Gundula Janowitz G Acht Gedichte Aus Letzte Blätter, [3:45] 9 Das Lied Im Grünen, D

Franz SCHUBERT (1797-1828) Robert SCHUMANN (1810-1856) 1 Die Götter Griechenlands, D. 677 [4:26] A Myrthen, Op. 25: No. 9, Lied der Suleika [3:15] 2 Iphigenia, D. 573 (Op. 98/3) [3:16] B Lieder-Album fur die Jugend, Op. 79: [1:46] piano 3 An die Leier, D. 737 (Op. 56/2) [4:58] No. 26, Schneeglöckchen 4 Ellens Gesang I ‘Raste, Krieger! [8:26] C Myrthen, Op. 25: No. 7, Die Lotosblume [2:19] Krieg ist aus’, D. 837 (Op. 52/1) D Sechs Gedichte und Requiem, Op. 90: [3:55] 5 Fischerweise, D. 881 (Op. 96/4) [3:31] No. 2, Meine Rose E Myrthen, Op. 25: No. 3, Der Nußbaum [3:34] 6 Der Fluß, D. 693 [5:41]

7 Im Abendrot, D. 799 [4:19] Richard STRAUSS (1864-1949) 8 Die Winterreise, D. 911 (Op. 89/5): [5:29] F Vier Lieder, Op.36: No. 1, Das Rosenband [3:25] V. Der Lindenbaum Gundula Janowitz G Acht Gedichte aus Letzte Blätter, [3:45] 9 Das Lied im Grünen, D. 917 (Op. 115/1)[4:26] Op. 10: No. 8, Allerseelen The Last Recital – in Memoriam Maria Callas H Vier Lieder, Op. 27: No. 4, Morgen! [4:07] I Drei Lieder, Op. 29: No. 3, Nachtgang [3:27] Charles Spencer piano J Fünf Lieder, Op. 39: No. 4, Befreit [6:04]

Encore: Franz SCHUBERT SCHUBERT • SCHUMANN • R. STRAUSS K Die Forelle, D. 550 (Op. 32) [2:18]

Total Timing: [82:38]

Gundula Janowitz soprano Charles Spencer piano Schumann

℗ & © 2017 The copyright in these sound recordings is owned by First Hand Records Ltd. www.firsthandrecords.com Recorded 16 September 1999, Herodes Atticus Odeon, Athens, Greece ̶ 24 ̶ GUNDULA JANOWITZ The Final Recital – in Memoriam Maria Callas

Maria Callas died on September 16, 1977; exactly almost two decades, was drawn to her singing – it 22 years later Gundula Janowitz gave a recital in could float over the orchestral cushion of sound Athens, the city where her great colleague had he created to magical effect (never more perfectly grown up, and dedicated it to Callas’ memory. illustrated that in the 1974 recording they made Now, in time for Janowitz’s 80th birthday, on together in Berlin of Richard Strauss’ Four Last August 2, 2017, a recording of that occasion – her Songs, a disc that immediately took on a classic final public recital – at last appears. status, cherished by her admirers).

