sign in sign up
<<
Home , Allerseelen (Strauss), Arabella, Des Dichters Abendgang, Die Nacht (Strauss), Felicity Lott, Lied

(1864-1949)

NOCTURNES AND FANTASIES GIRLS IN AND OUT OF LOVE RICHARD STRAUSS: SONGS 1 Waldseligkeit, Op.49 No.1 (1900-1901) 2’48 19 Winterweihe, Op.48 No.4 (1900) 2’52 2 , Op.10 No.3 (1885) 2’59 20 Das Rosenband, Op.36 No.1 (1897) 3’21 3 Ständchen, Op.17 No.2 (1886) 2’31 21 Cäcilie, Op.27 No.2 (1894) 2’22 4 Leises Lied, Op.39 No.1 (1898) 2’27 22 Ach! was Kummer, Qual und Schmerzen, 5 Schlechtes Wetter, Op.69 No.5 (1918) 2’30 Op.49 No.8 (1901) 2’05 FELICITY LOTT 6 , Op.47 No.2 (1900) 5’20 DREI LIEDER DER OPHELIA, OP. 67 (1918) 7 Der Stern, Op.69 No.1 (1918) 1’53 23 No.1: Wie erkenn’ ich mein Treulieb vor andern nun 2’27 GRAHAM JOHNSON FLOWERS 24 No.2: Guten Morgen, ‘s ist Sankt Valentinstag 1’25 8 Die Verschwiegenen, Op.10 No.6 (1885) 1’20 25 No.3: Sie trugen ihn auf der Bahre bloss 3’54 9 Die Zeitlose, Op.10 No.7 (1885) 1’42 10 Blauer Sommer, Op.31 No.1 (1895-1896) 2’22 26 MORGEN! OP.27 NO.2 (1894) 4’05 11 Ich wollt ein Sträußlein binden, Op.68 No.2 (1918) 2’58

VALEDICTIONS AND LULLABIES 72’42 12 Ruhe, meine Seele! Op.27 No.1 (1894) 3’43 13 , Op.10 No.8 (1885) 3’32 14 Einerlei, Op.69 No.3 (1918) 2’48 15 Meinem Kinde, Op.37 No.3 (1897) 2’27 16 Wiegenlied, Op.41 No.1 (1899) 4’34 17 Muttertändelei, Op.43 No.2 (1899) 2’20 18 , Op.10 No.1 (1885) 1’55 A GARLAND OF STRAUSS SONGS

All but seven of the Lieder by Richard Strauss included on this disc were composed raining and snowing, as the piano tells us, but the mother goes shopping to buy between 1885 and 1901, the years of the richest flowering of his genius in this the ingredients for the cake she wants to bake for her golden-haired daughter. And field. In the last seven years of this period he was married to the soprano Pauline it ends as a waltz. We are back to the music of eventide in Des Dichters Abendgang de Ahna, who had been his pupil since 1887. Until her retirement in 1906 they (The Poet’s Evening Walk), the second of the five Lieder, Op.47, all settings of gave many recitals together at which she sang most of the songs here sung by Ludwig Uhland (1787–1862) composed in 1900 and the only one of the set which Dame Felicity Lott. For this CD Graham Johnson has divided them into four Strauss later (June 1918) orchestrated. It was originally written for a , but the categories. orchestral version was for soprano. Both published versions are in the key of D flat. The opening describes the sunset (‘very quiet and solemn’). The poet gazes into a temple ‘where heavenly fantasies abound’ and its magic spell will stay with him to Nocturnes and Fantasies light him on his gloomy path. Achim von Arnim (1781–1831) wrote Der Stern (The Strauss went to contemporary poets for many of his texts. He set eleven poems by Star) to mark the appearance in 1811 of a great comet. Strauss set the poem on 21 Richard Dehmel (1863–1920). Waldseligkeit (Woodland Bliss) is the first of the eight June 1918 on the spur of the moment as Op.69 No.1. It is almost like a folk song songs of Op.49, composed in 1901, and taken from a collection called Redemptions. in its gentle style. It is dedicated to Pauline and its concluding words are ‘I am completely my own yet entirely yours’. The music, in Strauss’s favourite key for rapture, F sharp, describes a nocturnal wanderer in the rustling forest. Its floating cantilena looks far ahead to Flowers the serenity of the . Strauss’s flair for romantic nocturnal tone- Die Verschwiegenen (The Discreet Ones) and Die Zeitlose (The Meadow Saffron) are painting had been demonstrated as early as 1885, when he was 21, in Die Nacht Nos.6 and 7 of the Op.10 Gilm set of 1885. Both are short, almost epigrammatic, (The Night), the third of his eight Op.10 settings of Hermann von Gilm the former written in a declamatory mode as the lover proclaims that he has told (1812–1864). Its opening phrase is already an echt-Strauss melody. But the song all the flowers of ‘the wrong you did me’ but not to worry because those who knew which made Strauss famous was composed over a year later, in December 1886. of it are now dead. The saffron, says the second song, has poison in the calyx, like Ständchen (Serenade), with its filigree to a haunting melody, is the love. Strauss set three poems by Carl Busse (1872–1918) in 1895–6 as part of his second of six settings, Op.17, of Adolf Friedrich von Schack (1815–1894). Strauss Op.31, a wedding gift to his sister Johanna. Blauer Sommer (Blue Summer) came to deplore the song’s popularity, but he couldn’t avoid it. Leises Lied (Gentle describes the heat of summer through the device of a five-bar theme repeated Song) is another Dehmel setting, Op.39 No.1 of 1898. It is a meditation in a identically five times in the accompaniment but transposed down a minor third garden at night near a fountain, as the lover longs for his absent beloved in music each time, while the voice, after the first statement, goes its own way. of delicate impressionism – Strauss’s only use in song of the whole-tone scale. With Strauss