlag agt tur drn fot. Laid all I owned at your feet. Jag skulle offrat all larlden I would have ollered the rvorld mol ditt hjafta, drn fmn. drn kyss. l-or you heart, yow embrace, your kiss.

ll€n llckljg rtu ktutek. som doldes an. But our love $as happ]', lildden yet, som eJ band oss i ve och v,i]. Did not bind us in good dals and bad, tills den t\inade bort. tills Ii dodade den Till it wasted, till lve killed it ned larandras bdster och fel: Wrrl^ .ach orhFr. fdull: and :honcomrnB:.

Vad gldmmas kan under tuen glom: Forget *,hat can be forgotten s'ith the yetrsl Lyft mig ut som en dod u ditt simel Lift me. as dead. from your mind! I dag dr vert karlek en dyster drdn, Today our love is a sad. sad &eam. r motgon ett ungdoms minne. Tomorrow a memory ofyouth.

Fem visor till text av Five Songs to Texts by Johan Ludvig Runeberg Johan Ludvig Runeberg

E Lutad mot gardet Leaning 0n The Fence Lutad mot gtudet stod Leaning on the fence the lad gossen vid flickms ilm, Stood by the grl's arm. sag Over stagen ang: Looked across ne*-mosn meador: ''Sommarens 'Smmer-time tid hd il)1t, has fled, blommorna vissnat ren: The flo*ers are alreadl Fithercdi skdn ar din krnd likvdl, Your cheek is prettlr tonight rosor och liljor dar With roses md lilies there blomstra som fbn hnu.' Blooming as before.' VAren kom itert dA The spring retunedi th€n stod han allena dar. He was alone there. - Flickm vs borta, les The girl *'as gone, - lay jordens ussnad i fmni Withercd in the earth's embrace. angen lar gTon ig€n, The meadow rvas geen again. leende, blomsterik. Smiling with flowen.

E Dottern sade till sin gamla moder The Daughter Said To Her Old Mother Dottern sade till sin gamla mode{ The daughter said to her old motheri 'Can "far eJ nu i hdst mitt brdllop firas?" I celebratemy wedding this autumn. 'Wait Xlodem sade: "let det bli till vArent The mother said: util rhe spring; \'toen, dotter, passar bast fijr brollopl The spring. my daughtet ls best for weddings, aven fegeln bygger bo om vdlen'. Even the birds build nests in spring'. 'Varfor 'Why passar varen bast fbr brollop. is spdng best for seddrngs? rad om fageln bygger bo om varen? What ifbids build nests in spring? !-eje erstid. goda model passar Every season, ' mother deat suits ju ibr den, som varje erstid alskil. Those who love everr season-' 18 @ Den tidiga sorgen Early Sorrow Rosen brdt du Iijr din glada systef, The rose you plucked for yow happy sistef, vallmon holl du sjlilr: The poppy I'ou kept I'ouself. Rosen, flicka, tyder liv och karlek. The rose, dear, mems ]ile md love. vallmon kdld och ddd. The popp1. cold and death. Anar du ej hjartats frdjder - eller tlo you not sense the hetrt's delights? - or bleka engel, sAg, Pale angel, sa1'. ager du \id femlon rr ett dd€ Do you, aged fifteen. have a fate att beteckna re'n? That can aheady be described? E ri[ en ro" To A Rose O. du min kalla sva1. O rou. ml cool source. o. du min rcs sa rdd. O Jou my rose so red, ros, som si snilt slog utl Rose that bLoomed so soonl l'em skalljag ge dir et? \\'ho shall I sle vou to? Ntenne et moder min? Perhaps to my mother? Harju ej moder mer I hare no more a mother. Mame et syster da? Perhaps to a sister then? Fjaran hos naken hon. Far awa! sith her husband. she. Nldne et broder de? PprL.ns r^ a hrnrh-r rhan? Drosju i hamad han. He is gone for a soldrer, he. llann'et min alskling de] Perhaps to rhe beloved? O Lah rr l4nd f"4. -,- Oh. he is far ftom me, h'L^m rrp qL^'rrq I^r Behind three forests' leaves, bakom trc strdmmils vag: Belond three rivers' *'aves! O, du min kalla sval. O !ou. mr cool source. o, du min ros se rdd, O tou my rose so red, ms, som sA snet slog ut: Rose that bloomed so soonl Vem skall jag ge drg Atl who shall I grve you to?

