DVORAK EDITION Liner notes, sung texts

CD 1-5 Symphonies 1 - 9

Antonín Dvořák: The Nine Symphonies

The symphonies of Antonín Dvořák have never been as popular was found by his son, who arranged its publication. The first and beloved as the symphonies of Brahms and Beethoven. performance took place in 1936. Matters of taste play a part, but other motives are just as important. Indeed, some of the works were not performed or Although in later years Dvořák regarded his First Symphony as published during the composer’s lifetime, and since they an experiment, some of the hallmarks of his symphonic weren’t published in the order in which they were written,there personality are already present in this piece. He liked writing was for many years some confusion as to the precise nature of beautiful melodies embedded within harmonic patterns not far Dvořák’s development. removed from those used by Schubert, Schumann and Mendelssohn; he is, in fact, more a lyric than a dramatic Matters of style are just as important: Dvořák was a great composer, creating long episodes based on a few melodies and admirer of Beethoven, but he liked his older colleague for his many repetitions. Although he respects the established order of mastery of form, not for his revolutionary zeal. Unlike sonata form (exposition, development and recapitulation), the Beethoven, therefore, Dvořák was no innovator as far as caesuras between these episodes are less rigid than in older instrumentation was concerned, and he was much more symphonies, which give this and his later symphonies a sense of susceptible to elements from his Czech national style. Besides, fluidity and mellowness. In the second movement we hear a Dvořák was a very pragmatic musician and definitely not the motif possibly inspired by the Tarnhelm one in Wagner’s Das archetypical Romantic, solitary artist writing music in a cold Rheingold, but, as with other influences, it doesn’t feel like a room, hoping an unknown listener would overhear and like it. foreign element, since Dvořák changes Wagner’s melody into He had an audience in mind, but he didn’t want to change his one of his own. style just to please his local listeners. The third movement, Scherzo, clearly demonstrates Dvořák’s Dvořák trained as an organ player, worked in Prague in a approach to classical forms. The beginning is scherzo-like, church, and played the violin and viola in an orchestra in the especially in the rhythm, but the form is far from ‘official’ and same city. Although one of the big events in his musical life was spliced into sections, mainly because the melodies and lyrical a concert in Prague in 1863, in which Wagner conducted some development dominate this movement. The brass sections in of his own pieces (with Dvořák playing in the orchestra), the the finale emphasise the optimistic ending of the symphony, intense confrontation with this German composer hardly left a which was standard practice from Haydn until Bruckner. big impression on Dvořák’s music, which was able to assimilate many other influences besides just Wagner’s. When Dvořák’s Just like the First, the Second Symphony was written as an work eventually achieved popularity, it was not because he experiment and not as a commission. Dvořák composed it in the made concessions. He did change his style over the years, but same year as the First (1865) and did not see it published during he was not modest about his abilities, and he didn’t respond his lifetime, though he was able to hear the work once (1888) – well to bad reviews. an occasion for which it was revised and made shorter. A few seeming allusions to the music of Tchaikovsky have caused The First Symphony has a complex history. Written on the some people to suggest that Dvořák might have been composer’s own initiative and submitted for a competition, the influenced by this composer, but this seems unlikely, since in work proved unsuccessful and Dvořák temporarily forgot about 1865 Tchaikovsky was still hardly known inside Russia, let alone it. In later years he referred back to it, connecting the outside Russia. Another possible source of inspiration is the composition with the bells in the Czech town of Zlonice, where music of Brahms: both composers share a love for grace, a Dvořák obtained his musical education – a reason why some broad-minded dealing with motifs in the development section now refer to the piece as ‘The Bells of Zlonice’. Material from and a beautiful balance between strings and winds. The great the symphony was used again in his song cycle, Cypresses, and climaxes in the finale, too, betray the influence of Wagner’s in a set of piano compositions, Silhouettes. style of instrumentation; also in his opera Rusalka would Dvořák use brass to emphasise big dramatic effects. In one sense the For reasons unknown the score found its way into a second- Second Symphony does repeat the First: Dvořák likes, following hand music shop in Leipzig, where it was discovered by accident the example of Schubert, to write beautiful melodies and to by Rudolf Dvořák (no relation). After Rudolf’s death the music develop them over a long period of time in such a way that the borders between the episodes get blurred. The Adagio, for

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example, has three sections but sounds as one continuous line. knew this kind of music very well, since he came from a small The Scherzo, furthermore, lacks a clear rhythmic impulse – not town in which street music played a big role. The often-made surprising for a composer who, like Brahms, weakens the clear comparison between the finale and one of Bruckner’s distinctions between the genres. symphonies fails to take into account how, probably at the time, Dvořák was not aware of Bruckner’s music. The finale has After his first couple of attempts, Dvořák gave the symphony a a grandeur that contrasts with the uncomplicated, simple rest of nine years. His Third was written in 1874 and expression of the first three movements. Nobility and immediately premiered in Prague by an orchestra conducted by unaffectedness were always characteristics of Dvořák’s music, Smetana. The work received favourable reviews and Brahms and the symphonic form did not inspire him to create wrote enthusiastically about the beautiful melodies (‘It is pure grandiose, let alone pompous, emotional outbursts. From love, and it does one’s heart good!’), but in spite of its Wagner’s music he occasionally borrowed melodic style, but successful premiere, the symphony’s publication had to wait not the urge to impose. until 1912. As seen in the previous two works, Dvořák’s genius for melodic invention strengthened his wish to create forms Although the Fifth came only one year after the Fourth, the without clear sections; the first movement, therefore, is a contrast is striking. Many regard it as his first mature symphony combination of sonata form and rondo form, and it contains a and look in vain for a reason for this unexpected change. What melody the composer would use again in his opera The King and we can be certain about is the fact that this symphony brought the Charcoal Burner. This new application of mixing one genre the composer recognition from both a wide audience and the with another is further evidence of Dvořák’s desire to blur the specialist listener. Soon after completion of the Fifth, Dvořák distinctions between genres. received praise from Brahms as well as the Viennese music critic Eduard Hanslick, resulting in the work’s publication by the Like the First and Second Symphonies, the Third is a Viennese printer Simrock. Many people have connected the predominantly lyrical piece. Dvořák’s main examples were, not pastoral mood of Brahms’ Second Symphony with the first and surprisingly, Schumann’s ‘Rhenish’ Symphony and second movements of Dvořák’s Fifth. Equally similar are the Mendelssohn’s Die schöne Melusine, whose influence can be style of the orchestration and the treatment of the winds as a detected in the long, beautiful lines and the inconspicuous mellow addition to the sound of the strings. The oboe melody in harmonic changes. The slow movement, a funeral march in C the second movement might indeed have been written by minor, is cast as a theme with variations, and, as is so often the Brahms, but the forms in Brahms’s works are much more case with Dvořák’s music, new themes are derived from old articulated and much less continuous. By contrast the Scherzo is themes on which new variations are built. This remarkable highly classical in nature – not just with melodies less continuity may also explain the absence in this symphony of a complicated than those in Brahms’s scherzos, but, unusually for scherzo, a form strongly dependent on clear, articulated Dvořák, with clear borders demarcating the episodes. These rhythms. The theme of the final movement looks like a clear distinctions between the episodes, on the other hand, are bohemian version of Frère Jacques, with some allusions to entirely absent in the finale – which, as it approaches its end, Tannhäuser and Die Meistersinger von Nürnberg. recalls one of the themes from the opening movement, thus giving rise to the fanfare-laden conclusion. All in all, the Fifth This Wagnerian influence is no surprise: Dvořák often visited Symphony, more than any of the others, betrays the influence the German theatre in Prague where Wagner’s music was of Dvořák’s chamber music, in which dramatic impulse is frequently performed. He would only borrow other music if he subsidiary to melody. could integrate it into his own, however; unlike many other musicians at the time, he could live with both Brahms and If the Fifth was a turning point in terms of stylistic maturity, the Wagner, but only on his own terms. Sixth was Dvořák’s first symphony to receive widespread attention and positive reviews. The work was written at the The Fourth Symphony was composed in 1873–74 and request of the conductor of the Vienna Philharmonic, Hans premiered many years later, in 1892 in Prague with the Richter, although the premiere took place in Prague in 1881 (it composer as the conductor. In a sense the Fourth is a was Dvořák’s first symphony to be performed outside his native continuation of the Third: once again Dvořák likes to build a big country). What found approval with listeners at the time was form through almost endless repetitions as an alternative to the fact that Dvořák devoted more attention to dramatic development, a technique which places him closer to Schubert moments in clear structures and that he partially left behind his than to Beethoven. old habit of creating forms through melodic and motivic repetition. This sounds like a conscious decision on the He admired the latter for his sense of proportions, but within composer’s part, although it is highly unlikely that it was; these proportions his elements are much more fluid. Like Dvořák was, after all, a spontaneous composer, and his Beethoven, Dvořák likes to differentiate between a first and a unsystematic attitude would have certainly helped him a lot second theme – in the first movement of the Fourth, for when the symphony was presented in Vienna – where the local, example, the first theme is broad and the second more lyrical. liberal audience rejected German political influence, and where The second movement shows, too, both his admiration for and composers seeking inspiration in non–German music thus his independence from Wagner: the main theme has often been benefitted. Besides, the Fifth Symphony was admired for its compared to Wagner’s Tannhäuser, but Dvořák transforms it in resemblance to the music of the Viennese citizen Johannes such a way that the source is difficult to recognise. Brahms, who saw the score before its publication and was particularly taken with the main theme in the first movement. The third movement is a kind of scherzo, the music of which Dvořák might have taken from that of a village band. Dvořák 2 95100 Dvorak Edition

The third movement is a Furiant, a Czech dance, rather furious Dvořák, who always worked with an audience in mind, was by in character. The rhythm is very pronounced throughout the this time director of the National Conservatory of Music in New piece, not atypical of a Furiant but nevertheless unusual for York. After his arrival in the city (1892), he had tried to get the Dvořák: unlike most of the previous scherzos, this one is lacking Americans to become more interested in their own folk music in mellowness. The finale shows again the influence of Brahms and was pleased when a student of his, Henry Thacker Burleigh, in the mixture of sonata and rondo form. Unlike previous himself a son of free slaves, showed him a collection of finales, Dvořák demonstrates his ability to gradually build up transcriptions of melodies by Native Americans. Dvořák used the music over an extended period of time, thus preparing for Burleigh’s collection when he was asked to write a symphony, the climax that occurs many bars later. and although it is highly unlikely that Dvořák ever heard Native Americans in the flesh, his symphony clearly shows the The Seventh Symphony was written for the London influence of their music. Philharmonic Society and received its premiere in London in 1885 with the composer as conductor. Dvořák was proud of his Many have regarded Dvořák’s attempt in the Ninth Symphony achievement, not least because he observed that his style was to integrate folk music into art music as an American version of continuing to please growing audiences. In the Seventh, and the Czech music he wrote. Dvořák undoubtedly looked on the much more in the Eighth and the Ninth, rhythmic energy symphony as partly American, since the famous subtitle ‘From becomes an essential characteristic (the third movement is a the New World’ was in fact his idea. The relationship between bohemian scherzo with spiky rhythmic accents). The almost the ‘American’ and the ‘European’ elements in the work, unending repetition of motifs has also disappeared, being however, remains a matter of controversy. Certainly Dvořák replaced by a great variety of motifs and many sudden continued his ‘spontaneous’ approach to form through the harmonic changes. Dvořák didn’t care much for the proportions creation of countless beautiful melodies, but the music is between the movements here; the slow movement is the somewhat more complicated that this: themes return in longest in the cycle, even after the cuts he made after the different contexts, and tempo and key changes within one premiere. The most arresting feature of the Seventh is its movement have a strong dramatic function. At the very end, abundance of beautiful melodies, with the movements as a too, there is a coda that comprises all the themes of the whole sounding extremely balanced. The finale, in particular, previous movements. deserves mention for its preparation of the climax. Indeed, in order to make the last movement more monumental, Dvořák Understandably the debate about the ‘American’ nature of the incorporates elements from a Protestant chorale. Many symphony was more intense in America than it was in Europe. Romantic composers tried to give their music more depth by One of Dvořák’s American pupils, Rubin Goldmark, became the borrowing from old religious music. teacher of Aaron Copland who later, together with Charles Ives, became one of the two fathers of American music. It remains to Dvořák’s individual approach to classical form also applies to his say that, no matter how ‘American’ or ‘European’ the Ninth Eighth Symphony, which he presented to the University of Symphony is, Dvořák knew how to write music with great Cambridge after receiving an honorary doctorate. Although the rhythmic vitality – and it was this vitality than garnered work premiered in England, the composer did not consider it a appreciation from both sides of the Atlantic. concession to British taste: ‘I wanted to write a work with individual ideas worked out in a new way.’ Some observers at © Emanuel Overbeeke the time believed Dvořák had taken as his model Tchaikovsky’s Fifth Symphony – he was, after all, present at its Prague premiere on 30 November 1888 (which Tchaikovsky himself conducted), and shortly afterwards began work on the Eighth. If CD 6 & 7 the Russian had any influence on the Czech, however, it is most Piano Concerto in G minor Op.33 likely to be in the third movement, which has a light, waltz-like character. (It interesting to note that Tchaikovsky was also Since piano concertos have constituted one of the most popular accused, especially by German authors, of writing formless categories of concert music for the last two hundred years, and music.) An essential characteristic of the first movement is the since Dvořák is one of the most beloved of composers, a piano frequent change between major and minor key. Instruments concerto by Dvořák might reasonably be expected to be among like the horn and viola are also given a far more prominent role the most favoured works on the programmes of the world’s than usual. A set of variations in the finale, too, was nothing orchestras. It happens, however, that Dvořák’s single work for novel at the time, but here Dvořák introduces changes in tempo piano and orchestra is one of the least known of all his major (not heard in his earlier symphonies), a Slavonic melodic style compositions, and almost certainly the least known such work (again, the influence of Tchaikovsky?) and operatic style (the by any composer of his stature. It was written in 1876 before flute melody in the third movement resembles a melody from the first book of Slavonic Dances or any of the great symphonies his opera The Stubborn Lovers). appeared; as noted above, Dvořák never followed it up with a companion-work for piano and orchestra. Although Dvořák’s fame had been steadily growing since Brahms’s and Hanslick’s recommendations, the success of his

Ninth Symphony – which followed immediately after the first performance (in Carnegie Hall in December 1893) – exceeded all expectations.

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It could not have been that he was uncomfortable in the Silent Woods Op.68 No.5 & Rondo in G minor Op.94 concerto form, for the Violin Concerto he wrote for Joseph Joachim four years later is a splendid work, and the magnificent Before he was persuaded (or persuaded himself) to write the Cello Concerto composed for Hanuš Wihan in 1895 is surely the Cello Concerto for Wihan, Dvořák provided the cellist with two greatest of all concerted works in the cello literature. A more shorter concerted works. The Rondo in G minor Op.94 was a likely explanation is the simple one that Dvořák, unlike most of Christmas present in 1891, originally for cello and piano and his contemporaries, was not virtuoso-oriented in his musical with the orchestral version following almost at once. Silent thought and was just not that intrigued by the piano; his own Woods (an English approximation of the more poetic German instrument was the viola, which he played in an orchestra title Waldesruhe) is, like the Romance for violin and orchestra, conducted by Bedřich Smetana and which has a prominent role an adaptation by Dvořák of music he had composed originally in in his chamber music. a different form. The original in this case was the fifth of the six character pieces in a suite for piano duet composed in 1884 The G minor concerto is not so much a piano concerto in the under the title From the Bohemian Woods (Op.68). Dvořák used idiomatic sense of works by such pianist composers as the same opus number for the cello version, which he arranged Beethoven, Brahms, Schumann, Liszt, Chopin, Saint-Saëns and in 1893 (again in two editions, one with piano accompaniment Rachmaninoff, as a characteristic Dvořák work in which the and one with orchestra). leading thought happen to be assigned to the piano. Lyrical and dramatic elements are effectively contrasted in the first Violin Concerto in A minor Op.53 movement (Allegro agitato). Here the two principal themes are extensively developed, and one of the two secondary themes is On New Year’s Day 1879 Brahms conducted the Leipzig in the character of the more reflective Slavonic Dances. Gewandhaus Orchestra in the first performance of his new Violin Concerto; the soloist was his close friend Joseph Joachim, The second movement (Andante sostenuto) is notable for its who had provided invaluable counsel during the composition of serenity: a theme of noble simplicity, stated by the horn, forms the work, which Brahms dedicated to him. In that same year the basis of a dialogue between soloist and orchestra that Joachim invited Dvořák to compose a concerto for him. reaches no great climax, but sustains a convincing atmosphere of deep peace. The Finale (Allegro con fuoco) is the movement The Concerto in A minor was composed in its entirely during the in which Dvořák’s authorship is most immediately recognisable. summer of 1879 and was then sent to Joachim, who held the An energetic but somewhat restrained quasi-rondo, it is, not score for two full years before returning it to the composer with unexpectedly,redolent throughout of the flavour of Czech a list of thoughtful suggestions which were gratefully dances, and is related thematically to the second of the three incorporated into the work. Slavonic Rhapsodies of Op.45 (also in G minor), composed in 1878. Not surprisingly, in light of Dvořák’s newly developed but deeply sincere friendship and admiration for Brahms, the latter’s influence is as prominent in the Violin Concerto as the flavour of Czech folk music, though neither of these elements in Romance Op.11 & Mazurek Op.49 any way diminishes the striking originality and individuality which stamp the work as no one’s but Dvořák’s. The songful Romance is Dvořák’s adaptation of the Andantino from his String Quartet in F minor, composed in 1873 and The first movement (Allegro ma non troppo) opens boldly, with unpublished during his lifetime. The violin-and-orchestra setting a vigorous orchestral statement of what may be regarded as the was created for the violinist Josef Markus some time after first of the two parts of the first theme – the second part Dvořák had composed his Violin Concerto; a version for violin following at once on the violin. The second theme, of lesser and piano was prepared at about the same time. ‘Setting’ is importance, bolsters the Brahmsian impression, as does the perhaps not the right term here, for the Romance is not a entire recapitulation section (introduced by the soloist). There is straight arrangement of the original Andantino, but, as Alec no slack in this movement, and in terms of sheer brilliance of Robertson points out, ‘takes as its first tune the second subject orchestration it was not to be surpassed by anything Dvořák of the slow movement of the F minor Quartet… and then wrote later. A reflective bridge passage links the first movement develops on its own. The chief melody is a Mendelssohnian to the second (Adagio ma non troppo), whose ruminative “Song without Words” of some charm, with which is contrasted character is also reminiscent of Brahms. The principal theme is a reminiscence of the second subject in the second movement subtle and long-lined, and its mood prevails in spite of the of Schubert’s B minor Symphony.’ nervous interjections of a second theme that does not make much headway. Especially effective is the autumnal glow of the Earlier in 1879 Dvořák composed a shorter work for violin and horns as they recall the opening phrase at the end of the orchestra, which he dedicated to another of the day’s reigning movement, the violin soaring serenely above them. virtuosi, the Spanish violinist and composer Pablo de Sarasate. This is the Mazurek in E minor. The Mazurek is the purest of the three basic types of mazurka, eminently well suited as the framework for a brilliant display piece.

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While the Finale (Allegro giocoso, ma non troppo) surely had The majestic character of this work is made clear at once in the the last movement of the Brahms Concerto as its model, it is in elaborate orchestral exposition which opens the first movement this movement that the Czech folk element is most strongly felt. (Allegro). Prominent at the outset are the clarinets which are to Dvořák had written his first set of Slavonic Dances only a year figure conspicuously throughout the work (the cello in before undertaking the Violin Concerto, and the spirit of the combination with clarinets and bassoons at various points furiant informs this dazzling rondo, in which one of the episodes establishes and enhances the pervasively warm colour of the may be likened to a dumka. No fewer than a half a dozen Concerto); they state the imposing principal theme, which is attractive themes are to be heard, with the astonishing immediately taken up by the full orchestra (‘grandioso’ is the rhythmic vitality emphasised now by pizzicato strings, now by marking here). The form then introduces the lyrical (but no less the timpani, now by drone effects simulating peasant bagpipes. magnificent) second theme, and a third, dancelike motif is heard in the orchestra before it subsides for the dramatic The movement could almost stand by itself as a ‘grand Slavonic entrance of the cello in an impassioned statement of the fantasy’ in which the violin is master of the revels. principal theme (quasi improvisando). The ensuing treatment of these materials is heroic in scale, but never ‘larger than life’. The Swiss musicologist Antoine-Elisée Cherbuliez, commenting While virtuosity is demanded in huge proportions, there is no on this Concerto, wrote: ‘The Czech village and the constructive concession in the form of a cadenza: the movement continues spirit of the Beethoven sonata are the latent poles of Dvořák’s ‘symphonically’ to the end, in which the principal theme is inspiration. The natural musician of the people is here closely apotheosised with a resounding flourish of trumpets and connected with the artist using a form of nearly classical drums. severity.’ The slow movement (Adagio ma non troppo) begins with a Cello Concerto in B minor Op.104 soothing theme presented by the woodwinds, soon to be taken up by the cellos and clarinets. The mood of repose is dispelled The finest of Dvořák’s concertos – and the greatest of all momentarily by a forceful orchestral declamation before the concertos for the cello – was composed in New York between 8 second theme appears: this is the one Dvořák borrowed from November 1894 and 9 February 1895; the final movement was himself – the theme, only slightly altered, of the first of the four substantially revised after his return to Prague in June of the songs of his Op.82 set, called Leave me alone (or more latter year. Like the other works composed during his three- euphoniously, Let me wander alone with my dreams). The song year sojourn in the United States as director of the National was a favourite of Dvořák’s sister-in-law, of whom he was quite Conservatory – the ‘New World’ Symphony, the so-called fond; she was seriously ill when he was working on the revision ‘American Quartet’, the masterly Viola Quintet in E flat – the of the Concerto early in 1895, and he wrote the theme into the Cello Concerto is studded with striking themes whose character work then as a gesture of affectionateconcern. When she died, might suggest either American Indian or Czech origin, but which in May of that year, Dvořák composed a new ending for the are in fact Dvořák’s own creation. The only borrowed tune in final movement in which the theme reappears, and this the work is one he ‘borrowed’ from himself (in the second probably accounted for his irritation as much as purely musical movement). The mood of the Concerto is more Czech than considerations when Wihan wanted to intrude his cadenza. American, surely, but the impetus for its creation came in large measure from Dvořák’s encounter with the work of an The Finale (Allegro moderato) is a jubilant and vigorous rondo, American musician, the Irish-born, German-trained Victor not without martial overtones. According to some Herbert. commentators, its robust spirit – not unlike that of the Slavonic Rhapsodies – may have had something to do with Dvořák’s Although Dvořák’s very first attempt at writing a concerto had happy anticipation of his return home. The movement begins been a cello concerto drafted at the age of 24, he declared that with the simple but glorious theme stated by the horns over the until he heard the Herbert Concerto he had felt the cello to be march-like tread of the lower strings; in no time the theme an ungrateful instrument for concerto treatment. Even during makes its way to the full orchestra and then to the cello itself. the writing of the B minor Concerto he told friends he had From that point on there is a heady succession of new themes, undertaken the work only at the insistence of his friend Hanuš some energetic, some lyrical, one glowingly shared by the cello Wihan, who had repeatedly asked him for a concerto, and for and the solo violin. The coda is best described by Dvořák whom he had already produced two shorter pieces for cello and himself: ‘The Finale closes with a gradual diminuendo, like a orchestra. breath – with reminiscences of the first and second movements, the solo dying down to pianissimo. Then the sound begins to Dvořák’s greatest gift to Wihan, ironically, led to complications grow, and the last bars are taken over by the orchestra, which in their relationship. When Wihan received the score of the provides a tempestuous ending.’ Cello Concerto, he proceeded to write an elaborate cadenza for the final movement; the composer’s firm refusal to permit such © Richard Freed an interpolation precipitated strained feelings for a time, and the honour of both the world premiere in London (19 March 1896, with Dvorˇák conducting) and the subsequent Prague premiere went to another cellist, Leo Stern. Wihan, of course, had to acknowledge the Concerto as a masterwork, and he gave the first of his many performances of it in January 1899 in The Hague, with Willem Mengelberg conducting.

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CD 8, 9 & 10

Dvořák: Carnival Overture, Czech Suite, Golden Spinning Meanwhile, Dvořák continued his series of symphonies and Wheel, Heroic Song, Hussite Overture, In Nature’s Realm, My string quartets as well as devoting much of his time, together Home, Symphonic Variations, Water Goblin, The Wild Dove. with Smetana, to trying to establish a Czech national school of opera. Like Tchaikovsky in Russia, Dvořák composed a large The nineteenth century saw the growth of orchestral and number of operas which despite their quality and although operatic music and the development of the modern symphony enjoying some local success in their own country, have found orchestra, thanks to composers such as Berlioz, Liszt and little lasting favour on the wider international stage. Success Wagner. Much influenced in his early and then again in his later meant now that a commission came from Brahms’ friend, the years by the music of Wagner and Liszt with the addition of a great violinist Joachim, for a new concerto as well as invitations folk-music consciousness, the most popular of the great Czech for works from the conductor Richter and Wagner’s friend von nationalist movement was Antonin Dvořák born in 1841, son to Bulow. Dvořák’s firm popularity in England too led to the the local butcher and publican of the small village of compositions of choral works and the first of his truly great final Nelahozeves or Muehlhausen as it was then also known. His trio of symphonies - the Seventh in D minor, probably the most position as eldest son in the family meant originally that he was Brahmsian of the cycle. expected to follow his father’s trade but it was to become clear that the young Dvořák had some rather exceptional musical In 1891, Dvořák accepted the invitation to become Professor of talents and after his early village studies, he went to lodge with composition at the Prague Conservatory as well as being given an Uncle in the nearby town of Zlonice to study with Anton an honorary Doctorate at Cambridge University in England and Liehmann; a period remembered in his very first symphony in C invited to take over the directorship of the National Music minor (1865) “The Bells of Zlonice”. He then moved to Conservatory in New York. Fame had at last truly reached the Kamenice in 1856 where he learnt German and studied with musical representative of the Bohemian lands and the following Franz Hanke and finally in 1857 to Prague where he was to join year he set off for the New World where he was to remain for the capital’s organ school and also the German School of the the next three years. Maria Dvořák’s stay in America was not an entirely happy one and Schnee Convent. despite being welcomed by the ex-patriot community and by his patrons Jeanette Thurber and her husband, he missed his By 1862, Dvořák had found a position in the small orchestra of Bohemian homeland deeply. The reasons for the Thurbers’ the Provisional Theatre where he played viola, the instrument generosity were that Dvořák was expected to help found a he was to make his own later at the Prague National Theatre, nationalist school of music in America just as he had done in which he joined in 1864 under the direction of Bedrich Bohemia. Although some of the works composed in “exile” Smetana, composer of “The Bartered Bride” and the cycle of were to number amongst Dvořák’s most lastingly popular (the symphonic poems “My Homeland”, who was to show Dvořák New World Symphony and American Quartet for example), the way forward in Czech nationalist music-making. His tenure much of the lyricism in these pieces expresses more of a longing with the orchestra was to last until 1873 when Dvořák decided for the homeland than a discovery of a new American style. to devote his time exclusively to his own compositions. Meanwhile, Dvořák had fallen under the powerful influence of It was thus with some relief that Dvořák returned to Prague in Richard Wagner whose style was to permeate much of his 1895 to take up a position as teacher at the Conservatory, later subsequent early compositions. Despite the Germanic influence becoming Director of the institution in 1901. Dvořák’s final however, Dvořák was to become a byword in the assimilation of years were spent in what can only be described as Czech folk roots into serious musical composition, not only contentment. No more symphonies were to follow the “New utilising existing melodies but composing his own folk-based World” but a series of tone poems followed based on Bohemian themes too. folk ballads as well as the two final operas - Rusalka and Armida. After a very full career, Dvořák died of cerebral apoplexy in By 1874, Dvořák had completed four operas and the third of his Prague in 1904, heralding a new century which would see the nine symphonies which, despite its obvious debt to Wagner, emergence of at least two other great Czech composers - was the work that not only brought him the honour of a Janácek and Martinu - as well as the final independence of his national prize but also gained the admiration of Brahms, one of own country. the members of the prize jury. Brahms was to become an admirer, friend and something of a mentor and it was he who arranged for Dvořák’s Moravian Duets of 1877 to be published by Simrock, who then commissioned a series of Slavonic Dances for piano duet (later to be orchestrated) which show a tribute from the younger composer to Brahms’ own Hungarian Dances as well as establishing their composer as a leader of the new Czech national school. The success of these pieces meant that Dvořák was now becoming financially more independent and was able to travel to Germany and to England where his music was increasingly warmly received.

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Apart from the nine symphonies and the concertos for piano, by the bird for her murder of her husband until she too kills cello and violin, Dvořák wrote a series of orchestral works herself.. The ballads are based so closely on the poems that during his lifetime which include concert overtures, tone poems Dvořák often sets the words themselves within the music - true and some other pieces of various natures. The first of these songs without words. overtures was a piece known as the “Tragic Overture” (or Dramatic Overture) which was the original opening to his first © Dr. David Doughty (1870) Opera “Alfred” - an unsuccessful historical piece set in dark-ages Britain. Other than the operatic overtures which followed over the years, the best known of the works in this form were the series of pieces beginning with the 1882 overture CD 11 “My Home” and concluding with the justly famous “Carnival” Slavonic Dances, Op.46 & Op.72 Overture of 1892.

In our mind the name Antonfn Dvorak is inseparably connected “My Home” is actually the overture to some incidental music with his Slavonic Dances. Deeply rooted in the folk musik of his Dvořák wrote for a play by Ferdinand Samberk celebrating the country, with these dances Dvorak created a masterpiece of life of the Bohemian national playwright Josef Kajetan Tyl. The exuberant vitality which fascinates through its beautiful score is now forgotten but the overture remains popular, not unpretentious melodies, the sweet thirds and sixths, and its least for its combination of a well known folk tune (On Our infectious rhythm. The first series of the Slavonic Dances was Farm) and the song “Where is my Homeland” which was to written in the Spring of 1878, at first only a version for piano for become the Czech National Anthem. The “Hussite Overture” of four hands, but only few months later a version for orchestra 1883 also has political overtones contrasting the religious son of was published which was much better suited to the character of the Hussite Warriors (You are God’s Warriors”) familiar from the dances. The dances were created at the suggestion of the Smetana’s “Ma Vlast” with the “St Wenceslas” chorale. “In publisher Fritz Simrock who had learned of Dvorak through Nature’s Realm” (1892) is a different matter, strictly a pastoral lohannes Brahms and who hoped to make a profit similar to hymn to nature itself and written in strict sonata form and in that he had made with Brahms' Hungarian Dances, which were the bucolic key of F major as had been the pastoral Fifth already at that time very popular. His hopes were not Symphony. The “Carnival” Overture is a fittingly joyful and disappointed: despite the, at that time, generous royalty of 300 exuberant celebration of human life at its best with a central marks which he paid the composer, the dances earned the more pastoral section referring back to the earlier overture. publisher a profit of many thousand marks. For this reason The hugely popular first set of Slavonic Dances came in 1878 Simrock eagerly tried to persuade Dvorak to compose a second and it was hardly surprising that Dvořák tried to repeat that series of dances. Being aware of the difficulties in producing a success a year later in his “Czech Suite”. The suite is somewhat second volume equal to the first one, which has already gained similar to a Mozart Serenade and lacks the more boisterous a world-wide reputation, Dvorak rejected his publishers's aspects of some of the Dances. It is scored for small orchestra request, saying that at the moment he was not in the mood to and consists of five movements including folk dances such as think of such cheerful music. Andthe right mood did not appear the Polka and Sousedska as well as ending with a Furiant. A year until eight years after the first volume of dances was before the Dances, Dvořák had written a set of variations on an completed. In June 1886 Dvorak finally wrote to his publisher: "I original theme, although he revised the work in 1888. The find the Slavonic dances very amusing and I believe that these theme in question is a partsong entitled “I am a Fiddler” and is ones will be completely different, no joking and no irony!" And quite apparent despite its changes throughout all of the in fact, the dances of the second cycle are fundamentally variations. At the end of his life and after the “New World” different and more profound in atmosphere and content. And Symphony, Dvořák turned to writing works with some kind of yet these Dances too give evidence of Dvorak's ample tonal programme - operas and tone poems. Four of these symphonic imagination, and the composer did by no means exaggerate tales are based on rather gruesome folk ballads from the when he wrote: "The dances will be orchestrated brilliantly, collection “Kytice” (A Bouquet of Flowers) by the Czech poet everything will bang and they will sound like the devil." Karel Jaromir Erben. The final work “Heroic Song” written in

1897 is a sort of Czech equivalent to Strauss’ somewhat later “Ein Heldenleben”. It had the distinction of finding favour with

Mahler but is basically little more than variations on a theme with a rather pompous final peroration. The four ballads are far more successful and make an Indian summer to Dvořák’s orchestral works.

The “Water Goblin” is a grisly scherzo telling of the terrible revenge of the water creature against his betrayal by a human being. The “Noonday Witch” is a tale of the familiar hag who catches naughty children. The “Golden Spinning Wheel”, the longest and least convincing of the set, is a tale of murder and deception concerning a King and his beautiful bride to be. The “Wood Dove” is the highlight of the series, a broad funeral march depicting the grief of the woman who is mocked

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Unlike Dvorak, who freely invented his Slavonic Dances, Quartet, these are some of Dvořák’s most attractive short Johannes Brahms based most of his Hungarian Dances on pieces contrasting the busy moments of the Capriccio with the existing folk dances which he probably got to know during his melancholy of Elegy. concert tours with the Hungarian violin virtuoso Eduard Remenyi in the years 1852 and 1853. Dances are the 2/4 time Dr. David Doughty and the predominant quick pace occasionally slowing down into short dreamy interludes or suddenly stopped by a pause, to be resumed immediately with terrific acceleration. The first two volumes of the Hungarian Dances for paino for four hands was CD 13 published by Simrock in 1869 in Berlin and soon turned out to Capriccio B81 be so popular that Fritz Simrock asked his friend Brahms to orchestrate the dances. But Brahms hesitated to meet this The Capriccio is a single movement dating from Dvořák’s early request because he had artistic scruples: "I wrote them for four years which once existed also in an orchestral version whereas hand; had they been intended for an orchestra they would be the early Romance is an attractive example of Dvorak at his different." The fact that he did orchestrate the Hungarian most lyrical. The Nocturne is a similarly beautiful lyrical work Dances after all is a lucky stroke for the dances as well as for based on material from an earlier string quartet. Finally, the F posterity, seeing that the rich tonal colour of the orchestra major Sonata despite its obvious Bohemian feel, owes much to brings out the gipsy melodies to even better advantage. Dvořák’s mentor Brahms. It is in three movements with a substantial opening Allegro, a gentle slow movement and a final Matthias Frerichs Rondo. Translation: Danny Antonelli Dr. David Doughty

CD 12 CD 14 Rondo · Miniatures Sonatina · Ballad · Romantic Pieces · Mazurek Gavotte · Bagatelles The G major Sonatina (Opus 100) is the last of the works for Serenade for Winds violin and piano and was composed at the end of November in 1893 during Dvořák’s time in New York. The title of Sonatina Dvořák’s works for cello are always overshadowed by the great here comes from the fact that the music is simple and without Cello Concerto, one of his bestknown works and one of the truly any great technical difficulties - it was, in fact, composed for the great works of all time for the instrument and the Opus 94 composer’s own two children. Like most of the works of this Rondo may not be either of that quality nor indeed of that period, the Sonatina draws on indigenous American sources as length, but it is a satisfying late work which shows a typical well as relating to nostalgia for the composer’s homeland. It is slavonic sense of longing even despite its lively middle section. in four shortish movements with a slow movement based on an Somehow this typifies the music that Dvorak could never put American Indian theme and a Scherzo that seems more at home aside despite his time abroad in America. in Bohemia.