composed no songs between 1906 and 1918, partly because Pauline retired Schlechtes Wetter (Terrible Weather), Op.69 No.5, composed in 1918 to a poem by and partly because of a copyright dispute. When he resumed, he wrote the six (1797–1856), we encounter Strauss in his wittiest light mood. It is masterly Op.68 settings of Clemens Brentano (1778–1842) for Elizabeth Schumann, who never sang them all. But she did sing the enchanting Ich wollt ein repetition three times of a modulation a minor third higher until arriving at the Sträusslein binden (I would have made you a bouquet), half-wistful, half-tragic key with which it began. Das Rosenband (The Rose Garland), a poem by Friedrich with chromatic harmonies underlining the pathos. Klopstock (1724–1803), which Schubert set, was composed in 1897 – as Op.36 No.1 – with orchestral accompaniment, the piano version following later and omitting some of the detailed decoration. Cäcilie (Cecily) was composed in 1894 Valedictions and Lullabies on the eve of Strauss’s wedding as No.2 of Op.27. The poem is by Heinrich Hart This group contains some of Strauss’s best and best-known songs. Ruhe, meine (1855–1906) and inspired in Strauss music as ardent and impulsive as his tone Seele! (Rest, my soul!) is the first of the four Op.27 songs which he gave to poem . Curt Mündel (1852–1906) was the poet of Ach! Was Kummer, Qual Pauline on their wedding day in 1894. The words are by Karl Henckell und Schmerzen (Oh! What sorrows, anguish and pain), the eighth of the Op.49 (1864–1929) and are an imprecation to rest by one whose troubles lie behind set, composed in 1901. It is like a relaxed folk song, with a refrain of ‘Hm, hm, him. It is a dark, sombre, wonderful song. Allerseelen (All Souls Day) is the hm’ as the girl tells of her woes (not too seriously). eighth of the Op.10 Gilm set and could have been included in the Flowers The three Ophelia songs from Op.67 of 1918 are set to Simrock’s translation of group. It is one of Strauss’s most lyrical songs, a love-song in E flat set against Shakespeare. They are among Strauss’s most difficult songs but he was a master of the background of the flower-decked graves of the dead. Einerlei (Singular One), depicting degrees of madness, as we know from and . In the No.3 of the Op.69 Arnim settings is an ingenious, catchy little song, its melody first, Ophelia’s mind wanders aimlessly and wanly, in the second she is even more anticipated in the piano prelude. Of the three lullabies, Meinem Kinde (To my distracted and manic, and in the last, the longest, despite its diversions into Child), Op.37 No.3, poem by Gustav Falke (1853–1916), was composed in 1897 waltz tempo and its richer content, the mood-swings are alarming. In all Strauss’s during Pauline’s pregnancy. Wiegenlied (Cradle Song), words by Dehmel, Op.41 songs the piano part (no mere accompaniment) is on an equal footing with the No.1, composed 1899, is sheer enchantment; and Muttertändelei (Mother- voice. Not only is it always illustrative, but in several songs there is either a Chatter) Op.43 No.2, with words by Gottfried Bürger (1747–1794) is an ecstatic prologue or epilogue which in itself is a miniature tone-poem or commentary. expression of a mother’s belief that her child is the best ever. The first song in Their difficulty, incidentally, is an indication of Strauss’s own ability as a pianist. Op.10, Zueignung (Dedication) is an ecstatic outpouring but also a valediction – In no song has the pianist so integral a part as in the famous and beloved ‘Habe Dank’ (‘accept my thanks’) is the refrain throughout from one who ‘far Morgen! (Tomorrow!), the last of the four Op.27 wedding-gift songs for Pauline from you’, torments himself. (the poem is by J. H. Mackay, 1864–1933). It is breathless rapture turned into music, one of the great songs of the world. Girls in and out of love g Michael Kennedy 2003 Winterweihe (Winter Consecration) is a Henckell setting, Op.48 No.4, composed in 1900. It is an intense and devout expression of love, its mood achieved by DAME FELICITY LOTT - SOPRANO

Felicity Lott was born and educated in Cheltenham, read French at Royal Holloway A founder member of The Songmakers' College, of which she is now an Honorary Fellow, and at the Royal Academy Almanac, Felicity has appeared on the of Music, of which she is a Fellow and a Visiting Professor. Her operatic repertoire major recital platforms of the world, ranges from Handel to Stravinsky, but she has above all built up her formidable including the Salzburg, Prague, Bergen, international reputation as an interpreter of the great roles of Mozart and Strauss. Aldeburgh, Edinburgh and Munich At the Royal House she has sung Anne Trulove, Blanche, Ellen Orford, Eva, Festivals, the Musikverein and Countess Almaviva and under Mackerras, Tate, Davis and Haitink, the Marschallin. At Konzerthaus in Vienna and the Salle the Glyndebourne Festival her roles include Anne Trulove, Pamina, Donna Elvira, Gaveau, Musée d’Orsay, Opéra Comique, Oktavian, Christine (), Countess Madeleine () and the title role in Châtelet and