Callas and Janowitz had little shared repertoire Janowitz worked (and recorded extensively) (they overlapped in, perhaps, three roles, none throughout the 1960s and 1970s with all the leading hardly central to the German singer’s career) but conductors of the day: Karajan, Otto Klemperer, what they both had were voices that were utterly Rudolf Kempe, Rafael Kubelík, Carlos Kleiber, Karl distinctive. As her colleague and friend Brigitte Böhm, Sir Georg Solti, Leonard Bernstein and Fassbaender said: ‘Gundula Janowitz possesses Bernard Haitink to pick the most prominent. And one of those voices where you have only to hear the repertoire she focused on was built around two a couple of notes and you immediately know towering figures: Mozart and Richard Strauss, both who it is. Her elegant timbre and unmistakably composers with a palpable love of the soprano I once asked her what her favourite operatic forced. The beauty and effortlessness of her vocal instrumental way of forming the phrases is voice. Janowitz’s characterisations of Pamina roles were. ‘The three As,’ she replied. ‘Donna production barely hint at the spark just waiting to unique.’ Few singers have voices that approach (The Magic Flute), Fiordiligi (Così fan tutte) and Anna, Agathe and Arabella.’ Anna is the one role burst into flame. The Italian sensibility of Mimì the purity of Janowitz’s: with its very fast vibrato Donna Anna (Don Giovanni) were masterly and, in she never recorded commercially (a planned (La Bohème), Elisabetta (Don Carlos) and Amelia and ‘white’ production, the focused sound can Strauss, she gave us Ariadne, Countess Madeleine EMI project was cancelled with the death (Simon Boccanegra) just wasn’t her: beautifully soar, swoop and dip with astonishing ease and (Capriccio), Arabella and the Marschallin (Der of the conductor George Szell) while Agathe though she sang those parts. control, the vocal line becoming almost liquefied Rosenkavalier), all beautifully shaped. In the (Der Freischütz) was recorded with Kleiber into a seemingly endless melisma. It’s no surprise choral repertoire, she was a noted interpreter of and Arabella with Solti (for video). They give a When Karajan auditioned the young singer in that Herbert von Karajan, who became her Haydn, Mozart and Beethoven, with the occasional glimpse into Janowitz’s temperament: women 1959, he told her ‘If you promise to work hard mentor and champion from the early 1960s for excursion into Verdi. who suddenly ignite and take charge when I will take you out into the world’. She did work ̶ 2 ̶ ̶ 3 ̶ in Janowitz's voice, as well as heroics.’ concerts would start rather formally, with an and, perhaps, just a little sadness because element of reserve, until singer and audience we’d never hear Janowitz’s voice again on the Janowitz’s recorded catalogue, though, tends to had warmed to each other (usually after a concert platform. misrepresent the focus of her career because it couple of songs) and very soon her warm © 2017 James Jolly downplays her work as a recitalist. Of course, she personality and sense of humour would emerge did tape all of Schubert’s songs for high voice, a and by the end, after a carefully chosen encore The pianist Charles Spencer was born in Yorkshire, set – made for Deutsche Grammophon with one or two, singer and listener would part with not England. He studied at the Royal Academy of of her most loyal song-companions, the pianist a little regret. Music, London with Max Pirani where he won Irwin Gage – that won her numerous awards. But various prizes including an Austrian Government apart from a couple of late song recitals and a disc For her Athens recital, Janowitz chose two Scholarship to study in Vienna with Walter of Hindemith’s Das Marienleben, that is all we composers absolutely at the centre of her song Fleischmann, Noel Flores and Robert Schollum. have to remember her by as a performer of song. repertoire, Franz Schubert and Richard Strauss, hard and he did indeed put her on the musical with a third, Robert Schumann, forming a bridge He has also attended master classes given by Vlado Perlemuter and Geoffrey Parsons. map, working with her until 1976 when they In recital Janowitz was an engaging presence between the two. It was a delightful gesture and one that was surely not lost on the Greek performed Brahms’ Ein deutsches Requiem with her charming, slightly diffident smile and audience to include a trio of Schubert songs On completion of his studies, with unanimous together for the last time. And along the way, he there was always a sparkle in her eye. Her that acknowledged the setting. Die Götter distinction in Vienna, he was awarded the Prize took her on a journey that played to her strengths Griechenlands, to words by Schiller, seems to for Artistic Merit of the Austrian Government. (the Empress in Strauss’ Die Frau ohne Schatten imply that something has deserted the soul of the only miscalculation for the young singer, a role man if the ancient gods are dead. Mayrhofer’s Charles Spencer is now one of the most abandoned after just one performance, and to Iphigenia pleads with the goddess Artemis to sought-after piano-accompanists worldwide. which, sadly, she never returned). He encouraged be allowed to return to Tauris and her father He was the preferred accompanist of the great her to take on Sieglinde and Gutrüne in his Agamemnon. An die Leier, a translation of mezzo-soprano Christa Ludwig with whom he Ring recording, and that paved the way for her Anacreon by Franz von Bruchmann, finds the collaborated for more than 12 years. Leonore in Beethoven’s Fidelio, a characterisation poet wanting to sing of noble things, but his of which William Mann wrote: ‘Nor does she lyre only wants to sing of love. And from then Further collaborations have been with Gundula leave any doubt of Leonore's fear and anguish, on it was a stream of Janowitz’s favourites Janowitz, Peter Schreier, Marjana Lipovsek, Jessye the apparent hopelessness of her quest, for all that conjure up so many memories until… Die Norman, Thomas Quasthoff, Andreas Schmidt, her invocation to hope; there are gleaming tears Forelle, given with charm, a lightness of touch Wolfgang Holzmair, Ulf Baestlein, Bernarda Fink, ̶ 4 ̶ ̶ 5 ̶ The Athenaeum International Cultural Centre is a non-profit music organisation. It was founded in 1974 by a group of artists, intellectuals and personalities of public life who shared in common the aspiration of regenerating Greek musical education as well as the cultural life of the country.

