145booklet 13/11/08 16:38 Page 1

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Beethoven: Lieder und Gesänge Ann Murray mezzo-soprano Roderick Williams baritone Iain Burnside piano SIGCD139

The singers Ann Murray and Roderick Williams are joined by acclaimed pianist Iain Burnside in a 2 CD set of Beethoven songs, setting together his stylistically simpler Lieder alongside the richer, more operatic Gesänge in works covering three decades of composition.

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Beethoven grumbled about his discomfiture with A note about our title: in Beethoven’s day, there vocal writing on more than one occasion: he once were two large categories of song, and he Beethoven: Lieder und Gesänge said, “When sounds stir within me, I always hear contributed to both. “Lieder” designated the the full orchestra; I know what to expect of stylistically simpler, shorter, often strophic songs instrumentalists, who are capable of almost that continued the 18th-century predilection for everything, but with vocal compositions I must such works, while the word “Gesänge” was always be asking myself: can this be sung?” Song reserved for longer, richer, more complex songs in was not his native tongue, as it was for his forms other than strophic and often with airs and 1. Resignation [3.33] 13. Gesang aus der Ferne [4.36] younger contemporary Schubert; given graces borrowed from the operatic realm. Song 2. Abendlied unterm gestirnten Himmel [5.26] 14. Die laute Klage [3.14] Beethoven’s predilection for the infinite over the anthologies, sets, or opuses were frequently 3. Andenken [3.02] 15. Lebensglück [2.21] finite, for universality over the particular, that is emblazoned with the joint title Lieder und not surprising. On the other hand, Beethoven’s Gesänge; if this translates awkwardly into English 4. La Tiranna [3.01] 16. Der Wachtelschlag [4.07] great biographer Maynard Solomon reminds us as “Songs and Songs”, the German-speaking 5. An die Hoffnung [4.59] 17. An die Hoffnung [7.24] that more than forty percent of the works that the world of the late 18th- and 19th-centuries would have 6. Ruf vom Berge [2.04] 18. An die ferne Geliebte [14.18] young genius composed in Bonn, before moving to understood the distinction. The “simpler”approach to 7. Klage [2.56] Vienna in 1792, are vocal, and roughly half of his Lieder does not mean “simplistic:” one need only 600 works call for the human voice. He began hear the marvelous harmonic subtleties of the 8. Selbstgespräch [3.50] Total Timings [77.43] composing songs when he was a student of Lied “Vom Tode” to realize that artistry was 9. Adelaide [6.02] Christian Gottlob Neefe (with “Schilderung eines lavished on these works as well, but there is an 10. I: Wonne der Wehmuth [2.25] Mädchens,” perhaps composed in 1783 when he undeniable difference in scale between “Urians Reise 11. II: Sehnsucht [2.20] was thirteen years old), and he would continue to um die Welt” (Lied) and “Adelaïde” (Gesang). 12. III: Mit einem gemahlten Band [1.54] do so sporadically thereafter. In this genre, he could experiment with the artful simplicity of Resignation, WoO 149, composed in 1817 and pseudo-folksong and with other vocal styles, and firstLiteratur, published Theater in the und Wiener Mode Zeitschrift für Kunst, above all with the fitting of word-rhythms to vocal for 31 March 1818, is melody. Pace those who say that art and life are the setting of a mysterious poem about not enmeshed, song also enabled him to engage extinguished passion - for what or who, the poet Iain Burnside piano with various religious, ethical, erotic, and artistic does not say–by Count Paul von Haugwitz (1791- concerns on a canvas more intimate than his 1856). Beethoven prefaces his setting with www.signumrecords.com large-scale public works. - 3 - 145booklet 13/11/08 16:38 Page 5

elaborate instructions for its performance, “With with its soul that wishes only to strive, to soar, to from Schubert’s great setting. Beethoven might The genesis of An die Hoffnung, Op. 32, is bound feeling, yet resolutely, well accented, and sung as transcend earthly limits. In this varied strophic have composed this sweetly graceful song as early up with Beethoven’s frustrated love in 1804-1805 though spoken,” and we gather from this song, each stanza begins in hymnlike manner, as 1805 for Josephine von Brunsvik, but did not for Countess Josephine von Brunsvik; Josephine fussiness a hint of the song’s importance for its with the bass sinking downwards like the setting publish it until 1810 (and again in 1816 and wrote her mother on 24 March of that year to say, creator. (In a now-vanished notebook, the word sun, but at the first invocation of the shimmering 1818). The way in which the vocal line falls to a “The good Beethoven has composed a lovely song “feeling” in the admonition to performers was stars, the musical cosmos is filled with pulsating, lingering half cadence at the end of each verse for me on a text from Urania ‘An die Hoffnung’ as originally preceded by the word “inniger,” or full-textured chords traveling in a majestic circle creates tension across the pattern of strophic aund gift Freiheit for me.” . .Urania: . in sechs Über Gesängen Gott, Unsterblichkeit “intimate.”) One thing the instructions do is tell of fifths. This is the music of the spheres, and its repetitions; that the song’s most emphatic peak is (Urania: On us from the start of a musical interpretation with pulsations will recur, gloriously, in the last song of the revelation of a “distant beloved” seems only to God, Immortality, and Freedom in six cantos) by a stiffer spine and greater resolve than the poet An die ferne Geliebte and elsewhere in Beethoven’s be expected from this composer. Tellingly, there is Christoph August Tiedge (1752-1841) refers to the would seem to provide in his depressed, defeated oeuvre. The third stanza elicited from Beethoven no piano postlude, only the echo of the final ardent muse of astronomy and astrology, from the words. The repeated root-position triads that erupt the most far-reaching variation from the pattern, words, “nur dein” (only of you) in the silence Renaissance on, the muse of Christian poets as in loud-louder-loudest guise from the bare octaves with its earthly storms in measured tremolos, its beyond the song’s end. well (“Urania” means “heavenly”). By the summer a semitone lower follow just after the crucial unjustly happy evildoers, the consolation of of 1805, however, Josephine had rebuffed words, “Ja, du mußt nun los dich binden” (Yes, you looking up at the stars, and the dotted The title of La tiranna, WoO 125, hints at the Beethoven as a suitor and the composer removed must now detach yourself) and are the incendiary triumph over princes and powers. source of this English text in an Italian aria, but her name from the dedication, but the song he heart of the song. The grim musical pun by which we do not yet know the source; the song-aria was wrote for her is indeed lovely. The reverential Beethoven does not “find” the cadence he had Andenken, WoO 136, is the setting of a “best- first published in London on 12 December 1799. melody of this strophic song is constantly on the prepared or sought (“sucht–sucht”) at the words seller” of a poem, “Ich denke dein,” by Friedrich The translator was British: a man named William move, appropriate for Hope as a force of forward “findet nicht” is another marvelous detail of a von Matthisson (1761-1831), a popular purveyor Wennington, who was in Vienna at the end of propulsion in human lives; its major mode haunting song. Abendlied unterm gestirnten of stylized melancholy in the late 18th and early 19th 1798, when Beethoven probably made his optimism is rendered profound by darker touches Himmel, WoO 150, presents us with another centuries. Schiller praised Matthisson’s ability to acquaintance and acceded to his request to set of minor. The singer’s eloquent leap upward and the enigma in the person of the poet “H. Goeble,” point out the inner connection between images of this dramatic lament about unrequited love. quiet blaze of a new (major) key for the acclamation about whom nothing is known at present. nature so that they become “pictures of the soul,” Beethoven makes the piano part froth and foam in to Hope–”O Hoffnung”–are unforgettable. Beethoven set it to music on 4 March 1820, and it and here, the persona sees the beloved imprinted such a way as to display his own pianism; the appearedGedichte first in the Wiener Zeitschrift for 28 everywhere on the landscape. Matthisson offbeat heavy accents at the outset of each plunge The librettist, translator, and lepidopterist Georg March 1820 and again in the Vier deutsche published this poem, written by 1792, ten years by the piano into the precipice of despair are echt Friedrich Treitschke (1776-1842) both revised the of February 1823. Whoever Goeble was, later, that is, seven years after Goethe’s parody Beethoven in their dynamism. libretto of Fidelio in 1814 at Beethoven’s request he wrote a poem made to order for this composer, entitled “Nähe des Geliebten,” familiar to many and provided him with the text for Ruf vom Berge,

