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DMITRI SHOSTAKOVICH Symphony no. 14 Gal James & Thomas Oliemans Chamber Orchestra Gordan Nikolic´

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1 vanvan 1616 - Pagina'sPagina's (32,(32, 1)1) 229-09-149-09-14 13:1513:15 Executive producers: Anne de Jong & Marcel van den Broek Recorded at: Muziekgebouw aan ’t IJ, Recording dates: 18 and 19 January 2013 Recording producer: Jean-Pierre Gabriël, Omroep MAX A&R Challenge Records International: Anne de Jong Liner notes: Heinz Köhnen Libretto: provided by Kees Wisse & Salvador Pila Booklet editing: Hedy Muehleck Cover photo: Simone van Es Product coordination: Boudewijn Hagemans Graphic Design: Natasja Wallenburg & Juan Carlos Villarroel Art direction: Marcel van den Broek

www.challengerecords.com

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 2 vanvan 1616 - Pagina'sPagina's (2,(2, 31)31) 229-09-149-09-14 13:1513:15 DMITRI SHOSTAKOVICH Symphony no. 14 Gal James & Thomas Oliemans Netherlands Chamber Orchestra Gordan Nikolic´

Gordan Nikolic ´ Leader / Violin Gal James Soprano Thomas Oliemans Baritone

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 3 vanvan 1616 - Pagina'sPagina's (30,(30, 3)3) 229-09-149-09-14 13:1513:15 DMITRI SHOSTAKOVICH (1906-1975)

Symphony no. 14 [1] De profundis. Adagio 5:37 [2] Malagen’ya. Allegretto 2:42 [3] Loreleya. Allegro molto. Presto. Adagio 9:08 [4] Samoubi’ytsa (The Suicide). Adagio 7:49 [5] Nacheku (On the Alert). Allegretto. Adagio. Allegretto 3:06 [6] Madam, posmotrite (Look here, Madam). Adagio 1:46 [7] V tyur’me Sante (At the Santé Jail). Adagio 10:23 [8] Otvet zaporozjckikh kazakov konstantinopelskomu sultanu 2:20 (Reply to the Sultan of Konstantinopel). Allegro [9] O Delvig, Delvig! Andante 5:12 [10] Smert’ poeta (The Poet’s Death). Largo 5:33 [11] Zaklyucheniye (Conclusion). Moderato 1:31

total time 55:13

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 4 vanvan 1616 - Pagina'sPagina's (4,(4, 29)29) 229-09-149-09-14 13:1513:15 11 Schlußstück / Zaklyucheniye 11. Conclusion Death and resistance (Rainer Maria Rilke / T. Silman) ‘I become more and more convinced that words are more effective than music. Vsevlastna smert’. Death is great. When I combine music with words, it is more diffi cult to misunderstand my Ona na strazhe We belong to her intentions’, said Dmitri Shostakovich in reference to his Symphonies No. 13 and I v schast’ya chas. with laughing mouths. No. 14, both of which make use of texts. V mig vïsshey zhizhni ona v nas strazhdet, When we believe ourselves to be in the midst of Zhdyot nas i zhazhdet our lives, she dares to cry inside us. For No. 13, Shostakovich used fi ve poems of the then young avant-garde poet Yevgeny Yevtushenko. The title he gave to his poetic monument for the Russian Jews who had been killed by the German occupying forces at Babi Yar became the name of Symphony No. 13: Babi Yar. Following its premiere, further performances were prohibited.

Symphony No. 14 is in fact part of a pair with No. 13, but No. 14, which is untitled, was not found to be subversive on its premiere. In both symphonies, Shostakovich chose the form of a song cycle, yet they exhibit great differences. No. 13 was written for a large orchestra, a large all-male choir and a bass soloist. In No. 14 he returned to the heart of the symphonic ensemble, the string orchestra. Supplemented with percussion, it accompanies and frames a soprano and a bass. In its expressiveness, this symphony comes close to the poignancy and rarefaction of the thirteen string quartets Shostakovich gave us.