Every year, between 1978 and 2011, under the patronage of the Greek Ministry of Culture, the Athenaeum organised concerts in memory of Maria Ildiko Raimondi, Elena Garanca, Peter Seiffert, Callas, which were held on 16 September (the day Petra-Maria Schnitzer, Paul-Armin Edelmann, of Callas' death) at the Herodes Atticus Odeon, in Chen Reiss, Iris Vermillion, Rainer Trost, Christiane Athens. Besides paying tribute to Callas' memory, Oelze, Vesselina Kasarova and Florian Boesch. these concerts aimed to bring the winners of the Maria Callas International Music Competition of Recitals with these artists have taken him to Greece before a wider public. Additionally, many the major international concert venues, and famous artists were invited, such as Victoria de have been received enthusiastically by the los Ángeles, Christa Ludwig, Ileana Cotrubaș, Irina international press. Arkhipova, Hermann Prey, Lev Vlassenko, Tatiana Nikolayeva (her 1989 recital was issued by First Hand Since 1999 Charles Spencer is Ordinarius Records in 2016 [FHR46]), Halina Czerny-Stefańska, Professor of Liedinterpretation at the Music University, Vienna. In addition he holds an Tamás Vásáry, Annie Fischer, Cheryl Studer, Dame annual master class with Professor Ulf Baestlein Gwyneth Jones, Gundula Janowitz, as well as great in Husum, Germany. He is a Fellow of the Royal orchestras such as the Bolshoi Theatre Orchestra, Academy of Music, London. the Budapest Philharmonic Orchestra, the George Enescu Philharmonic Orchestra of Bucharest, the Prague Philharmonic Orchestra, and the Belgrade Philharmonic Orchestra, among others. ̶ 6 ̶ ̶ 7 ̶ Franz SCHUBERT (1797-1828) 3 An die Leier (To My Lyre), D. 737 (Op. 56/2) [4:58] 1 Die Götter Griechenlands (The Gods of Greece), D. 677 [4:26] (Franz von Bruchmann, 1798-1867) (Friedrich von Schiller, 1759-1805) Ich will von Atreus' Söhnen, I would sing of Atreus' sons, Schöne Welt, wo bist du? Kehre wieder, Fair world, where are you? Return again Von Kadmus will ich singen! Of Cadmus, Holdes Blütenalter der Natur! Sweet springtime of nature Doch meine Saiten tönen But my strings bring forth Ach, nur in dem Feenland der Lieder Alas, only in the magic land of song Nur Liebe im Erklingen. Only sounds of love. Lebt noch deine fabelhafte Spur. Does your fabled memory live on. Ausgestorben trauert das Gefilde, The deserted fields mourn, Ich tauschte um die Saiten, I have changed the strings, Keine Gottheit zeigt sich meinem Blick. No god reveals himself to me; Die Leier möcht ich tauschen! I should like to change the lyre! Ach, von jenem lebenwarmen Bilde Of that warm, living image Alcidens Siegesschreiten Alcides' victorious march Blieb der Schatten nur zurück. Only a shadow has remained. Sollt ihrer Macht entrauschen! Should ring out from its might!

Doch auch die Saiten tönen But these strings, too, 2 Iphigenia, D. 573 (Op. 98/3) [3:16] Nur Liebe im Erklingen! Bring forth only sounds of love! (Johann Baptist Mayrhofer, 1787-1836) So lebt denn wohl, Heroen! Farewell, then, heroes! Denn meine Saiten tönen For my strings, Blüht denn hier an Tauris Strande, Does no flower from my beloved homeland Statt Heldensang zu drohen, Instead of threatening with heroic songs, Aus dem teuren Vaterlande Bloom here on the shore of Tauris? Nur Liebe im Erklingen. Bring forth only sounds of love. Keine Blume, weht kein Hauch Does no breeze blow Aus den seligen Gefilden, From the blessed fields Wo Geschwister mit mir spielten? – Where my brothers and sisters played with me? 4 Ellens Gesang I ‘Raste, Krieger! Krieg ist aus’, (Ellen’s Song I ‘Soldier Rest! thy warfare o’er’), D. 837 (Op. 52/1) [8:26] Ach, mein Leben ist ein Rauch! Ah, my life is but smoke! (Adam Storck, 1780-1822, after Sir Walter Scott)

Trauernd wank’ ich in dem Haine, Sadly, hesitantly, I walk through the grove; Raste Krieger! Krieg ist aus, Rest, warrior! Your war is over, Keine Hoffnung nähr’ ich, keine, I cherish no hope – none – Schlaf den Schlaf, nichts wird dich wecken, Sleep the sleep, nothing shall wake you; Meine Heimat zu erseh’n, Of ever seeing my homeland. Träume nicht von wildem Strauß Do not dream of the fierce battle Und die See mit hohen Wellen, And the sea, with its mightly waves Nicht von Tag und Nacht voll Schrecken. Of days and nights filled with terrors. Die an Klippen sich zerschellen, Crashing against the cliffs, Übertäubt mein heißes Fleh’n. Drowns out my soft pleas. In der Insel Zauberhallen In the island's enchanted halls Wird ein weicher Schlafgesang A soft lullaby Göttin, die du mich gerettet, Goddess who rescued me Um das müde Haupt dir wallen Shall caress your weary head An die Wildnis angekettet, And chained me in this wilderness, Zu der Zauberharfe Klang. To the strains of a magic harp. Rette mich zum zweitenmal. Rescue me a second time; Gnädig lasse mich den Meinen, Mercifully grant, o goddess, Feen mit unsichtbaren Händen Fairies with unseen hands Laß’ o Göttin! mich erscheinen That I may appear before my own people Werden auf dein Lager hin Shall strew upon your bed in des großen Königs Saal! In the hall of the great king! Holde Schlummerblumen senden, Sweet flowers of sleep Die im Zauberlande blühn. That bloom in the enchanted land.