Théâtre des Champs-Elysées . Her roles at the , Munich include Christine, Countess in Paris. She has a particularly close Almaviva, Countess Madeleine and the Marschallin. For the Vienna State Opera her association with the and roles include the Marschallin under Kleiber which she has sung both in Vienna and received the Wigmore Hall Medal in Japan. In Paris, at the Opéra Bastille, Opéra Comique, Châtelet and Palais Garnier February 2010 for her significant she has sung Cleopatra, Fiordiligi, Countess Madeleine, the Marschallin and the title contribution to the hall. roles in La Belle Hélène and La Grande-Duchesse de Gérolstein. At the Metropolitan Her many awards include honorary Opera, New York, she sang the Marschallin under and Countess doctorates at the Universities of Oxford, Almaviva under James Levine. She recently sang Poulenc’s heroine in staged Loughborough, Leicester, London and performances of La Voix Humaine at the Teatro de La Zarzuela, Madrid, the Maison Sussex and the de la Culture de Grenoble and the Opéra National de Lyon. and Drama in Glasgow. She was made a She has sung with the Vienna Philharmonic and Chicago under CBE in the 1990 New Year Honours and Solti, the Munich Philharmonic under Mehta, the London Philharmonic under in 1996 was created a Dame Commander Haitink, Welser-Moest and Masur, the Concertgebouworkest under Masur, the Suisse of the British Empire. In February 2003 Romande and Tonhalle orchestras under Armin Jordan, the Boston Symphony under she was awarded the title of Bayerische Previn, the New York Philharmonic under Previn and Masur, the BBC Symphony Kammersängerin. She has also been with Sir Andrew Davis in London, Sydney and New York, and the Cleveland awarded the titles Officier de l'Ordre des Orchestra under Welser-Moest in Cleveland and Carnegie Hall. In Berlin she has sung Arts et des Lettres and Chevalier de with the Berlin Philharmonic under Solti and Rattle and the Deutsche Staatskapelle l’Ordre National de la Légion d’Honneur under Philippe Jordan. by the French Government. GRAHAM JOHNSON - PIANO

Graham Johnson is recognised as one of the world’s leading vocal accompanists. Chabrier and Fauré are either Born in Rhodesia, he came to London to study in 1967. After leaving the Royal already available, or in preparation. Academy of Music his teachers included Gerald Moore and Geoffrey Parsons. In All these discs are issued with 1972 he was the official pianist at ’ first masterclasses at The Graham Johnson’s own programme Maltings, Snape, which brought him into contact with – a link notes which set new standards for which strengthened his determination to accompany. In 1976 he formed the CD annotations. He has also Songmakers’ Almanac to explore neglected areas of piano-accompanied vocal recorded for Sony, BMG, Harmonia music; the founder singers were Dame Felicity Lott, DBE, Anthony Mundi, Forlane, EMI and DGG. Rolfe Johnson and Richard Jackson – artists with whom he has established long Awards include the Gramophone solo and fruitful collaborations both on the concert platform and the recording vocal award in 1989 (with Dame studio. Some 250 Songmakers’ programmes were presented over the years. ), 1996 (Die schone Graham Johnson has accompanied such distinguished singers as Sir Thomas Müllerin with Ian Bostridge), 1997 Allen, Victoria de los Angeles, Elly Ameling, Arleen Auger, Ian Bostridge, Brigitte (for the inauguration of the Fassbaender, , , Simon Keenlyside, Angelika Schumann series with Christine Kirchschlager, Philip Langridge, Serge Leiferkus, Christopher Maltman, Edith Schäfer) and 2001 (with Magdalena Mathis, , Christoph Prégardien, Dame , Thomas Quastoff, Kozena). He was The Royal Dorothea Röschmann, , Christine Schaefer, , Dame Philharmonic Society’s and Sarah Walker. Instrumentalist of the Year in 1998; His relationship with the Wigmore Hall is a special one. He devised and in June 2000 he was elected a accompanied concerts in the hall’s re-opening series in 1992, and in its member of the Royal Swedish centenary celebrations in 2001. He has been Chairman of the jury for the Academy of Music. He is author of Wigmore Hall Song Competition since its inception. He is Senior Professor of The Songmakers’ Almanac; Twenty years of recitals in London, The French Song Accompaniment at the Guildhall School of Music and has led a biennial scheme Companion for OUP (2000), The Vocal Music of Benjamin Britten (Guildhall 2003) for Young Songmakers since 1985. He has had a long and fruitful link with and Gabriel Fauré – the Songs and their Poets (2009). , with both Ted Perry and Simon Perry, for whom he has devised He was made an OBE in the 1994 Queen’s Birthday Honours list and in 2002 he and accompanied a set of complete Schubert Lieder on 37 discs, a milestone in was created Chevalier in the Ordre des Arts et Lettres by the French Government. the history of recording, and a complete Schumann series. There is an ongoing He was also made an Honorary Member of the Royal Philharmonic Society in French Song series where the complete songs of such composers as Chausson, February 2010. TEXTS

