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Christiane Karg Malcolm Martineau Schumann & Brahms b0084_WH booklet template.qxd 19/08/2016 22:19 Page 2

chRiStiane KaRg soprano malcolm maRtineau piano Recorded live at , London, on 18 November 2014

RobeRt Schumann (1810–1856) 01 Widmung Op. 25 No. 1 02.17

claRa Schumann (1819–1896) 02 Er ist gekommen Op. 12 No. 2 02.28 03 Liebeszauber Op. 13 No. 3 02.17 04 Sie liebten sich beide Op. 13 No. 2 01.59 05 Liebst du um Schönheit Op. 12 No. 4 02.05 Frauenliebe und -leben Op. 42 21.33 06 Seit ich ihn gesehen 02.14 07 Er, der Herrlichste von allen 03.07 08 Ich kann’s nicht fassen 01.37 09 Du Ring an meinem Finger 02.37 10 Helft mir, ihr Schwestern 01.52 11 Süßer Freund, du blickest 04.29 12 An meinem Herzen, an meiner Brust 01.10 13 Nun hast du mir den ersten Schmerz getan 03.59 RobeRt Schumann 14 Die Löwenbraut Op. 31 No. 1 07.36

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JohanneS bRahmS (1833–1897) 15 Von ewiger Liebe Op. 43 No. 1 04.16 16 Auf dem See Op. 59 No. 2 02.44 17 Meine Liebe ist grün Op. 63 No. 5 01.31 18 O kühler Wald Op. 72 No. 3 01.46 19 Lerchengesang Op. 70 No. 2 02.21 20 Wir wandelten Op. 96 No. 2 02.50 21 Feldeinsamkeit Op. 86 No. 2 02.59 22 Mondnacht WoO. 21 02.18

Total time: 64.51

www.wigmore-hall.org.uk/live

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ChRiStiane KaRg SingS SChumann and BRahmS The Schumanns and Brahms had what can only friendship for the rest of their lives – Brahms be described as a unique relationship. Robert and arguably never really recovered with Clara a Clara had been welded together through years of constant and not uncritical commentator on his struggle, as they tried to convince Clara’s father, music (along with Joseph Joachim, the man Friedrich Wieck, that Robert was a suitable partner who had first introduced them). This is the for his cherished daughter. When they were finally emotional backdrop to the songs featured in this free to marry, Robert dedicated a year of com - programme. position to songs celebrating their union (as well As Clara’s 21st birthday approached, Robert as foretelling the rocky emotional road ahead). Schumann knew that she would be able to break Clara, meanwhile, pursued her career as a concert away from her father and they could, at last, pianist and as a composer, writing a number of marry. Schumann busied himself with writing a Lieder of her own. wedding present, Myrten, one of his first cycles, The pair took the young Brahms under their featuring poems by Rückert, Goethe, Mosen, wing in the early 1850s. It was as if he had ‘sprung Burns, Heine, Willemer, Byron, Fanshawe and like Minerva fully armed from the head of the son Moore. The work opens with the stirring of Cronus’, Robert wrote in an acclamatory article ‘Widmung’, containing at its core the words in the Neue Zeitschrift für Musik. Brahms, having ‘Du bist die Ruh’, which Schubert had made studied Robert’s music (though not Clara’s as so famous. This section of the poem prompts yet), presented himself at the Schumanns’ home, a remarkable modulation from A flat major to quickly securing a place within their influential E major, mirrored in a shift in the accompaniment circle. When Robert’s mental condition began from swelling quavers to thrumming triplets. The to worsen, with his nervous breakdown, suicide song closes with a return to the tonic and a attempt and prompt removal to the sanatorium restatement of the opening words (now without at Endenich, Brahms moved into the Schumann mention of the grave). family home, becoming in loco parentis and Clara Schumann wrote her own series of assisting Clara with domestic life in general. It was settings of Rückert in 1841, published together not long before he developed a serious passion with Robert’s as Zwölf Gedichte aus F. Rückerts for her, which she reciprocated with a protective Liebesfrühling – the poet had written Liebes - motherly care, drawing strength from Brahms’s frühling when he was courting his own wife. Clara presence in her life. Robert died in 1856, leaving matches the stirring ‘dedication’ of the opening of both Clara and Brahms bereft. But if his death Robert’s Myrten with her own vivid description of promised the pair union at last, it was not to be. the storm and rain from which the lover appears. They maintained a close and hugely amicable No less animated is ‘Liebeszauber’, a setting of 4 b0084_WH booklet template.qxd 19/08/2016 22:19 Page 5