̶ 8 ̶ ̶ 9 ̶ Raste Krieger, Krieg ist aus, Rest, warrior! Your war is over, Er singt zu seinem Werke He sings at his work Schlaf den Schlaf, nichts wird dich wecken, Sleep the sleep, nothing shall wake you; Aus voller frischer Brust, from a full, vigorous heart. Träume nicht von wildem Strauß Do not dream of the fierce fight, Die Arbeit gibt ihm Stärke, His work gives him strength, Nicht von Tag und Nacht voll Schrecken. Of days and nights filled with terrors. Die Stärke Lebenslust. his strength exhilarates him.

Nicht der Trommel wildes Rasen, Neither the wild crash of drums, Bald wird ein bunt Gewimmel Soon a bright multitude Nicht des Kriegs gebietend Wort, Nor the summons to battle, In allen Tiefen laut will resound in the depths, Nicht der Todeshörner Blasen Not the blaring of death's horns Und plätschert durch den Himmel, and splash Scheuchen deinen Schlummer fort. Shall frighten away your sleep. Der sich im Wasser baut. through the watery heavens.

Nicht das Stampfen wilder Pferde, Neither the stomping of frenzied horses, Doch wer ein Netz will stellen, But whoever wishes to set a net Nicht der Schreckensruf der Wacht, Nor the sentry's fearful cry, Braucht Augen klar und gut, needs good, clear eyes, Nicht das Bild von Tagsbeschwerde Nor a vision of the day's cares Muß heiter gleich den Wellen must be as cheerful as the waves, Stören deine stille Nacht. Shall disturb your tranquil night. Und frei sein wie die Flut. and as free as the tide.

Doch der Lerche Morgensänge Yes the lark's morning song Dort angelt auf der Brücke There, on the bridge, the shepherdess Wecken sanft dein schlummernd Ohr, Shall gently awaken your slumbering ear, Die Hirtin. Schlauer Wicht, is fishing. Cunning wench, Und des Sumpfgefieders Klänge And the sounds of the marsh birds Gib auf nur deine Tücke, leave off your tricks! Steigend aus Geschilf und Rohr. Soaring from the reeds and rushes. Den Fisch betrügst du nicht. You won’t deceive this fish!

Raste Krieger! Krieg ist aus, Rest, warrior! You war is over, Schlaf den Schlaf, nichts wird dich wecken, Sleep the sleep, nothing shall wake you, 6 Der Fluß (The River), D. 693 [5:41] Träume nicht von wildem Strauß Do not dream of the fierce battle, (Friedrich von Schlegel, 1772-1829) Nicht von Tag und Nacht voll Schrecken. Of days and nights filled with terrors. Wie rein Gesang sich windet As pure song curls Durch wunderbarer Saitenspiele Rauschen, through the murmuring of the wondrous strings, 5 Fischerweise (Fisherman’s Tale), D. 881 (Op. 96/4) [3:31] Er selbst sich wiederfindet, finding itself again, (Franz Xaver von Schlechta, 1796-1875) Wie auch die Weisen tauschen, however much the melodies change, Daß neu entzückt die Hörer ewig lauschen, that, captivated anew, the audience listens for ever. Den Fischer fechten Sorgen The fisherman is not plagued Und Gram und Leid nicht an; by cares, grief or sorrow. So fließet mir gediegen So flows, steadfast, Er löst am frühen Morgen In the early morning he casts off Die Silbermasse, schlangengleich gewunden, the silver band, twisting snake-like Mit leichtem Sinn den Kahn. his boat with a light heart. Durch Büsche, die sich wiegen through swaying bushes, Vom Zauber süß gebunden, sweetly spellbound because Da lagert rings noch Friede Round about, peace still lies Weil sie im Spiegel neu sich selbst gefunden; they have found themselves anew in the mirror. Auf Wald und Flur und Bach over forest, meadow and stream, Er ruft mit seinem Liede with his song the fisherman Wo Hügel sich so gerne Where hills and bright clouds Die gold'ne Sonne wach. bids the golden sun awake. Und helle Wolken leise schwankend zeigen, gladly reveal themselves, gently rolling, . Wenn fern schon matte Sterne when in the distance faint stars ̶ 10 ̶ ̶ 11 ̶