Another aspect of Dvořák’s Bohemian/Czech nature and love of The Ballade is an earlier single movement work composed in his country is found in the charming early Serenade for Winds - between visits to England in 1885 alternating narrative passages companion to the much better known Serenade for Strings. with others of some romantic sensitivity. More substantial and Composed in January 1878, the Serenade is in four movements still in the violin repertory today are the Four Romantic pieces and predates the first successful set of Slavonic Dances. The of 1887. These are arrangements of the slightly earlier work is cyclic in that it opens with a March which then re- Miniatures for string trio containing few passages of any great appears just before the end of the Finale. That opening March difficulty for performer or indeed listener and showing the contrasts with the gentle folk dance in the second movement composer in his most agreeable mood. The Mazurka (Opus 49) Minuet and the third movement Andante is one of Dvořák’s was composed for the Spanish virtuoso Sarasate and is a simple most loving inspirations. piece indebted to the Polish dance of its title.

Of the smaller works which follow, the Gavotte of 1890 has its Dr. David Doughty main interest in its unique scoring for three violins whereas the Bagatelles of two years earlier (five in all) have a rather eclectic combination of two violins, cello and harmonium. The

Bagatelles were written for private performance and are sketched in simple ternary rondo form which somehow belies their intimate, expressive and stylistic joy. The “Drobnosti” (Opus 75a) date from the same period and are charming lyrical miniatures which Dvorak was later to arrange for violin and piano as “Romantic Pieces”. Like the “Cypresses” for String

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CD 15 In his Op. 35, Dvořák’s gift for creating a stylized synthesis of folk and art musics is now matched by a new level of skill in Theme and Variations · Polka piano writing: the melancholy mood of the opening section is enhanced by the unobtrusive canonic textures, and the secure Silhouettes · Two Minuets handling of chromatic harmony. The piece is in a simple rondo form, the secondary themes offering relief from the prevailing Dumka in D minor melancholy with fasterpaced music in major keys, though the second of these interpolations, in G major, has its own darker Dvořák was not really a pianist. His training and early core in the minor mode. Dvořák subjects the main theme to performing experience were largely as a string player, and he melodic variation each time it is reprised (this is typical of never claimed to be a pianist of more than average dumky, and may mimic folk practice); the final appearance of competence. Still, solopiano music can claim pride of place in the theme is particularly ornate and grandiose, though the work his oeuvre in at least one respect: his very first surviving ends in with a long tonic pedal sprinkled with dissonances that composition was for the piano, the Forget-me-not Polka in C create an exotic haze, before finally dissolving into the clear Major, B.1, composed around 1855-6, when he was in his early light of D major. teens. (Antonin Liehmann, his teacher at the Prague Organ School, contributed the polka’s Trio). Dvořák must have been pleased and inspired by his Dumka, since he immediately embarked on a much more ambitious A second Polka for piano, in E major, dates from February 1860, piano project: the Theme with Variations in A-flat Major, Op. a time when Dvořák occasionally composed dance music for a 36. It is important in many respects, not least because it is band he had joined after graduating from the Organ School. Dvorˇák’s only solopiano work that is neither a short piece nor a Assuming its authenticity (which some scholars doubt), the E- set of short pieces: the extended theme and its eight variations major polka offers an early glimpse into that mixing of Austro- are molded into a continuous dramatic structure some twenty German and Slavonic idioms that would characterize Dvořák’s minutes in length. music throughout his career. The work had a model: Beethoven’s Piano Sonata in A-flat Around February of 1876, he produced the two Minuets, Op. Major, Op. 26 – the so-called “Funeral March” sonata – the first 28, his first adult piano compositions (There are indications of movement of which is, unusually, a theme with (five) variations. instrumentation in the first edition, published in 1879, Dvořák never explicitly cited Beethoven, but the resemblances suggesting that they may originally have been composed for between his Op. 36 and the first movement of Beethoven’s Op. orchestra). These are not true minuets in the Baroque or 26 are too numerous and too fundamental to be coincidental. Classical sense, but moderately paced waltzes, in the familiar Both are in the same key; both have a long theme in a Viennese form: series of short waltzes in different keys, with the moderate 3/8 (the two themes even have a few motivic opening theme returning at the end to form a coda. The first resemblances); and both feature a similar rhythmic pattern in Minuet, which opens with a tune from King and Charcoal Variation 1. But the closest point of contact is Variation 3, which Burner, is clearly the superior of the two, buth in both Dvořák’s in both works is in A-flat minor, with diversions to other flat distinctive musical personality is already apparent: the Austro- keys, with a syncopated melody and a similar accompanimental German form is imbued with melodic, harmonic, and rhythmic texture. Like every other nineteenthcentury composer, Dvořák details unmistakably Slavonic in flavour. was keenly aware that he stood in Beethoven’s very long shadow; we can detect this awareness time and again in the Dvořák composed two works in December of 1876: the Dumka symphonies and other works in which he tackled the Classical in D Minor, Op. 35; and the Theme with Variations in A-flat forms Beethoven bequeathed. In Op. 36, at the age of thirty- Major, Op. 36, his first substantial piano piece, and possibly his five, he chose to address Beethoven directly. The special greatest. Op. 35 was the first of many works and movements by attention he gave to it – and its special success – make it clear Dvořák to bear the label “dumka”; there are other important that it was an important creative task for him, and it resulted in examples in the Slavonic Dances, the Op. 81 piano quintet, and his only piano work to attempt a form and rhetoric the Dumky Trio, Op. 90. The dumka was originally a type of Beethovenian in scale. Ukrainian folk music, but by the nineteenth century the term was more loosely adopted by Slavonic composers to refer to a sung or instrumental lament, slow in tempo, melancholy and ruminative in character, though often interspersed with faster sections that are cheerful or jubilant. (The word “dumka” derives from the Czech and Polish words meaning “to ponder”; the plural form is “dumky.”) Many nineteenth-century Polish, Ukrainian, and Russian composers, including Musorgsky, Tchaikovsky, and Balakirev, wrote dumky, but the genre came to be associated most closely with Bohemians – Dvořák most prominent among them. For a composer whose nationalism was so insistently pan-Slavonic as Dvořák’s – he borrowed generously from all Slavic cultures – the dumka was an ideal genre.

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Dvořák’s forty-five measure theme is longer than Beethoven’s is Theme with Variations, all from 1876, were published only in bolder in its chromaticism, and features enough development 1879, after the success of the Slavonic Dances, as were two of motives to constitute a kind of variation in itself. Dvořák other earlier works: the Scottish Dances, Op.41, and the two immediately develops the chromaticism of the theme by Furianty, Op. 42. hinting, three times, at the key a third below, F-flat (that is, E) major – fleeting harmonic details that he seizes on and develops The first piano music that Dvořák wrote especially to satisfy this further in the variations, with singular imagination and logic. In new demand was the set of twelve short pieces he called Variations 1 and 2, he expands these passing references to E Silhouettes, Op. 8 composed in the fall of 1879. The artificially major into full-fledged modulations that challenge the principal low opus number reveals a slight deception on Dvořák’s part. key. In Variation 2 he goes farther: the interjection of E major is The Silhouettes were not written for his principal publisher of decorated with its own modulation down a third, to C major – in major new works, Simrock of Berlin, but for a publisher in harmonic terms, a parenthesis within a parenthesis. Variation 4 Leipzig, who wanted to bring out his older music. Dvořák had no further explores the relationship of E major to A-flat major and more old piano music to offer, so passed off the Silhouettes as minor, in the guise of a Moravian scherzo, while Variation 5 early works by giving them a low opus number. In his defence, does so in a virtuosic setting, in a flurry of double octaves. (This the first drafts for the Silhouettes do date back to an earlier variation was too much for Dvořák’s modest piano skills, and he creative period, around 1870-72, and some of the themes are later marked it as optional. Beethoven’s Variation 5, even older, taken from three works of 1865: the Symphony No. incidentally, also features octaves.) 1 in C Minor, called The Bells of Zlonice, the Symphony No. 2 in B-flat Major, Op. 4; and the song cycle Cypresses. All three Variation 6 is set largely in the distant key of G-flat major; the works were unpublished, and when Dvořák first drafted the home key of A-flat major is never reached until the very end. It Silhouettes he may have been seeking an opportunity to salvage is an extraordinary conception, yet one that makes beautiful some of the better themes from those works. In any event, the sense in the context of the work as a whole: Dvořák takes the drafts were completely revised, and new pieces added, to idea of the flatward sideslip to its logical conclusion, writing a create the final version of the Silhouettes. whole variation that serves as a harmonic digression demanding resolution. It is an eminently Beethovenian way of thinking, Dvořák did not explain what he meant by his title; “silhouette” drawing from an unpretentious detail of the theme tonal and may simply be another generic Romantic title, like “poème” or formal implications that influence the overall structure. The “impromptu.” A more accurate title would be “Slavonic extended Variation 8 brings the work to an end that is both bagatelles.” Anxious to repeat the success of his Slavonic grand and delicate, triumphant and intimate, with the theme Dances. Dvořák returned to the same infectious melodies and dressed up ornately but also brought back one last time in its rhythms, the same folk-inspired dance types, the same most basic form. harmonic sideslips and modal inflections, in pieces of modest proportions and ambitions that do not develop ideas or mold The Theme with Variations was a brilliant success; arguably, dramas, but merely set a scene, establish a mood, evoke and Dvořák never wrote anything quite so accomplished for the image. At their most complex they contrast two ideas, usually in piano again. It is a richly fertile work that perfectly balances simple ternary (ABA) form. They range from polkas to variety and unity. The variations are strongly characterized, and sentimental Romantic mood pieces, but are all simple and often stray far from the theme, even as they mine its unpretentious, clearly aimed at the amateur market. They may possibilities, yet the continuous development of musical ideas is qualify as bagatelles for another reason. The first Silhouette, so logically organized that the work as a whole is perceived as a with a tender middle section framed by short, fast, turbulent coherent drama in which everything note seems to be in the bursts of music, unmistakably calls to mind the last bagatelle of right place. Dvorˇák’s work on Op. 36 paid immediate dividends Beethoven: Op. 126/No. 6, in E-flat major. This was, after all, the next year, in his Symphonic Variations, Op. 78, but the Dvořák’s first set of short pieces, and perhaps he intended, in earlier work is too good to be considered merely a study for the opening piece, to acknowledge his illustrious predecessor, larger orchestral canvas. All the more curious that Dvorˇák so and so to take his place within a tradition. Perhaps, too, he rarely used the theme-and-variations form. He may have used it intended to take up Beethoven’s idea of the bagatelle set as a in Op. 36 only because he was influenced by his Beethoven musical cycle – in this case, a less abstract, more programmatic model, and in Op.78 only because he had used it in Op. 36. Yet cycle, for the themes he chose for the Silhouettes must have it was clearly a form that he had mastered. reminded him of his unrequited love, years earlier, for his pupil Josefina Cermáková, which had inspired the Cypresses cycle. It Then Dvořák next turned to the piano in a serious way it was is tempting to interpret the first Silhouette as representing the with immense consequences for his career: in the spring of dejected lover, and tempting to find programmatic explanations 1878, he produced his first set of Slavonic Dances, for four- for Dvořák’s use of the two themes of that first piece later on hand piano (his orchestral version followed soon after). The (as in No. 5), and especially for his inspired idea of developing, Dances were a hit, and earned him – and the strain of Bohemian in the last Silhouette, the turbulent theme so harshly nationalism he presented – a new and enthusiastic international abbreviated in No. 1. But Dvořák left no clues to any intended audience. It was a dream come true for his publishers, who programme – or, for that matter, to any intended reference to were now eager to bring out all of his music, old and new, Beethoven – so he must have intended the cycle to stand alone particularly music – like piano solos – that would appeal to the as “pure music.” amateur market. In fact, the two Minuets, the Dumka, and the

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There are interesting ideas here, and the simplicity of the music The two Furiants, Op. 42, from 1878, were written shortly after is often charming, but the Silhouettes as a whole do not show the completion of the Slavonic Dances. (Do they perhaps recycle off the best of Dvořák at the piano, and it is not too cynical to ideas considered but rejected for the Dances?) The furiant, an attribute their weaknesses to the rush to appease demanding exuberant, whirling Bohemian “swaggerer’s dance,” was one of publishers. No. 4, for example, is a kind of furiant followed by Dvořák’s favourite genres – like the dumka, with which it was what sounds like a contrasting Trio in the relative major, but in often paired and contrasted. (The middle movements – the lieu of an expected reprise of the main theme, or some kind of slow movement and scherzo – of the Op. 81 piano quintet are a development of the material, the piece simply ends – or rather dumka and furiant.) The Op. 42 Furiants are less characteristic stops – with a perfunctory return to the main key, F-sharp than most: they are rather virtuosic in character, obviously minor. meant for concert performance, and they do not make much use of alternating duple and triple meters, so typical of the Yes there are gems here, too, like the tender No. 2, just fifteen furiant, though accented weak beats in some phrases do hint at measures long yet a perfect little drama complete with cross-rhythms. modulation, variation, recapitulation, and even a brief wisp of Chopinesque cadenza. In the end, the Silhouettes are perhaps The first furiant is much superior of the two. Both its principal less important in themselves than in marking the beginning of idea and contrasting middle section are well developed, an upsurge in Dvořák’s interest in the solo piano – an upsurge through different keys and textures; the second furiant, by inspired, perhaps, by practical demands, but one that, in the contrast, closes with a literal repeat of the opening section – next few years, in sets like the Op. 52 pieces and the Op. 54 including its unusual introduction, which sounds much less waltzes and the Op. 56 mazurkas, resulted in some piano works effective the second time around. of undisputed successes. After the great experiment of the Theme with Variations in A- flat Major, Op. 36, Dvořák never again wrote a solo-piano work on such a scale. The commercial success of the Slavonic Dances CD 16 must have encouraged him to continue in that vein when writing for the popular market; all of the important piano works Two Furiants, Op. 42 Eight Waltzes, Op. 54 that followed would be sets of short pieces relatively simple in form but with a strong Slavonic character. Oscar Wilde once Four Eclogues, Op. 56 Scottish Dances, Op. 41 referred to Dvořák’s piano pieces, rather mysteriously, as “curiously coloured scarlet music,” and it does seem to be the The two minor works on this program date from just before case that Dvořák – at the piano, at least – was more Dvořák’s breakthrough to international fame in 1878, with his comfortable writing characteristic pieces than intensely worked first series of Slavonic Dances for four-hand piano (later out structures in the manner of, say, Brahms. He had a special orchestrated). The Scottish Dances, Op. 41, were composed talent for writing fetching melodies, with pointed folk-inspired around the end 1877, at a turning point in his career. In rhythms and inventive harmonizations, for making subtle November, he won an Austrian State Stipendium, worth 600 variations and developments within deceptively simple forms gulden (he had been entering compositions in this competition, and textures, for conveying sentiments and moods and pictures usually successfully, since 1874). More important than the in a direct, unaffected way, on an intimate scale, drawing on money, the attracted the attention of Johannes Brahms, who characteristic musical tropes from various Slavic cultures. was so impressed with Dvořák’s Moravian Duets for voices and piano that he recommended them – and Dvořák – to his own When his publishers encouraged Dvořák to bring out new works publisher, Simrock of Berlin. As a result, Simrock, hoping to for piano, to capitalize on the fame of the Slavonic Dances and repeat the success of Brahms’s own Hungarian Dances for four- to satisfy the large amateur market, he responded with the hand piano, commissioned Dvorˇák to write the Slavonic Silhouettes. Op. 8, in 1879, his first set of short pieces. It was an Dances. uneven work, but it inspired in him an upsurge of creative interest in the piano. The result, around 1880, was a fertile Though the Scottish Dances date from this heady period, they period in which he produced several outstanding sets for both are not nearly so ambitious or inspired as the Slavonic Dances. solo and four-hand piano. Writing for amateur pianists in no Op 41 is a series of fifteen simple, stylised contredanses in 2/4 way compromised Dvořák’s art. He was relatively unconvincing time, in the ecossaise style of Beethoven or Schubert, each in a as a composer of virtuoso piano music; his Piano Concerto, Op. different key and consisting of two repeated eight-measure 33, from 1876, had taught him that. But when asked to write strains, played one after the other at the same tempo to form a music for modest talents and domestic performance, he could single extended movement. A few tunes are repeated; most work on the intimate scale in which his particular talents as a notably, the first and last dances use the same theme in the piano composer shone brightest. Indeed, since we not longer same key. D minor, though the piece cannot be said to be “in D enjoy the tradition of domestic music-making that existed in minor” in any meaningful sense. The title is mere convention, Dvořák’s day, we might argue that a recording project like the and there is little in the music that sounds authentically present one, rather than a concert performance, offers the Scottish. The melodies and rhythms, the harmonic sideslips and most appropriate setting for this music, returning it to the scale modal inflections – this is all pure Dvořák in his simples Slavonic and milieu for which it was conceived. style, in rehearsal for the Slavonic Dances.

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The Waltzes, Op. 54, helped Dvořák to satisfy his hungry Still, Simrock may have been right: “Slavonic Waltzes” would publishers, but the work in fact grew out of a rather mundane have been an appropriate title. In the end, all of the influences commission from the Ball Committee of a patriotic association Dvořák absorbed were subsumed by the unmistakable pan- known as the National Society. The Committee asked Dvořák Slavonic character that informs every measure of the music. and other leading Czech composers to contribute orchestral Those cross-rhythms are as much Slavonic as Chopinesque (just dances for their jubilee ball in December of 1879. He had listen to a typical Dvorák furiant); there are hints of stomps and sketched only one before he realized that what he had in mind twirls and other elements of folk dance; there are even some were stylised waltzes more appropriate to the drawing room fleeting evocations of specific folk dances – sousedská, or than the ballroom. He set aside these first sketches and Ländler, or mazur. There are drone effects, and melodic returned afresh to the commission, producing his Prague ornamentation and figuration – in No. 2, for instance – that Waltzes, B. 99, in time for the December ball. (They were suggest some kind of folk instrument. A few measures into that published, in 1880, in a piano arrangement, like other of his homage to the “Minute” Waltz, Dvořák is outlining a pentatonic minor orchestral dances, obviously to increase their commercial scale that immediately shifts the listener’s ear from away from value.) Dvořák did not forget his first sketches, however; in fact, Chopin’s salon and toward the Bohemian countryside. Indeed, he seems to have been inspired by his original conception of those opening measures of No. 4 perfectly capture the stylistic stylised waltzes. Reconceiving his sketches for the solo piano, dichotomy that gives so much of Dvořák’s music its distinctive he composed, between December 1879 and January 1880, a set flavour. of eight waltzes, which were quickly published by Simrock. From the gorgeous, elegant opening waltz, Op. 54 offers some There was a pattern to Dvořák’s publishing practices in these of Dvořák’s best piano music. first years of new celebrity. His best piano works – the Dumka, the Theme with Variations, the two Furiants, the Op. 54 Everything works; everything is calculated and considered, yet waltzes, the Op. 56 mazurkas – were offered to Simrock, his the pieces seem artless, fresh and spontaneous, never awkward principal publisher of new works. To other publishers, in Leipzig or banal, never wearing out their welcome. The fertility of ideas and Prague, he offered piano works of lesser quality – the two is impressive, and the piano writing, though never virtuosic, can Minuets, the Scottish Dances, the Silhouettes, the Op. 52 be picturesque. As in the Slavonic Dances, Dvořák makes pieces, the Impromptu in D Minor, the arrangements of imaginative use of transitions, interpolations, and codas, of orchestral pieces – sometimes passing them off as older works harmonic digressions, of subtle but telling variations of melody with low opus numbers. We can assess Dvořák’s opinion of a and texture, all to enliven relatively simple forms. Each of the work by the publisher to whom he offered it; he seems to have waltzes has such a distinctive personality that you almost don’t distinguished between piano music inspired by his own creative notice that they all make use of the same form: rondo, in three desires and that which was grist for the marketing mill. The Op. parts (ABA) or five parts (ABABA, or ABACA), with the secondary 54 waltzes, uncommissioned works of high quality, clearly thematic idea – the B section – brought back at the very end, belong in the first category. transposed to the tonic key, to provide a coda. It was one of Dvořák’s a favourite forms in short pieces: its first appearance In a letter to Simrock dated 2 February 1880, Dvořák wrote, “I in a piano work seems to have been the first of the Furiants. Op. expect the Waltzes to be quite a success.” Simrock thought so, 42, and he employed it most famously in the popular too, and eager to capitalize on the popularity of Czech music, he Humoresque. He may have taken the idea from Beethoven. In wanted to call them “Czech Waltzes,” or “Slavonic Waltzes.” many of his later Scherzo movements, especially the longer Dvořák declined, pointing to the Germanic origin of the genre. ones in five parts, Beethoven liked to bring back one last wisp of And it is true that, in his piano music, he seems to have drawn the Trio just before the end, teasing the listener into thinking more inspiration from his Austro-German predecessors than that the Trio would be heard yet one more time. Only the last of from, say, Chopin or Liszt, in technique and texture as well as in the Op. 54 waltzes eschews this form, in favour of a coda that form. In the Waltzes, and in contemporary works like the allows the set to finish with a bang. Mazurkas, we hear relatively little of the urbanity, sophisticated stylization, and salon style of Chopin, but rather the forms and The term “eclogue” originated in literature, and dates back to sentiments of Beethoven, Schubert, Schumann, and Brahms. the ancient Greeks, but in music it was first used by the Still,we cannot make a hardand fast distinction, for the Waltzes Bohemian composer Václav Tomásek (1774-1850), to describe a reveal a mishmash of influences. No. 5, for example, seems piano miniature of moderate difficulty that was rustic or Brahmsian in carriage, but also recalls Schubert in his Viennese pastoral in nature, whether robust or lyrical. Dvořák’s mode, not to mention the crossrhythms that Chopin explored in composed his four Eclogues in January and February of 1880, his so-called “2/4 Waltz” in A-flat major, Op. 42 (No. 8 features and assigned them the opus number 56, but they were never cross-rhythms, too, in an even more Chopinesque setting.) And published in his lifetime – not until 1921, years after his death. at least one of the Waltzes seems to have been intended as a nod to Chopin. No. 4, in the key of D-flat major and at a fast tempo, begins, with the right hand alone, with a hint of a trill and figuration turning around the dominant note A-flat, before the oom-pah left hand enters – and if this all sounds familiar it is because I have just described the opening of Chopin’s “Minute” Waltz.

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When he published his Mazurkas in 1880, he gave them the make an attractive four-movement set, outwardly a kind of opus number 56, since the Eclogues remained in manuscript suite or sonata, with lively outer movements framing a slow and he had no intention of publishing them. He left to future movement and scherzo; the catch-all published title, however, generations the task of sorting out two works with the same seems to deny that the work was to be heard as an integrated opus number. cycle. The Op. 52 pieces are all highly characteristic, and feature some of Dvořák’s better piano writing. Though Dvořák would assign less important pieces to less important publishers, there were limits to his willingness to The Impromptu is certainly Slavonic in temperament – the bend to his publishers’ pleas: he would not publish anything, insistent cross-rhythms within a fast triple meter recall the though unbdoubtedly his publishers, in those heady first years furiant – but the piece also seems to be a nod to Schumann: the after the Slavonic Dances, would have brought out almost syncopated bass, the cross-rhythms, the turbulent, rising triadic anything with his name on it. He withheld the Eclogues because figuration in the right hand, notated across the barlines, the he simply did not consider them worthy of publication. He may ternary form with contrasting lyrical episode – all unmistakably have been right about the set as a whole, but the first two call to mind the first piece of Schumann’s Kreisleriana. (Dvořák, pieces, at least are accomplished and beautiful, and nicely laid however, characteristically hints at a return of that lyrical out for the piano, if hardly innovative or well developed. We episode just before the end.) The lovely Intermezzo, just thirty- know he liked the first Eclogue: he reused it as the fifth of his three measures long, is a small marvel of musical architecture. Mazurkas, beautifully recasting it from a lively and rather Out of slow vamp in C minor emerges a melody that grows even virtuosic piece in duple time to a gentler dance in triple time. richer and more chromatic as it progresses, hovering (as Dvořák His inspiration seems to have dropped somewhat in the last two liked to do) between relative major and minor keys, Eclogues, though he liked two themes in the fourth well enough approaching but never quite reaching E-flat major. An expected to reuse them prominently more than six years later, in the first cadence in E-flat is deferred; instead, Dvořák shifts suddenly to piece of his second cycle of Slavonic Dances. All four Eclogues the distant key of C-flat major for some eight measures of are unpretentious miniatures in simple ternary form, closing variation on the opening theme, before returning to the music with a literal repeat of the opening section, rather than a subtly of the opening, finally granting the long denied cadence in E-flat varied repeat of the kind that Dvořák usually preferred when he major at the very end. That shift to C-flat seems more than was feeling more inspired. colourful: it is a logical outcome of the progressive chromaticism that preceded it, a projection of melodic detail onto the tonal plan. The final two pieces are both attractive and imaginatively developed, particularly the extended Eclogue, CD 17 with its melancholy and somewhat exotic-sounding improvisational main theme. The Gigue, though it features Four Album Leaves, B. 109 Six Piano Pieces, Op. 52 dotted 6/8 rhythms and some imitation, is only loosely related to the French Baroque dance of the same name. Six Mazurkas, Op. 56 Moderato in A Major, B. 116 The six Mazurkas, Op. 56, composed in June of 1880, belong Question, B. 128a Impromptu in D Minor, B. 129 with the Waltzes among Dvořák’s best and most inspired piano works form this period. According to the first draft, they were After the huge success of the Slavonic Dances, in 1878, Dvořák’s originally destined to be a second series of Scottish Dances. publishers were willing and able to sell just about anything that (That écossaises and mazurkas could be considered almost bore his name, though his refusal to publish his four eclogues interchangeable says something about the stylisation of folk shows that he would not be pressured into releasing works that idioms by Western composers.) After only a few weeks of he did not think worthy. We can see that same self-critical composition and selection – including the appropriation of the attitude at work with the set of Piano Pieces. Op 52, that he first of his unpublished Eclogues, composed a few months wrote around June of 1880, a few months after the Eclogues. earlier and beautifully recast here, in a gentle triple meter, as This time, his effort to produce music on demand without No. 5 – Dvořák had a set of six dances that he considered sacrificing his standards was at least partially successful. He worthy of being published immediately by Simrock of Berlin. wrote six pieces in all, but permitted only four to be published in 1881, under the title “Impromptu, Intermezzo, Gigue, and Eclogue.” (They were published in Leipzig, not by Simrock of

Berlin, to whom he invariably sent the works he considered most successful, like the Waltzes and Mazurkas.) The untitled Allegro molto in G minor does seem to be up to the standards of the four published pieces, but Dvořák probably omitted it from the first edition only because it was too similar in key and mood to the Impromptu; it was published only long after his death, in 1921. The untitled Tempo di Marcia in E-flat major, however, is clearly inferior to the other pieces, simpler and less expressive; it languished unpublished until the middle of this century, when it appeared for the first time in Editio Supraphon’s critical edition of the complete works of Dvořák, begun in 1955. The four pieces that Dvořák published

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Comparison to the great mazurkas of Chopin was and is CD 18 inevitable, and Dvořák’s efforts, by this yardstick, seem like less in many respects – less ambitious, less stylised, less intensely Poetic Tone Pictures, Op. 85 developed, less interesting in their accompaniments, less pervasively chromatic, less demanding technically, less Part of the reason why Dvořák’s solo-piano music has been evocative pianistically, less profound expressively. Yet the relatively neglected is undoubtedly that he was not really a comparison misses the point, for Dvořák was not aiming at the pianist, and there has never really been a great piano composer sophistication of the concert hall or the urbane salon; he who wasn’t. intended a simpler stylisation of the mazurka that stayed closer to its folk roots, and was more accessible to the amateur Pianists have always naturally gravitated toward the music of market. Dvořák’s melodic and harmonic vocabulary here is the great pianist-composers – Mozart, Chopin, Liszt, Brahms, much simpler and more direct,with modal and rhythmic Rachmaninov – because this is the music that best flatters the inflections that seems more authentically folk-based. If the instrument and the player, that most imaginatively and textures are less saturated with chromatic spice than Chopin’s, innovatively exploits the instrument’s resources. Dvořák’s piano we still find Dvořák’s trademark harmonic sideslips, usually music is certainly imbued with his unique musical personality, sudden shifts between keys a third apart (from A-flat to E major but, to a professional pianist at least, hardly challenging in the first part of No. 1, from C to A major in the first part of compared with that of, say, Chopin. Dvořák was basically a No. 2). His interpretation of mazurka rhythm is generally less string player, Growing up in Nelahozeves, near Prague, he ambiguous than Chopin’s. In No. 2, for example, which has received his first musical instruction on the violin, from a local perhaps the strongest mazurka flavour, the accented weak beat schoolmaster, and as a boy he played at his father’s inn, in the is invariably the second; Chopin was less predictable. village band, and in churches.

Dvořák’s Mazurkas are more reflective than virtuosic, relatively After graduating from the Prague Organ School in 1859, he simple settings in which subtle variations and developments played viola in a small band that performed at local balls and have great meaning. Schubert seems like a more relevant restaurants, and even in a few classical concerts. (That band predecessor than Chopin: a mazurka like No. 3, with is gentle, became, in 1862, the core of the Provisional Theatre orchestra.) waltz-like carriage and sweet hints of melancholy, recalls the Dvořák had organ lessons during his student days (he wrote a Schubert of the Moments musicaux, tapping deep feelings set competently – at least, well enough to participate in through deceptively modest means. concerts of his own chamber music. But he was never a virtuoso, and claimed only average abilities as a pianist. Dvořák produced a few other isolated piano pieces around this time, some of them perhaps attempts at sets that went So it is not surprising that some of Dvořák’s best piano music nowhere. The four untitled Album Leaves, B. 109, from 1880, can be found precisely where there was not need for him to were never published in his lifetime – again, presumably, due to flatter the expectations of a virtuoso soloist. He seems to have his strong self-editing instinct. The first and third Album Leaves, found it more rewarding to write for four hands than for two: in D major and F major, testify to his fondness for frequent and he could think more like a symphonist than a pianist. And some sudden modulations to distant keys; the second, in F-sharp of his most attractive piano writing is found in his chamber minor, is a simple, lovely bagatelle in F-sharp minor. The fourth, music, where he could indulge in his gift for orchestration, marked Allegretto, is equal in quality to any of his short pieces. weaving the piano in and out of the strings in colourful and It is curiously ambivalent, both tonally and rhythmically: innovative ways. What one critic called Dvořák’s “almost nominally in G major, it insistently pivots towards E major, pathological attraction to the upper register of the keyboard,” closing in that key, and the rhythm is frequently syncopated; for example, could be tiresome in solo works, yet often paid big the result is a strangely elusive miniature. dividends in chamber music, as in the delightful Scherzo of his

Dvořák wrote an untitled piece in 1881, B.116 that is usually Op. 81 piano quintet. In any event, Dvořák’s modesty as a referred to as the Moderato in A Major, but while it opens in pianist and piano composer were pronounced enough that his that tempo and key, both soon change, and the bulk of the few forays into larger, more virtuosic textures – most piece is a fast peasant dance in D minor. (Dvořák left it impressively, in the thirteen Poetic Tone Pictures, Op. 85 – are unpublished.) The Impromptu in D Minor, B. 129, was worthy of special note. composed on 16 January 1883 and published that same year in The composition of the Op. 56 Mazurkas marked the end of Prague, in a musical supplement to the magazine Humoristické Dvořák’s great upsurge of piano writing around 1880 – and listy. It is a more substantial work musically, richer and more upsurge initially spawned by commercial concerns, to be sure, varied in harmony and texture, with a lovely central episode in but one that nonetheless inspired him to create several sets of D major. pieces of high quality. The next few years were rich in four-hand Question was an album leaf jotted down for a friend on 13 piano music: the ten Legends, Op. 59, from 1880-81, which December 1882. Just eight measures long, it is Dvořák’s shortest Dvořák wrote with “special affection”; the six programmatic composition. The title is explained by the fragment’s harmonic pieces under the title From the Bohemian Forest, Op. 68, from open-endedness: it ends with an unresolved half cadence on 1883-4; and the second series of eight Slavonic Dances, Op. 72, the dominant, and sounds like an introduction to a piece that from 1886. But in the years between the Mazurkas of 1880 and never follows. the Poetic Tone Pictures of 1889, he composed only nine minor

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works for solo piano, some of them published, though Some pianists have found the Poetic Tone Pictures unconvincing significantly none by his principal publisher, Simrock of Berlin, in this respect – overwritten, only superficially virtuosic, or even and only two of them assigned an opus number: the Dumka in C in questionable taste, and awkwardly laid out for the hands, Minor and the Furiant G Minor, both composed around much like the Op. 33 piano concerto. (One writer compared the September of 1884 and published together, in 1885, as Op. 12. piano writing to a transcription of an orchestral original.) Yet, All of which says something about the relative importance of the more massive piano writing in the Poetic Tone Pictures the piano to Dvořák the composer: once the first flush of seems to have been a direct result of the unusual ambitiousness success after the Slavonic Dances had passed, once he had of Dvořák’s musical conceptions, which at times threaten to offered several piano works to appease his publishers, once he burst the bounds of the miniature form. had enough authority to set his own agenda, he longer seemed interested in the piano. The expanded dimensions of these pieces are the result of the mature and experienced Dvořák’s much more sophisticated This means, however, that when he did return to solo-piano grasp of musical variation, extension, and development, his music, it was because he wanted to, because he had something ability, at this point in his career, to take what might earlier he wanted to say at the piano. When he turned to the piano in have been a simple bagatelle evoking a simple and to round out the spring of 1889, in fact, it was to break an uncharacteristic the musical portrait, adding subtleties and layers of expression creative lull that had lasted several months (around this time he and depiction; the Dvořák in 1889 knew how to flesh out a was involved in rehearsals for the première of his opera The programmatic miniature in ways that the Dvořák of 1880 could Jacobin, Op. 84). not imagine. The opening piece, “Twilight Way,” sets the tone for the whole set. Nothing on the opening page would lead the The result would prove to be his largest single piano work: an listener to expect more than a typically concise Dvořák hour-long set of thirteen titled descriptive pieces called Poetic miniature, yet the composer manages to spin out new ideas, Tone Pictures, Op. 85, composed from April to June of 1889, and to extend, develop, and link those ideas, with remarkable and published later that year by Simrock. The work represents a fertility, musically as well as pianistically. The overall form kind of apotheosis for Dvořák as a composer for the piano: remains relatively simple in outline, though shaded and enlived though it is an anthology of short pieces, the individual pieces and supplemented in countless subtle ways. are of a size and depth greater than those of his earlier of later sets, and the piano writing, while lacking the mastery – the Dvořák maintains that standard throughout the set, insiders’s insight – of a Chopin or a Liszt, is of a significantly notwithstanding an impressive range of ideas, textures, moods, higher order. and topics – everything from an earthy furiant to sentimental salon pieces, from a bacchanalia to a reverie, from the chatty to Dvořák was undoubtedly inspired by the programmatic subject the liturgical, heroic to spectral. All of the pieces are strongly of the Poetic Tone Pictures, one of profound personal meaning Slavonic in character, though in very different ways, only most for him: his beloved Bohemia. As in From the Bohemian Forest, explicitly in pieces like the brilliant furiant (No. 7, in the unusual give years earlier, he sought to depict the Bohemian key of A-flat minor), or the delightful “Goblins’ Dance” (No. 8). countryside and its inhabitants from many different angles, and But there seems to be evocations, too, of some of Dvořák’s he worked hard at it. In a letter to Simrock, he wrote, “I imagine predecessors, though none made explicit. There is something of the pieces will be sure to please you, because I took great pains Grieg “In the Old Castle” (No. 3), of Mendelssohn in the “Spring when working on them. …Every piece will have a title and will Song” (No. 4), of Chopin in the “Reverie” (No. 6), of Bellini in the express something, in some respects like programme music, but “Serenade” (No. 9), of both Chopin and Brahms in the last in the Schumann sense; still I must point out at once that they piece, “On the Holy Mount,” which closes the set evocatively don’t sound Schumannesque..” By programme music “in the with the chiming of a church bell. Schumann sense,” Dvořák was alluding to Schumann’s practice of giving titles to descriptive pieces only after they had been One good case study can show the new level of musical composed. In other words, Dvořák, though he undoubtedly had sophistication Dvořák attains in the Poetic Tone Pictures. The some general idea of subject matter in mind, was not writing to vigorous “Bacchanalia” (No. 10), which has some of the a detailed, pre-established programme. character of a furiant, is a masterpiece of extended-miniature form, in which the simple ternary form that Dvořák favoured is Rather, he looked at what he had written and titled it based on expanded with great skill and imagination into a seamless what images and feelings about Bohemian life is evoked in him. drama of more than three hundred measures, one that never Simrock liked some of the pieces, but admitted that he did not wears out its welcome or betrays a moment’s drop in expect them to be very accessible or popular; to be sure, they inspiration. are more extensively developed than Dvořák’s earlier miniatures, and more difficult technically – probably too Listen, in the first hundred measures, to how Dvořák builds up difficult for most amateur pianists. They offer a rare example of his main theme from the stark timpani strokes of the opening Dvořák transcending his usually modest pianistic limits and measures, then extends and develops that theme with new writing piano music that flirts with professional virtuosity – with motives and every-changing textures, harmonic sideslips and the techniques, textures, and rhetoric of the great cross-rhythms, before allowing the theme to dissolve as pianistcomposers. mysteriously as it began, and lead seamlessly into the C-major trio. The music of the trio he builds up and develops no less skilfully, no less seamlessly, for more than a hundred measures,