E B"hag"t Delights Jag blickil pe itunomas skila. I took at the flock olmsidens, jag spmil och spmil besrandigt; I Saze md gaze constantlt; den skonaste ullejas viilja. I $ould choose the loveliest och sliktar dock sthdrgt i valet. -hd I hesitate in my choice. Den ena har klarare ogon. One has brighter eyes, den mdra har friskare kinder, The second has fairer cheeks, den tredje hil fullare lappar. The third has fuller lips, den !ade har varmare hjuta. The louth has a wilmer hest. Sd finn ej en enda, sonr saknar I cmnot find one qho lacks ett negot, som fsngslar mitt sinne. Something ihat catches my fanc): Jag kan ej en enda fiirskjuta: I cdnot disgild a single one; o. tugejag kyssa den alla. oh. ifl could kiss them all.

19 Fyra svenska sAnger Four Swedish Songs @ LAt oss dii unga Let Us Die Young Skanl{ oss den lycka. som vAr tuga Grantus thejoy,that ou tonpe bege till dryck. men fer i droppar blott. Desiresto drinl! but onlygets in drops. Skdnk lust, skank kval i dvefulla mett Grantlust, grmt tormentsin superabudmce och IAt oss dd mga. Andlet us dieyoug.

Ej hittar meniske en ort bland grAsen, Mm will not find a plmt mong the gass€s som nnd och vader snabbare slA ner, That wind md weather beat down as rapidly och aldrig formd hon av mdkens ler And never cm mm fom out ofclay sA skdrt ett ktil som sitt eget vasen. A vessel as fragile as mm's om being.

Vel bygger hon sig sjelv med sten pe sten Mm builds himselfwith stone on stone a! dpr hon !et och tror och ull och on"kr, Ofthat he knows, believes, wills and desires. men ldge rcdm imm gaset grdnskil But long before the grass is green pe gravlagd mm, det t€mplet vittrd hh On the bwied man, that temple cl.mbles med spirm bruten som €n torkad gren. Its spire boken like a dry branch.

An vaa dagen. Templets jugfru sjuga Still the day lasts. The temple virgins sing och Ja gs leken mder tugens bjork. And the gMes ile giddy uder the meadow birch. Lart oss ga hem, nf hgen ligFr mork, Let us go home, when the meadow is dak och let oss do unga. And let us die young. @ Guld och grona skogar Gold And Forests Green K2ira liq du lovil stort. Deil life, you promise so much, dA vi klappa pa din port When we knock on you door hDd da hqlnq Lnno,r With eager knuckles; oppnd porten, ler sa huld, Open the door smile so benevolentlt Iovar at oss alla e!ld, Promise us all gold, d,ld ^.h odnq qLn'cr Gold md Forests Gre€n. Men hu haller du m6m'tlo But hoq I wonder, do you keep ldftet som du givit. The prodse thar you gave, !^ ;r ian anq sar iil orli For h one you give gold at den mdra ger du skuld, To another debts so manifold, men de grona skogil? Ack de gona skogil: But the for€sts geen? Oh the forcsts geenl Spil ditt sld, det blir dock skuld Save you gold, for debts so mdfold uder odets knoad. Beneaih fate's knuckles. Fyil ditt lofte, moder hutd, Keep you promise. benewlent mother, giv oss Sdna skogar, Give us forests gteen, stora gdna skogill Vast lorests green.