He drew his texts from world literature. Two poems by the Spaniard Federico Garcia Lorca, six by the Frenchman Guillaume Apollinaire, two from the German Rainer Maria Rilke and one poem of Russian origin by Wilhelm Küchelbecker.

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 5 vanvan 1616 - Pagina'sPagina's (28,(28, 5)5) 229-09-149-09-14 13:1513:15 At fi rst sight, a black thread of Death runs through the entire cycle; in other 10. Der Tod des Dichters / Smert’ poeta 10. Death of a poet words, human mortality. The work starts with a ‘De profundis’ (Out of the (Rainer Maria Rilke (1875-1926) / depths I cry unto thee, O God), as if this symphony comprises a requiem. T. Silman)

Injustice Poet bïl myortv. Litso yego, khranya Th ere towards him, But quite a few texts are also about resistance to many forms of injustice. ‘I vsyo tu zhe blednost’, chto-to otvergalo, to court him, do not wish to oppose death; I oppose the violent death that people bring ono kogda-to vsyo o mire znalo, and his mask, that now anxiously expires, to themselves and to each other’, said Shostakovich. His choice of a text by no eto znan’ye ugasalo. is tender and open like thee he lay. His face resting Küchelbecker is characteristic: he was one of the participants in a 1825 rebellion i vozvrashchalos’ v ravnodush’ye dnya. on the inclined pillow was pale and defi ant against the absolutist regime of the tsar. His punishment was lifelong exile in since the world and this, of it, know-it-all, Siberia, where Küchelbecker died in 1846. Gde im ponyat’, kak dolog etot put’; devoid of his senses o, mir i on—vsyo bïlo tak yedino: redounded upon the indiff erent year. The poet addresses a friend called Delvig, another rebel; he was executed. ozyora i ushchel’ya, i ravnina The third verse is interesting: ‘Oh Delvig, my friend! What is persecution? yego litsa i sostavlyali sut’. Th ose who saw him living, did not know Immortality is the reward both of valiant, inspired deeds and of sweet singing.’ how much he was one with all this, Shostakovich set the fi nal line of the verse to very melodic music for cello. He Litso yego i bïlo tem prostorom, for, these valleys, these meadows, seems to identify with the poet. In the fourth verse Küchelbecker speaks of ‘the chto tyanetsya k nemu i tshchetno and this water were his face. bond joining those who have been chosen by the Muses’. These lines too are l’nyot, underscored by cellists. Did Shostakovich wish to express his solidarity with his a eta maska robkaya umryot, Oh, his face was this entire vastness friend, the cellist Rostropovich, a sharp critic of the Soviet regime? otkrïto predostavlennaya vzoram, that, even now, wants to move inner core na tlen’ye obrechyonnïy nezhnïy plod. of a fruit that rots in the air. Although it is a song cycle, the symphony is not a series of individual songs. Shostakovich endowed it with suspenseful transitions from one text to the next. Note, for example, the transition from the second poem by Lorca (‘Malagueña’) with castanets, immediately followed by two sharp blows, introducing the

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 6 vanvan 1616 - Pagina'sPagina's (6,(6, 27)27) 229-09-149-09-14 13:1513:15 9. O Del’vig, Delvig! 9. Oh Delvig, Delvig romantic tale of Loreley. The hot-blooded style of the string accompaniment to (Wilhelm Kuchelbecker) both texts offers another continuous and rising line of tension.

O Del’vig, Del’vig! Chto nagrada Oh Delvig, Delvig! Where is the reward Heinz Köhnen I del vïsokikh i stikhov? for good deeds and for the poetry? Talantu chto i gde otrada What place is there for talent Sredi zlodeyev i gluptsov? amongst rascals and fools?

V ruke surovoy Yuvenala In Juvenal’s rigorous hand Zlodeyam groznïy bich svistit the frightful scourge menaces the villains I krasku gonit s ikh lanit, and robs the colour of their cheeks. I vlast’ tiranov zadrozhala. Th e power of tyrants trembled.