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and the return of the opening section is almost Haydnesque in The isolated Humoresque in F-sharp Major, B. 138, should not its clever reinterpretation of material. be confused with the later, more famous Humoresque Op. 101/No. 7, which was written in G-flat major but which, in some The best of Poetic Tone Pictures, like the “Bacchanalia,” show editions, has been notated in F-sharp. Dvořák wrote the F- the mature Dvořák reinterpreting his cherished short forms in sharp-major Humoresque in 1884, for the first volume of a light of his experience in larger instrumental forms, the collection of pieces published that same year, in Prague, by F.A. proportions and keyboard settings growing correspondingly Urbánek. It is not a sophisticated piece, and its unprepared more ambitious in order to contain the wealth of ideas. shifts between themes and keys are hardly subtle, though it has a lovely principal theme, simply but attractively set. The Two Dvořák, in 1889, was no longer under a compulsion to produce Little Pears, B. 156, are easy, crudely descriptive dance pieces, piano music for the domestic market, and his turn here to a composed, probably in December of 1887, for The Young Czech more ambitious kind of programmatic piano music, after an Pianist, another Urbánek collection, published in Prague in unusual creative dry spell, can only be explained by personal 1888. creative desire. The result was some of his most impressive music for the piano. The Album Leaf in E-flat Major, B. 158 was composed on 21 July 1888, written into the autograph album of a certain “K.H.,” at Kevin Bazzana Pisek, and was not published until Editio Supraphon’s critical edition of the complete works of Dvořák, begun in 1955. Around 1891, Dvořák composed a theme, B. 303, apparently intended to serve as the subject of variations. It is a tantalizing CD 19 suggestion that, at the height of his creative powers, he considered making another rare foray into a form he had used Dumka and Furiant, Op. 12 Humoresque in F# Major, B. 138 with such singular success fifteen years before, in his Theme Two Little Pearls, B. 156 Album Leaf in E-flat Major, B. 158 with Variations in F-flat Major, Op. 36. But it was not to be, and the theme was published alone, in Prague, in 1894. Theme, for variations, B. 303 Suite in A Major, Op. 98 Dvořák’s last two substantial piano works – the Suite in A Major, Eight Humoresques, Op. 101 Two Pieces, B. 188 Op. 98, and the Humoresques, Op. 101 – were among the last products of his busy, fertile few years in the United States. In The last decade of Dvořák’s piano writing included major sets June of 1891, he had been invited by a wealthy American but also isolated short works, some written for particular woman, Mrs. Jeannette Thurber, to become director of the occasions. The Dumka in C Minor and the Furiant in G Minor, National Conservatory of Music, in New York. After some both probably composed in September 1884, around the time negotiation, he agreed. of his second visit to England, were published together the next year, in Prague, as Op. 12. The pairing of these two contrasting For most of the early months of 1892, he made a farewell tour folk-music formsmelancholy dumka and ebullient furiant – was of Bohemia and Moravia, appearing as a pianist in some forty a common practice (see, for example, the slow movement and chamber-music concerts, the featured work being his new post scherzo of Dvořák’s Op. 81 piano quintet), though these two in New York, in October of 1892. Dvořák was lionized in particular pieces may not have been conceived as a set. The America, where his music had been popular since the time of furiant was in fact first published alone, in London, in the his first set of Slavonic Dances, in 1878, and he travelled widely Christmas 1884 supplement of the Magazine of Music. outside of New York – to Boston, Chicago, Iowa, Omaha, St. Paul, Buffalo, Niagara Falls. He was inspired creatively by his Neither work represent Dvorák at his highest level of contact with the United States; the Negro, native-Indian, and inspiration, and he seems to have thought so himself. He gave other folk and popular music he heard there appealed to him, the pair an artificially low opus number, passing it off as an early and were absorbed into his compositional arsenal, manifested work, and withheld it form Simrock of Berlin, the publisher to famously in subsequent works like the Symphony No. 9 (From whom he assigned the new music he thought most worthy. The the New World); the String Quartet, Op. 96, and the String dumka is rather perfunctory and prosaic in material and form, Quintet, Op. 97, both nicknamed “The American”; and the with relatively unvaried repetitions of its recurring main theme Sonatina for violin and piano, Op. 100. Mrs. Thurber urged him – always a sign that Dvořák was not fully engaged. to write an opera on the traditional American subject of Hiawatha, the enlightened fifteenth-century Onondaga tribal Whereas the two Furianty, Op. 42, had mostly avoided the chief celebrated in Longfellow’s long poem Song of Hiawatha characteristic alternations of duple and triple meter, the Op. 12 (1855); Dvořák got no farther than making some preliminary furiant features clashes of two against three almost obsessively, sketches, however. In April 1894, he signed a new two-year even in the gentler G-major coda, to the point that the notated contract with Mrs. Thurber before leaving for a summer holiday meter of ? is often scarcely apparent. The piece has received in Bohemia. He returned to America in November, but a decline some unflattering press. One Dvořák scholar referred to it as in his patron’s financial fortunes nullified their contract, and “an example of how thoroughly bad Dvořák’s writing for the after a few months he returned home. piano could be. As a realistic picture of an indifferent village band, thumping bass and squeaking treble, it is a success: from any other point of view it is a failure.”

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The Suite and the Humoresques, both of which he worked on compose only for his own pleasure, and who had no need to before leaving New York in the spring of 1894, are imbued churn out potboilers that did not meet his standards. As it turns throughout with the melodic, harmonic, and rhythmic features out, he was fond enough to the Suite to offer it to his “official” of his highly personal and stylised conception of musical publisher, Simrock, and to orchestrate it a year later, though Americanism, so distinct from his usual Slavonic style. The Suite, that version, which many listeners now prefer, was not composed in February and March, is the closest equivalent in published until 1911, seven years after his death. While still in Dvořák’s piano music to a multi-movement sonata-type work. America, Dvořák had begun jotting down ideas for what he (In fact, while in America he had sketched a theme that he though would be a set of “New Scottish Dances,” as he called thought appropriate for a piano sonata, but he abandoned the them, but he found that his musical ideas were too varied in idea.) More than even his programmatically unified sets of short character for such a project, so he adopted instead the title pieces, or the Op. 52 pieces, the Suite is a coherent cycle of Humoresques, a term that implies caprice or fantasy or geniality movements; a fast movement, a scherzo, an easygoing march, a more than outright humour. (It is interesting to recall that in slow movement, and a boisterous finale. The last movement 1880 he had also begun work on a projected new series of even ends with a grandiose restatement of the theme with Scottish Dances, which eventually evolved into the Op. 56 which the first movement began, making the cycle explicit. mazurkas. Considering how modest were his original Scottish Unlike the simpler sets aimed at the amateur market, the Suite Dances, Op. 41 composed in 1877, his apparent attachment to seems intended for concert performance by a professional them is surprising.) To his “Scottish” sketches Dvořák virtuoso. incorporated others – one for a funeral march (which evolved into No. 1), another for the scherzo of an unfinished symphony Trademark features of Dvořák’s “American style” recur in all five in B minor (which evolved into No. 8) – when he returned home movements. Curiously there is little evocation of the Negro for his summer holiday in 1894, completing eight Humoresques music that he loved, and that he drew on so memorably in the by the end of August . New World Symphony. Only in the last movement, in the second theme in A major, do we here a melody (albeit a fairly It is difficult to see what Dvořák could possibly have considered fast one) with some of the character of a spiritual, though in the Scottish about these Humoresques, for all eight are steeped in third movement we might also hear the tongue-in-cheek strut American folk music. As in the Suite, there is a Fixation with of the cakewalk, a popular dance in America in the 1890s. For pentatonic melodies – sometimes rigorously, as in No. 3, other the most part, however, Dvořák dwells on his “Indian style,” times suggestively through an emphasis on the second and sixth used most famously in the scherzo of the New World scale degrees. There are hints of non-diatonic modes, like the Symphony. (Is the “Indian” character of the Suite a holdover Aeolian (with its flattened seventh) and they Lydian (with its from his tentative work on the Hiawatha opera?) All four of the sharpened fourth). There is an almost tiresome regularity of faster movements feature a distinctive, hammered repeated- phrasing, along with short repeated themes and strongly note motive (the note is usually the dominant), accompanied by marked rhythms evocative of folk music. There are pedal points busy – sometimes wildly swirling – figuration, usually in a minor and drone-like accompaniments, of the kind associated with key with strong modal inflections. (Listen to the contrasting folk instruments (see Nos. 1, 2, 3, and 8), even a little melodic middle sections of the first and third movements, and to the ornamentation here and there that seems to mimic folk wilder principal themes in the second and fifth.) even the slow practice. Several Humoresques feature once again the crude movement has been hard, plausibly, as an Indian lullaby, and melodies, hammered repeated notes, and swirling figuration of interpretation consistent with its hauntingly repetitive melody, Dvořák in his “Hiawatha” mode – most obviously No. 5, in A its modal inflections, and its persistent alteration of major and minor, which opens with a short, modal theme with five minor modes. The Suite opens with a grand pentatonic tune repeated notes, a theme heard more than thirty times, in many that announces its American character, and throughout the different keys, in less than two hundred measures. The gentle work the melodies gravitate toward the pentatonic, the No. 4 was based on a theme representing Hiawatha as a child, harmonies toward the Aeolian and other non-diatonic modes. borrowed from the abandoned opera sketches. More so than Even where a melody is not rigorously pentatonic, it often still the Suite, the Humoresques evoke the Negro spiritual (there are has that flavour, usually through a special emphasis on the “blue” notes in several pieces), as well as the popular songs of second and sixth degrees of the scale. The result is a consistent white America – both antiquated songs like “Barbara Allen” and patina of American style. later songs like those of Stephen Foster.

Critics have long denigrated the A-major Suite; “commonplace No. 7 in G-flat major, of course, went on to acquire a special and lazily written” is one of the franker descriptions. To be sure, renown of its own. It is the piece everyone knows simply as it is a curious piece, in form and style. Yet, the more one listens “Dvořák’s Humoresque,” the one that would appear in to it, the more apparent it becomes that the music’s undeniable countless piano recitals and on countless parlor pianos, the one primitivism was intentional. The sometimes crude, graceless that would be popularised in arrangements by everyone from melodies, the perfunctory harmonic progressions, the odd Fritz Kreisler to Art Tatum, the one that lent its title to a bad modulations, the want of sophisticated development – all seem Joan Crawford movie in 1946, the one whose popularity is calculated to convey a stylised interpretation of an unpolished, undimmed today, even if tinged with a little irony. It is in fact sometimes awkward American folk idiom. Dvořák in 1894 was, one of the simpler, less sophisticated Humoresques, but with after all, a celebrated and accomplished composer in his fifties endearing, sentimental melodies and dotted rhythms that who, the year before, had declared that he would now suggest a gentle cakewalk, though legend has it that the rhythm imitates the train on which Dvořák supposedly penned the piece.

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The out-sized fame of No. 7 should not obscure the fact that all CD26 of the Humoresques are beautiful, attractively set pieces of high quality, conceived during a period of particularly fertile String Quartet in D major creativity. Even more so than the Suite, the Humoresques are a concise, stylised portrait – almost a travelogue – of Dvořák’s The line of development in the string quartets by Antonin musical experience of America. The pieces are all strongly Dvořák (1841-1904) is An unusual portrayal of a lengthy individual (though, interestingly, all are in 2/4 time). Some of process, a tedious search for consistent form and formation. the features we associate with Dvořák’s Slavonic style – The composer wrote many quartets works in the 1860's and fluctuation between major and minor modes, sudden '70's especially, in which he not only sought his own musical modulations, chromatically coloured cadences – are here profile but also reacted to the musical atmosphere of the times. perfectly adapted to the American idiom. The piano writing is Many of these pieces remained long unperformed and more sophisticated than in most of his earlier music: the unpublished. Just in the last few decades interest in this up until textures are richer, frequently contrapuntal (there is even some now "dark corner" of the composer's creativity has grown, imitation and invertible counterpoint), and themes are shedding much more light on this compositional period. sometimes transferred from treble to inner voices, becoming accompaniments to new themes. Dvořák returns, in the The String Quartet in D Major belongs to the afore-mentioned Humoresques, to the short forms in which he usually did his period. It was most probably written before 1870 during the best work at the piano – simple ternary or rondo forms that he time Dvořák was a violist in the Prague opera orchestra. Dvořák enlivens with subtle but telling variations, transitions, and codas was at this time fascinated with Richard Wagner and attempted (he returns to his favourite device of closing with a hint of a to transpose his style into the sphere of chamber music. This secondary theme, in the tonic key), but now, at this mature was also the period of Dvořák’s first attempts at opera (Alfred, stage in his compositional career, he shows a much greater gift Der Konig und der Kohler) and also of the struggle to establish for continuous variation and development of his material. himself as a serious composer. Dvořák brings his American style home in the Humoresques, The inability to maintain an overview of a bubbling melodic back to the forms and proportions with which he was most invention and to weave it into a fitting is evident here, comfortable, albeit with a new wisdom, confidence, and particularly in the beginning and final movements. The fact that assurance. the four-movement piece is over 72 minutes long makes it an Working on the Humoresques obviously inspired Dvořák: he no extreme exception within the frame-work of 19th century sooner completed the set than he began to work on another, in chamber music and unique among Dvořák ‘s chamber August and September of 1894. But he completed only two compositions. The thematic material of his first string quartets pieces, B. 188, before dropping the project. (He soon turned his as well as their rhythms and melodies hardly begin to portray attention to the Cello Concerto in B Minor, Op. 104.) These two the Dvořák of the Ninth Symphony or the Cello Concerto. pieces would prove to be his last works for solo piano, and, save Everything develops more slowly here from a cultivated but a couple of songs and a polka arrangement, were his last works somewhat impersonal musical imagination. to feature the piano in any way. They were published, under the Unusual to this string quartet is his Scherzo movement (Allegro titles “Lullaby” and “Capriccio,” in Berlin. In 1911, as Op. posth. energico) which tells us much of the sympathies and thoughts The second piece, incidentally, was marked only “Allegretto” of the young Dvořák. The musical structure of the entire scherzando; “Capriccio” was a title added by the publisher, with movement is taken from a beginning quotation of a Slavic song, the consent of Dvořák’s former pupil (and son-in-law) Josef Suk, "Hej, Slovane", which is identical with today's Polish national who prepared them for publication. anthem. The piece's concise rhythm and melody is not only a The two pieces maintain the high standards Dvořák set in the musical tribute - it was also, in view of the political situation Humoresques – and, moreover, reflect a return to his Slavonic during the monarchy, a political declaration. This song was roots and away from the American idiom, which he had intoned especially at mass rallies from 1868-69, was often probably exhausted. The evocative harmonic ambiguities in the forbidden to be sung in public by a group and became the “Lullaby,” the subtle transitions and variations of thematic unofficial hymn of the emancipation movement of the Slavic detail in the “Capriccio,” the imagination and technical security peoples in the Austro-Hungarian monarchy. The fact that the demonstrated in both – these suggest what could have been a 28-year-old Dvořák worked just such a song into an almost 15- worthy companion set, a sort of “Slavonic Humoresques.” minute quartet movement helps us to understand the Whatever the reason Dvořák abandoned the idea, he missed – composer's personal standards at this time. regrettably, for us – a last change to contribute a major piano work that returned to his native musical idiom.

Due to its immense duration this work remained unperformed a Kevin Bazzana century long and is today a piece preferred for studio recordings rather than live performances.

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String Quartet in B flat major B17 String Quartet in E major Op. 80

Quartettsatz Zypressen

The quartet compositions by Antonin Dvořák (1841-1904) on Both of the string quartets on this recording have experienced this CD stem from Dvořák’s younger years when he was a violist similar fates: they were both created in an early composition in the Prague opera orchestra. During this period the composer period of Antonin Dvořák (1841 - 1904) and remained hidde sought his artistic orientation and profile. Many works which away in the composer's desk drawer for some time. They both document this rather long and tedious phase of development later came into their own as living, performable compositions are missing today due to a creative crisis during the early 1870's when Dvořák was at the height of his fame. which caused the self-critical Dvořák to destroy many of his scores. The first piece - the String Quartet in E Major Op. 80/27 - was composed in 1876 in a brief period of 16 days, as was usual for This was also the case with the String Quartet in B-flat Major Dvořák. At that time the composer lived through a period of (B/17). Dvořák apparently realized that his neo-romantic, hope and sadness simultaneously. In the previous year he had lengthy invention and extensive treatment of form did not received an Austrian state stipend which helped him greatly to blend well with the subtle sound and dimensions of the string concentrate on composition. His joy at the expansion of his quartet. This reaction is impressive from a composer who later family (he married in 1873) was marred at the loss of all three wrote such glorious string quartet music and showed such of the children born to him and his wife in the first four years of understanding of the typical sound and medium of the string their marriage. Here we find the roots of his first great work - quartet. his Stabat Mater, the sadness of which also permeated all other compositions at this time in his life - as is the case with the E Dvorak, while already having his artistic ideal in sight in those Major Quartet. The four-movement work contains hardly any of early years, must also have been aware of his as yet limited the joyous mood which we know from the composer's middle ability and incomplete compositional handwork. Although the and late compositional periods despite the major tonality of the manuscript score doesn't exist any longer there remain, piece. fortunately, the individual parts. These remained for a time in the archive of the Prague Conservatory until they were used as The harmonically-rich first movement has rather a melancholy a basis for the score edition (1961). The resulting reconstructed tone with many conflicting sections of development. The composition is a four-movement work in the usual sequence of second mov ement (Andante con moto) grows out of two above-average length. The entire work lasts about 50 minutes. melodic thoughts and their juxtaposition to one another; in the The first movement (Allegro ma non troppo) has a diverse form first theme the third of the dominant oscillates between major stemming from a quietly singing, imitatively worked out main and minor - a harmonic preference of the composer which, theme and moves in long, tectonic lines. The cantabile lyricism nearly 20 years later, became the hallmark of his "American is predominant in the second movement (Largo) as well, the style". The scherzo movement sounds more aggressive than theme of which may be found in Dvořák 's later symphonic joyous; the exciting, conflict-laden development culminates works. The Scherzo in 6/8 meter (Allegro con brio) alternates however in the final movement in its rich, dynamic form. imitatively-developed phrases with more dynamic, culminative Initially the work was assigned the opus number 27 and sections of sixteenth-notes. The lengthy fourth movement remained unperformed. Twelve years later the at this time (Andante - Allegro giusto - Allegro con fuoco) repeatedly quotes world-famous composer gave the piece to his publisher, (and always modifies) the main theme from the first movement Simrock, with the much higher (and therefore more thereby supporting the piece's continuity (necessary in a piece marketable) opus number 80. Two years later the Joachim of this length!) - a principle used again Dvořák 's later Quartet played the world premiere of the piece in Berlin in compositional period. 1890.

The piece which appears here as Andante Appassionato had a "The Cypresses" enjoyed a still more colourful destiny. This similarly complicated history. Originally it was a section from piece, one of the composer's first works, was composed as a the A minor op. 12 String Quartet composed in the crisis year of song cycle in 1865. The 24-year old wrote the 18 songs as his 1873. It wasn't long before Dvořák had revised and recomposed first vocal composition, apparently inspired by the personal the piece twice in a row. His struggle with form is evident in this charm of his l6-year-old piano student, Josefina Cermakova. work. The neoromantic, one-movement "attacca" form was Although she did not return his affection, Josefina (who later exchanged for individual movements at the first revision and became a star dramatic actress in Prague and later the Countess then was clearly reconstructed in the second (unfinished) revision, deleting large sections of music. From these sections Kounic) remained Dvorak's protectress and close friend her life the editors of the Critical Music Publication (Editio Supraphon, long. In fact, Dvořák married her younger sister 8 years after the 1982) salvaged the three-part form, separating it from the form creation of "The Cypresses". The news of Josefina's death system that followed and adding a short, pianissimo ending. reached Dvorak in New York causing him to insert a quotation Thanks to its melodic richness and distinctive sound this from one of his earlier songs in the last movement of his cello reconstructed piece proves its musical value on this recording. concerto.

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The musical substance of his first songs were dear to the was increasing at this time and his chamber music was being composer. We find their quotations directly or in free form in played more often in Vienna) upon a request for a new work for later vocal cycles as well as in his operas. In 1887 Dvorak the Hellmesberger Quartet. At the same time Dvořák was busy referred once more to the original song cycle and adapted 12 of working on his opera "Dimitrij". After composing a beginning the 18 songs for string quartet. Although the vocal character of movement in F Major Dvořák dropped this nearly-completed this musical basis was maintained, it was also enriched through sketch and composed an entirely new piece - his Quartet in C the mature composer's diverse quartet technique. Major, Op. 51 – considered to be his most famous, most mature and most often performed quartet work. Why the F Major The publisher Simrock did not share Dvořák 's enthusiasm for movement was discarded we can only speculate. Dvořák these pieces and so they remained unpublished but not probably found the idyllic, unproblematical, "singing" unperformed. The manuscript, which was lost over the years, atmosphere of the F Major not to be serious or meaningful was rediscovered after World War I when Dvořák 's student and enough for such an important, representative work. In any case, son-in-law, Josef Suk, revised 10 of the 12 pieces. Contemporary this incompleted quartet, of which only minor details were performers however prefer to use the original work. supplemented analogously by editor Jarmil Burghauser, may stand alone as a unique and independent composition.

CD29 CD30 String Quartet in E minor Op.l0 String Quartet in F minor Op. 9 Quartettsatz in F major String Quartet in A minor Op. 12 Two of the string quartets on this recording are the least-well- known of those Composed by Antonin Dvořák (1841-1904). The year 1873 was rich in momentous events for the 32 year old They form however an interesting andimportant picture of the Antonin Dvořák, events which from several points of view composer's early musical development. They are both early undamentally changed his life and gave It new impulses and works, the e-minor having been composed while Dvořák was perspectives. Dvořák had become a free-lance composer three still an unknown member of the theatre orchestra in Prague. At years earlier and was now beginning to enjoy his first major this time he played most of the repertoire contemporary to that successes as a composer. Prague's Interim Theater opened its time: Rossini, Gounod, the Slavic composers such as Glinka and doors to the young artist after the success of his cantata Moniuszko. An especially strong influence on the composer was "Hymn" and the Nocturno for orchestra "May Night". The great the music and the personal appearance of Richard Wagner, Bedhch Smetana, who was then the director of this theatre, under whose direction Dvořák played viola in 1863. Dvořák decided to stage Dvorak's opera "King and Charcoal Burner". enthusiasm for Wagner may be noted in his early compositional The year 1873 was also a happy one in his private life as well, period. The dimensions of the Wagnerian sound originally found for in November he married Anna Cermakova, the sister of the in the operas and symphonies did not, however, carry over famous Prague actress Josefina Cermakova, and became a successfully into the realm of chamber music. The subtle sound father for the first time in 1874. medium of the string quartet doesn't mix well with long musical lines full of tension and escalation, especially here where the But the continuation of the story shows that this period was by entire three-movement work is to be played "attacca" or no meanscloudless. The opera was withdrawn from the uninterruptedly. The first and last movements of this work production schedule after only a few rehearsals, where upon (which remain only in handwritten parts dated 1870) are Dvořák revised it thoroughly from beginning to end. The two especially problematic. The middle movement (Andante string quartets recorded here, which were written in fall 1873, religioso) brings with it a strange oasis of calm - a slow, very also shared the fate of the preceding quartets: they remained introverted meditation develops over an "unending" pedal unperformed. point F-sharp in the violin cello, creating a new and effective mode of expression for the composer. This movement was not Dvořák composed the Quartet in F minor Op. 9 in September. It destroyed by the self-critical Dvořák as many others of his early is an expansive piece in the traditional four-movement form. scores were. Instead, the composer rearranged the movement With its sharp profiles and stunning contrasts, the first five years later for string quintet, using it in his String Quintet in movement (Moderato, Allegro con brio) unfolds a wide range of G Major. He also used the movement eight years after this in moods and confirms the composer's sure hand in writing for a 1883 in two different versions under the same title of Noctumo chamber group. The second movement (Andante con moto in B Major published by Bote & Bock; one version being for quasi allegretto) is a long flowing cantilena, whose song is string orchestra and the other for violin and piano. The dominated by the first violin. After Dvořák could find no one to composer's repeated returns to this movement in composition perform his quartet, he saved the emotionally profound piece (the reminiscence of which, incidentally, is heard just before the by transforming it into the Romance in F minor for violin and end of the e-minor Quartet) speaks for its success as a musical piano (or orchestra), which then became a beloved concert statement. piece among violinists: "Tempo di valse", the third movement, impressively contrasts the dramatic, throughcomposed waltz The other quartet composition on this recording - the Quartet sections with the middle section in 2/4 time, which conjures up Movement in F Major - also belongs to the works abandoned by the idyll of Bohemian country life we know so well from the the composer. It was begun in 1880 (interest in the composer works of the master's middle and late creative phases. The last 20 95100 Dvorak Edition

movement (Allegro molto) is strangely unconventional in classical formal models he had acquired during his training, but texture and sound structure, albeit dramatic and defiant in its he used these forms in an increasingly expansive manner. The basic mood. This movement, seething with conflicting emotions excess pressure of spontaneous invention and ever growing and will power, was probably at the source of the musicians' emotional tension caused his classically laid-out formal designs rejection of the piece. They claimed that "it was no suited well to expand into lengthy, cumulatively constructed movements. enough to the strings."’ Opus 2 illustrates an early stage of this process.

After completing Opus 9, Dvořák immediately composed the Dvořák radically revised this early work in 1887, about 25 years String Quartet in A minor Op. 12, which he finished on 5 after having written it. Among other things, he made many cuts December 1873. The fate of this work was still more in the score, which resulted in substantial abridgements, chiefly disconcerting than that of its fellow piece. Reflecting the neo- in the inner progression of the development sections. The work Romantic outlook of his time, Dvořák originally wanted to burst became tauter and more concentrated, which was an the traditional formal quartet pattem by creating a through- undeniably positive result; however, the cuts also occasionally composed, "attacca" five-movement cycle whose coherence disturb the immanent logic of the harmonic progressions and and differentiation would be assured by vast tectonic arches. formal development. Shortly after completing the manuscript, however, Dvořák subjected the work to a fundamental revision and cast it in the The first movement (Andante-Allegro) opens with a slow more common form of five self-contained movements. A introduction before the sonata form proper begins to unfold. Its further revision made at a later date was more radical yet: main theme was to reappear about three years later in a Dvořák changed the order of the movements and replaced modified form as the secondary theme of the Violoncello entire sections with new pieces. Unfortunately, Dvorak got Concerto in A major. The second movement (Andante affetuoso stuck on his work, and left this second revision incomplete. The ed appassionato) presents a sweeping arch form held in balance four-movement version performed here is the result of by a vigorous emotional tension. The most interesting thing painstaking, detective-like editorial work, and probably comes about the subsequent Scherzo is its harmonically the closest to realizing the composer's intent. unconventional Trio. The final movement is again in sonata form. Before its final stretta, it interweaves another The first movement (Allegro ma non troppo) presents a broad, reminiscence of the slow introduction from the first movement almost symphonic layout. A cheerful Scherzo mood dominates - a wonderful way to round off the four-movement cycle! the second movement (Poco allegro), which shows a definite liking for sharp contrasts, especially in the trio section. The third In 1887, the year Dvořák revised his first string quartet, the movement (Poco adagio) anticipates the epic, songlike layout of composer had already achieved international fame for his seven the later cantabile quartets, and the final movement (Allegro symphonies, five operas, oratorios (Saint Ludmilla, The molto), evolves from small dynamic modules into a powerful Spectre's Bride), the Slavonic Dances, the Moravian Duets and stretta. Both works presented here illustrate an early stage of many other works. Despite his international renown, Dvorak Dvořák 's artistic development. It is interesting to note how the remained a very simple and friendly man, as we can see from composer was still searching for the decisive form in which to the story of how the second composition on this recording cast his luxuriant, overflowing melodic ideas, and how he came into being. sought the solution of this formal problem from different perspectives. Nevertheless, both quartets are much more than Two men would regularly meet to play violin duets in the house mere historical documents; they reveal the composer in his where Dvořák lived with his growing family. One was a "Sturm und Drang" period, and convey the lushness of his professional violinist, the other a chemistry student. One day singularly expressive and imaginative music. when Dvorak heard the men playing, he offered to accompany them on his viola and plays trios together. The famous Maestro even went so far as to write a trio for himself and his friends, the Terzetto Op. 74. Since the second violin part proved to be CD31 too difficult for the young student, Dvořák wrote a second, simpler trio, which he then arranged for violin and piano: the String Quartet in A major Op. 2 Romantic Pieces Op. 75.

Terzet in C major Op. 74 The Terzetto Op. 74 is the typical product of a felicitous situation. We can literally feel the inner joy and well-being The collection of complete recordings of Antonin Dvořák string which Dvořák experienced during this period of great personal quartets continues. with the works written at different periods triumphs. The first two, moderately fast movements are linked of his creative career. Dvořák (1841 - 1904) composed the String together "attacca"; the third movement is a typically Dvorakian Quartet in A major Op. 2 at the age of 21. Though young in Scherzo with a folk-song-like Trio. The final movement is built years, he had long since completed his phenomenally short on a theme with a series of characteristic variations and a training of two years at the Prague Organists' School, had been powerful stretta. Despite its rather simple technical demands, playing for almost two years already in the string section of the Terzetto Op. 74 provides aneloquent example of Dvořák 's Karel Komzak's Prague Ensemble ("Prager Kapelle"), and had musicianship and spontaneous inventiveness, of his warmth already tried his hand at large, demanding chamber music and love of life. works (his Opus 1 was a String Quintet in A minor, written a few months previously). The young composer based his works on the 21 95100 Dvorak Edition

CD32 4 from D flat major to D major, a more pleasing key for stringed instruments. String Quartet in C major Op. 61

Two Waltzes CD33 Both the string quartet compositions Op. 16 and Op. 54 were composed at the beginning of the 1880's. Forty years old at the String Quartet in D minor Op. 34 time, Antonin Dvořák (1841-1904) had already experienced his first decisive successes as a composer. String Quartet in A minor Op. 16

An Austrian state scholarship had made possible his release Dvořák (1841 – 1904) composed the two string quartets from his work as an orchestra musician, in order to devote all midway through his creative period, for the composer an this time to composing. The great successes of the first of a extremely critical phase. A devout man with strong belief in series of Slavonic Dances published by Simrock brought him stability of the family, Dvořák was experiencing a crisis following immediate recognition and provided the impetus for his rapid the deaths of two still young children; also during that time rise to become a respected and soughtafter star composer certain factors which were to have a very important influence worldwide. But Dvořák was a modest and self-critical man, who on his career as a composer were taking place: namely, the rode out his sudden fame without illusions. The String Quartet prospect of an Austrian state scholarship which would enable in C major Op. 61 is a particularly good indication of this; his release from daily orchestral duties, the beginning of his although Simrock's publications of the successful "Slavonic friendship with Johannes Brahms, whose recommendations period" were selling well, Dvořák sensed that his "workshop" opened the way to further important contacts and was in need of further refinement and that attention should be advancement and, above all, his first contact with the publisher given to improving consistency of form, precision and quality of Simrock, whose publication of compositions from the "Slavonic themes as well as concentrated development of texture. period" was to bring fame to Dvořák worlwide.

In this composition written in autumn in 1881 within two weeks The String Quartet in E minor Op. 34 emerged in November during work on his opera Dimitrij, and in contrast to the 1877, during this critical period, between Stabat Mater and the previous uncomplicated and cheerfully singing "Slavonics", first of the Slavonic Dances. This work, as usual composed very Dvořák strove to work as "classically" as possible without any quickly - injust twelve days - is dedicated to Johannes Brahms. intended ties to the melodic archetypal Czech (and Slavonic) The musical character of this work in D minor is appropriate to folk music, rather a more self-controlled endeavour towards the composer's mood at the time - only three months had moderation of expression, distinct form and ingenious passed since the tragic loss of his children - which can be sensed development of theme. Not unjustly, Dvořák 's composition in his disquieting cantabile directly in the first movement. The technique in the String Quartet Op. 61 is often referred to as inner kinetic continuity of the three themes of this movement having a Beethoven character. are technically fascinating. The second is a liberating scherzo movement (alia polka) with a foretaste of the "Slavonic period" This is underscored in the initial stages of the first movement, to come. The third movement is essentially the emotional with its solid execution and versatile development of the main centre of the work. A musically rich, muted tone, pizzicati and theme. However, the harmony of style clearly betrays Dvořák 's high register from the first violin express a deeply hurt and "middle" phase, and not only in the major-minor oscillation of unhappy soul. The final movement is opened energetically with the main theme. The effective second movement brings a broad a strongly rhythmic 6/8 main theme which draws the entire cantilena, a fervent, spiritualized singing and ends with a long work back towards a positive outlook. Before the finish, the and interesting chromatic coda. The scherzo movement music flows through a short recapitulation of all three themes in contains strong classical lines, revealing captivatingly elaborate the movement, a style which reappears conspicuously much moments during the middle part. In comparison, the last later in the finale of the 9th Symphony "From the New world". movement is quite generously furnished and embellished with a varied network of related themes and transformations. An The String Quartet in A minor Op. 16 was composed about effective stretto concludes this work of concentrated detailing three years earlier, also in an amazingly short time of ten days. and self-discipline, a work, however, in no way deprived of This work was the first score Dvořák saw in printed form, also spontaneity and intense musicality. the first of his string quartets to be performed, although it was already his ninth. Here the 33-year-old composer had displayed Since the 60s of the 19th century, the structure of a rather surprising asceticism compared with the luxuriant, Czechoslovakian society has experienced considerable unrestrained scores of earlier string quartets, when his rich and development, in which its musical artists (since Smetana) have colourfully effervescent fantasy still triumphed over his played a not unimportant part. The Waltzes Op. 54 were command of the form, resulting in extended and disparate composed by Dvořák for the turn of the year 1879/80 for a inner structures. Here Dvořák sought confrontation with his social occasion. The arrangement for piano, comprising a total problem, and the outcome was a work reduced to a minimum: of eight waltzes in various keys, soon became so popular that no third theme in the first movement, no counterpoint Dvořák later decided to arrange two of them, Nos. I and 4, for arrangement and a clearly definable structure. the string quartet, whereby he transposed Waltz No.