E Ingalill Ingalill Ingaiilla, Ingaiill, sjus visan ftjr mis, Ingalilla, Ingalill sing me you lay min sjal b sA ensam pa lemadens stig, My soul is so lonely on life's *'eary *ay mitt sime & se ensmt i sorgen. My hed is so lonely in sonoe. Ingalilla, Ingalill, sj$g vism ftjr mig. Ingalilla, Ingalill sing me you lay den klinga mig sd lyckosam.sa god och t$stelig It souds to me so full of hope, so comfofring ed ga! sAmilder i den ddsliga borgen. And calm in the castle so ndrow Ingalilla, Ingalill, sjung visan for mig, Ingalilla, Ingalill sing me you Iay mitt halva kungdike det villjag giva dig Halfofmy kingdom to you I qould pay och allt dtt suld och silver i borgen. And all my gold md silver you shall bonow

on 1W Min ktulek a mitt silver och i min bory, I{y love is the silver md gold in my cile mitt halva kungarike to hzilften av min sory, And half of my kingdom is half my despair, sAg,Ingalilla, rddes du lijr sorgen. Sal' Ingalilla. do you feil to mom? E rytgia Fylgia Fylgia, Fylgia, fly mig ej, Ft'lgia. Fylgia. do not leave me, na jag drags av det lega mot dp, As I m drawn down into the mud, du skygga, fomea, sky mig ej, Shy md noble, do not despise me nf med lumpna tankd jag skpmer din rena gestalt When my urlgd thoughts ttrde yow pu€ fac€, som svavs i skdnlet och stjamgles Floating in beauty and stalight och abdmmd av ljus for min sln And drems of light for my sight sA ntra mig, So close to me men sA finnm dock But as distet yet som den f turm, Sanm skln, As the distet, distmt sky du efbrtradda, du oatkomliga, You. so desired, so umeachable, du flicka av skonhetslAngtm, Nlaid of beauty's longing, du vasen i drakt av lrvets skiraste silverslar Being clothed in life's finest silver finery med lyckliga drag och kalekens skrast€ With happy featues md th€ rosiest blush oflove r^nr^achhmo', hn on you cheeks, Fylgla, Fylgia, fly mig ej. Fylgia, Fylgia, do not leave me, du skygga, tumha, sky mig ej , Shy ed noble, do not des€d me, du min skdnhetsldngtan, Ntaid of beautYs longing, s^n h^r drocnc c^repr Who protects me from the day's sonows * min skyddmde tfst i nattens slnl Dwing the night.

Fem sAnger av Bo Bergman Five Songs of Bo Bergman

E Stjiirnttga Stareye Stjhdga, du som jag m6tt Stdeye, whom I have met l6ngt i fdrswa tide4 Distmt in ages past, nu ar det kviilldaas och trdtt Now it is evening and tired min ungdom till rila skdder. IIy youth hwies to rest.

Inbloss, som vflden har tant, ll'ili-o:the-wisp that the world has lit, slockna sA 15tt i vhlden. Dies so easily in the world. Stjmdga, mycket har hht, Stsey€, Duch has passed sedm vi skildes pe faden. Since we peted on ou way.

Villsm A vagen som gar Totuous is the path ftam genom morka l&der. That leads though ddk coutries. Stjemdga. Stjendga ner Stdeye, stdeye, will I never jag aldrig mer dina hhd€r? Reach you hmd again?

Tag mina hhder och led mig Take my hmds and lead me in i ditt ljusa dke. Into you bdght kingdom. Stj hdga, giv mig drn fred Stileye, give m€ you peace och l6t mig vuda din like. And let me be you like.

21 E Vid fdnstret At The lVindow I dag har jag sett d]n lbrsta rlnka Tbday I have seen your first wrinkle som ilspad med nal i dgats \Ta, As though scratched with a needle in the comer ol you e1.e och drna kara hander ha tagit And yow dear hmds have pulled fran min tinning ett grAnat stra, A $ey hair from my temple, dh \i sutto dd det dppna ibnstret Where we sat at the open windo\r och tsnhte pa en gmmal sak. And thought ofthings past. Dedan aftoruodnan las stilla While the blush ofer€ning lay still dver smestadens tappor och tak. Over ihe gildens md roofs ofthe town.

En klocka ringde borta i Sonskan, A bell rang in the distant g€enert, och kvallen vr djup och allvilsm, And the evening was deep and sedous, och over ktrkogilden kom langsmt And slosly across the chunhyad en skaa flickor gatm frm. Came a troop ofgrls.

De hade nta blommor i hdet They had white flowers in their hdr och psalmbok och nasdul{ i hmd, Canied h)mnbooks md handkerchiefs, deras lenga klandngar slogo. Thef long dresses fluttered da blasten tog dem ibland. As the wind caught them.