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WoO 147, first published by Wallishausser in present, to parallel minor mode, and to an autograph manuscript of this “cantata”–it is The songs of Op. 83–Wonne der Wemuth, 1817. The poem is an expansion of the folk song exquisitely expansive vocal line. described thusly on the title page of the first Sehnsucht, and Mit einem gemalten Band–are “WennLiedern ich ein Vöglein wär’”, which appeared both edition, printed by the Viennese firm of Artaria in Beethoven’s last Goethe songs, composed in 1810 in Johann Gottfried Herder’s Stimmen der Völker in In 1822, Beethoven made a list of earlier February 1797–is lost, but sketches indicate the just after his music for “Egmont” and published (Voices of the Peoples in Song, where this unpublished compositions that he clearly wanted genesis of this masterpiece in late 1794 or early in 1811 with a dedication to Antonie Brentano. It poemWunderhorn is entitled “Der Flug der Liebe”) and Achim to bring out in print, including Ein Selbstgespräch, 1795. At this time, Beethoven was making a bid to was perhaps, Solomon speculates, in the autumn von Arnim’s and Clemens Brentano’s Des Knaben WoO 114, his only setting of a poem by Johann impress Viennese musical society, so it is no of 1811 that mutual reverence flowered into (The Youth’s Magic Horn) of 1806-8. Wilhelm Ludwig Gleim (1719-1803), known as wonder that the piano part is so rich throughout. passion, destined for sublimation into exalted Here, Beethoven gives it an appropriately pared- “Father Gleim.” Of the songs on the composer’s How sad that Matthisson himself did not approve friendship. Little more than a year later, she and down, artfully simple folksong-like setting. Klage, list, only “Der Kuß” was published before his of this glorious aria/song/cantata (it defies her husband would return to his native city of WoO 113, to a poem–a lamenting lover’s death. Like that delightfully saucy work, this too is categories), saying that of the settings his poem Frankfurt, and it seems unlikely that Antonie and acclamation to the moon–by Ludwig Hölty (1748- an idyll in the groves of Eros, its Anacreontic had already inspired, Beethoven’s was the least Beethoven ever saw one another again. For a poem 1776, dead tragically young) as emended by persona someone who formerly scorned love–but sensitive. In this love-poem, the persona sees his that never progressed beyond its first line, Johann Heinrich Voss in 1783, was among the now, to his great surprise, finds himself in love beloved’s image imprinted on everything in Michelangelo once wrote, “Du’ occhi asciutti, e’ songs not published until after Beethoven’s death. with Doris. In fact, he is so stunned by this novel Nature, from the hues of a garden in spring to the mie, fan tristi el mondo” (Two dry eyes, mine, This lovely lyric by one of the best poets of the experience that he repeats his musical snowy Alps, from the evening breezes in the arbor make the world sad), and Goethe several centuries “Hainbund” (the Fellowship of the Grove, or a bemusement over and over again to deliciously to the rustling of the waves and the fluting of later said much the same thing in Wonne der group of young writers who formed this comic effect. The vault of a tenth at the word nightingales. Beethoven makes of the first Wehmut: eyes filled with tears see wonders while association on the night of 12 September 1772 “glaube” (“I believe I love Doris”) will make syllable of the beloved’s name an exhalation of dry eyes can only contemplate a wasteland. while out on a moonlit walk), was popular with anyone who remembers the combined exultation awe and rapture each time; the numerous ecstatic Beethoven’s setting of “Wonne der Wehmut,” with many composers; Schubert set it as “An den and touch of disbelief (“Who, me?”) in new love reiterations of her name mark the passage of time its repeated “falling tears” motif in the piano, is Mond,” and Beethoven set it twice, the second smile. Beethoven milks the playful excess for all it and the motion towards love’s fulfillment beyond one of his most important and beautiful songs. version published for the first time in 1888. With is worth, including a dramatic measure of silence the grave. At the end, just as in an operatic finale, One notes in particular the harmonies that an almost fussy precision that indicates his care before the final proclamation “that I love.” the thematic material is recast in a faster tempo underscore the adjectives “öde” and “todt” for this song, he instructs pianists to play in the with many repetitions, but the final utterance of (desolate, dead), the expressive fragmentation of most polished, sustained, legato fashion possible. Adelaide, Op. 46, is a setting of a poem in Sapphic the beloved’s name brings us back to the intimacy the vocal melody in places, and the heartfelt Here, the persona remembers past happiness, meters by Friedrich Matthisson, first published in of Lied. Sadly, Beethoven’s last public performance emphasis on “unglücklicher [Liebe]” (unhappy when the moon smiled down at him in sweetest Voss’s Musen Almanach for 1790 and again in the as a pianist was on 25 January 1815, when he love). The ingenuity with which Beethoven spins major mode, but at mid-song, we turn to the sad third edition of Matthisson’s collected poems. The accompanied the singer Franz Wild in a performance out the precisely paired rhythms of his first two of this song for the Empress of Russia. - 6 - - 7 - 145booklet 13/11/08 16:38 Page 9

