Gillian Keith bei Strauss

Gillian Keith, Simon Lepper, piano FOREWORD 1 Ständchen Op. 17 No. 2 A.F. von Schack 2’32” 2 Leises Lied Op. 39 No. 1 Richard Dehmel 2’59” 3 Wiegenliedchen Op. 49 No. 3 Richard Dehmel 2’23” LIEDER OHNE OPUS "I thank my Almighty Creator for the gift and inspiration of the female voice." 4 Rote Rosen Karl Stieler 2’09” R. Strauss 5 Die erwachte Rose Fr. Sallet 3’00” 6 Malven Betty Knobel 2’57” MÄDCHENBLUMEN OP. 22 7 No. 1 - Kornblumen Felix Dahn 2’55” It is in that same spirit of gratitude that generations of singers have been inspired by 8 No. 2 - Mohnblumen Felix Dahn 2’14” Strauss’ devotion to the art of song. When I first encountered the wealth of vocal 9 No. 3 - Epheu Felix Dahn 1’13” repertoire from a composer who so clearly understood the human voice, I was amazed at 10 No. 4 - Wasserrose Felix Dahn 2’24” the scope of expression contained within each perfect miniature. Recording this FÜNF LIEDER OP. 48 programme of specially chosen Lieder has long been a dream of mine. 11 No. 1 - Freundliches Vision Otto Julius Bierbaum 1’53” In this collection you will find many songs that have earned their place in the standard 12 No. 2 - Ich schwebe Karl Henckell 2’33” repertoire; however my imagination was seized by less-often heard works such as 13 No. 3 - Kling! Karl Henckell 1’57” Mädchenblumen and Drei Lieder der Ophelia, which compliment his more familiar Lieder 14 No. 4 - Winterweihe Karl Henckell 2’42” 15 No. 5 - Winterliebe Karl Henckell 2’09” and are, for me, at the heart of this recital.

16 Schlagende Herzen Op. 29 No. 2 Otto Julius Bierbaum 1’34” I have long marvelled at Strauss’ consistent ability to bring out the best in a singer. 17 Muttertänderlei Op. 43 No. 2 Gottfried August Bürger 2’36” Amongst his contemporaries, his particular reverence for the female voice is unique. We 18 Das Bächlein Op. 88 No. 1 Goethe 1’20” are blessed to have such an abundance of unparalleled music from which to 19 Amor Op. 68 No. 5 Clemens Brentano 3’34” draw. From the dramatic, to the lyric, to the coloratura, Strauss’ songs offer something very special to each voice. DREI LIEDER OP. 69 20 No. 1 - Der Stern A. von Arnim 2’52” 21 No. 2 - Der Pokal A. von Arnim 1’14” 22 No. 3 – Einerlei A. von Arnim 3’26” DREI LIEDER DER OPHELIA OP. 67 23 No. 1 – Wie erkenn ich mein Treulieb Shakespeare 3’00” 24 No. 2 – Guten Morgen, ist’s Sankt Valentins Tag Shakespeare 2’54” Recorded in the Music Room, Champs Hill, 29th & 30th April, 1st May 2009 25 No. 3 – Sie trugen ihm auf der Bahre, bloss Shakespeare 1’36” Produced by Alexander Van Ingen Engineered & mastered by Dave Hinitt Edited by Stephen Frost Total playing time: 60’08” all for Six Music Productions (www.sixmp.net) : SELECTED LIEDER

In song-writing, as in orchestral music, Richard Strauss hit his stride early. Something of Jeritza, who kept it until her own demise. The first performance did not take place his range and confidence is displayed in this group of songs; as the selection shows, he until 1985. wrote some superb examples in his teens, and by his mid-twenties was already an Flowers are interpreted in a different way in Strauss’s op. 22. In 1888 he was drawn to assured master of the Lied. (Success in would take rather longer.) His mastery the work of the poet and historian Felix Dahn, whose reputation in Munich (he was a continued to develop into old age. professor at the University) was then at its height. The four songs that constitute Ständchen, to a poem by Adolf von Schack, was composed in the summer of 1887, when Mädchenblumen make up a short song-cycle in which the poet finds flower-equivalents the composer was 23, and has become possibly the best-known of all Strauss’s songs: it for different kinds of girls. Though the poems now inevitably sound dated and became so popular, and circulated in so many arrangements, that it has been said it sentimental, Strauss’s settings – dedicated to his friend, the Hans Giessen – are made its composer a household name all on its own. The lightness of touch in both delightful. He produces tender lyricism for the cornflower, trills and highly-coloured accompaniment and the shaping of the melody are in fact very unlike the style of most modulations for the red poppy, an easy-going dose of sentiment for the ivy, and of his other early songs, but the glowing ardour of the climax is utterly characteristic of rippling figuration for the water-rose. his best music at any period. Leises Lied is one of several songs Strauss wrote to poems While op. 22 is minor (though highly enjoyable) Strauss, the five songs of op. 48, by the influential contemporary poet Richard Dehmel (also set by Zemlinsky and composed 12 years later in 1900, contain some of his finest inspirations. Though four Schoenberg). Composed in July 1898, this is a rather enigmatic, almost impressionistic of the five songs are to poems by Karl Henckell, the set opens with the celebrated setting, which has been seen as one of Strauss’s nearest approaches to the style of his – a setting of a poem by Otto Julius Bierbaum. Bierbaum was a contemporary