words by Emanuel von Geibl, published along with ‘Sie liebten sich beide’ in 1844. Heine’s poem reverses the security of the previous songs, eliciting particularly touching harmonies, with the piano providing psychologically acute postludes after each two-line statement. Rückert’s ‘Liebst du um Schönheit’, made famous by Mahler, establishes heartfelt confidence in Clara’s song, accompanied by chains of rolling quavers. Perhaps Robert’s most famous musical en - capsulation of his marriage to Clara is to be found in the July 1840 cycle Frauenliebe und -leben. Poet Adelbert von Chamisso was born Louis Charles Adélaïde, Vicomte de Chamisso, before his family fled the French Revolution and moved to Prussia. His poems on ‘a woman’s love and life’ were written shortly after he had married a much younger girl. Some have criticised the seemingly misogynist tones of Chamisso’s text, though the poet was a fervent liberal and particularly in favour of female emancipation. Rather, the poems are deliberately naïve, guilty only of patronising a girl from a lower social class, nonetheless giving ROBERT SCHuMANN her a (for then) rare chance to express her feelings A lithograph by Josef Kriehuber ‘in public’. Written shortly after the neurotic Dichterliebe, house in which she is working. Despite the this is a contrastingly uncomplicated work. It difference in rank and class, he has declared his opens with ‘Seit ich ihn gesehen’, with its gentle love by the time we reach ‘Ich kann’s nicht hesitations and vivid impression of the beloved fassen’, and so follows the engagement in ‘Du ‘rising out of deepest darkness’. Having arrived Ring an meinem Finger’, with the piano and voice (though not yet requited her feelings), the lover beautifully wedded to each other and becoming inspires the starry-eyed harmonies of ‘Er, der more fervent as the song progresses. Herrlichste von allen’, with the piano’s miniature The dotted rhythm at the end of each accom - fanfares perhaps indicating the master of the panying phrase in ‘Helft mir, ihr Schwestern’ 5 b0084_WH booklet template.qxd 19/08/2016 22:19 Page 6

recalls ‘Widmung’ from Myrten, as the young bride prepares to ‘dedicate’ herself to her husband. ‘Süßer Freund, du blickest’ is the most affecting song in the cycle, where truly rapt love is mirrored in the slow pace of the piano accompaniment and the tender tumble of the vocal line. The wife reveals that she is pregnant and the husband is rendered speechless, accompanied by the simplest but most eloquent three-bar interlude. ‘An meinem Herzen, an meiner Brust’ sees the young child on his mother’s knee, with the compound duple metre hinting at a lullaby. The D major of that cradle scene, however, turns to D minor at the beginning of ‘Nun hast du mir den ersten Schmerz getan’, as we realise that the husband has died, provoking music of great anguish, before the piano recalls the first song and offers a lasting memento mori. Around the same time that he completed Frauenliebe und -leben Schumann set Chamisso’s ‘Die Löwenbraut’, a bizarre ballad telling the story of a seemingly anthropomorphised lion who changes back to wild beast and devours his keeper’s daughter, leaving her ‘bleeding and mangled in the dust’. Schumann brings a genuine JOHANNES BRAHMS dose of melancholy to this otherwise mawkish text, not least the sweet modulation to the major The story of Romantic Lieder resumes with as the young girl tells ‘the powerful beast’ that Johannes Brahms, who began composing songs ‘those days of childhood’ when they were friends in the early 1850s. Some, including settings of ‘are long since gone’. Most impressive, however, Eichendorff, Geibel, Chamisso and Heine, show a is the slow, tense tempo of the song, becoming clear line between Brahms and the Schumanns, gradually wilder as the lion reveals his true nature, though these were largely suppressed by the before collapsing in grief and then death, leaving highly self-critical and, in his youth, self-doubting the piano to close the book on this strange tale. Brahms. We begin, then, with ‘Von ewiger Liebe’, 6 b0084_WH booklet template.qxd 19/08/2016 22:19 Page 7

written in 1864 and published four years later as 1877. If the text promises little in the way of part of Vier Gesänge. It sets a traditional Wendish originality, Brahms raises it to great heights, with text translated into German by Hoffmann von the song’s pregnant pauses, rich chromaticisms Fallersleben. The folk origins of the poem inspire and revelatory modulations. Echoes of the forest the modalities of Brahms’s flowing accompani - come back to Brahms in the ‘ethereal distant ment, in which constant variation and increasing voices’ of ‘Lerchengesang’, composed the same chromaticism heightens the emotions, as does year, before recollections of a different kind per - the quickening tempo, not least in the passages of meate ‘Wir wandelten’ from 1885. Here, Chopin’s reported speech. The lovelorn Brahms’s attraction ‘Raindrop’ Prelude in D flat major, the same key as to this poem was not lost on Clara and one of this setting of words by Georg Friedrick Daumer, Brahms’s friends described the moment when he can be heard in the piano’s accompanying played the song to her and ‘her face was bathed in textures. tears’. Hermann Allmers, who wrote ‘Feldeinsam - Less profound, though equally attractive, is keit’, was famously unimpressed by Brahms’s the 1873 ‘Auf dem See’, with a Volkslieder-like setting, feeling that his ‘artificial melody’ had text by Brahms’s publisher’s uncle, Karl Simrock. failed to capture the mood of the original poem. A more stirring mood emerges in the third verse, Posterity has begged to differ and thoughts of this before the gentle lilt of the accompaniment rapt Lied are now ‘wondrously interwoven’ with returns for the final image, reflected in the lake. Allmers’s text. Returning to the beginning of Brahms wrote ‘Meine Liebe ist grün’ the same Brahms’s career and the influential couple who year, a poem by Robert and Clara’s youngest child, first cherished his extraordinary musical talent, Felix, which the composer sets with barely ‘Mondnacht’ sets a poem by Eichendorff, first contained ‘love-drunk’ passion. included in Schumann’s own Liederkreis, thereby Brahms turned to the poetry of Clemens bringing us full circle. Brentano, one of the editors of Des Knaben Notes by Gavin Plumley © 2016 Wunderhorn, for ‘O kühler Wald’, written around