measures into longer and longer vocal phrases is remain long among the neo-Anacreontic poets, begins with an extended piano introduction, quite say that Beethoven had sent him the words of his marvelous; the sense of something uncoiling, but before he left their company, he endowed the like the start of a sonatina, followed by the same new song, “Glück der Freundschaft,” the title releasing itself as the persona sings, is palpable. repertory with several masterpieces, and this is strains varied and extended as the persona subsequently altered for its publication that same one of them. Until the final stanza, the sentiments remembers how joyous, how dance-like, how full of year. The old axiom that “shared joy is doubled, shared Sehnsucht, or “Longing,” is a crucial concept in seem conventional sugary compliments to a nightingale song his life was when his sweetheart sorrow dispelled” is brought to melodious life at late 18th - / early 19th- century Romantic poetics, sweetheart (although one notes the doubled was with him. But now–and here the music the beginning and then flowers into a celebration and Goethe’s initial questions, “Was zieht mir das artistry of painted ribbon and written poem . . . one changes key, meter, tempo, and mood–they are of love, its joy made evident in the triplet figures Herz so? / Was zieht mich hinaus?” (What tugs at creates art to celebrate love and Nature), but at apart, and longing drives him into the heights to in the piano–greater motion to tell of love’s my heart so? What draws me outside?), are its the end, Goethe shatters the rococo conventions. long for her. The vows that he has never loved vitality–and the trills of delight at song’s end. classic formulation . . . but here, the longing is for The sweetheart is bidden to feel what he feels, to anyone as he loves her lead to an ecstatic cadence the sweetheart, not for distant Romantic realms. give him her hand freely, to know that what links on the crucial verb “loved;” the final section is a Der Wachtelschlag, WoO 129, belongs to the The opening vocal phrase, in an ingenious them is an enduring human bond with nothing quicker, livelier variation of the initial passage as antique tradition of bird calls in music, in this conception, is drawn upwards by ever-increasing frivolous about it. Beethoven got the point: the the lover begs his distant sweetheart to transform instance, a bird whose calls invoke God (“Fear God melodic leaps, and the nifty idea recurs four times song trips along in an enchantingly mellifluous, his cottage into a temple of contentment, with her . . . Love God . . . Praise God . . . Trust in God . . . thereafter; this is a strophic song in which the pastoral vein until the first statement of the as its goddess. The text of Die laute Klage, WoO Implore God,” it sings). The words were written in singer’s melody stays the same, the only exception crucial verb in the imperative, “Fühle” (Feel). 135, possibly composed in late 1814 or early 1796 by Samuel Friedrich Sauter (1766-1846), a being the turn from the key of B minor in the first When that word (indicative of the Goethean 1815, comes from a compilation of Oriental poetic village schoolmaster whose unpretentious poems four verses (the “schwarze Tonart,” Beethoven revolution in poetry) first appears, it is set apart paraphrases in Johann Gottfried Herder’s 1792 were attributed to one “Gottlieb Biedermeier”–a called this key, traditionally associated with grief by rests on either side, while the other crucial Zerstreute Blätter. This complaint to the turtle sarcastic appellation–by Ludwig Eichrodt and and mourning) to a brighter B major for the verb, “verbindet” (that which binds us) is the dove who robs the lamenting lover of oblivion in Adolf Kußmaul in ’s Fliegende Blätter, thus reunion with the sweetheart in the final stanza. occasion for a soaring mini-cadenza. sleep is filled with eloquent harmonic and melodic giving rise to the stylistic term “Biedermeier” for Mit einem gemalten Band is a reminder of details: the dark chord that enshrouds the the period between revolutions in the German- Goethe’s early allegiance to the Anakreontiker, Gesang aus der Ferne, WoO 137, is a setting of a “verschlossene Brust” is one, and so too is the speaking world (1815-1848). Sauter based his those earlier eighteenth-century German poets text from the third edition of Christian Reissig’s huge outcry against love in mid-song and again paraphrase, first published in 1798 in Carl Lang’s who took their cue from the Greek poet Anacreon Blümchen der Einsamkeit; it became “Anxiety of near the end, before the song sinks to its mournful Taschenbuch für häusliche und gesellschaftliche (6th century B. C.). He, and they, sang of Eros, Absence, a favorite Arietta . . . by Lewis van end. Unlike the famous and influential Herder, the Freuden, on a folk song widely known in the 18th springtime, wine, crickets, roses, of reveling in all Beethoven” when it was published in London in poet of Lebensglück, Op. 88, is unknown. On 22 century (Goethe knew it). It is a fascinating life’s beauty despite Time and the ticking clock 1810, the same year as its initial appearances in October 1803, Beethoven’s friend Ferdinand Ries exercise to compare Beethoven’s setting with which bear us to our deaths. Goethe did not Leipzig and Vienna. For this long song, Beethoven wrote the publisher Nicholas Simrock in Bonn to Schubert’s better-known setting, first printed in

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1822, then revised as Op. 68 in 1827: both men Enlightenment’s foremost questions: “Is there a the two musical forces that one finds here. The When she hears his song and sings it back to him, inevitably devised the same dotted rhythmic God?” Tiedge’s persona gives Religion’s stock composition of this work followed both in the wake she overcomes all that separates them. figureim Volkston for the quail’s calls, “Fürchte Gott! Liebe reply, “Mankind must hope! Do not ask!”, but of multiple crises and in their midst: the loss of Gott! Danke Gott! Lobe Gott!,” but almost Beethoven clearly took the quest for answers to the “immortal beloved” in 1812, depression that When Beethoven begins the first song, Auf dem everything else is different. Schubert’s artful Lied such grave existential matters seriously indeed. might have produced a suicide attempt in 1813, a Hügel sitz’ ich spähend, with only a single chord is the voice of Nature, of the merry The introduction has a key signature but is so family quarrel over his brother Nikolaus Johann’s before the singer enters, he already signals the quail, while Beethoven takes the poem far more thoroughly shot through with chromaticism and affair with a housekeeper, the failure of a series of suddenness with which the persona’s thoughts in seriously and from the perspective of the human enharmony that we do not know where we are public concerts of his works, the death or this first “psychological song cycle” give way to being who listens to these worshipful injunctions. tonally (or metaphysically)–until the end, when departure of almost all of his most loyal patrons, others. The first song seems to end after five Ranging farther afield tonally than his younger the certainty of Hope brings us to a lighter, the beginning in 1815 of the controversies about statements of its perfectly constructed melody, the contemporary, Beethoven’s storms are more sweeter place. In this extended setting, the his nephew Karl, and a compositional crisis about piano figuration varied each time, but that tempestuous (the low bass rumble of thunder is a invocation of midnight and Fate is accompanied what path to take after the bombastic pastiches “ending” then metamorphoses into another particularly wonderful detail), his acclamations of by Beethoven’s “cosmic,” full-textured, throbbing of his “heroic style” in works such as “Wellington’s key–this is one of the “magic moments” in this God’s praise grander, and his pleas for God’s aid chords in the piano, while the hope for “an angel Victory.” An die ferne Geliebte–a genuine cycle cycle–to initiate the second song, Wo die Berge more plangent. above who acknowledges our tears” elicits a whose circular shape is emblematic of the so blau. Thereafter, each song culminates in a grand, glorious melodic vault into the empyrean, eternal–led him out of his musical dilemma and corridor-like passage for the piano leading directly Beethoven met Christoph August Tiedge, the poet repeated numerous times. The aria-like song ends subsequently exerted an enormous influence on into the next segment of this six-part song; the whose Lied An die Hoffnung had inspired Op. 32, with a final soft acclamation to Hope, and the fact later 19th-century composers; one need only think only truly final cadence is the last one. In another in the summer of 1811. In October of that year, the that there is no piano postlude reminds us of the of Schumann’s Frauenliebe und -leben, which also influential compositional decision, Beethoven composer wrote to Tiedge with a request for a new touching conclusion of “Andenken”. comes full circle but to different effect. An signals the inwardness of these reflections by copy of Urania because he could not locate one; amateur poet Alois Jeitteles (1794-1858) with no having the singer chant the second stanza of song Tiedge obliged with a new edition from 1808, Beethoven originally subtitled An die ferne other claim to fame would seem a mismatch for no. 2 on a single pitch while the piano, enveloping printed three years after the 1805 song, and Geliebte, Op. 98, completed in April 1816, “six one of Western music’s greatest composers, but the vocal line on either side, takes over the melody Beethoven found in it five additional lines with songs,” but changed the designation to the 20-year-old medical student who sent his established in the first verse. Lest we miss the which to begin his second, thoroughly reconceived “Liederkreis,” or song cycle, for publication. For poems to Beethoven had struck gold with twin focus on emotional life rather than narration, setting of “An die Hoffnung,” published as Op. 94 the second edition, the words “set to music with themes that mattered hugely to his older Beethoven repeats the words “inner pain” in the in April 1816. This introduction puts Hope in a accompaniment by pianoforte” on the title page contemporary: the sublimation of erotic desire into third stanza to accents and dissonances that spell different context from the earlier version because were altered to read “for voice and piano,” art and the power of art to dissolve time and space so out just how bitter such pain is. For the third song, eschatological, beginning with one of the suggesting the unusual degree of parity between that reunion with the beloved might be possible. Leichte Segler in den Höhen, the composer wittily

