GRABMUSIK BASTIEN UND BASTIENNE

CLASSICAL OPERA IAN PAGE (CONDUCTOR) WOLFGANGWOLFGA AMADEUSNG AMADEUSMOZART (1756 MOZART - 1791) (1756 - 1791)

GRABMUSIK,GRABMUSIK, K.42/35a (original K.42/35 1767 aversion) (original 1767 version) Librettist unknownLibrettist unknown

Performance material: NewPerformance Mozart Editionmaterial: (NMA) New Mozart Edition (NMA) By kind permission of Bärenreiter-VerlagBy kind permission of Bärenreiter-Verlag DER ENGEL DER ENGEL ANNA LUCIA RICHTERANNA soprano LUCIA RICHTER soprano Kassel · Basel · London Kassel· New ·York Basel · Praha· London · New York · Praha

Recorded at BlackheathRecorded Concert Halls, at Blackheath Blackheath, Concert London, Halls, UK Blackheath, from 7 to 9 London, January UK2018 from 7 to 9 January 2018 DIE SEELE DIE SEELE JACQUES IMBRAILOJACQUES baritone IMBRAILO baritone

Produced and engineeredProduced by Andrew and engineeredMellor by Andrew Mellor Assistant engineer: ChrisAssistant Kalcov engineer: Chris Kalcov Editing: Andrew Mellor Editing: Andrew Mellor Mix & Mastering: AndrewMix Mellor & Mastering: Andrew Mellor BASTIEN UNDBASTIEN BASTIENNE, UND BASTIENNE, K.50 (original 1768K.50 version) (original 1768 version) Design by Toucari Live andDesign Classical by Toucari Opera Live and Classical Opera Cover image by DebbieCover Coates image by Debbie Coates Libretto by F. W.Libretto Weiskern by F. & W. J. H. Weiskern F. Müller & J. H. F. Müller Photographs by BenjaminPhotographs Ealovega by Benjamin Ealovega

German language coach:German Dominik language Dengler coach: Dominik Dengler Harpsichord technician: HarpsichordMalcolm Greenhalgh technician: Malcolm Greenhalgh BASTIENNE BASTIENNE ANNA LUCIA RICHTERANNA soprano LUCIA RICHTER soprano

Orchestra playing on periodOrchestra instruments playing at on A =period 430 instrumentsHz at A = 430 Hz BASTIEN BASTIEN ALESSANDRO FISHERALESSANDRO tenor FISHER tenor

This recording is generouslyThis recordingsupported isby generously George & supported Efthalia Koukis by George and usada. & Efthalia Koukis and usada. COLAS COLAS DARREN JEFFERY bass-baritoneDARREN JEFFERY bass-baritone

We are also grateful toWe the arefollowing also grateful individuals to the for following their generous individuals support: for theirSir Vernon generous & Ladysupport: Ellis, Sir Kate Vernon & Lady Ellis, Kate Bingham & Jesse Norman,Bingham Pearce & &Jesse Beaujolais Norman, Rood, Pearce Joe && BeaujolaisChristine Swanson Rood, Joe and & ChristineMichael Swanson& Rosemary and Michael & RosemaryTHE MOZARTISTS THE MOZARTISTS Warburg. Warburg. Leader: MatthewLeader: Truscott Matthew Truscott Special thanks to: BibliotekaSpecial Jagiellońska thanks to: Kraków,Biblioteka Jo JagiellońskaRamadan, Alice Kraków, Bellini, Jo Ramadan,Léa Hanrot, Alice Martin Bellini, Kendrick, Léa Hanrot, Martin Kendrick, William Thorp and LyricWilliam Hammersmith. Thorp and Lyric Hammersmith. IAN PAGE conductorIAN PAGE conductor

2 MOZART / GRABMUSIK2 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 3UND BASTIENNE 3

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GRABMUSIK,GRABMUSIK, K.42/35a (original K.42/35 1767 versiona (original) 1767 version) 12 No. 4, Aria: “Befraget12 No. mich 4, Aria: ein zartes “Befraget Kind” mich (Colas) ein zartes Kind” (Colas) 1’04 29 1’04 29 Page Page 13 Dialogue: “Guten13 Morgen,Dialogue: Herr “Guten Colas!” Morgen, (Bastienne, Herr Colas)Colas!” (Bastienne, Colas) 1’59 30 1’59 30 1 No. 1, Recitative:1 “WoNo. bin 1, Recitative:ich? bittrer “WoSchmerz!” bin ich? (Die bittrer Seele) Schmerz!” (Die Seele)1’02 15 1’02 15 14 No. 5, Aria: “Wenn14 No. mein 5, Bastien Aria: “Wenn im Scherze” mein Bastien(Bastienne) im Scherze” (Bastienne) 2’36 32 2’36 32 2 No. 2, Aria: “Felsen,2 No. spaltet 2, Aria: euren “Felsen, Rachen” spaltet (Die Seele)euren Rachen” (Die Seele) 6’02 15 6’02 15 15 Dialogue: “O, die15 EdelfrauDialogue: vom “O, Schloß” die Edelfrau (Colas) vom Schloß” (Colas) 0’18 33 0’18 33 3 No. 3, Recitative:3 “GeliebteNo. 3, Recitative:Seel’, was “Geliebte redest du?” Seel’, (Der was Engel) redest du?” (Der 1’04 Engel) 16 1’04 16 16 No. 6, Aria: “Würd16 No.ich auch,6, Aria: wie “Würd manche ich Buhlerinnen” auch, wie manche (Bastienne) Buhlerinnen” 1’17 (Bastienne) 33 1’17 33 4 No. 4, Aria: “Betracht4 No. dies 4, Aria:Herz und“Betracht frage diesmich” Herz (Der und Engel) frage mich” (Der Engel) 4’06 16 4’06 16 17 Dialogue: “Gib 17dich Dialogue:zufrieden!” “Gib (Colas, dich Bastienne) zufrieden!” (Colas, Bastienne) 1’01 33 1’01 33 5 No. 5, Accompanied5 No. recitative: 5, Accompanied “O Himmel! recitative: was ein “O traurig Himmel! Licht” was ein 1’16traurig Licht”17 1’16 17 (Die Seele) (Die Seele) 18 No. 7, Duet: “Auf18 denNo. Rat, 7, den Duet: ich “Auf gegeben” den Rat, (Colas, den ich Bastienne) gegeben” (Colas, Bastienne) 1’33 34 1’33 34

6 No. 6, Duet: “Jesu,6 No.was 6,hab’ Duet: ich getan?”“Jesu, was (Der hab’ Engel, ich getan?”Die Seele) (Der Engel, Die 4’44 Seele) 17 4’44 17SCENE THREE SCENE THREE

19 Dialogue: “Dieses19 LiebhaberpaarDialogue: “Dieses ist wahrlich Liebhaberpaar ein rechtes ist Wunderwerk”wahrlich ein rechtes 0’41 Wunderwerk” 35 0’41 35 BASTIEN UNDBASTIEN BASTIENNE, UND BASTIENNE,K.50 (original 1768 K.50 version (original) 1768 version) (Colas) (Colas) SCENE FOUR SCENE FOUR 7 Intrada 7 Intrada 1’40 28 1’40 28 20 No. 8, Aria: “Großen20 No. Dank 8, Aria: dir abzustatten” “Großen Dank (Bastien) dir abzustatten” (Bastien) 1’25 36 1’25 36 SCENE ONE SCENE ONE 21 Dialogue: “Es freut21 mich,Dialogue: daß du“Es endlich freut mich, zu dir” daß (Colas, du endlich Bastien) zu dir” (Colas, 0’41 Bastien) 36 0’41 36 8 No. 1, Aria: “Mein8 liebsterNo. 1, Aria:Freund “Mein hat mich liebster verlassen” Freund (Bastienne)hat mich verlassen” (Bastienne)1’56 28 1’56 28 22 No. 9, Aria: “Geh!22 duNo. sagst 9, Aria: mir eine“Geh! Fabel” du sagst (Bastien) mir eine Fabel” (Bastien) 1’17 38 1’17 38 9 Dialogue: “Du fliehst9 Dialogue: von mir, “DuBastien?” fliehst (Bastienne) von mir, Bastien?” (Bastienne) 0’45 28 0’45 28 23 Dialogue: “Das 23kannDialogue: sein” (Colas, “Das Bastien) kann sein” (Colas, Bastien) 1’18 38 1’18 38 10 No. 2, Aria: “Ich10 gehNo. jetzt 2, auf Aria: die “Ich Weide” geh jetzt (Bastienne) auf die Weide” (Bastienne) 1’34 29 1’34 29 24 No. 10, Aria: “Tätzel,24 No. Brätzel, 10, Aria: Schober, “Tätzel, Kober” Brätzel, (Colas) Schober, Kober” (Colas) 1’20 40 1’20 40 SCENE TWO SCENE TWO 25 Dialogue: “Ist die25 HexereiDialogue: zu Ende?” “Ist die (Bastien, Hexerei Colas)zu Ende?” (Bastien, Colas) 0’21 40 0’21 40 11 No. 3: Entrance 11of ColasNo. 3: Entrance of Colas 0’18 29 0’18 29

4 MOZART / GRABMUSIK4 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 5UND BASTIENNE 5

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26 No. 11, Aria: “Meiner Liebsten schöne Wangen” (Bastien) 3’02 41

SCENE SIX

27 Dialogue: “Da ist sie” (Bastien, Bastienne) 1’03 42

28 No. 12, Aria: “Er war mir sonst treu und ergeben” (Bastienne) 2’26 43

29 Dialogue: “O, ich sehe schon, was dich verdrießt” (Bastien, Bastienne) 0’59 44

30 No. 13, Aria: “Geh hin!” (Bastien, Bastienne) 5’53 45

31 Dialogue: “Siehe da! bist du noch hier?” (Bastienne, Bastien) 0’33 46

32 No. 14, Accompanied recitative: “Dein Trotz vermehrt sich durch 0’50 47 mein Leiden?” (Bastien, Bastienne)

33 Dialogue: “Und sollte ich wohl ein solcher Narr sein” (Bastien, Bastienne) 0’25 47

34 No. 15, Duet: “Geh! geh! geh, Herz von Flandern!” (Bastienne, Bastien) 5’18 48

SCENE SEVEN

35 No. 16, Trio: “Kinder! Kinder! seht, nach Sturm und Regen” 3’06 51 (Colas, Bastienne, Bastien)

APPENDIX

36 No. 10, Aria (2nd version, 1769): “Diggi, daggi, schurry, murry” (Colas) 1’30 53

6 MOZART / GRABMUSIK & BASTIEN UND BASTIENNE Total Playing Time: 66’24

Bastien CD booklet final before reformat.indd 6-7 11/05/2018 15:17:55 The Mozartists

Violin 1 Flute Matthew Truscott (leader) Katy Bircher Daniel Edgar Eva Caballero Hannah Tibell Malu Lin Swayne Oboe George Clifford James Eastaway Rachel Chaplin Violin 2 Liz MacCarthy Bassoon Nia Lewis Philip Turbett Kirsten Klingels Naomi Burrell Horn Gavin Edwards Viola Nick Benz Mark Braithwaite Marina Ascherson Harpsichord Steven Devine (continuo) Cello Alex Rolton (continuo) Pedro da Silva

Double bass Carina Cosgrave (continuo)

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Bastien CD booklet final before reformat.indd 9 11/05/2018 15:18:00 Classical Opera & The Mozartists

Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its field. In 2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding concert work while continuing to present recordings and performances of complete operas under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the company has attracted widespread critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking 27-year project following the chronological trajectory of Mozart’s life, works and influences. Classical Opera has performed regularly at many of London and the UK’s leading venues, including Wigmore Hall, the Barbican, Sadler’s Wells, Birmingham Town Hall and Bridgewater Hall, Manchester, and on tour in Italy, France, Germany and Austria, where it enjoyed a three-concert residency at the 2016 Eisenstadt Haydn Festival. It has mounted staged productions of many of Mozart’s operas, and in 2009 presented The Royal Opera’s new production of Thomas Arne’s Artaxerxes. It has also given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, and the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus and Jommelli’s Il Vologeso. Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007, re- released on Signum Classics, 2014) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice. In May 2016 the company released ‘Where’er You Walk’, with tenor Allan Clayton, which was shortlisted for the 2017 International Opera Awards, and this was followed in May 2017 by The Mozartists’ début recording ‘Perfido!’, a programme of Mozart, Haydn and Beethoven concert arias featuring soprano Sophie Bevan. This current recording is the seventh release in Classical Opera’s complete recording cycle of Mozart’s operas.

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Bastien CD booklet final before reformat.indd 11 11/05/2018 15:18:07 Grabmusik –Grabmusik an introduction – an byintroduction Ian Page by Ian Page Holy Week 1767. TheHoly anonymous Week 1767. text Thetakes anonymous the form of text a dialogue takes the betweenform of a adialogue tormented between a tormented soul, who is desperatelysoul, wholamenting is desperately the tragedy lamenting of Christ’s the death,tragedy and of Christ’san angel. death, When and an angel. When the work was revivedthe in work the mid-1770s,was revived Mozart in the mid-1770s, added a final Mozart recitative added and a finalchorus, recitative but and chorus, but On 9 June 1763, theOn seven-year-old9 June 1763, Mozartthe seven-year-old and his family Mozart set offand from his theirfamily home set off in from their home in this recording preservesthis recording the original’s preserves taut intensity the original’s by ending taut intensitywith the byconciliatory ending with duet the conciliatory duet Salzburg and embarkedSalzburg on anda Grand embarked Tour that on awas Grand to last Tour for thatthree was and to a last half for years. three and a half years. between the Soul andbetween the Angel. the Soul and the Angel. The impact of this Theformative impact trip, of whichthis formative included trip, six whichmonths included in Paris, six fifteen months months in Paris, in fifteen months in London and shorter Londonstays in andmany shorter of northern stays inEurope’s many of other northern leading Europe’s musical other centres, leading can musical centres, can The Soul’s openingThe aria Soul’s is a openingpiece of ariastaggering is a piece turbulence of staggering and force, turbulence and Mozart and force, and Mozart scarcely be over-estimated,scarcely andbe over-estimated, by the time he andarrived by thehome time on he 29 arrived November home 1766,on 29 November 1766, probably never wroteprobably anything never more wrote challenging anything and more virtuosic challenging for the bassand virtuosic voice. Repeated for the bass voice. Repeated less than two monthsless before than twohis eleventhmonths beforebirthday, his Mozarteleventh already birthday, had Mozart a remarkable already had a remarkable staccato high F sharps,staccato cascading high F tripletssharps, and cascading jagged tripletsoctave andleaps jagged combine octave to evoke leaps a combine to evoke a portfolio of compositionsportfolio to ofhis compositions name. It must to have his name.been hardIt must for have local been musicians hard forand local musicians and frenzied exhortationfrenzied to Nature exhortation to break toitself Nature asunder to break in the itselfwake asunder of Christ’s in the death, wake and of Christ’s death, and dignitaries to fathomdignitaries the full extent to fathom of the theyoung full extentboy’s fameof the and young success, boy’s andfame in and a report success, and in a report the orchestra alreadythe makes orchestra a pivotal already contribution makes a pivotalto the dramatic contribution soundscape; to the dramatic the short soundscape; the short that he submitted tothat London’s he submitted Royal Society to London’s in 1769 Royal Mr Society Daines in Barrington, 1769 Mr Dainesan English Barrington, an English middle section evenmiddle manages section to heighten even manages the tension to heighten still further, the shiftingtension fromstill further,D major shifting to from D major to lawyer who had metlawyer Mozart who in had London met Mozartand subjected in London him andto an subjected extensive him series to anof extensive series of D minor and divingD headlong minor and into diving harmonies headlong of startling into harmonies adventurousness. of startling adventurousness. musical tests, reportedmusical the following tests, reported anecdote: the following anecdote: “The prince of Saltzbourg,“The prince not creditingof Saltzbourg, that such not creditingmasterly compositionsthat such masterly were compositions were This visceral outburstThis is answeredvisceral outburst astutely is andanswered sympathetically astutely and by thesympathetically Angel, firstly by in the a Angel, firstly in a really those of a child,really shut those him upof afor child, a week, shut duringhim up which for a week,he was during not permitted which he was not permitted short recitative and thenshort in recitative a tender andG minor then inaria a tenderfull of compassion G minor aria and full warmth.of compassion Particularly and warmth. Particularly to see any one, andto was see left any only one, with and music was paper, left only and with the music words paper, of an and oratorio. the words of an oratorio. effective, and affecting,effective, is the andway affecting, the music issuddenly the way breaks the music off suddenlymid-phrase breaks before off melting mid-phrase before melting into the finaladagio into, in thewhich final theadagio Angel, urgesin which the theSoul Angel to calm urges his thefury Soul and to dissolve calm his into fury and dissolve into “During this short time“During he composed this short timea very he capitalcomposed oratorio, a very which capital was oratorio, most which was most penitence. penitence. highly approved of highlyupon beingapproved performed.” of upon being performed.” Musicologists believeMusicologists that the short believe cantata that Grabmusik the short cantatawas the Grabmusik result of this was challenge, the result of this challenge,This is followed by Thisa second is followed recitative by afor second the Soul, recitative this time for accompaniedthe Soul, this timeby the accompanied full by the full and although there isand no althoughdefinitive there documentary is no definitive proof fordocumentary this assumption, proof itfor is thisundoubtedly assumption, it is undoubtedlystring section to suggeststring the section slow todawning suggest ofthe comfort slow dawning and hope of incomfort his mind, and and hope this in in his mind, and this in one of the most remarkableone of the works most of remarkable Mozart’s prodigiousworks of Mozart’s childhood. prodigious childhood. turn leads into the redemptiveturn leads intofinal the duet, redemptive in which final the Soulduet, is in graduallywhich the drawn Soul isinto gradually the drawn into the Angel’s consoling, healingAngel’s and consoling, ultimately healing uplifting and power. ultimately With uplifting this remarkable power. With yet curiously this remarkable yet curiously The performance duringThe performance Holy Week ofduring a scenic Holy oratorio Week ofbefore a scenic an imageoratorio or before relief of an the image or relief of thelittle-known work, thelittle-known young Mozart work, already the young shows Mozart himself already to be showscapable himself of transforming to be capable of transforming tomb of Christ is a conventiontomb of Christ of medieval is a convention origin that of medievalsurvives in origin parts thatof southern survives Germanyin parts of southern Germanya drily didactic religiousa drily text didactic into a workreligious of considerable text into a work emotional of considerable and dramatic emotional scope, and dramatic scope, to this day. Grabmusikto this, which day. canGrabmusik be translated, which as can ‘Cantata be translated on Christ’s as ‘Cantata Grave’ (literallyon Christ’s Grave’ (literallyand if this was indeedand theif this piece was composed indeed the in piece response composed to Archbishop in response Schrattenbach’s to Archbishop Schrattenbach’s ‘Grave Music’), is thought‘Grave Music’),to have isbeen thought first toperformed have been in firstSalzburg performed Cathedral in Salzburg during Cathedral duringtest, it was surely a test,test thatit was Mozart surely passed a test that with Mozart flying passedcolours. with flying colours.