WALDSELIGKEIT (WOODLAND BLISS) Ausgeplündert steht der Strauch: The shrubs stand plundered, RICHARD FEDOR LEOPOLD DEHMEL (1863-1920) Rücke näher, Seel’ an Seele, Draw nearer, soul to soul; Translated by Emily Ezust O die Nacht, mir bangt, sie stehle Oh, I fear the night will also steal You from me. Der Wald beginnt zu rauschen, The woods begin to rustle, Dich mir auch. den Bäumen naht die Nacht; and Night approaches the trees; als ob sie selig lauschen, as if they were listening raptly, they gently touch each other. STÄNDCHEN (SERENADE) berühren sie sich sacht. ADOLF FRIEDRICH, GRAF VON SCHACK (1815-1894) Translated by Rebecca Plack and Lawrence Snyder Und unter ihren Zweigen, And under their branches, da bin ich ganz allein, I am entirely alone, Mach auf, mach auf! Doch leise mein Kind, Open up, open, but softly my dear, da bin ich ganz dein eigen I am entirely yours: Um Keinen vom Schlummer zu wecken! So as to wake no one from sleep. ganz nur Dein! entirely yours. Kaum murmelt der Bach, kaum zittert im Wind The brook hardly murmurs, the wind hardly shakes Ein Blatt an den Büschen und Hecken; A leaf on bush or hedge. Drum leise, mein Mädchen, daß nichts sich regt, So, softly, my maiden, so that nothing stirs, DIE NACHT (THE NIGHT) Nur leise die Hand auf die Klinke gelegt! Just lay your hand softly on the doorlatch. HERMANN VON GILM ZU ROSENEGG (1812–1864), FROM LETZTE BLÄTTER Translated by Rebecca Plack and Lawrence Snyder Mit Tritten, wie Tritte der Elfen so sacht, With steps as soft as the footsteps of elves, Aus dem Walde tritt die Nacht, Night steps out of the woods, Um über die Blumen zu hüpfen, Soft enough to hop over the flowers, Aus den Bäumen schleicht sie leise, And slips softly out of the trees, Flieg leicht hinaus in die Mondscheinnacht, Fly lightly out into the moonlit night, Schaut sich um in weitem Kreise, Looks about in a wide circle, Zu mir in den Garten zu Schlüpfen! To steal to me in the garden. Nun gib Acht! Now beware! Rings schlummern die Blüten am riselnden Bach The flowers are sleeping along the rippling brook, Und duften im Schlaf, nur die Liebe ist wach. Fragrant in sleep, only love is awake. Alle Lichter dieser Welt, All the lights of this earth, Alle Blumen, alle Farben All flowers, all colours Sitz nieder, hier dämmerts geheimnisvoll Sit, here it darkens mysteriously Löscht sie aus und stiehlt die Garben It extinguishes, and steals the sheaves Unter den Lindenbäumen, Beneath the lindens, Weg vom Feld. From the field. Die Nachtigall uns zu Häupten soll The nightingale over our heads Von unseren Küssen träumen, Shall dream of our kisses, Alles nimmt sie, was nur hold, It takes everything that is clear, Und die Rose, wenn sie am Morgen erwacht, And the rose, when it wakes in the morning, Nimmt das Silber weg des Stroms, Takes the silver from the stream, Hoch glühn von den Wonnenschauern der Nacht. Shall glow from the wondrous passions of the night. Nimmt vom Kupferdach des Doms Takes away, from the cathedral’s copper roof, Weg das Gold. The gold. LEISES LIED (GENTLE SONG) Ich glaube, Mehl und Eier Flour and eggs, I think, RICHARD FEDOR LEOPOLD DEHMEL (1863-1920) Und Butter kaufte sie ein; And butter – she has bought; Translated by Emily Ezust Sie will einen Kuchen backen She plans to bake a cake For her grown-up darling daughter. In einem stillen Garten In a quiet garden Für’s große Töchterlein. an eines Brunnens Schacht, Beside a well She is lying at home in an armchair wie wollt’ ich gerne warten How I yearned to wait Die liegt zu Hause im Lehnstuhl, And she blinks sleepily in the light; die lange graue Nacht! The grey night through! Und blinzelt schläfrig ins Licht; Die goldnen Locken wallen Her golden curls straying Viel helle Lilien blühen Many fair lilies Über das süße Gesicht. Over her sweet face. um des Brunnens Schlund; Round the well’s edge bloom drin schwimmen golden di Sterne, Down in it the stars swim so golden drin badet sich der Mond. Down in it bathes the moon. DES DICHTERS ABENDGANG (THE POET’S EVENING WALK) JOHANN LUDWIG UHLAND (1787-1862) Und wie in den Brunnen schimmern And just as into the well Translated by Richard Stokes Die lieben Sterne hinein, The dear stars shimmer glänzt mir im Herzen immer So always into my heart shines Ergehst du dich im Abendlicht If you stroll in the evening light deiner lieben Augen schein The light of your dear eyes. (Das ist die Zeit der Dichterwonne): (That is the time for a poet’s rapture): So wende stets dein Angesicht Always turn your face But the stars in the sky Die Sterne doch am Himmel, Um Glanze der gesunknen Sonne! To the glory of the now departed sun! They stand so distant; die stehen all’ so fern; In hoher Feier schwebt dein Geist, Your spirit will soar in noble solemnity, In your quiet garden in deinem stillen Garten Du schauest in des Tempels Hallen, You will gaze into the halls of the temple, Would I now willingly stand. stünd’ ich jetzt so gern. Wo alles Heilge sich erschleußt Where all that is holy is disclosed Und himmlische Gebilde wallen. And heavenly forms move to and fro.