Pe bleka kinder stod tuu g"aten, There w€re yet teas on pale cheeks och lappama lesh en bon, And lips recited a prayei men i Ogonen speglades varlden, But in their eyes the world was minored. och v*lden vd stor och skdn. And th€ world was wide and lovell:

Och femton6rsdrdmmarna l].fte And teenage &ems iifted mot skogens rdkiga rmd. To the smoky rim ofthe forest. Dtu det stdmmade blankt efter solen Where the sm striped the sky lag lvets turlovade lmd. Lay life s promised Imd.

NIen u sutto Ud dppna fonstret. But we sat by the open {indo!'. din pmna var sorgsen och sankt, Your bmwwas sorrowfully bolved. ochjae kysste ditt 6nger och sade. And I kissed your finger and said att ingenting blir som mm thkt. That nothing is as one imasned it.

@ Gammal Nederlendare Ancient Dutchnan Det ar inte roligt att ste It is not much fun to stand och bulta lMge Katinka. And knock at length Katinha. Manen iyser och vflden ga. The moon shines md the weather shifts och de fiusna stjtunor blinha. And the ftozen stars trvinl{le.

N{in knoge tu rdd, min nasa ble. lly knuckles are red. mv nose blue. There no*, llft nu pe dorrens klinka. Lift the latch. Glhta pe ddrrn och lat mig fa Open the door md gve me tak over hu\rodet, din slinka. A rooi ov€r my head. )ou \ritch. Du skall duka ett bord med sma You shall set a table s'ith little lbrgyllda koppa som rinha, Gilded cups that xink. 01 och brtudn och ost ftir tve B€er md schnapps md cheese for two och sd And also, en fet och rykande slonka. A fat md succulent ham.

22 @ MAnsken Moonlight Nu badil allt i nattenssilverljus. Not everltltrng is bathed in nights silver light [{ed stansda luckor drdmma uta hus With shutters closed white houses drem vid vagarna dto rngen liirdas. By roads where no one passes.

Ur valvet under parkens gmla trad From vault beneath the parks old trees en fegel locks spad A bird calls gentlr pe neeot hjfta som ftirhtudas. To some hadened heart.

Det gu en dms i ritt pA sjd och hg. There is a dance on lake and meadow och vinden vilar i en rosensAng And the wind rests in a rose-bed och skuggm pe sin badd i snAren. And shadows hare their rest in the thicket.

Men imerst i en dold och daggig ud But deep rithrn a hidden, de*y place ster Puck och lum pe Puck sreds looking out for en mSnglimt som har tappat spdren. A moonbem lhat has lost its way

E adagio Adagio \,httnet rorc och vinden spelai The wat€r ripples and the wind plays, vind och vatlen ta vamn. $ind and water touch each other. Balom skogens glesa dugar Behind the forest's spdse coppices gula regen gugff Back md forth. Det f bara du som felar. Only you ile missing. Hjtutat saktar sina slag. llJ heart slo{s its beat. Jag hor svag musik som spelar I hear faint music plalng mis ti1l s6mns i dag lle to sleep today x{olnen glida latt som vita The clouds glide past like rvhite svanar dver himlens sjo, S*ms on heaven's lake. -.- i" t,.: irr io fr"- But theJ are silent as they move, svdd sjunga bara For swms sing only nto de dd. \\'hen ther die. ont och tungt harJag fAtt slita, Had and hea\T has been my toil. del tu rugt pe tiggilstig- Life is heavy on the bessil s path. Jag ull fila med de \1ta I joumey with the lvhite "ould svandna till dig.

23 Visor och stAmningar Songs and Moods

E Vandraren The Wanderer Har u mossigaklippms fmn uppv:iller Here from the grasp ofmossy rocks flows rcn och kld en nelodisk k?illas vatten, Cleil, pwe water from a melodious spring, hdr ej ofta b€traddes Here the grass is seidom trodden graset av mMskofot. By hwm foot.