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converts birds flying amidst puffs of cloud into ultimate metamorphosis into poetry and song. TEXTS separated syllables of vocal melody-light and airy Now he can come full circle and return to the first indeed. When the birds descend to the bare song, expanded and made joyous. Art’s power not 1 Resignation autumnal bushes and the persona bids them bear only to overcome pain but to exhilarate, to triumph Count Paul von Haugwitz (1791-1856) his lamentation to the beloved, Beethoven turns to over all in its path, resounds here. parallel minor and stays there for the remainder of Lisch aus, mein Licht! Out, my light! What you have lost the song, the separated syllables turning into © Susan Youens Was dir gebricht, Has gone and you will never stylized gasps of pain. Whenever sorrow intrudes, Das ist nun fort, Find it in this place again. however, the protagonist resolutely converts it into An diesem Ort The ties that hold you, you must sever. celebrations of Nature, love, shared joy, vitality, Kannst du’s nicht wieder finden! and song in no. 4, Diese Wolken in den Höhen, Du mußt nun los dich binden. and no. 5, Es kehret der Mai. He even bursts into trilled birdsong in the corridor between those two Sonst hast du lustig aufgebrannt, Once your flame was bright and fair, songs; both Nature and the persona are artificers Nun hat man dir die Luft entwandt; Now your air has turned elsewhere. of song. With its lilting open intervals in the Wenn diese fort geweht, Without air, flame flickers, goes awry, left-hand part, “Es kehret der Mai” is the essence Die Flamme irregehet, Searches in vain - so die, my light, die. of all things pastoral in the German folk-like Sucht, findet nicht; art-song . . . until the end, when tears reappear. Lisch aus, mein Licht! But this is sorrow’s last foray: in the sublime sixth song, Nimm sie hin denn, diese Lieder, the 2 Abendlied unterm gestirnten Himmel 2 Evening song under a starry sky protagonist is finally able to conquer his pain by Johann Wolfgang von Goethe (1749-1832) bidding the distant beloved sing these very songs. The pulsating chords–Beethoven’s wonderfully Wenn die Sonne niedersinket, As the sun goes down stock gesture for cosmic aspects of Nature–that Und der Tag zur Ruh sich neigt, and day draws to a close, tell of the last rays of sunset glowing on the Luna freundlich leise winket, Luna makes her still appeal surface of the lake and behind the mountains and Und die Nacht herniedersteigt; and so night falls. the erotic tenderness with which the persona dwells on the words “und du singst” (and you will Wenn die Sterne prächtig schimmern, Under myriad stars sing) are purest desire transformed by an act of Tausend Sonnenstrahlen flimmern: and the sunbeams’ glow

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Fühlt die Seele sich so groß, my soul seems to grow, Bald hab ich das Ziel errungen, Soon I will have reached my goal, Windet sich vom Staube los. frees itself from the dust. Bald zu euch mich aufgeschwungen, the upward journey of my soul. Ernte bald an Gottes Thron Soon at God’s throne I will gain Schaut so gern nach jenen Sternen, It likes to gaze up at the stars Meiner Leiden schönen Lohn. the rich reward for all my pain. Wie zurück ins Vaterland, as if to the land of its birth, Hin nach jenen lichten Fernen, into radiant space, 3 Andenken 3 In my Mind Und vergißt der Erde Tand; forgets the troubles of earth. Friedrich Matthisson (1761-1831)

Will nur ringen, will nur streben, It wants to struggle and strive, Ich denke dein, I think of thee Ihre Hülle zu entschweben: fight free from its skin; Wenn durch den Hain When from the trees Erde ist ihr eng und klein, Earth restricts - the stars Der Nachtigallen Nightingales sing in concert. Auf den Sternen möcht sie sein. are the place it wants to be in. Akkorde schallen! And thou? Wann denkst du mein? Ob der Erde Stürme toben, Whilst earthly storms rage, Falsches Glück den Bösen lohnt: evil reaps rich reward, Ich denke dein I think of thee Hoffend blicket sie nach oben, my soul gazing on high: Im Dämmerschein Where shade begins Wo der Sternenrichter thront. sees Justice wield her sword. Der Abendhelle In the fading light of evening. Am Schattenquelle! And thou? Keine Furcht kann sie mehr quälen, No longer troubled by fear Wo denkst du mein? Keine Macht kann ihr befehlen; or subjected by force, Mit verklärtem Angesicht, transfigured, Ich denke dein I think of thee Schwingt sie sich zum Himmelslicht. to heaven’s light it follows its course. Mit süßer Pein With sweet pain, yearning Mit bangem Sehnen And burning tears. Und heißen Tränen! And thou? Eine leise Ahnung schauert A vague feeling of awe Wie denkst du mein? Mich aus jenen Welten an; reaches me from that sphere Lange nicht mehr dauert as time runs out, the end O denke mein, O, think of me Meine Erdenpilgerbahn, of my journey draws near. Bis zum Verein Till we are one upon some better star. Auf besserm Sterne! However far, In jeder Ferne I do but think of thee. - 14 - Denk ich nur dein! - 15 - 145booklet 13/11/08 16:38 Page 17

4 La Tiranna Und, von der Mitternacht umschauert, Who grieves, engulfed by midnight, William Wennington Sich auf versunk’ne Urnen stützt. Seeking support from sunken urns.

Ah, grief to think! Ah, woe to name, Und blickt er auf, das Schicksal anzuklagen, And if he lifts his eyes to rail against his fate The doom that fate has destined mine! Wenn scheidend über seinen Tagen As the last departing light of his days fades away, Forbid to fan my wayward flame, Die letzten Strahlen untergehn: Then, on the horizon of this earthly dream And, slave to silence, hopeless pine! Dann laß’ ihn um den Rand des Erdentraumes Let him perceive a cloud, its edge agleam, Das Leuchten eines Wolkensaumes Lit by a nearby sun. Imperious fair! In fatal hour Von einer nahen Sonne seh’n! I marked the vivid lightning’s roll, That gave to know thy ruthless power 6 Ruf vom Berge 6 A Cry from the Hilltop And gleamed destruction on my soul. Georg Friedrich Treitschke (1776-1842)

5 An die Hoffnung Op. 32 5 A call to Hope Wenn ich ein Vöglein wär’ Were I a little bird Christoph August Tiedge (1752-1841) Und auch zwei Flüglein hätt’, And also had two wings, Flög ich zu dir! I’d fly to you. Die du so gern in heil’gen Nächten feierst You that delight to celebrate on festive nights, Weils aber nicht kann sein, But as that cannot be, Und sanft und weich den Gram verschleierst, Diffusing gently and softly the sorrows Bleib ich allhier. I’ll stay right here. Der eine zarte Seele quält, That afflict a tender soul, O Hoffnung! Laß, durch dich empor gehoben, O Hope, may he who suffers, his spirits raised Wenn ich ein Sternlein wär’ Were I a little star, Den Dulder ahnen, daß dort oben by you, Und auch viel Strahlen hätt’, One with a lot of beams, Ein Engel seine Tränen zählt! Sense that on high an angel Strahlt’ ich dich an. I’d shine on you, Does count his tears. Und du säh’st freundlich auf, And, kindly, you’d look up, Grüßtest hinan. Greet me on high. Wenn, längst verhallt, geliebte Stimmen When beloved voices, long departed, are heard no schweigen; more, Wenn ich ein Bächlein wär’ Were I a little stream, Wenn unter ausgestorb’nen Zweigen When in a desert of dead branches Und auch viel Wellen hätt’, One with a lot of waves, Verödet die Erinn’rung sitzt: Memory sits in desolation, Rauscht’ ich durch’s Grün. I’d rush through fields, Dann nahe dich, wo dein Verlaßner trauert Then approach the one you have forsaken Nahte dem kleinen Fuß, Approach your little foot Küßte wohl ihn. And kiss it dear. - 16 - - 17 - 145booklet 13/11/08 16:38 Page 19