Debussy. Wiegenliedchen, another Dehmel setting from 1901, reveals the popular satirist who tried to instil a new simplicity into verse (his poetry was the often-controversial poet as a masterly writer of children’s poetry, to which Strauss inspiration of the Überbrettl cabaret in Berlin, for which Schoenberg wrote his Brettl- responds with a delightful little essay in rocking berceuse rhythms. Lieder), but he also had his more decadent side, as is clear from the outright dreamy The three flower songs without opus number consist of two of Strauss’s earliest Lieder, nostalgia of this poem, and he often inspired Strauss to golden flights of melody. The and his very last song of all. Die erwachte Rose, written in January 1880, was one of a two men had been friends, but this was about to change when Bierbaum criticized pair of settings of words by the theologian Friedrich von Sallet, and shows the 15-year- Strauss’s choral ballad in print, and as a result Freundliche Vision was the last old composer was rather in thrall to Mendelssohn. Rote Rosen, from September 1883, Bierbaum poem that he set. This song is another well-loved gem within Strauss’s sets a lyric by the Munich poet Karl Stieler. Strauss liked the poem a great deal, but felt extensive song-output; it is also one of the most sophisticated in technique in its his song had not turned out very well and decided not to publish it. It was not evocation of Bierbaum’s picture of domestic paradise. The idea of living side by side premiered until 1958, when Elisabeth Schwarzkopf sang it before an audience of ‘with one who loves me … in beauty and peace’ was part of the essence of Strauss’s thousands in Carnegie Hall, New York. Malven (The Mallows) also had a posthumous own personal romantic feelings. premiere. A setting of a poem by Betty Wehrli-Knobel, this charming song was Of the Henckell settings, Ich schwebe is a swift, bell-like waltz which apparently completed in November 1948 – that is, after the composition of Strauss’s famous Four emanates from ideas Strauss had been considering for a ballet; and the bell-imitations Last Songs. Shortly before his death Strauss gave the manuscript to the singer Maria (this time in the voice) persist in the ebullient following song, Kling! ….. . The last spur to write a bravura song for a coloratura soprano, impersonating the two songs, both of which Strauss later orchestrated in 1918, are concerned with shepherdess who puts herself in danger by sheltering the little blind child-god who winter, and indeed form a complementary pair, the melancholy of Winterweihe (a poem has singed his wings. Later in 1918 Strauss turned his attention to Brentano’s also set by Schoenberg) giving way to the ardent declaration of love in Winterliebe. friend, brother-in-law and fellow-Wunderhorn author Achim von Arnim, in the first Both songs seem to look forward to two of his later , three of a set of five Kleine Lieder, op. 69. Arnim’s poem Der Stern celebrates the and . appearance of a comet in 1811 as an encouraging omen for German liberty but at An earlier Bierbaum setting is Schlagende Herzen, composed in June 1895 to the kind the same time longs for peace, and Strauss’s setting, with its folksong-style of raffish poem that made Bierbaum such a natural writer of cabaret songs. Strauss – simplicity, stresses the second interpretation. The composer told his friend Max who had just completed Till Eulenspiegels lustige Streiche – responds with gaiety to Marschalk that this song was a case where the musical inspiration came to him the words, and takes up the idea that the lovers’ beating hearts are in fact ringing like immediately, while reading the poem, and he wrote it down on the spot. Der Pokal little bells. Muttertänderlei, an effervescent little jewel of a song to a poem by the is a high-spirited drinking-song. Einerlei is something more subtle, based on a great ballad-poet Gottfried August Bürger, was composed on 15 August 1899 and mere poetic fragment in which von Arnim celebrates ‘sameness’ as the fount of ‘so orchestrated about six months afterwards as one of a group of three Mutterlieder much diversity’. Strauss set the words to a highly memorable phrase on which he (Mother-songs) which Strauss’s wife Pauline, now mother to his son Franz, sang then rings a host of changes and variations both melodic and harmonic. several times in concert. It was around the same time that he wrote these Arnim and Brentano settings that Das Bachlein is a comparatively late song, to words supposedly by Goethe (though Strauss composed three ‘Songs of Ophelia’ from Shakespeare’s Hamlet (in the there is some doubt as to whether he was indeed the poet). Composed in December translation of Karl Simrock). He was currently engaged in a bitter dispute with the 1933, it has its uncomfortable aspects, for Strauss dedicated it to Dr Joseph Goebbels, publishers Bote und Bock (whom he had satirized outrageously in the song-cycle apparently as a courtesy for having been appointed President of the Krämerspiegel, op. 66), but was legally bound to supply them with a certain