12 MOZART / GRABMUSIK12 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 13 UND BASTIENNE 13

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1 Rezitativ Recitative DIE SEELE: THE SOUL: Wo bin ich? bittrer Schmerz! Where am I? What bitter torment! ach! jener Sitz der Liebe, Ah, that place of love, mein’ Ruh’, mein Trost, my peace, my comfort, das Ziel all meiner Triebe, the goal of all my desires, und meines Jesu göttlich’s Herz, the divine heart of Jesus, das reget sich nicht mehr which no longer beats und ist vom Blut und Leben leer. and is devoid of blood. Hier trieft die Wunde noch von Blut; Here the wound still drips with blood. verdammte Wut! Was für ein herbes Eisen Accursed rage! What kind of cruel sword könnt’ dieses süßeste could have torn apart und allerliebste Herz zerreißen? this sweetest and most loved of hearts?

2 Nr.1, Arie No.1, Aria DIE SEELE: THE SOUL: Felsen, spaltet euren Rachen, Rocks, split asunder, trauert durch ein kläglich’s Krachen, grieve with your wretched crashing! Sterne, Mond und Sonne flieht, Stars, moon and sun flee! traur’ Natur, ich traure mit. Grieve, nature – I am grieving with you. Brüllt, ihr Donner! Blitz und Flammen, Roar, thunder! Lightning and flames, schlaget über dem zusammen, may you engulf whoever der durch die verruchte Tat through this infamous deed dieses Herz verwundet hat. wounded this heart.

MOZART / GRABMUSIK & BASTIEN UND BASTIENNE 15

Bastien CD booklet final before reformat.indd 14-15 11/05/2018 15:18:11 3 Rezitativ 3 Rezitativ Recitative Recitative 5 Begleitetes Rezitativ5 Begleitetes Rezitativ Accompanied recitativeAccompanied recitative DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: DIE SEELE: DIE SEELE: THE SOUL: THE SOUL: Geliebte Seel’, was redestGeliebte du? Seel’, was redest du? Beloved soul, what are Belovedyou saying? soul, what are you saying? O Himmel! was ein traurigO Himmel! Licht, was ein traurig Licht, Oh heaven, what sad lightOh breaksheaven, forth what from sad light breaks forth from Bedaure das verwundteBedaure Herz, das verwundte Herz, Lament his wounded heartLament – his wounded heart – so jetzt zu meiner Qual soaus jetzt diesen zu meiner Wolken Qual bricht! aus diesenthese Wolken words, bricht! and increasesthese my words, torment? and increases my torment? ich lobe deinen Schmerz,ich lobe deinen Schmerz, I commend your grief, I commend your grief, So bin ich den die GrausameSo bin gewesen,ich den die Grausame gewesen,Was I then the cruel oneWas I then the cruel one und willst du zürnen, zürneund zu!willst du zürnen, zürne zu! and if you want to be angry,and if beyou angry! want to be angry, be angry! so dieses Herz verwundetso dieseshat? Herz verwundet hat? who wounded this heart?who wounded this heart? Doch über wen? Doch über wen? But with whom? But with whom? Dies Blut ist meine Tat? Dies Blut ist meine Tat? Is this blood my doing? Is this blood my doing? Ach, ehrlich über dich, Ach, ehrlich über dich, Ah, be honest with yourself,Ah, be honest with yourself, O Schmerz, O Schmerz, Oh torment, Oh torment, willst du den Mörder finden,willst du den Mörder finden, and if you want to find andthe ifmurderer you want to find the murderer zerbrich mir das beklemmtezerbrich Herz. mir das beklemmte Herz.shatter my oppressed heart!shatter my oppressed heart! so denk’ an deine Sünden,so denk’ an deine Sünden, think about your own sins,think about your own sins, die führten diesen Stich die führten diesen Stich which prompted this woundwhich prompted this wound 6 Nr. 3, Duett 6 Nr. 3, Duett No. 3, Duet No. 3, Duet und leiteten den Speer.und leiteten den Speer. and directed this spear. and directed this spear. DIE SEELE: DIE SEELE: THE SOUL: THE SOUL: Jetzt zürne, wie du willst,Jetzt zürne, wie du willst, So be as angry as you Solike, be as angry as you like, Jesu, was hab’ ich getan?Jesu, was hab’ ich getan? Jesus, what have I done?Jesus, what have I done? jetzt traure, aber traure jetztmehr. traure, aber traure mehr. and grieve, but grieve more.and grieve, but grieve more. Durch mich hast du dieseDurch Wunden, mich hast du diese Wunden,Your wounds were inflictedYour woundsby me, were inflicted by me, durch mich Tod und Kreuzdurch gefunden, mich Tod und Kreuz gefunden,you were crucified andyou died were because crucified of me,and died because of me, 4 Nr. 2, Arie 4 Nr. 2, Arie No. 2, Aria No. 2, Aria auch den letzten Tropfenauch Blut den letzten Tropfen Blut and my anger searchesand in my my heart anger searches in my heart DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: sucht im Herzen meine suchtWut, im Herzen meine Wut, for even the last drop offor blood. even the last drop of blood. Betracht dies Herz und Betrachtfrage mich, dies Herz und frage mich,Consider this heart and Considerask yourself: this heart and ask yourself: ach, was hab ich getan?ach, was hab ich getan? Oh what have I done? Oh what have I done? wer hat die Kron’ gebunden,wer hat die Kron’ gebunden, who made this crown, who made this crown, von wem sind diese Wunden?von wem sind diese Wunden? who inflicted these wounds?who inflicted these wounds? DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: Sie ist von mir und dochSie für istmich. von mir und doch für mich.It happened because ofIt me, happened yet for me.because of me, yet for me. Schau dies Herz nur reuvollSchau an, dies Herz nur reuvoll an, Look at this heart with repentance,Look at this heart with repentance, Sieh, wie es Blut und WasserSieh, wie weint, es Blut und Wasser weint,See how it cries tears ofSee blood how and it cries water, tears of blood and water, aber auch durch diese Wundenaber auch durch diese Wunden for through these woundsfor through these wounds hör, was die Zähren sagen,hör, was die Zähren sagen, listen to what the tears arelisten saying, to what the tears are saying, hast du Heil und Gnad hastgefunden, du Heil und Gnad gefunden,you too have gained salvationyou too andhave mercy, gained salvation and mercy, die letzten Tropfen fragen,die letzten Tropfen fragen, and ask the last drop and ask the last drop auch den letzten Tropfenauch Blut den letzten Tropfen Blut and Love gives to you and Love gives to you ob es mit dir nicht redlichob meint. es mit dir nicht redlich meint. whether you are being honest.whether you are being honest. gibt die Liebe dir zugut.gibt die Liebe dir zugut. even the last drop of blood.even the last drop of blood. Ergib dich, hartes Herz,Ergib dich, hartes Herz, Give in, hard heart, Give in, hard heart, zerfließ in Reu und Schmerz.zerfließ in Reu und Schmerz. dissolve into penitence anddissolve grief. into penitence and grief. DIE SEELE: DIE SEELE: THE SOUL: THE SOUL: Ach, was habe ich getan?Ach, was habe ich getan? Oh what have I done? Oh what have I done?

DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: Schau das Herz nur reuvollSchau an. das Herz nur reuvoll an. Look at this heart with repentance.Look at this heart with repentance.

16 MOZART / GRABMUSIK16 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 17 UND BASTIENNE 17

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 16-17 before reformat.indd 16-17 11/05/2018 15:18:11 11/05/2018 15:18:11 DIE SEELE: THE SOUL: Dies soll jetzt mein Vorsatz sein, From now on, this will be my resolution: liebstes Herz, dich will ich lieben, I will love you, dearest heart, nimmer will ich dich betrüben, and will never disappoint you. ach, verzeih’ es, göttlich’s Herz. Oh forgive me, divine heart.

DER ENGEL: THE ANGEL: Es verzeihet deinem Schmerz. He forgives your torment.

18 MOZART / GRABMUSIK & BASTIEN UND BASTIENNE

Bastien CD booklet final before reformat.indd 18-19 11/05/2018 15:18:13 Bastien und BastienneBastien und – anBastienne introduction – an byintroduction Ian Page by Ian Page Académie des SciencesAcadémie a proposal des Sciences for simplifying a proposal musical for simplifyingnotation by musicalsubstituting notation notes by substituting notes with ciphers. This proposalwith ciphers. was rejected,This proposal most wasvehemently rejected, by most Rameau, vehemently but it didby Rameau,reflect but it did reflect Rousseau’s firmly-heldRousseau’s belief firmly-heldthat music should belief that be simple music should and dominatedbe simple byand melody dominated by melody Bastien und BastienneBastien is theund only Bastienne one of isMozart’s the only operas one of to Mozart’s have been operas written to havefor been written for (though to be fair (thoughto his opponents, to be fair Rousseau’sto his opponents, musical Rousseau’seducation musicaland talent education barely and talent barely performance in a privateperformance house inrather a private than ahouse theatre. rather It wasthan commissioneda theatre. It was at somecommissioned at some allowed for anythingallowed more complex). for anything more complex). point in mid-1768 pointby the in renowned mid-1768 and by thecontroversial renowned German and controversial physician GermanFranz Anton physician Franz Anton Mesmer, and MozartMesmer, composed and Mozartthe work composed in Vienna thesoon work after in completingVienna soon his after ill-fated completing his ill-fated In the spring of 1752,In the just spring a few ofmonths 1752, before just a thefew infamous months before performance the infamous of Pergolesi’s performance of Pergolesi’s comic opera La fintacomic semplice opera. No La detailsfinta semplice of its première. No details have of survived, its première and havescholarship survived, and scholarship La serva padrona, RousseauLa serva padronapenned ,his Rousseau only enduring penned composition, his only enduring Le devin composition, du village .Le devin du village. was further hamperedwas by further the loss hampered of Mozart’s by the autograph loss of Mozart’s manuscript autograph until it miraculously manuscript until it miraculously This unpretentious ‘intermède’This unpretentious was inspired ‘intermède’ by the was comic inspired operas by thatthe comiche had operas heard that he had heard resurfaced in Krakowresurfaced in the 1980s. in Krakow We arein the greatly 1980s. indebted We are to greatlythe musicologist indebted Lindato the L. musicologist Linda L. in Venice during a inbrief Venice posting during as asecretary brief posting to the asFrench secretary ambassador to the French there, ambassadorand it there, and it Tyler for her work inTyler clarifying for her the work unusually in clarifying complex the genesisunusually of complex this slight genesis but charming of this slight but charming marked a deliberatemarked attempt a todeliberate recreate attemptthe unadorned to recreate charm the andunadorned simplicity charm of Italian and simplicity of Italian work. work. comic opera in the comicFrench operalanguage. in the Numbers French language. were linked Numbers by sung were recitative linked rather by sung than recitative rather than spoken dialogue, andspoken the libretto dialogue, – also and by the Rousseau libretto –– alsowas bya generic Rousseau tale – ofwas two a genericyoung tale of two young Provenance Provenance shepherds, Colin andshepherds, Colette, beingColin andreconciled Colette, in being love by reconciled an unnamed in love Soothsayer by an unnamed (the Soothsayer (the The story of the work’sThe storyorigins of thebegins work’s in Parisorigins before begins Mozart in Paris had before even beenMozart born. had even been born. ‘devin’ of the title) after‘devin’ Colin of hasthe title)briefly after been Colin lured has awaybriefly by beenthe luredattractions away of theby the nearby attractions of the nearby Parisian musical circlesParisian in the musical early 1750scircles inwere the dominatedearly 1750s by were a hard-fought dominated intellectual by a hard-fought intellectual Lady of the Manor.Lady The ofwork the wasManor. premièred The work at Fontainebleauwas premièred on at 18Fontainebleau October 1752, on 18 October 1752, debate between thedebate relative between merits ofthe French relative tragic merits opera of French and Italian tragic comicopera opera.and Italian A comic opera. A and was an immediateand wassuccess. an immediateIt was presented success. in ItParis was the presented following in spring,Paris the and following was spring, and was performance in Parisperformance of Pergolesi’s in Parisintermezzo of Pergolesi’s La serva intermezzo padrona Laon serva1 August padrona 1752 on 1 August 1752 to retain its place onto theretain French its place stage on for the the French next sixty stage years. for the next sixty years. had sparked the eruptionhad sparked of this thedebate eruption into ofwhat this became debate knowninto what as became‘La Querelle known des as ‘La Querelle des Bouffons’ (‘the squabbleBouffons’ of the (‘the comedians’; squabble of‘Les the Bouffons’ comedians’; was the‘Les nameBouffons’ by whichwas the the name by which the Libretto Libretto troupe performing Pergolesi’stroupe performing opera became Pergolesi’s known), opera and became for the known), next two and years for thethere next two years there The path from Rousseau’sThe path Le fromdevin Rousseau’s du village Le to devin Mozart’s du villageBastien to und Mozart’s Bastienne Bastien is a und Bastienne is a was a furious exchangewas a of furious letters, exchange articles andof letters,pamphlets articles on andthe subject.pamphlets As onwith the so subject. As with so long and complicatedlong one.and Thecomplicated instant popularity one. The ofinstant Rousseau’s popularity piece of inRousseau’s Paris soon piece in Paris soon many such trends andmany movements, such trends however, and movements, the seeds however,of the quarrel the seeds had alreadyof the quarrel been had already been prompted a parodyprompted (then as now a parody a sure (thensign ofas anow work’s a sure success), sign of Les a work’s amours success), de Bastien Les amours de Bastien gestating for some time.gestating for some time. et Bastiene, by Marie-Justine-Benoiteet Bastiene, by Marie-Justine-Benoite Favart and Harny de Favart Guerville. and Harny This version, de Guerville. which This version, which was premièred at thewas Comédie premièred Italienne at the onComédie 26 September Italienne 1753,on 26 retainedSeptember Rousseau’s 1753, retained Rousseau’s One of the leadingOne figures of the in leading the debate figures was in the the Swiss debate philosopher was the Swiss and philosopher sometime and sometime plot but hardly any plotof his but original hardly text,any ofwith his Rousseau’s original text, classical with Rousseau’s French being classical replaced French being replaced musician Jean-Jacquesmusician Rousseau Jean-Jacques (1712 - 78). Rousseau Born in (1712 Geneva - 78). and Born largely in Geneva self-educated, and largely self-educated, by more robust andby colloquial more robust language. and colloquial More significantly, language. More Rousseau’s significantly, alternation Rousseau’s alternation he had come to Parishe in had 1742. come Here, to Paris while in he1742. was Here,developing while hehis wasphilosophical developing writings, his philosophical writings, of recitative and airof wasrecitative replaced and byair anwas unvaried replaced succession by an unvaried of poetic succession stanzas thatof poetic stanzas that he also attempted heto establishalso attempted himself toas establish a composer, himself and as hea composer,even submitted and heto theeven submitted to the