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Fortunately, the cantabile so typical of Dvořák was retained. works and operas) and also the last work which he was begun in One could even maintain that the inner premises of the tonal New York and finished, even interrupted by a visit in Vienna, in language clearly contributed to the composer's method of two December weeks in Prague. It is the work of a mature expression. In the second movement he achieves an effective master who just before had perfected his world famous cello combination of tranquillity and excitement, which seem to concerto. combat one another. The lightly springing but dramatic scherzo already shows signs of the characteristics of the author's more The first movement starts with a slow introduction out of which mature language with hints of later scherzi in his symphonies. the main theme, its melodic nucleus, leads into a flying form full The final movement, with its broad flow and intense expression of temperament. The second movement, a masterpiece itself, seems almost orchestral. With the Opus 16, Dvořák marked a bears close resemblance in its brilliancy, fligpt and form to the turning point in his quartet composition and opened the door scherzo of the great symphonies. for himself and the listener to the works of a more mature period, those of the "true" Dvořák. A long-winded, slow movement tells about the composer's feelings of happiness and thankfulness while returning to his homeland. The final movement is the longest of the work. Full of contrasting expressions and with its complicated form this CD34 documents the typical handwriting of his late work period. The main point of the whole work, like in his late symphonies, can String Quartet in E flat major Op. 51 “Slavonic" be found in this movement, which is not only the result of the chosen tempo and the brilliancy but also of the thematical String Quartet in A flat major Op. 105 structure itself.

Among the numerous chamber music works by Antonin Dvořák there exist not less than 14 string quartets (11 with an opus number) and two more compositions for quartet called "Two CD35 Waltzes and Cypresses". For many years Dvořák was engaged as a viola player in Prague orchestras, until a magnificent String Quartet in F major Op. 96 "American" scholarship freed him from this work. String Quartet in G major Op.106 For the world of chamber music, particularly for the string instruments, he had developed a very special sense; his Among the voluminous string quartet work Antonin Dvořák quartets belong to the most exciting works of all his (1841 – 1909) his op.96 in F Major is without doubt the most compositions. In the second half of the 70th he gained at last popular one. This opus was created in 1893 in Spillville, Iowa, international acknowledgement. His "slavic" works (his "Slavic USA where the composer and director of the New York Rhapsodies" and the first part of his "Slavic Dances") – his conservatory spent happy vacations after an exhausting publisher Simrock made a pretty good deal with them - brought schoolyear. him the final success all over the world. His student and secretary, J.H. Kovarik, had recommended this In this time there were still many other scores remaining on his quiet little town in the half Forgotten Midwest to him. There, writing desk and waiting to be published, among them his surrounded by a beautiful nature and a big colony of Czech famous "Stabat Mater", the first 5 Symphonies and 5 Operas. compatriots, Dvořák was feeling very smooth. In only three days he sketched a new Quartet work that he finished after 13 more The String quartet Eb-Major op. 51 was written in the years days as a final copy partitur. On the last page he wrote down: 1878-79, after the immense success of his slavic inspired works “Thank God! I am content. It went fast”. Not only di dit go fast and had been ordered to be written in exactly this style. Dvořák but also masterly. Dvořák who for a number of decades has appears as a master of great security in this genre and soon a struggled in vain for a balance between his voluptuous melodic work was created which is estimated as a masterwork. inventions and a systematic structure created here a masterpiece that bound everything together: an easy going and The main theme of the first movement develops very at the same time emotional invention with a convincing course uncommonly from a harmonious rhythmical complexus. The of the pattern, integrating elements of American folk music into demanded slavic character is shown at its best with its his highly developed composition style and penetrated by hot contrasting parts in the second movement (Dumka-Elegia). The and overflowing inspiration. Romanza, a very pretentious to play, but in its expression pensive movement, is a masterly work of a romantic and As typically "American elements" in this opus have to be intimate lyrical nature. The final movement contains plenty of considered above all the pentatonic forming of the thematic joy and spontaneous musicality, its brilliant texture reminiscent material and the melodically accentuated third and seventh of Czech dancing forms, looking forward to later works like the note of the Minor Scale in the famous Lento movement - typical final movement of the "American" quartet op. 96. The Quartet of melodical expressions of the Blues. Ab-Major op. 105 is antipodal in time: it is Dvořák’s last chamber music work (in the ultimate nine years of his life the composer was only occupied with symphonic

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In the brilliant third movement a "speciality of Spillville" comes American compositions written in Iowa between June and up yet: In the first violin sounds in the upper position the "quasi August of 1893. At that time, Dvořák had made contact with the citation" of a bird's singing that Dvorak had heard there during local Indians and was trying to use native Indian music in his one of his morning walks. A beautifully structured finale crowns compositions just as he had integrated Bohemian folk melodies this opus of fortunate inspiration. into earlier works. Despite this, there is little specifically Indian in the work other than the G minor theme of the opening The quartet in G Major op. 106 was created only 2 years later in movement, although some commentators have tried to find 1895 upon his return from America. In the meantime he had local influences in other parts of the work. Unlike the earlier composed other chamber music pieces: The string quartet in E Quintet, this piece is in a standard four movement form with an sharp Major, the sonatina op. 100 for violin and piano, the suite opening Allegro followed by a Scherzo notable for a rather in A Major and, of course, the famous Cello Concerto in B mournful theme and certain reminiscences of his compatriot Minor. All his living and working experience seems to have Smetana. The highlight of the Quintet is the noble theme and enriched and developed his musical handwriting: The' Works variations that makes up the Larghetto third movement and the are more complex in structure, more coloured in sound and work is finally rounded off by a typical Allegro concluding richer in the nuances of expression afters his definite return. movement. This is already obvious in his last two pieces of chamber music, the consecutive quartets op. 105 and 106, but most of all in the following symphonic poems and operas - Rusalka for instance.

The very beginning of the first movement of op. 106 presents a new world of sound. The airy coloured theme in both violins starts the opus in a poetic and phantastic way and together with the singing secondary theme tells of the quiet joy of the composer's coming home. The scherzo - similar to that of op. 105 - is of apparent symphonic gestures.

Here the otherwise almost disappeared "American" melody reminiscences can be heard. The finale is again the longest and in structure most complicated movement not only reflecting emotions of spontaneous joy but as well expressing much more different states of mind which get resolves after a long and contrasting argument. The happily returned and already world famous Dvořák created this opus of almost 40 minutes in only four weeks besides his pedagogic and organizational activities.

Dr. Milan Slavicky

CD 36

Shortly before completing his G major string quintet, Dvořák had written the opera “The Dogheads”, his fourth operatic works within a period of five years, although none of those early stage works hold a place in today’s repertory. The Quintet is almost a resting point between that early rush of operatic composition and the following period which was to see the composition of the opera “Vanda” and the justly popular Stabat Mater. The G major Quintet was originally given the opus number 18 but later re-assigned to the more appropriate Opus 77. It is a five movement work beginning with a conventional sonata form opening movement marked Allegro con fuoco and is based on the contrast of two separate ideas, operatic almost in character. Dvořák’s inclusion of the following Intermezzo (Andante religioso) sets the pattern of a series of contrasting fast/slow movements. The Intermezzo was also to appear as a separate movement - the Notturno Opus 40 for strings. The following Scherzo is a typically Slavic inspiration suggesting almost the music of Janacek in the near future. The following Andante takes on the nature of a passacaglia whilst the final Allegro assai returns to the mood of the opening movement. Some twenty years separate the G major Quintet from its successor, the Quintet in E flat (Opus 97), one of Dvořák’s 24 95100 Dvorak Edition

CD 37

MORAVIAN DUETS

(Texts: from a collection of Moravian folk poems, compiled by Frantiek Suil)

Four Duets, op. 20 (B 50)

Ty se ze mne nûvysmivej, z chudobnej a já budu lítat pod vysok˘m nebem. siroty, 1. Promûny A já chovám doma takové havrany, choè ja nûmam Ïadnych penûz, ani Darmo se ty tráp muj mil syneãku, Ïadne aty. co mnû vychytajú kde jaké holuby! nenosím já tebe, nenosím v srdeãku, Jenom ten vínek zeleny, kery mam na A já se udûlám tú velikú vranú, hlavû, a já tvoja nebudu ani jednu hodinu. a já ti uletím na uherskú stranu. a ten jeden uraneãek, kery mam na Copak sobû myslí, má milá panenko, sobû. A já chovám doma takovútu kuu, dyè si ty to moje rozmilé srdenko, 4. Vufie ohaj, vufie co ona vystfielí vechnûm vranám duu. a ty musí, musí b˘t má, A já se udûlám hvûzdiãkú na nebi, lebo mi tû Pán Buh dá. Vufie ohaj, vufie v zelen˘m hóhofie, a já budu lidem svítiti na zemi.

2. Rozlouãení Pohání koníãka po hedbávné Àúfie. A sú u nás doma takoví hvûzdáfii,

Zatoã se mnû, galaneãko, na dobró Ta Àúra hedbávná na pole strhaná, co vypoãítajú hvûzdiãky na nebi. noc do kola! Nevûfi, milá nevûfi, ak je láska planá. A ty pfiec bude má, A já se ti nezatoãím, já musím jít do pola. Nevûfi, milá nevûfi, a ak nemá kemo, lebo mi tû pán bûh dá!

Do poleãka irého, nevidût tam uhajek falené pojede na vojno. 6. Veleè, vtáãku Ïádného.

Jenom vtáãka sokolíãka, Pána Boha samého. Debech mûla koàa, sama bech s àém Veleè, vtáãku, veleè pfies te hore, jela, dole, Zatoã sa ty, galaneãko, zatoã sa okolo màa, aspoà bech vidûla, kde bech zahynula. veleè, vtáãku, veleè pfies ten zábrdovské les. jako vtáãek jarabáãek, jako vtáãek A zahynuli já, zahyneme vobá, okolo pàa! Ach, kÏ je mnû moÏná, k tomu vûc jenom nás poloÏte do jedneho hroba. podobná, Udûlej koleãko, moja galaneãko, svm syneãkem, svm syneãkem mluvit bude moja. dnes! Do jedneho hroba, do jedné trohlice, 3. Chudoba A mnû néní moÏná, ani vûc podobná, bodó vo nás plakat bestrcké dûvãice. Ach, co je to za slaviãek, a mnû néní moÏná, daleko sme vod 5. A já ti uplynu sebe!

A já ti uplynu preã po Dunajíãku! Ty mÛÏe mût hinó, já také hiného, co tak pûknû, pûknû zpiva? A já chovám doma takovú udiãku, zapomenem na sebe. Ach, to je mûj najmilejí, co na ní ulovím kde jakú rybiãku. 7. Dyby byla kosa nabróená ze mne se vysmiva. A já se udûlám divok˘m holubem, Dyby byla kosa nabróená,

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dyby byla votava, Vyívá na nûm víneãek, mûj zlat prstnek u mamiãky mej. co by vona drobnó jetelinku, Ïe ju opustil syneãek. U mej matery v truhle zamãen, co by vona upala! Vyívá na nûm z rûÏe kvût, ãervenm jabúãkem

A upaj, upaj drobná jetelinko, Ïe ju opustil cel˘ svût. s milého srdeãkem zapeãacen. co je mnû po tobû, má zlatá panenko, Vyívá na nûm víneãek, … Hraj muziko, hraj, z cicha na Dunaj, co je mnû po tobû, dys ty se mnû 11. Voda a pláã 14. Zelenaj se, zelenaj provdala! Okolo hájiãka teãe tam vodiãka, Zelenaj se, zelenaj, 8. V dobrm sme se seli napoj mnû, panenko, mého koníãka. zelená trávo v lesi. V dobrm sme se seli, Já ho nenapojím, Jak se já mám zelenaè, v dobrm se rozejdem, já se tuze bojím, dy uÏ sem na pokosi? takeli, mûj syneãku, mûj, Ïe jsem maliãká. Zelenaj se, zelenaj, na sebe zapomenem? Pfied naimi okny roste tam olíva, zelená trávo v háju! Já na tû zpomenu, povûz mnû, panenko, kdo k vám Jak se já mám zelenaè, nejednó v roce. chodívá. dy mû uÏ dotínajú? Já na tû, má panenko, K nám Ïádn˘ nechodí, Zelenaj se, zelenaj, zpomenu v kaÏdém kroce. mne se kaÏd˘ bojí, zelen tulipáne! 9. Slavíkovsk poleãko mal Ïe jsem chudobná. Jak se já mám zelena`wè, Slavíkovsk poleãko mal, Pfied naimi okny roste z rûÏe kvût. dy mnû uÏ listí vjadne? nebudeme, syneãku, svoji, povûz mnû, panenko, proã tû mrzí svût? DyÏ ty mnû chce opustiè, nebudeme, nebudeme, néní to moÏná, Mne svût nic nemrzí, mûj varn galáne. ani nám to, mûj syneãku, tvá mama nedá. mne srdenko bolí, Podivaj se, má milá,

Co pak je nám po naé mamû, plakala bych hned. tam na tu suchú plánku! naa mama nama nevládne. 12. Skromná Jesli se rozzelená,

Jenom ty mû, má panenko, jenom ty Krásná moja milá jako rozmarna, bude mojú galankú. mû chcej, moja galanenka jako fialenka. Podivaj se, má milá, jenom ty mnû na dobró noc ruãenky podej. Nejsem rozmarna, nejsem já fialka, tam na tu suchú jedlu!

10. Holub na javofie ale jsem galanka várného ohajka. Jesli se rozzelená,

Letûl holúbek na pole, 13. Prsten teprem si tebe vezmu. aby nazobal své vole. Hraj muziko, hraj, z cicha na Dunaj, UÏ sem já se dívala,

Jak své volátko nazobal, budem sa ubírat na milého kraj. ja, vãera odpoledÀa. pod jaboreãkem posedal. A vy, formané, irujte konû, Zatrápená ta jedla,

Pod jaboreãkem má milá a vy, druÏbové, sedajte na nû! dyÏ se nic nezelená! zelen átek vyívá. Ztracila sem vínek, UÏ sem já se dívala

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vãera, ba i dneska, lo dûvãe na travu, na luãku zelenu. 20. Jablko ja, uÏ se tam zelená, Nûmohlo ji naÏáè pro rosu studenu. Sviè mûsíãku, vysoko, aÏ já povandruju, ve vrku halúzka! Po luãce chodilo, Ïalostnû plakalo. aby milá vidûla, keró cestó pûdu!

15. Zajatá Nadelo tam ípek, na tym ipku kvitek. Pûduli tó vrchàéí a nebo spodàéí,

Îalo dûvãe, Ïalo trávu, Kvitku, mil kvitku, já tebe utrhnu. bude plakat, nafiíkat moja némiléí. nedaleko vinohradu. Nûtrhaj mne v zimû, moja krasa zhynû. Kólelo se, kólelo ãervené jabliãko,

Pán sa na Àu z okna dívá, Nûtrhaj mne v letû, dy sluneãko peãe. nemohlo se dokólet k mé mile na lûÏko. on si na Àu rukú k˘vá. Utrhni mne z jara, moja krasa stala. A kdyÏ se dokólelo, odpoveì jí dalo: iruj, koãí, iruj konû, 18. Îivot vojensk s Pánem Bohem tu bévé, moja milá pojedeme v ãiré pole. Pod hájiãkem zelená sa oves, panno.

âiré pole projíÏdÏali, neco ty mnû, mûj syneãku, povûz! 21. Vûneãek aÏ sa k dûvãati dostali. Povím já tobû neco nového, Jidú Ïenci z rolí, pfiikrvajte stoly,

Daj nám, dûvãe, daj nám záloh, Ïe pojedem do pola ãirého. stoly jaborové, uÏiãky klenové.

Ïes na panském trávu Ïalo! Co tam bude, mûj syneãku jídaè? Kdo mnû pro nû pûjde, ten mûj mil bude. Dávala jim svú plachtiãku, Chléb komisní vodiãkú zapíjaè. el mnû pro nû synek, bylo mu Pán ju pojal za ruãiãku: Kde tam bude, mûj syneãku, léhaè? Martinek,

UÏ si, dûvãe, uÏ si moje, V polu léhaè, zbrojú sa pfiikrvaè. já sem mu slúbila svûj zelen vínek. líbí sa mnû líãko tvoje, Pozdrav mi ju, kamaráde bratfie, Vínku mûj, vínku mûj, co ti mám udûlat? Tobû moje a mnû tvoje, aè ona o mne uÏ vûc neplaãe. Mámli èa opustit? A lebo èa nechat? líbijá sa nám oboje. Pozdrav mi ju, aby neplakala, Má panenko krásná, nestrhaj mia z 16. Neveta aby na mne tfii leta ãekala. jasna,

Hájiãku zelen˘, kdo Èa hájit bude? Za tfii leta, aÏ já z vojny pfiidu, trhaj mia na podzim, aÏ sa já zhotovím!

Myslivca zabili, hajného nebude. potom si ju za Ïeniãku vezmu. 22. Hofie

Hájiãku zelen˘, uÏ sem èa dohájil, 19. MoÏnost Zrálo jabko, zrálo, jak dozrálo, spadlo, galaneãko moja, uÏ sem k vám Zakukala zezulenka sedàa na bofie, Ïe moje srdenko, do Ïalosti vpadlo. dochodil. zaplakala má panenka choìa po dvofie. Ne tak do Ïalosti, do velkého hofie, Hájiãku zelen, kdo Èa hájit bude? Ja co plaãe a nafiíká, dyè ty bude má, Ïe moje srdenko, noÏem krájaÈ moÏe. Galaneãko moja, kdo k vám chodit bude? aÏ zezulka na vánoce tfiikrát zakuká! Ne tak noÏem krájaè ale pilú fiezaè,

Eãe sú hájíci, co mia hájívali; Jak pak bych já neplakala, ak nebudu dyè tebe nemoÏu, mûj syneãku, tvá, dostaè. eãe sú pacholci, co k nám chodívali. dyè zezulka na vánoce nikdá nekuká! 23. Na tej naej stfiee (B 118) Eãe sú hájíci, co mia hájít budú, Pán Bûh mocné, Pán Bûh dobré, on to (Text: Moravian folk poem) eãe sú pacholci, co k nám chodit budú. mûÏe dát, Na tej naej stfiee latoveãka nese. 17. ípek Îe zezulka na vánoce mûÏe zakukát!

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Jide k nám ohajek, volaco mnû nese. Dance in circles ’round me, dance with maidens from a nearby village there me, my lassie, will mourn us. Nese on mnû nese áteãek hedbávn, mine thou shalt be. 5. Where Danube’s waters flow, far a já mu pfiichystám rozmarn zelen. will I from thee go! 3. The Silken Band 24. Dûtská píseà (B 113) In my home I have a rod with bait Is it not the nightingale bird, alluring, (Text: poem by ·tûpán Baãkora) singing sweetly, all delighting? all that swims the water fast for me Nemohu nic dáti vázaného tobû, securing. Nay, it is my darling sweetheart, mohu jenom pfiáti sám co pfieje sobû. Changed into a wild dove, yonder shalt laughing at my sighting. thou meet me, Srdce mé tlukoucí chová lásku vroucí, Thou shalt not be me deriding, me, an I shall roam in freedom, high in air I’ll stále vypravuje, jak tebe miluje. orphan pover, greet thee.

To srdéãko moje, aã je dávno tvoje, that I do not have a dowry, no fine In my home there ranges dusk of dress for cover. plume, a raven, daruju ti k svátku na vûãnou památku. Just this maiden’s ring of flowers, he can chase all doves that fill the English Sungtexts that’s my head adorning, sunny heaven!

1. Destined and this silken band I’m wearing, is my Or as a falcon grey, far will I fly away, sole belonging. Vain all thy moaning, believe me, fond past the gates of morning, where the lover mine, stars are burning. my heart is not for thee, far it must be I have bow and arrow, every heart from thine, affighteth, 4. The Last Wish nay, I won’t belong to thee, not a surely falls destruction where its shaft single hour, trust me. Plows a gallant, plowing by the forest alighteth. border, Thou dearest maiden mine, fear no Yonder as a starlet I will shine in more pain or smart, and he drives his horses with a silken splendor, order. thou art so dear to me, thou art my over all Earth’s people shed my dearest heart. But the reign is broken, wrecks the radiance tender. plow into twain, Mine eternally must thou be, In my home there dwell who gauge the Trust me, dearest maiden, thus thy heav’nly spaces, consecrate of God to me. love may be vain. they who know of each star the 2. Parting Think not, dearest maiden, joy from appointed places. pain to sever, Dance around me, fairest maiden, Flee me would be in vain, through the night until the day! erelong may thy lover part from thee for ever. as God self will join us twain! I’ve today no time for dancing, I must to the field away. If I would have wings, I would be with 6. Speed Thee, Birdie him flying, I must to the meadow go, no one there Speed thee, birdie, fly across the to see or know, at least I would witness, where I would distant mountain, be dying. nothing but a falcon bird, sent from speed thee, birdie, fly across the God, to guide and herd. And if I shall perish, we shall have one wooded vale beyond. pillow, Dance around me, dearest maiden, I would be enchanted if I would be dance one more round, I bid thee, bury us together by the weeping granted willow. like a birdling, lightly, freely, like a with my sweetheart to exchange a hawk around a tree. Joined inside our tomb, in one of greeting fond! graveyard’s corners 28 95100 Dvorak Edition

I must bide in sorrow, there is no soon she will look on us relenting. and my share is sadness, bright morrow, But wilt thou, my heart’s delight, for teardrops would I shed. I must bide in sorrow, we must far aye to me be true? asunder stray! 12. The Modest Maiden Here’s my hand, good night my dear, Shall I once forget thee, wilt thou not and may we never rue. Sweeter than the violet is my comely regret me, maiden, 10. Forsaken and remember me for aye? with the rose’s blushes are her fair To the field hath a pigeon flown, cheeks laden. 7. The Slighted Heart from the alder he makes his moan. Nay, I’m not like violets, nor roses Sharpened is my scythe and fit for thorn-laden, mowing, Doth he await his tender mate, of one handsome gallant I am but the for the grass is waving high, doth he lament his lonely fate? maiden.

I will brave the rain and wind that’s Lo, yonder sits my maiden fair, 13. The Ring blowing, she sews a kerchief fine and rare. Let the music play, joyous roundelay! not stay here to mourn and sigh! Deftly she sews on it a ring, Where our love is dwelling shall we Grass, green and growing, thee I shall make our way. be mowing, why doth she weep and softly sing? Bring our trusty steeds straight before How, my dear, I cherished what your Why doth she broider roses twain, the door, love was showing, will her true love not come again? and ye courteous guests, do ye ride but your love has perished, like a river before! running dry! Deftly she sews on it a ring, … From me is asunder, 8. Parting without Sorrow 11. Sad of Heart by my mother yonder, my maid’s Gaily as I met thee, By the grove a brooklet flows in leafy golden ring. shade, let us part tomorrow, By my mother dear, in the oaken Wilt thou water my exhausted steed, press. Fear not that I would forget thee, dear maid? with my love’s heart hidden, there’s no cause for thy sorrow. Nay, your steed is all wild, sealed with rosy ribbons in a small Thee will I remember, I am such a small child, recess. not just once a year. that I am afraid. Let the music play, joyous roundelay!

With every single footstep, There’s an olive tree that half conceals 14. Omens our door, thee I remember, my dear. Thrive and grow, thou comely grass, maiden, surely thou hast lovers in 9. Pledge of Love galore. thrive on the sunny meadow!

Dost thou see the stars shining Lovers do not come here, Nay, the scythe shall mow me down, yonder? for me they do all fear, ere on it falls the shadow. Thus are we and joy asunder, that I am so poor. Thrive and grow, thou comely grass, never shall we share a golden future, thou and I, Right before our windows, beds of where yonder oaks are bending! roses spread, for thy mother, oh my sweetheart, How then shall I thrive and grow, looks with frowning eye. tell me, fairest maiden, why art thou so sad? with my sad doom impending? Nay, our mother, if not yet consenting, Far from me is gladness, Tulip green, in beauty grow,

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all other flowers vanquish! fast the lord her hand encloses: When spring and summer meet, then are roses most sweet. How shall I my beauty show, I must keep thee in my capture, 18. The Soldier’s Farewell when my leafs fade and languish? for thy cheeks hold me in rapture. Green are oats beneath the woodland Handsome gallant mine, I beg, It shall never more repent us growing, leave me not in anguish. that in one true love hath blent us. tell me, lad, what I would not be knowing! Now behold, my maiden dear, 16. Comfort News have I for thee which bears no how wilding yon is blighted! Thou forest green and free, who will hiding, tend after thee? When its leaves are green again, that into the fields I’ll soon be riding. Thy keeper gone for aye, I too must far then shall our troth be plighted. away. Tell me, dearest, what shalt thou be needing? Now behold, my maiden dear, Fair woodland green and dear, I finished guarding here, On dry bread and water I’ll be feeding. yon fir-tree fading lonely! My maiden fond and true, will thee thy Where wilt thou be sleeping in the When it shall be green and fair, lover rue? cold night? then shalt thou be mine only. Thou forest dark and green, by whom Covered with my armor in the shalt thou be seen? starlight. Yesternight I looked around, My maiden dear and fair, will no one Send my maid a blessing, brother when the full moon was beaming. guard thee there? comrade,

And I marked the fir-tree there, When I am far from thee, shalt thou let her for me not another tear shed. remember me? but no leaf yet was gleaming! Tell my love, to keep her tears from And shalt thou guard my name from burning, I went forth at dawn of day, stern reproach and blame? she shall be rewarded for her yearning. where the rosebuds cluster, There are still woodkeepers who will keep watch on me, Three years from now shall I leave the red they shone on dewy spray, army, there are some handsome lads, who bright in morning’s luster! will come, me to see. then I shall come and my wife she shall 15. The Maid Imprisoned be. 17. The Wild Rose Lo, a maiden grass is mowing, 19. Hoping in Vain Forth went a comely lass, mowing the that is by the vineyard growing. autumn grass. Plaints a birdling mournful singing, in pinewoods hiding, And the landlord, from his tower, Heavy it was with dew, and sore her small hands grew. in the courtyard mourns my maiden, sees the maiden, beckons to her. comfort abiding. Over the field she sped, sorrowful Bring my steed with harness laden, tears she shed. Whereto weepst thou, wherefore mournst thou? Thou art mine erelong, I must ride to yonder maiden. Nearby the leafy wood a blooming rosebud stood. when at Christmastide the cuckoo Straight the lord rides to the maiden, sings its cuckoo song. Oh flower fair and fine, thou shalt for and her cart with fresh grass laden. aye be mine. How then shall I not be mourning? How shall I be thine, Give me pledge of thy returning, Nay, do not pluck a rose, threatened by winter’s snows. as at Christmastide the cuckoo ne’er far from me thou shalt not journey! sings its song fine? While summer’s sun’s aflame, leave She gives her kerchief with roses, her on thorny stem.

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God almighty, God all knowing, if he As the apple ripened, from its branch will, shall grant was grounded, that at Christmastide the cuckoo sing my poor heart has been with grief and its cuckoo chant! pain surrounded.

20. Greeting from Afar Not alone is sorrow, but great anguish drawing, Shineth brightly, guiding star, on my wand’ring hover, ever, without ceasing at my poor heart gnawing. that my sweetheart from afar shall my way discover! Like a blade is cutting, like a saw dividing, If it leads through valleys still, over hills snow-laden, cruel fate is thee, my dearest, from me hiding. weeping and lamenting will be my dearest maiden. 23. There on Our Roof

Rolling once an apple fell, all along the Swallows, youngsters feeding, on our valley, roof are breeding. rolled until my maiden well, through One lad’s footsteps, speeding, to our the narrow alley. home are leading.

When it reached my maiden fair, then He brings me a dress fine, silken, deep the apple bade her: red as wine,

May God’s blessing be thy share, oh and I prepare for mine gallant green my dearest maiden. rosemarine.

21. The Crown 24. A Child’s Song

Homeward go the farmers, loading full Empty-handed see me: nothing can I the garners, give thee, deck and fill the tables with goods nothing better, more or else than thou from our stables. might long for.

Who will come me nearest, he will be Beating is my heart for thee, tender, my dearest. warm and ardently,

Came a lad named Martin, was from ever telling to me how it is loving thee. me not partin’, This devoted heart mine, albeit for him I promised my crown, making him long thine, to my own. I give for thy name’s day in Crown of mine, crown of mine, what remembrance for aye. for shall I use thee?

Shall I thee abandon? Shall I leave thee on me?

Oh my maiden lovely, not in spring, I bid thee, but in fall, come pluck me, then I will ready be!

22. Smart

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CD 38

In Nature’s Realm, op. 63 (B 126) a jestli slavík zaklokotá, Ïe aÏ to lesem projelo,

(Texts: poems by Vítûzslav Hálek) to ze spánku je prokouknutí. a ve se touhou zachvûlo.

1. Napadly písnû v dui mou Teì vecko spí, i laÀka dfiíma, A táhne umem jara báj,

Napadly písnû v dui mou, i zvonky visí do vybdûlé, vzduch jak na housle, na almaj, nezavolány, znenadání, noc kráãí jako veho dozvuk, vzduch samá vûnû, vzduch sam kvût, jako kdyÏ rosy napadá tak pfiíroda si k spánku stele. a mlad úsmûv cel svût. po stéblokadefiavé stráni. 3. Îitné pole Hned kaÏd strom zelen at,

Kol se to mihá perlami, Îitné pole, Ïitné pole, sváteãnû jme se oblíkat, i cítím dech tak mlad˘, zdrav, jak to zraje vesele! a kaÏdá haluz, kaÏdá snût

Ïe nevím, zda jsou radost má, KaÏd klásek muzikantem, chce novou fieãí rozprávût.

ãi pláã mé due usedav˘. klasû jak kdyÏ nastele. A jak by k hodûm zavolal,

Vak rosu luna zrodila, Hedbávn˘m to atem ustí, pfiilítli hosté z blíÏ i dál, a není písním v dui stání: vûtfiík v skoãnou zadupe, a za den, za dva ir kraj, tekou co slast a slza má, slunce objímá a líbá, a cel svût byl jara báj. a den se chystá ku svítání. jen to v stéblu zalupe. 5. Dnes do skoku a do písniãky

2. Veãerní les rozvázal zvonky Za mot˘lkem vãelka eptem, Dnes do skoku a do písniãky!

Veãerní les rozvázal zvonky, zda kdo v chrpû nevûzí, Dnes pravá veselka je boÏí, a ptáci zvoní k tiché skreji, a ten cvrãek posmûváãek dnes cel svût a vecko v párku kukaãka zvoní na ty vûtí, s kfiepeliãkou pod mezí. se vedou k svatebnímu loÏi. a slavík na ty líbeznûjí. Îitné pole, Ïitné pole, Ve zvonku kvûtném muky tanãí,

Les kaÏdou vûtev písní kropí jak to zraje vesele, pod travou brouãek kfiídla zvedá, a kaÏd lístek jeho dítû, a má mysl jako v tanci, a vody umí, lesy voní, na nebes strop jim lampu vûí jak kdyÏ písní nastele. a kdo je nemá, srdce hledá. a stfiíbrné z ní táhne nitû. 4. Vybûhla bfiíza bûliãká Na nebi zapalují svíce,

A kaÏdá nit na konci spánek, Vybûhla bfiíza bûliãká, na západû panenské rdûní, sny jako jiskry v stromech skáãí, jak ze stáda ta koziãka, a slavík jiÏ to ohlauje, jen laÀka se sebe je stfiásá vybûhla z lesa na pokraj, ten velknûz, u velebném znûní. a pfied lesem se v rose máãí. Ïe pr uÏ táhne jara báj. Dnes velká kniha poesie

Teì usnuli i zvoníkové, Vybûhla jako panenka, aÏ dokofián je otevfiena, les d˘chá v prvním zadfiímnutí, tak hebká a tak do tenka, dnes kaÏdá struna vehomíru

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na Ïert i pravdu nataÏena. pefií skvostné z ohàochvostné bludky Holub létne pfies údolí, vrká, touÏí, nebe. A nebe skví se, vzduch se chvûje, po sivé jej holubûnce teskno souÏí. Vak aÏ v trati bude státi mûsic v novu, dnes jedna píseà svûtem letí, Statn˘ mládec ulicemi v temnu kráãí, k hraní, plesu, harfu snesu Davidovu. dnes zem a nebe jeden pohár, ku okénku drahé dívky kroky stáãí. 8. Nepovím a tvorstvo pfii nûm ve objetí. Neslyí-li, radosti má, nebo dfiímá, (Text: Moravian folk poem) 6. Místo klekání Ïe ni sûlvkem hocha návrat nepfiijímá?

(Text: poem by Adolf Heyduk) Já bych ráda, sil se mi vak nedostává, U studénky stála, napájela páva, Ïe tu, Ïel, kdos nemil˘ dnes u mne povûz mnû, dûveãko, sivá holubiãko, spává! Pasou v rubanisku stáda pastevníci, esli mja má ráda. 11. âím jsem já tû rozhnûvala na pleci halenu, irák nízko v líci. A já ti nepovím, nebo sama nevím, âím jsem já tû rozhnûvala, Sala na vrcholku toho rubaniska, pfiijdi k nám dnes veãer, lásko má, ty fiekni sám! a dole pod horou ukrvá se víska. aÏ sa mamky zdovím, teprv já ti povím. Tím, Ïe láskou jsem jen plála A v té vísce malé frajerenka mladá, A já k vám pfiijedu na vraném koníãku, a teì neklid v du‰i mám? z lásky v srdélenku zpûvánky si skládá. a si ho uváÏu na vau jedliãku, Mír a sílu mládí svého KdyÏ je uhajkovi vzÛru zahlaholí, o bílu stuziãku. ráda já ti spûla dát: zní to, Ïe se vecko zazelená v poli. Ta nae jedliãka pfieblahoslavená, vím a zfiím vak, jak jen vzdychá, Jemu ten zpûvánek jako zvonek zvoní, za léta, za zimy, dycky je zelená. asi jinou má uÏ rád. kdyÏ na tvrdé loÏe k modlitbû se kloní. 9. Oputûn Tvou jak znát jsem vûrnost mûla, Jemu ten zpûvánek ze sna na salai (Text: Moravian folk poem) dávajíc ti lásku svou? mátohy a slzy jako andûl plaí. Já i mfiít jsem pro tû chtûla, Knûzi na modlení za chlapce nenoste, DyÏ ty’s mû nechtûla, mûlas mnû Ïel, mám sudbu neèastnou. rad zaÀ o zpûvánky frajereãku proste. povûdít, Dál tû ráda mám, aã strádám, 7. Ukolébavka mûlas mne za sebou dvû léta nevodit. pláã mou tr˘zeà nezmûfií. (Text: poem by Adolf Heyduk) Dvû léta nevodit, mûlas mnû dát zprávu, Ó, jak líto mi, jak líto Junoíku, plnch rtíkû, hlávko lysá, mûlas, mûlas nesedávat na prahu. tûch mch rusch kadefií! Pospi svatû, mamu‰ka tû pokolísá. Rokyta, rokyta, rokytov proutek, Ne jak dfiív po àadru bílém Tím oãíãkem sokolíãkem neprohlédni: ponesu pro tebe dvû léta zármutek. splétají se ozdobou, budeÈ máti kolíbati tfieba ke dni. 10. Povylétla holubice spl˘vají jen proudem volnm Ëapky zlaté baculaté, poloÏ dolû, Povylétla holubice pode strání, nesãesány na hruì mou. jsouÈ jak perce nebemûrce ze sokolÛ. spadlo jí tu sivé pírko znenadání. V záti své je rozpoutává Ukryj ty je, má lilie, do poduky, Jak teì pírku sivému tam teskno bvá, kráska zlá a vzdálená, sen jiÏ k ouku chce, zlatouku, na pouky. tak i ten, kdo osifií, jen smutek mívá. Ïárlivá ta kráska cizí, Spi jen! V denní probuzení ãeka tebe

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kterou mil v lásce má. A co ty, mûj mládãe, nevesel se zdá, U ohníãku blíÏ na pokrvce sám

12. Mladá, pûkná krasavice nevesel se zdá, coÏpak Ïalost má? odpoãíval chrabr, sir mládenec.

Mladá, pûkná krasavice, plné, bílé líce, Vãera u mne stála dívka rozkoná, Z iré dáli, z dáli a z blízka téÏ v údol zala ranní chvíle pro kaliny bílé. dívka rozkoná, pila jako já. k nûmu hlouãek táhnul bratfií, soudruhû. Kaliny si natrhala, vázajíc je, stála, Pivo pila z ãíe s fieãí veselou, Na svatou ti mládence zvou teì Rus. hodila pak v tichém tkání na cestu je v s fieãí veselou ruku dala svou. stráni. Ale mládec chrabr odpovídá jim: Ruku dala bílou, Ïe pr bude má, Na cestu je rozsypala, milého si Ïdála: Na svatou jen, soudruzi, spûjte Rus, a teì vdát se má due ubohá! Vraè se hochu, mûj ty sladk˘, vraè se mnû uÏ chvíle smrti nyní táhne blíÏ. srdce zpátky! A teì má se vdávat, svatbu chystají, Otci, máti úklonou vzdejte ãest, Z Ukrajiny hle, v tu chvíli mládeneãek já vak nestrádám, Ïe ji vdávají. pílí, pozdrav dejte rodinû mé vzdálené. Proto, Ïe se vdá mi, nechci vûru lkát, jeho vran koník tmí se, plátík svûtle Do ãtverch pak stran, které má ten skví se. jen, Ïe soused ná má ji Ïenou zvát! svût,

Koilenka z tenk˘ch nití jen se na nûm 14. Zkvétal, zkvétal v máji kvût mal˘m dítkám vzkaÏte poÏehnaní mé! svítí, Zkvétal, zkvétal v máji kvût, povadnul 16. Ach, vy fiíãky umivé dostal ji co dárek z lásky od kupecké zas, krásky. Ach, vy fiíãky umivé, ach vy vlnky a mûl mne rád mil˘ mûj, vak odjel vdál. chladivé, Ach, mûj sokolíku jasn˘, ty mûj synku krásn, Odejel mi pfiedrah˘ na krátk ãas, druÏky milé, pojìte v sad, pomozte mnû zaplakat! nejsi souzen ty vûru pro kupeckou ne na dlouhou dobu, vím, na chvíli pr! dceru. Pomozte mi hlasnû lkát, pfiemilého Chvíle trvá, fiíkají, po cel den, druha zvát, Pfiestaà dvofiit se té krásce, pfiestaà a den se nám, fiíkají, jak tden zdá. mít ji v lásce, proã uÏ ke mnû nespûchá, ãi ho nûkdo v moci má. T˘den mûÏe, fiíkají, jako rok bt, jinak chytit já rad dám tû, pouty pfiikovám tû. Milá jeho dfiívûjí za ruku ho jímala, a mil mûj do mûsta pr musil jít.