Reichsmusikkammer the previous month. The appointment would bring him nothing number of Lieder, and so gave vent to his feelings by producing some ‘mad songs’. but disenchantment, but the fact that the poem’s last line contains the words ‘mein The first song, Wie erkenn ich mein Treulieb?, vividly depicts the wandering mind of Führer’ – to which Strauss gives a three-fold repetition – has provided ammunition for Ophelia as she searches for her dead lover, with its syncopated dissonances and commentators who wish to find Strauss guilty of support for the Nazi régime. In all hesitant, roving melody. Guten Morgen, ist’s Sankt Valentins Tag represents Ophelia’s other respects it is a beautiful song, with a Schubertian, folk-like main melody that demented babbling to the King and Queen with random alternations of major and Strauss treats with all the gentle sophistication at his command. minor and a completely fragmentary design. Finally Sie trugen ihm auf der Bahre, bloss penetrates to a sense of genuine tragedy with its broader melody and sense Amor is one of a set of six songs from 1918 to words by Clemens Brentano, one of the of grim finality. two authors of the great collection of German folk-poetry, Des Knaben Wunderhorn. The poem does not come from the anthology but furnishes Strauss with the perfect Notes g Malcolm MacDonald SIMON LEPPER GILLIAN KEITH - SOPRANO

Simon Lepper was educated at King’s College, Cambridge and the Royal Academy of Gillian Keith has emerged as one of Canada’s leading lyric sopranos. Her superb Music. He is currently professor of piano accompaniment at the Royal College of voice and musicianship are at home both on the opera stage and on the concert Music and teaches at the Royal Welsh College of Music and Drama. platform‚ making her one of the most stylish and versatile artists of her generation. He performs regularly at venues and A past winner of the prestigious Kathleen Ferrier Award‚ she made her Royal Opera‚ festivals including the Wigmore Hall, Covent Garden debut as Zerbinetta in Strauss’ and has gone on to Concertgebouw, Mozarteum, Musée repeat the role with great success‚ most recently at the Opera de Oviedo. Other d’Orsay, Cologne Philharmonie, operatic appearances include Tytania in Britten’s A Midsummer Night’s Dream‚ also Verbier Festival and BBC Proms. at ROH‚ Nannetta and Pretty Polly in Birtwhistle’s Punch and Judy‚ both for Simon specializes in vocal ENO. She has sung Tiny in Britten’s for the Bregenz Festival‚ Elmira in accompaniment and has given Opera North’s Croesus‚ Ginevra in Handel’s Ariodante in Halle‚ The Woodbird in recitals with singers including Scottish Opera’s Siegfried and Poppea in Basel and in Boston. Karen Cargill, Malin Christensson, Her concert performances include Mozart’s C Minor Mass in Boston’s Symphony Hall‚ Angelika Kirchschlager, Sally Mahler 8 with the RPO‚ Haydn’s Creation with CBSO‚ B Minor Mass at London’s Matthews, Mark Padmore and Barbican Hall and Handel’s Messiah with The Toronto Symphony‚ as well as regular Felicity Palmer. appearances at The Edinburgh Festival‚ under such conductors as Sir John Eliot Recording highlights include Gardiner‚ Daniele Gatti‚ Sir Richard Armstrong‚ Peter Schreier‚ Sir Richard Hickox‚ Debussy songs with Gillian Keith ‚ Harry Christophers and Sir Mark Elder. (Deux Elles); Warlock songs with Recordings include Handel’s Gloria with Gardiner for Philips and several Bach Andrew Kennedy (Landor); as part of his Bach Pilgrimage on Soli Deo Gloria. She has recorded contemporary works with violinist orchestral songs by Dallapiccola with Gianandrea Noseda with the BBC Philharmonic‚ Carolin Widmann (ECM); and Strauss and most recently the role of Zerbinetta for an upcoming release of Ariadne auf with Gillian Keith (Champs Hill Records). He has performed in broadcasts Naxos with the Scottish Chamber under Sir Richard Armstrong‚ both for throughout Europe and is often heard on BBC Radio 3. He is an official Chandos. Her recital discs include Debussy: Early Songs for Deux-Elles and Schubert accompanist for the BBC Cardiff Singer of the World Competition. Lieder with fellow Canadian Gerald Finley on Marquis‚ as well as this all Strauss programme with pianist Simon Lepper. “Ständchen,” Op. 17, No. 2 A.F. von Schack Serenade Glänzt mir im Herzen immer So always into my heart shines Deiner lieben Augen schein. The light of your dear eyes. Mach auf, mach auf, doch leise mein Kind, Open up, open up, but softly, my child, Um Keinen vom Schlummer zu wecken. so that no one is woken from slumber. Die Sterne doch am Himmel, But the stars in the sky Kaum murmelt der Bach, kaum zittert im Wind The stream scarcely ripples, in the wind scarcely Die stehen all’ so fern; They stand so distant; Ein Blatt an den Büschen und Hecken. a leaf quivers in the bushes and hedges. In deinem stillen Garten In your quiet garden Drum leise mein Mädchen, dass nichts sich regt, So softly, my girl, that nothing stirs, Stünd’ ich jetzt so gern. Would I now willingly stand. Nur leise die Hand auf die Klinke gelegt. just put your hand softly to the latch.

