&!i&sr*& Arizona State University l:,:::;:ii::l:i:::r;: SChOOI M USi G ,i r Of il i-,.:,:l FACULTY ARTIST CONCERT SERIES A GoETHE, SoNc Rncrrnl

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ber 14,1999 . 2: p PROGRAM

PhInomen **There will be a l}-minute intermission** Anne Kopta and Judy May

Auf dem See Frarlz Schubert Willkommen und Abschied Franz Warren Hoffer Schubert Warren Hoffer Charles Griffes Meeres Stille Erster Verlust Jerry Doan Judy May Hanns Eisler Gliickliche Fahrt Ganymed Warren Hoffer David Britton Am Flusse Liebhaber in allen Gestalten Anne Kopta Waruen Hoffer Johannes Brahms Es rauschet das Wasser Mignon und der Harfner ludy May and Jerry Doan Judy May and Warren Hoffer Dfimmrung senkte sich hernieder Johannes Brahms Die Liebende -Bartholdy Judy May schreibt Anne Kopta Singet nicht in Trauertiinen Mit einem gemalten van Beethoven Anne Kopta Bande Ludwig Warren Hoffer (Over Charles Ives Ilmenau AII the Treetops) Die David Britton Sprtkle Hugo Wolf Anne Kopta Harald Genzmer Der du von dem Himmel bist Die Bekehrte Jerry Doan Dorothy Maddison An den Mond Wonne der Judy May Wehmut David Britton Heidenriislein Jan Vacl6v Tomdsek Rastlose Liebe Dorothy Maddison Jerry Doan gleich Carl FriedrichZeller Gleich und Ich denke dein Judy May Robert Schumann Heidi Yost and David Britton Gefunden *****rF**>1.**rk*** David Britton qryfiotis Anakreons Grab Hugo Wolf 'IIis Deficotel Jerry Doan to tfii gv{enory of Blumengrufi Friedrich Curschmann 9{eflintstitton Anne Kopta, Dorothy Maddison, Judy May 7932-7999 Manager Paul

Staff Manager

Staff Baker

Wood

P.O. Box B7O4O5, Tempe, AZB52B7-0405 EVENTS HOTLINE CALL 965-TUNE (95s-8853) A Song Recital in Commemoration of the 250th Birth Anniversary of Johann Wolfgang von Goethe (1749-1832)

"Nobody's poems can be set to music as well as Goethe's". This remark, attributed to Ludwig van Beethoven, seems indicative of the attraction that Johann Wolfgang von Goethe with his lyrical output has exerted on for over two hundred years. Nearly 400 of his poems have been set to music- the majority for one voice and , and many of them dozens, even hundreds of times.

Goethe's ambivalent attitude toward music - expressed in letters, , conversations, and more reflective than spontaneous - had generated criticism already during his lifetime. Critical voices were aroused mainly by the poet's preference for simple, seemingly artless, and ideally strophic, song patterns. The composition merely had to emphasize ('betonen') the poem, and it was not its function to make audible and imaginable through melody and accompaniment the atmosphere and cryptic meaning that might be concealed behind the words. The great poet simply could not have, from this point of view, a real understanding of the compositions of his contemporaries Beethoven and Schuberl. Goethe's remark, on the other hand, that "music ('Tonkunst') is the true element from which springs all poetry and to which it returns", appears to be like an invitation to composers to investigate the "musicality" in his poems and to garb the decidedly pictorial component in them in a musical body suit, so to speak. The speech rhythm in Goethe's poems is a true miracle with its wealth of nuances, in its flexibility and richness of inflexion. lt allows the musician the greates possible freedom for his own creativity and gives him space for "completion" ('Vervollstindigung', Goethe).

With this afternoon's selection of solo and ensemble songs, we will make an attempt to give an impression of the abundant variety of Goethe settings from approximately 150 years. The songs have been loosely grouped together under four topics and are presented in five sets:

I. Water il. The Night ilt. Flowers lV. and V Love

We surely hope that with our selections the fascination that Goethe has exercised on composers of diverse origins will come across; so that you - dear listeners - might even get over the disappointment of not hearing this afternoon some of the well-known songs ltke Erlkonig, Gretchen am Spinnrade, or Das Veilchen.