Würd’ ich zur Abendluft, Were I an evening breeze, Lacht’s keine Ruh’ It brings no joy Nähm’ ich mir Blütenduft, I’d take the flowers’ scent, Mir Jüngling zu, To this young boy. Hauchte dir zu. Waft it to you, Sieht’s meine Wange blaß, My cheek’s so pale Weilend auf Brust und Mund, Descend on breast and mouth, Mein Auge tränennaß. And teardrops trail. Fänd’ ich dort Ruh’. Where I’d find peace. Bald, lieber Freund, Dear friend, quite soon Geht doch kein’ Stund der Nacht, No hour of the night Ach bald bescheint The silver moon Ohn’ daß mein Herz erwacht Goes by without my heart Dein Silberschein Will light the grave Und an dich denkt. Thinking of you Den Leichenstein, Where ashes lie, Wie du mir tausendmal Giving me your heart Der meine Asche birgt, Where this boy’s ashes lie. Dein Herz geschenkt. A thousand times. Des Jünglings Asche birgt!

Wohl dringen Bach und Stern, So stream, bird, breeze and star, 8 Ein Selbstgespräch 8 A Soliloquy Lüftlein und Vöglein fern, Come to you where’er you are. Johann Wilhelm Ludwig Gleim (1719-1803) Kommen zu dir. I alone am held down fast, Ich nur bin festgebannt, Weeping, utterly downcast. Ich, der mit flatterndem Sinn I, who with my wayward mind, Weine allhier. Bisher ein Feind der Liebe bin Till now have been love’s foe Und es so gern beständig bliebe, And want to keep the status quo, 7 Klage 7 Plaint Ich! Ach! Ich glaube, daß ich liebe. Find, I think, that I’m in love. Ludwig Heinrich Christoph Hölty (1748-1776) Der ich sonst Hymen angeschwärzt I, who denigrated marriage, Dein Silber schien Your silver sheen, Und mit der liebe nur gescherzt, Who only ever toyed with love, Durch Eichengrün, Through oak leaves green, Der ich im Wankelmut mich übe, Past master of staying uncommitted, Das Kühlung gab, O moon, smiled down on me, Ich glaube, daß ich Doris liebe. Think it’s Doris that I love. Auf mich herab, With peace and joy, O Mond, und lachte Ruh’ A happy boy. Denn ach! Seitdem ich sie gesehn, Oh, since first I saw her Mir frohem Knaben zu. Ist mir kein’andre Schöne schön. She’s the one that I prefer, Ach, die Tyrannin meiner Triebe, Cruel dictator of my feelings, Wenn jetzt dein Licht Now, when your light Ich glaubte gar, daß ich sie liebe. I do believe I do love her. Durch’s Fenster bricht, Comes into sight, - 18 - - 19 - 145booklet 13/11/08 16:38 Page 21

9 Adelaide 9 Adelaide Trocknet nicht, trocknet nicht, Don’t dry, don’t dry Friedrich Matthisson (1761-1831) Tränen unglücklicher Liebe! Those tears of unhappy love!

Einsam wandelt dein Freund im Frühlingsgarten, Alone, your friend walks in the spring garden q Sehnsucht q Yearning Mild vom lieblichen Zauberlicht umflossen, gently suffused by the sweet magical light Johann Wolfgang von Goethe (1749-1832) Das durch wankende Blütenzweige zittert, that shimmers through the swaying blossom: Adelaide! Adelaide. Was zieht mir das Herz so? What’s tugging my heart so? Was zieht mich hinaus? What drags me away, In der spiegelnden Flut, im Schnee der Alpen, Reflected in the waves, in the alpine snows, Und windet und schraubt mich Wrenching, driving me In des sinkenden Tages Goldgewölken, in the golden clouds of parting day, Aus Zimmer und Haus? From my home in dismay? Im Gefilde der Sterne strahlt dein Bildnis, in the canopy of stars, is your image: Adelaide. Wie dort sich die Wolken See, beyond the crags Adelaide! Am Felsen verziehn! Where the cloud-forms change, Da möcht ich hinüber, That’s where I’m drawn to, Abendlüfte im zarten Laube flüstern, Evening breezes whisper in the tender leaves, Da möcht ich wohl hin! Over that range. Silberglöckchen des Mais im Grase säuseln, the silver bellflowers of May murmur in the grass, Wellen rauschen und Nachtigallen flöten: waves roar and nightingales pipe: Adelaide. Nun wiegt sich der Raben Now ravens pass Adelaide! Geselliger Flug; In companiable flight Ich mische mich drunter And I fly with them Einst, o Wunder! entblüht auf meinem Grabe One day, a miracle; on my grave a purple flower Und folge dem Zug. For a day and a night. Eine Blume der Asche meines Herzens; will bloom out of the ashes of my heart. Und Berg und Gemäuer Over mountains and ruins Deutlich schimmert auf jedem Purpurblättchen: Written clearly on every petal: Adelaide. Umfittigen wir; We fly all around, Adelaide! Sie weilet da drunten, She’s waiting below; Ich spähe nach ihr. I’ve my eye on the ground. 0 Wonne der Wehmuth 0 Sweet Melancholy Da kommt sie und wandelt; There she comes walking, Trocknet nicht, trocknet nicht, Don’t dry, don’t dry Ich eile sobald, I swiftly fly down, Tränen der ewigen Liebe! Those tears of eternal love! Ein singender Vogel, Now as a song bird Ach, nur dem halbgetrockneten Auge Ah, how barren, how dead the world appears Im buschigen Wald. I perch on a bough. Wie öde, wie tot die Welt ihm erscheint! To him who sees through half-dried tears.

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Sie weilet und horchet She stops and she listens, Zephir, nimm’s auf deine Flügel, Zephyr, take it on your wings, Und lächelt mit sich: Smiles (such a pleasure to see), Schling’s um meiner Liebsten Kleid; Wind it about my dearest’s dress. “Er singet so lieblich “He’s singing so sweetly, Und so tritt sie vor den Spiegel Then she’ll step up to her mirror, Und singt es an mich.” He’s singing for me.” All in ihrer Munterkeit. There in all her sprightliness.