SCHLECHTES WETTER (TERRIBLE WEATHER) But when the dark clouds HEINRICH HEINE (1797-1856) Wann aber im das Heiligthum Translated by Emily Ezust Die dunkeln Wolken niederrollen: Roll down around the sanctuary, Dann ists vollbracht, du kehrest um, Then all is accomplished, you will turn back, Das ist ein schlechtes Wetter, It is terrible weather: Beseligt von dem Wundervollen. Enraptured by the wonders you’ve seen, Es regnet und stürmt und schneit; It’s raining and storming and snowing; In stiller Rührung wirst du gehn, You will go with quiet emotion, Ich sitze am Fenster und schaue I sit at the window and gaze Du trägst in dir des Liedes Segen; You will bear in you the blessing of a song; Hinaus in die Dunkelheit. Out into the darkness. Das Lichte, das du dort gesehn, The brightness that you have seen there Umglänzt dich mild auf finstern Wegen. Will shine round you softly on sombre paths. Da schimmert ein einsames Lichtchen, There, a lonely light is gleaming, Das wandelt langsam fort; And it moves slowly onward; Ein Mütterchen mit dem Laternchen A little old woman with a lantern Wankt über die Straße dort. Totters across the street there. DER STERN (THE STAR) Doch hat’s dabei noch keine Noth, And so, I have no more distress, KARL JOACHIM (“ACHIM”) FRIEDRICH VON ARNIM (1781-1831) Bleib’ munter nur und heiter; I remain only bright and cheerful, Translated by Richard Stokes Die es gewußt, sind alle todt For those who knew it are all dead, And will say nothing further. Ich seh ihn wieder I see it again, Und sagen’s nicht mehr weiter. Den lieblichen Stern; The beautiful star; Er winket hernieder, It beckons from on high, And would gladly draw near; DIE ZEITLOSE (THE MEADOW SAFFRON) Er nahte mir gern; HERMANN VON GILM ZU ROSENEGG FROM LETZTE BLÄTTER Er wärmet und funkelt, It warms and sparkles, Translated by Emily Ezust Je näher er kömmt, The closer it comes, Die andern verdunkelt, It dims all the others, Auf Frisch gemähtem Weideplatz Upon a freshly mown pasture Die Herzen beklemmt. Oppresses all hearts. Steht einsam die Zeitlose, Stands a solitary meadow saffron, Den Leib von einer Lilie, Its body that of a lily, Die Haare im Fliegen With its streaming mane Die Farb’ von einer Rose; Its colour that of a rose. Er eilet mir zu, It hurries towards me, Das Volk träumt von Siegen, Nations dream of victory, Doch ist es Gift, was aus dem Kelch, Yet it is poison that glints from the pure chalice, Ich träume von Ruh’, I dream of peace! Dem reinen, blinkt, so rötlich – So red – Die andern sich deuten It predicts for others Die letzte Blum’, die letzte Lieb’ The last flower, the last love Die Zunkunft daraus, The future, Sind beide schön, doch tödtlich. Are both fair, yet deadly. Vergangene Zeiten For me it lights up Mir leuchten ins Haus. The past. BLAUER SOMMER (BLUE SUMMER) CARL BUSSE (1872-1918) Translated by Richard Stokes DIE VERSCHWIEGENEN (THE DISCREET ONES) HERMANN VON GILM ZU ROSENEGG, FROM LETZTE BLÄTTER Ein blauer Sommer glanz – und glutenschwer A blue summer, heavy with light and heat, Translated by Judith Kellock Geht über Wiessen, Felder, Gärten her. Moves over meadows, fields and gardens. Ich habe wohl, es sei hier laut I am happy, it is announced out loud here Die Sonnenkrone glüht auf seinen Locken, The sun gleams on its locks, Vor aller Welt verkündigt, To the whole world, Sein warmer Atem läutet Blütenglocken. Its warm breath sets each calyx ringing. Gar vielen Heimlich anvertraut, What was confided to many in private, Ein goldnes Band umzieht die blaue Stirne, A golden garland encircles its blue brow, Was du an mir gesündigt; What you have done to me; Schwer aus den Zweigen fällt die reife Frucht The ripe fruit falls heavily from the boughs, Und Sens’ und Sichel blitzt auf Flur und Feld, And scythe and sickle flash on plain and field Ich sagt’s dem ganzen Blumenheer, I’ve said it to the whole army of the flowers, Und rot von Rosen ist die ganze Welt. And the whole world is red with roses. Dem Veilchen sagt’ ich’s stille, To the violet, I said it softly, Der Rose laut und lauter der To the rose, loudly. Großäugigen Kamille. Even louder to the great-eyed camomile. ICH WOLLT EIN STRÄUßLEIN BINDEN (I WOULD HAVE MADE A BOUQUET) RUHE, MEINE SEELE! (REST, MY SOUL!) CLEMENS MARIA WENZESLAUS VON BRENTANO (1778-1842) KARL FRIEDRICH HENCKELL (1864-1929) Translation by Emily Ezust Translated by Emily Ezunst Ich wolt ein Sträußlein binden, I would have made a bouquet Nicht ein Lüftchen, Not a breeze Da kam die dunkle Nacht, But dark night arrived Regt sich leise, Is stirring lightly, Kein Blümlein war zu finden, And there was no little flower to be found, Sanft entschlummert The wood lies Sonst hätt’ ich dir’s gebracht. Or I would have brought it. Ruht der Hain; Slumbering gently; Durch der Blätter Through the dark Da flossen von den Wangen Then down my cheeks flowed Dunkle Hülle Cover of leaves Mir Thränen in den Klee, Tears onto the clover – Stiehlt sich lichter Steals bright Ein Blümlein aufgegangen I saw that one small flower had sprouted up Sonnenschein. Sunshine. Ich nun im Garten seh. In the garden Ruhe, ruhe, Rest, rest, Meine Seele, My soul, Das Wollte ich dir brechen I wanted to pick it for you Deine Stürme Your storms Wohl in dem dunklen Klee, Deep in the dark clover, Gingen wild, Have gone wild, Da fing es an zu sprechen: But it began to speak: Hast getobt und Have raged and “Ach, tue mir nicht weh!” “Ah, do not harm me!” Hast gezittert, Trembled Wie die Brandung, Like the surf “Sei freundlich im Herzen, “Be