-Eckafi Sellheim TRANSLATIONS

Phdnomen, Op. 61 ,3 (1874) Glrickliche Fahrt (ca. 1942) Johannes Brahms (1 833-1 897) (Happy Journey) Hanns Eisler (1 BgB-1 962) When Phoebus mates with the wall of rain, a colorJul arch evolves. The fog breaks up. I see a similar circle in the mist; The sky is bright, and Aolus though this arch is white undoes the anxious bond. it is yet the vault of heaven. The winds murmur, Thus you, cheedul old man, the sailor moves. should not be distressed; Swiftly! The waves are parting, you will love, even when your hair is white. the distance is wearing, I see already the land.

Auf dem See, D. 543 (1817) (On the Lake) Am Flusse, D. 160 (1815) Franz Schubert (1 797 -1828) (By the Stream) Franz Schubert I draw fresh nourishment, new blood from this wide world. FIow far away, songs I loved so well, How gracious and good is Nature, into the ocean of oblivion. who holds me to her breast. No enraptured youth will ever sing you now, Our boat is cradled on the waves, or maiden in the springtime of her life. and the cloud-capped mountains come to meet us as we mcve to the rhythm of the oars. You were the songs that told my tale of love, but now they hold my faithfulness to scorn. Why should my eyes be cast down? Since you were written on the water, Golden dreams, willyou ever return? flow far away, even as the waters f low. Dreams, begone, golden as you are; here too is love, and life. Es rauschet das Wasser, Op. 28,3 (1862) A thousand swaying stars twinkle in the waves; (The Water Rushes) faint mists engulf the looming distances; Johannes Brahms the morning breeze takes wing across the shadowed bay, and the ripening fruit is She The water rushes and does not halt; mirrored in the surface of the lake. the stars merrily cross the sky; the clouds merrily pass across the sky thus love rushes and travels. Meeres Stille (ca. 1906) (Calm Sea) He The waters rush, the clouds vanish; Charles Griffes (1 BB4-1 920) but the stars remain; they travel and stroll. Deep silence rules the waters; Thus it happens with true love; the sea rests motioniess, and the boatman gazes it moves, it stirs up, and does not change. anxiously round him at the glassy surface of the ocean.

No wind from any quarter: the silence of death--fearful! ln the whole vast expanse of water no wave rises. DSmmrung senkte sich von oben then, wrtn how irght a heartbeat do you not near (Twilight Has Lowered f rom Above) the bell that with twelve solemn strokes Op. 5e,1 (1874) announces rest and seculty? Johannes Brahms Therefore, during the long daytime Twilight has lowered from above; remember thjs, dear heart; now everything nearby is distant, every day brings its troubles, but the evening star has just been raised and the night has its pleasures. aloft with lovely light.

Everything wavers and becomes indistinct; llmenau (1902) mists creep up the heights; (Over All the Treetops) the lake, reflecting dark areas Charles lves (1 87 4-1 954) with accents of deeper blackness, is at rest Over every summit Now in the region of the east I have a presentiment is peace, of moonlight and glow; in every tree-top the hairlike branches of slender willows you feel play on the surface of the nearby stream, scarce a breath; the birds in the wood are hushed Through the sporting of the agitated shadows, Only wait, soon Luna's magical rays tremble, and through the eyes, you too will be at peace. coolness soothingly steals into the heart.

Der du von dem Himmel bist (ca. 1950) Singet nicht in Trauertcinen (You Who Are f rom Heaven) (Do Not Sing in MournfulTones) Harald Genzmer (b. 1909) Op. 98a,7 (1849) Robert Schumann (1 81 0-1 856) You who are from heaven, who eases all pain and sorrow, Do not sing in mournful tones and the doubly wretched, of the loneliness of night; doubly with f resh vigour f ill, no, fair ladies, it is made for companionship. ah, l'm tired of restless life! For what is all this pain and joy? As woman was given to man for his better half, Sweet peace, so is night half of life, and the better half by far come, ah come into my breast! Can you rejoice in the daytime, which only interrupts our pleasures? It may be useful as a distraction, but for nothing else.

Yet when at night-time the lamp's sweet half-light flows, and laughter and love pour out from lip to nearby lip; when the wanton fleet-foot boy, who at other times f lashes past like wildf ire, will often, in return for some small gift, tarry awhile and join in the games; when the nightingale sings its song for lovers, which to captives and mourners conveys only pain and lament; An den Mond, Op. 1B (1906) Heidenroslein, Op.53,1 (ca. 1821) (To the [,4oon) lWild Fose; Hans Pf itzner (1869-19a9) Jan Vacldv Tomdsek (1774-1850)