Die scheidende Sonne And now the setting sun Sieht mit Rosen sich umgeben, And with roses all about her, Vergüldet die Höh’n; Turns the hills to gold; Selbst wie eine Rose jung. She’ll look young as any rose. Die sinnende Schöne, My love pays no heed. Einen Blick, geliebtes Leben! Grant me just one glance, my dearest, Sie läßt es geschehn. With thoughts untold Und ich bin belohnt genug. Reward enough, as Heaven knows! Sie wandelt am Bache She follows the stream Die Wiesen entlang, Over the field Fühle, was dies Herz empfindet, Feel just what this heart is feeling, Und finster und finstrer As the path winds away Reiche frei mir deine Hand, Freely offer me your hand, Umschlingt sich der Gang; From the last light of day. Und das Band, das uns verbindet, See the bond that binds us Sei kein schwaches Rosenband! More than a ribbon will withstand. Auf einmal erschein ich, Suddenly I appear Ein blinkender Stern. As a glittering star; e Gesang aus der Ferne e Song from Far Away “Was glänzet da droben, “What’s that shining up there, Christian Ludwig Reissig (1784-1847) So nah und so fern?” So near yet so far?” Und hast du mit Staunen And as in wonder Als mir noch die Träne der Sehnsucht nicht floß, Before these tears of yearning flowed Das Leuchten erblickt, You catch sight of its gleam Und neidisch die Ferne nicht Liebchen verschloß, And jealous distance locked my love away, Ich lieg dir zu Füßen, I’ll be there at your feet - Wie glich da mein Leben dem blühenden Kranz, How like a flowering wreath, a wood of nightingales, Da bin ich beglückt! My perfect dream. Dem Nachtigallwäldchen, voll Spiel und voll Was mine, a life of dance and play. Tanz! w Mit einem gemahlten Band w With a Painted Ribbon Johann Wolfgang von Goethe (1749-1832) Nun treibt mich oft Sehnsucht hinaus auf die Now, often, yearning drives me to Höhn, the hills, Kleine Blumen, kleine Blätter Little leaves and flowers are being strewn Den Wunsch meines Herzens wo lächeln zu seh’n! Desire to see my darling smile. Streuen mir mit leichter Hand By gods of spring, so young and fair, Hier sucht in der Gegend mein My longing gaze scans all around Gute, junge Frühlings-Götter Playfully, delicately, Tändelnd auf ein luftig Band. On a ribbon light as air. - 22 - - 23 - 145booklet 13/11/08 16:38 Page 25

schmachtender Blick, Returning unfulfilled the while. t Lebensglück t The Joy of Friendship Doch kehret es nimmer befriedigt zurück. Anon He lives a life of joy untold Wie klopft es im Busen, als wärst du mir nah, My heart is beating as though you were near, Der lebt ein Leben wonniglich, Who wins another’s heart, O komm, meine Holde, dein Jüngling ist da! O come, my beloved, your lover is here. Deß Herz ein Herz gewinnt; For pleasure shared is now twofold, Ich opfre dir alles, was Gott mir verlieh, I’ll give you all that God gave me and more, Geteilte Lust verdoppelt sich, Shared pains quickly depart. Denn wie ich dich liebe, so liebt’ ich noch nie! The way that I love you, I’ve not loved before! Geteilter Gram zerrinnt. On roads of flowers he will pass O Teure, komm eilig zum bräutlichen Tanz! Come quickly, my dearest, to your bridal dance, Beblümte Wege wandelt ab, To whom a good companion Ich pflege schon Rosen und Myrten zum Kranz. I’m tending myrtle and roses well in advance. Wem trauliches Geleit; Holds out the hand of friendship; gold Komm, zaubre mein Hüttchen zum Tempel der Ruh, Come, magic my cottage to a Temple of Peace, Den Arm die gold’ne Freundschaft gab This day of common brass. Zum Tempel der Wonne, die Göttin sei du! Joy’s Temple; you, its goddess and I its priest. In dieser eh’rnen Zeit. It rouses strength, spurs courage on r Die laute Klage r The Noisy Complaint Sie weckt die Kraft und spornt den Mut To honourable deeds Johann Gottfried von Herder (1744-1803) Zu schönen Taten nur, And deep within, our sacred flame Und nährt in uns die heil’ge Glut Of Truth and Nature feeds. Turteltaube, du klagest so laut O Turtle dove, you complain so loud Für Wahrheit und Natur. Und raubest dem Armen seinen einzigen Trost, As to rob a poor man of his sole comfort; He has achieved good Fortune’s aim Süßen vergessenden Schlaf. Sweet, oblivious sleep! Erreichet hat des Glückes Ziel, Who has a woman found Turteltaub’, ich jammre wie du, Turtle dove, I am wretched just like you Wer eine Freundin fand, To whom in loving tenderness Und berge den Jammer in’s verwundete Herz, And conceal my misery within my aching heart, Mit der der Liebe Zartgefühl He’s intimately bound. In die verschlossene Brust. My tight-locked breast. Ihn inniglich verband. Ach, die hart verteilende Liebe! How harshly Love disposes! Delighted, with her every hour, Sie gab dir die laute Jammerklage zum Trost, You, for consolation, were given that noisy Entzückt von ihr, ihr beigesellt, She sweetens harsh life’s mile, Mir den verstummenden Gram! distress-call, Verschönert sich die Bahn; Alone she brings his world to flower To me, she gave speech-robbing grief! Durch sie allein blüht ihm die Welt And all around him smile. Und Alles lacht ihn an.

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y Der Wachtelschlag y The Voice of the Quail u An die Hoffnung Op. 94 u A call to Hope Samuel Friedrich Sauter (1766-1846) Christoph August Tiedge (1752-1841)

Ach! mir schallt’s dorten so lieblich hervor: There, far off, the lovely sound I hear, Ob ein Gott sei? Ob er einst erfülle, Is there a God? Will he fulfil, one day, Fürchte Gott, fürchte Gott! Fear the Lord, Fear the Lord, Was die Sehnsucht weinend sich verspricht? The expectations of our tearful yearning? Ruft mir die Wachtel ins Ohr. It is the quail, his voice so clear. Ob, vor irgendeinem Weltgericht, Will this mysterious being Sitzend im Grünen, von Halmen umhüllt, Surrounded by grasses, perched in the mead Sich dies rätselhafte Sein enthülle? Reveal itself on some Judgement Day? Mahnt sie dem Horcher am Saatengefild: It calls to the farmer, sowing his seed: Hoffen soll der Mensch! Er frage nicht! Man must hope - he should not be asking! Liebe Gott, liebe Gott! Love the Lord, Love the Lord, Er ist so gütig, so mild. So good and gentle; do, please take heed. Die du so gern in heil’gen Nächten feierst You that delight to celebrate on festive nights, Und sanft und weich den Gram verschleierst, Diffusing gently and softly the sorrows Wieder bedeutet ihr hüpfender Schlag: Again the hocketing voice conveys, Der eine zarte Seele quält, That afflict a tender soul, Lobe Gott, lobe Gott! Praise the Lord, Praise the Lord, O Hoffnung! Laß, durch dich empor gehoben, O Hope, may he who suffers, his spirits raised by Der dich zu loben vermag. Prompting you to give due praise. Den Dulder ahnen, daß dort oben you, Siehst du die herrlichen Früchte im Feld? See, there, all the fruits of the field; Ein Engel seine Tränen zählt! Sense that on high an angel Nimm es zu Herzen, Bewohner der Welt: Take them to heart, men of the weald. Does count his tears. Danke Gott, danke Gott! Thank the Lord, Thank the Lord, Wenn, längst verhallt, geliebte Stimmen Der dich ernährt und erhält. Your provider and shield. schweigen; When beloved voices, long departed, are heard no Wenn unter ausgestorb’nen Zweigen more, Schreckt dich im Wetter der Herz der Natur: Do nature’s storms cause you to fear? Verödet die Erinn’rung sitzt: When in a desert of dead branches Bitte Gott, bitte Gott! Pray to God, Pray to God, Dann nahe dich, wo dein Verlaßner trauert Memory sits in desolation, Ruft sie, er schonet die Flur. He will protect you; he is near. Und, von der Mitternacht umschauert, Then approach the one you have forsaken Machen Gefahren der Krieger dir bang: Are you afraid of the dangers of war? Sich auf versunk’ne Urnen stützt. Who grieves, engulfed by midnight, Traue Gott, traue Gott! Trust the Lord, Trust the Lord, Seeking support from sunken urns. Sieh’, er verziehet nicht lang. He will save you for evermore. Und blickt er auf, das Schicksal anzuklagen, Wenn scheidend über seinen Tagen And if he lifts his eyes to rail against his fate Die letzten Strahlen untergehn: As the last departing light of his days fades away, Dann laß’ ihn um den Rand des Erdentraumes Then, on the horizon of this earthly dream Das Leuchten eines Wolkensaumes Let him perceive a cloud, its edge agleam, Von einer nahen Sonne seh’n! Lit by a nearby sun. - 26 - - 27 - 145booklet 13/11/08 16:38 Page 29