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RoBeRt SChumann (1810–1856) 01 Widmung from Myrten Op. 25 No. 1 (1840) Dedication Du meine Seele, du mein Herz, You my soul, you my heart, Du meine Wonn’, o du mein Schmerz, you my rapture, O you my pain, Du meine Welt, in der ich lebe, you my world in which I live, Mein Himmel du, darein ich schwebe, my heaven you, in which I float, O du mein Grab, in das hinab O you my grave, into which Ich ewig meinen Kummer gab! my grief forever I’ve consigned! Du bist die Ruh, du bist der Frieden, You are repose, you are peace, Du bist vom Himmel mir beschieden. you are bestowed on me from heaven. Daß du mich liebst, macht mich mir wert, Your love for me gives me my worth, Dein Blick hat mich vor mir verklärt, your eyes transfigure me in mine, Du hebst mich liebend über mich, you raise me lovingly above myself, Mein guter Geist, mein beß’res Ich! my guardian angel, my better self! (Friedrich Rückert, 1788–1866)

ClaRa SChumann (1819–1896) 02 er ist gekommen Op. 12 No. 2 (1841) he came in storm and rain Er ist gekommen He came In Sturm und Regen, in storm and rain, Ihm schlug beklommen my anxious heart Mein Herz entgegen. beat against his. Wie konnt ich ahnen, How could I have known Daß seine Bahnen that his path Sich einen sollten meinen Wegen? should unite itself with mine? Er ist gekommen He came In Sturm und Regen, in storm and rain, Er hat genommen audaciously Mein Herz verwegen. he took my heart. Nahm er das meine? Did he take mine? Nahm ich das seine? Did I take his? Die beiden kamen sich entgegen. Both drew near to each other. Er ist gekommen He came In Sturm und Regen. in storm and rain. Nun ist gekommen Now spring’s blessing Des Frühlings Segen. has come. Der Freund zieht weiter, My friend journeys on, Ich seh es heiter, I watch with good cheer, Denn er bleibt mein auf allen Wegen. for he shall be mine wherever he goes. (Friedrich Rückert)

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03 liebeszauber Op. 13 No. 3 (1840–3) love’s magic Die Liebe saß als Nachtigall Love in the guise of a nightingale Im Rosenbusch und sang; sat in a rosebush and sang; Es flog der wundersüße Schall ’twas a wonderful sweet sound that soared Den grünen Wald entlang. all about the green forest. und wie er klang, da stieg im Kreis And with its echoes rose all around Aus tausend Kelchen Duft, perfume from a thousand blossoms, und alle Wipfel rauschten leis’, and every treetop rustled quietly und leiser ging die Luft; and the air moved more gently; Die Bäche schwiegen, die noch kaum The brooks were silent, they that had only just Geplätschert von den Höh’n, been splashing from the heights, Die Rehlein standen wie im Traum as in a dream stood the deer und lauschten dem Getön. heeding every sound. und hell und immer heller floß And bright and ever brighter flowed Der Sonne Glanz herein, the splendour of the sun, um Blumen, Wald und Schlucht ergoß flowers, woods and ravines were bathed Sich goldig roter Schein. in a glow of golden red. Ich aber zog den Weg entlang I wended my way, und hörte auch den Schall. hearing the sounds as well. Ach! was seit jener Stund’ ich sang, Alas! The songs which I have since sung, War nur sein Widerhall. have been but their echo. (Emanuel von Geibel, 1815–1884)

04 Sie liebten sich beide Op. 13 No. 2 (1840–3) they loved one another Sie liebten sich beide, doch keiner They loved one another, but neither Wollt’ es dem andern gestehn; wished to tell the other; Sie sahen sich an feindlich, so they gave each other such hostile looks, und wollten vor Liebe vergehn. yet nearly died of love. Sie trennten sich endlich und sah’n sich In the end they parted and saw Nur noch zuweilen im Traum; each other but rarely in dreams. Sie waren längst gestorben They died so long ago und wussten es selber kaum. and hardly knew it themselves. (Heinrich Heine, 1797–1856)

05 liebst du um Schönheit Op. 12 No. 4 (1841) if you love for beauty Liebst du um Schönheit, If you love for beauty, O nicht mich liebe! O love not me! Liebe die Sonne, Love the sun, Sie trägt ein goldnes Haar. she has golden hair.