Poutati mne nedej, máti, do vûzení a ta druhá milená ústa jeho líbala. Já se za ním, dívka ctná, nehoním vak, dátí, Tfietí milá la vÏdy s ním pfies dûvr v aè za mnou on, due má, se honí sám. spí mne spoutej ku bílému ûlÏku noci panenskému. Za m˘m vlasem nádhernm, za zjasnûné, ruãinkou, 13. CoÏpak, mûj holoubku má on vûru, mil mûj, zahrady tfii za postavou líbeznou a krásou mou! CoÏpak, mûj holoubku, nevesel se zdá, zelené. 15. Jako mhou se tmí nevesel se zdá, proãpak Ïalost má? V první, jata Ïalostí, kukaãka si kuká jen, Jako mhou se tmí mofie vzdálené, Vãera holubûnka druÏkou byla mou, ve druhé zas ve kfioví slavík ífií písnû lehla trzeà v reka srdce souÏené. druÏkou byla mou, bavila mne hrou. sten, V iré dáli té pole lán se tmûl, Sedûla mi blíÏe, penku zobajíc, ve tfietí tam v zákoutí hruka kvete bûlavá, kolem vrouben zelenavou doubravou. dnes mi nejde vstfiíc, nûÏnû vrkajíc. pod tou hrukou samotná mladá dívka Vprostfied stálo v ní zlaté návrí, Zastfielil ji zrána, zabil ãlovûk zl, sedává. na nûm vznícen ohníãek tam plápolal. zabil ãlovûk zl, sluha bojarsk. 34 95100 Dvorak Edition

Vzlyká, v pláãi schoulená, Ïal jí srdce po mátuce dobré Volze, Beze stop se náhle ztratil, rozdírá, k Alenuky krãmû známé. ale veãer pojednou zas sáteãkem si bûlostn˘m hojné slzy utírá. Alenuka vyla z vrátek na ulici stál, kde stávál, 17. Mladice ty krásná se svou dcerkou milokrásnou. hlasitû si pohvízdával. Mladice ty krásná, nejkrásnûjí, “Nezazlívej, pane vzácn, Ke mnû nehléd na okénko, vojaãko ty, pluku nejmilejí! v ãem si chodí, v tom tû vítá: aã tam na okénku mém pfiec Proã se sama mûstem procházívá, v koilence z tenké tkánû, leÏel pozdrav jeho dûvy, ãi snad po miláãku netouÏívá? v blavnûné jupce pouhé!” celá snítka vinné révy. Ba, já touÏím po svém nejmilejím, 19. Na políãku bfiíza tam stála Víno uÏ je plnû zralé, takového není v svûtû zdej‰ím. Na políãku bfiíza tam stála, a mûj mil˘ bûlouãk, je On je zdrav, krásn˘, muÏn, fiádn, kudrnatá bfiízeãka tam stála, bûlouãk a kudrnat, z hochû se mu nevyrovná Ïádn. hejsa, hejsa, tam stála! svobodn a neÏenat! Ale mil hlavu tvrdou mívá, Není, kdo by bfiízu tu skácel, 21. Na tom naem námûstí pohádáli jsme se, jak to bvá. není, kdo by bfiízeãku tu skácel, Na tom naem námûstí, Chci se smífiit s ním a pfiece váhám, hejsa, hejsa, tu bfiízu! na irokém námûstí, pokofiit se pfied ním, to se zdráhám. Procházkou se tou neztrmácím, procházely se tam dívky, Vzkazovat mu, téÏ mne trochu mlí, pÛjdu tam a bfiízeãku tu skácím, lakujíce ve tûstí. a tak poãkám, aÏ se veãer schlí. hejsa, hejsa, ji skácím! Jedna nad ve krásnûjí, Pak, Ïe noci tmám se nevyhbám, Ufiíznu té bfiízy tfii proutky, v copech pentli vzácnûjí, sama pûjdu k nûmu a jej zlíbám! píèalky z nich zrobím podle choutky, zaeptala hochu svému, 18. Po mátuce, mocné Volze hejsa, hejsa, tfii proutky! z due nejupfiímnûjí: Po mátuce, mocné Volze âtvrtou udûlám balalajku, “Vím, Ïe má mne, hochu, rád, celou iroirou dálí, budu na ni hrávati tam v hájku, a já tvou se touÏím stát, pohoda se rozesmála, hejsa, hejsa, tam v hájku! nuÏe vûz, Ïe otec rodn˘ ãistá pohodûnka krásná! 20. Vyjdu já si podle fiíãky záhy chce tû synem zvát.” Na vlnách nic není zfiíti, Vyjdu já si podle fiíãky, 22. Já si zasil bez orání jenom ãerná loì se kvá. v bystr proud se zahledím, Já si zasil bez orání U kormidla vysedává zda neuvidím hocha svého, konopí tam pode strání, lodi pán, to v atû zvlátním. srdci mému pfiedrahého. hejsa, hej, hopsa, hejsa, Kaftan hnûd na nûm splvá, Hocha svého bvalého, bez orání pode strání. kamizola z látky vzácné. líbezného nad jiné! Ej, uÏ setba znenadání A tu pán vem rozkaz dává: Ach, co uÏ bylo povídání, tíhlá stébla povyhání, veslem zaveslujte ráznm, Ïe uÏ není Ïiv snad ani! hejsa, hej, hopsa, hejsa,

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lístky ífií bez ustání. stáãí víno zelenavé, tam, kde louka vroubí fiíãku,

Oj, uÏ na nich, jak den vstává, hejsa, hejsa, zelenavé. oj, pláãe, pláãe kozáãek to mládec vzácn ptáãek posedává, Hostí zetû mladistvého, na koníãku, na vraníãku. hejsa, hej, hopsa, hejsa, synka svého mileného, Ach, koni vûrn, poskoã pod svm pánem, kanárek tam pfiilétává. hejsa, hejsa, mileného. rozbij, po ãem srdce touÏí, Ach, jak sudba divnû soudí, 24. V poli zrají vinû mou tíhu Ïalnou roznes loukou dálnou, kdo se Ïení, ãasto bloudí, V poli zrají vinû, proã to nejsou tfienû, aè se kozák neusouÏí. hejsa, hej, hopsa, hejsa, miloval jsi, polaskal jsi, proã si nebere mû? Oj, letí kozák po pûinû úzké, kdo se Ïení, ãasto bloudí! La, la, tralala, … slzami se tváfi mu stápí: Já mûl vûdût, jak to bvá, Hoj, blíÏ pole louãka, kvíti se v ní bûlá, “Kde je má chûva, stafienka má vlídná, Ïe, kdo Ïenat, potíÏ mívá! dívãina tam trávu Ïala, ãerné fiasy ta se jistû pro mne trápí. Hejsa, hej, hopsa, hejsa, mûla. Oj, vzpomeà na mne, moje stará svobodn˘m se lehce zpívá! La, la, tralala, … chûvo,

23. Oj, ty luãní kaãko malá Jedna hora pfiíkrá, druhá zas je nízká, kdyÏ se u nás ráno snídá.”

Oj, ty luãní kaãko malá, jedna milá daleká je, druhá zcela “Ach, moje dítû v cizí zemi strádá, blízká. kde jsi spala, nocovala? pfiítele tam neuhlídá!” La, la, tralala, … Hejsa, hejsa, nocovala. “Oj, vzpomeà na mne, ty má stará Hoj, ta, co je blízká, voly má a krávy, chûvo, Spala jsem já na luãinû, daleká zas ãerné fiasy hebãí nad kdyÏ se u nás veãefiívá.” ve rozkvetlé ve kfiovinû, hedvábí. “Ach, to mé dítû z cizí zemû dálné hejsa, hejsa, ve kfiovinû. La, la, tralala, … zpráviãkou se neoz˘vá!” ·li a pfieli cestou kolem Hoj, ta, co je blízká, koÏe‰in má fûrky, veselí dva mládci polem, daleká jen oboãí má tenké jako Àûrky. hejsa, hejsa, mládci polem. La, la, tralala, …

Po prouteãku ulomili, Hoj, to já té blízké radûj pfiece vzdám se, píèalky si urobili, za dalekou sám teì honem na námluvy hejsa, hejsa, urobili. dám se!

Na píèalky nezahuìte, La, la, tralala, … tatíka mi neprobuìte, 25. Oj, kráãe havran ãern hejsa, hejsa, neprobuìte. Oj, kráãe, kráãe, kráãe havran ãern,

Tatík dfiíme po opiãce, kde se v hloubku údol níÏí, máma vafií ve vesniãce, oj, pláãe, pláãe kozáãek to mládec hejsa, hejsa, ve vesniãce. nad osudu svého tíÏí.

Vafií mladé pivo zdravé, Oj, kráãe, kráãe stále havran ãern,

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English Sungtexts the wood breathes in its first so supple and slim, slumbering, that it pervaded the wood, and when the nightingale warbles, 1. Music Descended on My Soul and all trembled with desire. then it is just an eye blinking from its Music descended on my soul, sleep. And the tale of spring spreads in a whisper, not called for, unexpectedly, Now all is sleeping, the young doe slumbers as well, the air sounds like a violin, like pan- like when dewdrops fall pipes, also the bells are hanging silently till on a grass-covered hillside. waking up, the air is full of fragrance, it is full of flowers, All around, it is glistening with pearls, the night proceeds like everything’s echo, and the entire Earth is one youthful and I feel a breath so young, so smile. wholesome, thus nature prepares for its sleep. Right away, every tree prepares that I do not know, whether it is my 3. The Rye Field joy, to festively dress up in green, Rye field, rye field, or my heart-breaking lament. and every twig, every sprig, how merrily it is ripening! But the moon brought forth dewdrops, is eager to engage in the new talk. Every straw is a musician, and the music finds no rest in my soul: And as if they were invited for a feast- the whole field is full of them. meal, it is flowing, like bliss and like my tear, It swishes like a silken dress, guests from near and far came flying and the day prepares itself for sunrise. hither, the breeze stamps in a dance, 2. Bells Ring at Dusk and after one or two days the wide embraced and kissed by the sun, land, yes, The evening wood has released its bells, crackling in the straw. the entire Earth itself was one tale of spring. and the birds ring before silently hiding Whispering, a bee asks to a butterfly, away, 5. With Dance and Song if the bluebottle is not yet occupied, the cuckoo rings the larger bells, Today, let’s dance and sing! and a mocking cricket hides and the nightingale the sweeter ones. Today is a truly divine feast, with a quail under a balk. The wood besprinkles every branch today the whole Earth and all in pairs with a song, Rye field, rye field, lead one another to the wedding bed. and every leaflet is its child, how merrily it is ripening, In the bluebell flower midges are it hangs for them a lamp on heaven’s and my thoughts are like dancing, dancing, ceiling, full of songs. under the grass a beetle puts up its and draws from them silver threads. wings, 4. The Silver Birch And every thread ends in sleep, and the waters are sparkling, the Out ran a silver birch, woods are scenting, dreams jump like sparks in the trees, like a goat from the herd, and who has no sweetheart, is looking only the young doe sheds them off for it. it ran out from the wood to its edge, and soaks itself in the dew in front of In the sky candles are being lit, the wood. proclaiming the tale of spring. in the west appears a maidenly It ran out like a maiden, Now also the bell-ringers have fallen blushing, asleep,

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and the nightingale is already rather bid the fair maid to sing her in summer, in winter, it is always announcing it, songs for him. green. that high priest, with a solemn sound. 7. Cradle Song 9. The Forsaken One

Today the great book of poetry Little child, with full lips, bold-headed, If you did not want me, you should have told me, is widely opened, sleep blissfully, mama will rock you. you should not have let me run after today every string of the universe Do not bother about looking with your you two years. little hawk’s eye, is tended toward jest and truth alike. Rather, you should have sent me word, whether your mother will rock you And the sky is shining, the air is until the day or not. instead of sitting on the threshold. vibrating, Put your golden, round little paws Willow-tree, weeping willow, willow- today one song is pervading the Earth, down, twig, today Earth and Heaven are like one they are like a falcon’s wings, reaching because of you I will pass two years of cup, toward the sky. grief. and Creation is entangled in deep Hide them, my lily, under the cover, Little green fir-tree, do not shed off embrace. your needles, a dream will whisper into your little 6. Evening’s Blessing ear, golden child. just like my heart’s delight abandoned me. Herdsmen on the mountainside are Just sleep! At the day’s awakening are herding their flocks, awaiting you Little green fir-tree, do not shed off your tip, with the mock on the shoulder, and the magnificent feathers of the sky’s the hat low over the face. fiery-tailed illusion. just like my comely maiden abandoned me. Their cottage is on the top of that However, when the new moon will mountainside, stand in its trail, If you did not want me, you should have told me, and below under the mountain, a I will bring down David’s harp, to play hamlet is hiding. at the ball. that your black eyes do not want to look on me. And in that tiny hamlet, a young and 8. I Won’t Tell fair maiden, And yet they will readily turn their She stood by the well, gave the heads after me, out of her heart’s love, is composing peacock to drink, herself songs. when behind me a saber will drag over tell me, my maiden, my ash-grey dove, the ground. When she sends her songs up to her lad, if you are fond of me. 10. Yearning the sound of it turns everything in the Well, I won’t tell you, as I do not know A dove flew up from down by the field green. it myself, hillside,

That song rings to him like a bell, come to us tonight, when suddenly she lost there a grey feather. when he bows for prayer on his hard when I will find out from my mother, bed. only then will I tell you. Just like for that grey feather nothing but longing is left, From him, dreaming in his cottage, Then I will come to you on my raven- that song black horse, thus has he, who is orphaned, nothing but sadness left. chases away shades and tears, like an and I will fix it to your fir-tree, angel. A pigeon flies over the valley, cooing with a white ribbon. and longing, Priests, do not bother about praying for the lad, That fir-tree of ours, full of eternal tormented by desire for his grey dove. bliss,

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A stately gallant is walking in the dark In her ill-will unties them you seem unhappy, why do you have streets, sorrow? an evil and distant beauty, turning his steps toward the window Yesterday a dove was my mate, of his dear maiden. envious is that strange beauty, she was my mate, amused me with her Do you not hear, my heart’s delight, or whom my dear has in his heart. game. are you slumbering, 12. The Unfaithful Lover Imprisoned She was sitting close to me, picking that you do not even with a word wheat, greet your lad’s return? A young and comely beauty, with full, white cheeks, today she does not welcome me, I would like to, but I have no power gently cooing. left in me, went one early morning into the valley, for white guelder roses. They shot her in the early morning, an for alas, someone undear sleeps with evil person killed her, me today! She plucked guelder roses, and tying them she stood still, an evil person killed her, the servant of 11. Stolen Love, Stolen Beauty a boyar. then, silently sobbing, threw them on With what did I anger you, the road by the hillside. And what about you, my youngster, you seem unhappy, my love, say it yourself! She spread them out on the road, asking her dear: you seem unhappy, what sorrow do Therewith, that I was burning with love you have? Return, my lad, come back, my and now have unrest in my soul? sweetheart! Yesterday stood by me a charming maiden, he peace and strength of my youth Look, from Ukraine in that moment a young man is speeding, a charming maiden, she drank just like I gladly sped to give you: me. his raven-black horse a dark, distant I know and I see however, how you spot, his bright coat lighting. She drank beer from a cup, merrily only sigh, talking, His shirt made from thin cloth is maybe you are already fond of merely shining on him, and merrily talking she gave me her someone else. hand. he got it as a gift out of love from a How should I have known your merchant’s beauty. She gave me her white hand, saying faithfulness, she would be mine, Ah, my bright falcon, you my while giving you my love? handsome lad, and now that poor soul has to marry!

I even wanted to die for you, you are truly not destined for a And now she has to marry, they are merchant’s daughter. preparing her wedding, alas, I have an unfortunate destiny. Stop courting that beauty, stop having however, I am not suffering because I am still fond of you, even though I her in your heart, they are marrying her off. suffer, otherwise I’ll have you caught, in Herefore, that she will marry, I truly do my weeping does not match my shackles I’ll cast you. not want to cry, torment. Do not let them shackle me, mother, it is just, that our neighbor will call her Oh, how I pity, what a pity of or imprison me, his wife! those ruddy hairlocks of mine! rather tie me to the white, maidenly 14. Impatient Love bed. Not like before over my white bosom A flower was blooming in May, it 13. The Lost Bride withered again, they fall like a decoration, What is it, my pigeon, that you seem and my dear was fond of me, but he now they are freely blending unhappy, went far away. over my chest, uncombed.

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Away went my dearest for a short the moment of my death is already Why are you walking alone through time, approaching. the town, not for long, I know, for a moment, he To my father and mother pass my are you not longing for your said! respect, sweetheart?

They say a moment can last a whole and give my greeting to my distant Certainly I long for my dearest, day, family. but he is not in this region. and a day can seem to us like a week, Then to the four wind-sides of the they say. Earth, He is healthy, handsome, manly, respectable, A week can be like a year, they say, send word of my blessing to the infants! none of the lads can measure up to and my love said he must go to town. him. 16. Nature’s Lament However, as an honorable maid, I But my dear can be heard-headed, won’t run after him, Ah, you sparkling brooklets, ah you cool wavelets, we quarreled, as sometimes happens. let him, my soul, run after me himself. dear friends, come into the orchard, I want to reconcile with him and yet I For my beautiful hair, for my little help me weep! doubt, hand, Help me loudly lament, to call on my I am reluctant to humiliate myself for my gracious stature and my dearest mate, before him. beauty! why he no longer speeds to me, lest Sending him word, that I find not in 15. Nostalgia someone holds him in force. place either,

Just like mist turns the distant sea His first sweetheart caught him by the and therefore I wait until the evening dark, hand, draws near. torment filled a hero’s suffering heart. and his second lover was kissing his Then, when the dark of the night falls, I lips. won’t dodge, In the wide distance the field darkened, The third used to join him through the out of my own I’ll go to him and I’ll kiss courtyard by bright nights, him all over! around the green, wild hedge. truly, my dear, he has three green 18. Mother Volga In the middle of it stood a golden gardens. hillock, Over the motherly, mighty Volga, In the first one, caught by sorrow, a and on it a kindled little fire was cuckoo merely cuckoos, over its entire width and distance, dancing. in the second, a nightingale in a bush fair weather was joyfully shining, Nearby that little fire, all alone on a spreads its moaning song, cover, like a pure and beautiful smile! in the third, in a quiet corner there, was resting a desolate, young gallant. blooms a pale pear tree, On the waves is nothing to see,

From the wide distance, from far and and under that pear tree a lonely just a black boat, slowly rocking. near alike, young maiden is sitting. At the rudder is sitting approached him a handful of his Sobbing, crouched in her lament, grief the boatmaster, in an odd dress. brother comrades. tears her heart apart,

A brown mantle is hanging over him, Then they called the young man to with a white cloth she tries to dry her holy Russia. incessantly flowing tears. and a shirt from precious cloth.

But to them the young gallant 17. Soldier Maid’s Pride responded: And there the master commands to all: You pretty youngster, most beautiful, Just speed, comrades, to holy Russia, Firmly pull your oars, soldier maid, you regiment’s favorite! ver the good and motherly Volga,

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to Alenushka’s well-known tavern. even that he is no longer alive! Hey, earlier than expected the seeds

Alenushka came out of the wicket Without a trace, he suddenly are sprouting up thin stalks, disappeared, with her sweet and pretty daughter. heysa, hey, hopsa, heysa, but one evening again, all of a sudden, “Do not be offended, distinguished leaflets are spreading incessantly. master, he stood on the street, where he used to stand, Oh, already when the day awakens, she is welcoming you in her everyday dress: loudly whistling. a precious little bird is sitting on them, in a shirt from fine tissue, He did not glance to my window, heysa, hey, hopsa, heysa, merely in a cotton skirt!” although there by my window a canary lands on it.

19. The Birch Tree was lying a greeting from his maiden, Ah, how odd is destiny’s judgment,

On a small field there stood a birch, a whole vine full of grapes. who marries, often errs, a curly little birch stood over there, The wine is already fully ripe, heysa, hey, hopsa, heysa, heysa, heysa, it was standing there! and my fair-skinned beloved, who marries, often errs!

There is none who would fell that fair-skinned and curly-haired, I should have known, how it goes, birch, is bachelor and unmarried! that who is married has trouble! there is none who would fell that little birch, 21. The Favorite’s Consent Heysa, hey, hopsa, heysa, heysa, heysa, that birch over there! On that town square of ours, bachelors have easy singing!

From that walk I will not get tired, on that wide town square, 23. Drinking Song

I go there and fell that little birch, maidens were walking there, Oh, you little meadow duck, heysa, heysa, I fell it! merrily trifling. where did you sleep and pass the dark night? I cut three rods from that birch, One of them, prettier than all others, Heysa, heysa, pass the dark night. from those, I make pipes to my liking, with precious ribbons in her braids, I slept on the meadow, heysa, heysa, three rods! whispered to her lad, in the blooming thicket, Of the fourth, I make a balalaika, from a most sincere heart: heysa, heysa, in the thicket. I will play on it there in the wood, “I know you are fond of me, my lad, Following the path around it, heysa, heysa, there in the wood! and I am longing to become yours, two merry youngsters passed the 20. The Lover’s Return so be sure that my own father meadow,

I will go out for a walk along the brook, will soon call you son-in-law.” heysa, heysa, passed the meadow.

I will gaze into its fast-flowing stream, 22. The Harvest of Marriage Each one of them broke a twig, to look whether I do not see my lad, I sowed without ploughing, they made themselves pipes of it, him who is most dear to my heart. hemp there down by the hillside, heysa, heysa, that’s what they made.

My former lad, heysa, hey, hopsa, heysa, Do not blow on the pipes, sweeter than any other! without ploughing down by the do not awake my daddy, hillside. Ah, what stories there where, heysa, heysa, do not wake him.

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Dad is sleeping off his debauch, La, la, tralala, … (Texts: poems by Vítûzslav Hálek) mom is brewing in the village, 25. The Lonely Cossack 1. Napadly písnû v dui mou heysa, heysa, in the village. Oh, crowing, crowing is a black rook, Napadly písnû v dui mou,

She is brewing young, wholesome where the valley descends into the nezavolány, znenadání, beer, depth, jako kdyÏ rosy napadá and tapping greenish young wine, oh, crying, crying is a young cossack po stéblokadefiavé stráni. heysa, heysa, greenish young wine. over the burden of his fate. Kol se to mihá perlami, She is treating her young son-in-law, Oh, crowing, still crowing is the black rook, i cítím dech tak mlad˘, zdrav˘, her beloved son-in-law, there, where the meadow borders the Ïe nevím, zda jsou radost má, heysa, heysa, her beloved. brook, ãi pláã mé due usedav˘. 24. The Lover’s Resolve oh, crying, crying is the young cossack Vak rosu luna zrodila, In the field are ripening berries, why on his little, raven-black horse. are they not cherries, a není písním v dui stání: Ah, faithful horse, jump under your you loved me, you fondled me, why do master, tekou co slast a slza má, you not marry me? destroy, what my heart is longing for, a den se chystá ku svítání. La, la, tralala, … spread my burden of grief over the 2. Veãerní les rozvázal zvonky Hey, near the field is a meadow, in it distant meadow, bloom white flowers, Veãerní les rozvázal zvonky, do not let a cossack suffer to death. a maiden was mowing grass there, she a ptáci zvoní k tiché skreji, had black eye-lashes. Oh, the cossack is speeding on a narrow path, kukaãka zvoní na ty vûtí, La, la, tralala, … his face drowned in tears: a slavík na ty líbeznûjí. One mountain is steep, the other again is low, “Where is my nanny, old and loving, Les kaÏdou vûtev písní kropí one sweetheart is distant, the other she is certainly worrying about me. a kaÏd lístek jeho dítû, quite near. Oh, remember me, my old nanny, na nebes strop jim lampu vûí La, la, tralala, … at the morning table in our home.” a stfiíbrné z ní táhne nitû. Hey, the one who is nearby has oxen A kaÏdá nit na konci spánek, and cows, “Oh, my child suffers in a strange land,

sny jako jiskry v stromech skáãí, but the distant one has black eyelashes where one will not find friends!” softer than silk. “Oh, remember me, you my old nanny, jen laÀka se sebe je stfiásá La, la, tralala, … at the evening table in our home.” a pfied lesem se v rose máãí. Hey, the one who is nearby has lots of 1. Music Descended on My Soul furs, “Oh, that child of mine, from a strange and distant land Music descended on my soul, but the distant one has eyebrows thin he does not send us word of him!” as strings. not called for, unexpectedly,

La, la, tralala, … like when dewdrops fall CD38 Hey, the nearby one I rather abandon, on a grass-covered hillside. In Nature’s Realm, op. 63 (B 126) as for the distant one, I now go right All around, it is glistening with pearls, off to court her. 42 95100 Dvorak Edition

and I feel a breath so young, so Îitné pole, Ïitné pole, Rye field, rye field, wholesome, jak to zraje vesele! how merrily it is ripening! that I do not know, whether it is my joy, KaÏd˘ klásek muzikantem, Every straw is a musician, or my heart-breaking lament. klasÛ jak kdyÏ nastele. the whole field is full of them.

But the moon brought forth dewdrops, Hedbávn˘m to atem ustí, It swishes like a silken dress, and the music finds no rest in my soul: vûtfiík v skoãnou zadupe, the breeze stamps in a dance, it is flowing, like bliss and like my tear, slunce objímá a líbá, embraced and kissed by the sun, and the day prepares itself for sunrise. jen to v stéblu zalupe. crackling in the straw.

2. Bells Ring at Dusk Za motlkem vãelka eptem, Whispering, a bee asks to a butterfly,

The evening wood has released its zda kdo v chrpû nevûzí, if the bluebottle is not yet occupied, bells, a ten cvrãek posmûváãek and a mocking cricket hides and the birds ring before silently hiding away, s kfiepeliãkou pod mezí. with a quail under a balk. the cuckoo rings the larger bells, Îitné pole, Ïitné pole, Rye field, rye field, and the nightingale the sweeter ones. jak to zraje vesele, how merrily it is ripening,

The wood besprinkles every branch a má mysl jako v tanci, and my thoughts are like dancing, with a song, jak kdyÏ písní nastele. full of songs. and every leaflet is its child, 4. Vybûhla bfiíza bûliãká 4. The Silver Birch it hangs for them a lamp on heaven’s ceiling, Vybûhla bfiíza bûliãká, Out ran a silver birch, and draws from them silver threads. jak ze stáda ta koziãka, like a goat from the herd,

And every thread ends in sleep, vybûhla z lesa na pokraj, it ran out from the wood to its edge, dreams jump like sparks in the trees, Ïe pr uÏ táhne jara báj. proclaiming the tale of spring only the young doe sheds them off Now also the bell-ringers have fallen Vybûhla jako panenka, asleep, and soaks itself in the dew in front of tak hebká a tak do tenka, the wood. the wood breathes in its first slumbering, Ïe aÏ to lesem projelo, Teì usnuli i zvoníkové, and when the nightingale warbles, a ve se touhou zachvûlo. les d˘chá v prvním zadfiímnutí, then it is just an eye blinking from its A táhne umem jara báj, a jestli slavík zaklokotá, sleep. vzduch jak na housle, na almaj, to ze spánku je prokouknutí. Now all is sleeping, the young doe slumbers as well, vzduch samá vÛnû, vzduch sam kvût, Teì vecko spí, i laÀka dfiíma, also the bells are hanging silently till a mlad úsmûv cel˘ svût. i zvonky visí do vybdûlé, waking up, Hned kaÏd˘ strom zelen˘ at, noc kráãí jako veho dozvuk, the night proceeds like everything’s echo, sváteãnû jme se oblíkat, tak pfiíroda si k spánku stele. thus nature prepares for its sleep. a kaÏdá haluz, kaÏdá snût 3. Îitné pole 3. The Rye Field chce novou fieãí rozprávût.

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A jak by k hodÛm zavolal, guests from near and far came flying Pasou v rubanisku stáda pastevníci, hither, pfiilítli hosté z blíÏ i dál, na pleci halenu, irák nízko v líci. and after one or two days the wide a za den, za dva ir˘ kraj, land, yes, Sala na vrcholku toho rubaniska, a cel svût byl jara báj. the entire Earth itself was one tale of a dole pod horou ukrvá se víska. spring. 5. Dnes do skoku a do písniãky A v té vísce malé frajerenka mladá, 5. With Dance and Song Dnes do skoku a do písniãky! z lásky v srdélenku zpûvánky si skládá. Today, let’s dance and sing! Dnes pravá veselka je boÏí, KdyÏ je uhajkovi vzÛru zahlaholí, Today is a truly divine feast, dnes cel˘ svût a vecko v párku zní to, Ïe se vecko zazelená v poli. today the whole Earth and all in pairs se vedou k svatebnímu loÏi. Jemu ten zpûvánek jako zvonek zvoní, lead one another to the wedding bed. Ve zvonku kvûtném muky tanãí, kdyÏ na tvrdé loÏe k modlitbû se kloní. In the bluebell flower midges are pod travou brouãek kfiídla zvedá, dancing, Jemu ten zpûvánek ze sna na salai a vody umí, lesy voní, under the grass a beetle puts up its mátohy a slzy jako andûl plaí. wings, a kdo je nemá, srdce hledá. Knûzi na modlení za chlapce nenoste, and the waters are sparkling, the Na nebi zapalují svíce, woods are scenting, rad zaÀ o zpûvánky frajereãku proste. na západû panenské rdûní, and who has no sweetheart, is looking 7. Ukolébavka for it. a slavík jiÏ to ohlauje, (Text: poem by Adolf Heyduk) In the sky candles are being lit, ten velknûz, u velebném znûní. Junoíku, pln˘ch rtíkÛ, hlávko lysá, in the west appears a maidenly It ran out like a maiden, Pospi svatû, mamuka tû pokolísá. blushing, so supple and slim, Tím oãíãkem sokolíãkem neprohlédni: and the nightingale is already announcing it, that it pervaded the wood, budeÈ máti kolíbati tfieba ke dni.

that high priest, with a solemn sound. and all trembled with desire. Today the great book of poetry Dnes velká kniha poesie And the tale of spring spreads in a is widely opened, whisper, aÏ dokofián je otevfiena, today every string of the universe the air sounds like a violin, like pan- dnes kaÏdá struna vehomíru pipes, is tended toward jest and truth alike. na Ïert i pravdu nataÏena. the air is full of fragrance, it is full of And the sky is shining, the air is vibrating, flowers, A nebe skví se, vzduch se chvûje,

today one song is pervading the Earth, and the entire Earth is one youthful dnes jedna píseÀ svûtem letí, smile. today Earth and Heaven are like one dnes zem a nebe jeden pohár, Right away, every tree prepares cup, a tvorstvo pfii nûm ve objetí. to festively dress up in green, and Creation is entangled in deep embrace. and every twig, every sprig, Four Choruses for Mixed Voices, op. 6. Evening’s Blessing is eager to engage in the new talk. 29 (B 59) Herdsmen on the mountainside are And as if they were invited for a feast- 6. Místo klekání herding their flocks, meal, (Text: poem by Adolf Heyduk)

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with the mock on the shoulder, and Vak aÏ v trati bude státi mûsic v novu, I will bring down David’s harp, to play the hat low over the face. at the ball. k hraní, plesu, harfu snesu Davidovu. Their cottage is on the top of that 8. I Won’t Tell mountainside, 8. Nepovím She stood by the well, gave the and below under the mountain, a (Text: Moravian folk poem) peacock to drink, hamlet is hiding. U studénky stála, napájela páva, tell me, my maiden, my ash-grey dove, And in that tiny hamlet, a young and fair maiden, povûz mnû, dûveãko, sivá holubiãko, if you are fond of me. out of her heart’s love, is composing esli mja má ráda. Well, I won’t tell you, as I do not know herself songs. it myself, A já ti nepovím, nebo sama nevím, When she sends her songs up to her come to us tonight, lad, pfiijdi k nám dnes veãer, when I will find out from my mother, the sound of it turns everything in the aÏ sa mamky zdovím, teprv já ti povím. only then will I tell you. field green. A já k vám pfiijedu na vraném koníãku, Then I will come to you on my raven- That song rings to him like a bell, black horse, a si ho uváÏu na vau jedliãku, when he bows for prayer on his hard and I will fix it to your fir-tree, o bílu stuziãku. bed. with a white ribbon. Ta nae jedliãka pfieblahoslavená, From him, dreaming in his cottage, that song That fir-tree of ours, full of eternal za léta, za zimy, dycky je zelená. bliss, chases away shades and tears, like an 9. Oputûn˘ angel. in summer, in winter, it is always green. (Text: Moravian folk poem) Priests, do not bother about praying 9. The Forsaken One for the lad, DyÏ ty’s mû nechtûla, mûlas mnû povûdít, rather bid the fair maid to sing her If you did not want me, you should have told me, songs for him. mûlas mne za sebou dvû léta nevodit. you should not have let me run after 7. Cradle Song Dvû léta nevodit, mûlas mnû dát you two years. zprávu, Little child, with full lips, bold-headed, Rather, you should have sent me word, mûlas, mûlas nesedávat na prahu. sleep blissfully, mama will rock you. instead of sitting on the threshold. Rokyta, rokyta, rokytov proutek, Do not bother about looking with your Willow-tree, weeping willow, willow- little hawk’s eye, ponesu pro tebe dvû léta zármutek. twig, whether your mother will rock you they are like a falcon’s wings, reaching because of you I will pass two years of until the day or not. toward the sky. grief.