Aus blauer Tiefe steigen, already rise from the blue depths Zu ihm mich immer fort I was ever drawn to it. Der Sonne trunkne Augen abwärts neigen. and the sun’s drunken eyes sink downwards. Ich mußt' auch heute wandern Today, too, I had to walk So schimmern alle Wesen So all things shimmer Vorbei in tiefer Nacht, Past it at dead of night; Den Umriß nach im kindlichen Gemüte, in outline in the childlike mind Da hab' ich noch im Dunkel Even in the darkness Das zur Schönheit erlesen which, chosen for beauty Die Augen zugemacht. I closed my eyes. Durch milder Götter Güte by the goodness of the kindly gods, In dem Kristall bewahrt die flücht'ge Blüte. preserves the fleeting blossom in the crystal waters. Und seine Zweige rauschten, And its branches rustled Als riefen sie mir zu: As if they were calling to me: Komm her zu mir, Geselle, ‘Come to me, friend, 7 Im Abendrot (In the Glow of Evening), D. 799 [4:19] Hier find'st du deine Ruh'! Here you will find rest.’ (Karl Gottlieb Lappe, 1773-1843) Die kalten Winde bliesen The cold wind blew O wie schön ist deine Welt, How lovely is your world, Mir grad ins Angesicht; Straight into my face, Vater, wenn sie golden strahlet! Father, in its golden radiance Der Hut flog mir vom Kopfe, My hat flew from my head; Wenn dein Glanz herniederfällt when your glory descends Ich wendete mich nicht. I did not turn back. Und den Staub mit Schimmer malet, and paints the dust with glitter; Wenn das Rot, das in der Wolke blinkt, when the red light that shines from the clouds falls Nun bin ich manche Stunde Now I am many hours’ journey In mein stilles Fenster sinkt! silently upon my window. Entfernt von jenem Ort, From that place; Und immer hör' ich's rauschen: Yet I still hear the rustling: Könnt ich klagen, könnt ich zagen? Could I complain? Could I be apprehensive? Du fändest Ruhe dort! ‘There you would find rest.’ Irre sein an dir und mir? Could I lose faith in you and in myself? Nein, ich will im Busen tragen No, I already bear your heaven Deinen Himmel schon allhier. here within my heart. 9 Das Lied im Grünen (Song in the Country), D. 917 (Op. 115/1) [4:26] Und dies Herz, eh' es zusammenbricht, And this heart, before it breaks, (Johann Anton Friedrich Reil, 1773-1843) Trinkt noch Glut und schlürft noch Licht. still drinks in the fire and savours the light. Ins Grüne, ins Grüne, da lockt uns der Frühling, To the green countryside! Spring­, Der liebliche Knabe, That sweet youth, invites us there, 8 Winterreise (Winter Journey), D. 911 (Op. 89/5): V. Der Lindenbaum (The Linden Tree) [5:29] Und führt uns am blumenumwundenen Stabe, And leads us with his flower-entwined staff (Wilhelm Müller, 1794-1827) Hinaus, wo die Lerchen und Amseln so wach, To where larks and blackbirds stir, In Wälder, auf Felder, auf Hügel zum Bach, To woods and fields, over hills to the brook, Am Brunnen vor dem Tore By the well, before the gate, Ins Grüne, ins Grüne. To the green countryside! Da steht ein Lindenbaum; Stands a linden tree; Ich träumt in seinem Schatten In its shade I dreamt Im Grünen, im Grünen, da lebt es sich wonnig, In the green countryside, life is blissful, So manchen süßen Traum. Many a sweet dream. da wandeln wir gerne, There we love to roam; Und heften die Augen dahin schon von ferne, Even from afar we fix our eyes on it, Ich schnitt in seine Rinde In its bark I carved Und wie wir so wandeln mit heiterer Brust, And as we wander there with cheerful hearts, So manches liebe Wort; Many a word of love; Umwallet uns immer die kindliche Lust, A childlike joy envelops us, Es zog in Freud’ und Leide In joy and sorrow Im Grünen, im Grünen. In the green countryside! ̶ 14 ̶ ̶ 15 ̶ Im Grünen, im Grünen, da ruht man so wohl, In the green countryside, we find such peace, Robert SCHUMANN (1810-1856) empfindet so Schönes, And sense such beauty; A Myrthen, Op. 25: No. 9, Lied der Suleika (Suleika's Song) [3:15] Und denket behaglich an dieses und jenes, We contentedly dwell on this and that, (Johann Wolfgang von Goethe, 1749-1832 and Marianne von Willemer, 1784-1860) Und zaubert von hinnen, ach! was uns bedrückt, Conjure away our troubles Und alles herbei, was den Busen entzückt, And conjure up our hearts delight, Wie mit innigstem Behagen, With what heartfelt contentment, Im Grünen, im Grünen. In the green countryside! Lied, empfind' ich deinen Sinn! Song, I grasp your meaning. Liebevoll du scheinst zu sagen: Lovingly you seem to say Im Grünen, im Grünen, da werden die Sterne In the green countryside, the stars Daß ich ihm zur Seite bin. That I am at his side, his side, So klar, die die Weisen Are so bright, those stars which the wise men Daß er ewig mein gedenket, That he eternally thinks of me alone, Der Vorwelt zur Leitung des Lebens uns preisen, Of old extolled as our life's guidance. Seiner Liebe Seligkeit, And ever bestows the bliss of love Da streichen die Wölkchen so zart uns dahin, The little clouds elide by so tenderly. Immerdar der Fernen schenket, On me, far away, who dedicates Da heitern die Herzen, da klärt sich der Sinn Our hearts are clarified, and our senses clear Die ein Leben ihm geweiht. Her life to him. Im Grünen, im Grünen. In the green countryside! Ja, mein Herz es ist der Spiegel, For my heart, dear friend, is the mirror Im Grünen, im Grünen, da wurde manch Plänchen In the green countryside many a little plan Freund, worin du dich erblickst, In which you have seen yourself, Auf Flügeln getragen, Takes wing, Diese Brust, wo deine Siegel This breast where your seal is imprinted, Die Zukunft der grämlichen Aussicht entschlagen. And the future sheds its gloomy aspect; Kuß auf Kuß hereingedrückt. Kiss upon kiss, kiss upon kiss. Da stärkt sich das Auge, da labt sich der Blick, The eye is strengthened and the gaze refreshed, Our Süßes Dichten, lautre Wahrheit, Your sweet art, its pure truth Leicht tändelt die Sehnsucht dahin und zurück longings play gently to and fro, Fesselt mich in Sympathie! Chains me in sympathy! Im Grünen, im Grünen. In the green countryside! Rein verkörpert Liebesklarheit The pure embodiment of love’s radiance, Im Gewand der Poesie. Dressed in the robes of poetry. Im Grünen, im Grünen, am Morgen, am Abend In the green countryside, morning and evening, In traulicher Stille In the intimate stillness, Wie mit innigstem Behagen, With what heartfelt contentment, Da wurde manch Liedchen und manche Idylle, Many a song and many an idyll burgeons, Lied, empfind' ich deinen Sinn! Song, I grasp your meaning. Gedichtet, gespielt, mit Vergnügen und Schmerz. There many a song and many an idyll Liebevoll du scheinst zu sagen: Lovingly you seem to say Denn leicht ist die Lockung, empfänglich das Herz Has been written and sung, with fun and with sorrow. Daß ich ihm zur Seite bin. That I am at his side, his side. Im Grünen, im Grünen. In the green countryside!