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Liebst du um Jugend, If you love for youth, O nicht mich liebe! O love not me! Liebe den Frühling, Love the spring Der jung ist jedes Jahr. which is young each year. Liebst du um Schätze, If you love for riches, O nicht mich liebe! O love not me! Liebe die Meerfrau, Love the mermaid Sie hat viel Perlen klar. who has many shining pearls. Liebst du um Liebe, If you love for love, O ja mich liebe! ah yes, love me! Liebe mich immer, Love me always, Dich lieb’ ich immerdar. I shall love you ever more. (Friedrich Rückert)

RoBeRt SChumann Frauenliebe und -leben Op. 42 (1840) (Adelbert von Chamisso, 1781–1838) 06 Seit ich ihn gesehen Since first seeing him Seit ich ihn gesehen, Since first seeing him, Glaub’ ich blind zu sein; I think I am blind; Wo ich hin nur blicke, wherever I look, Seh’ ich ihn allein; I see only him; Wie im wachen Traume as in a waking dream Schwebt sein Bild mir vor, his image hovers before me, Taucht aus tiefstem Dunkel rising out of deepest darkness Heller nur empor. ever more brightly. Sonst ist licht- und farblos All else is dark and pale Alles um mich her, around me, Nach der Schwestern Spiele my sisters’ games Nicht begehr ich mehr I no more long to share, Möchte lieber weinen I would rather weep Still im Kämmerlein; quietly in my room; Seit ich ihn gesehen, since first seeing him, Glaub’ ich blind zu sein. I think I am blind.

07 er, der herrlichste von allen he, the most wonderful of all Er, der Herrlichste von allen, He, the most wonderful of all, Wie so milde, wie so gut! how gentle and loving he is! Holde Lippen, klares Auge, Sweet lips, bright eyes, Heller Sinn und fester Mut. a clear mind and firm resolve. 10 b0084_WH booklet template.qxd 19/08/2016 22:19 Page 11

So wie dort in blauer Tiefe, Just as there in the deep-blue distance Hell und herrlich, jener Stern, that star gleams bright and brilliant, Also er an meinem Himmel, so does he shine in my sky, Hell und herrlich, hehr und fern. bright and brilliant, distant and sublime. Wandle, wandle deine Bahnen; Wander, wander on your way; Nur betrachten deinen Schein, just to gaze on your radiance, Nur in Demut ihn betrachten, just to gaze on in humility, Selig nur und traurig sein! to be but blissful and sad! Höre nicht mein stilles Beten, Do not heed my silent prayer, Deinem Glücke nur geweiht; uttered for your happiness alone; Darfst mich niedre Magd nicht kennen, you shall never know my lowly self, Hoher Stern der Herrlichkeit! you noble star of splendour! Nur die Würdigste von allen Only the worthiest woman of all Darf beglücken deine Wahl, may your choice bless, und ich will die Hohe segnen, and I shall bless that exalted one Viele tausendmal. many thousands of times. Will mich freuen dann und weinen, I shall then rejoice and weep, Selig, selig bin ich dann; blissful, blissful I shall be; Sollte mir das Herz auch brechen, even if my heart should break, Brich, o Herz, was liegt daran? break, O heart, what does it matter?

08 ich kann’s nicht fassen i cannot grasp it Ich kann’s nicht fassen, nicht glauben, I cannot grasp it, believe it, Es hat ein Traum mich berückt; a dream has beguiled me; Wie hätt’ er doch unter allen how, from all women, could he Mich Arme erhöht und beglückt? have exalted and favoured poor me? Mir war’s, er habe gesprochen: He said, I thought, „Ich bin auf ewig dein“ – ‘I am yours forever,’ Mir war’s – ich träume noch immer, I was, I thought, still dreaming, Es kann ja nimmer so sein. after all, it can never be. O laß im Traume mich sterben, O let me, dreaming, die, Gewieget an seiner Brust, cradled on his breast; Den seligsten Tod mich schlürfen let me savour blissful death In Tränen unendlicher Lust. in tears of endless joy.

09 Du Ring an meinem Finger You ring on my finger Du Ring an meinem Finger, You ring on my finger, Mein goldenes Ringelein, my golden little ring, Ich drücke dich fromm an die Lippen, I press you devoutly to my lips, Dich fromm an das Herze mein. to my heart.

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Ich hatt’ ihn ausgeträumet, I had finished dreaming Der Kindheit friedlich schönen Traum, childhood’s peaceful dream, Ich fand allein mich, verloren I found myself alone, forlorn Im öden unendlichen Raum. in boundless desolation. Du Ring an meinem Finger You ring on my finger, Da hast du mich erst belehrt, you first taught me, Hast meinem Blick erschlossen opened my eyes Des Lebens unendlichen, tiefen Wert. to life’s deep eternal worth. Ich will ihm dienen, ihm leben, I shall serve him, live for him, Ihm angehören ganz, belong to him wholly, Hin selber mich geben und finden yield to him and find Verklärt mich in seinem Glanz. myself transfigured in his light. Du Ring an meinem Finger, You ring on my finger, Mein goldenes Ringelein, my golden little ring, Ich drücke dich fromm an die Lippen I press you devoutly to my lips, Dich fromm an das Herze mein. to my heart.

10 helft mir, ihr Schwestern help me, o sisters Helft mir, ihr Schwestern Help me, O sisters, Freundlich mich schmücken, with my bridal attire, Dient der Glücklichen heute mir, serve me today in my joy, Windet geschäftig busily braid Mir um die Stirne about my brow Noch der blühenden Myrte Zier. the wreath of blossoming myrtle. Als ich befriedigt, When with contentment Freudigen Herzens, and joy in my heart Sonst dem Geliebten im Arme lag, I lay in my beloved’s arms, Immer noch rief er, he still called, Sehnsucht im Herzen, with longing heart, ungeduldig den heutigen Tag. impatiently for this day. Helft mir, ihr Schwestern, Help me, my sisters, Helft mir verscheuchen help me banish Eine törichte Bangigkeit; a foolish fearfulness; Daß ich mit klarem so that I with bright eyes Aug’ ihn empfange, may receive him, Ihn, die Quelle der Freudigkeit. the source of my joy.