kind hearted, Wenn sie schwillt! When it breaks! Betracht dein eigen Leid, Consider your own grief, Diese Zeiten These times Und lasse mich in Schmerzen And do not let me Sind gewaltig, Are powerful, Nicht sterben vor der Zeit!” Die in agony before my time!” Bringen Herz und Bringing torment Hirn in Noth– To heart and mind; Und hätts nicht so gesprochen, And if it had not spoken so, Ruhe, ruhe, Rest, rest, Im Garten ganz allein, In the garden all alone, Meine Seele, My soul, So hätt ich dir’s gebrochen, I would have plucked it for you, Und vergiß, And forget Nun aber darf’s nicht sein. But now that cannot be. Was dich bedroht! What threatens you! Mein Schatz ist ausgeblieben, My sweetheart has not come, Ich bin so ganz allein. I am so entirely alone. Im Lieben wohnt Bertrüben, In love dwells tribulation, Und kann nicht anders sein. And it can never be otherwise. ALLERSEELEN (ALL SOULS DAY) MEINEM KINDE (TO MY CHILD) HERMANN VON GILM ZU ROSENEGG GUSTAV FALKE (1853-1916) Translated by Emily Ezust Du schläfst und sachte neig’ ich mich You sleep and softly I bend down Stell’ auf den Tisch die duftenden Resenden, Place on the table the fragrant mignonettes, Über dein Bettchen und segne dich. Over your bed and bless you. Die letzten rotten Astern trag’ herbei Bring inside the last red asters, Jeder behutsame Atemzug Every cautious breath I breathe Und laß uns wieder von der Liebe reden And let us speak again of love, Ist ein schweifender Himmelsflug, Is a winged to heaven, Wie einst im Mai As once we did in May. Ist ein Suchen weit umher, Is a quest far and wide Ob nicht doch ein Sterlein wär’, To see if there is not a star, Gib mir die Hand, daß ich sie Heimlich drücke Give me your hand, that I may press it secretly; Wo aus eitel Glanz und Licht From whose radiance and light Und wenn man’s sieht, mir ist es einerlei, And if someone sees us, it’s all the same to me. Liebe sich ein Glückskraut bricht, Love could pluck a herb of grace, Gib mir nur einen deiner süßen Blicke, Just offer me your sweet gaze. Das sie geflügelt herniederträgt That she might carry down on her wing Wie einst im Mai. As once you did in May. Und dir auf’s weiße Deckchen legt. And lay upon your white coverlet.

Es blüht und duftet heut auf jedem Grabe, Flowers adorn each grave today, giving off their Ein Tag im Jahr ist ja den Todten frei, fragrances; WIEGENLIED (CRADLE SONG) Komm’ an mein Herz, daß ich dich wieder habe, One day each year is devoted to the dead. RICHARD FEDOR LEOPOLD DEHMEL Wie einst im Mai Come close to my heart, that I can have you again, Translated by Emily Ezust As once I did in May. Träume, träume, du mein süßes Leben, Dream, dream, my sweet life, von dem Himmel, der die Blumen bringt. of the heaven that brings flowers. EINERLEI (SINGULAR ONE) Shimmering there are blossoms that shiver KARL JOACHIM (“ACHIM”) FRIEDRICH VON ARNIM Blüten schimmern da, die beben Translated by Rebecca Plack and Lawrence Snyder von dem Lied, das deine Mutter singt. to the song that your mother is singing.

Ihr Mund ist stets derselbe, Her mouth remains the same, Träume, träume, Knospe meiner Sorgen, Dream, dream, bud of my cares, Sein Kuß mir immer neu, Its kiss is ever new, von dem Tage, da die Blume sproß; of the day the flower bloomed; Ihr Auge noch dasselbe, Her eyes yet unchanged, von dem hellen Blütenmorgen, of the bright morning blossoming, Sein freier Blick mir treu; Their boundless gaze true to me. da dein Seelchen sich der Welt erschloß. when your little soul opened up to the world. Träume, träume, Blüte meiner Liebe, Dream, dream, blossom of my love, O du liebes Einerlei, Oh you dear singular one, von der stillen, von der heilgen Nacht. of the quiet, of the holy night Wie wird aus dir so mancherlei! What wondrous variety comes from you! da die Blume seiner Liebe when the flower of his love diese Welt zum Himmel mir gemacht. made this world a heaven for me. MUTTERTÄNDELEI (MOTHER-CHATTER) ZUEIGNUNG (DEDICATION) GOTTFRIED AUGUST BÜRGER (1747-1794) HERMANN VON GILM ZU ROSENEGG, “HABE DANK”, FROM LETZTE BLÄTTER Translated by Emily Ezust Translated by Rebecca Plack and Lawrence Snyder Seht mir doch mein schönes Kind! But just look at my fair child, Ja du weißt es, theure Seele, Yes, you know it, dearest soul, Mit den gold’nen Zottellöckchen, With such golden curly locks, Daß ich fern von dir mich quäle, How I suffer far from you, Blauen Augen, rotten Bäckchen! Blue eyes, red cheeks! Liebe macht die Herzen krank, Love makes the heart sick, Leutchen, habt ihr auch so eins? – My friends, have you such a one? – Habe Dank. Have thanks. Leutchen, nein, ihr habt keins! My friends, no, you have not! Einst hielt ich, der Freiheit Zecher, Once I, drinker of freedom, Seht mir dich mein süßes Kind! But just look at my sweet child, Hoch den Amethysten-Becher, Held high the amethyst beaker, Fetter als ein fettes Schneckchen, Fatter than a fat snail, Und du segnetest den Trank, And you blessed the drink, Süßer als ein Zuckerweckchen! Sweeter than a sugar roll! Habe Dank. Have thanks. Leutchen, habt ihr auch so eins? – My friends, have you such a one? – Leutchen, nein, ihr habt keins! My friends, no, you have not! Und beschworst darin die Bösen, And you exorcised the evils in it, Bis ich, was ich nie gewesen, Until I, as I had never been before, Seht mir dich mein holdes Kind! But just look at my lovely child, Heilig, heilig an’s Herz dir sank, Blessed, blessed sank upon your heart, Nicht zu mürrisch, nicht zu wählig Not too grumpy, not too particular! Habe