Mit Tritten wie Tritte der Elfen so sacht, With steps as light as steps of elves Wiegenliedchen Op. 49 No. 3 Richard Dehmel Little bee, little bee Um über die Blumen zu hüpfen. as they skip over the flowers, Bienchen, Bienchen, Little bee, little bee, Flieg leicht hinaus in die Mondscheinnacht, fly lightly out into the moonlit night Wiegt sich im Sonnenschein, Swaying in the sunshine, Zu mir in den Garten zu schlüpfen. and slip towards me in the garden. Spielt um mein Kindelein, Playing around my little child, Rings schlummern die Blüten am rieselnden Bach Around us the blossom slumbers by the purling stream, Summt dich in Schlummer ein, Humming yonder to sleep, Und duften im Schlaf, nur die Liebe ist wach. giving fragrance in its sleep; only love is awake. Süßes Gesicht. Sweet face. Sitz nieder, hier, dämmert’s geheimnissvoll Sit down, there is a mysterious twilight here Spinnchen, Spinnchen, Little spider, little spider, Unter den Lindenbäumen, beneath the lime trees, Flimmert im Sonnenschein, Shimmering in the sunshine, Die Nachtigall uns zu Häupten soll the nightingale overhead shall Schlummre mein Kindelein, Slumber, my little child, Von unseren Küssen träumen, dream of our kisses Spinnt dich in Träume ein, Spin yourself to sleep Und die Rose, wenn sie am Morgen erwacht, and the rose, when it wakes in the morning, Rühre dich nicht! Disturb not yourself. Hoch glühn von den Wonneschauern der Nacht. shall colour deeply at the ecstasies of the night. Tiefedelinchen My little Prince, Schlüpft aus dem Sonnenschein Slip out of the sunshine Leises Lied Op. 39 No. 1 Richard Dehmel Quiet song Träume mein Kindelein Dream, my little child, In einem stillen Garten In a quiet garden Haucht dir ein Seelchen ein: Breathe into yourself a little soul: An eines Brunnens Schacht, Beside a well Liebe zum Licht. Love of the light. Wie wollt’ ich gerne warten How I yearned to wait Die lange graue Nacht! The grey night through! LIEDER OHNE OPUS Viel helle Lilien blühen Many fair lilies Rote Rosen Karl Stieler Red Roses Um des Brunnens Schlund; Round the well’s edge bloom Drin schwimmen golden die Sterne, Down in it the stars swim so golden Weisst du die Rose, die Du mir gegeben? You know the rose that you gave me? Drin badet sich der Mond. Down in it bathes the moon. Der scheuen Veilchen stolze, heisse Schwester; Ardent, proud sister to the shy violets; Von Deiner Brust trug noch ihr Duft das Leben, From your bosom its fragrance was given life, Und wie in den Brunnen schimmern And just as into the well Und an dem Duft sog ich fest mich und fester. And I draw in the fragrance evermore deeply. Die lieben Sterne hinein, The dear stars shimmer Ich seh Dich vor mir, Stirn und Schläfe glühend, I see you before me with gleaming brow and temples, Den Nakken trotzig, weich und weiss die Hände, Your neck defiant, hands soft and white, Im Aug noch Lenz, doch die Gestalt erblühend voll, The Spring still in your eyes, Unter dem goldnen himmlischen Licht. Under the golden heavenly light. Wie das Feld blüht um Sonnenwende. Your figure still in full bloom, Und dann verwehen leise im Wind And they blow away quietly in the wind Like the countryside in flower at midsummer. Zärtliche Blüten, Sommers Gesind’ Tender blossoms, summer’s attendants. Um mich webt Nacht, die kühle, wolkenlose, Doch Tag und Nacht, sie sind in eins zerronnen. Cloudless night weaves its coolness round me, Es träumt mein Sinn von Deiner roten Rose But day and night have merged into one with ease. MÄDCHENBLUMEN OP. 22 Und von dem Garten, drin ich sie gewonnen. My mind is dreaming of your red rose No. 1 - Kornblumen Felix Dahn Cornflowers And the garden where it became my prize. Kornblumen nenn ich die Gestalten, Cornflowers I call these figures die milden mit den blauen Augen, that gently, with blue eyes, Die erwachte Rose Fr. Sallet The Rose’s Awakening die, anspruchslos in stillem Walten, preside quietly and modestly, Die Knospe träumte von Sonnenschein, The bud was dreaming of sunshine, den Tau des Friedens, den sie saugen placidly drinking the dew of peace Vom Rauschen der Blätter im grünen Hain, Of the rustling leaves in the greenwood, aus ihren eigenen klaren Seelen, from their own pure souls, Von der Quelle melodischem Wogenfall, Of the stream’s melodious purling, mitteilen allem, dem sie nahen, communicating with everything that is near, Von süssen Tönen der Nachtigall, Of the nightingale’s sweet singing, bewußtlos der Gefühlsjuwelen, unconscious of the precious sensitivity Von den Lüften, die kosen und schaukeln, Of the breeze’s carressing and lulling, die sie von Himmelshand empfahn. that they have received from the hand of God. Von den Düften, die schmeicheln und gaukeln. Of the scents beguiling in passing. Dir wir so wohl in ihrer Nähe, We felt so close to you, als gingst du durch ein Saatgefilde, as if you were going through a field of crops Und als die Knospe zur Ros’ erwacht, And when the bud awoke as a rose, durch das der Hauch des Abends wehe, through which the breath