Aldrig skbnse bdjda senu sAgjag Never have I seen more lovely boughs strdcka bavmde 6na begr, tlngda Stretch out in 6ne, trembling eches rilf 1w daodrq rncdrc Weighted by the dewy rcses' valluktberusmde mhgd. Inf ^Yr..finr ncrfi,hc<

Kzilla. du som vakmde milt min sdmn beskyddat Spring, you who have calmly guarded my sleep tyst och lett hhsorlmde sakta silveroagen, Silent md lightly and gently bubbling silver wa\€, dig beprisade skaldens You were praised in the poet's L^rr' mal^d,qLq.4n' Brief melodic song.

E Natty-e Butterfly Orchid Overalig, yqe, zilskogsort, Butterfly orchid, passionate flower! susade Veneris flyende skort, Above you sighs Venus's fleeins mmtle, daggen som lopp av den vita foten The dew that rm from your *hite foot gdt dig i roten Implantud in you root sin varliga vdrt. Her vemal sort. Daggig hon kom av de lAnga ha! Dewy she came liom the long seas daggig av ludmas faska sar Dewy with the meadow's fresh sap, glidmde sakta i tugelnatten Gliding slowly through the dark nisht nyckfuilt in mot de speda vatten, Capriciously into the shallow water sJoM som €n svm Sank Iike a svm ned mellm kasdu och baldrim. Down between reed mace and valeriana.

Veneds blomma, natt\iol, Flow$ olvenus, butterfly orchid. vinden ddr bod som en matt fiol, The wind dres away like a tired violin, strMgad med dvtrgsnat fr6n grenil och hgtr. Strog with spider's web from brmches md meadows, qrF,hr shhgad med strangd tu,fh crrhdc av sjunhmde sol. Olthe sinkins sm. Vit e din kind, och all dagen du gomt You cheek is white, and all day you hide blicken for solen och lutat och drdmt. You gaz€ ftom the su md you res! md drem. Vet du ditt blod som enjungfrus tu bledat? You know that you blood like a virgu's is miaed. Vet du ditt drdmliv som hemes tu mdat You know that you dreams, Iike hers, are breathed Cleanest md b€st blott som en doft dd en tugelfest? Just like a scent ofdilk rcvehy

Venefr s blomma, nosserot, Flower ofVenus, stem md root, vinden fu upp, som sov dd din fot, The wind ri6es that slept by you foot, u mdrkret ett lidelsens s[6]drag sungil From ddkness e dc ofpassion swings ht 6rdalfi,,a\ihrrr On a bat's wings mot mAnens klot. To the globe ofthe moon. Jmgfrublomma, bdj dina kntu, Viryin flower, bend vour lnees. oskdd som brltes, dess doft tu frtu. Viryinity dolated, its scent is rank. Vet du de sktua drdmmdnas 6de? Do you know the fate olthe roseate drems? Djupt i din rct gar ett hemligt fldde, Deep in you root there is a secret flood, pn ,drdhrwod sLilh An edth-brewed fom, Veneris blor]ma, SatFiM. Flower of Venus, Sattrim.

.A aa @ s6drnan The Star Jag sliter i dagmas kedja. I draw in the chain ofdays- Jag pusta pe mina kol. I blow on my coals. Jag smelter och smidei min smedja I melt hd I hmme4 mv smithv- & het, som ett avrudshAl. Is hot as a hole in hell Det bnsd som eld och det stanker It rous Iike fire md splashes som sot frAn min diktdhtud Like soot from my poetic heeth men ovm gfu skymas vtold, But above is the world ofthe skies, och mellm skyrna blarJ

E .Iungfru Blond och Jungfru Brunett Miss Blonde and Miss Brunett€ Jmgfru Blond och jugfru Brunett MissBlonde md MissBmette dmsa med fnset pe kjolen. Hold their skirts as they dmce. Se hostkle tu luften och latt, Autumnal the air md light, ldtt, latt, Light, light, latt som den svingmde Light as th€ swinging jungfmas klingmde Maids a' clinging gledje i solen. Jov in the su.