Ins Grüne, ins Grüne lasst heiter uns folgen Into the green countryside let us merrily follow B Lieder-Album für die Jugend (Album of Songs for the Young), Op. 79: [1:46] Dem freundlichen Knaben! The friendly youth. No. 26. Schneeglöckchen (Snowdrops) Grünt einst uns das Leben nicht fürder, And when, one day, life no longer blossoms for us, (Friedrich Rückert, 1788-1866) So haben wir klüglich die grünende Zeit nicht versäumt, Then we shall have been wise enough Und wann es gegolten, doch glücklich geträumt, Not to miss the verdant years, and shall have dreamed Der Schnee, der gestern noch in Flöckchen The snow, that only yesterday fell in little flakes Im Grünen, im Grünen. happily when the time was right, Vom Himmel fiel, From the sky, In the green countryside! Hängt nun geronnen heut als Glöckchen Hangs now, cast as a bell, Am zarten Stiel. From a delicate stem. Schneeglöckchen läutet, was bedeutet's A tiny bell of snow rings in the silent wood. Im stillen Hain? What can it mean?

̶ 16 ̶ ̶ 17 ̶ O komm geschwind! Im Haine läutet's O come quickly! The woods are ringing Bist du gebeugt und blasser; From the silent rays of sorrow; Den Frühling ein. To welcome spring. Ich möchte dir zu Füßen, I would silently pour out O kommt, ihr Blätter, Blüt' und Blume, Come quickly, leaves, blossoms and flowers, Wie dieser Blume Wasser, My soul at your feet, Die ihr noch träumt, You who still dream. Still meine Seele gießen! As I pour water upon this flower. All zu des Frühlings Heiligtume! Into spring’s shrine Könnt ich dann auch nicht sehen Even if I could not see you Kommt ungesäumt! Come without delay! Dich freudig auferstehen! Joyously revive!

C Myrthen, Op. 25: No. 7, Die Lotosblume (The Lotus Flower) [2:19] E Myrthen, Op. 25: No. 3, Der Nußbaum (The Walnut Tree) [3:34] (Heinrich Heine, 1797-1856) (Julius Mosen, 1803-1867)

Die Lotosblume ängstigt The lotus flower fears Es grünet ein Nußbaum vor dem Haus, A walnut tree blooms outside the house, Sich vor der Sonne Pracht The sun’s splendour, Duftig, luftig breitet er blättrig die Blätter aus. Fragrantly, airily, spreading its leafy boughs. Und mit gesenktem Haupte And with lowered head, Erwartet sie träumend die Nacht. Dreaming, awaits the night. Viel liebliche Blüten stehen dran; It bears many a lovely blossom, Linde Winde kommen, sie herzlich zu umfahn. Tenderly caressed by soft breezes. Der Mond, der ist ihr Buhle The moon is her lover, Er weckt sie mit seinem Licht, He wakes her with his light, Es flüstern je zwei zu zwei gepaart, In pairs they whisper, Und ihm entschleiert sie freundlich And to him she lovingly unveils Neigend, beugend zierlich zum Kusse die Häuptchen zart. Gracefully bending their delicate heads to kiss. Ihr frommes Blumengesicht, Her innocent flower-face. Sie flüstern von einem Mägdlein, They whisper of a maiden who dreamed Sie blüht und glüht und leuchtet She blooms and glows and shines, Das dächte die Nächte und Tage lang, wußte, ach! Night and day, but, alas, knew not what. Und starret stumm in die Höh’; Gazing silently upwards; selber nicht was. Sie duftet und weinet und zittert Fragrant, weeping and trembling Vor Liebe und Liebesweh. For love, and love’s pain. Sie flüstern – wer mag verstehn so gar leise Weis’ – They whisper – who can understand so soft a song – Flüstern von Bräut’gam und nächstem Jahr. Whisper of a bridegroom, and next year.