of evening blew, Da hat sie milde durch Tränen gelacht She laughed gently through her tears voll frommen Friedens und voll Milde. full of pious quietude and full of mildness. Und hat geschaut und hat gelauscht, And looked about her and listened - Wie’s leuchtet und klingt, Took in the light and the sounds, Wie’s duftet und rauscht. The scents and the bustle. No. 2 – Mohnblumen Felix Dahn Poppies Mohnblumen sind die runden, They are poppies, those round, Als all ihr Träumen nun wurde wahr, As all her dreams now came to be, rotblutigen gesunden, red-blooming, healthy ones Da hat sie vor süssem Staunen gebebt She thrilled in sweet wondrous awe die sommersproßgebraunten, that bloom and bake in the summer Und leis geflüstert: Ist mir’s doch gar, And whispered quietly, “It seems to me, die immer froh gelaunten, and are always in a cheery mood, Als hätt ich dies alles schon einmal erlebt. As if I’d experienced all this before. kreuzbraven, kreuzfidelen, good and happy as a king, Translation: Uri Liebrecht C 2011 tanznimmermüden Seelen; their souls never tired of dancing; www.uritext.co.uk die unter’m Lachen weinen they weep beneath their smiles und nur geboren scheinen, and seem born only Malven Betty Knobel Mallows die Kornblumen zu necken, to tease the cornflowers; Aus Rosen, Phlox, Zinienflor From among roses, phlox, zinnias und dennoch oft verstecken yet nevertheless, Ragen im Garten Malven empor, All in bloom in the garden, mallows tower, die weichsten, besten Herzen, the softest, best hearts often hide Duftlos und ohne des Purpurs Glut, Without fragrance or crimson fire, im Schlinggewächs von Scherzen; among the climbing ivy of jests; Wie ein verweintes blasses Gesicht Like a pale, tear-stained face die man, weiß Gott, mit Küssen God knows one would wish to sie blüht auf schilfigem Teich im Haine, it blooms by reedy pools in groves, ersticken würde müssen, suffocate them with kisses gehütet vom Schwan, der umkreiset sie einsam, protected by the swan, who circles it in solitary vigil; wär’ man nicht immer bange, were one not so afraid sie erschließt sich nur dem Mondenscheine, it opens only in the moonlight umarmest du die Range, that, embracing the hoyden, mit dem ihr der silberne Schimmer gemeinsam: with which it shares its silver glimmer: sie springt ein voller Brander she would spring up into a full blaze so blüht sie, die zaub’rische Schwester der Sterne, thus does it bloom, the magical sister of the star, aufflammend auseinander. and go up in flames. umschwärmt von der träumerisch dunklen idolized for its dreamy, dark tendrils Phaläne, which by the edge of the pool can be seen from afar, die am Rande des Teichs sich sehnet von ferne, never reaching what it years for. No. 3 – Epheu Felix Dahn Ivy und sie nimmer erreicht, wie sehr sie sich sehne. Waterlily, so do I call the slim Aber Epheu nenn’ ich jene Mädchen But ivy is what I call that maiden Wasserrose, so nenn’ ich die schlanke, maiden with night-dark locks and alabaster cheeks, mit den sanften Worten, with soft words, nachtlock’ge Maid, alabastern von Wangen, with deep foreboding thoughts showing in her eyes mit dem Haar, dem schlichten, hellen with the simple, bright hair, in dem Auge der ahnende tiefe Gedanke, as if they were ghosts imprisoned on Earth. um den leis’ gewölbten Brau’n, gently waving brown about her, als sei sie ein Geist und auf Erden gefangen. When she speaks, it is like the silvery rushing of water; mit den braunen seelenvollen Rehenaugen, with brown, soulful doe’s eyes, Wenn sie spricht, ist’s wie silbernes when she is silent, it is the pregnant silence of the die in Tränen steh’n so oft, who so often stands in tears, Wogenrauschen, moonlit night. in ihren Tränen gerade sind unwiderstehlich; in her tears simply irresistible; wenn sie schweigt, ist’s die ahnende Stille der She seems to have exchanged radiant expressions with ohne Kraft und Selbstgefühl, without strength and self-consciousness, Mondnacht; the stars, schmucklos mit verborg’ner Blüte, unadorned with secret blossoms, sie scheint mit den Sternen Blicke zu tauschen, whose language, of the same nature, she has grown doch mit unerschöpflich tiefer yet with an inexhaustible, deep deren Sprache die gleiche Natur sie gewohnt accustomed to. treuer inniger Empfindung true inner sentience macht; You can never grow weary of gazing in those eyes können sie mit eigner Triebkraft that under her own power she can du kannst nie ermüden, in’s Aug’ ihr zu schau’n, fringed with silky, long lashes, nie sich heben aus den Wurzeln, never yank herself up by the roots; das die seidne, lange Wimper umsäumt hat, and you believe, as if blessedly, terrifyingly bewitched, sind geboren, sich zu ranken such are born to twine und du glaubst, wie bezaubernd von seligem whatever the Romatics have dreamed about Elves. liebend um ein ander Leben: lovingly about another life: Grau’n, an der ersten Lieb’umrankung upon her first love was je die Romantik von Elfen geträumt hat. hängt ihr ganzes Lebensschicksal, she rests