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Bastien CD booklet final beforeBastien reformat.indd CD booklet final 20-21 before reformat.indd 20-21 11/05/2018 15:18:13 11/05/2018 15:18:13 were sung to pre-existingwere sung popular to pre-existing vaudeville populartunes (this vaudeville was consistent tunes (thiswith was established consistent with establishedthe same amount ofthe set-piece same amount numbers of asset-piece in Rousseau’s numbers original as in Rousseau’slibretto. For original nine of libretto. For nine of traditions of Italian commediatraditions of dell’arte Italian commedia and Parisian dell’arte comedy and troupes), Parisian with comedy the result troupes), that with the result thatWeiskern’s fourteenWeiskern’s numbers he fourteen retained numbers the exact he metreretained and the syllable exact metrecount andof Favart syllable count of Favart Rousseau’s recitativesRousseau’s and fourteen recitatives numbers and became fourteen in numbers Favart and became de Guerville’s in Favart versionand de Guerville’s versionand de Guerville’s andtext, deso thatGuerville’s his German text, solines that could his German be sung lines to the could same be prescribed sung to the same prescribed a continuous sequencea continuous of forty-six sequence airs. Dramaturgically, of forty-six airs. however, Dramaturgically, the parody however, improved the parody improvedFrench vaudeville tunes,French but vaudeville for the other tunes, five but (Nos. for the 1, other7, 10, five 12 (Nos.and 13)1, 7,he 10,changed 12 and the 13) he changed the on the original by extendingon the original the argument by extending of the the young argument lovers of(now the calledyoung Bastienlovers (now and called Bastien andverse structure to suchverse an structureextent that to suchnew musican extent was that required. new music This taskwas wasrequired. undertaken This task was undertaken Bastiene) and telescopingBastiene) the and dénouement telescoping (five the dénouement of Rousseau’s (five fourteen of Rousseau’s numbers take fourteen numbers takeby Johann Baptist Savio,by Johann music Baptist director Savio, of the music Prague-based director of troupe the Prague-based of Johann Joseph troupe von of Johann Joseph von place after the lovers’place reconciliation) after the lovers’ into reconciliation)a single number. into Ita also single incorporated number. It somealso incorporated someBrunnian. Savio’s musicBrunnian. has not Savio’s survived, music but has the not Weiskern-Savio survived, but theversion Weiskern-Savio of Bastien und version of Bastien und topical populist touches,topical such populist as the touches, Soothsayer such (nowas the called Soothsayer Colas) (now first calledarriving Colas) with first arriving withBastienne was in theBastienne repertoire was of ain travelling the repertoire children’s of a travellingtroupe which children’s visited troupe Salzburg which in visited Salzburg in bagpipes and laterbagpipes delivering and a ‘magical’ later delivering incantation a ‘magical’ with gibberish incantation text; withboth gibberish of these text; both of these1766 or 1767, so Mozart1766 or might 1767, even so Mozarthave been might familiar even havewith thisbeen work familiar by the with time this he work by the time he new elements subsequentlynew elements found subsequentlytheir way into found Mozart’s their opera.way into Mozart’s opera. departed for Viennadeparted on 11 September for Vienna 1767.on 11 September 1767.

Les amours de BastienLes amourset Bastiene de Bastienproved etno Bastiene less popular proved than no the less work popular which than inspired the work which inspiredMozart’s compositionMozart’s composition it, and it eventually it,found and itsit eventuallyway to Vienna, found whereits way it towas Vienna, performed where at it thewas Laxenburg performed at the LaxenburgThe motivation for Thethe Mozartmotivation family’s for the visit Mozart to Vienna family’s was visit the toimminent Vienna weddingwas the imminentof wedding of Palace and the BurgtheaterPalace and in thethe 1750s.Burgtheater In 1764 in the Giacomo 1750s. InDurazzo, 1764 Giacomo the director Durazzo, of the director ofThe Archduchess MariaThe Archduchess Josepha – sister Maria of JosephaEmperor –Joseph sister ofII –Emperor to King JosephFerdinand II – Ito of King Ferdinand I of the city’s popular Kärntnertortheater,the city’s popular commissionedKärntnertortheater, one ofcommissioned his leading comicone of writers his leading and comic writers andNaples (he was alsoNaples Ferdinand (he was III ofalso Sicily), Ferdinand and by III theof Sicily),time the and Mozarts by the arrived time the the Mozarts arrived the actors, Friedrich Wilhelmactors, Weiskern, Friedrich Wilhelmto create Weiskern,a German totranslation create a Germanof the work translation (two years of the work (two yearsfestivities were alreadyfestivities in full were swing. already Within in afull few swing. weeks, Within however, a few the weeks, Archduchess however, the Archduchess later Charles Burney’slater English Charles adaptation, Burney’s EnglishThe Cunning-Man adaptation,, Thewas Cunning-Manto prove very ,popular was to prove very popularhad succumbed tohad the succumbedsmallpox epidemic to the smallpoxthat was epidemicsweeping that through was sweepingthe city, and through the city, and in London), and Weiskernin London), was assistedand Weiskern in his endeavourswas assisted by in one his endeavoursof his colleagues by one at ofthe his colleagues at thesuddenly the whole suddenlyrationale thefor thewhole Mozarts’ rationale trip forunravelled. the Mozarts’ The tripplanned unravelled. festivities The were planned festivities were theatre, J. H. F. Müller,theatre, who J. wrote H. F. theMüller, text forwho Nos. wrote 11 the and text 12 for and Nos. the 11 first and two 12 stanzas and the first two stanzascancelled, the theatrescancelled, closed andthe theatresthe visiting closed aristocracy and the departed, visiting aristocracy and as the departed, epidemic and as the epidemic of No. 13. The secondof No. ‘n’ 13. in ‘Bastienne’ The second seems ‘n’ in to‘Bastienne’ have been seems incorporated to have beenbefore incorporated the before thespread the Mozartsspread removed the themselves Mozarts removed firstly to themselves Brünn (now firstly Brno) to andBrünn then (now to OlmützBrno) and then to Olmütz work arrived in Vienna,work and arrived Weiskern’s in Vienna, new and version Weiskern’s was entitled new version Bastien was und entitled Bastienne Bastien und Bastienne(Olomouc). The children(Olomouc). were nevertheless The children unable were nevertheless to avoid the unable disease, to andavoid Wolfgang the disease, and Wolfgang (actually just Bastienne(actually on the just title Bastienne page, but on Bastien the title und page, Bastienne but Bastien at the und head Bastienne of each at the head of eachcame close to dying,came but thanksclose toto dying,the intercession but thanks of to a the Salzburg intercession acquaintance of a Salzburg who wasacquaintance who was subsequent page ofsubsequent the libretto). page of the libretto). now dean of the cathedralnow dean and of rectorthe cathedral of the university and rector in Olmütz,of the university they were in Olmütz,treated in they were treated in comfort and recoveredcomfort before and the recovered end of thebefore year, the returning end of tothe Vienna year, returningon 10 January to Vienna on 10 January Weiskern’s GermanWeiskern’s translation Germanremained translation loyal to Favart remained and loyalde Guerville’s to Favart andtext, debut Guerville’she text, but he1768. Nine days later1768. they Nine were days granted later athey two-hour were grantedaudience a two-hourwith the Empressaudience Maria with the Empress Maria did modify its form didinto modifythe standard its form structure into the and standard style ofstructure a Viennese and stylemusical of acomedy, Viennese musical comedy,Theresia and EmperorTheresia Joseph and II. Emperor Joseph II. turning most of the Frenchturning stanzas most of intothe Frenchspoken stanzas German into dialogue spoken (in German prose) dialogueand selecting (in prose) and selecting fourteen numbers tofourteen adapt numbersmore freely to adaptinto German more freely verse. into Coincidentally, German verse. this Coincidentally,was this was

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Bastien CD booklet final beforeBastien reformat.indd CD booklet final 22-23 before reformat.indd 22-23 11/05/2018 15:18:13 11/05/2018 15:18:13 It was seemingly at Itthe was behest seemingly of the atEmperor the behest that ofMozart the Emperor composed that aMozart full-length composed opera a full-length operafor Mozart’s Zaide for– took Mozart’s it upon Zaide himself – took to revise it upon Weiskern himself andto revise Müller’s Weiskern text, believing and Müller’s text, believing buffa, La finta semplicebuffa,, over La fintathe next semplice five ,months, over the but next in the five event months, the musicalbut in the establishment event the musical establishmenttheir language to betheir too language harsh and to unpoetic. be too harsh This revisionand unpoetic. involved This a fewrevision small involved changes a few small changes closed ranks to preventclosed the ranks work’s to production.prevent the work’sMozart’s production. infuriated Mozart’sfather petitioned infuriated the father petitioned theto the sung text thatto Mozart the sung had text already that Mozart set, but had because already the set, music but becausehad already the musicbeen had already been Emperor, and they remainedEmperor, andin Vienna they remained for several in more Vienna months for several in the moreincreasingly months forlorn in the increasingly forlornwritten Schachtner written had to Schachtner fit the exact had syllable to fit the counts exact and syllable stresses counts of Mozart’s and stresses pre- of Mozart’s pre- hope of having the hopeopera of performed, having the butopera to no performed, avail. It was but presumablyto no avail. atIt wassome presumably point at some pointexisting music. Far moreexisting significant, music. Far however, more significant, was Schachtner’s however, decisionwas Schachtner’s to rewrite alldecision of to rewrite all of during the course ofduring this wait the thatcourse Mozart of this was wait commissioned that Mozart wasto write commissioned a short opera to writefor a short opera forWeiskern’s spoken dialogue,Weiskern’s replacing spoken dialogue, it with verse replacing which couldit with then verse be which set to could recitative then be set to recitative private performanceprivate in the performancehouse of Doctor in the Franz house Anton of Doctor Mesmer. Franz Anton Mesmer. and sung; Mozart didand indeed sung; Mozartset the first did fourindeed of these, set the but first understandably four of these, seemsbut understandably to have seems to have run out of enthusiasm.run out of enthusiasm. Born near Lake ConstanceBorn near in 1734,Lake Constance Mesmer had in 1734, studied Mesmer theology, had philosophy studied theology, and law philosophy and law in Vienna before turningin Vienna to medicine. before turning He achieved to medicine. widespread He achieved notoriety widespread – and notable notoriety – and notableThe repercussions ofThe Schachtner’s repercussions revision, of Schachtner’s however, revision,in conjunction however, with in the conjunction loss of with the loss of early success – withearly his use success of magnets – with tohis disrupt use of whatmagnets he considered to disrupt what to be he gravitational considered to be gravitationalMozart’s autographMozart’s manuscript, autograph led musicologists manuscript, toled various musicologists false assumptions. to various falseFirstly assumptions. Firstly tides adversely affectingtides hisadversely patients, affecting but the hisorthodox patients, medical but the fraternity orthodox found medical his theories fraternity found his theoriesthe Vienna commissionthe Vienna and première commission seemed and topremière contradict seemed the known to contradict involvement the knownof involvement of and methods increasinglyand methods controversial, increasingly and hecontroversial, was eventually and accusedhe was eventuallyof fraud and accused of fraud andSchachtner, who hadSchachtner, remained who in Salzburghad remained throughout in Salzburg 1768, andthroughout it was 1768,therefore and it was therefore forced to leave Vienna.forced Mesmer to leave was Vienna. a keen Mesmer cellist and was harpsichordist, a keen cellist andand harpsichordist,also played and also playedsurmised that Mozartsurmised had already that Mozart started had work already on the started opera work in 1767 on the before opera he inleft 1767 before he left the glass harmonicathe to glasspatients harmonica to induce to them patients into toa inducetrance-like them state. into Hea trance-like was famously state. He was famouslyfor Vienna. Secondly,for allVienna. of Schachtner’s Secondly, changesall of Schachtner’s were incorporated changes intowere the incorporated accepted into the accepted satirised by Mozart satirisedand Lorenzo by Mozart da Ponte and in Lorenzo the Act daOne Ponte finale in theofCosì Act Onefan tutte finale. ofCosì fan tutte. version of the work,version with the of ridiculousthe work, resultwith thethat ridiculous it began resultwith sungthat itrecitative began withbetween sung recitative between each number and continuedeach number with andspoken continued dialogue. with spoken dialogue. In January 1768 MesmerIn January married 1768 the Mesmer wealthy married widow the Maria wealthy Anna widow von Bosch, Maria and Anna in von Bosch, and in so doing became so a well-known doing became figure a well-knownin Viennese figure society. in VienneseThe Mesmers society. were The soon Mesmers wereIt was soon only with theIt wasrediscovery only with of theMozart’s rediscovery manuscript of Mozart’s in the 1980smanuscript that inthe the truth 1980s that the truth entertaining lavishlyentertaining at their splendid lavishly house at their in thesplendid Landstrasse house suburbin the Landstrasseof Vienna, andsuburb it of Vienna, and wasit established. Nowwas scholarsestablished. were Now able scholarsto prove were that Mozartable to usedprove Viennese that Mozart paper used Viennese paper was here that Mozart’swas hereBastien that und Mozart’s Bastienne Bastien was und performed Bastienne (one was of performedMozart’s early (one of Mozart’s earlywhich would almostwhich certainly would not almost have beencertainly available not have to himbeen in availableSalzburg, toand him even in Salzburg, a and even a biographers claimedbiographers that the performance claimed that took the placeperformance in the Mesmers’ took place garden in the theatre,Mesmers’ garden theatre,perfunctory examinationperfunctory of the examinationmanuscript showsof the thatmanuscript Mozart showsoriginally that setMozart Weiskern originally set Weiskern but this had not beenbut built this byhad 1768). not been built by 1768). and Müller’s text verbatimand Müller’s – in thetext handfulverbatim of – places in the wherehandful Schachtner of places subsequentlywhere Schachtner subsequently made changes to themade sung changes text there to theare sungclear text crossings there areout clearon the crossings manuscript, out onwith the manuscript, with Salzburg revision Salzburg revision Schachtner’s words Schachtner’sadded above words or beneath added them.above As or farbeneath as we them. know, As this far recording as we know, this recording The final part of BastienThe final und Bastienne’spart of Bastien early und history Bastienne’s is also early the onehistory that is has also caused the one that has causedis the first performanceis the offirst Mozart’s performance original of setting Mozart’s of Bastien original und setting Bastienne of Bastien since und its Bastienne since its the most confusion.the After most the confusion. Mozarts’ Afterreturn the to Mozarts’Salzburg returnearly into 1769,Salzburg their early friend in 1769, their friendpremière at Dr Mesmer’spremière house at Dr250 Mesmer’s years ago. house 250 years ago. Johannes SchachtnerJohannes – a court Schachtner trumpeter –and a court writer trumpeter who was and later writer to create who wasthe libretto later to create the libretto