D Sechs Gedichte und Requiem (Six Poems and Requiem), Op. 90: No. 2, Meine Rose [3:55] Das Mägdlein horchet, es rauscht im Baum; The girl listens as the tree rustles; (Nikolaus Lenau, 1802-1850) Sehnend, wähnend sinkt es lächelnd in Schlaf und Traum. Yearning, musing, she smiles and drifts into sleep and dreams. Dem holden Lenzgeschmeide, To the fair jewel of springtime, Der Rose, meiner Freude, To the rose, my joy, Die schon gebeugt und blasser Already drooping and paler Vom heißen Strahl der Sonnen, From the sun’s hot rays, Reich ich den Becher Wasser I offer a beaker of water Aus dunklem, tiefem Bronnen. From the deep, dark well.

Du Rose meines Herzens! Rose of my heart! Vom stillen Strahl des Schmerzens You are drooping and paler ̶ 18 ̶ ̶ 19 ̶ Richard STRAUSS (1864-1949) H Vier Lieder, Op. 27: No. 4, Morgen! (Tomorrow!) [4:07] F Vier Lieder, Op.36: No. 1, Das Rosenband (The Rose Garland) [3:25] (John Henry Mackay, 1864-1933) (Friedrich Gottlieb Klopstock, 1724-1803) Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, Im Frühlingsschatten fand ich sie, In the spring shade I found her Und auf dem Wege, den ich gehen werde, And on the path that I shall tread Da band ich sie mit Rosenbändern: And bound her with rosy ribbons; Wird uns, die Glücklichen, sie wieder einen It will again unite us in our happiness Sie fühlt‘ es nicht und schlummerte. She felt nothing, and slumbered on. Inmitten dieser sonnenatmenden Erde... In the midst of this sun-breathing earth.