her entire life’s fate, denn sie zählen zu den seltnen Blumen, for she is counted among those rare flowers, die nur einmal blühen. those that only blossom once. FÜNF LIEDER OP. 48 A pleasant vision No. 1 - Freundliches Vision Otto Julius Bierbaum No. 4 - Wasserrose Felix Dahn Waterlilly Nicht im Schlafe hab’ ich das geträumt, Hell am I did not dream this while asleep; Kennst du die Blume, die märchenhafte, Do you know the flower, the fantastic Tage sah ich’s schön vor mir: I saw it fair before me in the light of day: sagengefeierte Wasserrose? waterlily, celebrated in myth? Eine Wiese voller Margeritten; A meadow full of daisies, Sie wiegt auf ätherischem, schlankem Schafte On a slim, ethereal stem bobs Tief ein weißes Haus in grünen Büschen; a white house deep in green bushes, das durchsicht’ge Haupt, das farbenlose, its translucent, colorless head; Götterbilder leuchten aus dem Laube. images of gods gleaming from the leaves. Und ich geh’ mit Einer, die mich lieb hat, And I walk with one who loves me, Ruhigen Gemütes in die Kühle in a peaceful mood in the coolness No. 4 – Winterweihe Karl Henckell In these winter days Dieses weißen Hauses, in den Frieden, of this white house, in which peace In diesen Wintertagen, In these winter days, Der voll Schönheit wartet, daß wir kommen. awaits our arrival, full of beauty. Nun sich das Licht verhüllt, now the light disguises itself, Laß uns im Herzen tragen, let us bear in our hearts No. 2 - Ich schwebe Karl Henckell I float Einander traulich sagen, and say confidentially to one another Was uns mit innerm Licht erfüllt. what fills ourselves with inner light. Ich schwebe wie auf Engelsschwingen, I float as if on an angel’s wings, die Erde kaum berührt mein Fuß, my foot hardly touching the ground, Was milde Glut entzündet, That which inflames mild ardor, in meinen Ohren hör’ ich’s klingen I hear a lament resounding Soll brennen fort und fort, should burn on and on; wie der Geliebten Scheidegruß. As if it were my love’s farewell. Was Seelen zart verbündet, that which tenderly binds souls Und Geisterbrücken gründet, and builds ghostly bridges Das tönt so lieblich, mild und leise, It resounds, so lovely, gentle and soft, Sei unser leises Losungswort. should be our soft password. das spricht so zage, zart und rein, It speaks to me, so shy, so frail and pure, leicht lullt die nachgeklung’ne Weise The echo of the melody softly lulling Das Rad der Zeit mag rollen, The wheel of time may roll, in wonneschweren Traum mich ein. Me into a blissful dream. Wir greifen kaum hinein, but we hardly grasp it, Dem Schein der Welt verschollen, forgotten in the glow of the world. Mein schimmernd Aug’ indess mich füllen My gleaming eye, while basking Auf unserm Eiland wollen On our island we would die süssesten der Melodien In the sweetest of melodies Wir Tag und Nacht der sel’gen Liebe weih’n. dedicate day and night to blissful Love. sieht ohne Falten, ohne Hüllen Watches my smiling love go by mein lächelnd Lieb’ vorüber ziehn. Without any fabric’s fold, any wraps. No. 5 - Winterliebe Karl Henckell Winter Love No. 3 - Kling! Karl Henckell Ring! Der Sonne entgegen in Liebesgluten wandr’ ich... Towards the sun in passionate love I walk, O Wonne, vermäße dein Maß! O rapture, who could measure it! Meine Seele gibt reinen Ton. My soul gives forth a pure sound. Mit Reif bepudert prangen die Wälder, Sprinkled with hoar frost, Und ich wähnte die Arme And I imagined the poor thing Die Berge grüßen das blendende Licht. The woods gleam with splendour, Von dem wütenden Harme Already torn apart Vor Eiseskälte knirschen die Schritte, The mountains greet the dazzling light. Wilder Zeiten zerrissen schon. By the furious outrages of frantic times. Der Hauch des Mundes ballt sich zu Dampf. Footsteps crunch in the icy cold, Sing!... Meine Seele, den Beichtgesang Ich trage Feuer in meinem Herzen, Sing! my soul the confessional song The mouth’s breath forms a ball of vapour. Wiedergewonnener Fülle! Mich brennt die Liebe, das schlimme Kind. Of exuberance reclaimed; I bear fire in my heart, Hebe vom Herzen die Hülle! Sie schürt die Flammen mit hastigen Händen, Lift the pall from your heart. Love burns me, the wicked child Heil dir, geläuterter Innenklang! Die Kohlen knistern, der Wohlduft quillt, Hail to thee, chiming note within. She fans the flame with hurried hands, Der Sonne entgegen im Liebesgluten wandr’ ich... Coals crackle, Fragrance rises.. Kling! Kling! [Kling dein Leben]1, Ring! Ring! Ring out your life, O Wonne, wer mäße dein Maß! Quellendes, frisches Gebild! Fresh, upwelling image. Towards the sun in passionate love I walk.... Blühendes hat sich begeben Blossoming has taken place O rapture, who could measure it! Auf dem verdorrten Gefild. Upon the withered field. Schlagende Herzen Op. 29 No. 2 Beating hearts Muttertändelei Op. 43 No. 2 Mother-chatter Otto Julius Bierbaum Gottfried August Bürger Über Wiesen und Felder ein Knabe ging, Over meadows and fields went a boy, Seht mir doch mein schönes Kind, But just look