Put your golden, round little paws Hide them, my lily, under the cover, down, Little green fir-tree, do not shed off your needles, a dream will whisper into your little Ëapky zlaté baculaté, poloÏ dolÛ, ear, golden child. Jedliãko zelená, neopoutûj chvojí, jsouÈ jak perce nebemûrce ze sokolÛ. Just sleep! At the day’s awakening are jak mû opustilo moje potûení. awaiting you Ukryj ty je, má lilie, do podu‰ky, Jedliãko zelená, neopoutûj vrka, the magnificent feathers of the sky’s sen jiÏ k ouku chce, zlatouku, na pouky. fiery-tailed illusion. jak mû opustila má panenka hezká. Spi jen! V denní probuzení ãeka tebe However, when the new moon will DyÏ ty’s mû nechtûla, mûlas mnû stand in its trail, pefií skvostné z ohÀochvostné bludky povûdût, nebe. 45 95100 Dvorak Edition

Ïe tvé ãerné oãi nechcú na mû hledût. If you did not want me, you should vím a zfiím vak, jak jen vzdychá, have told me, A ak budú rády pohledávat po mnû, asi jinou má uÏ rád. that your black eyes do not want to dyÏ se mnû abliãka po zemi potáhne. look on me. Tvou jak znát jsem vûrnost mûla,

And yet they will readily turn their dávajíc ti lásku svou? heads after me, Já i mfiít jsem pro tû chtûla, when behind me a saber will drag over the ground. Ïel, mám sudbu neÈastnou.

10. Yearning Dál tû ráda mám, aã strádám,

Russian Songs (B 603) A dove flew up from down by the pláã mou tr˘zeÀ nezmûfií. hillside, (Texts: from Pyesni ruskoga naroda by Ó, jak líto mi, jak líto M. Bernard, translated into Czech) when suddenly she lost there a grey feather. tûch m˘ch rus˘ch kadefií! 10. Povylétla holubice Just like for that grey feather nothing Ne jak dfiív po Àadru bílém Povylétla holubice pode strání, but longing is left, splétají se ozdobou, spadlo jí tu sivé pírko znenadání. thus has he, who is orphaned, nothing spl˘vají jen proudem voln˘m but sadness left. Jak teì pírku sivému tam teskno b˘vá, nesãesány na hruì mou. A pigeon flies over the valley, cooing tak i ten, kdo osifií, jen smutek mívá. and longing, V záti své je rozpoutává Holub létne pfies údolí, vrká, touÏí, tormented by desire for his grey dove. kráska zlá a vzdálená, po sivé jej holubûnce teskno souÏí. A stately gallant is walking in the dark Ïárlivá ta kráska cizí, streets, Statn˘ mládec ulicemi v temnu kráãí, kterou mil˘ v lásce má. turning his steps toward the window ku okénku drahé dívky kroky stáãí. of his dear maiden. 12. Mladá, pûkná krasavice Neslyí-li, radosti má, nebo dfiímá, Do you not hear, my heart’s delight, or Mladá, pûkná krasavice, plné, bílé líce, Ïe ni slÛvkem hocha návrat nepfiijímá? are you slumbering, v údol zala ranní chvíle pro kaliny bílé. Já bych ráda, sil se mi vak nedostává, that you do not even with a word greet your lad’s return? Kaliny si natrhala, vázajíc je, stála, Ïe tu, Ïel, kdos nemil˘ dnes u mne spává! I would like to, but I have no power hodila pak v tichém tkání na cestu je v left in me, stráni. 11. âím jsem já tû rozhnûvala for alas, someone undear sleeps with Na cestu je rozsypala, milého si Ïdála: âím jsem já tû rozhnûvala, me today! VraÈ se hochu, mÛj ty sladk˘, vraÈ se lásko má, ty fiekni sám! 11. Stolen Love, Stolen Beauty srdce zpátky!

Tím, Ïe láskou jsem jen plála With what did I anger you, Z Ukrajiny hle, v tu chvíli mládeneãek pílí, a teì neklid v dui mám? my love, say it yourself! jeho vran˘ koník tmí se, plátík svûtle just like my heart’s delight abandoned Therewith, that I was burning with love skví se. me. and now have unrest in my soul? Koilenka z tenk˘ch nití jen se na nûm Little green fir-tree, do not shed off svítí, your tip, he peace and strength of my youth dostal ji co dárek z lásky od kupecké Mír a sílu mládí svého just like my comely maiden abandoned krásky. me. ráda já ti spûla dát:

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I gladly sped to give you: his raven-black horse a dark, distant a teì vdát se má due ubohá! spot, his bright coat lighting. I know and I see however, how you A teì má se vdávat, svatbu chystají, only sigh, His shirt made from thin cloth is merely shining on him, já vak nestrádám, Ïe ji vdávají. maybe you are already fond of someone else. he got it as a gift out of love from a Proto, Ïe se vdá mi, nechci vûru lkát, merchant’s beauty. How should I have known your jen, Ïe soused nበmá ji Ïenou zvát! faithfulness, Ah, my bright falcon, you my handsome lad, Stop courting that beauty, stop having while giving you my love? her in your heart, you are truly not destined for a I even wanted to die for you, merchant’s daughter. otherwise I’ll have you caught, in shackles I’ll cast you. alas, I have an unfortunate destiny. Ach, mÛj sokolíku jasn, ty mÛj synku krásn˘, Do not let them shackle me, mother, I am still fond of you, even though I or imprison me, suffer, nejsi souzen˘ ty vûru pro kupeckou dceru. rather tie me to the white, maidenly my weeping does not match my bed. torment. PfiestaÀ dvofiit se té krásce, pfiestaÀ mít ji v lásce, 13. The Lost Bride Oh, how I pity, what a pity of jinak chytit já rad dám tû, pouty What is it, my pigeon, that you seem those ruddy hairlocks of mine! pfiikovám tû. unhappy,

Not like before over my white bosom Poutati mne nedej, máti, do vûzení you seem unhappy, why do you have dátí, sorrow? they fall like a decoration, spí mne spoutej ku bílému lÛÏku Yesterday a dove was my mate, now they are freely blending panenskému. she was my mate, amused me with her over my chest, uncombed. 13. CoÏpak, mÛj holoubku game.

In her ill-will unties them CoÏpak, mÛj holoubku, nevesel se zdá, She was sitting close to me, picking wheat, an evil and distant beauty, nevesel se zdá, proãpak Ïalost má? today she does not welcome me, envious is that strange beauty, Vãera holubûnka druÏkou byla mou, gently cooing. whom my dear has in his heart. druÏkou byla mou, bavila mne hrou. They shot her in the early morning, an evil person killed her, 12. The Unfaithful Lover Imprisoned Sedûla mi blíÏe, penku zobajíc, an evil person killed her, the servant of A young and comely beauty, with full, dnes mi nejde vstfiíc, nûÏnû vrkajíc. a boyar. white cheeks, Zastfielil ji zrána, zabil ãlovûk zl˘, And what about you, my youngster, went one early morning into the you seem unhappy, valley, for white guelder roses. zabil ãlovûk zl˘, sluha bojarsk˘. you seem unhappy, what sorrow do She plucked guelder roses, and tying A co ty, mÛj mládãe, nevesel se zdá, you have? them she stood still, nevesel se zdá‰, coÏpak Ïalost má? Yesterday stood by me a charming then, silently sobbing, threw them on maiden, the road by the hillside. Vãera u mne stála dívka rozkoná, a charming maiden, she drank just like She spread them out on the road, dívka rozkoná, pila jako já. me. asking her dear: Pivo pila z ãíe s fieãí veselou, She drank beer from a cup, merrily Return, my lad, come back, my talking, sweetheart! s fieãí veselou ruku dala svou. and merrily talking she gave me her Look, from Ukraine in that moment a Ruku dala bílou, Ïe pr bude má, hand. young man is speeding, 47 95100 Dvorak Edition

She gave me her white hand, saying odpoãíval chrabr˘, sir mládenec. From the wide distance, from far and she would be mine, near alike, Z iré dáli, z dáli a z blízka téÏ and now that poor soul has to marry! approached him a handful of his k nûmu hlouãek táhnul bratfií, brother comrades. And now she has to marry, they are soudruhÛ. preparing her wedding, Then they called the young man to Na svatou ti mládence zvou teì Rus. holy Russia. however, I am not suffering because they are marrying her off. Ale mládec chrabr odpovídá jim: But to them the young gallant responded: Herefore, that she will marry, I truly do and my dear was fond of me, but he not want to cry, went far away. Na svatou jen, soudruzi, spûjte Rus, it is just, that our neighbor will call her Away went my dearest for a short mnû uÏ chvíle smrti nyní táhne blíÏ. his wife! time, Otci, máti úklonou vzdejte ãest, 14. Impatient Love not for long, I know, for a moment, he said! pozdrav dejte rodinû mé vzdálené. A flower was blooming in May, it withered again, They say a moment can last a whole Do ãtverch pak stran, které má ten day, svût, 14. Zkvétal, zkvétal v máji kvût and a day can seem to us like a week, mal˘m dítkám vzkaÏte poÏehnaní mé! Zkvétal, zkvétal v máji kvût, povadnul they say. zas, 16. Ach, vy fiíãky umivé A week can be like a year, they say, a mûl mne rád mil˘ mÛj, vak odjel vdál. Ach, vy fiíãky umivé, ach vy vlnky and my love said he must go to town. chladivé, Odejel mi pfiedrah˘ na krátk ãas, However, as an honorable maid, I druÏky milé, pojìte v sad, pomozte mnû ne na dlouhou dobu, vím, na chvíli pr˘! won’t run after him, zaplakat!

Chvíle trvá, fiíkají, po cel den, let him, my soul, run after me himself. Pomozte mi hlasnû lkát, pfiemilého druha zvát, a den se nám, fiíkají, jak t˘den zdá. For my beautiful hair, for my little hand, proã uÏ ke mnû nespûchá, ãi ho nûkdo T˘den mÛÏe, fiíkají, jako rok bt, v moci má. for my gracious stature and my a mil˘ mÛj do mûsta pr musil jít. beauty! Milá jeho dfiívûjí za ruku ho jímala,

Já se za ním, dívka ctná, nehoním vak, 15. Nostalgia a ta druhá milená ústa jeho líbala. aÈ za mnou on, due má, se honí sám. Just like mist turns the distant sea Tfietí milá la vÏdy s ním pfies dvÛr v dark, noci Za mm vlasem nádhern˘m, za ruãinkou, torment filled a hero’s suffering heart. zjasnûné, za postavou líbeznou a krásou mou! In the wide distance the field má on vûru, mil˘ mÛj, zahrady tfii darkened, zelené. 15. Jako mhou se tmí around the green, wild hedge. V první, jata Ïalostí, kukaãka si kuká Jako mhou se tmí mofie vzdálené, jen, In the middle of it stood a golden lehla tr˘zeÀ v reka srdce souÏené. hillock, ve druhé zas ve kfioví slavík ífií písnû sten, V iré dáli té pole lán se tmûl, and on it a kindled little fire was dancing. ve tfietí tam v zákoutí hruka kvete kolem vrouben zelenavou doubravou. bûlavá, Nearby that little fire, all alone on a Vprostfied stálo v ní zlaté návrí, cover, pod tou hrukou samotná mladá dívka sedává. na nûm vznícen ohníãek tam plápolal. was resting a desolate, young gallant. Vzlyká, v pláãi schoulená, Ïal jí srdce U ohníãku blíÏ na pokr˘vce sám rozdírá, 48 95100 Dvorak Edition

sáteãkem si bûlostn˘m hojné slzy utírá. and under that pear tree a lonely Kaftan hnûd˘ na nûm spl˘vá, young maiden is sitting. 17. Mladice ty krásná kamizola z látky vzácné. Sobbing, crouched in her lament, grief Mladice ty krásná, nejkrásnûjí, tears her heart apart, A tu pán vem rozkaz dává: vojaãko ty, pluku nejmilej‰í! with a white cloth she tries to dry her veslem zaveslujte rázn˘m, incessantly flowing tears. Proã se sama mûstem procházívá, po mátuce dobré Volze, 17. Soldier Maid’s Pride ãi snad po miláãku netouÏívá? k Alenuky krãmû známé. You pretty youngster, most beautiful, Ba, já touÏím po svém nejmilejím, Alenuka vyla z vrátek soldier maid, you regiment’s favorite! Just speed, comrades, to holy Russia, He is healthy, handsome, manly, Why are you walking alone through respectable, the moment of my death is already the town, approaching. none of the lads can measure up to are you not longing for your him. To my father and mother pass my sweetheart? respect, But my dear can be heard-headed, Certainly I long for my dearest, and give my greeting to my distant we quarreled, as sometimes happens. family. but he is not in this region. I want to reconcile with him and yet I Then to the four wind-sides of the takového není v svûtû zdejím. doubt, Earth, On je zdrav, krásn˘, muÏn, fiádn˘, I am reluctant to humiliate myself send word of my blessing to the before him. infants! z hochÛ se mu nevyrovná Ïádn. Sending him word, that I find not in 16. Nature’s Lament Ale mil hlavu tvrdou mívá, place either,

Ah, you sparkling brooklets, ah you pohádáli jsme se, jak to bvá. and therefore I wait until the evening cool wavelets, draws near. Chci se smífiit s ním a pfiece váhám, dear friends, come into the orchard, Then, when the dark of the night falls, I help me weep! pokofiit se pfied ním, to se zdráhám. won’t dodge,

Help me loudly lament, to call on my Vzkazovat mu, téÏ mne trochu m˘lí, out of my own I’ll go to him and I’ll kiss dearest mate, him all over! a tak poãkám, aÏ se veãer sch˘lí. why he no longer speeds to me, lest 18. Mother Volga someone holds him in force. Pak, Ïe noci tmám se nevyh˘bám, Over the motherly, mighty Volga, His first sweetheart caught him by the sama pÛjdu k nûmu a jej zlíbám! hand, over its entire width and distance, 18. Po mátuce, mocné Volze and his second lover was kissing his fair weather was joyfully shining, lips. Po mátuce, mocné Volze like a pure and beautiful smile! The third used to join him through the celou iroirou dálí, courtyard by bright nights, On the waves is nothing to see, pohoda se rozesmála, truly, my dear, he has three green just a black boat, slowly rocking. ãistá pohodûnka krásná! gardens. At the rudder is sitting Na vlnách nic není zfiíti, In the first one, caught by sorrow, a cuckoo merely cuckoos, the boatmaster, in an odd dress. jenom ãerná loì se kvá. in the second, a nightingale in a bush A brown mantle is hanging over him, U kormidla vysedává spreads its moaning song, and a shirt from precious cloth. lodi pán, to v atû zvlátním. in the third, in a quiet corner there, And there the master commands to all: blooms a pale pear tree, 49 95100 Dvorak Edition

Firmly pull your oars, she is welcoming you in her everyday hlasitû si pohvízdával. dress: ver the good and motherly Volga, Ke mnû nehléd na okénko, in a shirt from fine tissue, to Alenushka’s well-known tavern. aã tam na okénku mém pfiec merely in a cotton skirt!” Alenushka came out of the wicket leÏel pozdrav jeho dûvy, 19. The Birch Tree with her sweet and pretty daughter. celá snítka vinné révy. On a small field there stood a birch, se svou dcerkou milokrásnou. Víno uÏ je plnû zralé, a curly little birch stood over there, “Nezazlívej, pane vzácn˘, a mÛj mil˘ bûlouãk˘, je heysa, heysa, it was standing there! v ãem si chodí, v tom tû vítá: bûlouãk˘ a kudrnat˘, There is none who would fell that v koilence z tenké tkánû, birch, svobodn˘ a neÏenat˘! v blavnûné jupce pouhé!” there is none who would fell that little 21. Na tom naem námûstí birch, 19. Na políãku bfiíza tam stála Na tom naem námûstí, heysa, heysa, that birch over there! Na políãku bfiíza tam stála, na irokém námûstí, From that walk I will not get tired, kudrnatá bfiízeãka tam stála, procházely se tam dívky, I go there and fell that little birch, hejsa, hejsa, tam stála! lakujíce ve tûstí. heysa, heysa, I fell it! Není, kdo by bfiízu tu skácel, Jedna nad ve krásnûjí, I cut three rods from that birch, není, kdo by bfiízeãku tu skácel, v copech pentli vzácnûjí, from those, I make pipes to my liking, hejsa, hejsa, tu bfiízu! zaeptala hochu svému, heysa, heysa, three rods! Procházkou se tou neztrmácím, z due nejupfiímnûjí: Of the fourth, I make a balalaika, pÛjdu tam a bfiízeãku tu skácím, “Vím, Ïe má mne, hochu, rád, I will play on it there in the wood, hejsa, hejsa, ji skácím! a já tvou se touÏím stát, heysa, heysa, there in the wood! Ufiíznu té bfiízy tfii proutky, nuÏe vûz, Ïe otec rodn˘ 20. The Lover’s Return píÈalky z nich zrobím podle choutky, záhy chce tû synem zvát.” I will go out for a walk along the brook, hejsa, hejsa, tfii proutky! My former lad, I will gaze into its fast-flowing stream, âtvrtou udûlám balalajku, sweeter than any other! to look whether I do not see my lad, budu na ni hrávati tam v hájku, Ah, what stories there where, him who is most dear to my heart. hejsa, hejsa, tam v hájku! even that he is no longer alive! Hocha svého b˘valého, 20. Vyjdu já si podle fiíãky Without a trace, he suddenly líbezného nad jiné! disappeared, Vyjdu já si podle fiíãky, Ach, co uÏ bylo povídání, but one evening again, all of a sudden, v bystr˘ proud se zahledím, Ïe uÏ není Ïiv snad ani! he stood on the street, where he used zda neuvidím hocha svého, to stand, Beze stop se náhle ztratil, srdci mému pfiedrahého. loudly whistling. ale veãer pojednou zas “Do not be offended, distinguished He did not glance to my window, master, na ulici stál, kde stávál, although there by my window

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was lying a greeting from his maiden, kdo se Ïení, ãasto bloudí, heysa, hey, hopsa, heysa, a whole vine full of grapes. hejsa, hej, hopsa, hejsa, who marries, often errs!

The wine is already fully ripe, kdo se Ïení, ãasto bloudí! I should have known, how it goes, and my fair-skinned beloved, Já mûl vûdût, jak to b˘vá, that who is married has trouble! fair-skinned and curly-haired, Ïe, kdo Ïenat, potíÏ mívá! Heysa, hey, hopsa, heysa, is bachelor and unmarried! Hejsa, hej, hopsa, hejsa, bachelors have easy singing!

21. The Favorite’s Consent svobodn˘m se lehce zpívá! 23. Drinking Song

On that town square of ours, 23. Oj, ty luãní kaãko malá Oh, you little meadow duck, on that wide town square, Oj, ty luãní kaãko malá, where did you sleep and pass the dark night? maidens were walking there, kde jsi spala, nocovala? Heysa, heysa, pass the dark night. merrily trifling. Hejsa, hejsa, nocovala. I slept on the meadow, One of them, prettier than all others, Spala jsem já na luãinû, in the blooming thicket, with precious ribbons in her braids, ve rozkvetlé ve kfiovinû, heysa, heysa, in the thicket. whispered to her lad, hejsa, hejsa, ve kfiovinû. Following the path around it, from a most sincere heart: ·li a pfie‰li cestou kolem two merry youngsters passed the “I know you are fond of me, my lad, veselí dva mládci polem, meadow, and I am longing to become yours, hejsa, hejsa, mládci polem. heysa, heysa, passed the meadow. so be sure that my own father 22. The Harvest of Marriage Po prouteãku ulomili, will soon call you son-in-law.” I sowed without ploughing, píÈalky si urobili,

22. Já si zasil bez orání hemp there down by the hillside, hejsa, hejsa, urobili.

Já si zasil bez orání heysa, hey, hopsa, heysa, Na píÈalky nezahuìte, konopí tam pode strání, without ploughing down by the tatíka mi neprobuìte, hillside. hejsa, hej, hopsa, hejsa, hejsa, hejsa, neprobuìte. Hey, earlier than expected the seeds bez orání pode strání. Tatík dfiíme po opiãce, are sprouting up thin stalks, Ej, uÏ setba znenadání máma vafií ve vesniãce, heysa, hey, hopsa, heysa, tíhlá stébla povyhání, hejsa, hejsa, ve vesniãce. leaflets are spreading incessantly. hejsa, hej, hopsa, hejsa, Vafií mladé pivo zdravé, Oh, already when the day awakens, lístky ífií bez ustání. stáãí víno zelenavé, a precious little bird is sitting on them, Oj, uÏ na nich, jak den vstává, hejsa, hejsa, zelenavé. heysa, hey, hopsa, heysa, vzácn˘ ptáãek posedává, Hostí zetû mladistvého, a canary lands on it. hejsa, hej, hopsa, hejsa, synka svého mileného, Ah, how odd is destiny’s judgment, kanárek tam pfiilétává. hejsa, hejsa, mileného. who marries, often errs, Ach, jak sudba divnû soudí, 24. V poli zrají vinû

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V poli zrají vinû, proã to nejsou tfienû, you loved me, you fondled me, why do mou tíhu Ïalnou roznes loukou dálnou, you not marry me? miloval jsi, polaskal jsi, proã si nebere aÈ se kozák neusouÏí. mû? La, la, tralala, … Oj, letí kozák po pûinû úzké, La, la, tralala, … Hey, near the field is a meadow, in it bloom white flowers, slzami se tváfi mu stápí: Hoj, blíÏ pole louãka, kvíti se v ní bûlá, a maiden was mowing grass there, she “Kde je má chÛva, stafienka má vlídná, dívãina tam trávu Ïala, ãerné fiasy had black eye-lashes. mûla. ta se jistû pro mne trápí. La, la, tralala, … La, la, tralala, … Oj, vzpomeÀ na mne, moje stará One mountain is steep, the other again chÛvo, Jedna hora pfiíkrá, druhá zas je nízká, is low, kdyÏ se u nás ráno snídá.” jedna milá daleká je, druhá zcela one sweetheart is distant, the other blízká. quite near. “Ach, moje dítû v cizí zemi strádá,

La, la, tralala, … La, la, tralala, … pfiítele tam neuhlídá!”

Hoj, ta, co je blízká, voly má a krávy, Hey, the one who is nearby has oxen “Oj, vzpomeÀ na mne, ty má stará and cows, chÛvo, daleká zas ãerné fiasy hebãí nad hedvábí. but the distant one has black eyelashes kdyÏ se u nás veãefiívá.” softer than silk. La, la, tralala, … “Ach, to mé dítû z cizí zemû dálné La, la, tralala, … Each one of them broke a twig, zpráviãkou se neoz˘vá!” Hoj, ta, co je blízká, koÏein má fÛrky, they made themselves pipes of it, Hey, the one who is nearby has lots of daleká jen oboãí má tenké jako ÀÛrky. furs, heysa, heysa, that’s what they made. La, la, tralala, … but the distant one has eyebrows thin Do not blow on the pipes, as strings. Hoj, to já té blízké radûj pfiece vzdám do not awake my daddy, se, La, la, tralala, … heysa, heysa, do not wake him. za dalekou sám teì honem na námluvy Hey, the nearby one I rather abandon, dám se! Dad is sleeping off his debauch, as for the distant one, I now go right La, la, tralala, … off to court her. mom is brewing in the village, 25. Oj, kráãe havran ãern˘ La, la, tralala, … heysa, heysa, in the village. Oj, kráãe, kráãe, kráãe havran ãern˘, 25. The Lonely Cossack She is brewing young, wholesome beer, kde se v hloubku údol níÏí, Oh, crowing, crowing is a black rook, and tapping greenish young wine, oj, pláãe, pláãe kozáãek to mládec where the valley descends into the depth, heysa, heysa, greenish young wine. nad osudu svého tíÏí. oh, crying, crying is a young cossack She is treating her young son-in-law, Oj, kráãe, kráãe stále havran ãern˘, over the burden of his fate. her beloved son-in-law, tam, kde louka vroubí fiíãku, Oh, crowing, still crowing is the black heysa, heysa, her beloved. oj, pláãe, pláãe kozáãek to mládec rook,

24. The Lover’s Resolve na koníãku, na vraníãku. there, where the meadow borders the brook, In the field are ripening berries, why Ach, koni vûrn˘, poskoã pod sv˘m are they not cherries, pánem, oh, crying, crying is the young cossack

rozbij, po ãem srdce touÏí, on his little, raven-black horse.

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Ah, faithful horse, jump under your master, destroy, what my heart is longing for, spread my burden of grief over the distant meadow, do not let a cossack suffer to death.

Oh, the cossack is speeding on a narrow path, his face drowned in tears:

“Where is my nanny, old and loving, she is certainly worrying about me.

Oh, remember me, my old nanny, at the morning table in our home.”

“Oh, my child suffers in a strange land, where one will not find friends!”

“Oh, remember me, you my old nanny, at the evening table in our home.”

“Oh, that child of mine, from a strange and distant land he does not send us word of him!”

CD 39 ale od srdéãka slzy sa mi lejú. Kdo se jí napije, zapomnût nemoÏe.

Three Male Choruses on Folk Napil se jí, napil, ohajíãek z rána, Texts, op. 43 (B 76) (With 4- Nie proto si zpievám, bych bola veselá, nemohel zapomnût do svatého Jana. hand piano accompaniment) ale proto zpievám, bych Ïiale zabola. Do svatého Jana, do svaté Trojice,

Îiale moje, Ïiale smutné, osiralé, nemohel zapomnût své varné dievãice. From a Bouquet of Slavonic Folksongs Op.43* ako ta rosiãka na zelenej trávû. 3. Dûvãe v háji

1. Îal Jetû tu rosiãku vûtríãek oduje, (Text: Slovak folk poem)

(Text: Slovak folk poem) a màa zarmúcenú nik nûpolutuje! Vidûl som dievãatko po háji zelûnom,

Traviãka zelená, kadû já chodievám, 2. Divná voda ão mu tûkly slzy po líãku ãervenom, lebo ju já ãasto slzami polievám. (Text: Moravian folk poem) Ïalostno plakala i lomila ruce,

Ústa mi zpievajú, oãi sa mi smûjú, Na tom naem dvofie, to je voda, BoÏe! nûmohla ukrotiè svoje smutné srdce.

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Ztratila som poklad od srdéãka mého, Zda-li ty se sucha bojí? vecko mi to voda znesla. ako ta hrdliãka, ão ztrati milého, Kdybych já se sucha bála, Má ty ãlunek a i veslo, keì sa jej chce píti, lûtí na studniãku, jetû bych já hloubûj stála. ale tebe blúdí pestvo. trepoce krídlama, zamútí vodiãku. Proã kalino kalin nemá Sedni milá na lodiãku,

a jimi se neãervená? pfievezu Èa pfies vodiãku.

Bouquet of Czech Folk Songs Op.41 Já jsem kalin dosti mûla Jak dojeli prostfied vody,

4. Zaveden ovãák a jimi se ãervenala. stupoval jí do slobody.

Pase ovãák, pase ovce, Svrchu ptáci ozobali, Nestupaj mnû do slobody v pûkném zeleném klobouce, z dûli panny olámaly. neÏ mia dovez na kraj vody. pase na kopeãku v bfieÏovém hájeãku. KaÏdá panna hochu svému Jak dojeli na krajíãek,

Pod dubem tu znenadání dvû panenky a já smutná nemám komu. vyhodil ju na trávníãek, stály. Ach, kdybych já komu mûla, ruce, nohy jí urúbal, Ovãák jim dal dobr veãer, ony se mu smály. byla bych si pfiispíila. ãerné oãi jí vylúpal.

Jedna byla celá bílá jako holubiãka, 7. âesk Diogenes Odeel ju na pûl míle, druhá k nûmu vitofiila jako vlatoviãka. Blaze tomu, kdo nic nemá, Poãuval ju, Ïiva-li je.

Pojì ovãáku, pojì ty s náma, nestará se, kam to schová. Vr plakala, vr zpívala, poãkej u nás aÏ do rána, Smûle lehne, smûle vstane, vr na Janoka volala: a ty tvoje ovce, aÈ je pase kdo chce. Ïádnej mu nic neukdradne. Ach Janíãku, srdce moje,

Vzaly jsou ho za ruãiãku, do hor s nima kam si podûl nohy moje? zael, Choral Songs B66 Tam jsú tvoje bílé nohy, svch oveãek a chaloupky nikdy více nenael. 8. Pfievozníãek u Dunaja na tom poli.

5. Úmysl milenãin (Text: Moravian folk poem) Ach Janíãku, srdce moje,

AÏ odtud pojede, mûj holeãku, ly dûvãátka na jahody kam si podûl ruce moje? já pûjdu za tebou, pûjdu za vojaãku. a to pofiád podle vody, kam si podûl oãi moje?

Co bys, má panenko, co bys tam nadely tam pfievoÏníãka, kam si podûl vlasy moje? dûlala? pfievarného ohajíãka. A ty tvoje ãerné vlasy VÏdyè bys mû ve vojsku nepoznala. Oj Janíãku, pfievozníãku, po Dunaju vûtr plaí. Udûlala bych se malm ptáãkem, pfievez ty nás pfies vodiãku. 9. Milenka traviãka Snáela bych se ti nad klobouãkem. Veãky panny popfieváÏal, (Text: Moravian folk poem) Udûlala bych se vlatoviãkou, jenom svojû milú nechal. Ty milotské zvony pûknû vyzváàajú, snáela bych se ti nad hlaviãkou. Oj Janíãku, pfievez i màa, lidé povídajú: co to znamenajú? 6. Kalina zaplatím ti jako jiná. Jedni povídajú: pútníãkové idú, Proã kalino v struze stojí? Nemám ãluna ani vesla, druzí povídajú: pochovávat budú.

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Pochovávat budú jednej vdovy syna, Vacek-Kamenick) z naí vsi pro dûvãatka. co ho otrávila galaneãka milá. Kde mûj je kraj, kde má je vlast? Z jejích jsem kvítkÛ pletla kytiãky

Nesãasná galanko, jak na pohfieb To jméno má nejvûtí slast! z naí vsi pro mládence. pûjde? Není to blud, není to klam, Jdu, jdu po vesnici, u stûn poslouchám, Nesãasná galanko, jak nafiíkat bude? zemi ãeskou za vlast Ïe mám. s mil˘m mne pomlouvají. 10. Huslafi Není zemû jako zemû, Nermuè srdeãko, drahá panenko, (Text: poem by Adolf Heyduk) hlas pfiírody mluví to ke mnû, polapej ta slovíãka. Já jsem huslafi pfieuboh, a srdce mé volá s plesem, Stromoví opadne, drahá panenko, nemám jen tu hfiivnu, v âechách Ïe já jen doma jsem. Nás pfiestanou pomlouvat. a pfiec vudy se mi dafií, Zde jsem zrozen a pûstován, Pomofiané kam irákem k˘vnu, od matky ãeské odchován, Lajma kfiiãí, Lajma ryãí, Kam paliãku poodloÏím, ta pod srdcem mû nosila, bosa bûhajíc po horách. trávník puãí kvûtem, slzami lásky zrosila. Na horu vystoupivi a kdyÏ slaãík strunky hladí, Zde léta jsem proÏil mladosti, uhlédla jsem tfii rybáky radost letí svûtem. zde rajské jsem zaÏil blahosti. pomofiany blízko mofie. Mé píseàky polní kvítí, ProtoÏ volám polem lesem: Nevidûli jste bratfiíãka ono Àadra zdobí, v âechách tu já jen doma jsem. na vysokém mofii? dûvãátka z tûch sladk˘ch zvukû Zde jsem se uãil Boha znát, Ej, dûvãátko, lilijátko, péreãka si zrobí. co dítû otcem sv˘m ho zvát. u dna mofie hlubokého Nedbám vûru o nikoho, Zde mûj vzdûláván byl rozum utonut spí tvûj bratfiíãek, tfieba bez osochu, a zde je mûj otcovsk dûm. písek hryÏe jeho líce, je v kytici dozajista Na nûj oko mé rádo patfií, vlna vlásky mu promvá. plnch kvûtû trochu. zde sestry mé, moji tu bratfii. Pomofiané, kmotfiíãkové, A v kaÏdiãkém takém kvûtu Mnû touha lásky táhne sem, nevylovíte bratfiíãka pohar umné vûnû, u nich tu já jen doma jsem. z mofie hlubokého? by se tûil, kdo na lásku Zaã jej máme vylovit? v srdélenku stûnû. Five Partsongs Op.27 Jednomu dám pás hedvábn, By se tûil, komu slzy 12. Pomluva druhému dám prsten zlat, napadaly k líãku, Záhy jsem vstala, vecky zasela tfietímu nemám co dáti, pro tu milou, miluãiãkou zelené majoránky. s tfietím pak se smluvím sama, nai svobodiãku. Já fiídce sela, hustû mi vzely s mladm korábníkem. 11. Píseà âecha (B 73) a pûknû zpupenûly. Korábník je muÏ stateãn, (Text: poem by Frantiek Jaroslav Z jejích jsem listí vila vûneãky umí lodí spravovati

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po vûtru i proti vûtru. la jsem prosit mûsíãek, k nám zavítá v dnení den Ïelan host.

JakÏ se vyhne, uvaruje mûsíãek mi odpovídá: On do boje spûchá vÏdy s potûením, pfied nepfiáteli svmi? Meãem mne rozpûlili, on útûchu pfiináí poroben˘m.

14. Pfiípovûì lásky smutná je líce moje. On domov svûj opoutí, by chránil vlast,

Pfiijì, má panenko na jafie v máji, la jsem prosit slunéãko, tu novinu zvûstujte vem krajinám: kdy divy kvetou v matãinû sádku. Mnû slunéãko odpovídá: on vítûzem vrací se dnes z boje k nám.

Kolem záhonkû zelená routa, Devût dní ji hledat budu a ve prostfiedku lilije snûÏné. a na desát˘ nezajdu. Moranian Duets B107

V máji utrhnu pestrou kytiãku, 16. Hostina 19. Dyby byla kosa nabróená tu já odelu k svému miláãku. I vafiil vrabeãek piviãko, vrabec, 20. ípek

Nepodám sama, aniÏ po druÏce, na hostinu vecky si ptáãky svolal. 21. Holub na javofie severním vûtrûm dám ji pfieváti. Vrabec tu na skoãnu sovíãku vyzval, 22. Veleè, vtáãku

Pfiijì, mjû miláãku, na jafie v máji, i lápnul panence sovínce na prst, 23. Zelenaj se, zelenaj kdy divy kvetou v otcovû sádku. Sovíãka jde k soudu, do plûtku vrabec, 24. Domov mûj

Kolem zahrádky zelené típky, dam dali dam, dali dam. (Text: Anynomous; Music: Largo from Dvofiák’s New World a ve prostfiedku samé jabloaàky. Symphony; Arrangement: Wouter Potom utrhnu já dvû jablíãka, Two Irish Songs B601 Tukker) ta dvû odelu k svému dûvãátku. 17. Drah Konnor Domov mûj, vlasti má milá...

Sám nepodám je, ani po jiném, Mûj Konnor má tváfie jak ãervená rûÏe, Vlasti má milená, je to jako sen teplmi vûtry dám je pfieváti. a pfiíroda kadefií králí mu skráà. Ïe tû zas spatfiit mám, nadeel mi den.