i An die ferne Geliebte i To My Dear Girl, so Far Away Wo die Berge so blau Where the blue hills peer Aloys Jeitteles (1794-1858) Aus dem nebligen Grau Through the misty grey, Schauen herein, The cooling sun marks the end of day Auf dem Hügel sitz ich spähend Sitting on the hillside, I look Wo die Sonne verglüht, As clouds draw near, In das blaue Nebelland, Into the blue, haze-covered land Wo die Wolke umzieht, I want to be there. Nach den fernen Triften sehend, For the distant meadows Möchte ich sein! Wo ich dich, Geliebte, fand. Where, my beloved, I first saw you. Dort im ruhigen Tal There in the peaceful vale Weit bin ich von dir geschieden, Now I am far away, Schweigen Schmerzen und Qual. No pain or sorrow can survive. Trennend liegen Berg und Tal Mountains and valleys part us, Wo im Gestein The primrose, in among the shale, Zwischen uns und unserm Frieden, Lie between us and our peace, Still die Primel dort sinnt, Quietly reflective in the wind, does thrive, Unserm Glück und unsrer Qual. Our happiness and the pain we share. Weht so leise der Wind, And I want to be there. Möchte ich sein! Ach, den Blick kannst du nicht sehen, Ah, you cannot see that urgent, glowing look Der zu dir so glühend eilt, I send to find you, Hin zum sinnigen Wald The violence of love drives me away Und die Seufzer, sie verwehen And my sighs vanish Drängt mich Liebesgewalt, To trees, my heart-ache to allay… In dem Raume, der uns teilt. In the space that holds us apart. Innere Pein. Never would I be drawn to leave this place Ach, mich zög’s nicht von hier, Could I but look forever on your face. Will denn nichts mehr zu dir dringen, Can nothing reach you, Könnt ich, Traute, bei dir Nichts der Liebe Bote sein? Nothing serve as messenger of love? Ewiglich sein! Singen will ich, Lieder singen, I will sing, sing to you songs Die dir klagen meine Pein! That will express my woe. Leichte Segler in den Höhen, If, clouds sailing in the sky, Denn vor Liebesklang entweichet For at the sound of song Und du, Bächlein klein und schmal, And you, brook so clear and cold, Jeder Raum und jede Zeit, Time and space disappear Könnt mein Liebchen ihr erspähen, You should come across my dear, Und ein liebend Herz erreichet And a loving heart achieves Grüßt sie mir viel tausendmal. Greet her from me a thousand fold. Was ein liebend Herz geweiht! What it holds most dear. Seht ihr, Wolken, sie dann gehen If, clouds, you see her walking Sinnend in dem stillen Tal, In the valley deep in thought,

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Laßt mein Bild vor ihr entstehen Create an image of me Hin zu dir von jenen Hügeln The brook in sheer delight In dem luft’gen Himmelssaal. High in heaven’s airy vault. Emsig dieses Bächlein eilt. Runs to you from yon height; Wird ihr Bild sich in dir spiegeln, Might it capture your reflection? Wird sie an den Büschen stehen, If she stands by autumn bushes Fließ zurück dann unverweilt! Bring it to me, change direction? Die nun herbstlich falb und kahl. Yellowing, now leafless there, Klagt ihr, wie mir ist geschehen, Tell her what it is I’ve suffered, Klagt ihr, Vöglein, meine Qual. Convey the burden of my care. Es kehret der Maien, es blühet die Au May is returning, the meadow’s in bloom, Die Lüfte, sie wehen so milde, so lau, The breezes are blowing, gentle and warm, Stille Weste, bringt im Wehen Gentle west wind, carry to her Geschwätzig die Bäche nun rinnen. The bubbling streams are running apace. Hin zu meiner Herzenswahl On your way Die Schwalbe, die kehret zum wirtlichen Dach, The swallow comes home to her usual place Meine Seufzer, die vergehen All my sighs that vanish Sie baut sich so emsig ihr bräutlich Gemach, And sets about building her bridal suite Wie der Sonne letzter Strahl. Like the setting sun’s last ray. Die Liebe soll wohnen da drinnen. Where Love will find a welcome seat.

Flüstr’ ihr zu mein Liebesflehen, Whisper brook, so cold and clear, Sie bringt sich geschäftig von kreuz und von quer From here and from there she busily brings Laß sie, Bächlein klein und schmal, Love’s entreaties in her ear, Manch weicheres Stück zu dem Brautbett hieher, Wool, fluff and grasses, all sorts of things Treu in deinen Wogen sehen And may your current truly show Manch wärmendes Stück für die Kleinen. That will keep the youngsters cosy and warm; Meine Tränen ohne Zahl! My tears’ immeasurable flow. Nun wohnen die Gatten beisammen so treu, So the loyal couple settle quite true to form. Was Winter geschieden, verband nun der Mai, For what winter has parted May will unite, Was liebet, das weiß er zu einen. Bring together all lovers to their delight; Diese Wolken in den Höhen These clouds on high, Dieser Vöglein muntrer Zug, These happy birds, all fly, Es kehret der Maien, es blühet die Au. May is returning, the meadow’s in bloom, Werden dich, o Huldin, sehen. My love, to you. Die Lüfte, sie wehen so milde, so lau. The breezes are blowing, gentle and warm - Nehmt mich mit im leichten Flug! Would I could fly, too. Nur ich kann nicht ziehen von hinnen. Only, I cannot move on from here ……..

Diese Weste werden spielen The winds from the west Wenn alles, was liebet, der Frühling vereint, Spring unites all those who love, Scherzend dir um Wang’ und Brust, Caress your cheek and your breast Nur unserer Liebe kein Frühling erscheint, But no spring to our love appears, In den seidnen Locken wühlen. And playfully ruffle your hair. Und Tränen sind all ihr Gewinnen. Our love is watered alone by our tears. Teilt ich mit euch diese Lust! Would I, too, were there.