Dank. Have thanks. Immer freundlich, immer fröhlich! Always friendly, always merry! Leutchen, habt ihr auch so eins? – My friends, have you such a one? – Leutchen, nein, ihr habt keins! My friends, no, you have not! WINTERWEIHE (WINTER CONSECRATION) KARL FRIEDRICH HENCKELL Translated by Emily Ezust Seht mir doch mein frommes Kind! But just look at my pious child! Keine bitterböse Sieben No bitter shrew In diesen Wintertagen, In these winter days, Würd’ ihr Mütterchen so lieben. Could be so loved by its mother. Nun sich das Licht verhüllt, Now the light disguises itself, Leutchen, möchtet ihr so eins? – My friends, would you like to have such a one? – Laß uns im Herzen tragen, Let us bear in our hearts O, ihr kriegt gewiß nicht meins! O, you certainly won’t get mine! Einander traulich sagen, And confide in one another Was uns mit innerm Licht erfüllt. What fills us with inner light. Komm’ einmal ein Kaufmann her! Just let a buyer come here once! Hunderttausend blanke Thaler, A hundred thousand shiny thalers, Was milde Glut entzündet, That which inflames ardour, Alles Gold der Erde zahl’ er! All the gold in the world he would pay! Soll brennen fort und fort, Should burn on and on; O, er kriegt gewiß nicht meins! – But he certainly won’t get mine! – Was Seelen zart verbündet, That which tenderly binds souls Kauf’ er sich woanders eins! Let him buy somewhere else. Und Geisterbrücken gründet, And builds ghostly bridges Sei unser leises Losungswort. Should be our soft password. Das Rad der Zeit mag rollen, The wheel of time may roll, CÄCILIE (CECILY) Wir greifen kaum hinein, But we hardly grasp it, HEINRICH HART (1855-1906) Dem Schein der Welt verschollen, Forgotten in the glow of the world. Translated by Emily Ezust On our island we would Auf unserm Eiland wollen Wenn Du es wüßtest, If you only knew Dedicate day and night to blissful Love. Wir Tag und Nacht der sel’gen Liebe weih’n. Was träumen heißt What it’s like to dream Von brennenden Küssen, Of burning kisses, Com Wandern und Ruhen Of wandering and resting DAS ROSENBAND (THE ROSE GARLAND) With one’s beloved, FRIEDRICH GOTTLIEB KLOPSTOCK (1724-1803) Mit der Geliebten, Translated by Emily Ezust Aug’ in Auge, Eye turned to eye, Und kosend und plaudernd – And caressing and talking – Im Frühlingsschatten fand ich Sie, In spring shade I found her, Wenn Du es wüßtest, If you only knew, Da band ich Sie mit Rosenbändern: And bound her with rosy ribbons: Du neigtest Dein Herz. You would incline your heart. Sie fühlt’ es nicht und schlummerte. She did not feel it, and slumbered on. Wenn Du es wüßtest, If you only knew Ich sah Sie an; mein Leben hing I looked at her; my life hung Was bangen heißt What it’s like to despair Mit diesem Blick’ an Ihrem Leben: With that gaze on her life: In einsamen Nächten, On lonely nights, Ich fühlt’ es wohl und wußt’ es nicht. I felt it well, but knew it not. Umschauert vom Sturm, Surrounded by the storm, Da Niemand tröstet While no one comforts Doch lispelt’ ich Ihr sprachlos zu, But I whispered wordlessly to her Milden Mundes With their mild voice Und rauschte mit den Rosenbändern. And rustled the rosy ribbons. Die kampfmünde Seele – Your weary soul – Da wachte Sie vom Schlummer auf. Then she awoke from her slumber. Wenn Du es wüßtest, If you only knew, Du kämest zu mir. You would come to me. Sie sah mich an; Ihr Leben hing She looked at me; her life hung Wenn Du es wüßtest, If you only knew Mit diesem Blick’ an meinem Leben, With this gaze on my life: Was leben heißt What it’s like to live, Und um uns ward’s Elysium. And around us it became Elysium. Umhaucht von der Gottheit Surrounded by God’s Weltschaffendem Athem World-creating breath,

Zu schweben empor, To float, Lichtgetragen Carried by light, Zu seligen Höhen – To blessed heights – Wenn Du es wüßtest, If you only knew, Du lebtest mit mir. You would live with me. ACH, WAS KUMMER, QUAL UND SCHMERZEN (OH, WHAT SORROWS, ANGUISH AND PAIN) ERSTES LIED DER OPHELIA (FIRST SONG OF OPHELIA) VOLKSLIED, FROM ELSÄSSISCHE VOLKSLIEDER KARL JOSEPH SIMROCK (1802-1876), Collected by Curt Mündel Shakespeare (1564-1616), from Hamlet, Act IV, scene 5 Ach, was Kummer, Qual und Schmerzen, Oh, what sorrows, anguish and pain, Wie erkenn’ ich mein Treulieb How should I your true love know Hm, hm, hm, hm. Hm, hm, hm, hm. Vor andern nun? From one another? Es liegt mir was auf meinem Herzen, How it weighs on my heart, An dem Muschelhut und Stab By his cockle hat and staff, Hm, hm. Hm, hm. Und den Sandalschuh’n. And his sandal shoon. Und ich trau es nicht zu sagen, And I do not trust it to speak, Mich bei Jemand zu beklagen, For me to complain to anyone, Er ist todt und lange hin, He is dead and gone, lady, Da ich doch, hm, hm, hm, hm. Such I am, hm, hm, hm, hm. Todt und hin, Fräulein. He is dead and gone, Ihm zu Häupten grünes Gras, At his head a grass-green turf, Stille muß ich;s in mich schliessen, Quietly I must enclose it within myself, Ihm zu Fuß ein Stein. – O, ho! At his heels a stone. – O, ho! Hm, hm. Hm, hm. Darf kein Wörtchen lassen fliessen, Let no little word fly out, Auf seinem Bahrtuch, weiß wie Schnee, White his shroud as the mountain snow, Hm, hm. Hm, hm. Viel liebe Blumen trauern: Larded all with sweet flowers, Muß mich stellen vor den Leuten, I must appear before people, Sie gehn zu Grabe naß, o weh, Which bewept to the grave did not go, Als wär ich in allen Freuden, As if I were fully joyous, Vor Liebesschauern. With true-love showers. Da ich doch, hm, hm, hm, hm. Such I am, hm, hm hm, hm.