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Bist, mein Geliebter, Have you, my love, Du mir erschienen, really entered my life, Gibst du mir, Sonne, deinen Schein? do you, O sun, give me your glow? Laß mich in Andacht, Let me in reverence, Laß mich in Demut, let me in humility Laß mich verneigen dem Herren mein. bow before my lord. Streuet ihm, Schwestern, Scatter flowers, O sisters, Streuet ihm Blumen, scatter flowers before him, Bringet ihm knospende Rosen dar, bring him budding roses. Aber euch, Schwestern, But you, sisters, Grüß’ ich mit Wehmut, I greet with sadness, Freudig scheidend aus eurer Schar. as I joyfully take leave of you.

11 Süßer Freund, du blickest Sweet friend, you look Süßer Freund, du blickest Sweet friend, you look Mich verwundert an, at me in wonder, Kannst es nicht begreifen, you cannot understand Wie ich weinen kann; how I can weep; Laß der feuchten Perlen let the unfamiliar beauty ungewohnte Zier of these moist pearls Freudig hell erzittern tremble joyfully bright In dem Auge mir! in my eyes! Wie so bang mein Busen, How anxious my heart is, Wie so wonnevoll! how full of bliss! Wüßt’ ich nur mit Worten, If only I knew Wie ich’s sagen soll; how to say it in words; Komm und birg dein Antlitz come and hide your face Hier an meiner Brust, here against my breast, Will ins Ohr dir flüstern for me to whisper you Alle meine Lust. all my joy. Weißt du nun die Tränen, Do you now understand the tears Die ich weinen kann, that I can weep, Sollst du nicht sie sehen, should you not see them, Du geliebter Mann? beloved husband? Bleib’ an meinem Herzen, Stay by my heart, Fühle dessen Schlag, feel how it beats, Daß ich fest und fester that I may press you Nur dich drücken mag. closer and closer.

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Hier an meinem Bette Here by my bed Hat die Wiege Raum, there is room for the cradle, Wo sie still verberge silently hiding Meinen holden Traum; my blissful dream; Kommen wird der Morgen, the morning shall come Wo der Traum erwacht, when the dream awakens, und daraus dein Bildnis and your likeness Mir entgegen lacht. laughs up at me.

12 an meinem herzen, an meiner brust on my heart, at my breast An meinem Herzen, an meiner Brust, On my heart, at my breast, Du meine Wonne, du meine Lust! you my delight, my joy! Das Glück ist die Liebe, die Lieb’ ist das Glück, Happiness is love, love is happiness, Ich hab’s gesagt und nehm’s nicht zurück. I’ve always said and say so still. Hab’ überschwenglich mich geschätzt, I thought myself rapturous, Bin überglücklich aber jetzt. but now am delirious with joy. Nur die da säugt, nur die da liebt Only she who suckles, only she who loves Das Kind, dem sie die Nahrung gibt; the child that she nourishes; Nur eine Mutter weiß allein, Only a mother knows Was lieben heißt und glücklich sein. what it means to love and be happy. O, wie bedaur’ ich doch den Mann, Ah, how I pity the man Der Mutterglück nicht fühlen kann! who cannot feel a mother’s bliss! Du lieber, lieber Engel, Du, You dear, dear angel, you, Du schauest mich an und lächelst dazu! you look at me and you smile! An meinem Herzen, an meiner Brust, On my heart, at my breast, Du meine Wonne, du meine Lust! you my delight, my joy!

13 nun hast du mir den ersten Schmerz getan now you have caused me my first pain Nun hast du mir den ersten Schmerz getan, Now you have caused me my first pain, Der aber traf. but it struck hard. Du schläfst, du harter, unbarmherz’ger Mann, You sleep, you harsh and pitiless man, Den Todesschlaf. the sleep of death. Es blicket die Verlaßne vor sich hin, The deserted one stares ahead, Die Welt ist leer. the world is void. Geliebet hab’ ich und gelebt, ich bin I have loved and I have lived, Nicht lebend mehr. and now my life is done. Ich zieh’ mich in mein Innres still zurück, Silently I withdraw into myself, Der Schleier fällt, the veil falls, Da hab’ ich dich und mein verlornes Glück, there I have you and my lost happiness, Du meine Welt! you, my world!