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Nimm sie hin denn, diese Lieder Embrace them then, these songs BIOGRAPHIES Die ich dir, Geliebte, sang, Which I, my love, have sung for you. Singe sie dann abends wieder Sing them once more when evening comes Zu der Laute süßem Klang. To the lute so sweet and true. JOHN MARK AINSLEY

Wenn das Dämmrungsrot dann zieht As the glowing red of sunset John Mark Ainsley was born in Cheshire, began his Nach dem stillen blauen See, Is drawn down to the lake’s calm blue musical training in Oxford and continues to study Und sein letzter Strahl verglühet And the rays behind the mountain in London with Diane Forlano. Hinter jener Bergeshöh; Sink finally from view A highly versatile concert singer, his international Und du singst, was ich gesungen, And as you sing what I have sung, engagements include appearances with the Was mir aus der vollen Brust What from a full heart was wrung London Symphony under Sir , ohne Kunstgepräng erklungen, Without pretension; the entire Rostropovich and Previn, the Concert D’Astrée Nur der Sehnsucht sich bewußt: Spectrum of my heart’s desire, under Haim, the London Philharmonic under Norrington, Les Musiciens du under Dann vor diesen Liedern weichet Then, at this sound, all that’s made us grieve Minkowski, the under Welser- Was geschieden uns so weit, Will disappear Moest, the under Haitink and Und ein liebend Herz erreichet As loving hearts achieve Rattle, the Berlin Staatskapelle under Jordan, the Was ein liebend Herz geweiht. What they hold most dear. under Masur, the Boston Symphony under Ozawa, the San Francisco Translations © Uri Liebrecht Symphony under Tate and Norrington, the Vienna www.uritext.co.uk Philharmonic under Norrington, Pinnock and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and the Orchestre de under Giulini.

His discography is extensive. For Philips Classics he has recorded Handel’s with Gardiner, Britten’s A Midsummer Night’s Dream with Davis,

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Matthew Passion’ Stravinsky’s Pulcinella with Haitink and Bach’s role in Handel’s Samson and with the San IAIN BURNSIDE Mass in B minor and the Evangelist in the St. Francisco as Don Ottavio and Jupiter in with Ozawa. For Decca his . His many appearances at the Munich Iain Burnside enjoys a unique reputation as pianist Alexander’s Feast, Acis recordings include L’Enfance du Christ, Festival include Bajazet in , Jonathan in and broadcaster, forged through his commitment and Galatea, the Berlioz Saul, the title role in a new production of to the song repertoire and his collaborations with and the title role in Monteverdi’s Orfeo. at the Cuvilliestheater and as Orfeo, for which he leading international singers. In recent seasons His EMI recordings include the Britten cycles received the Munich Festival Prize. He created the such artists have included Galina Gorchakova, Ailish Serenade for tenor, horn and string, Les role of Der Daemon in the world premiere of Hans Tynan, Lisa Milne, Rebecca Evans, Joan Rodgers, IlluminationsResurezzione and Nocturne, Charlie in Brigadoon Werner Henze’s L’Upupa at the . Susan Gritton and Yvonne Kenny; Susan Bickley, and Don Ottavio in . For Deutsche He returned to Salzburg to sing both Soliman in Ann Murray and Sarah Connolly; John Mark Ainsley, Grammophon his releases include Handel’s La and Belfiore in as part Mark Padmore and Andrew Kennedy; Roderick , Rameau’s Dardanus and Handel’s of the 2006 Mozart celebrations. His recent Williams, Christopher Maltman and Bryn Terfel. with Minkowski, the Britten Spring operatic engagements include The Madwoman in Symphony with Gardiner and L’Heure Espagnole Britten’s in Frankfurt, Skuratov in His recording portfolio reflects Iain’s passion for with Previn. For Hyperion he has made a series of Janácek’s From the House of the Dead at the British music. For Signum he has recorded Tippett recital discs of Schubert, Mozart, Purcell, Amsterdam, Vienna and Aix-en-Provence Festivals, (Ainsley), Judith Weir (Tynan/Bickley/Kennedy), FG Grainger, Warlock and Quilter and his recent Hippolytv in the world premiere of Henze’s Scott (Milne/Williams) and Herbert Hughes recording of Vaughan Williams On Wenlock Edge in Berlin and Brussels and his first Captain Vere (Tynan). Naxos CDs include the complete songs of with the Nash Ensemble was nominated for a in in Frankfurt. His future operatic Gerald Finzi (Ainsley/Williams), together with Gramophone Award. For Signum he has recorded engagements include, Emilio in for Vaughan Williams and William Alwyn. Forthcoming Tippett and Purcell with Iain Burnside. , L’Upupa for the Semperoper Signum releases include Korngold (Connolly/ poetry, presented with huge success in Brussels Dresden,of the Dead. Billy Budd at the Glyndebourne Festival Dazeley) and Liszt (Evans/Kennedy/Rose). More and Barcelona with the collaboration of actors On the operatic stage he has sung Don Ottavio at and his debut at La Scala Milan in From the House Vaughan Williams has just been released on the such as Fiona Shaw and Simon Russell Beale. His the Glyndebourne Festival under Sir , new Albion label. Black Box recordings feature professorial position at London’s Guildhall School directed by Deborah Warner, the Aix-en-Provence Debussy, Schoenberg and an acclaimed disc of has been expanded to include a directorial role, Festival under Claudio Abbado, directed by Peter John Mark won the 2007 Royal Philharmonic Copland with the late Susan Chilcott. staging specially conceived programmes with Brook and for his debut at the Royal Opera House, Society Singer Award. student singers and pianists. He has given Covent Garden, under Mackerras. John Mark has Acclaimed as a programmer, Iain has devised a masterclasses throughout Europe, at New York’s appeared with the Netherlands Opera as the title number of innovative recitals combining music and Juilliard School and the Banff Centre, Canada.

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Iain’s broadcasting career covers both Radio and TV and has been honoured with a Sony Radio Award. Following BBC Radio3’s Voices, he now presents his own Sunday morning programme Iain Burnside.

Susan Youens

Susan Youens received her doctorate in musicology from Harvard University in 1975 and is currently the J. W. Van Gorkom Professor of Music at the University of Notre Dame. She is the author of numerous scholarly articles and eight books on Late Lieder: Beyond the Songth Cycles GermanWolf and song his inMörike the Songs19 century, including Heinrich Heine and the Lied (2007); Schubert’s Müller and Die schöne Müllerin (2002); Hugo (2000); Schubert, (1997); and Schubert’s poets and the making of lieder (1996), all from Cambridge University Press. She is currently working on A Social History of the Lied.

© John H. West

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ALSO AVAILABLE on signumclassics Heinz Liebrecht was born in 1908. On 9 November 1938 he was taken to the Nazi concentration camp in Dachau, declared a non-person and stripped of all human dignity, as were the millions of others. On 9 November 1998 he arrived at Buckingham Palace to receive the MBE for Services to Music. He continued with this work up to his death in 2005. These recordings are dedicated to those who were killed and to the survivors who devoted themselves to enhancing the quality of our lives. Remember Your Lovers Songs of FG Scott A Purse of Gold Songs by Tippett, Britten, Purcell & Moonstruck Irish Songs by Herbert Hughes Pelham Humfrey Recorded at St Paul’s Church, Deptford, UK, 1 - 3 May 2008 Lisa Milne soprano Ailish Tynan soprano Producer and Editor - John H. West John Mark Ainsley tenor Roderick Williams baritone Iain Burnside piano Engineer - Andrew Mellor Iain Burnside piano Iain Burnside piano SIGCD106 SIGCD066 SIGCD096 Cover Image: Shutterstock Design and Artwork - Woven Design www.wovendesign.co.uk

P 2009 The copyright in this recording is owned by Signum Records Ltd. Britten Abroad C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. A collection of songs by set in Italian, Russian, French Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences & German for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Susan Gritton soprano SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK Mark Padmore tenor +44 (0) 20 8997 4000 E-mail: [email protected] Iain Burnside piano SIGCD122 www.signumrecords.com

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 38 - - 39 -