Meine Freude wär zu leben, My joy would be to live, ZWEITES LIED DER OPHELIA (SECOND SONG OF OPHELIA) Hm, hm. Hm, hm. KARL JOSEPH SIMROCK, Shakespeare (1564-1616), from Hamlet, Act IV, scene 5 Mich der Freundschaft zu ergeben, To abandon myself to joy, Hm, hm. Hm, hm. Guten Morgen, ‘s ist Sankt Valentinstag To-morrow is Saint Valentine’s day, Mein Herz wüscht sich zu verschenken, My heart wants to yield, So früh vor Sonnenschein. All in the morning betime, Um ein and’res Herz zu lenken, To guide another heart, Ich junge Maid am Fensterschlag And I a maid at your window, Das empfindsam hm, hm, hm. A sentimental one, hm, hm, hm. Will euer Valentin sein. To be your Valentine.

Der junge Mann tut Hosen an, Then up he rose, and donn’d his clothes, Tät auf die Kammerthür, And dupp’d the chamber-door; Ließ ein die Maid, die als Maid Let in the maid, that out a maid Ging nimmermehr herfür. Never departed more. Bei Sankt Niklas und Charitas, By Gis and by Saint Charity, MORGEN! (TOMORROW!) Ein unverschämt Geschlecht! Alack, and fie for shame! JOHN HENRY MACKAY (1864-1933) Ein junger Mann tut’s wenn er kann, Young men will do’t, if they come to‘t; Translated by Emily Ezust By cock, they are to blame. Fürwahr, das ist nicht recht. Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, Und auf dem Wege, den ich gehen werde, And on the path I will take, Quoth she, before you tumbled me, Sie sprach: Eh Ihr gescherzt mir mir, Wird uns, die Glücklichen, sie wieder einen It will unite us again, we happy ones, You promised me to wed. Verspracht Ihr mich zu frein. Inmitten dieser sonnenatmenden Erde... Upon this sun-breathing earth... Ich brächt’s auch nicht beim Sonnenlicht! So would I ha’ done, by yonder sun, An thou hadst not come to my bed. Wärst du nicht kommen herein. Und zu dem Strand, dem weiten, wogenblauen, And to the shore, the wide shore with blue waves, Werden wir still und langsam niedersteigen, We will descend quietly and slowly; Stumm werden wir uns in die Augen schauen, We will look mutely into each other’s eyes DRITTES LIED DER OPHELIA (THIRD SONG OF OPHELIA) And upon us will settle the silence of bliss... KARL JOSEPH SIMROCK, Und auf uns sinkt des Glückes stummes Shakespeare (1564-1616), from Hamlet, Act IV, scene 5 Schweigen... Sie trugen ihn auf der Bahre bloß, They bore him barefaced on the bier; Leider, ach leider, den Liebsten! Hey non nonny, nonny, hey nonny; Manche Träne fiel in des Grabes Schoß: And in his grave rain’d many a tear: - Fahr wohl, fahr wohl, meine Taube! Fare you well, my dove!

Mein junger frischer Hansel ist’s, der mir gefällt, For bonny sweet Robin is all my joy. Und kommt er nimmermehr? And will he not come again? Er ist tot, o weh! No, no, he is dead: In dein Todbett geh, Go to thy death-bed: Er kommt dir nimmermehr. He never will come again. Engineered by Julian Millard Sein Bart war weiß wie Schnee, His beard was as white as snow, Produced and edited by Mark Brown Sein Haupt wie Flachs dazu: All flaxen was his poll: Er ist hin, er ist hin, He is gone, he is gone, Recorded in the Music Room, Champs Hill, Pulborough 18th-20th February 2002 Kein Trauern bringt Gewinn: And we cast away moan: God ha' mercy on his soul! Originally released on ASV in 2003 as CDDCA1155 Mit seiner Seele Ruh! Remastered in 2012 by Alexander Van Ingen at SIX Music Productions (www.sixmp.net) Und mit allen Christenseelen! And of all Christian souls, darum bet ich! I pray God. Gott sei mit euch. God be wi’ ye.