O Del’vig, Del’vig! Chto gonen’ya? Oh Delvig, Delvig! What is the pay for persecution? Bessmertiye ravno udel Immortality is yet the reward I smelïkh vdokhnovennïkh del for valiant and courageous deeds I sladostnogo pesnopen’ya. or for delightful poetic singing.

Tak ne umryot i nash soyuz, Th us, our alliance will never be lost, Svobodnïy, radostnïy i gordïy! proud, joyful and free! I v schast’i i v neschast’i tvyordïy, And, for better or for worse, will remain unshaken Soyuz lyubimtsev vechnïkh muz! the alliance of friends of the immortal muse!

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 7 vanvan 1616 - Pagina'sPagina's (26,(26, 7)7) 229-09-149-09-14 13:1513:15 Gal James 8. Réponse des Cosaques Zaporogues 8. Reply of the Zaporoje Cossacks to the au Sultan de Constantinople Sultan of Constantinople After completing the opera studio of the Staatsoper Berlin, Israeli soprano Gal / Otvet zaporozhskikh kazakov James joined the ensemble at the Oper Graz. konstantinopol’skomu sultanu (Guillaume Apollinaire / Mikhail Kudinov) Recent opera-engagements are Mimi in La Bohème at the Palau de la Música in Valencia and the title role in Rusalka at the Semperoper Dresden. Highlights Tï prestupney Varravï v sto raz. More villain than Barabbas, on the concert-platform have included the Vier Letzte Lieder with the Oslo S Vel’zevulom zhivya po sosedstvu, horned like the angels of evil, Philharmonic and the Netherlands Philharmonic Orchestra, and Shostakovich’s V samïkh merzkikh grekhakh tï pogryaz. what Beelzebub are you down there, Fourteenth Symphony with the Sinfonieorchester St Gallen. Nechistotami vskormlennïy s detstva, nourished with fi lth and mire? Znay: svoy shabash tï spravish’ bez nas. We shall not attend your Sabbaths. Gal James already had the pleasure to work with renowned conductors such as Daniel Barenboim, Seiji Ozawa, Neeme Järvi, Julien Salemkour, Vasily Petrenko, Rak protukhshiy, Salonik otbrosï, Rotten fi sh of Salonika, Riccardo Chailly, Ion Marin, Dan Ettinger and Jukka-Pekka Saraste. Skvernïy son, chto nel’zya rasskazat’, long necklace of horrible dreams, Okrivevshiy, gniloy i beznosïy, of eyes pulled out by dint of a pike. Tï rodilsya, kogda tvoya mat’ Your mother farted wet, Izvivalas’ v korchakh ponosa. and you were born of her colic.

Zloy palach Podol’ya, vzglyani: Executioner of Podolia, lover Ves’ tï v ranakh, yazvakh i strup’yakh. of wounds, of ulcers, of scabs. Zad kobïlï, rïlo svin’i, Pig’s snout, mare’s arse. Pust’ tebe vse snadob’ya skupyat, Keep all your riches Chtob lechil tï bolyachki svoi! to pay for your medicines.

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 8 vanvan 1616 - Pagina'sPagina's (8,(8, 25)25) 229-09-149-09-14 13:1513:15 Khozhu vperyod, nazad, around a pit, like a bear. A nebo! Luchshe ne smotret’. We go round and round and round again. Ya nebu zdes’ ne rad. Th e sky is blue like a chain. V kakoy-to yame, kak medved’, Every morning I pace Khozhu vperyod, nazad. around a pit, like a bear.

Za chto Tï pechal’ mne etu prinyos? What will become of me, o God, Skazhi, vsemogushchiy Bozhe. you who know my pain, O szhal’sya, szhal’sya! V glazakh moikh netu slyoz, you who gave it to me? Na masku litso pokhozhe. Take pity on my dry eyes, my pallor...