15. Ztracená oveãka Jen perla s ním v léposti závodit mûÏe, Co jsem se nabloudil, proel cel svût,

Vãera, vãera za veãera, a dech jeho pfiekoná kvetoucí stráà. co jsem se nastrádal, mnohch zaÏil bûd! ztratila se má ovãiãka. V radosti nûÏné v samotû dlíme, Matiãka nejdraÏè po mnû touÏí tam, Hej, kdoÏ mi hledat pomûÏe on po horách kráãí vÏdy za stínem mm. raduj se, srdce mé, vÏdyè to není klam, mou oveãku jedinkou? Srdce mé v blahém touÏení, kdyÏ na se zfiíme, zas tû uzfiít mám, pokoj srdci dám. la jsem prosit denici, Konnor miláãek mûj, on m˘m Domov mûj... mne denice odbvá: potûením. Co jsem se nabloudil, proel cel svût, Ráno ohníãek slunci co jsem se nastrádal, mnohch zaÏil musím rozdûlávat. 18. Návtûva bûd! la jsem prosit veãernici, NuÏ, zdobte se kvítím, aè zaplane záfi, Sladká chvíle jiÏ opût je mnû blíÏ, veãernice mne odbvá: dnes rekovnou vojína uzfiíme tváfi. vlasti obraz záfií ve mnû,

Musím veãer lûÏko Aè Ïalu, aÈ strasti dnes domov ná a po hroudû rodné zemû touÏí due má. prost, Pro slunéãko stlávat. Matiãka osvûÏí srdce znavené,

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aÏ se zas navrátím tam do vlasti své. well until Saint John’s day, never he stay with us until the morrow, forgot her. Zdá se mi, Ïe slyím drahé matky hlas, and your flock of sheep, hey, let them Well until midsummer, well until herd whoever may. zdá se mi, líbám zas její hebk vlas. September, Then they took him each by one hand, Matko má, milená, zas tû uzfiít mám, none but his maiden sweet did the lad brought him to the mountain, remember. raduj se, srdce mé, vÏdyè to není klam, and his sheep-flock and his cottage he 3. The Maiden in the Wood saw nevermore again. zas tû uzfiít mám, pokoj srdci dám. I saw a maid in the green wood amidst 5. The Sweetheart’s Resolve Domov mûj... the creeks, When you from here will part, my tears were flowing down her face, on prince charming, her blushing cheeks, English Sungtexts hence will I follow you, join you to the she would weep with sorrow, wring army. From a Bouquet of Slavonic Folksongs her hands in sadness, Op.43* But tell me how would you, my dear she could not give to her sad heart and sweetest heart, 1. Sorrow peace and gladness. from other soldiers there tell me Green is the field of grass, on which Lost is my heart’s treasure, always to apart? my footsteps tread, me so near, I’d turn myself into one small birdlet, as on it tears of my grief do I often just like the turtle-dove that loses its shed. most dear, then I would fly around over your hat.

Singing is in my mouth, laughter is on that as it needs drinking, flies towards Turning into a bird I’d follow you, my brow, the clear source, circling around your head, as swallows but from deep within my sad heart flapping its wings, thereby turning the do. bitter tears flow. water coarse. 6. The Guelder Rose Not do I sing this song, merry to be and gay, Guelder rose, there by the river, Bouquet of Czech Folk Songs Op.41 but this song I sing is chasing my grief does the dryness make you shiver? away. 4. The Betrayed Shepherd If I would the draught be fearing, Grief me haunting, sadness, sorrow, Yonder shepherd, herding his sheep, orphaned, alas, deeper still I’d be appearing. wears a fine green hat, guard does like dewdrops left by the morning on keep, Guelder rose, why aren’t you the green grass. blooming, herds on a hillock fair, near a small Still may a gentle breeze stroke birch grove there. and where is your ruddy glooming? dewdrops in caress, By an oak tree, of a sudden, stood two I had many flowers growing, but there’s none who pities me in my maids beguiling. deep distress! all my ruddy beauty showing. Greeting to them gave the shepherd, 2. Wondrous Water they were at him smiling. From above were birds me picking,

In our courtyard, heavens!, wells a One maid she was white like a dove, from below were maids me plucking. water wetting. flying in heaven’s blue, Flowers each maid to her lad brought, Whoever drinks of it, can not be and the other at him twittered, just and I’m sad for I have left naught. forgetting. like swallow birds do.

Ah, if I had flow’rs left over, Drinking was a gallant, one morning, Come, you shepherd, leave your that water, sorrow, I would run to give my lover.

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7. Czech Diogenes Half a mile away he took her, Ev’rywhere I lay my stick down,

Blessed he, who owns not a thing, listened if she was hereafter. lawns with flow’rs are sprouting, where to hide it, ’s not worrying. Loudly weeping, loudly singing, as my bow the strings caresses,

Sleeps without fear, wakes in good was her voice to Janík ringing: Earth for joy is shouting. cheer, Oh my Janík, sweetheart, dear lad, Flowers are my songs, on meadows, none robs him of anything dear. where you left those legs I once had? bosoms decorating,

Your white legs are there, asunder, maidens are from those sweet noises Choral Songs B66 by the Danube, in field yonder. plumelets fabricating. 8. The Ferryman Oh my Janík, sweetheart, dear lad, Heedless I’m to all around me, Maidens fair went picking berries, where you left those arms I once had? may it be of no use, going where the river carries, where you left those eyes I once had? in my bouquet one finds surely when a handsome ferry-master where you left that hair I once had? some full flowers to choose. made their steps and hearts go faster. And your hair, once black, long- And in each such flower is a Oh dear Janík, ferry-trotter, growing, cup, sparkling and scenting, ferry us across the water. ’long the Danube winds are blowing. it delights whom is love’s yearning All the maidens did he ferry, 9. The Poisoning Sweetheart heartfelt deep tormenting. just his love he would not carry. Hear, the Milotice bells are lovely tolling, It consoles whose tears of sorrow Oh my Janík, ferry me too, and the people wonder: whereto are down their cheeks are flowing, like the others I will pay you. they calling? for our lovely, dear, beloved Me my boat and oars won’t ferry, Some folks will be saying: pilgrims must be praying, freedom, never bowing. water did those from me carry. others folks are saying: I’ll respect be 11. A Czech’s Song (B 73) You’ve a boat and oars you have too, paying. Where is my home, where is my land? but your naughtiness deceives you. Let’s inter the son of one poor widow lady, That name and bliss go hand in hand! Sit, love, in my boat, I bid you, he was sadly poisoned by his darling Illusions may others deceive, ’cross the stream I’ll ferry you too. maiden. Czech’s my homeland, I do believe. As the boat halfway progressed, Unfortunate maid, will you see his No land other could my land be, interment? then Janík the maid aggressed. here nature’s voice is speaking to me, Unfortunate maid, your lament will be Don’t aggress me on the river, torment! my heart to me calls, rejoices, ere ashore you me deliver. 10. The Fiddler that the Czech land my homeland is. As ashore the boat had landed, I’m a fiddler, poor, uncaring, Born I was and raised was I here, out he threw her and offended, just with gifts anointed, brought up by my Czech mother dear, off her arms and legs he cutted, ev’rywhere yet I’m well-faring, who near her heart me in her had, and her deep black eyes he gutted. where my hat is pointed. tears over me of love she shed.

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Here have I passed all my childhood’s they will cease to talk of us. where the bright blossoms blow, in time, mother’s garden. 13. Dwellers by the Sea here have I lived years of joy divine. In the sunny borders there, rue and Laima crieth, Laima moaneth, lad’s love grow, Thus I call on field and forest: running barefooted down the cliff. and amid the grass, lilies like white in my Czech homeland I found rest. snow. Mounting the rugged headland, My God to know I learned here, There in May I’ll pluck posies bright there I saw three fisher-folk men, with color, as child to father be Him near. dwellers by the restless ocean. these I’ll give, gifts of joy, to my own Educated have I been here, dear boy. Tell me, have you seen my brother, here is my parents’ home so dear. I’ll not take these gifts myself, nor trust sailing on the high sea? to a friend, Glad to see I am, like no others, Aye, my lassie, little lily, by the true North wind, blossoms fair my sisters here, and all my brothers. I’ll send. fathoms deep, below the billows, Strong ties of love to them draw me, Come to me, sweetheart, into the May sleeps your brother, drowned and sunshine, with them at home I here shall be. dead, where early apples grow, in father’s and the sand drifts o’er his visage, garden.

Five Partsongs Op.27 through his hair the heaving tides In the orchard, row on row, young wash. green trees grow tall, 12. Village Gossip Dwellers by the sea, my kinsmen, in the midst there stands one tree, the With the dawn I arose, and all around I best of all. sowed will you not dredge my brother

One day I will pluck, from its boughs, marjoram, sweetest herb that blows. from the deep sea? two apples, Sparsely I sowed seed, ever it flowered Tell us what you’ll pay, my girl? these I’ll send, gifts to greet, her, my the more, One shall have my silken girdle, love so sweet. beautiful blossoms it bore. one shall have my golden bracelet, I’ll not take these gifts myself, nor trust Then of its green leaves, I made a posy to a friend, neat, for the third I’ve naught remaining, by the soft South wind, my apples I’ll from my home, for a lassie sweet. with the third one I must bargain, send.

She, from her garden, wove me a with the youngest I will plead. 15. The Lost Lamb garland fair, Is not a sailor fearless, brave, Yestereve, as night was falling, from her home for me to wear. skilled to steer his vessel safely, my lost lamb I heard a-calling. Strolling our village thro’, there I oft do Hey, who will help to find my lamb, hear, through bad weather, through good weather? my one lambkin, my only lamb? how gossips talk, my dear, of me and you. Sharp and canny, quick, resourceful, First I went to ask the morning star,

Let them not cause you grief, darling sure in tempest and danger? but the star of morning answered: girl of mine, 14. Promise of Love Early, ere the sun is risen, heed them not, scorn their spite and fuss. Come to me, sweetheart, into the May sunshine, I must catch his rays and light my fire.

With the fall of the leaf, darling girl of Then I sought the star of evening, mine,

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but the star of ev’ning answered: By each other delighted and fondly My dearest mother is there, longing united, for me, Not I, for, ere twilight, I have listened all day to my dear Irish rejoice, my heart, for it is no illusion, I must make an evening bed for the Boy. sun. I may behold you again, giving peace 18. The Visit to my heart. Next I went to seek the half-moon, Adorn thee with flowers, let bright Home of mine... but the silver half-moon answered: shine the light, How have I wandered around, crossed With a sword they have cut me in today of one hero we witness the the entire world, twain, sight. how have I suffered, lived through lots and sad and mournful is my face. Of sorrow, of grief let our home now of misery! be free, Lastly I went to ask the sun, That sweet moment is now on this day a dear guest’s arrival we approaching for me, and to me the sun made reply: see. the image of my homeland is Nine days I will seek your lambkin, He always with eagerness runs to the enlightening me, fight, but on the tenth day I won’t set. and my soul is yearning for its native and to his oppressed people he brings soil. 16. The Sparrow’s Party delight. My mother will revive my fading heart, Once a cock-sparrow did brew some He leaves his house, safeguards his strong cider, homeland so dear, when I return there, back to my homeland. and to his festival all birds invited. this message proclaim to all lands far and near: I imagine hearing the voice of my dear Then for the polka he led out miss mother, oulet, he’s back from the battle, victoriously. I imagine kissing her fine hair. but clumsily trod on miss oulet’s great toe. My beloved mother, I may see you Moranian Duets B107 again, She sued for damages, the sparrow went behind bars, 19. The Slighted Heart rejoice, my heart, for it is no illusion, down dilly down, dilly down. 20. The Wild Rose I may behold you again, giving peace to my heart. 21. Forsaken Home of mine... Two Irish Songs B601 22. Speed thee, Birdie

17. Dear Connor 23. Omens

My Connor, his cheeks are as ruddy as 24. My Home morning, Home of mine, my sweet homeland... the brightest of pearls do but mimic his teeth. My beloved homeland, it is like a dream While nature with ringlets his mild brows adorning, that I may behold you again, that day has come to me now. his hair Cupid’s bow-strings, and roses his breath. How have I wandered around, crossed the entire world, Smiling, beguiling, cheering, endearing, how have I suffered, lived through lots together how oft o’er the mountains of misery! we strayed.

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CD42

Antonin Dvořák (1841-1904) married a singer from the chorus of the theatre and in 1874

Requiem, Op. 89 became organist of the church of St Adalbert. During this

Antonin Dvořák was born in 1841, the son of a butcher period he continued to support himself by private teaching, and innkeeper in the village of Nelahozeves, near while busy on a series of compositions that gradually

Kralupy, in Bohemia, and some forty miles north of became known to a wider circle, particularly with the success

Prague. It was natural that he should at first have been of his Hymnus: Dedicove bile hory (The Heirs of the White expected to follow the family trade, as the eldest son. His Mountain) for the Prague Hlahol Vocal Society. musical abilities, however, soon became apparent and Further recognition came to Dvořák in 1874, when his were encouraged by his father, who in later years application for an Austrian government award brought his abandoned his original trade, to earn something of a living music to the attention of Brahms and the critic Eduard as a zither player. After primary schooling he was sent to Hanslick in Vienna. The granting of this award for five lodge with an uncle in Zlonice and was there able to consecutive years was of material assistance. It was through acquire the necessary knowledge of German and improve this contact that, impressed by Dvořák's Moravian Duets his abilities as a musician, hitherto acquired at home in entered for the award of 1877, Brahms was able to arrange the village band and in church. Further study of German for their publication by Simrock, who commissioned the and of music at Kamenice, a town in northern Bohemia, Slavonic Dances, for piano duet. The success of these led to his admission in 1857 to the Prague Organ School, publications introduced Dvořák's music to a much wider where he studied for the following two years. public, for which it held some exotic appeal. As his reputation

On leaving the Organ School, Dvořák earned his living grew, there were visits to Germany and to England, where as a viola-player in a band under the direction of Karel he was always received with greater enthusiasm than might

Komzilk, an ensemble that was to form the nucleus of the initially have been accorded a Czech composer in Vienna.

Czech Provisional Theatre Orchestra, established in 1862. In 1883 Dvořák had rejected a tempting proposal that

Four years later Smetana was appointed conductor at the he should write a German opera for Vienna. At home he theatre, where his operas The Brandenburgers in Bohemia continued to contribute to Czech operatic repertoire, an and The Bartered Bride had already been performed. It was important element in re-establishing national musical not until 1871 that Dvořák resigned from the orchestra, identity. The invitation to take up a posttion in New York was devoting himself more fully to composition, as his music another matter. In 1891 he had become professor of began to attract favourable local attention. In 1873 he composition at Prague Conservatory and in the summer of

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the same year he was invited to become director of the plea of the chorus for their words to be heard is followed by

National Conservatory of Music in New York, an institution the same prayer from the soprano and alto soloists, Exaudi that was intended to foster American music, hitherto orationem meam, then joined by the tenor and bass. dominated by musicians from Europe or largely trained Through the solemn prayers of the chorus come shafts of there. Whatever the ultimate success or failure of the light at Lux perpetua luceat eis, as harmonies shift, leading venture, Dvořák 's contribution was seen as that of providing from the minor to the tonic major of B flat, as the Christe a blue-print for American national music, following the elelson is sung by the choir, with divided tenors and basses example of Czech national music, which owed so much to darkening the timbre of the choral writing. The opening motif him. There were musical results in his own work, notably in returns in the Gradual, for solo soprano and his Symphony 'From the New World', and chamber music of chorus, now at a higher pitch and accompanied by the the period, works that rely strongly on the European tradition sopranos and altos. Divided tenors and basses end the that he had inherited, while making use of melodies and movement, with a final hushed G major. rhythms that might be associated in one way or another with The Sequence, the doom-laden prophecy of

America. By 1895 Dvořák was home for good, resuming terror to come, has invited composers to a dramatic treatment work at the Prague Conservatory, of which he became of the text. Dvofilk set the first two stanzas of the poem as a director in 1901. His final works included a series of fierce, four-square march. The Tuba mirum starts symphonic poems and two more operas, to add to the nine with a trumpet triple declaration of the motif, rising a semitone he had already composed. He died in Prague in 1904. each time, before the entry of the alto soloist, followed by the

In 1884 Dvořák visited England for the first time, men's voices, now in E major. The bass soloist continues with conducting there his Stabat Mater. A second invitation the next stanza, followed by the chorus. The tenor soloist took him back to England, to Worcester, in the autumn, adds a modal Libar scriptus, the final words echoed by the when the Stabat Mater was heard again. 1885 brought a basses before an outburst of sound as the Dies irae returns, third visit to London and his connection with England leading to the return of the Last Trump with a fortissimo Tuba continued, particularly in works that were well suited to mlrum and an abbreviated version of the text, pianissimo, the flourishing traditions of choral music there. It was, from the men's voices of the chorus. Horns introduce Quid however, the Requiem, written in 1890 and first performed sum miser, the divided sopranos followed by the in Birmingham the following year, that matched the soprano soloist, the questions of the text repeated by the success of the Stabat Mater. men's voices, then joined by the tenor and bass soloists. All

The Requiem opens with a setting of the Introit four soloists are heard in the setting of Rex tremendae which is to be combined with a very short Kyrie. The cellos majestatis, with echoes, as in the Tuba mirum, of Mozart's start the work with a motif that is to recur. The chorus sings setting of these texts. There is a short fugal section, and the the words of the Introit at first softly, mounting to a climax for chorus leads to a final hushed plea, Salva me, fans piefatis.

Te decet hymnus, words repeated by the solo tenor. The The 0 major Recordare, Jesu pie is scored for the

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four soloists in a persuasively beautiful setting. The following follows, then the solo soprano, followed by the chorus.

Confutatis ma/edictis calls down vengeance on The voice of the solo soprano soars above the chorus at sinners in terms recalling Verdi's Dies irae, mollified by the Pleni sunt caeli, continuing with the four soloists and succeeding plea for salvation, soon overwhelmed by the chorus. There is a shift of key for the Benedictus, the retum of the opening condemnation, although this movement chorus and solo tenor joined by solo soprano and solo ends in triumph. The bass soloist introduces the Lacrimosa, alto. The gentle setting of Pie Jesu, Domine, joined by the alto soloist in the next stanza. The words inserted from the end of the Sequence, is entrusted words of the Lacrimosa are repeated dramatically by the first to the chorus, followed by the upper three solo voices. tenor soloist, continuing with the solo soprano, with the four The key changes again for the Agnus Dei, soloists adding heightened feeling to the final petition for rest, which, as so often elsewhere in the Requiem, recalls echoed by the chorus. again the opening motif. The solo tenor leads the petition,

The F major Offertory w ill brings together four followed by the chorus, with the plea then taken up by the soloists and chorus, culminating in what must'seem an solo soprano and then the chorus, with the vocal forces obligatory fugal setting of Quam oHm Abrahae promisisti. variously deployed, in a setting of the texts of the Agnus

Horns introduce the bass soloist, and the alto soloist sings Dei and of the Communion words, Lux aeterna luceat eis, the continuing words of the Offertory, Hostias et preces tlbl, Domine, Let eternal light shine upon them. The chorus

Domine laudis offerimus to be joined by solo sings this final petition in B flat major, answered by the soprano, followed by the bass and tenor. Eventually the orchestra which, with the pervasive motif, returns briefly to fugal setting of Quam oHm Abrahae promisisti returns. the minor key in which the work had begun.

The bass soloist ushers in the Sanctus, Keith Anderson echoed by a reduced alto section of the chorus. The tenor

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Requiem, Op. 89 Part I through earth's sepulchres

Part I lntroit: Requiem aeternam - Kyrie shall bring all before the throne.

Introitus: Requiem aeternam - Kyrie Eternal rest grant to them, Lord, 8

Requiem aeternam dona sis Domina, and let perpetual light shine upon Mors stupebit et natura, them. et lux perpetua luceat eis. cum resurget creatura, A hymn, 0 God, is fitting for you in Sion Te decet hymnus Deus in Sion, judicanti responsura. and a vow shall be paid to you in et tibi reddetur votum in Jerusalem: Jerusalem: Liber scriptus proferetur, exaudi orationem meam, hear my prayer, in quo totum continetur, ad te omnis care venial. to you all flesh shall come. unde mundus judicetur.

Requiem aeternam dona sis Domina, Eternal rest grant to them, 0 Lord, Judex ergo cum sedebit, et lux perpetua luceat eis. and let perpetual light shine upon quidquid latet apparebit, them. Kyrie eleison. nil inultum remanebit. Lord have mercy. Christe eleison. Dies irae, dies ilia, Christ have mercy. Kyrie eleison. solvet saecium in favilla, Lord have mercy. 121 Graduale teste David cum Sybilla. I Gradual Requiem aeternam dona eis, Domina, Quantus tremor est futurus, Eternal rest grant to them, 0 Lord, et lux perpetua luceat eis. quando judex est venturus and let perpetual light shine upon In memoria aeterna srit justus: them. cuncta stricte discussurus! ab auditione mala non timebit. The just will be remembered for ever: Tuba mirum spargens sonum,

Requiem aeternam dona eis, Domine. he will not fear from evil report. per sepulchra regionum,

Sequentia Eternal rest grant to them, 0 Lord. coget omnes ante thronum.

Dies irae Sequence Quid sum miser

Dies irae, dies ilia, 3 Dies irae Quid sum miser tunc dicturus, solvet saecium in favilla, Day of wrath, that dreadful day, quem patronum rogaturus, teste David cum Sybilla. the world will melt in ashes cum vix justus sit securus?

Quantus tremor est futurus, as David and the Sybil foretold. Rex tremendae majestatis, quando judex est venturus What trembling there will be qui salvandos salvas gratis, cuncta stricte discussurus! when the jUdge shall come salva me, fans pietatis.

Tubamirum dealing strictly with everything. Recordare, Jesu pie

Tuba mirum spargens sonum, Tuba mirum Recordare Jesu pie, per sepulchra regionum, The trumpet scattering wonderful quod sum causa tuae viae; sound coget omnes ante thronum. ne me perdas ilia die.

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Quaerens me sedisti lassus, that I am the reason for your life dona eis requiem, redemisti crucem passus; do not destroy me on that day. Amen. tantU$ labor non sit cassus. Seeking me, you lived in weariness, o just judge of vengeance

9 suffered the cross and redeemed me. grant me remission

Death will stand stupefied and nature Let such labour not be in vain. before the day of accounting. when the creature shall rise Juste judex ultionis, I groan as an offender, to meet the one that jUdges. donum fac remissionis, my face blushes with guilt,

The book written shall be brought out, ante diem ration is. spare the suppliant, 0 God. in which all is contained Ingemisco tanquam reus, You who absolved Mary by which the world shall be judged. culpa rubet vultus meus; and heard the thief;

When the jUdge, then, takes his seat supplicanti parce, Deus. you gave hope also to me. whatever was hidden shall be Qui Mariam absolvisti, My prayers are unworthy, revealed, et latronem exaudisti; but you, in goodness, act kindly, nothing shall remain unavenged. mihi quoque spem dedisti. so that I do not burn in eternal fire. Day of wrath, that dreadful day, Preces meae non sunt dignae, Grant me a place among the sheep the world will melt in ashes sed tu, bonus, fac benigne, and separate me from the goats, as David and the Sybil foretold. ne perenni cremer 19n8. putting me on your right hand. What trembling there will be Inter oves locum praesta, Ili Confutatis when the judge shall come et ab hoedis me sequestra, Let the cursed ones be confounded, dealing strictly with everything. statuens in parte dextra. committed to harsh flames, The trumpet scattering wonderful sound Iliconfutatis call me among the blessed. through earth's sepulchres Confutatis maledictis, I beg you, suppliant, bowing down, shall bring all before the throne. flammis acribus addictis, my contrite heart like ashes,

[5] Quid sum miser voca me cum benedictis. care for me at my ending.

What am I, wretched man, to say, Oro supplex et acclinis, Lacrimosa whom should I ask to intercede, cor contritum quasi cinis Tearful, that day, when the just are scarcely safe? gere curam mai finis. on which shall rise from the ash

King of fearful majesty rm Lacrimosa guilty man, to be judged. who grants salvation to those to be Lacrimosa dies ilia, Therefore, 0 God, spare this man, saved, qua resurget ex favilla o merciful Lord Jesus, save me, fount of mercy. judicandus homo reus. grant them rest, Recordare, Jesu pie Huic ergo parce Deus, Amen. Remember, merciful Jesus, pie Jesu Domine,

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CD43 Hosanna in excelsis. Blessed is he who comes in the name of the Lord. Part 2 Part 2 Hosanna in the highest. Offertorium: Offertory: Pie Jesu Domine Jesu Christe Domine Jesu Christe Pie Jesu, Oomine, Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, dona eis requiem sempiternam. libera animas omnium fidelium set free the souls of all the faithful defunctorum departed is Agnus Dei de poenis inferni, et de profundo lacu: from the pains of hell, and from the Agnus Dei, deep pit: Iibera eas de ore leonis, qui tollis peccata mundi: set them free from the lion's mouth, ne absorbeat eas tartarus, dona eis requiem, lest hell swallow them up, ne cadant in obscurum. Agnus Dei, lest they fall into darkness. sed signifer sanctus Michael qui tollis peccata mundi: But let the holy standard-bearer repraesentet eas in lucem sanctam: Michael dona eis requiem sempiternam.

Quam olim Abrahae promisisti, bring them into holy light, Lux aeterna luceat eis, Domine, et semini ejus. as you once promised to Abraham, cum sanctis tuis in aeternum:

Hostias and to his seed. quia pius es.

Hostias et preces tibi, Hostias Agnus Dei,

Domine, laudis offerimus: Victims and prayers of praise qUi tollis peccata mundi: tu suscipe pro animabus illis, we offer you, 0 Lord; dona eis requiem, quarum hodie memoriam facimus: accept them for those souls Agnus Dei, fac eas, Domine, whom we commemorate today; qui tollis peccata mundi: de morte transire ad vitam. make them, 0 Lord, dona eis requiem aeternam,

Quam olim Abrahae promisis!i, pass from death to life, et lux perpetua luceat eis. et semini ejus. as you once promised to Abraham, Pie Jesu

Quam olim Abrahae promisisti, and to his seed. o merciful Lord Jesus, et semini ejus. As you once promised to Abraham, grant them eternal rest.

Sanctus and to his seed. is Agnus Dei

Sanctus, Sanctus, Sanctus, 3 Sanctus Lamb of God,

Dominus Deus Sabaoth. Holy, holy, holy who takes away the sins of the world,

Pleni sunt caeli et terra Lord God of Sabaoth. grant them rest, gloria tua. Heaven and earth are full Lamb of God,

Hosanna in excelsis. of your glory. who takes away the sins of the world,

Benedictus qui venit in nomine Hosanna in the highest. grant them eternal rest. Domini.

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Let eternal light shine on them who takes away the sins of the world, grant them eternal rest, with your saints for ever grant them rest. and let eternal light shine on them. because you are merciful. Lamb of God, Antonin Dvorak (1841 - 1904)

Lamb of God, who takes away the sins of the world,

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Serenade for Strings, Op. 22 second subject. In the second movement Tchaikovsky reminds us of his particular gifts as a composer of ballet. The waltz As a composer Tchaikovsky represented a happy synthesis of melodies bring with them admirably calculated contrasts of key the West European or German school of composition, and movement in music that never ceases to be suavely lyrical. represented in Russia by his teacher Anton Rubinstein, and the This is followed by an Elegie more patently Russian in Russian nationalists, led by the impossibly aggressive Balakirev. inspiration, in which the composer's genius for melody is From Rubinstein Tchaikovsky learned his technique, while coupled with a remarkably deft handling of string texture and a Balakirev attempted time and again to bully him into subtle manipulation of what is fundamentally a simple scale. compliance with his own ideals. To the nationalists Tchaikovsky The Finale in its opening leads gently from the key and mood of may have seemed relatively foreign. His work, after all, lacked the Elegie to a Russian melody, based on a descending scale, a the primitive crudity that sometimes marked their provenance that is emphasised, finally illuminating the origin of compositions. Nevertheless acceptance abroad was not the initial bars of the Serenade and the genesis of the whole universal. Hanslick, in Vienna, could deplore the "trivial Cossack work. cheer" of the violin concerto and other works, while welcoming the absence of any apparent Russian element in the last of the Dvořák's career won him an international reputation. His visits six symphonies. In England and America there had been a to England and the resulting choral compositions won him heartier welcome, and in the latter country he had been friends in that country and in 1892 he was invited to New York received with an enthusiasm that exceeded even that at home. to establish a National Conservatory, in pursuance of the In his diary of the American concert tour of 1891 he remarked sponsor's aim to cultivate a national American school of on this and on the curious habit of American critics, who tended composition. At home he had, after Smetana, been largely to concentrate their attention on the appearance and posture instrumental in creating a form of Czech music that transcended of a conductor, rather than on the music itself. At the age of 51 national boundaries, music that was thoroughly Bohemian in its he was described in the American press as "a tall, gray, melodic inspiration and yet firmly within the German classical interesting man, well on to sixty" . tradition exemplified by Brahms.

The Serenade for Strings was written in the winter of 1880 to The E major Serenade for string orchestra was written in the 1881 and dedicated to the cellist Konstantin Albrecht and first two weeks of May in the year 1873 and performed in general factotum of the Moscow Conservatory. The work Prague on 10th December 1876. It is scored only for strings and started as either a symphony or a string quartet, before it took has for many years formed a major item in the string orchestra final shape as a suite for strings, the movements of which repertoire. The first movement opens with music of delicate established a coherent relationship in key and suggested charm, breathing something of the spirit of a Schubert quartet, symphonic structure in their arrangement. It was first particularly in the middle section of this ternary movement. This performed in Moscow in 1882 and won immediate approval is followed by a waltz, with a more restless trio. The scherzo from Jupiter, as the composer's former teacher, Anton starts with a melody of great liveliness, followed by a second Rubinstein, was known. It proved pleasing to critics and public theme of more romantic pretensions and a further melody of in equal measure and has continued to occupy an important considerable beauty, before an extended passage leads back place in string orchestra repertoire. again to the opening melodies. A Larglzetto of great tenderness and yearning, recalling in outline the trio of the second The first movement, described as in the form of a sonatina, movement leads to the finale in which there are references opens with a slower introduction, followed by a first subject in both to the Larghetto and to the first movement. This brings, in which the composer continues, by dividing the sections of the conclusion, still more of the spirit of Bohemia, with which the orchestra, to offer a rich texture, contrasted with the livelier whole Serenade is instilled.

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CD 44

Rusalka Op.114

Opera in three acts · Libretto by Jaroslav Kvapil

1. JEDNÁNÍ ve tvou sínku stríbrnou! Jakz, je tam smutno

1 Predehra (Tancí.) bujnym slecinkám?

Palouk na pokraji jezera. Kolkolem lesy, Hou, hou, hou, Mám dole na dne v nich na brehu jezera chalupa Jezˇibaby. mesíc bloudí nad vodou! samu nádheru

Meesíc svítí. Echo a zlaty´ch rybek na pytle tam mám —

(Na staré vrbe, jez se sklání k jezeru, sedí … nad vodou! (Lapá rukou po zínkách, které mu

Rusalka, smutne zamyslena. Tri lesní Lesní zínky pokazdé uklouznou.) zínky, drzíce se za ruce, lehky´m tanecním Po jezere tancˇí vánek, rákosím se kmitnu, krokem v popredí jeviste se pohybují.) probudil se hastrmánek, ruku svou jen napnu,

Lesní zínky hastrmánek tatrmánek, po slecince chnapnu,

2 Hou, hou, hou, hou, hou, hou, za nozky ji chytnu, hou, hou, hou, bublinky uz ze dna jdou. stáhnu si ji k nám! stojí mesíc nad vodou! Hou, hou, hou, (Lapá nemotorne po zínkách.)

Echo hastrmánek nad vodou! Lesní zínky

… stojí meˇsíc nad vodou! (Vodník se vynorí, Hastrmánku, heja hej,

Lesní zínky mne si oci a divá se na tancící.) tedy si nás nachytej!

Zvedave se v hloubku dívá, Hastrmánek chce se zenit, Hou, hou, hou! po kameni ke dnu sply´vá, která z vás chce vodu penit, Hou, hou, hou! hastrmánek hlavou ky´vá, dedka cesat, loze zmenit, Hastrmánku, heja hej, hou, hou, hou, hou, hou, hou, tedy si nás nachytej! starou hlavou zelenou. s babkou hastrmanovou? (Lesní zínky pri tomto zpevu couvají ode

(Tancí.) Hou, hou, hou, jezera stále poskakujíce a dovádejíce.)

Hou, hou, hou, s babkou hastrmanovou? Kterou chytísˇ muzícku, hou, hou, hou, (Skotací kolem vodníka, dá ti peknou hubicku! kdo to chodí nocí tou? ktery´ z vody nemuze a jen po pás vycnívá Ale zena, ha ha ha,

Hou, hou, hou! nad hladinu.) za usi ti vytahá!

Hastrmánku, mesíc stoupá, Hou, hou, hou! Ha ha, ha ha, uz se tobe v okne houpá, Vodník (dobromyslne a jakoby zertem) za usi ti vytahá! za chvíli se k tobe vloupá, I pekne vítám, pekne vítám Heja, hej! hou, hou, hou, hou, z lesa k jezeru! Tedy si nás nachytej!

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(Rozutekou se.) Chtela bych od vás, a v loktech my´ch se koupá.

Vodník hlubin tech se zby´ti, Lec pouhou vlnou jsem,

Ulicnická havet’! clovekem by´t mou bytost nesmí zrít.

Kterak zbrkle pádí! a v zlatém slunci zíti! Ó vím, zˇe clovekem

Horem, dolem, dolem polem — Clovekem by´t drív musila bych by´ti, inu, mládí, mládí! a v zlatém slunci zíti! jak já jej objímám

(Rusalka, která jiz od pocátku sedí na Chtela bych od vás, a vinu já jej v ruce, vrbe nad jezerem, zavolá teskne na hlubin tech se zby´ti. by on mne objal sám vodníka.) Vodník a zulíbal mne prudce!

Rusalka Mohu-liz verit vlastním usˇím svy´m? Vodník

3 Hastrmánku, tatícku! Clovekem by´ti? Clovekem by´ti? Díte, díte, z noci do noci

Vodník (jenz ji dríve nevidel, obrátí se Tvorem smrtelny´m? tvoje sestry budou pro te plakat, prekvapen a ptá se vesele) Rusalka uz ti není, není pomoci,

Ky´ho sˇlaka, díte — Sám vypráveˇls ty zveˇsti neznámé, cloveˇk-li teˇ v svou moc doved’ zlákat! snad mi tady v mesícku ze mají dusi, které nemáme, Rusalka nesusís mé síteˇ? a duse lidí ze jde nebi vstríc, Hastrmánku, muzícku,

Rusalka kdyz clovek zhyne on mne musí zocit,

Hastrmánku, tatícku, a kdyz znikne v nic! povez, povez, tatícku, nez se vody zpení, V nic! v nic! co mám, smutná, pocít? seckej se mnou chvilicku, Vodník Vodník at’ mi smutno není! Dokud rodná kolébá te vlna, Ztracena, ztracena do veku,

Vodník nechtej dusi, prodána, prodána cloveku!

I vida, smutno! ne, ta je hríchu plna. Marno je lákat te

Rusalka Rusalka dolu v rej —

Vsechno reknu ti! A plna lásky! Jezibabu si zavolej,

Vodník Vodník ubohá Rusalko bledá!

A dole taky? Vodo praveká — (Potápí se.)

Rusalka snad nemilujes, Beda! Beˇda! Beˇda!

Smutno k zalknutí! díte, cloveka? (Zmizí pod vodou.)

Vodník Rusalka Rusalka

Dole, kde je samy´ rej? 4 Sem casto prichází (zpívá, hledíc k mesíci, jenz zatím ozáril

Není mozná! Povídej! a v objetí mé stoupá, celou krajinu. Je krásná letní noc.)