Se pe. Look. Nu hdja de sig, Now they dse, nu bdja de sig, No* they bor och dgonen lysa och flatoma sle And rherr eyes ile brighr ad pldrs fly och kinden hd heta flacka. And cheeks are flushed. Men lAngt dver tugeDs gulnade vall But far above the meadow's yellowed gass star rpden kall, The sky is cold, och nalna ste tled och hacka. And trees and hedgerows ffe bre. jungfru, O hd dansen I an Oh mdd€ns, tre you still dancing och Bjugen och skratten? And singing md laughins? Det faller en stjana igen, Another shooring-std is s€en och sn0t kommer natten. And soon night dll fall. Den kommer som tjuven, ner ingen ser och ingen ber. It comes like the thief, when no one is looking md no one wmls L Som en rofAgelsvdm slAr den ner It comes down like a swam ofpredators och lijrmdrkd vagtr och vatten. And drkens roads md water jmgfru Jungfru Blond och Bmett Iliss Blonde md Miss Brunette stama fiirskrMda i dmsen. Cease from their dmce, dishessed. Hu hemskt blev allting med ett Evetdhing seemed suddenly so appalling i den sista ddende glmsen. In the last, dying light. Det vissla i vinden och snyger pA te The wind whistles, moves on tiptoe och skratte i frs och dugai Laughing h brush md glade. jmgfnma De stackars sme Th€ por little maidens skdlva son fAgelmga. temble like tiny bids.

25 And ivith pale cheeks. och uta i kinden, And flying plaits med ilator som sld, That fly and ily sla. sla. Thev rush home{'ads. rusa de hemit bada. outiide is confusion and danger Harute tu \illor och vada But at home the world is a 6replace men hemma & varlden en spisehTa And mother is the only one in the world och mor den enda i vdlden. so qui€tly Hon sitter sd tyst She sits her thead och t\innar och snor Spiming freezing. och stinar frysmde And stares, bright in i de lysande Into the gldd€n pe htuden. Coals in the hearth. hide their heilts $ith mother De gbmma sitt hjbta hos mor Thev And kiss her ecient hands. och kvssa den ganlas htuder' run by md the evening grotr's, och timmarna dma och kvallen blir stor, And the hous fre crackles. det rasslil i brasms brhder' And the But outside, Iike a troll on tipto€, Nllen ute som troD Pa ta mmuring darkness proglesses det mmlande mdrkret skrider: The little maidens, Ni kbasiejunefru sme, Deilest you in time jag tar er val vad det lider.. I shall have @ Det far ett skepp A Ship Sails Detfar ett skeppPe rogande veg A ship sails on the rclling sar€s The rclling waves. with rig md roPe ack rogande veg, med tackel och tdg pennant on the mast. I remember och nmpel i mast, jag kommer ihag And a ship is called Bliss. att skeppet heter LYckm. That the beat against the ship's buik Och sjdma dska mot skeppets stam And the seas raise their *hite combs och revlarna rcsa sin lita kam. And the billows in spite ofthis, men skeppam lotsar sis dde fram, But the captain sails is calied Bliss. ty skepper heter Lyckan. For the ship when it comes to the geen shorc' Och nar det kommer till gr6nskande strand, And time to time, sA ser me iblmd One sees from girl her hmd en flicka finka med hand A wave Bliss. at skeppet som heter Lyckm- To the ship called yed_ilms they beckon, Det \ul

26 genom E Niir rummet When The Shadow OfThe Casement ftinsterkoreets skugga ligger Falls In The Room \a genom rummer lorsrerkorset. -kugga hggFr W}len the shadou ofthe cas€ment fails in the rcom som skuggm ar Like the shadow ofthe strict crcss det strbga korset pe en ga!., On a grave, det to ej betrre darjag tigger; I m not asking lor better days; jag mrnns de gevor somjag fick som titen pil!. I remember the gilts I receiv€d as a smalt bo),. de m;nsJ gudd live' g6v o.hjds s6vor for"p.Ur. The manl good gifts that iife ga\€ md I wasted. @ Varfitr till ro se bratt Why Hurry So To Rest Vdlbr tilt ro sAbrett. \\}11 hur) so to rest. du somjag fill allt gott? You shom I srsh so rvell? Fdlj mig en manskenstimma. l'ollolr me in rhe moonlight hou. Klrktom glima, och tunster Spires md *indos's shine. fullntuen lyser klart. The full moon is bdght. Natten b snart Ibrbi. Night is soon past. Stma, min flicka! Sndt Stali my maiden: Soon 6nnas ej heller vi. \!e too are no more.