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RoBeRt SChumann 14 Die löwenbraut Op. 31 No. 1 (1840) the lion’s bride Mit der Myrte geschmückt und dem Brautgeschmeid, Adorned with myrtle and bridal jewels, Des Wärters Tochter, die rosige Maid, the keeper’s daughter, the rosy maid, Tritt ein in den Zwinger des Löwen; er liegt steps into the lion’s cage; Der Herrin zu Füßen, vor der er sich schmiegt. the lion lies fawning at his mistress’s feet. Der Gewaltige, wild und unbändig zuvor, The powerful beast, once wild and untamed, Schaut fromm und verständig zur Herrian empor; looks up at his mistress, understanding and meek; Die Jungfrau, zart und wonnereich, the gentle and radiant girl Liebstreichelt ihn sanft und weinet zugleich: caresses him tenderly, weeping the while: „Wir waren in Tagen, die nicht mehr sind, ‘We were in days that now are past Gar treue Gespielen wie Kind und Kind, true playmates, like two children, und hatten uns lieb und hatten uns gern; and loved and liked each other; Die Tage der Kindheit, sie liegen uns fern. those days of childhood are long since gone. Du schütteltest machtvoll, eh wir’s geglaubt, Before we knew it, you were shaking Dein mähnenumwogtes königlich Haupt; your mighty, mane-rippling regal head; Ich wuchs heran, du siehst es: ich bin I grew up too, as you can see: I am Das Kind nicht mehr mit kindischem Sinn. no longer a child with a childish mind. O wär’ ich das Kind noch und bliebe bei dir, Were I still that child, and could stay with you, Mein starkes, getreues, mein redliches Tier; my strong, faithful, my honest beast! Ich aber muß folgen, sie taten mir’s an, But I must follow – they have forced me – Hinaus in die Fremde dem fremden Mann. a stranger, far off into foreign lands. Es fiel ihm ein, daß schön ich sei, He thought me beautiful, Ich wurde gefreit, es ist nun vorbei: I was wooed, and now it is done: Der Kranz im Haar, mein gutter Gesell, the wreath, trusty friend, garlands my hair, und vor Tränen nicht die Blicke mehr hell. and my eyes are now dim with tears. Verstehst du mich ganz? Schaust grimmig dazu, Do you really understand? You look at me wildly, Ich bin ja gefaßt, sei ruhig auch du; but I am resigned, and you must be too; Dort seh’ ich ihn kommen, dem folgen ich muß, there he comes whom I must follow, So geb ich denn, Freund, dir den letzten Kuß!“ so I’ll give you, my friend, a final kiss.’ und wie ihn die Lippe des Mädchens berührt, And as the girl’s lips touched his own, Da hat man den Zwinger erzittern gespürt, the cage was seen to shake, und wie er am Zwinger den Jüngling erschaut, and as he glimpsed the youth outside the cage, Erfaßt Entsetzen die bangende Braut. the anxious bride was seized with terror. Er stellt an die Tür sich des Zwingers zur Wacht, He stands on guard by the door of the cage, Er schwinget den Schweif, er brüllet mit Macht; he lashes his tail and roars with might, Sie flehend, gebietend und drohend begehrt she pleads with him, issuing orders and threats, Hinaus; er im Zorn den Ausgang wehrt. to let her out; angrily, he won’t let her pass.

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und draußen erhebt sich verworren Geschrei. Confusing shouts are heard outside. Der Jüngling ruft: „Bringt Waffen herbei, The young man cries: ‘bring me arms, Ich schieß’ ihn nieder, ich treff’ ihn gut.“ I’ll fire at him, I’ll shoot him down.’ Aufbrüllt der Gereizte, schäumend vor Wut. Provoked, the growling lion foams with rage. Die unselige wagt’, sich der Türe zu nahn, The luckless girl ventured to the door, Da fällt er verwandelt die Herrin an; the transformed beast falls on his mistress: Die schöne Gestalt, ein gräßlicher Raub, her fair form, now a fearful prey, Liegt blutig zerrissen entstellt in dem Staub. lies bleeding and mangled in the dust. und wie er vergossen das teure Blut, And having shed that dear blood, Er legt sich zur Leiche mit finsterem Mut, the lion lies brooding down by the corpse, Er liegt so versunken in Trauer und Schmerz, sunk in grief and sunk in sorrow, Bis tödlich die Kugel ihn trifft in das Herz. till the fatal bullet strikes his heart. (Adelbert von Chamisso)

JohanneS BRahmS (1833–1897) 15 Von ewiger liebe Op. 43 No. 1 (1864) eternal love Dunkel, wie dunkel in Wald und in Feld! Dark, how dark in forest and field! Abend schon ist es, nun schweiget die Welt. Evening already, and the world is silent. Nirgend noch Licht und nirgend noch Rauch, Nowhere a light and nowhere smoke, Ja, und die Lerche sie schweiget nun auch. and even the lark is silent now too. Kommt aus dem Dorfe der Bursche heraus, Out of the village there comes a lad, Gibt das Geleit der Geliebten nach Haus, escorting his sweetheart home, Führt sie am Weidengebüsche vorbei, He leads her past the willow-copse, Redet so viel und so mancherlei: talking so much and of so many things: „Leidest du Schmach und betrübest du dich, ‘If you suffer sorrow and suffer shame, Leidest du Schmach von andern um mich, shame for what others think of me, Werde die Liebe getrennt so geschwind, Then let our love be severed as swiftly, Schnell wie wir früher vereiniget sind. as swiftly as once we two were plighted. Scheide mit Regen und scheide mit Wind, Let us depart in rain and depart in wind, Schnell wie wir früher vereiniget sind.“ as swiftly as once we two were plighted.’ Spricht das Mägdelein, Mägdelein spricht: The girl speaks, the girl says: „unsere Liebe, sie trennet sich nicht! ‘our love cannot be severed! Fest ist der Stahl und das Eisen gar sehr, Steel is strong, and so is iron, unsere Liebe ist fester noch mehr: our love is even stronger still: Eisen und Stahl, man schmiedet sie um, Iron and steel can both be reforged, unsere Liebe, wer wandelt sie um? but our love, who shall change it?