Tï vidish’, skol’ko neschastnïkh serdets And on all those poor hearts beating in prison. Pod svodom tyuremnïm b’yotsya! Love, my companion, Sorvi zhe s menya ternovïy venets, take pity above all on my feeble wits Ne to on mne v mozg vop’yotsya. and this despair that’s overpowering them.

Den’ konchilsya. Lampa nad golovoyu Th e day is dying, see how a lamp Gorit, okruzhonnaya t’moy. is burning in the prison. Vsyo tikho. Nas v kamere tolko dvoye: We are alone in my cell, Ya i rassudok moy. fair light, beloved reason.

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 9 vanvan 1616 - Pagina'sPagina's (24,(24, 9)9) 229-09-149-09-14 13:1513:15 Thomas Oliemans Zakhochu—otdam. Zakhochu— I have given it, and I have taken it back. Zaberu yego snova, pover’te. It was down there in the trenches. Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemans graduated I ya khokhochu, khokhochu, khokhochu, It’s here, and I laugh and laugh and laugh from the Amsterdam Conservatory. Most recent opera appearances include khokhochu, and laugh, the role of Papageno in Die Zauberfl öte at the Festival in Aix-en-Provence and Kha, kha, kha, kha, kha, kha, kha, kha, kha, kha, Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha. the Dutch National Opera, his debut at the Royal Opera House Covent Garden kha. It’s here, and I laugh and laugh as Schaunard in La Bohème and Lescaut in Manon at the Théâtre du Capitole I ya khokhochu, khokhochu at the beautiful loves scythed down by death. in Toulouse. Nad lyubov’yu, chto skoshena smert’yu.

Oliemans has worked with conductors such as Semyon Bychkov, Ivor Bolton, 7. A la Santé / V tyur’me Sante 7. At the Santé Prison , , Jaap van Zweden, Pablo Heras-Casado, (Guillaume Apollinaire / Mikhail Kudinov) and with orchestras such as the Rotterdam Philharmonic Orchestra, Netherlands Philharmonic Orchestra, Dresdner Philharmonie, Norwegian Radio Menya razdeli dogola, Before going into my cell Orchestra and the Orchestre National de Lille. Kogda vveli v tyur’mu; I had to strip naked Sud’boy srazhyon iz-za ugla, and that sinister voice howled, Nizvergnut ya vo t’mu. Guillaume, what’s become of you? Proshchay, vesyolïy khorovod, Farewell, farewell, songs and dances, Proshchay, devichiy smekh. o my youth, o young girls. Zdes’ nado mnoy mogil’nïy svod, Lazarus going into his tomb Zdes’ umer ya dlya vsekh. instead of rising from it as he did.

Net, ya ne tot, No, here I no longer Sovsem ne tot, chto prezhde. feel I’m myself. Teper’ ya arestant, I’m number fi ft een I vot konets nadezhde. in block eleven. V kakoy-to yame, kak medved’, Every morning I pace

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1010 vanvan 1616 - Pagina'sPagina's (10,(10, 23)23) 229-09-149-09-14 13:1513:15 Iz-za ukrïtiya sledil vse dni podryad at the concrete battlements Za Slavoy, chto vzletet’ uzhe ne khochet. where the night’s glories were hung. V transheye on umryot do nastuplen’ya nochi, Th e one that must die this evening in the trenches Moy malen’kiy soldat, lyubovnik moy i brat. is a young soldier, my brother and my lover.

I vot poetomu khochu ya stat’ krasivoy. And since he must die I want to make myself Pust’ yarkim fakelom grud’ u menya gorit, beautiful; I want my naked breasts to light the Pust’ opalit moy vzglyad zasnezhennïye nivï, torches, I want my big eyes to melt the pond that Pust’ poyasom mogil moy budet stan obvit. freezes. And I want my hips to be tombs for, V krovosmeshenii i v smerti stat’ krasivoy since he must die, I want to be beautiful in both Khochu ya dlya togo, kto dolzhen bït’ ubit. incest and death, these two magnifi cent deeds.