@ Lycklandsresan To The Land Of Bliss jag Ntu stegi ]and, when land I kissed dar druvoma lysa \lhere the gapes ee ripe pa Lycklands sbmd In the land ofbliss och flickorna mysa And the srls excite pd strmden i blomster och bild. On the beach where happiness is. jas, Go otr, ihkte Go on. this way ktu mJnten i fickan, Feel nch in a swirl i dag ar i dag, Toda! is the day den vackraste fuckm Tahe the loveiiest gul om iivet och hdftema ragl tud dance with her as you may Hon gav mig en titt, She gave me a giance jag kom till ett naste, dar lin ficks ftitt, \\here sine enhmced och \inlov hon faste fud a \ine she tressed huldsaligt om hurudet mitt. One my forehead. oh I was entrmced. Och i mitt schatull ln nI semms box med tadngen lekte I tossed the dice jag Lyklmds pll, A blissful cox men flickan mig smekte \llile *e embraced sA saligen ljuvlighetsfull. On paradise s rocks. Men bdnderna dar But the peasants ther€ i Lycklmd bbgde In the land ofbliss mig riggen for nar Lrnwiiling to share och tillhJ'egen svengde They swung their sticks, de bondema, bbndema ddr The peasants, peasmts there. 'There's "Hej, leden ar treng, not much room, nu naven hall knuten. Hold hed my fist och taljan ig6ng, se opp ftAn kikuten, Look out. mv x'frst ohoj. alle boys, kom alongl" Come on vou boys, just come.'

27 Angy ed drur& och ilsken och full I fought ed struck jag slog och jag sPhde And three men sunk tre bdnder ikull, Andjust my luck min karesta rbde The girl, oh the girl did a bunk et skogs med mitt LYcklands gull. Boom ed bash Det small och det ven, They cNed me up de flangde mig sdnd€r Another crash med kappa och sten, The peasants' dupe fttrbmade bdndei My left leg Ime md slashed de slogo mig halt i ett ben. So I climbed on bosd Sa skgjag ombod, Lemed on a stick men stddd pa en krYcka With ointment smesed och lappsalvsmod Ofparadise, sick av Lycklmds lycka By {ine md women gored. och Yiner och flickor fttrsjod. All glitter's dtoss Till sorg blir all glans. And Ime m I och halt far en vanka And still more cross omkring efter dms, And the vine she tied en vinldlsrad

@ En strandvisa Coastal Song Ar deilju\t att skdljas Is it pleasmtto b€washed uder sorloch sus With soEds md sishs av en klugfull bdljas By a ich-tooed {'aves gang tili dddenshus? Way to death's repose? Ar det skdnt att drunkna Is it pleasant to drown i en havsvAgsfmn, ln a wave's embrace, f fttr alla sjukna To sink for ever djupt i djup en hmn, Deep, deep in a hdbou, dtu tur brott och enge4 Where trusgessions and remorse vilka stomat ult, Stom fiercely ljuda soryenssanger Songs of sonow sowd sonmde och milt? R€conciling md mild? Men vem vAgar sprhget. But who dses the leap, fast ens liv tu ott, Though life is empts fast ens hopp to gAnget Though hope is gone fren en vtold, som ddtt, Frcm a vorld that's dead, Dott df ogat skAdal Dead to th€ eye's vision, dott, dd orat hd4 Dead to the hedng es, och fast allt bebAds And though everything Prcclaims att du hdA dor? That you will anway dre?