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Bastien CD booklet final beforeBastien reformat.indd CD booklet final 24-25 before reformat.indd 24-25 11/05/2018 15:18:13 11/05/2018 15:18:13 The music The music Synopsis Synopsis The twelve-year-oldThe Mozart twelve-year-old was already Mozart a master was at already matching a masterhis compositions at matching to his the compositions to the scale and ambition scaleof the and commission, ambition andof the his commission, music for Bastien and his und music Bastienne for Bastien perfectly und Bastienne perfectlyThe shepherdess BastienneThe shepherdess has been Bastienne abandoned has beenby her abandoned sweetheart, by the her shepherd sweetheart, the shepherd matches the rustic simplicitymatches theof therustic libretto. simplicity Over of half the oflibretto. the arias Over last half for ofless the than arias two last for less than twoBastien, who has beenBastien, lured who away has bybeen the luredattractions away aby noble the attractionslady from athe noble city. ladyShe from the city. She minutes, but they unerringlyminutes, butcapture they unerringlythe dramatic capture and emotionalthe dramatic situation. and emotional Note, for situation. Note, forwretchedly laments wretchedlyher plight andlaments seeks her the plight advice and of seeks Colas, the who advice has ofestablished Colas, who a has established a example, the speedexample, and efficiency the speed with and which efficiency Mozart establisheswith which eachMozart character establishes within each character withinreputation as a fortune-tellerreputation and as magician.a fortune-teller Colas and reassures magician. her Colasthat Bastien reassures still herloves that her Bastien still loves her their first aria – Bastienne’stheir first forlorn aria – Bastienne’smelancholy (No.forlorn 1), melancholy Colas’ blustery (No. swagger1), Colas’ tinged blustery swagger tingedand will soon return,and but willrecommends soon return, that but when recommends he does so that she when should he feigndoes indifference.so she should feign indifference. with genuine compassionwith genuine (No. 4), compassion and Bastien’s (No. exuberant 4), and Bastien’scomplacency exuberant that all complacency will be that all will be well now that he haswell decided now that to returnhe has to decided Bastienne to (No.return 8). to Bastienne (No. 8). Bastienne departs toBastienne tend to herdeparts flock, to tendand Bastiento her flock,now arrives.and Bastien He joyfully now tellsarrives. Colas He joyfully tells Colas that he has seen thethat error he hasof his seen ways the and error is oflooking his ways forward and isto lookingbeing reunitedforward withto being reunited with The emotional temperatureThe emotional rises with temperature the soulful rises tenderness with the of soulful Bastien’s tenderness “Meiner of Liebsten Bastien’s “Meiner LiebstenBastienne. Colas congratulatesBastienne. Colas him on congratulates his decision, him but onwarns his decision,him that hebut is warns too late him and that he is too late and schönen Wangen” schönen (No. 11), Wangen” in which (No. Mozart 11), employs in which flutes Mozart for employs the only flutes time for in the only timethat in Bastienne now thathas Bastienneanother admirer. now has Bastien, another distraught, admirer. Bastien,urges Colas distraught, to consult urges his Colas to consult his the piece, and withthe the piece, splendidly and withcombative the splendidly duet (No. combative 13) in whichduet (No.the two13) loversin which the two loversBook of Magic. ColasBook casts of Magic. a terrifying Colas hocus-pocus casts a terrifying spell, afterhocus-pocus which he spell, predicts after thatwhich he predicts that pugnaciously exchangepugnaciously musical stanzas.exchange If Bastien’smusical stanzas. despair Ifin Bastien’s the brief despair accompanied in the brief accompaniedBastien will be ableBastien to win willBastienne be able back to win if he Bastienne works hard back to iftake he betterworks carehard ofto her.take better care of her. recitative (No. 14) remindsrecitative us (No. of Papageno’s 14) reminds near us of suicide, Papageno’s we should near remembersuicide, we that should Die remember that Die Zauberflöte itself belongsZauberflöte to the itself same belongs tradition to ofthe German same tradition singspiel, of andGerman that singspiel,many of and that many ofBastien is left alone,Bastien and when is left Bastienne alone, and returns when she Bastienne rebuffs him, returns saying she rebuffsthat he him,cannot saying that he cannot these moments werethese stock moments set-pieces were of the stock genre. set-pieces Finally, of the the consecutive genre. Finally, ensembles the consecutive with ensembles withbe her Bastien, for hebe was her Bastien,faithful and for loving.he was Bastienfaithful andtries loving.to persuade Bastien her tries that to Colas persuade has her that Colas has which the work endswhich (Nos. the 15-16) work endsnegotiate (Nos. a 15-16)potentially negotiate clumsy a and potentially sudden clumsyresolution and sudden resolutionbanished the malevolentbanished forces the that malevolent were overpowering forces that werehis judgement, overpowering but theyhis judgement, continue but they continue with consummate skillwith and consummate subtlety. skill and subtlety. to argue until Bastiento arguedeclares until himself Bastien ready declares to commit himself suicide. ready toBastienne commit wishessuicide. him Bastienne wishes him good luck. good luck. Perhaps the most popularPerhaps number the most in popularBastien numberund Bastienne in Bastien is Colas’ und Bastienne pseudo-magical is Colas’ pseudo-magical spell to nonsense words,spell to which nonsense is one words, of few which numbers is one in ofthe few opera numbers whose in derivation the opera whose derivationEventually, however,Eventually, they acknowledge however, thatthey their acknowledge love for each that other their remainslove for eachundimmed, other remains undimmed, can be traced directlycan back be traced to Le devindirectly du back village to .Le Rousseau’s devin du villageFrench. gibberishRousseau’s begins French gibberish beginsand Colas returns toand celebrate Colas returnsthe happy to celebrate outcome. the happy outcome. “Manche, Planche,/Salme,“Manche, Palme”, Planche,/Salme, which became Palme”, “Tätzel, which Brätzel,/Schober, became “Tätzel, Kober” Brätzel,/Schober, in Kober” in Weiskern’s GermanWeiskern’s adaptation. German This is the adaptation. only number, This however,is the only for number, which Schachtner’showever, for which Schachtner’s Salzburg revision providesSalzburg entirely revision new provides words –entirely “Diggi, new daggi,/Schurry, words – “Diggi, murry” daggi,/Schurry, – and it murry” – and it has been suggestedhas that been this textsuggested might have that thisbeen text the might work have of Mozart been thehimself. work Certainlyof Mozart himself. Certainly it would have appealedit would to Mozart’shave appealed sense ofto humour,Mozart’s and sense we of have humour, included and “Diggi,we have included “Diggi, daggi” as an appendixdaggi” on asthis an recording. appendix on this recording.

26 MOZART / GRABMUSIK26 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 27 UND BASTIENNE 27

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 26-27 before reformat.indd 26-27 11/05/2018 15:18:13 11/05/2018 15:18:13 10 Nr. 2, Arie 10 Nr. 2, Arie No. 2, Aria No. 2, Aria Libretto Libretto BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Ich geh jetzt auf die Weide,Ich geh jetzt auf die Weide, I’m going now to the meadow,I’m going now to the meadow, 7 Intrada (Allegro) 7 Intrada (Allegro) Intrada (Allegro) Intrada (Allegro) Betäubt und ganz gedankenleer.Betäubt und ganz gedankenleer. stunned and quite unablestunned to think. and quite unable to think. Den ich seh’ dort, zur meinerDen ich Freude seh’ dort, zur meiner FreudeThere I see nothing to cheerThere me I see up nothing to cheer me up Erster Auftritt Erster Auftritt Scene One Scene One Nichts als mein Lämmerheer.Nichts als mein Lämmerheer. except my flock. except my flock. Die Schaubühne ist ein DieDorf Schaubühne mit der Aussicht ist ein ins Dorf mit derThe Aussichtsetting is ins a village withThe settinga view isacross a village the fields.with a view across the fields.Ach! ganz allein Ach! ganz allein Ah, always to be Ah, always to be Feld. BASTIENNE allein.Feld. BASTIENNE allein. BASTIENNE alone. BASTIENNE alone. Voller Pein Voller Pein completely alone completely alone Stets zu sein, Stets zu sein, and full of grief and full of grief 8 Nr. 1, Arie 8 Nr. 1, Arie No. 1, Aria No. 1, Aria Ist kein Spaß Ist kein Spaß is no fun is no fun BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Im grünen Gras. Im grünen Gras. in the green grass. in the green grass. Mein liebster Freund hatMein mich liebsterverlassen, Freund hat mich verlassen,My dearest friend has desertedMy dearest me, friend has deserted me, Mit ihm ist Schlaf und RuhMit dahin. ihm ist Schlaf und Ruh dahin. and with him have goneand sleep with and him rest. have gone sleep and rest. Ich weiß vor Leid mich nichtIch weiß zu fassen; vor Leid mich nicht zu fassen;I am beside myself with Igrief; am beside myself with grief; Zweiter Auftritt Zweiter Auftritt Scene Two Scene Two Der Kummer schwächt mirDer Aug Kummer und Sinn.schwächt mir Aug undsorrow Sinn. dims my eyes andsorrow senses. dims my eyes and senses. Vor Gram und Schmerz Vorerstarrt Gram das und Herz, Schmerz erstarrt dasMy Herz, heart is numb with tormentMy heart and is anguish,numb with torment and anguish,11 Nr. 3 (Orchester) 11 Nr. 3 (Orchester) No. 3 (Orchestra) No. 3 (Orchestra) Und diese Not bringt mirUnd den diese Tod. Not bringt mir den Tod.and this distress will be andthe death this distress of me. will be the death of me. COLAS kommt von einemCOLAS Hügel kommt und spielt von einemauf Hügel COLASund spielt comes auf down a COLAShill and comesplays hisdown bagpipes a hill and. plays his bagpipes. dem Dudelsack. dem Dudelsack. 9 Dialog 9 Dialog Dialogue Dialogue BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: 12 Nr. 4, Arie 12 Nr. 4, Arie No. 4, Aria No. 4, Aria Du fliehst von mir, Bastien?Du fliehst Du verläßt von mir,deine Bastien? Du verläßtYou run deine away from me, YouBastien? run away You desert from me, your Bastien? You desert yourCOLAS: COLAS: COLAS: COLAS: Geliebte? O, das ist keineGeliebte? Art. Deine O, dasTreue ist gehört keine Art. Deinebeloved? Treue Oh,gehört that is nobeloved? way to behave. Oh, that Your is no heart way to behave. Your heartBefraget mich ein zartesBefraget Kind mich ein zartes Kind When a gentle child asksWhen me a gentle child asks me mir. Ich habe dein Wort,mir. und Ich du habe vergißt dein dein Wort, und du vergißtbelongs dein to me. I have yourbelongs word, to and me. youI have forget your your word, and you forgetUm your das zukünft’ge GlückeUm, das zukünft’ge Glücke, about her future fortune, about her future fortune, Versprechen? Mein BastienVersprechen? verläßt mich? Mein Ich Bastien rufe verläßtpromise? mich? Ich My rufe Bastien desertspromise? me? My I call Bastien out deserts me? I call out Les ich das Schicksal ihmLes geschwind ich das Schicksal ihm geschwindI read her destiny swiftlyI read her destiny swiftly ihn ohne Unterlaß, aberihn vergebens. ohne Unterlaß, So oft ichaber vergebens.to himSo oftwithout ich ceasing, tobut him in vain.without Every ceasing, time I but in vain. Every time I Aus dem verliebten Blicke.Aus dem verliebten Blicke. from her lovelorn looks. from her lovelorn looks. an ihn denke, muß ich weinen,an ihn denke, und ich muß denke ich anweinen, undthink ich of denke him it an makes methink weep, of himand itI makescan think me of weep, and I can think ofIch seh’ daß bloß des LiebstenIch seh’ Gunst daß bloß des Liebsten GunstI see that only the favourI seeof her that beloved only the favour of her beloved nichts als an ihn. Der Treulose!nichts als um an eines ihn. hübschernDer Treulose! umnothing eines hübschern other than him. nothingThe traitor! other He than turns him. The traitor! He turns Kann zum Vergnügen taugen;Kann zum Vergnügen taugen; can serve to cheer her up;can serve to cheer her up; Gesichtes willen kehrt erGesichtes mir den Rücken? willen kehrt er mir den Rücken?his back on me for the sakehis back of a onpretty me face?for the sake of a pretty face? Und so steckt meine ZauberkunstUnd so steckt meine Zauberkunst and in this way my magicand art in is this concealed way my magic art is concealed O Schmerz! arme Liebe…O Schmerz!gute Nacht! arme Liebe… gute Nacht!O woe is me! WretchedO love… woe is goodnight! me! Wretched love… goodnight! In zwei entflammten Augen.In zwei entflammten Augen. in two enflamed eyes. in two enflamed eyes.

Underlined text denotes wordsUnderlined or lines text in denotesthe sung words numbers or lines that inwere the subsequentlysung numbers changed that were by subsequently Schachtner in changed 1769. by Schachtner in 1769.

28 MOZART / GRABMUSIK28 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 29 UND BASTIENNE 29

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 28-29 before reformat.indd 28-29 11/05/2018 15:18:13 11/05/2018 15:18:13 13 Dialog 13 Dialog Dialogue Dialogue COLAS: COLAS: COLAS: COLAS: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Bei einem so hübschen Kinde,Bei einem wie so du hübschen bist, nehme Kinde, wieWith du bist,such nehmea pretty childWith as you, such I’d a be pretty content child as you, I’d be content Guten Morgen, Herr Colas!Guten Wolltest Morgen, du Herrmir wohlColas! WolltestGood du morning, mir wohl Mr Colas!Good Might morning, you perhaps Mr Colas! do Might you perhaps doich mit ein paar Busserlnich fürlieb. mit ein paar Busserln fürlieb. with a couple of kisses. with a couple of kisses. einen Gefallen erweisen?einen Gefallen erweisen? me a favour? me a favour? (Er will sie umarmen.) (Er will sie umarmen.) (He tries to embrace her.)(He tries to embrace her.)