Zakat korovoyu revyot, pïlayut rozï, Th e cows at sunset low all their roses, I siney ptitseyu moy zacharovan vzglyad. the bluebird’s wing fans me soft ly. To probil chas lyubvi, i chas likhoradki groznoy. It is the hour of Love, of ardent neuroses. To probil smerti chas, i net puti nazad. It is the hour of Death and of the fi nal promise. Segodnya on umryot, kak umirayut rozï, Th e one that must perish, just as the roses die, Moy malen’kiy soldat, lyubovnik moy i brat. is a young soldier, my brother and my lover.

6. Les attentives II / Madam, posmotrite! 6. Madame, look! (Guillaume Apollinaire / Mikhail Kudinov)

Madam, posmotrite! Madame, look! Poteryali vï chto-to… You have lost something. - Akh! Pustyaki! Eto serdtse moyo, It’s my heart -- not much of a thing! Skoreye yego podberite. So pick it up.

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1111 vanvan 1616 - Pagina'sPagina's (22,(22, 11)11) 229-09-149-09-14 13:1513:15 Gordan Nikolic´ sduvayut, gold, daunted by the wind. I chyornoye nebo, prolivshis’ dozhdyom, ikh Watered only when a murky sky pours upon them, Gordan Nikolic ´ has been the musical director, the concertmaster and the face poroy omïvayet, I slovno u skipetrov groznïkh, majestic and beautiful like kings’ scepters. of the Netherlands Chamber Orchestra since 2004. Nikolic ´ is an energetic mas- torzhestvenna ikh krasota. ter violinist; as the musical director, he puts across what moves him in the music he plays. He studied at the Academy of Music in Basle with the well-known Rastyot iz ranï odna, i kak tol’ko zakat zapïlayet, One emerges from my wound and, when a ray of French violinist and conductor Jean-Jacques Kantorow. He has steeped himself Okravavlennoy kazhetsya skorbnaya liliya ta. sunlight brushes it, moves up bleeding. It is the in Baroque music, but also works with contemporary composers such as Luto- Tri lilii, tri lilii… Lilii tri na mogile moyey bez lily of terror. Th ree large lilies, three large lilies on slawski and Kurtág. He has performed with numerous orchestras in Europe, and kresta, Tri lilii, ch’yu pozolotu kholodnïye vetrï my grave without a cross, three large lilies dusted the posts he has held include concertmaster of the London Symphony Orches- sduvayut. with gold, daunted by the wind. tra, professor at the Royal College of Music and the Guildhall School of Music as well as lecturer at the Rotterdam Conservatorium. Gordan Nikolic ´ plays a Drugaya iz serdsa rastyot moyego, chto tak sil’no Another emerges from my heart, which lies Petrus Guarnerius violin built in 1735. stradayet, Na lozhe chervivom. A tret’ya kornyami suff ering on this resting place, gnawed by worms. mne rot razrïvayet. Th e third emerges from my mouth. Oni na mogile moyey odinoko rastut, i pusta All three stand on my lonely grave Vokrug nikh zemlya, i kak zhizn’ moya, proklyata All alone, all alone and condemned as I deem ikh krasota. myself. Tri lilii, tri lilii… Lilii tri na mogile moyey bez Th ree large lilies, three large lilies on my grave kresta. without a cross.

5. Les attentives I / Nacheku 5. On guard (Guillaume Apollinaire / Mikhail Kudinov)

V transheye on umryot do nastuplen’ya nochi, Th e one that must die this evening in the trenches Moy malen’kiy soldat, chey utomlyonnïy vzglyad is a young soldier who, all day long, stares idly