Rusalka sat shodí na hrázi

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5 Mesícku na nebi hlubokém, Jezibaba 6 Staletá moudrost tvá vsechno ví, svetlo tvé daleko vidí, (vyjde z chalupy a rozhlízí se) proniklas prírody tajemství, po svete bloudís sirokém, Lkáním, stkáním, naríkáním za nocí hluboky´ch dívás se v príbytky lidí. kdo mne budí pred svítáním? o lidech snís,

Po svete bloudís sirokém, Rusalka odveky´m zivlum rozumís, dívás se v príbytky lidí. Jezibabo, léku dej mi, pozemské jedy, paprsky mesíce

Mesícku, postuj chvíli, vodní kouzlo se mne sejmi! dovedes svarit na léku tisíce, rekni mi, kde je muj mily´! Jezibaba dovedes spojit, dovedes borit,

Mesícku, postuj chvíli, Slysím cosi, cichám cosi, dovedes usmrtit, dovedes stvorit, rekni mi, kde je muj mily´! ozvi se a povez, kdo jsi! cloveka v príseru,

Rekni mu, stríbrny´ mesícku, Rusalka jsem, vodní víla, príseru v cloveka mé ze jej objímá ráme, dej mi léku, tetko milá! dovede promeˇnit moudrost tvá odveká. aby se alespon chvilicku Jezibaba Rusalky za nocí hrozbou svou strasís, vzpomenul ve snení na mne. Jsi-li víla, zjev se hbite, pro lidské strasti

Aby se alespon chvilicku ukaz se mi, krásné díte! divné léky snásís, vzpomenul ve sneˇní na mne. Rusalka pro nás i pro lidi

Zasvet’ mu do daleka, Vlnami jsem upoutána, ve svete dalekém rekni mu kdo tu nan ceká! do leknínu zamotána. sama jsi zivlem,

Zasvet’ mu do daleka, Jezibaba sama jsi clovekem, rekni mu kdo tu nan ceká! Vytrhni se, cupy hupy, se smrtí vecnost je veno tvé,

O mne-li, dusˇe lidská sní, pospes ke mne do chalupy, pomoz mi, pomoz mi, zázracná zeno! at’ se tou vzpomínkou vzbudí; pust’ ji, vlnko, pust’ ji ke mne, Pomoz mi! mesícku, nezhasni, nezhasni! az se nozˇky dotknou zeme! Jezibaba (s d’ábelsky´m smíchem)

(Mesíc zmizí v mracích.) (Rusalka se snese s vrby a namáhave tápe To já znám, to já znám,

Ta voda studí, studí! k Jezibabe.) s takovou se chodí k nám!

(Zachveje se úzkostí.) Jezibaba To já znám, to já znám,

Jezibabo! Jezibabo! (jakoby carovala) s takovou se chodí k nám!

(V chate Jezibaby vzplane ohen.) Nozicky, neste ji, Ale slys, pilne slys,

Vodník (hluboko pod vodou) nozicky, drzte ji, nezli léku okusís:

Ubohá Rusalko bledá! vida, jak nozicky chodit uz umejí! perly más, krásu más,

Beda! Beda! Beda! Rusalka (klesne k nohám Jezibaby) pomohu-li, co mi dás?

Rusalka (úpenlive) Jezibabo! Jezibabo!

Jezibabo! Jezibabo! Pomoz, pomoz, pomoz!

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Rusalka Chces by´t nema, chces, a postrasene nahlízejí okénkem do

Vse, co mám, si vem, pro toho, jejz milujes? chalupy.) ale udelej mne clovekem! Rusalka Kapka krve drací,

Jezibaba Jeho-li lásku poznat smím, deset kapek zluce,

A nic víc? Pranic víc? ráda, ver, ráda pro nej onemím! teplé srdce ptací,

A nic víc? Jezibaba pokud jeste tluce!

Proto prislas úpejíc? Strez si ho, strez, Skoc, muj mourku, skoc a skoc,

(s humorem, ale stále jízliveji) a vez to, vez: varem v kotli pozatoc!

Voda te uz omrzela, prokleta-li se vrátís Skoc, muj mourku, skoc a skoc, lidského jsi lacna tela, ve vodníkovu rís, varem v kotli pozatoc! milování, laskování, milácka svého také zahubís, Cury mury fuk, hubicek a cukrování, stane se navzdy obetí cury mury fuk, to já znám, to já znám, vecného, vecného tvého prokletí! nelekej se vetsích muk! s takovou se chodí k nám! Rusalka Tot’ tvé lidské veno,

Rusalka Cistou dusí, cistou lidskou dusí a to musís píti,

Tvoje moudrost vsechno tusí, moje láska vsechna kouzla zrusí! tím, co uvareno, dej mi lidské telo, lidskou dusi! Jezibaba jazyk zdrevení ti.

Jezibaba Tedy pojd’, honem pojd’, Skoc, muj mourku, hola hej,

Dám ti, dám, do chaty mne vyprovod’! v hrdlo jí tu st’ávu vlej! vez to rarach sám! V krbu jedy uvarˇíme, Skoc, mu°j mourku, hola hej,

Ale ty mi musís dát Rusalku tím napojíme – v hrdlo jí tu st’ávu vlej! prusvitny´ svuj vodní sat — ale potom ani muk, Cury mury fuk, a kdyz lásky neokusísˇ na svete, cury mury fuk! cury mury fuk – zavrzena zíti musís (Vejdou do chalupy, v jejímz okénku ale ted’ uz ani muk! v hlubinách zas proklete. zaplane cervená záre. Proud jisker vyrazí (Divoky´ sykot v chalupe zvolna slábne.

Ztratís-li tu lásku, komínem. Za chvíli lze slyset sykot v Lesní zínky se rozprchly. Obloha se jasní, po níz cit tvuj prahne, kotli. Do toho se mísí zaklínání z daleka znejí lovecké rohy. kletba vodních mocí Jezibaby.) Nad jezerem rdí se jitrní záre.) zas te v hloubku stáhne, Jezibaba Vodník (hluboko pod vodou) a nez nabudes jí, 7 Cury mury fuk, Ubohá Rusalko bledá! trpet budes téz, cury mury fuk, Beda! Beda! Beda! pro vsechen lidsky´ sluch bílá pára vstává z luk! (Lovecké rohy znejí stále zretelneji, lovci nema zustanesˇ. (Lesní zínky slysíce to vybíhají z lesa se blízí. Je slyset princova lovce, an

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zpívá.) Lovec (nablízku) Odpoved’ záhadám,

Lovec (z daleka) Lan nebyla to, lovce, stuj, jez mne sem lákaly,

Jel mlady´ lovec, jel a jel, Buh tvoji dusi opatruj! jez mne sem volaly lan bílou v lese uvidel. Srdce tvé smutno je zcela! pres trní, pres skály,

Hluboké oci ta mela. Koho ti stihla tvá strela? abych tu konecne

– Zda-li ji stihne má strela? (Nekolik lovcu vyjde z lesa.) v blazeny´ dnesní den,

Ó, mlady´ lovce, dále spej, Princ díte, tvy´m pohledem tu bílou lanku nestrílej! 9 Ustante v lovu, na hrad vrat’te se, náhle byl okouzlen!

Varuj se jejího tela! podivné cáry bloudí po lese, Co v srdci tvém je ukryto,

– Zda-li ji stihne má strela? divnejsí cáry más-li mne ráda, zjev mi to!

(Lovecké rohy znovu znejí. Princ s kusí v dusi mám; (Rusalka mu padne do nárucí.) vruce vybehne z lesa a rozhlízí se.) domu vrat’te se, chci by´ti sám! Rusalky (pod vodou)

(Lovci odcházejí. Princ usedne na brehu Sestry, sestry, sestry, Princ jezera, ale kdyz vzhlédne, spatrí Rusalku, jedna schází z nás! 8 Zde mihla se ana pred ním stojí. Rusalka vysla z (Rusalka polekána se vzchopí a a zase zmizela! chalupy. Je bosa, v popelavy´ch satech naslouchá.) Horem a dolem, nuzného dítete. Krásné její zlaté vlasy Sestricko, sestricko, lesem a polem hluboko sply´vají. Je nema.) kam odeslas? podivná zver ta míhá (Princ vyskocí) (Rusalka se chveje nerozhodností a se kolem, Vidino divná, presladká, bázní.) a tady stopa jsi-li ty clovek nebo pohádka? Vodník (pod vodou) znikla docela! Prisla jsi chránit vzácné zveri, Pres hory, doly a lesy! A tajemny´m vlnením potají kterou jsem zahléd’ v lesa seri? Rusalky ty vody mne v lokty své lákají, Prisla-lis prosit za ni, Sestricko, sestricko, kde jsi? jak bych mel divoky´ lovu cit sestricko bíly´ch laní? (Rusalka se stulí v svrchované úzkosti v v objetí jejich zas ochladit. Anebo sama, jak vstríc mi jdes, náruc princovu.) Krok vázne mi, koristí lovcovou by´ti chcesˇ? stesk cítím neznámy´, (Rusalka vztáhne k nemu své ruce, Princ zbran z unavené ruky padá mi, nemohouc promluvit.) 10 sotva lov zacal, Svírá ti ústa tajemství, Vím, ze jsi kouzlo, unavil mne vráz, ci navzˇdy jazyk tvuj ztich’? které mine divné to kouzlo Nema-li ústa tvá, Buh to ví, a rozplyne se v mlzny´ rej, zajalo mne zas! vylíbám odpoved’ s nich! lec dokud cas nás neuplyne

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ó pohádko má, neprchej! neustanem v práci ani! hastrman te stáhne na dno.

Muj skoncen lov, Pomysli si, pomysli si, A kdo vidí lesní zínky nac myslit nan? zdas to, stry´cku, slysel kdysi? bez kosilky, bez sukynky,

Tys nejvzácnejsí moje lan, Princ ti nasel v lese omámí ho lásky chtíc, tys hvezdicka zlatá v noc temnou — divné stvorení, Pánbuh s námi a zlé pryc! pohádko má, pojd’ se mnou! a s ním, podivme se, Kuchtík (s úzkostí)

Pojd’ se mnou, pohádko má! snad se ození! Stry´cku, stry´cku, já se bojím!

(Princ zahaliv zatím Rusalku ve svuj Nasel pry´ ji v lesích tvy´ch, Hajny plást’, odvádí ji do lesa.) ve tvy´ch lesích hluboky´ch, Inu, není div,

2. JEDNÁNÍ ale at’ ji vzal, kde vzal, Pánbuh hríchum tvojím

Sad na zámku princove. V pozadí já bych se jí, stry´cku, bál! budiz milostiv! slouporadí a slavnostní sín hodovní. V Holka je ti nemá, Kuchtík popredí pod stary´mi stromy rybník. kapky krve nemá, Nás princ vzdy tak svarny´ byl,

Odpoledne, chy´lí se zrovna k veceru a chodí jako vyjevená, kterak se ted’ promenil! pak noc. to by byla cistá zena! Není, jaky´ by´val, není,

(Hajny´ prichází s kuchtíkem.) Hajny bloudí jako omámen,

Hajny Je to pravda vskutku, stará Háta na modlení

11 co se mluví vsude? dává za nej den co den.

Járku, járku, klouce milé, Muj ty mily´ smutku, A pan farár, jak to slysel, dopovez, dopove, dopovez, uz to takhle bude! varovat ti prince prisel, jaká ze to kratochvíle Muj ty mily´ smutku, ale princ ne a ne, na zámku se strojí dnes? uz to takhle bude! holka pry´ tu zustane!

To je hostí na síni, At’ nás Pánbuh chrání, Hajny to je práce v kuchyni, myslivec jsem stary´, Proto jsou tu hosté jiz! na stolích a na policích ze v tom milování Proto se tak prázdní spíz! podivného náciní! vezí divné cáry! Proto jsem honem vlek’

U nás v lese strasí plno zvere na zámek!

Kuchtík (s naivním úsmevem) slakovité moci, Kuchtík

Máme ti ted’ shán lesem divní brasi Na stestí, jak zdá se mily´ stry´ce Vanku, chodí o pulnoci. nemelo to by´t, do vecera od svítání Je-li v tele duse slabá vsecko muze zase, neustanem v práci ani, uhrane ji Jezibaba, zase jiná pokazit! do vecera od svítání pode hrází tuze snadno Stará Háta vypráví,

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jak pry´ je princ vrtkavy´, by rozhorela jsi do krve (Stane mezi princem a Rusalkou.) uz pry´ jeho láska mizí, a byla zenou mou zcela? Princ jinou pry´ zas v mysli má, (Knezna vyjde pozadím a s hnevivou zástí (vzrusí se, sotvaze spatril kneznu) po jakési knezne cizí pozoruje prince.) Ach, vy´citka to veru vcasná hází pry´ uz ocima! Proc chladí tvoje objetí, a s vasich rtíku rád ji snásím:

Hajny vzplát vásní proc se bojí? i zenich veru, knezno krásná,

Pánbuh dej, Pánbuh dej, Proc úzkostí jen zachveti je prˇedevsˇím jen sluhou vasˇím! ve zdraví ho zachovej! mám v náruci se tvojí? Knezna

Já by´t princem, bez okolku A marne, marneˇ dusím smutny´ cit, (Jízlive, pohlédnouc na Rusalku) vyhnal bych tu cizí holku, z náruce tvé se nelze vyprostit, A vase kráska, citu vasich paní, nez mne v peklo zamotá: byt’ stokrát bylas chladná, nesmelá, vás nepokárá at’ se klidí, zebrota! mít musím tebe, musím tebe mít docela! za to slovem ani?

Kuchtík (náhle) Knezna (Rusalka na ni pohlédne s hnevnou

Hu, tam si vede princ Ne, není to láska, bolestí.) tu obludu! hnevivy´ je to cit, Ci v pohledu svém tolik nehy má,

(Utece.) ze jiná dlí, kde já jsem chtela by´t, ze mluví s vámi

Hajny a ze jsem jeho míti nemeˇla, pouze ocima?

Já na ni také cekat nebudu! at’ stestí obou Princ (v rozpacích)

(Utece jinudy.) zhyne docela! Lec oci její ríci zapomnely,

(Princ prichází s Rusalkou. Rusalka Princ ze hostitel se nepozorny´m stal. krásne odeˇna, ale stále smutná a bledá.) Mít musím tebe, Necht’ nahradí ted’ rychle, svolíte-li,

tebe mít docela, co roztrzit jen chvíli zanedbal.

Princ byt’ stokrát bylas chladná, (Podává knezne ruku. Rusalka pokrocˇí

12 nesmelá, a krecoviteˇ se chytne ruky princovy.)

Jiz ty´den mít musím tebe docela! Nac rozpaky tvoje, dlís mi po boku, Knezna (jde ve popredí) a proc se tolik chvejesˇ? jak z báj zjev dlís prede mnou, Zda na chvíli princ V svou komnatu pospes a marne v ocí hluboku vzpomene si prec, a stroj se k plesu jiz! tvou bytost hledám tajemnou; ze hostitelem téz je milenec? Knezna a marne v ocí hluboku (svudne) (k Rusalce, s vítezny´m úsmeskem) tvou bytost hledám tajemnou! Má na to stestí, jímzˇ vás blazí svet, Ó, vystrojte se v saty prebohaté,

Má snatek dát mi teprve, téz cizí host mám dvornost jeho, co láska dávno chtela, jen neme pohlízet? vy vsak srdce máte!

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(Princ odvádí kneznu. Rusalka ztrnule budes jen zivlem smrtícím, po ceste vsude kvetly, hledí za nimi, jako by pohledem chtela vrátís se zitím uvadlá, hoch jel a jel k své neveste prince zadrzet, ale pak smutna a zlomena prokletí zivlu jsi propadla! a den se smál tak svetly´. odchází sama slouporadím. Zatím se Ubohá Rusalko bledá, Nemeskej, hochu, k milé spes, stále serí, vecer hasne a pozdeji zasvitne v nádheru sveˇta zakletá! dorostes záhy v muze, mesíc.) Hosté (zpev v síni) zpátky az tudy pojedes,

2 Kvetiny bílé po ceste, pokvetou rudé ru°ze.

13 po ceste vsude kvetly, Kvetiny bílé nejdrive

Balet hoch jel a jel k své neveste úpalem slunce zasly,

(V síni zazní slavnostní hudba a zaplanou a den se smál tak svetly´. ale ty ruze ohnivé svetla. Je videt v pozadí slavnostní ruch, Kvetiny bílé po ceste, atd. svatební loze kráslí. hosté se scházejí a tvorí skupiny. Pozdeji Nemeskej, hochu, k milé spes, Kvetiny bílé po ceste, atd. zpeˇv a tanec.) dorostes záhy v muze, (Rusalka vybehne zoufalá ze síne do sadu

(Vodník se vynorˇí z rybníka a dívá se do zpátky azˇ tudy pojedes, a zmatena, nevedouc kudy kam, rozbehne síneˇ, kde vírˇí veselí.) pokvetou rudé ru°ze. se k vode.)

Vodník Kvetiny bílé nejdríve Vodník

Beˇda! Beˇda! úpalem slunce zasˇly, 3 Rusalko, znás mne, znás?

Ubohá Rusalko bledá, ale ty ruze ohnivé Rusalka v nádheru sveˇta zakletá! Beˇda! svatební loze kráslí. (zprvu jako by nemohla, ale pak se z ní

Kvetiny bílé po ceste, atd. vyderou slova a náhle vykrikne)

CD45 (Princ se objeví chvílemi v slavnostním Vodníku, tatícku drahy´!

1 Cely´ svet nedá ti, nedá, ruchu, jenz vírí sálem, a dvorí se okázale Vodníku, tatícku drahy´! vodní cím rˇíse rozkvétá! cizí knezne, nevsímaje si Rusalky.) Vodník

Stokrát bys byla clovekem, Vodník Proto jsem prˇisˇel v zámek vásˇ, ve jhu jsi spjatá odvekém. Ubohá Rusalko bledá, bych zrˇel teˇ truchlit tak záhy?

Byt’ mel te clovek supoutat! v nádheru sveta zakletá! Rusalka

(V loggii mihnou se tancící páry´ Beda! Beda! Tatícku, vodnícku, spas mne, spas, a zase zaniknou v síni.) Na vodách bíly´ leknín sní úzkost mne pojala hrozná!

Ubohá Rusalko bledá, zajatá v kouzlo smutny´m ti druhem bude — Beda, ze chtela jsem zradit vás, lidsky´ch pout! pro tvoje lozˇe svatební beda, kdo cloveka pozná!

Voda tvá vsude te hledá, nekvetou ruzrudé! Beda, beda Beda, kdo cloveka pozná! nadarmo chce te obejmout! Hosté Beda, beda!

Az se zas vrátís k druzkám svym, Kvetiny bílé po ceste, Jiná jej krásou jala vráz,

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divokou lidskou krásou, tatícku, tatícku! byt’ kvetl chvíli pouze! a mne uz nezná, nezná zas, Spas mne, spas! Vy jste ten zhavy´ kvet,

Rusalku prostovlasou! Knezna (princem provázena) byt’ kvetl chvíli pouze!

Vodník 4 Vám v ocích divny´ zár se zrací Ted’ teprve to vím,

On ze te zavrh’, a naslouchám vám zmámena. cím mrelo moje telo, jenz mel te rád? Jste stále vrelejsí a sladsí, kdyz lásky tajemstvím

Musís ted’, musís vytrvat! ó princi, co to znamená? se uzdraviti chtelo!

Rusalka Kam prchla vase vyvolená, (náhle obejme kneznu)

Ó marno, ó marno! ta bez reci a beze jména, Co z lásky oné zbude,

Ó marno to je kam prchla, aby videˇla, jíz v osidla jsem pad’? a prázdnota je v srdci mém, ze princ je zmenen docela? Rád strhám vsecky svazky, jsou marny vsechny vdeky moje, Princ bych vás moh’ milovat! kdyz zpola jsem jen clovekem! Kam prchla? Mily´ Buh to ví! Knezna

Ó marno to je, mne uz nezná zas, Lec zmenou mou jste sama vinna. Ó, teprve ted’ poznávám,

Rusalku prostovlasou. A letní noc to nepoví, ze námluvy

Ó marno to je, ze zajala mne kouzla jiná! mi náhle kynou, jsou marny vsˇechny vdeˇky moje! Ó, nazvete to rozmarem, pan zenich, zdá se, neví sám,

Jí horí v ocích vásne síla, ze miloval jsem jinou chvíli, zda namlouvá si mne ci jinou! té lidské vásne prokleté, a bud’te zhavy´m pozárem, (Rusalka náhle se vytrhne vodníkovi, jí horí v ocích vásne síla, kde dosud luny svit plál bíly´! zoufale vybehne a vrhne se v náruc té lidské vásne prokleté, Knezna princovu.) mne voda chladná porodila Az pozár muj vás popálí Princ (na smrt podeˇsˇen) a nemám, nemám vásne té! a vsechny vase vásne zdesí, Mrazí mne tvoje ramena,

Ó marno, ó marno… az odejdu vám do dáli, bílá ty kráso studená!

Prokleta vámi, pro nej ztracena, co s leskem luny pocnete si? (Odstrcí Rusalku.) odveky´ch zivlu hluchá ozvena. Azˇ obejmou vás lokty slicˇné Vodník (zjeví se v plném svetle meˇsícním

Zenou ni vílou té neˇmé krásky námeˇsícˇné, nad rybníkem) nemohu by´t, cim k vásni hrát se budete? V jinou spes náruc, spes a spes, nemohu zemrít, nemohu zít, Ó, skoda, skoda vásne té! objetí jejímu neujdes! nemohu zemrít, nemohu zít! Princ (Strhne Rusalku do rybníka.)

(Kleká k rybníku. Princ prichází s A kdyby cely´ svet Princ (omrácen a nic nechápaje) kneznou z hodovní síne do sadu.) chtel klnout mojí touze, Z objetí moci tajemné

Vidís je, vidís? Jsou tu zas, vy jste ten zhavy´ kvet, spaste mne, spaste mne, spaste mne!

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(Vrhá se knezne k nohám a klesne na Kde jste, Jezibaba zemi omrácen.) kouzla letních nocí Milácek te zavrh’, prestal te mít rád,

Knezna (s divoky´m smíchem) nad kalichy leknínu? a ted’ Jezibaba

V hlubinu pekla bezejmennou Proc v tom chladu bez pomoci má zas pomáhat? pospeste za svou vyvolenou! nezhynu, ach, nezhynu? Po záletech svetsky´ch, dcerko rozmilá,

(Odchází.) Ach, necitelná vodní moci, bys ted’ k sestrám

3. JEDNÁNÍ stáhlas mne zas v hlubinu, atd. ráda se zas vrátila?

Palouk na pokraji jezera, jako poprvé. Jezibaba (vyjde z chalupy) Inu, mám já radu, dobrou radu mám,

Chy´lí se k veceru, obloha je pod mrakem, 6 Aj, aj? Uz jsi se navrátila? ale poslechnes-li, ví to rarach sám, ale pozdeji zaplanou cervánky, a konecne No, tos tam dlouho nepobyla! ví to rarach sám! nastane mesícná noc. A jak más bledé tváricky, Lidskou krví musís smy´ti

(Rusalka sedí nad jezerem, kde prve a jak tu truchlís o samote! zivlu prokletí sedela. Vsecka je bílá a bledá. Vlas její Coz nechutnaly hubicky za lásku, jiz chtelas míti zpopelavel, oci pohasly.) a lidské loze nehrálo te? v lidském objetí.

Rusalka Rusalka Budes zas, címs byla prve,

5 Necitelná vodní moci, Ach, beda, beda, tetko rozmilá, nez te zklamal svet, stáhlas mne zas v hlubinu, vsˇe zradilo mne, vsˇe jsem ztratila! ale horkem lidské krve proc v tom chladu, bez pomoci Jezibaba lze jen ozdravet. nezhynu, ach, nezhynu? Krátké bylo milování, Opustí te vsechna muka,

Proc nezhynu, ach, proc nezhynu? dlouhé bude naríkání, budes st’astna, budes hned,

Mladosti své pozbavena, po hubickách zahubí-li tvoje ruka bez radosti sester svy´ch, muzsky´ch úst toho, jenz te oklamal, pro svou lásku odsouzena nekonecny´, vecny´ pust! zahubí-li tvoje ruka teskním v proudech studeny´ch. Clovek je clovek, toho, jenz te sved’!

Mladosti své pozbavena, zivlu vyvrhel, Rusalka (udesene) bez radosti sester svy´ch, z korenu zeme Jezibabo, beda, co to chces? pro svou lásku odsouzena dávno vyvrácen, Jezibaba teskním v proudech studeny´ch. beda kdo jeho lásku (podává jí nuz ze zánadrí)

Ztrativsˇi svu°j pu°vab sladky´, poznat chtel, Ten vezmi nuz a slib, miláckem svy´m prokleta, jeho kdo zradou je ted’ zatracen! zˇe poslechnesˇ! marne touzím Rusalka Rusalka k sestrám zpátky, Tetko má moudrá, tetko, rci, Jde z tebe hruza, marne touzím do sveta. není mi, není pomoci? nech mne, nech!

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(zahodí nuz do jezera) sestricko ty prokletá, vlcí mlhu mám,

Chci vecne trpet v úzkostech, nesestupuj k nám! pro zivého Boha, chci vecne cítit kletbu svou, V nase tance nesmí sem, stry´cku, jdi tam sám! svou celou lásku zhrzenou, koho clovek objal jiz, Hajny svou beznadej chci vsechnu zrít, rozprchnem se, rozprchnem, Kolikrát jsem tudy sel, lec on, on musí st’asten by´t! jak se priblízís! temno leckdy by´valo jiz,

Jezibaba (rozchechtá se) Z tvého smutku vane strach tys mi cisty´ straspytel,

V lidsky´ zivot potmesily´ v radostny´ nás hravy´ rej, zˇe se staré babky bojísˇ! touha tvá te vábila, s bludickami v bazinách Kuchtík a ted’ nemás tolik síly za nocí si hrej! Ondy, kdyz jsi u nás byl, bys krev lidskou prolila? Lákej lidi svitem svy´m, sáms mne, stry´cku, postrasil,

Clovek je clovekem teprve, na rozcestích tekej ted’, nediv se ted’, mily´ brachu, v cizí krev ruku kdyz stopil, svety´lkem svy´m modravy´m ze mám v lese plno strachu; zbrocen kdyz vásní do krve do hrobu jim svet’! nediv se, nediv se, nediv se! blizního krví se opil. Na hrobech a rozcestích Hajny

A ty zes chtela clovekem by´t jiny´ch sester najdes rej, Reci sem, reci tam, a cloveka vásní omámit? v reje vodních sester svy´ch to tak nekdy pridávám!

Prázdná ty vodní bublinecko, uz se nevracej! Ale ted’ honem hled’ mesícní bledá zahalecko, (Ticho. Na západe rudnou cervánky. vyzvedeti odpoved’! jdi, trp, trp si z veku do veku — Hajny´ privádí kuchtíka.) Vzmuz se, hej, zaklepej, a seschni touhou po svém cloveku! Hajny na radu se babky ptej!

(Odbelhá se do chalupy.) 8 Ze se bojís? Tresky, plesky, Kuchtík

Rusalka vsak tu jiní by´vávali! Já bych jiste breptal,

7 Vyrvána zivotu Zaklepej a povez hezky, jakou úzkost mám, v hlubokou samotu co ti doma prikázali! abys tedy zeptal bez druzek, bez sester mám se brát; Princ ze nosí tezkou dumu, se jí na to sám! milácku, vím to, vím, ze se poplet’ na rozumu, Hajny nikdy víc te nespatrˇím, jakás pekla stvura klatá Stydel bych se, stydel

ó beda, ó beda nastokrát! ze k nám prisla do hradu, by´t já otcem tvy´m!

(Ponorˇí se do jezera.) a ze prosí stará Háta Ale abys videˇl,

Rusalky (pod vodou) Jezibabu o radu! ze se nebojím!

Odesla jsi do sveˇta, Kuchtík (se vzpouzí) Jezibabo, Jezibabo, uprchla jsi nasim hrám, Mne uz chromne noha, hola, hola, hola!

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(Jezibaba vyjde z chalupy.) ale krásná kouzelnice svatojanské musky slétají se k nim,

Jezˇibaba svatby nedockala. ruka moje bílá vlásky rozpustila,

Kdo to hlucí? Kdo to volá? Prince kdyz uz zmátla docela, mesícek je cese

(Kuchtík se skry´vá za hajného.) neverná ta kouzelnice zmizela. svitem stríbrny´m.

Hajny Cely´ hrad je Mám, zlaté vlásky mám!

Stará Háta k tobe posílá, kouzlem zmámen podnes, Druhy´ zínka (tancíc) abys, Jezibabo, radila! d’ábel sám tu kouzelnici Mám, bílé nozky mám,

Jezibaba do pekla si odnes’! probehla jsem palouk celicky´,

Za tu radu, za rozumu spetku (Vodník vynorí se rázem z jezera.) probehla jsem bosa, tohle vyzle posílá mi k snedku? Vodník umyla je rosa,

(Sáhne na kuchtíka.) Kdo ze ji odnes’? mesícˇek je obul

Jen co vykrmí se, chudinka, Koho ze zradila? v zlaté strevícky. bude z neho pekná pecínka! Prokleté pléme, První zínka

Kuchtík (zoufale se brání) jez vás sem posílá, Mám, zlaté vlásky mám,

Pust’ mne! Pust’ mne! tvorové bídní, svatojanské musky slétají se k nim,

Pust’ mne z techto míst! on sám ji zradil, ruka moje bílá vlásky rozpustila,

Stry´cku, stry´cku, ona mne chce sníst! uvrh’ ji v prokletí! mesícek je cese svitem stríbrny´m.

Jezibaba ( chechtá se) Hajny (o prekot utíká) Mám, zlaté vlásky mám!

Ha, ha, ha, ha! Hastrman! Hastrman! Druhy´ zínka

I ty maly´ zmetku, Kuchtík (utíká za ním) Mám, bílé nozky mám, hloupé stvorˇení, Stry´cku! Stry´cku! Pro Boha, stry´cku! probehla jsem palouk celicky´, to bych mela k snedku Vodník probehla jsem bosa, cistou peceni! Pomstím se, pomstím, umyla je rosa,

Pro peklo at’ roste proklety´ rod vás! kam rís má dosahá! mesícek je obul

A ted’ povez honem, (Ponorí se.) v zlaté strevícky. co mi rˇíci másˇ? Jezibaba Mám, bílé nozky mám!

Kuchtík (s úzkostí) Ha, ha, ha, ha! Tretí zínka

Nás princ tezce stune, prevelice, (Odbelhá se do chalupy.) Mám, krásné tílko mám, uhranula srdce jeho (Zatím zhasly jiz cervánky na západe, na palouku v noci svítí jeho vdek, jakás kouzelnice! setmelo se a záhy vyjde mesíc. Na kudy bezím, vsudy moje bílé údy

Prived’ si ji na hrad, vse jí dal, polouku sbíhají se lesní zínky.) do stríbra a zlata satí mesícek. jako vlastní zivot sám ji miloval. První lesní zínka (tancíc) Mám, krásné tílko mám!

Jeho zenou byla by se stala, 9 Mám, zlaté vlásky mám,

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Lesní zínky ubohá Rusalka bledá! Bílá moje lani! kde jsi, kde jsi?

Do kola, sestricky, do kola, Beda! Ó beda! Ó beda! Pri vsem, co v mrtvém srdci mám, v lehounky´ nocní vánek, (Ponorí se do jezera. Mesíc zajde v nebe i zemi zaklínám, za chvíli z rákosí zavolá mraky.) zaklínám Boha i besy, zeleny´ hastrmánek! ozvi se, ozvi, kde jsi!

Do kola, sestricky, do kola, První zínka Milenko má! v lehounky´ nocní vánek, Cítím slzu ve zraku, (Mesíc vyjde z mraku°. Rusalka se zjeví v za chvíli z rákosí zavolá chlad mne náhle ovál. mesícním svitu nad jezerem.) zeleny´ hastrmánek! Druhy´ zˇínka Rusalka

(vidouce Vodníka) Do sedivy´ch oblaku 11 Milácku, znás mne, znásˇ?

Uz tu je, uz tu je, mesícek se schoval. Milácku, jestezpomínás? uz si síte spravuje! Tretí zínka Princ (uzasne)

(tancíce kolem neho) Tma se tiskne v skránmé, Mrtva-lis dávno, znic mne vráz —

Hastrmánku, heja hej, sestry, sestry, prchneme! ziva-lis jeste, spas mne, spas! honem si nás nachytej, (Rozprchnou se. Princ vybehne pomaten Rusalka kterou chytís, muzícku, z lesa.) Ziva ni mrtva, dá ti peknou hubicku. Princ zena ni víla,

Ale zena, hahaha, 10 Bílá moje lani! Bílá moje lani! prokleta bloudím hastrmánku, hahaha, Pohádko! Nemy´ prelude! mátohou! za usi ty vytahá! Mému naríkání, spechu bez ustání Marne jsem chvíli v loktech tvy´ch snila

Hastrmánku, heja hej, konec uz nikdy nebude? ubohou lásku, lásku svou, honem si nás nachytej! Ode dne ke dni touhou stván milenkou tvojí kdysi jsem byla,

Vodník hledám te v lesích udy´chán, ale ted’ jsem jen smrtí tvou!

Nelaskujte plase, noc-li se blízí, tusím te v ní, Princ deti zlatovlasé, chytám te v mlze mesícní, Bez tebe nikdy nelze zˇít, rodná voda nase hledám te siré po zemi, muzes mi, muzes odpustit? lidsky´m rmutem zkalila se. pohádko, pohádko! Rusalka

Lesní zínky Vrat’ se mi! Proc volal jsi mne v náruc svou,

Coze nám rusí vesely´ rej? (Stane. Poznává krajinu z prvního dejství. proc ústa tvoje lhala?

Povídej, muzícku, povídej! Pojednou se mu rozum rozjasnuje.) Ted’ mesícní jsem vidinou

Vodník Tady to bylo, v tvá muka neskonalá.

Hluboko na dne sténá, mluvte, nemé lesy! Ted’ tebe sálím v nocních tmách, sestrami zavrzená, Vidino sladká, milenko má, kde jsi? je zneucten muj klín

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a s bludickami na vodách ze zkázou to umírám ve tvém objetí! te svedu do hlubin! v loktech my´ch zaplatís? (Zemre.)

Proc volal jsi mne v náruc svou, Princ Vodník (hluboko pod vodou) proc ústa tvoje lhala? Vsechno chci ti, vsechno chci ti dát, Nadarmo v loktech zemre ti,

Tys hledal vásen, vím to, vím, líbej mne, líbej tisíckrát! marny jsou vsechny obeti, jíz já jsem nemela, Nechci se vrátit, zemru rád, ubohá Rusalko bledá! a ted’-li te políbím, líbej mne, líbej, mír mi prej, Beda! Beda! Beda! jsi ztracen docela. nechci se vrátit, zemru rád, (Rusalka políbí naposled mrtvého

Princ (potácí se k ní) nemyslím, nemyslím na návrat! prince.)

Líbej mne, líbej, mír mi prej, Rusalka Rusalka nechci se vrátit ve sveta rej, Láska má zmrazí vsechen cit — Za tvou lásku, za tu krásu tvou, do smrti treba mne ulíbej! musím te, musím zahubit, za tvou lidskou vásen nestálou,

Rusalka musím te v lednou náruc vzít! za vecko, cím klet jest osud muj,

A tys mi, hochu muj, tolik dal, (Obejme jej a líbá.) lidská due, Buh te pomiluj! proc jsi mne, hochu muj, oklamal? Princ (omdlévaje) Buuh te pomiluj!

(Rozpíná náruc.) Líbej mne, líbej, mír mi prej! (Ponorí se do jezera.)

Zda to vís, hochu, zda to vís, Polibky tvoje hrích muj posvetí! Libretto reproduced by kind permission of Dilia, Prague z loktu my´ch ze se nevrátís, Umírám st’tasten,

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