28 E Prins Aladin av Lampan Aladdin OfThe Lanp PrrnsAladin avLampe Aladdin of the lmp, htr ingen lmpa kvai No lmp he has. hil treve uder mmteln He s€eks b€neath his cloat( dtu lmpm var, Where the lmp was, hm sdker efter Ringen He seuches for the Ring men ringen finner ing€n Finds nothing som inga lingil har He {'ho no ring has. Prins Aladin den store htr Aladdin, he the great has tappat sitt fomuft Lost hrs mind och trevar blint i luft. And stwbles almost blind. Hm mmar u det vida: 'Kom He suddenly pronouces: festsiottet mitt 'Come castle bright med ptulor och rubiner With rubies ed peuls i salen, som skiner In sltrning halls av glrld och av vittl Of gold md whitel I @dat I gdren You spidts. you deeds er plikt och er flit, You job od you duty I lbren mig, I fttren You lead me, you lead prinsessm Belbrududu hincess Belbrududu den mAnemilda hit:" The moonlighted beauty!' Se ragiar frmAt gatm, He trips down the street dtu htugseln tu sto4 Among the crowds prins Aladin i hasor Aladdin in rags och hasiga skor: His shoes in sheds. "Se fAnen, hor pa 'Laok finen, at the fool den galne skrdddarsonen, From the cobbler's stool il vet, ru vet hm tror He thrn-ks he is no other han h sultmens bror!" Than the Sultm's brother!, I shaddare och riggae, You cobblers md you beggas i kennen icke mden. The spirit rou don't know mm gdr en d.L med hild€n A *rnl md he will do; och roptr sal

29 The lamp conveYs creative might Lmpan det il skapilhaft. \ And makes the osner shong. som gor tili makt en man. The ring is faith, the strcngth ofdght och Ringen det ar trcskralt. Can do no wrong. som allting kan.

Efterskiird Late Harvest Blessed, Tender-heartedness @ Var viilsignad, milda iimsinthet Be Be blessed, tender-heartedness !'tr valsiglad, milda omsinthet' Be bless€d agdn, var valsipad ater, You {'ho forgive all. du som allt lbrliter Though know all that is rotten in mv life' fast allt uselt i mitt lir du vet )rcu Be blessed, you sho give comfort !'il lalsi$ad du, som eJ gav trost Not as glace from above, som en ned fran ovm, But as a oflove men som karleksgevan $ft From a sinlul, poor girl's breast. fr6n en s)ndig fattig flickas brost. You are wine for thirst, cure lbr shme. Du f vin ftir tdrst, du I bol lor skm' Food for huger du ar mat i svdten On infertile fields, DA de maFa falten, ['here my tired life hobbles oD ;tu min;otta lemad linkar frm. @ Tro"t Comfort when sorrow comes. as $hen night falls Nar sorgen kommel som nd natten sk)mmer In the sild *oods where a man goes astral i nlda skogen, dil en mm gAr \d11, Who believes in the light, that comes !em tror Da liuset, som i fjarrm Dmmer. And the flme that flar€s and stten? - h sk"n som skrmra frm och flamra rrlll Playfully they shine and playfullv flee, Pa skdmr dF g.jmla och pa skml detrJkta. - mo woirld niistakc thcn for a man s'ith a lmp? vem tar en llkrman lilr en mm med l\kra: No, moum out your gyief. mtil )ou brain is numb Nit, sorjj '"rg"n ut rrll. hlrnan domna' From exhaustion, is lhe comfod *'e have receir€d i trdtthetsdvala, tu den trost d fatt It is like the smderer, *'ho stravs md falls asleep - det ar som vmdran. som gir \ill och somnar On the soft down ofthe moss dd sleeps well pa mossms mjuka dun och soler gott when he *akes from the muky dream, bch nar han vaknar u den skmma drdmmen. Ard Sees the morning sN in the forest's s€cret room ser morgonsolen in i skogens gommen

The Bell @ Klockan I read ofthe bell that once sank Jag laser om klockm som sjudlt In the depths. i djupet en gdng. My soul is the rolling deep Min riail ar det rdrliga djupet And ihe bell my song. och klockan min shg My poem is a bell nnging on the bottom ltin dikt f en klocka Pa botten Ofthe sea. av havet som ga. It tolts, but fatefully sd seldom Den klhtd men ddsligt och sallm In desolate years. i odsliga ar. You hemblingbell-toll in mY soul' Du dmmde Llocklang i sidlen I hedd youjust nos'. jag horde dig nyss. mm lies awake with wet En man ligger vaken med vAta A and listens. kinder och lyss. Cheeks 30