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Eisen und Stahl, sie können zergehn, Iron and steel can be melted down, unsere Liebe muß ewig bestehn!“ our love must endure for ever!’ (Traditional, trans. August Heinrich Hoffmann von Fallersleben, 1798–1874)

16 auf dem See Op. 59 No. 2 (1873) on the lake Blauer Himmel, blaue Wogen, Blue sky, blue waves, Rebenhügel um den See, vine-clad hills around the lake, Drüber blauer Berge Bogen an arc of blue mountains beyond, Schimmernd weiß im reinen Schnee. shimmering white in pure snow. Wie der Kahn uns hebt und wieget, As the boat lifts and rocks us, Leichter Nebel steigt und fällt, light mist rises and falls, Süßer Himmelsfriede lieget the sweet peace of heaven Über der beglänzten Welt. lies over the radiant world. Stürmend Herz, tu auf die Augen, Pounding heart, open your eyes, Sieh umher und werde mild; look about you and be appeased; Glück und Friede magst du saugen you can absorb happiness and peace Aus des Doppelhimmels Bild. from this double image of heaven. Spiegelnd sieh die Flut erwidern See how the waters reflect Turm und Hügel, Busch und Stadt, tower and hill, woodland and town, Also spiegle du in Liedern likewise in your songs reflect Was die Erde Schönstes hat. the fairest that earth has to offer. (Karl Simrock, 1802–1876)

17 meine liebe ist grün Op. 63 No. 5 (1873) my love’s as green Meine Liebe ist grün wie der Fliederbusch My love’s as green as the lilac bush, und mein Lieb ist schön wie die Sonne; and my sweetheart’s as fair as the sun; Die glänzt wohl herab auf den Fliederbusch the sun shines down on the lilac bush, und füllt ihn mit Duft und mit Wonne. fills it with delight and fragrance. Meine Seele hat Schwingen der Nachtigall My soul has a nightingale’s wings und wiegt sich in blühendem Flieder, and sways in the blossoming lilac, und jauchzet und singet vom Duft berauscht and, drunk with fragrance, exults and sings Viel liebestrunkene Lieder. many a love-drunk song. (Felix Schumann, 1841–1879)

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18 o kühler Wald Op. 72 No. 3 (c.1877) o cool forest O kühler Wald, O cool forest, Wo rauschest du, in which my beloved walks, In dem mein Liebchen geht? where are you murmuring? O Widerhall, O echo, Wo lauschest du, where are you listening, Der gern mein Lied versteht? who love to understand my song? Im Herzen tief Deep in my heart Da rauscht der Wald, is where the forest murmurs, In dem mein Liebchen geht, in which my beloved walks, In Schmerzen schlief the echo Der Widerhall, fell asleep in sorrow, Die Lieder sind verweht. the songs have blown away. (Clemens Brentano, 1778–1842)

19 lerchengesang Op. 70 No. 2 (1877) larks singing Ätherische ferne Stimmen, Ethereal distant voices, Der Lerchen himmlische Grüße, heavenly greetings of the larks, Wie regt ihr mir so süße die Brust, how sweetly you stir my breast, Ihr lieblichen Stimmen! you delightful voices! Ich schließe leis mein Auge, Gently I close my eyes, Da ziehn Erinnerungen and memories pass by In sanften Dämmerungen, in soft twilights, Durchweht vom Frühlingshauche. pervaded by the breath of spring. (Karl August Candidus, 1817–1872)

20 Wir wandelten Op. 96 No. 2 (by 1885) We wandered Wir wandelten, wir zwei zusammen; We were walking, we two together; Ich war so still und du so stille; I so silent and you so silent; Ich gäbe viel, um zu erfahren, I would give much to know Was du gedacht in jenem Fall. what you were thinking then. Was ich gedacht, unausgesprochen What I was thinking – let it remain Verbleibe das! Nur Eines sag’ ich: unspoken! One thing only I shall say: So schön war Alles, was ich dachte, all my thoughts were so beautiful, So himmlisch heiter war es all. so heavenly and serene. In meinem Haupte die Gedanken The thoughts in my mind Sie läuteten, wie goldne Glöckchen; chimed like golden bells: So wundersüß, so wunderlieblich so wondrously sweet and lovely Ist in der Welt kein andrer Hall. is no other sound on earth. (Georg Friedrich Daumer, 1800–1875, from the Hungarian)

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21 Feldeinsamkeit Op. 86 No. 2 (by 1882) alone in fields Ich ruhe still im hohen grünen Gras I rest at peace in tall green grass und sende lange meinen Blick nach oben, and gaze steadily aloft, Von Grillen rings umschwirrt ohn’ unterlaß, surrounded by unceasing crickets, Von Himmelsbläue wundersam umwoben. wondrously interwoven with blue sky. Die schönen weißen Wolken ziehn dahin The lovely white clouds go drifting by Durchs tiefe Blau, wie schöne stille Träume; – through the deep blue, like lovely silent dreams; Mir ist, als ob ich längst gestorben bin, I feel as if I have long been dead, und ziehe selig mit durch ew’ge Räume. drifting happily with them through eternal space. (Hermann Allmers, 1821–1902)