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1212 vanvan 1616 - Pagina'sPagina's (12,(12, 21)21) 229-09-149-09-14 13:1513:15 Proch’, bezumnaya Lor, volookaya Lor! lances’: take this demented woman to the Tï monakhiney stanesh’, i potyomknet tvoy vzor.’ convent. Go away Lore in madness, away Lore Troye rïtsarey s devoy idut po doroge. with tremulous eyes, you shall become a nun Govorit ona strazhnikam khmurïm i strogim: dressed in black and white.’ So the four left ‘Na skale toy vïsokoy dayte mne postoyat’, down the road, the Loreley implored them and Chtob uvidet’ moy zamok mogla ya opyat’, her eyes glowed bright like stars. ‘Knights, please Chtob svoyo otrazhen’ye ya uvidela snova, let me climb onto that rock so high for I may Pered tem, kak voyti v monastïr’ vash surovïy.’ see my beautiful castle one last time. To see once Veter lokonï sputal, i gorit yeyo vzglyad, more my refl ection in the river and then I shall Tshchetno strazha krichit: ‘Loreleya, nazad! go to the convent of virgins and widows.’ Nazad!’ Up there, the wind blew her untied hair, ‘Na izluchinu Reyna lad’ya vïplïvayet, the knights cried’: Loreley, Loreley’. ‘Down there, V ney sidit moy lyubimïy, on menya prizïvayet. on the Rhine, comes a boat and, on board, there Tak legko na dushe, tak prozrachna volna…’ is my lover, he has seen me and calls. My heart I s vïsokoy skalï v Reyn upala ona, becomes so tender, it is my lover returning’. Uvidav otrazhyonnïye v gladi potoka She leans over and falls into the Rhine. Svoi reynskiye ochi, svoy solnechnïy lokon. To see her in the water, the beautiful Loreley, her Rhine-coloured eyes, her sun-like hair.

4. Le suicidé / Samoubi’ytsa 4. Th e suicide (Guillaume Apollinaire / Mikhail Kudinov)

Tri lilii, tri lilii… Lilii tri na mogile moyey bez Th ree large lilies, three large lilies on my grave kresta, Tri lilii, ch’yu pozolotu kholodnïye vetrï without a cross, three large lilies dusted with

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1313 vanvan 1616 - Pagina'sPagina's (20,(20, 13)13) 229-09-149-09-14 13:1513:15 Netherlands Chamber Orchestra 3. Loreley / Loreleya 3. Loreley The Netherlands Chamber Orchestra, with its pendant the Netherlands (Guillaume Apollinaire / Mikhail Kudinov) Philharmonic Orchestra, is one of the most versatile cultural undertakings in the Netherlands. The Royal Concertgebouw is the artistic home to its varied K belokuroy koldun’ye iz prireynskogo kraya In Bacharach lived a witch with fair hair concert programme; as the regular orchestral partner of the Dutch National Shli muzhchinï tolpoy, ot lyubvi umiraya. who let all the men around die of love. Opera, the orchestra stands out among European opera orchestras. I velel yeyo vïzvat’ yepiskop na sud, Vsyo v dushe Th e bishop summoned her to his court The orchestra is also welcomed by other Dutch concert halls, concert stages yey proshchaya za yeyo krasotu. and acquitted her on account of her beauty. and at festivals in other countries. Since 2004, master violinist Gordan Nikolic´ ‘O skazhi, Loreleya, ch’i glaza tak prekrasnï, ‘Oh lovely Loreley, your eyes are made of precious has been its artistic director. Kto tebya nauchil etim charam opasnïm?’ stones, which magician gave you the power of ‘Zhizn’ mne v tyagost’, yepiskop, i proklyat sorcery?’ ‘I am weary of life and my eyes are The Netherlands Chamber Orchestra was established in 1955. The orchestra moy vzor. accursed; oh bishop, those who have looked at me exhibits artistic excellence and plays to a wide audience while taking forward- Kto vzglyanul na menya, svoy prochyol prigovor. have perished. looking responsibility with its large-scale educational programmes, thus making O yepiskop, v glazakh moikh plamya pozhara, My eyes are not precious stones but fl ames, classical music available to one and all. Together, the Netherlands Philharmonic Tak predayte zh ognyu eti strashnïye charï!’ throw this sorcery to the fi re.’ Orchestra and the Netherlands Chamber Orchestra reach 200,000 visitors each ‘Loreleya, pozhar tvoy vsesilen: ved’ ya ‘Th at fi re is consuming me, oh lovely Loreley, year. In collaboration with the Dutch National Opera, the Netherlands Chamber Sam toboy okoldovan i tebe ne sud’ya.’ somebody else has to condemn you, for you have Orchestra performs classical and chamber opera as well as contemporary opera. ‘Zamolchite, yepiskop! Pomolites’ i ver’te: enchanted me.’ ‘Bishop you laugh. Pray rather to Eto volya Gospodnya predat’ menya smerti. the Virgin for me, Moy lyubimïy uyekhal, on v dalyokoy strane. let me die and may God protect you. Vsyo teper’ mne ne milo, vsyo teper’ ne po mne. My lover has left for a distant land, let me die for Serdtse tak isstradalos’, chto dolzhna umeret’ ya. there is nothing I love.’ Dazhe vid moy vnushayet mne mïsli o smerti. My heart is so heavy that I must necessarily die, Moy lyubimïy uyekhal, i s etogo dnya I would die if I would dare look at myself. Svet mne belïy ne mil, noch’ v dushe u menya.’ My heart is so heavy since he is no longer there, I tryokh rïtsarey kliknul yepiskop: ‘Skoreye my heart has been so heavy since the day he left . Uvedite v glukhoy monastïr’ Loreleyu. Th e bishop summoned three knights armed with