at my fair child, Kling-klang schlug ihm das Herz; Pit-a-pat beat his heart; Mit den gold’nen Zottellöckchen, with such golden curly locks, Es glänzt ihm am Finger von Golde ein Ring. On his finger shines a ring of gold, Blauen Augen, roten Bäckchen! blue eyes, red cheeks! Kling-klang, schlug ihm das Herz. Pit-a-pat beat his heart! Leutchen, habt ihr auch so eins? My friends, have you such a one? “Oh Wiesen, oh Felder, O meadows, o fields, Leutchen, nein, ihr habt keins! My friends, no, you have not! Wie seid ihr schön! how fair you are! O hills, o valleys, Seht mir doch mein süßes Kind, Oh Berge, oh Täler, But just look at my sweet child, how fair! Fetter als ein fettes Schneckchen, wie schön! fatter than a fat snail, How good, how lovely you are, Süßer als ein Zuckerweckchen! Wie bist du gut, wie bist du schön, sweeter than a sugar roll! You golden sun in heaven’s heights! Leutchen, habt ihr auch so eins? Du gold’ne Sonne in Himmelshöhn!” My friends, have you such a one? Pit-a-pat beat his heart. Leutchen, nein, ihr habt keins! Kling-klang schlug ihm das Herz. My friends, no, you have not! Swiftly hurried the lad with joyous step, Seht mir doch mein holdes Kind, Schnell eilte der Knabe mit fröhlichem Schritt, But just look at my lovely child, Pit-a-pat beat his heart; Nicht zu mürrisch, nicht zu wählig! Kling-klang schlug ihm das Herz; not too grumpy, not too particular! Taking with him many a smiling flower – Immer freundlich, immer fröhlich! Nahm manche lachende Blume mit – Always friendly, always merry! Pit-a-pat beat his heart. Leutchen, habt ihr auch so eins? Kling-klang schlug ihm das Herz. My friends, have you such a one? Over meadows and fields Leutchen, nein, ihr habt keins! My friends, no, you have not! “Über Wiesen und Felder the spring wind blows, Weht Frühlingswind, Over hills and woods Seht mir doch mein frommes Kind! But just look at my pious child! Über Berge und Wälder the spring wind blows, Keine bitterböse Sieben No bitter shrew Weht Frühlingswind. Würd’ ihr Mütterchen so lieben. could be so loved by its mother. Im Herzen mir innen weht Frühlingswind, Deep within my heart the spring wind blows, Leutchen, möchtet ihr so eins? My friends, would you like to have such a one? Der treibt zu dir mich leise, lind!” Driving me softly, gently to you, O, ihr kriegt gewiß nicht meins! O, you certainly won’t get mine! Kling-klang schlug ihm das Herz. Pit-a-pat beat his heart. Komm’ einmal ein Kaufmann her! Just let a buyer come here once! Zwischen Wiesen und Feldern ein Mädel stand, Between meadows and fields stood a girl, Hunderttausend blanke Taler, A hundred thousand shiny thalers – Kling-klang schlug ihr das Herz. Pit-a-pat beat her heart. Alles Gold der Erde zahl’ er! all the gold in the world he would pay! Hielt über die Augen zum Schauen die Hand, Shading her eyes with her hand to gaze, O, er kriegt gewiß nicht meins! – But he certainly won’t get mine! Kling-klang schlug ihr das Herz. Pit-a-pat beat her heart. Kauf’ er sich woanders eins! Let him buy somewhere else. “Über Wiesen und Felder Over meadows and fields, Über Berge und Wälder, over hills and woods, Zu mir, zu mir, schnell kommt er her! Das Bächlein Op. 88 No. 1 Goethe The little brook To me, he is hastening here to me. Oh, wenn er bei mir nur, bei mir schon wär!” O, if he were only with me, were already here! Du Bächlein silberhell und klar, You little brook, clear and silver-bright, Kling-klang schlug ihr das Herz. Pit-a-pat beat her heart. Du eilst vorüber immerdar. You always hurry past, Am Ufer steh’ ich, sinn’ und sinn’: I stand on the bank, ponder and ponder: DREI LIEDER OP. 69 The star Wo kommst du her, wo gehst du hin! Where do you come from, wither go? No. 1 - Der Stern 21 A. von Arnim Ich komm’ aus dunkler Felsen Schoß, I come from a womb of dark rocks, Ich sehe ihn wieder den lieblichen Stern; I see it again, the lovely star; Mein Lauf geht über Blum’ und Moos. My course passes over flowers and moss. er winket hernieder, er nahte mir gern; It waves down here, it approached me warmly; Auf meinem Spiegel schwebt so mild My surface gently reflects er wärmet und funkelt, je näher er kömmt, It sends out its heat and twinkles, the nearer it comes, Des blauen Himmels freundlich Bild. The friendly likeness of heaven’s blue. die andern verdunkelt, die Herzen beklemmt. The others become dim, people’s hearts are oppressed. Drum hab’ ich frohen Kindersinn, This gives me my gay, childlike mood; Die Haare im Fliegen er eilet mir zu, It hastens to me with hair in flight, Es treibt mich fort, weiß nicht wohin, It drives me onward, whither I know not. das Volk träumt von Siegen, ich träume von Ruh. The people dream of victories, I dream of peace. Der mich gerufen aus dem Stein, He who summoned me from the stone Die andern sich deuten die Zukunft daraus, The others predict the future from it, Der, denk ich, wird mein Führer sein. Will, I think, be my guide. vergangene Zeiten mir leuchten ins Haus. Times from long ago are illuminated for me in my house.