COLAS: COLAS: COLAS: COLAS: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Ja, mit Freuden, mein Herzchen.Ja, mit Freuden, Laß hören, mein was Herzchen. LaßYes, hören, with pleasure, was my dear.Yes, withLet me pleasure, hear, what my dear. do Let me hear, what doNicht, nicht, Herr Colas!Nicht, Alle meine nicht, BusserlHerr Colas! sind fürAlle meineNo, Busserl no, Mr sind Colas! für All myNo, kisses no, Mrare Colas! reserved All my kisses are reserved verlangst du von mir? verlangst du von mir? you want from me? you want from me? den Bastien aufgehoben.den Sei Bastien so gut aufgehoben.und erlaube, Sei so gutfor Bastien.und erlaube, Be so good foras Bastien.to let me Be talk so to good you as to let me talk to you daß ich von meiner Heiratdaß mit ich dir von rede. meiner Was Heirat rätst mit dirabout rede. myWas marriage. rätst Whatabout do myyou marriage. advise me? What do you advise me? BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: du mir? Soll ich sterben?du mir? Soll ich sterben? Am I going to die? Am I going to die? Ich wünsche ein Mittel widerIch wünsche den Verdruß, ein Mittel der wider denI Verdruß,want a cure der for the frustrationI want athat’s cure gnawingfor the frustration away that’s gnawing away mich nagt. Du als ein Zauberermich nagt. kannst Du alsmir eindasselbe Zauberer kannstat me. mir You dasselbe as a magician at me.can Yousurely as give a magician me an can surely give me anCOLAS: COLAS: COLAS: COLAS: unfehlbar erteilen. unfehlbar erteilen. infallible one. infallible one. Sterben, so jung? Ei beileibeSterben, nicht, so jung?das wäre Ei beileibe ewig nicht,To die,das wäreso young? ewig Ah, byTo thedie, love so young?of God Ah,no, bythat the love of God no, that schade. schade. would be an eternal pity.would be an eternal pity. COLAS: COLAS: COLAS: COLAS: Ja, ganz gewiß. Du hättestJa, ganzdich angewiß. keinen Du bessern hättest dich anYes, keinen quite bessernso. You couldn’tYes, have quite come so. You to acouldn’t better have come to a betterBASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: wenden können. O potzwenden Stern! ichkönnen. besitze O potz Stern! ichperson. besitze By Heavens, I possessperson. By Heavens, I possess Aber alle Leute sagen, daßAber mich alle BastienLeute sagen, verlassen daß mich ButBastien everyone verlassen is saying thatBut Bastieneveryone has is desertedsaying that me. Bastien has deserted me. wunderbare Geheimnisse,wunderbare zwei schönen Geheimnisse, Augen zwei schönenwonderful Augen secret powerswonderful to prophecy secret powers to prophecy hat. hat. gutes Glück zu prophezeien.gutes Glück zu prophezeien. good fortune for a pair goodof beautiful fortune eyes! for a pair of beautiful eyes! COLAS: COLAS: COLAS: COLAS: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Eh, mach dir deswegenEh, keinen mach Kummer. dir deswegen keinen Kummer.Oh, don’t worry yourselfOh, about don’t that. worry yourself about that. Aber, Herr Colas, ich habeAber, kein Herr Geld. Colas, Du ichmußt habe dich kein Geld.But, Mr Du Colas, mußt dichI have noBut, money. Mr Colas, You’ll Ijust have have no tomoney. You’ll just have to schon mit diesen Ohrbuckelnschon befriedigen,mit diesen Ohrbuckeln die ich dir befriedigen,be satisfied die ichwith dir these beearrings satisfied that I’mwith givingthese you.earrings that I’m giving you.BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: schenke. Sie sind von klaremschenke. Golde. Sie sind von klarem Golde.They’re made of pure gold.They’re made of pure gold. Sollte es möglich sein? OSollte Glück! es möglich So hält sein?er mich O Glück! MightSo hält it beer michpossible? OhMight joy! itSo be he possible? still thinks Oh that joy! So he still thinks that noch für schön? noch für schön? I’m beautiful? I’m beautiful? COLAS: COLAS: COLAS: COLAS: Geh, meine Tochter, mitGeh, deinen meine Ohrbuckeln. Tochter, mit deinen Ohrbuckeln.Away with your earrings,Away my daughter. with your earrings, my daughter. COLAS: COLAS: COLAS: COLAS: Er liebt dich vom GrundeEr derliebt Seele. dich vom Grunde der Seele.He loves you from the bottomHe loves of hisyou heart. from the bottom of his heart. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Wie? du willst sie verschmähen?Wie? du willst sie verschmähen?What? You wish to spurnWhat? them? You wish to spurn them? BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Und doch ist er mir ungetreu?Und doch ist er mir ungetreu? And yet he is unfaithful toAnd me? yet he is unfaithful to me?

30 MOZART / GRABMUSIK30 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 31 UND BASTIENNE 31

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 30-31 before reformat.indd 30-31 11/05/2018 15:18:13 11/05/2018 15:18:13 COLAS: COLAS: COLAS: COLAS: 15 Dialog 15 Dialog Dialogue Dialogue Dein Bastien ist nur ein wenigDein Bastien flatterhaft. ist nur Sei ein ohne wenig flatterhaft.Your Bastien Sei isohne just a bit Yourof a Bastienbutterfly. is justDon’t a bit of a butterfly. Don’t COLAS: COLAS: COLAS: COLAS: Sorgen, mein liebes Kind!Sorgen, deine meinSchönheit liebes hält Kind! deine upsetSchönheit yourself, hält my dear child!upset yourself,Your beauty my dearholds child! Your beauty holds O, die Edelfrau vom SchloßO, die weiß Edelfrau ihn noch vom Schloß weißOh, ihn thenoch noblewoman fromOh, the the castle noblewoman knows even from the castle knows even ihn fest. ihn fest. him fast. him fast. besser zu verpflichten. besserUm ihn zuan verpflichten. sich zu ziehen, Um ihn anbetter sich howzu ziehen, to oblige him.better In order how toto lureoblige him him. In order to lure him erwidert sie seine Höflichkeitenerwidert siemit seineden köstlichsten Höflichkeiten towardsmit den köstlichstenher, she reciprocates towards his her, compliments she reciprocates with his compliments with BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Geschenken. Kann es unsGeschenken. wohl an Liebhabern Kann es uns wohl anthe Liebhabern most magnificent gifts.the mostCan magnificentany of us be shortgifts. ofCan any of us be short of Aber, wenn er einmal meinAber, Mann wenn werden er einmal sollte? mein MannBut werden what ifsollte? he becomes Butmy whathusband if he one becomes day? my husband one day? fehlen, wenn man die Gewogenheitenfehlen, wenn man bezahlt? die Gewogenheitenlovers ifbezahlt? we pay for theirlovers affections? if we pay for their affections? O, zum Geier! so will ichO, mit zum keiner Geier! andern so will teilen, ich mit keinerBy God,andern I won’tteilen, share himBy God,with another I won’t womanshare him – with another woman – weißt du das? weißt du das? you do know that, don’tyou you? do know that, don’t you? 16 Nr. 6, Arie 16 Nr. 6, Arie No. 6, Aria No. 6, Aria BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: COLAS: COLAS: COLAS: COLAS: Würd ich auch, wie mancheWürd Buhlerinnen, ich auch, wie manche Buhlerinnen,If I too, like many a coquette,If I too, like many a coquette, Sei ruhig! dein geliebterSei Gegenstand ruhig! dein ist geliebter gar nicht Gegenstand Calm ist down! gar nicht The objectCalm of your down! love isThe not object at all of your love is not at all Fremder SchmeicheleienFremder niemals Schmeicheleiensatt, niemals satt,never tired of strangers’ neverflatteries, tired of strangers’ flatteries, ungetreu. Er liebt nur denungetreu. Aufputz. Er liebt nur den Aufputz.unfaithful. It’s just the fineryunfaithful. that he It’s loves. just the finery that he loves. Wollt ich mir ganz leichtWollt das Herzich mir gewinnen ganz leicht das HerzI would gewinnen very easily win Ifor would myself very the easily heart win for myself the heart Von den schönsten HerrenVon aus den der schönsten Stadt. Herren aus derof Stadt.the most handsome menof the in mostthe city. handsome men in the city. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Doch nur Bastien reizt meineDoch Triebe,nur Bastien reizt meine Triebe,Yet Bastien alone stirs myYet emotions, Bastien alone stirs my emotions, Den Aufputz? hat ihn wohlDen jemand Aufputz? besser hat ihn wohl jemandThe besser finery? Could anyoneThe havefinery? attired Could him anyonebetter have attired him betterUnd mit Liebe wird ein andrerUnd mit nie Liebe belohnt. wird ein andrer nieand belohnt. no other man will everand be no rewarded other man with will my ever love. be rewarded with my love. ausstaffiert als ich? ausstaffiert als ich? than I have? than I have? Geht, geht, geht! sag ich,Geht, geht, geht! sag ich, “Go, go, go!”, I’d say, “Go, go, go!”, I’d say, Geht und lernt von meinerGeht Jugend, und lernt von meiner Jugend,“Go and learn from my “Goyouthfulness and learn from my youthfulness 14 Nr. 5, Arie 14 Nr. 5, Arie No. 5, Aria No. 5, Aria Daß die Tugend Daß die Tugend that virtue that virtue BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Noch in Schäferhütten wohnt.Noch in Schäferhütten wohnt. still exists among shepherds’still exists huts.” among shepherds’ huts.” Wenn mein Bastien im ScherzeWenn mein Bastien im Scherze When my Bastien as a jokeWhen my Bastien as a joke Mir ein Blümchen sonst Mirentwand, ein Blümchen sonst entwand,stole a little flower fromstole me, a little flower from me, 17 Dialog 17 Dialog Dialogue Dialogue Drang mir selbst die LustDrang durch’s mir Herze, selbst die Lust durch’s Herze,I felt in my heart the sameI felt pleasure in my heart the same pleasure COLAS: COLAS: COLAS: COLAS: Die er bei dem Raub empfand.Die er bei dem Raub empfand. that he felt from the theft.that he felt from the theft. Gib dich zufrieden! Ich Gibbin Bürgedich zufrieden! für deinen Ich bin BürgeBe für contented! deinen I am guarantorBe contented! for your I am guarantor for your Warum wird er von GeschenkenWarum wird er von GeschenkenWhy would he now be Whydazzled would by hegifts now be dazzled by gifts Wetterhahn. Er wird zurückkehren,Wetterhahn. ich Er stehe wird zurückkehren,weathercock. ich stehe He’ll comeweathercock. back, I assure He’ll you. come back, I assure you. Einer andern jetzt geblendt?Einer andern jetzt geblendt? from another woman? from another woman? dir dafür. Aber du mußt dirdir dafür.eine andre Aber Artdu mußt dir eine andreBut you Art must get used toBut a differentyou must approach. get used to a different approach. Alles, was nur zu erdenken,Alles, was nur zu erdenken, Everything you can possiblyEverything imagine you can possibly imagine angewöhnen. Du mußt einangewöhnen. wenig arglistig, Du mußt spaßhaft ein wenig You arglistig, must become spaßhaft a littleYou crafty, must playful become a little crafty, playful Ward ihm ja von mir gegönnt.Ward ihm ja von mir gegönnt. was truly offered to him wasby me. truly offered to him by me. und leichtsinnig werden.und Ein leichtsinnigLiebhaber wirdwerden. zur Ein Liebhaberand frivolous. wird zur There is noand easier frivolous. way There is no easier way Meiereien, Feld und HerdenMeiereien, Feld und Herden Dairies, fields and flocksDairies, fields and flocks Beständigkeit nicht leichterBeständigkeit als durch Scherz nicht leichter und als durchto bring Scherz a loverund back to toconstancy bring a loverthan backthrough to constancy than through Bot ich ihm mit Freuden Botan; ich ihm mit Freuden an; I offered him gladly; I offered him gladly; Fopperei gebracht. Fopperei gebracht. joking and teasing. joking and teasing. Jetzt soll ich verachtet werden,Jetzt soll ich verachtet werden, am I now to be scorned,am I now to be scorned, Da ich ihm so viel getan?Da ich ihm so viel getan? after having done so muchafter for having him? done so much for him?

32 MOZART / GRABMUSIK32 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 33 UND BASTIENNE 33

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 32-33 before reformat.indd 32-33 11/05/2018 15:18:14 11/05/2018 15:18:14 BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: COLAS: COLAS: COLAS: COLAS: Das wird schwer halten.Das Wenn wird ich schwer ihn sehe, halten. verliere Wenn ichThat ihn will sehe, be verlieredifficult. AsThat soon will as beI see difficult. him As soon as I see him O die Unschuld! Dir zumO Glücke die Unschuld! Dir zum Glücke Oh, what innocence! ForOh, your what own innocence! happiness For your own happiness ich gleich Sprache und Stimme.ich gleich Ich Sprache schau nur,und ob Stimme. IchI immediately schau nur, oblose my powerI immediately of speech lose and my my power of speech and my Meide jetzt die finstern MeideBlicke, jetzt die finstern Blicke, avoid gloomy looks now!avoid gloomy looks now! meine Ärmel weiß sind, meineob das Ärmel Krösel weiß recht sind, in die ob das Kröselvoice. rechtI just inlook die to see whethervoice. I justmy looksleeves to seeare whether my sleeves are Nimm ein muntres WesenNimm an. ein muntres Wesen an. Adopt a cheerful manner!Adopt a cheerful manner! Falten gelegt und das MiederFalten gelegtgerad eingeschnürtund das Mieder geradpristine, eingeschnürt whether my collarpristine, is correctly whether folded my collar and is correctly folded and ist, ob mein Rock sich wohlist, obausbreitet mein Rock und sich ob Schuhwohl ausbreitet my bodice und ob properly Schuh laced,my bodicewhether properly my dress laced, hangs whether my dress hangsBASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: und Strümpfe sauber sind.und Strümpfe sauber sind. well and whether my shoeswell andand stockingswhether myare shoes clean. and stockings are clean.Gut, ich tu so viel ich kann!Gut, ich tu so viel ich kann! Yes, master, as well as IYes, can! master, as well as I can! (Bastienne ab) (Bastienne ab) (she departs) (she departs) COLAS: COLAS: COLAS: COLAS: Das taugt nichts, mein Kind.Das taugtEinen nichts,Unbeständigen mein Kind. EinenThat Unbeständigen will achieve nothing,That my will child. achieve In order nothing, to put my child. In order to putDritter Auftritt Dritter Auftritt Scene Three Scene Three zurecht zu bringen, mußzurecht man selbst zu bringen, ein wenig muß man selbstright ein an wenig inconstant man,right one anmust inconstant appear aman, little one must appear a little flatterhaft scheinen. Manflatterhaft muß sich scheinen. stellen, vor Man dem muß sichfickle stellen, oneself. vor demOne mustfickle pretend oneself. to flee One from must one’s pretend to flee from19 one’sDialog 19 Dialog Dialogue Dialogue Liebsten zu fliehen, wennLiebsten man sichzu fliehen,gleich herzlich wenn man sichbeloved, gleich whenherzlich in realitybeloved, one truly when longs in for reality him. one truly longs for him. COLAS: COLAS: COLAS: COLAS: nach ihm sehnt. Schau, nachdas ist ihm die sehnt. rechte Schau, Art: so das ist dieLook, rechte that’s Art: the so correct method;Look, that’s the thecity correctladies domethod; the city ladies doDieses Liebhaberpaar istDieses wahrlich Liebhaberpaar ein rechtes ist wahrlichThis ein pairrechtes of lovers are a Thistruly pair marvellous of lovers piece are aof truly marvellous piece of machen es die Damen dermachen Stadt. es die Damen der Stadt.it that way. it that way. Wunderwerk. DergleichenWunderwerk. Unschuld wird Dergleichen man Unschuldwork. wird It wouldman be hard forwork. such It wouldinnocence be hard ever forto such innocence ever to schwerlich anderswo alsschwerlich auf dem Landeanderswo finden. als aufIn dembe Lande encountered finden. In anywhere be otherencountered than in anywherethe country. other than in the country. 18 Nr. 7, Duett 18 Nr. 7, Duett No. 7, Duet No. 7, Duet der Stadt ist man schon derim WeisbändelStadt ist man witziger, schon im WeisbändelIn the city witziger, one is alreadyIn cleverer the city whenone is one already is still cleverer in when one is still in COLAS: COLAS: COLAS: COLAS: und die Tochter weiß oftund mehr die als Tochter die Mutter. weiß oftDoch, mehr alsthe die cradle, Mutter. and Doch, the daughterthe cradle, often knowsand the more daughter than often knows more than Auf den Rat, den ich gegeben,Auf den Rat, den ich gegeben, The advice which I haveThe given advice which I have given da kommt unser Liebhaber,da kommtdieser angenehmeunser Liebhaber, dieserthe angenehme mother. But here comesthe mother.our lover, But this here genial comes our lover, this genial Sei, mein Kind, mit FleißSei, bedacht. mein Kind, mit Fleiß bedacht.you must heed carefully,you my mustchild. heed carefully, my child. Gegenstand, welchen manGegenstand, den Junkern welchen vorzieht. man Ihr den Junkernobject ofvorzieht. love whom Ihr Bastienneobject of prefers love whomto a Junker*. Bastienne prefers to a Junker*. eingebildeten Herzensbezwinger!eingebildeten Ihr gespreiztenHerzensbezwinger! You Ihr gespreiztenconceited breakers Youof hearts! conceited You affectedbreakers of hearts! You affected BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Jungfernknechte! Das ist Jungfernknechte!eine treffliche Lektion Das ist für eine trefflicheslaves Lektion to young für girls! Thatslaves is a tofitting young lesson girls! for That you is a fitting lesson for you Ja, ich werde mich bestreben,Ja, ich werde mich bestreben, Yes, I’ll do my best Yes, I’ll do my best euch. Eure Schönen laufeneuch. den Eure Bauern Schönen nach, laufen da den Bauernall: your nach, pretty da girls run afterall: your the peasants,pretty girls gracious run after the peasants, gracious Daß man ihn zu NutzenDaß macht man. ihn zu Nutzen macht. to make use of it. to make use of it. man euch, gnädige Herren,man kaumeuch, übergnädige die AchselHerren, kaumSirs, über scarcely die Achsel even lookingSirs, down scarcely on you!even looking down on you! anschaut. anschaut. COLAS: COLAS: COLAS: COLAS: Wirst du mir auch dankbarWirst leben? du mir auch dankbar leben?And will you continue toAnd be gratefulwill you tocontinue me? to be grateful to me? * A Junker was a member* of A theJunker German was a landed member gentry of the German landed gentry in the Middle Ages, so thein implicationthe Middle hereAges, is soof athe implication here is of a BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: well-heeled nobleman. well-heeled nobleman. Ja, mein Herr, bei Tag undJa, meinNacht. Herr, bei Tag und Nacht.Yes, master, by day andYes, by night.master, by day and by night.