Ich sah sie an; mein Leben hing I looked at her; with that gaze Und zu dem Strand, dem weiten, wogenblauen, And to the shore, broad and blue with waves, Mit diesem Blick an ihrem Leben: My life hung on hers; Werden wir still und langsam niedersteigen, We shall climb down, softly, slowly. Ich fühlt‘ es wohl und wußt‘ es nicht. I felt it well, yet knew it not. Stumm werden wir uns in die Augen schauen, Silently we shall gaze into each other’s eyes, Und auf uns sinkt des Glückes stummes Schweigen... And upon us will fall the wordless silence of happiness. Doch lispelt‘ ich ihr sprachlos zu But I whispered wordlessly to her Und rauschte mit den Rosenbändern. And rustled the rosy ribbons. Da wachte sie vom Schlummer auf. Then she awoke from her slumber. I Drei Lieder, Op. 29: No. 3, Nachtgang (Walk at Night) [3:27] (Otto Julius Bierbaum, 1865-1910) Sie sah mich an; ihr Leben hing She looked at me; with that gaze Mit diesem Blick an meinem Leben, Her life hung on mine, Wir gingen durch die stille, milde Nacht, dein Arm We walked through the silent, gentle night, your arm Und um uns ward Elysium. And around us it became Elysium. in meinem, dein Auge in meinem; Der Mond goß In mine, your eyes gazing into mine; the moon shed silbernes Licht über dein Angesicht; wie auf Goldgrund Its silver light over your face; as if on gold ruhte dein schönes Haupt, und du erschienst mir wie Your lovely head lay, and you seemed to me G Acht Gedichte aus Letzte Blätter, Op. 10 (Eight Poems from Last Leaves): No. 8, Allerseelen (All Souls’ Day) [3:45] eine Heilige: mild, mild und groß und seelenübervoll, Like a saint; gentle, gentle and great, your soul overflowing, (Hermann von Gilm zu Rosenegg, 1812-1864) heilig und rein wie die liebe Sonne. Und in die Augen As holy and pure as the dear sun. And a warm impulse schwoll mir ein warmer Drang, wie Tränenahnung. Filled my eyes, like impending tears. Stell' auf den Tisch die duftenden Reseden, Place the fragrant mignonettes on the table, Fester faßt' ich dich und küßte – küßte dich ganz I held you closer and kissed you – kissed you Die letzten roten Astern trag' herbei, Bring the last of the red asters, leise, – meine Seele weinte. So gently – my soul wept. Und laß uns wieder von der Liebe reden, And let us speak of love again Wie einst im Mai. As we once did in May. J Fünf Lieder, Op. 39, No. 4, Befreit (Freed) [6:04] Gib mir die Hand, daß ich sie heimlich drücke Give me your hand, that I may secretly press it, (Richard Fedor Leopold Dehmel, 1863-1920) Und wenn man's sieht, mir ist es einerlei; And if someone sees it, it’s all the same to me. Gib mir nur einen deiner süßen Blicke, Give me just one of your sweet glances Du wirst nicht weinen. Leise, leise You will not weep. Gently Wie einst im Mai. As you once did in May. wirst du lächeln und wie zur Reise You will smile, and as before a journey geb' ich dir Blick und Kuß zurück. I shall return your glance and your kiss. Es blüht und duftet heut' auf jedem Grabe, Today each grave flowers fragrantly, Unsre lieben vier Wände, du hast sie bereitet, You have cared for our beloved four walls, Ein Tag im Jahre ist ja den Toten frei, One day a year is dedicated to the dead; ich habe sie dir zur Welt geweitet; I have widened them into the whole world for you; Komm an mein Herz, daß ich dich wieder habe, Come to my heart, that I again may have you O Glück! O happiness! Wie einst im Mai. As I did once in May. Dann wirst du heiß meine Hände fassen Then, passionately, you will clasp my hands ̶ 20 ̶ ̶ 21 ̶ und wirst mir deine Seele lassen, And leave me your soul, Das Bächlein tückisch trübe, he made the brook cloudy, läßt unsern Kindern mich zurück. Leaving me behind for our children. Und eh ich es gedacht, and in an instant Du schenktest mir dein ganzes Leben, You gave me your whole life, So zuckte seine Rute, his rod quivered Ich will es ihnen wieder geben; I will give it back to them, Das Fischlein zappelt dran, and the little fish struggled on it. O Glück! O happiness! Und ich mit regem Blute And I, my blood boiling, Sah die Betrogene an. looked on at the cheated creature. Es wird sehr bald sein, wir wissen's beide, It will be very soon, we both know, wir haben einander befreit vom Leide, We have freed each other from suffering All translations © 1988, 2017 Richard Wigmore so gab' ich dich der Welt zurück! And I will give you back to the world. Dann wirst du mir nur noch im Traum erscheinen Then you will appear to me only in dreams, und mich segnen und mit mir weinen; And bless me, and weep with me; Recording note: Recorded at the Herodes Atticus Odeon, Athens, O Glück! O happiness! This recording was originally made for archival, Greece, 16 September, 1999 • First release non-commercial purposes. Only two semi-omni Encore: directional boundary mics were used, discreetly Engineered by Themis Zafiropoulos • Remastered Franz SCHUBERT placed flat on the stage in front of the singer. by John Christodoulatos (Sweetspot Productions), K Die Forelle (The Trout), D. 550 (Op. 32) [2:18] However, as a result, and also owing to the fact Jonathan Mayer & David Murphy (FHR) (Christian Friedrich Daniel Schubart, 1739-1791) that the recital took place in an open-air theatre, In einem Bächlein helle, In a limpid brook a significant amount of external noise was Photos: Herodes Atticus Odeon: CD cover Da schoß in froher Eil' the capricious trout captured, including motor vehicles and passing (Yurasov Valery), rear inlay (Smoxx), under CD Die launische Forelle in joyous haste, Vorüber wie ein Pfeil. darted by like an arrow. planes, as well as normal audience noises. tray & label (Anastasy Yarmolovich), behind Ich stand an dem Gestade I stood on the bank Most of these noises, some of which were very booklet text (Georgios Alexandris). Pages 16-17 Und sah in süßer Ruh' in blissful peace, watching Des muntern Fischleins Bade the lively fish swim intrusive, have been removed though, at times, view of The Acropolis of Athens, with Herodes Im klaren Bächlein zu. in the clear brook. the result is an unavoidable compromise of the Atticus Odeon in the foreground (Nick Pavlakis). quality of the remastered audio. All Images mentioned above used Ein Fischer mit der Rute An angler with his rod Wohl an dem Ufer stand, stood on the bank under license from Shutterstock.com Und sah's mit kaltem Blute, cold-bloodedly watching FHR thanks David Aronson, Peter Bromley, Gundula Janowitz: Page 4 stills from video Wie sich das Fischlein wand. the fish's contortions. John Christodoulatos, Colin Deane, footage (filmed by Andrew Visnevski). So lang dem Wasser Helle, As long as the water, So dacht ich, nicht gebricht, is clear, I thought Eckhardt von den Hoogen, Gundula Janowitz, Pages 3-4 & page 7 concert flyer used with kind So fängt er die Forelle he will never catch the trout James Jolly, Julia Kogan, Anna Koukouraki permission of the Colin Deane Archive. Mit seiner Angel nicht. with his rod and line. (Athenaeum International Cultural Centre) Page 5 Charles Spencer (© Jan Neubert) Doch endlich ward dem Diebe But at length the thief Andrew Visnevski, Richard Wigmore Die Zeit zu lang. Er macht grew impatient. Cunningly & Themis Zairopoulos Artwork by David Murphy (FHR) ̶ 22 ̶ ̶ 23 ̶