Amor Op. 68 No. 5 Clemens Brentano Cupid No. 2 - Der Pokal A. von Arnim The goblet An dem Feuer saß das Kind By the fire sat the child Freunde, weihet den Pokal jener fremden Menschenwelt, Friends, consecrate the goblet to that foreign world of Amor, Amor Cupid, Cupid Die an gleichem Sonnenstrahl sich erhellt, mankind, Which, by the same ray of sunshine as we are, Und war blind; and was blind; Gesellt, is illuminated, Mit dem kleinen Flügel fächelt with his little wings he fans Gefällt; Joined, In die Flammen er und lächelt, into the flames and smiles; Pleased; Fächle, lächle, schlaues Kind. Fan, smile, wily child! Glück den lieben Unbekannten, Lichtgesandten, Drink to the happiness of beloved strangers, Ach, der Flügel brennt dem Kind! Ah, the child’s wing is burning! Herzverwandten, Ambassadors of light, Amor, Amor Cupid, Cupid Deren Augen übergehn, Relatives of the heart, Läuft geschwind! runs quickly. Wenn sie in die Sonne sehn. Whose eyes also overflow with tears “O wie ihn die Glut durchpeinet!” O how the burning hurts him deeply! When they look into the sun. Flügelschlagend laut er weinet; Beating his wings, he weeps loudly; In der Hirtin Schoß entrinnt To the shepherdess’s lap runs, Hülfeschreiend das schlaue Kind. crying for help, the wily child. No. 3 – Einerlei A. von Arnim Singular one Und die Hirtin hilft dem Kind, And the shepherdess helps the child, Ihr Mund ist stets derselbe, Her mouth remains the same, Amor, Amor Cupid, Cupid, Sein Kuß mir immer neu, Its kiss is ever new, Bös und blind. naughty and blind. Ihr Auge noch dasselbe, Her eyes yet unchanged, Hirtin, sieh, dein Herz entbrennet, Shepherdess, look, your heart is burning; Sein freier Blick mir treu; Their boundless gaze true to me. Hast den Schelmen nicht gekennet. You did not recognize the rascal. O du liebes Einerlei, Oh you dear singular one, Sieh, die Flamme wächst geschwinde. See, the flame is growing quickly. Wie wird aus dir so mancherlei! What wondrous variety comes from you! Hüt dich vor dem schlauen Kind! Save yourself, from the wily child! DREI LIEDER DER OPHELIA OP. 67 No. 3 – Sie trugen ihm auf der Bahre, bloss They bore him barefaced on the bier No. 1 – Wie erkenn ich mein Treulieb How should I know your true love Shakespeare Shakespeare Sie trugen ihn auf der Bahre bloss They bore him barefaced on the bier; Wie erkenn’ ich mein Treulieb How should I know your true love Leider, ach leider, den Liebsten! Hey non nonny, nonny, hey nonny; Vor andern nun? from another one? Manche Träne fiel in des Grabes Schoss – And in his grave rain’d many a tear:— An dem Muschelhut und Stab By his cockle hat, and staff Fahr wohl, fahr wohl, meine Taube! Fare you well, my dove! Und den Sandalschuh’n. And his sandal shoon. Mein junger frischer Hansel ist’s, You must sing a-down a-down, Er ist tot und lange hin, He is dead and long gone, Der mir gefällt - Und kommt er nimmermehr? An you call him a-down-a. Tot und hin, Fräulein! Dead and gone, lady! Er ist tot, o weh! O, how the wheel becomes it! Ihm zu Häupten grünes Gras, At his head a grass-green turf In dein Totbett geh, It is the false steward, that stole his master’s daughter. Ihm zu Fuß ein Stein. Oho. At his heels a stone. o-ho! Er kommt dir nimmermehr. For bonny sweet Robin is all my joy. Auf seinem Bahrtuch, weiß wie Schnee, On his bier, white as snow, Sein Bart war weiss wie Schnee, And will he not come again? Viel liebe Blumen trauern. Lay many lovely flowers. Sein Haupt wie Flachs dazu. And will he not come again? Sie gehn zu Grabe naß, He went not to his grave, Er ist hin, er ist hin, No, no, he is dead: O weh! vor Liebesschauern. Oh dear! with true-love showers. Kein Trauern bringt Gewinn: Go to thy death-bed: Mit seiner Seele Ruh He never will come again. Und mit allen Christenseelen! No. 2 – Guten Morgen, ist’s Sankt Valentins Tag Tomorrow is Saint Valentine’s day Darum bet ich! Gott sei mit euch! His beard was as white as snow, Shakespeare All flaxen was his poll: He is gone, he is gone, Guten Morgen, ‘s ist Sankt Valentinstag To-morrow is Saint Valentine’s day, And we cast away moan: So früh vor Sonnenschein. All in the morning betime, God ha’ mercy on his soul! Ich junge Maid am Fensterschlag And I a maid at your window, Will Euer Valentin sein. To be your Valentine. Der junge Mann tut Hosen an, Then up he rose, and donn’d his clothes, Tät auf die Kammertür, And dupp’d the chamber-door; Ließ ein die Maid, die als Maid Let in the maid, that out a maid Ging nimmermehr herfür. Never departed more. Bei Sankt Niklas und Charitas! By Gis and by Saint Charity, Ein unverschämt Geschlecht! Alack, and fie for shame! Ein junger Mann tut’s wenn er kann, Young men will do’t, if they come to’t; Fürwahr, das ist nicht recht. By cock, they are to blame. Sie sprach: Eh Ihr gescherzt mir mir, Quoth she, before you tumbled me, Verspracht Ihr mich zu frein. You promised me to wed. Ich bräch’s auch nicht beim Sonnenlicht, So would I ha’ done, by yonder sun, Wärst du nicht kommen herein. An thou hadst not come to my bed.