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CCC72654C72654 - Booklet+++++.inddBooklet+++++.indd SpreadSpread 1414 vanvan 1616 - Pagina'sPagina's (14,(14, 19)19) 229-09-149-09-14 13:1513:15 1. De profundis 1.De profundis conductor viola (Federico García Lorca / I. Tynyanova) Christian Jost Richard Wolfe Leonid Rusanovksy Sto goryacho vlyublyonnïkh Th e hundred lovers soloists Berdien Vrijland Snom vekovïm usnuli sleep for ever Gordan Nikolic ´ - violin David Marks* Gluboko pod sukhoy zemlyoyu. beneath the dry earth. Lisanne Soeterbroek - violin Krasnïm peskom pokrïtï Andalusia has Gal James - soprano cello Dorogi Andalusii. long red roads. Thomas Oliemans - baritone Floris Mijnders Vetvi oliv zelyonïkh Córdoba, green olive trees Jan Bastiaan Neven Kordovu zaslonili. where to place 1st violin Guillaume Grosbard Zdes’ im krestï postavyat, a hundred crosses, Gordan Nikolic´ Wijnand Hulst Chtob ikh ne zabïli lyudi. in their memory. Heinz Oberdorfer Sto goryacho vlyublyonnïkh Th e hundred lovers Philip Dingenen double bass Snom vekovïm usnuli. sleep for ever. Dimitir Tchernookov Annette Zahn Melissa Ussery Walther van Domburg 2. Malagueña / Malagen’ya 2. Malagueña Pedja Milosavljev (Federico García Lorca / Anatoli Geleskul) Tomoko Katsura percussion Michiel Commandeur Hans Zonderop Smert’ voshla i ushla iz tavernï. Death enters and leaves the tavern. Martin Baai Smert’ voshla i ushla iz tavernï. Death enters and leaves the tavern. 2nd violin Chyornïye koni i tyomnïye dushi Black horses and sinister people Lisanne Soeterbroek celesta V ushchel’yakh gitarï, brodyat. pass through the deep pathways of the guitar. Laura Oomens Kim Huigens Zapakhli sol’yu i zharkoy krov’yu And there is a smell of salt and of female blood Maaike Aarts Sotsvet’ya zïbi nervnoy. in the fevered tuberoses of the seaside. Inge Jongerman A smert’ vsyo ukhodit Death is about to leave the tavern, Zheng Hu I vsyo ne uydyot iz tavernï. He is going but not gone Marjolein van Dingstee

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