34 MOZART / GRABMUSIK34 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 35 UND BASTIENNE 35

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 34-35 before reformat.indd 34-35 11/05/2018 15:18:14 11/05/2018 15:18:14 Vierter Auftritt Scene Four

20 Nr. 8, Arie No. 8, Aria BASTIEN: BASTIEN: Großen Dank dir abzustatten, To render you many thanks, Herr Colas, ist meine Pflicht; Mr Colas, is my duty. Du zerteilst des Zweifels Schatten You have dispersed the shadows of doubt Durch den weisen Unterricht. through your wise counsel. Ja, ich wähle die zum Gatten, Yes, I am choosing as my bride Die des Lebens Glück verspricht. she who offers a lifetime’s happiness. In den angebot’nen Schätzen The treasures which I have been offered Ist für mich kein wahr Ergötzen. hold no real delight for me. Bastiennes Lieblichkeit Bastienne’s loveliness Macht mich mehr als Gold erfreut. pleases me more than gold.

21 Dialog Dialogue COLAS: COLAS: Es freut mich, daß du endlich zu dir selber kommst, I’m delighted that you’ve finally come back to your daß du der leeren Schmeicheleien satt bist und senses, that you’ve had enough of empty flattery mein Zureden einmal stattfinden läßt. Doch du and for once take heed of my coaxing. folgst meinem Rat zu spät; das Weinlesen ist schon But you follow my advice too late; the grape harvest vorbei. is already over.

BASTIEN: BASTIEN: Wie? das Weinlesen ist vorbei? Was will das What? The grape harvest is already over? What sagen? do you mean?

COLAS: COLAS: Man hat dir den Abschied gegeben. You’ve been given the push.

36 MOZART / GRABMUSIK & BASTIEN UND BASTIENNE

Bastien CD booklet final before reformat.indd 36-37 11/05/2018 15:18:17 BASTIEN: BASTIEN: BASTIEN: BASTIEN: COLAS: COLAS: COLAS: COLAS: Geh! du hast Lust mich zuGeh! foppen. du hast Meine Lust michBastienne zu foppen. Get Meine away! Bastienne You take pleasureGet away! in teasing You takeme! pleasureMy in teasing me! MyAus meiner Kunst. Aus meiner Kunst. From my art. From my art. sollte mir ihr kleines liebessollte Herz mir entziehen? ihr kleines Nein,liebes Herz entziehen?Bastienne witholdNein, from meBastienne her dear withold little heart? from me No, her dear little heart? No, dazu ist sie zu zärtlich. Siedazu gibt ist essie gewißzu zärtlich. keinem Sie gibt esshe gewiß is too keinem affectionate forshe that. is too She affectionate would certainly for that. She would certainlyBASTIEN: BASTIEN: BASTIEN: BASTIEN: andern. andern. not give her heart to anothernot give man. her heart to another man. Aus deiner Kunst? Aus deiner Kunst? From your art? From your art?

COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: Wenn sie es nicht gibt, Wennso läßt siesie essich’s nicht doch gibt, so läßt sieIf sich’sshe doesn’t doch give it, thenIf sheshe doesn’tat least givelets itit, be then she at least lets it be Freilich. Freilich. Certainly. Certainly. nehmen. nehmen. taken from her. taken from her. BASTIEN: BASTIEN: BASTIEN: BASTIEN: 22 Nr. 9, Arie 22 Nr. 9, Arie No. 9, Aria No. 9, Aria Soll ich es glauben? Ist dasSoll wahr?ich es glauben? Ist das wahr?Should I believe it? Is it Shouldtrue? I believe it? Is it true? BASTIEN: BASTIEN: BASTIEN: BASTIEN: Geh! du sagst mir eine Geh!Fabel. du sagst mir eine Fabel. Get away! You’re tellingGet me away!a fairy You’re tale. telling me a fairy tale. COLAS: COLAS: COLAS: COLAS: Bastienne trüget nicht. Bastienne trüget nicht. Bastienne does not deceive.Bastienne does not deceive. Leider! es ist nur allzuwahr.Leider! Armer es istNachbar! nur allzuwahr. du ArmerUnfortunately Nachbar! du it is all tooUnfortunately true! Poor neighbour, it is all too you true! Poor neighbour, you Nein, sie ist kein falscherNein, Schnabel, sie ist kein falscher Schnabel,No, she is no ‘false beak’No, she is no ‘false beak’ wirst es schon erfahren. wirst es schon erfahren. will soon discover it. will soon discover it. Welcher anders denkt alsWelcher spricht. anders denkt als spricht.who thinks differently fromwho what thinks she differently says. from what she says. Wenn mein Mund sie herzigWenn nennet, mein Mund sie herzig nennet,If I call her pretty If I call her pretty BASTIEN: BASTIEN: BASTIEN: BASTIEN: Hält sie mich gewiß für Hältschön, sie mich gewiß für schön, she’ll certainly find me she’llhandsome, certainly find me handsome, O Potztausend! Wie binO ich Potztausend! so unglücklich! Wie bin ich so unglücklich!Oh, a thousand curses! Oh,How a unhappy thousand I curses!am! How unhappy I am! Und wenn sie vor Liebe Undbrennet, wenn sie vor Liebe brennet, and if she is burning withand love, if she is burning with love, Muß die Glut von mir entstehn.Muß die Glut von mir entstehn. the fire must result from theme. fire must result from me. COLAS: COLAS: COLAS: COLAS: Da siehst du, daß es nichtDa allezeitsiehst du, gut daß ist, eines nicht allezeitSo gut you ist, seeein it is not alwaysSo yougood see to itbe is anot handsome always good to be a handsome 23 Dialog 23 Dialog Dialogue Dialogue schöner Knabe zu sein. schönerMan will Knabe Liebste zu und sein. Man will lad.Liebste One und wants to havelad. sweethearts One wants and to riches have insweethearts and riches in COLAS: COLAS: COLAS: COLAS: Reichtümer, alles im ÜberflußReichtümer, haben, alles und im ein Überfluß haben,abundance, und ein but a singleabundance, good day oftenbut a tugssingle a good day often tugs a Das kann sein; aber genug,Das kanndaß deinesein; aberGeliebte genug, daß Thatdeine may Geliebte be; but enoughThat of maythat, be;for yourbut enoughbeloved of that, for your belovedeinziger guter Tag zieht einzigeroft hundert guter böse Tag nach zieht sich. oft hundert hundred böse nach bad sich.ones behindhundred it. bad ones behind it. einen andern Anbeter hat.einen Er istandern höflich, Anbeter artig, hat. reich Er ist höflich,has another artig, admirer. reich Hehas is courteous,another admirer. well-bred, He is courteous, well-bred, und liebenswürdig. und liebenswürdig. rich and kind. rich and kind. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Der Zufall ist schrecklich Derfür mich.Zufall Ichist schrecklichbin darüber für mich. WhatIch bin a darüber dreadful thing toWhat happen a dreadful to me. I’mthing out to of happen to me. I’m out of BASTIEN: BASTIEN: BASTIEN: BASTIEN: aus mir selbst... Liebster ausHerr mir Colas! selbst... Weißt Liebster du kein Herr Colas!my Weißtwits about du kein it... Dear myMr witsColas, about do it...you Dearknow Mr of Colas, do you know of Ei der Henker! Wie sollteEi dasder Henker!zugegangen Wie sein?sollte das zugegangenHang it all! sein? How could Hangthat have it all! happened? How could that have happened? Geheimnis, meine geliebteGeheimnis, Bastienne meine wieder geliebte zu Bastienneno secret wieder way zu of gettingno my secret beloved way Bastienne of getting to my beloved Bastienne to Und woher weißt du das?Und woher weißt du das? And how do you know Andthat? how do you know that? bekommen? bekommen? come back? come back?

38 MOZART / GRABMUSIK38 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 39 UND BASTIENNE 39

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 38-39 before reformat.indd 38-39 11/05/2018 15:18:17 11/05/2018 15:18:17 COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: COLAS: Arme Kinder! ihr dauert Armemich. Kinder!Ich sehe ihr nichts dauert lieber, mich. Ich Poorsehe children! nichts lieber, You makePoor me pitychildren! you. NothingYou make me pity you. Nothing Ohne Zweifel, wenn du Ohnekein Hackstock Zweifel, wenn bist. Geh!du kein HackstockWithout bist. doubt, Geh! if you’re Withoutnot a blockhead. doubt, if you’re Go, and not a blockhead. Go, and als wenn die Leute gut miteinanderals wenn die verstanden Leute gut miteinandersind. pleases verstanden me more sind. than topleases see people me more getting than along to see people getting alongund nimm dein wahres Glückund nimm besser dein in wahresacht als Glück bessertake in better acht careals of your taketrue happinessbetter care than of your you true happiness than you Warte einen Augenblick!Warte Ich will einen mich Augenblick! in meinem Ich will wellmich with in meinem one another. Waitwell witha moment! one another. I want Waitto a moment! I want tobisher. bisher. have done up to now. have done up to now. Zauberbuche nach deinemZauberbuche Schicksal erkundigen.nach deinem Schicksallook erkundigen. up your fate in my lookbook up of yourmagic. fate in my book of magic. (geht ab) (geht ab) (he departs) (he departs) (Er zieht aus seinem Schnappsack(Er zieht aus ein seinem Buch Schnappsack(He ein takes Buch a book out of(He his takesknapsack a book and out makes of his knapsack and makes hervor und macht im währendenhervor und Lesen macht allerhand im währenden strangeLesen allerhand gestures during strangeits reading, gestures frightening during its reading, frightening Gaukeleien, worüber BASTIENGaukeleien, in Furcht worüber gerät.) BASTIEN inBastien Furcht somewhat.)gerät.) Bastien somewhat.) Fünfter Auftritt Fünfter Auftritt Scene Five Scene Five

24 Nr. 10, Arie 24 Nr. 10, Arie No. 10, Aria No. 10, Aria 26 Nr. 11, Arie 26 Nr. 11, Arie No. 11, Aria No. 11, Aria COLAS: COLAS: COLAS: COLAS: BASTIEN: BASTIEN: BASTIEN: BASTIEN: Tätzel, Brätzel, Tätzel, Brätzel, Tätzel, Brätzel, Tätzel, Brätzel, Meiner Liebsten schöne MeinerWangen Liebsten schöne WangenMy beloved’s lovely cheeksMy beloved’s lovely cheeks Schober, Kober, Schober, Kober, Schober, Kober, Schober, Kober, Will ich froh aufs neue sehn;Will ich froh aufs neue sehn; I gladly long to see again;I gladly long to see again; Indig, Windig, Indig, Windig, Indig, Windig, Indig, Windig, Bloß ihr Reiz stillt mein Verlangen,Bloß ihr Reiz stillt mein Verlangen,only her charm placatesonly my yearning,her charm placates my yearning, Kuffer, Puffer, Kuffer, Puffer, Kuffer, Puffer, Kuffer, Puffer, Gold kann ich um sie verschmähn.Gold kann ich um sie verschmähn.and for her I can disdainand gold. for her I can disdain gold. Fixfax, Kixkax, Fixfax, Kixkax, Fixfax, Kixkax, Fixfax, Kixkax, Weg mit Hoheit, weg mitWeg Schätzen! mit Hoheit, weg mit Schätzen!Away with grandeur, awayAway with with treasure! grandeur, away with treasure! Hosper, Hiper, ho, hi, to!Hosper, Hiper, ho, hi, to! Hosper, Hiper, ho, hi, to!Hosper, Hiper, ho, hi, to! Eure Pracht wirkt nicht beiEure mir. Pracht wirkt nicht bei mir. Your glitter does not workYour on glitterme. does not work on me. Mirlar Vistan li, la, lo! Mirlar Vistan li, la, lo! Mirlar Vistan li, la, lo! Mirlar Vistan li, la, lo! Nur m,ein Mädchen kannNur ergötzen m,ein Mädchen kann ergötzenOnly my girl can delightOnly my girl can delight Darlar Busslan quid pro Darlarquo. Busslan quid pro quo. Darlar Busslan quid pro Darlarquo. Busslan quid pro quo. Hundertmal noch mehr alsHundertmal ihr. noch mehr als ihr. a hundred times more thana hundred you. times more than you.

25 Dialog 25 Dialog Dialogue Dialogue Wuch’rer, die bei stolzenWuch’rer, Trieben die bei stolzen TriebenProfiteers, who by proudProfiteers, inclinations who by proud inclinations BASTIEN (furchtsam): BASTIEN (furchtsam): BASTIEN (fearfully): BASTIEN (fearfully): Bloß das Selt’ne sonst entzückt,Bloß das Selt’ne sonst entzückt, are usually captivated onlyare byusually rarities, captivated only by rarities, Ist die Hexerei zu Ende?Ist die Hexerei zu Ende? Is the sorcery at an end?Is the sorcery at an end? Würden ihre Unschuld lieben,Würden ihre Unschuld lieben, would love her innocence,would and love would her innocence, and would Schätzten sich durch sieSchätzten beglückt. sich durch sie beglückt.consider themselves fortunateconsider through themselves her. fortunate through her. COLAS: COLAS: COLAS: COLAS: Doch umsonst! hier sindDoch die Grenzen. umsonst! hier sind die Grenzen.But in vain! Here are theBut boundaries: in vain! Here are the boundaries: Ja, tritt nur näher! Tröste Ja,dich! tritt Dunur wirst näher! deine Tröste dich! Du Yes,wirst youdeine can come nearer!Yes, Comfortyou can yourself! come nearer! You Comfort yourself! YouSie ist nur für mich gemacht,Sie ist nur für mich gemacht, she was made for me alone,she was made for me alone, Schäferin wieder sehen.Schäferin wieder sehen. will see your shepherdesswill again. see your shepherdess again. Und mit kalten ReverenzenUnd mit kalten Reverenzen and with cold reverencesand with cold reverences Wird der Reichtum hier Wirdverlacht. der Reichtum hier verlacht. will riches here be mocked.will riches here be mocked. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Aber darf ich sie auch anrühren?Aber darf ich sie auch anrühren? But may I also touch her?But may I also touch her?