22 mondnacht WoO. 21 (by 1853) moonlit night Es war, als hätt’ der Himmel It was as though Heaven Die Erde still geküßt, had softly kissed the Earth, Daß sie im Blütenschimmer so that she in a gleam of blossom Von ihm nur träumen müßt’. had now to dream of him. Die Luft ging durch die Felder, The breeze passed through the fields, Die Ähren wogten sacht, the corn swayed gently to and fro, Es rauschten leis die Wälder, the forests murmured softly, So sternklar war die Nacht. the night was so clear with stars. und meine Seele spannte And my soul spread Weit ihre Flügel aus, its wings out wide, Flog durch die stillen Lande, flew across the silent land, Als flöge sie nach Haus. as though flying home. (Joseph von Eichendorff, 1788–1857)

Translations of ‘Widmung’, ‘Er ist gekommen’, ‘Liebst du um Schönheit’, Frauenliebe und -leben, ‘Die Löwenbraut’, ‘Von ewiger Liebe’, ‘Auf dem See’, ‘Meine Liebe ist grün’, ‘O kühler Wald’, ‘Wir wandelten’, ‘Feldeinsamkeit’ and ‘Mondnacht’ by Richard Stokes, from The Book of Lieder, published by Faber & Faber, with thanks to George Bird, co-author of the Fischer-Dieskau Book of Lieder, published by Victor Gollancz Ltd. Translations of ‘Sie liebten sich beide’ and ‘Lerchengesang’ by Richard Stokes.

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ChRiStiane KaRg Born in Feuchtwangen, Bavaria, Christiane Karg there to sing Amor in Orfeo ed Euridice with studied singing at the Salzburg Mozarteum and Riccardo Muti, and Zerlina in Don Giovanni with at the Music Conservatory in Verona. She was Yannick Nézet-Séguin. Last summer she made her a member of the International Opera Studio at uS operatic debut singing Susanna in Le nozze di Hamburg State Opera before joining the ensemble Figaro at the Lyric Opera of Chicago. In concert she of the Frankfurt Opera in 2008 where her roles has worked with Nikolaus Harnoncourt, Daniel included Susanna, Musetta, Pamina, Servilia, Harding, Yannick Nézet-Séguin, Mariss Jansons Zdenka in Arabella, Adele in Die Fledermaus, the and Christian Thielemann. An acclaimed recitalist, title role of La Calisto, and Mélisande in Pelléas et Christiane Karg has performed at the Schuber - Mélisande. tiade Schwarzenberg, Salzburg Mozarteum, In 2006 Christiane Karg made an auspicious Musikverein, Festival and debut at the and has returned Wigmore Hall. 20 b0084_WH booklet template.qxd 19/08/2016 22:19 Page 21

malColm maRtineau

Malcolm Martineau appears at major venues and festivals with artists such as Sir , , Dame , Magdalena Kožená, , Thomas Quasthoff, and . He has presented series at Wigmore Hall (Britten, French song, German song which was broadcast by the BBC, and Songlives) and at the Edinburgh Festival. He accompanied masterclasses at the Britten–Pears School. He was given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm Martineau was made an OBE in the 2016 New Year’s Honours. Recordings include Schubert, Schumann and English song with Bryn Terfel, recitals with , Simon Keenlyside, Susan Graham and Magdalena Kožená, the complete Beethoven and Britten Folk Songs, the complete Poulenc and Mendelssohn songs, Schubert’s Winterreise with Florian Boesch, Strauss’s Heimliche Aufforderung with Christiane Karg, and Portraits with Dorothea Röschmann.

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Also available on Wigmore Hall Live from all good record shops and from www.wigmore-hall.org.uk/live

Christiane Karg soprano MalColM Martineau piano Strauss, Fauré, Debussy, Poulenc, Wolf & berg WHLive0062 ‘[Karg’s] sound and vocal production pleasantly recall that of Lucia Popp … While some singers make heavy weather of Wolf while conveying the music’s depths, Karg lets any remaining artifice drop away in some of the most natural, straightforward Wolf performances I’ve encountered … A minor miracle?’ (Gramophone) ‘Here is a singer poised to become a major player in art-song performance internationally … Warmly recommended.’ (International Record Review) ‘[Karg] has a natural ease with tempo, underpinned, of course, by Martineau as the ever-perfect foil at the piano … A thoroughly enjoyable recital.’ (BBC Music Magazine)

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Engineered by Steve Portnoi www.outhouseaudio.com Produced by Jeremy Hayes Recorded live at Wigmore Hall, London, on 18 November 2014 Director: John Gilhooly Wigmore Hall Live — General Manager: Darius Weinberg Photography by Benjamin Ealovega Photograph of Malcolm Martineau on p. 21 by Russell Duncan Manufactured by Repeat Performance Multimedia, London

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WHLive0084 Made & Printed in England