40 MOZART / GRABMUSIK40 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 41 UND BASTIENNE 41

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 40-41 before reformat.indd 40-41 11/05/2018 15:18:17 11/05/2018 15:18:17 Sechster Auftritt Sechster Auftritt Scene Six Scene Six BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Du wärest mein Bastien?Du O wärest nein, dermein bist Bastien? du O nein, Youder bistwould du be my Bastien?You Oh would no, beyou my are Bastien? never Oh no, you are never 27 Dialog 27 Dialog Dialogue Dialogue nimmer. nimmer. he. he. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Da ist sie ... Soll ich ihreDa Blicke ist sie fliehen? ... Soll ...ich ihreNein, Blicke fliehen?There she ... is…Nein, Should I Thererun away?… she is… No, Should if I runI run away?… No, if 28I runNr. 12, Arie 28 Nr. 12, Arie No. 12, Aria No. 12, Aria wenn ich davonlaufe, verlierewenn ich davonlaufe,sie ganz und verliere gar. ich awaysie ganz I will und lose gar. her completelyaway I willand lose utterly. her completely and utterly. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Er war mir sonst treu undEr ergeben, war mir sonst treu und ergeben,Once he was faithful andOnce devoted he was to me,faithful and devoted to me, BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Mich liebte Bastien allein,Mich liebte Bastien allein, Bastien loved only me; Bastien loved only me; Der Undankbare! Er hatDer mich Undankbare! gesehen. Ach! Er hatwie mich gesehen.The ungrateful Ach! wie brute! He’sThe seen ungrateful me. Ah, brute! how He’smy seen me. Ah, how myMein Herz war einzig seinMein Bestreben, Herz war einzig sein Bestreben,my heart was his only desire,my heart was his only desire, klopft mir das Herz. klopft mir das Herz. heart is hammering! heart is hammering! Nur ich, sonst nahm ihnNur niemand ich, sonst ein. nahm ihn niemand heein. was captivated by mehe and was no captivated one else. by me and no one else. Das schönste Bild entzücktDas ihn schönste nicht, Bild entzückt ihn nicht,The prettiest picture couldThe not prettiest please picture him, could not please him, BASTIEN: BASTIEN: BASTIEN: BASTIEN: Sein Blick war bloß auf Seinmich Blickgericht. war bloß auf mich gericht.he only had eyes for me;he only had eyes for me; Potztausend! Ich weiß nicht,Potztausend! was ich tunIch oderweiß lassennicht, was ichA thousand tun oder curses!lassen I don’tA thousandknow what curses! I should I don’t or know what I should orIch konnt vor andern allenIch konnt vor andern allen I could charm and pleaseI could him charm and please him soll. soll. shouldn’t do. shouldn’t do. Ihn reizen, ihm gefallen.Ihn reizen, ihm gefallen. more than all the others.more than all the others. Auch Damen wurden nichtAuch geschätzt, Damen wurden nicht geschätzt,He didn’t even appreciateHe well-to-dodidn’t even ladies appreciate well-to-do ladies BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Die oft sein Blick in GlutDie gesetzt. oft sein Blick in Glut gesetzt. who were often enflamedwho by were a glance often fromenflamed him, by a glance from him, O weh! ohne dran zu denken,O weh! komme ohne dran ich ihmzu denken,auf kommeO woe! ich Without ihm auf thinkingO aboutwoe! itWithout I am running thinking into about it I am running intoWenn sie Geschenke gaben,Wenn sie Geschenke gaben, and when they gave himand presents when they gave him presents den Hals. den Hals. his path. his path. So mußt ich solche haben;So mußt ich solche haben; he gave them to me to keep.he gave them to me to keep. Mich liebte Bastien allein.Mich liebte Bastien allein. He loved me, and me alone.He loved me, and me alone. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Doch nun will er sich andernDoch weihn.nun will er sich andern weihn.But now he wants to devoteBut now himself he wantsto others, to devote himself to others, Es sei gewagt. Ich will freiEs seimit gewagt.ihr reden Ich ... willSieh frei da, mit ihr Itreden must ...be Siehdone. da, I want toIt must speak be freely done. to I her…want toLook speak freely to her… LookVergebens ist jetzt meineVergebens Liebe. ist jetzt meine Liebe. and my love is now in vain.and my love is now in vain. bist du zugegen? Schau,bist ich du bin zugegen? auch da Schau,... Aber ich bin auchthere, da are ... you Aber here? Look,there, I am are also you here… here? ButLook, how I am also here… But howMein Liebster, der sich mirMein entreißt, Liebster, der sich mir entreißt,My beloved, in tearing Myhimself beloved, away infrom tearing me, himself away from me, wie? Warum so beduft?wie? Was Warum fehlt dir? so Wasbeduft? machst Was fehltso? dir? Why Was so machstpale? What’sso? wrong?Why so Why pale? are What’s you wrong? Why are youVerbittert die sonst süßenVerbittert Triebe die sonst süßen Triebe embitters the once sweetembitters desires andthe once sweet desires and du für Gesichter? du für Gesichter? making such faces? making such faces? Und wird ein Flattergeist.Und wird ein Flattergeist. becomes a wanton. becomes a wanton.

BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Wer bist du? Geh! ich kenneWer bist dich du? nicht. Geh! ich kenne dichWho nicht. are you? Go away!Who I do are not you? know Go you. away! I do not know you.

BASTIEN: BASTIEN: BASTIEN: BASTIEN: Was sagst du! Ach, Bastienne,Was sagst betrachte du! Ach, mich Bastienne, betrachteWhat do mich you mean? Ah,What Bastienne, do you look mean? at me Ah, Bastienne, look at me doch! Kennst du denn deinendoch! BastienKennst dunicht denn mehr? deinen Bastienall the nicht same! mehr? Do you notall then the knowsame! your Do youBastien not then know your Bastien any more? any more?

42 MOZART / GRABMUSIK42 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 43 UND BASTIENNE 43

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 42-43 before reformat.indd 42-43 11/05/2018 15:18:17 11/05/2018 15:18:17 29 Dialog 29 Dialog Dialogue Dialogue 30 Nr. 13, Arie (a 2) 30 Nr. 13, Arie (a 2) No. 13, Aria (a 2) No. 13, Aria (a 2) BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: O, ich sehe schon, was O,dich ich verdrießt. sehe schon, Du was dich verdrießt.Oh, I Ducan already see what’sOh, I canannoying already you. see what’s annoying you. Geh hin! Dein Trotz soll Gehmich hin! nicht Dein schrecken. Trotz soll mich nichtGo schrecken. away! Your scorn willGo not away! frighten Your me. scorn will not frighten me. glaubst, ich habe mich verändert;glaubst, ich allein habe du mich verändert;You allein think du I’ve changed; Youbut you’rethink I’ve wrong. changed; but you’re wrong. Ich lauf auf’s Schloß, dasIch schwör lauf auf’s ich Schloß,dir, das schwör I ichwill dir, run to the castle, I Iswear will run to toyou, the castle, I swear to you, irrst. Es war ein kleiner Hexenschußirrst. Es war vonein kleinereinem HexenschußIt was von justeinem a little witch’sIt spell was fromjust aa littlecertain witch’s spell from a certain Und will der Edelfrau entdecken,Und will der Edelfrau entdecken, and tell the noblewomanand tell the noblewoman gewissen Poltergeiste; abergewissen der wackere Poltergeiste; Colas aber der wackerepoltergeist, Colas but the goodpoltergeist, Mr Colas buthas thealready good Mr Colas has already Mein Herz gehöre gänzlichMein ihr. Herz gehöre gänzlich ihr. that my heart belongs entirelythat my to heart her. belongs entirely to her. hat ihn schon vertrieben.hat ihn schon vertrieben. driven it away. driven it away. Läßt sie wie sonst sich zärtlichLäßt sie finden, wie sonst sich zärtlich finden,If I find her as affectionateIf I find as before, her as affectionate as before, Will ich mich gleich mit Willihr verbinden. ich mich gleich mit ihr verbinden.I shall pledge myself to herI shall at once.pledge myself to her at once. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Leere Entschuldigung! WennLeere duEntschuldigung! verhext warst, Wenn du verhextEmpty warst,excuse! If you’ve Emptybeen bewitched,excuse! If you’ve been bewitched, BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: so bin ich verzaubert; undso binbei ichmir verzaubert;ist alle Kunst und bei mirthen ist alle I too Kunst am under a spell;then butI too for am me under all the a artspell; of but for me all the artIch of will mich in die StadtIch begeben, will mich in die Stadt begeben,I want to go into the city;I want to go into the city; des guten Colas vergebens.des gutenJa, Bastien, Colas fürvergebens. ein Ja, Bastien,good Colas für ein is in vain. Yes,good Bastien, Colas foris in a vain.malaise Yes, Bastien, for a malaiseAnbeter treff ich da leichtAnbeter an; treff ich da leicht an; I can easily find admirersI can there. easily find admirers there. Übel wie das meinige istÜbel gar wiekein das Mittel. meinige ist gar keinlike Mittel. mine there is no cure.like mine there is no cure. Wie eine Dam’ will ich Wiedort leben,eine Dam’ will ich dort leben,I want to live there like aI wantlady to live there like a lady Die hundert Herren fesselnDie kann. hundert Herren fesseln kann. who can fascinate a hundredwho can gentlemen. fascinate a hundred gentlemen. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Und kann ich einen SchönenUnd kann finden, ich einen Schönen finden,And if I find a handsomeAnd one, if I find a handsome one, Heirate! Der Ehestand heiltHeirate! alle Zaubereien.Der Ehestand heilt alle Zaubereien.Get married! The state ofGet marriage married! heals The allstate sorcery; of marriage heals all sorcery;Will ich mich gleich mit Willihm verbinden.ich mich gleich mit ihm verbinden.I want to pledge myself Ito want him toat pledgeonce. myself to him at once. Das beste Mittel ist ein Mann.Das beste Mittel ist ein Mann. the best cure is a husband.the best cure is a husband. BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Ich werd in Gold und SilberIch werd prahlen, in Gold und Silber prahlen,I shall swagger around inI shall gold swagger and silver, around in gold and silver, Ein trefflicher Rat! Der EhestandEin trefflicher für sich Rat! selbst Der Ehestand fürMarvellous sich selbst advice! MarriageMarvellous already advice! creates Marriage plenty already creates plentyUnd eine Liebste voller PrachtUnd eine Liebste voller Pracht and a sweetheart surroundedand a bysweetheart luxury surrounded by luxury macht schon lauter Sorgen.macht Kommt schon vollends lauter Sorgen. Kommtof vollendsmisery by itself. And ifof you misery add by to itself.that And if you add to that Wird die Gewogenheit Wirdbezahlen, die Gewogenheit bezahlen,will be paying for my attention,will be paying for my attention, ein treuloser Mann dazu,ein so treuloser werden MannNot dazu, so werdena faithless Not man, then thea distress faithless and man, misery then the distress and misery Wodurch mein Blick sie Wodurchglücklich macht.mein Blick sie glücklich wherebymacht. my gaze will makewhereby her happy.my gaze will make her happy. und Kummer unerträglich.und Und Kummer das sollte unerträglich. ein Und dasbecomes sollte ein unbearable. Andbecomes that should unbearable. be a holy And that should be a holyMir ihre Schätze zu verbinden,Mir ihre Schätze zu verbinden, To attach myself to her treasuresTo attach myself to her treasures Heilungsmittel sein? o pfui!Heilungsmittel sein? o pfui! cure? Ugh! cure? Ugh! Soll sie mich gar nicht sprödeSoll sie finden. mich gar nicht spröde finden.she will not find me at sheall coy.will not find me at all coy.

BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Gut! weil du so eigensinnigGut! bist,weil sodu tue, so eigensinnigwas bist, soFine, tue, if wasyou’re going to beFine, so ifstubborn, you’re going then todo be so stubborn, then do Den Schönen sind die KostbarkeitenDen Schönen sind die KostbarkeitenFor pretty girls, valuableFor things pretty girls, valuable things du willst. du willst. what you like! what you like! In Städten zu erwerben Inleicht. Städten zu erwerben leicht. are easy to obtain in cities.are easy to obtain in cities. Es braucht, um selbe zu Eserbeuten, braucht, um selbe zu erbeuten,To acquire them, one needsTo acquire do nothing them, one needs do nothing Nichts, als daß man sichNichts, freundlich als daß neigt. man sich freundlichbut neigt. to curtsy in a friendlybut manner. to curtsy in a friendly manner. Mir reiche Herren zu verbinden,Mir reiche Herren zu verbinden, So that I can attach myselfSo tothat rich I can gentlemen, attach myself to rich gentlemen, Soll man mich stets sehr Sollhöflich man finden.mich stets sehr höflich finden.one will always find meone very will courteous. always find me very courteous.

44 MOZART / GRABMUSIK44 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 45 UND BASTIENNE 45

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 44-45 before reformat.indd 44-45 11/05/2018 15:18:17 11/05/2018 15:18:17 31 Dialog 31 Dialog Dialogue Dialogue 32 Nr. 14, Begleitetes 32RezitativNr. 14, Begleitetes Rezitativ No. 14, Accompanied recitativeNo. 14, Accompanied recitative BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIEN: BASTIEN: BASTIEN: BASTIEN: Siehe da! bist du noch hier?Siehe lch da! dachte bist du du noch wärest hier? lch dachteSee there! du wärestAre you still here?See there! I thought Are you werestill here? I thought you were Dein Trotz vermehrt sich Deindurch Trotz mein vermehrt Leiden? sich durch meinDoes Leiden? your pig-headednessDoes increase your pig-headedness with my increase with my schon über alle Berge. schon über alle Berge. already over the hill. already over the hill. Wohlan! den AugenblickWohlan! den Augenblick suffering? Well then, in suffering?this instant Well then, in this instant Hol ich zu deinen FreudenHol ich zu deinen Freuden I will fetch myself, for yourI will delight, fetch myself, for your delight, BASTIEN: BASTIEN: BASTIEN: BASTIEN: Mir Messer, Dolch und Strick.Mir Messer, Dolch und Strick. knife, dagger and rope!knife, dagger and rope! Ich bin eben im Begriff, Ichmeinen bin eben Abmarsch im Begriff, zu meinen AbmarschI am just inzu the process ofI am leaving. just in the process of leaving. nehmen. nehmen. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Viel Glück! Viel Glück! Have a good time! Have a good time! BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Vermutlich kostet es dir wenigVermutlich Mühe, kostet mich es zu dir wenig Mühe,Presumably mich zu it costs you littlePresumably trouble itto costs leave you me, little trouble to leave me, BASTIEN: BASTIEN: BASTIEN: BASTIEN: fliehen, Treuloser! fliehen, Treuloser! faithless one! faithless one! Ich geh mich zu erhängen.Ich geh mich zu erhängen. I’m going to hang myself.I’m going to hang myself. Ich lauf, ohn’ alle Gnad,Ich lauf, ohn’ alle Gnad, I shall run, without any mercy,I shall run, without any mercy, BASTIEN: BASTIEN: BASTIEN: BASTIEN: Im Bach mich zu ertränken.Im Bach mich zu ertränken. to drown myself in the stream.to drown myself in the stream. Vermutlich bist du sehr vergnügt,Vermutlich daß bist ich du gefaßtsehr vergnügt, bin daßPresumably ich gefaßt you bin are veryPresumably pleased that you I haveare very pleased that I have BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: fortzugehen? fortzugehen? decided to leave? decided to leave? Viel Glück zum kalten Bad!Viel Glück zum kalten Bad! Have a good time in yourHave cold a bath!good time in your cold bath!

BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: 33 Dialog 33 Dialog Dialogue Dialogue Allerdings, mein Herr! SieAllerdings, können nachmein ihremHerr! Sie könnenAbsolutely, nach ihrem my Lord! YouAbsolutely, can do exactly my Lord! what You you can do exactly what youBASTIEN (für sich): BASTIEN (für sich): BASTIEN (to himself): BASTIEN (to himself): Belieben handeln. Belieben handeln. like. like. Und sollte ich wohl ein solcherUnd sollte Narr ich sein, wohl mich ein solcher NarrAnd sein, am Imich really such a madmanAnd am Ias really to throw such myselfa madman as to throw myself ins Wasser zu stürzen? ins Wasser zu stürzen? into the water? into the water? BASTIEN: BASTIEN: BASTIEN: BASTIEN: Ist das dein Ernst? ... Geh!Ist das sag! dein Soll Ernst? ich bleiben? ... Geh! sag! SollIs that ich what bleiben? you really want?…Is that what Go youon, say!really Should want?… Go on, say! ShouldBASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: I stay? I stay? Was ist’s? Was hält dichWas denn ist’s? auf? Was hält dich denn auf?What is it? What’s keepingWhat you is it?then? What’s keeping you then?

BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIEN: BASTIEN: BASTIEN: BASTIEN: Ja... Nein, nein. Ja... Nein, nein. Yes… no, no. Yes… no, no. Nichts. Ich überlege nur,Nichts. daß ich Ich ein überlege schlechter nur, daß ich Nothing.ein schlechter I’m just consideringNothing. what I’m a justbad considering swimmer what a bad swimmer Schwimmer bin; und dann,Schwimmer daß ich bin;vor und dann, daß ichI am; vor and also that I mustI am; speak and further also thatwith I youmust speak further with you meinem Ende noch mit dirmeinem reden Ende muß. noch mit dir reden beforemuß. I die. before I die.

BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Mit mir reden? Nein, ichMit höre mir dich reden? nicht Nein, mehr. ich höre dichSpeak nicht withmehr. me? No, I won’tSpeak listen with to me? you No, any I more.won’t listen to you any more.

46 MOZART / GRABMUSIK46 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 47 UND BASTIENNE 47

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 46-47 before reformat.indd 46-47 11/05/2018 15:18:17 11/05/2018 15:18:17 34 Nr. 15, Duett 34 Nr. 15, Duett Nr. 15, Duet Nr. 15, Duet BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Du irrest dich. Du irrest dich. You are mistaken. You are mistaken. Geh! geh! geh, Herz vonGeh! Flandern! geh! geh, Herz von Flandern!Go, heart from Flanders!*Go, heart from Flanders!* In deinem Blick In deinem Blick In your eyes In your eyes Such nur bei andern Such nur bei andern Seek only from others Seek only from others Wird nun mein Glück Wird nun mein Glück my happiness is now my happiness is now Zärtlich verliebt Gehör, Zärtlich verliebt Gehör, a tender, amorous ear, a tender, amorous ear, Nicht mehr gefunden. Nicht mehr gefunden. no longer to be found. no longer to be found. Denn dich, denn dich Denn dich, denn dich because I, because I because I, because I Lieb ich nicht mehr. Lieb ich nicht mehr. don’t love you any more.don’t love you any more. BASTIEN: BASTIEN: BASTIEN: BASTIEN: Wo ist die süße Zeit, Wo ist die süße Zeit, Where is that sweet time,Where is that sweet time, BASTIEN: BASTIEN: BASTIEN: BASTIEN: Da dich mein Scherz erfreut?Da dich mein Scherz erfreut? when my jests made youwhen laugh? my jests made you laugh? Wohl, ich will sterben; Wohl, ich will sterben; Right, I want to die, Right, I want to die, Denn zum Verderben Denn zum Verderben for your hatred for your hatred BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: Zeigt mir dein Haß die Spur;Zeigt mir dein Haß die Spur; makes clear to me my pathmakes to ruin;clear to me my path to ruin; Sie ist anjetzt verschwunden,Sie ist anjetzt verschwunden, It has now passed. It has now passed. Drum laß ich Dorf und Flur.Drum laß ich Dorf und Flur. therefore I am leaving thetherefore village Iand am theleaving field. the village and the field. Geh! falscher Seele! Geh! falscher Seele! Go, false soul! Go, false soul! Fort! ich erwähle Fort! ich erwähle Away! I choose Away! I choose BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Für meine zarte Hand Für meine zarte Hand for my tender hand for my tender hand Falscher! Du fliehest? Falscher! Du fliehest? Deceiver! You are fleeing?Deceiver! You are fleeing? Ein andres Eheband. Ein andres Eheband. another marriage bond.another marriage bond. Wechsel im Lieben Wechsel im Lieben A change of affection A change of affection BASTIEN: BASTIEN: BASTIEN: BASTIEN: Tilgt das Betrüben Tilgt das Betrüben does away with sadnessdoes away with sadness Ja, wie du siehest. Ja, wie du siehest. Yes, as you see. Yes, as you see. Und reizet, wie man sieht,Und reizet, wie man sieht, and stimulates, as one canand see, stimulates, as one can see, Weil dich ein andrer nimmt,Weil dich ein andrer nimmt, Because another man isBecause to have anotheryou, man is to have you, Zur Lust den Appetit. Zur Lust den Appetit. the appetite for pleasure.the appetite for pleasure. Ist schon mein Tod bestimmt.Ist schon mein Tod bestimmt. my death is already decided.my death is already decided. Ich bin mir selbst zur Qual,Ich bin mir selbst zur Qual, I am a torment to myself,I am a torment to myself, BASTIEN: BASTIEN: BASTIEN: BASTIEN: Kein Knecht von dem Rival.Kein Knecht von dem Rival. but will not be a slave tobut my will rival. not be a slave to my rival. Doch wenn du wolltest…Doch wenn du wolltest… But if you would… But if you would…

BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Bastien! Bastien! Bastien! Bastien! Bastien! Bastien! Bastien! Bastien! Doch wenn du solltest…Doch wenn du solltest… But if you should… But if you should…

BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: BASTIEN: Wie? du rufst mich? Wie? du rufst mich? What? Are you calling me?What? Are you calling me? Schatz mich noch nennen…Schatz mich noch nennen… … still call me treasure…… still call me treasure…

* People from Flanders were* People reputed from to Flandershave were reputed to have BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: particularly fickle hearts. particularly fickle hearts. Dies Herz erkennen… Dies Herz erkennen… … recognize this heart…… recognize this heart…

48 MOZART / GRABMUSIK48 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 49 UND BASTIENNE 49

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 48-49 before reformat.indd 48-49 11/05/2018 15:18:17 11/05/2018 15:18:17 BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: Siebenter Auftritt Siebenter Auftritt Scene Seven Scene Seven Wär meine Zärtlichkeit Wär meine Zärtlichkeit … my affection would be… my affection would be Auf’s neue dir geweiht. Auf’s neue dir geweiht. once more devoted to you.once more devoted to you. 35 Nr. 16, Terzett 35 Nr. 16, Terzett No. 16, Trio No. 16, Trio COLAS: COLAS: COLAS: COLAS: BASTIEN: BASTIEN: BASTIEN: BASTIEN: Kinder! Kinder! Kinder! Kinder! Children! Children! Children! Children! Ich bleibe dein allein. Ich bleibe dein allein. I would remain yours alone.I would remain yours alone. Seht, nach Sturm und RegenSeht, nach Sturm und Regen Look, after storm and rainLook, after storm and rain Wird ein schöner Tag gebracht,Wird ein schöner Tag gebracht, comes a new day. comes a new day. BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Euer Glück soll nichts bewegen;Euer Glück soll nichts bewegen; Nothing shall shake yourNothing happiness; shall shake your happiness; Ich würde dein auf ewigIch sein. würde dein auf ewig sein. I would be yours for ever.I would be yours for ever. Dankt dies meiner Zaubermacht.Dankt dies meiner Zaubermacht. thank my magic power thankfor that. my magic power for that. Auf! Auf! gebt euch die Auf!Hand! Auf! gebt euch die Hand! Up! Up! Give each otherUp! your Up! hand! Give each other your hand! BASTIEN: BASTIEN: BASTIEN: BASTIEN: Knüpft die Seelen und dieKnüpft Herzen! die Seelen und die Herzen!Join your souls and yourJoin hearts! your souls and your hearts! Gib mir, zu meinem Glück,Gib mir, zu meinem Glück, Make me happy and giveMake me me happy and give me Nichts von Schmerzen Nichts von Schmerzen May no sorrows May no sorrows Dein Herz zurück. Dein Herz zurück. back your heart. back your heart. Werd euch je bekannt. Werd euch je bekannt. ever be known to you. ever be known to you. Umarme mich, Umarme mich, Embrace me, Embrace me, Nur dich lieb ich. Nur dich lieb ich. for I love only you. for I love only you. BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: Lustig! lustig! Lustig! lustig! Joyfully, joyfully Joyfully, joyfully BASTIENNE: BASTIENNE: BASTIENNE: BASTIENNE: Preist die Zaubereien Preist die Zaubereien extol the magic extol the magic O Lust, o Lust O Lust, o Lust Oh joy, oh joy Oh joy, oh joy Von Colas, dem weisenVon Mann! Colas, dem weisen Mann! of Colas the wise man! of Colas the wise man! Für die entflammte Brust!Für die entflammte Brust! for my enflamed breast!for my enflamed breast! Uns vom Kummer zu befreien,Uns vom Kummer zu befreien, To free us from grief To free us from grief Hat er Wunder heut getan.Hat er Wunder heut getan. he has today performedhe wonders. has today performed wonders. BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: BASTIEN, BASTIENNE: Auf! auf! stimmt sein LobAuf! an! auf! stimmt sein Lob an! Up! Up! Sing his praises!Up! Up! Sing his praises! Komm, nimm auf’s neueKomm, nimm auf’s neue Come, take once more Come, take once more Er stift’ unsre Hochzeitfeier.Er stift’ unsre Hochzeitfeier. He has brought about ourHe wedding has brought celebrations. about our wedding celebrations. Neigung und Treue! Neigung und Treue! my affection and fidelity!my affection and fidelity! O, zum Geier, welch trefflicherO, zum Geier,Mann! welch trefflicher Oh,Mann! hang it all, what anOh, excellent hang itfellow! all, what an excellent fellow! Ich schwör dem WechselIch ab schwör dem Wechsel ab I renounce any change I renounce any change Und lieb dich bis in’s Grab.Und lieb dich bis in’s Grab. and will love you until I anddie. will love you until I die. COLAS, BASTIEN, BASTIENNE:COLAS, BASTIEN, BASTIENNE: COLAS, BASTIEN, BASTIENNE:COLAS, BASTIEN, BASTIENNE: Wir sind versöhnet, Wir sind versöhnet, We are reconciled, We are reconciled, Auf! auf! stimmt sein LobAuf! an! auf! stimmt sein Lob an! Up! Up! Sing his praises!Up! Up! Sing his praises! Die Liebe krönet Die Liebe krönet and love crowns and love crowns Er stift’ unsre Hochzeitfeier.Er stift’ unsre Hochzeitfeier. He has brought about ourHe wedding has brought celebrations. about our wedding celebrations. Uns nach dem bangen UnsStreit nach dem bangen Streit us after our frightening quarrelus after our frightening quarrel O, zum Geier, welch trefflicherO, zum Geier,Mann! welch trefflicher Oh,Mann! hang it all, what anOh, excellent hang itfellow! all, what an excellent fellow! Durch treue Zärtlichkeit. Durch treue Zärtlichkeit. with true tenderness. with true tenderness.

50 MOZART / GRABMUSIK50 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 51 UND BASTIENNE 51

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 50-51 before reformat.indd 50-51 11/05/2018 15:18:17 11/05/2018 15:18:17 APPENDIX APPENDIX

36 Nr. 10, Arie No. 10, Aria [mit überarbeitetem Text von 1769] [with revised text from 1769] COLAS: COLAS: Diggi, daggi, Diggi, daggi, Schurry, Murry, Schurry, Murry, Horum, Harum, Horum, Harum, Lirum, Larum, Lirum, Larum, Raudi, Maudi, Raudi, Maudi, Giri! Gari! posito, Giri! Gari! posito, Besti, Basti Saronfroh, Besti, Basti Saronfroh, Fatto, matto, quid pro quo. Fatto, matto, quid pro quo.

Notes & translations © Ian Page, 2018

MOZART / GRABMUSIK & BASTIEN UND BASTIENNE 53

Bastien CD booklet final before reformat.indd 53 11/05/2018 15:18:22 What the criticsWhat said the about critics Classical said about Opera’s Classical Opera’s previous recordingsprevious recordings

“Ian Page presides“Ian over Page a charming presides performance,over a charming with performance,well-paced recitatives with well-paced and recitatives and appropriate, sometimesappropriate, extravagant sometimes decoration. extravagant This is minordecoration. Mozart, This done is minor supremely Mozart, done supremely well.” well.” Gramophone (Mozart:Gramophone Il sogno di (Mozart: Scipione) Il sogno di Scipione)

“Who could fail to “Whobe charmed could failby suchto be gorgeous charmed music,by such so gorgeous stylishly executed?” music, so stylishly executed?” The Daily TelegraphThe (Mozart: Daily Telegraph Zaide) (Mozart: Zaide)

“What Signum Classics’“What and Signum Classical Classics’ Opera’s and recording Classical ofOpera’s Il re pastore recording offers of is, Il simplyre pastore offers is, simply put, an account of theput, piece an account that comes of the as piece near thatto perfection comes as as near any to performance perfection as might any performance might ever hope to do.” ever hope to do.” Voix des Arts (Mozart:Voix Il des re pastore)Arts (Mozart: Il re pastore) www.signumrecords.comwww.signumrecords.com “From the outset, Ian“From Page the nurtures outset, aIan performance Page nurtures that a crackles, performance beguiles, that crackles,thrills and beguiles, thrills and moves by turns exactlymoves as byMozart’s turns exactly opera requires.”as Mozart’s opera requires.” Any unauthorised broadcasting,Any unauthorised public performance, broadcasting, copying public or performance, re-recording copyingof Signum or Compactre-recording of Signum Compact Gramophone (Mozart:Gramophone Mitridate, (Mozart:re di Ponto) Mitridate, re di Ponto) Discs constitutes an infringementDiscs constitutes of copyright an infringement and will render of copyright the infringer and liablewill render to an the action infringer by law. liable to an action by law. Licences for public performancesLicences foror publicbroadcasting performances may be or obtained broadcasting from Phonographicmay be obtained Performance from Phonographic Ltd. Performance Ltd. All rights reserved. No partAll rights of this reserved. booklet mayNo partbe reproduced,of this booklet stored may inbe a reproduced,retrieval system, stored or transmittedin a retrieval system, or transmitted “In the hands of conductor“In the hands Ian Page of conductor and his superb Ian Page line-up and of his soloists, superb theline-up work of has soloists, a the work has ain any form or by any means,in any electronic,form or by mechanical,any means, electronic,photocopying, mechanical, recording photocopying, or otherwise, recordingwithout prior or otherwise, without prior freshness and zip whichfreshness is irresistible, and zip which and the is irresistible,Orchestra ofand Classical the Orchestra Opera of plays Classical like Opera plays like permission from Signum permissionRecords Ltd. from Signum Records Ltd. a dream.” a dream.” Sinfini Music (Mozart:Sinfini Die MusicSchuldigkeit (Mozart: des Die ersten Schuldigkeit Gebots) des ersten Gebots) ℗ 2018 The copyright in℗ this2018 recording The copyright is owned in thisby Classicalrecording Opera. is owned by Classical Opera. © 2018 The copyright in© this2018 CD The booklet, copyright notes in and this designCD booklet, is owned notes by and Signum design Records is owned Ltd. byand Signum Records Ltd. and Classical Opera. Classical Opera. “An auspicious and“An thrilling auspicious start to and what thrilling will surely start toprove what to will be surelya historic prove recording to be a historic recording project.” project.” Signum Records Ltd., SuiteSignum 14, 21Records Wadsworth Ltd., Suite Road, 14, Perivale, 21 Wadsworth Middx UB6 Road, 7JD Perivale, Middx UB6 7JD SA-CD.net (Mozart:SA-CD.net Apollo et (Mozart:Hyacinthus) Apollo et Hyacinthus) Tel: +44 (0) 20 8997 4000Tel: +44 Email: (0) [email protected] 8997 4000 Email: [email protected]

54 MOZART / GRABMUSIK54 MOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN UND BASTIENNE MOZART / GRABMUSIKMOZART & BASTIEN / GRABMUSIK UND BASTIENNE & BASTIEN 55 UND BASTIENNE 55

Bastien CD booklet final beforeBastien reformat.indd CD booklet final 54-55 before reformat.indd 54-55 11/05/2018 15:18:22 11/05/2018 15:18:22

WOLFGANG AMADEUS MOZART GRABMUSIK, K.42/35A (original 1767 version) BASTIEN UND BASTIENNE, K.50 (original 1768 version) CLASSICAL OPERA BASTIENNE UND BASTIEN Classical Opera / Ian Page GRABMUSIK, MOZART:

Der Engel / Bastienne ANNA LUCIA RICHTER soprano Die Seele JACQUES IMBRAILO baritone ANNA LUCIA RICHTER JACQUES IMBRAILO ALESSANDRO FISHER Bastien ALESSANDRO FISHER tenor Der Engel / Bastienne Die Seele Bastien Colas DARREN JEFFERY bass-baritone

The Mozartists

IAN PAGE conductor

French, German & Italian translations of the notes and synopsis are available at G R A B M U S I K www.classicalopera.co.uk/shop BASTIEN UND BASTIENNE This recording was generously supported by George & Efthalia Koukis and DARREN JEFFERY IAN PAGE Classical Opera Mozart Cycle in association with Bärenreiter-Verlag, Kassel Total Playing Time: 66’24

Colas Conductor

LC15723 SIGCD547 Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom ℗ 2018 Classical Opera CLASSICAL OPERA SIGCD547 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05472 7 IAN PAGE (CONDUCTOR)