Wood and vale again you fili A boy saw a wild rose growing, silently with gleam of mist, wild rose on the heath, and at last set free was so young and morning-fair, my soul entirely; fast he ran to see it near, saw it with great joy. you spread over my domain Wild rose, wild rose, wild rose red, soothingly your gaze, wild rose on the heath. gently as a friend's eye upon my fate. Said the boy: You will I pick, My heart feels every echo wild rose on the heath! of glad and troubled times, Said the wild rose: You will I prick, I walk between joy and pain that you'll forever think of me, in loneliness. and suffer it I will not. Wild rose, wild rose, wild rose red, Fiow on, dear river! wild rose on the heath. Never shall I be glad, And that unruly boy did pick love and laughter have rolled away the wild rose on the heath; --and faithfulness-- just so. the rose fought back and pricked, oh-ing and ah-ing helped not at all, Once I did possess he had just to suffer. that which is so precious! Wild rose, wild rose, wild rose red, That which, to one's torment, wild rose on the heath. is forgotten never.

Murmur on, river, through the vale, Gleich und Gleich (1819) on without cease, (Like with Like) on. whispering melodies Carl Friedrich Zelter (1758-1832) for my song, A little flower-bell had burgeoned early when, on winter nights, up from the ground in lovely blossom. you rage and flood; There came a bee and sipped daintily. or you lap the spring-time glory of young buds They must surely be made for each other

Happy he, who, without hate, shuts himself from the world Gefunden, Op. 56,1 (1903) holding to his heart one friend, (Found) and with hi..n enjoys Richard Strauss (1 864-1 949) that which, unknown to men, I was strolling along in the woods, or not pondered, and to seek nothing was my aim. through the labyrinth of the heaft I saw a little flower in the shadow, wanders in the night. glowing like a star, beautiful like an eye.

I wanted to break it, when it said: "Should I be born only to wilt?" I dug it up with all its roots and carried it to the garden at the pretty house

And planted it again at a quite place; now it has branches and continues to blossom Anakreons Grab (1888) my hearl was wnolly at your side (The Grave of ) and every breath was for you. Hugo Wolf (1860-1903) Rose-hued spring weather f ramed your lovely face, Here, where the rose blooms, and tenderness for me--ye godsl where vine and laurel entwine. This I hoped, but did not deservei where the turlle-dove calls its mate, where the cicada sings for joY, But ah, with the morning sun, whose grarre is this, so beautifully pianted parting wrings my heart: and adorned with life by all the gods? in your kisses what blissl It is Anacreon's resting Place. ln your eyes what pain! I went, you stood, gaze downcast, Spring, summer and autumn were enjoyed and looked, wet-eyed after me: by the happy poet; and yet, what happiness to be loved! and at last this mound has sheltered him And what happiness, gods, to love! from the winter.

Erster Verlust, D.226 (1815) BlumengruB, OP. 22 (ca. 1839) (First Loss) (Flower Greeting) Franz Schubert

Friedrich Curschmann (1805-1841 ) Oh, who will bring the fair days back, May the bouquet I have Plucked those days of first love, greet you manY thousands of times! oh, who will bring but one hour I have bent often--- of that sweet time backl ah, at least a thousand times, and pressed it to mY heaft Lonely, I feed my wound, something like a hundred thousandl and with ever-renewed lament mourn the happiness I lost.

Wilkommen und Abschied, D.767 (1822) Oh, who will bring the fair days. (Welcome and DeParture) that sweet time back! Franz Schubert

My heart surged, quick, to horse! It was done before I knew. Evening cradled the ear1h, and to the mountains clung the night; clothed in mist the oak stood, an upreared giant there, where darkness from the bushes peered as a hundred dark eYes.

The moon from a hill of cloud gazed wretchedlY through the haze, the breezes, gentlY stirring, roared awesomely about mY ears; night brought forth a thousand monsters but bright and cheerful was mY mood: in my veins what fire! ln my heart what a glow!

You I saw, and gentle joY flowed from your sweet gaze upon me; Ganymed, D. 544 (1817) that I were wodhy to you (Ganymede) Franz Schubert I wish I were gold, ever at your call; How in the morning radiance and should you buy something, you glow upon me from all sides, I'd come running once more. Spring, beloved! I wish I were gold, With love's thousand{old bliss ever at your call. to my heart thrusts itself your eternal ardour's sacred feeling, But lam, as lam, beauty rrnending! and take me for that! lf better you want, Might I clasp you then get better made in these armsl lam, as lam, so take me for that. Ah, at your breast I lie, languish, and your f lowers, your grass Mignon und der Harfner, D. 87711 (1826) thrust themselves to mY heaft. (Mignon and the HarpeQ You cool the burning thirst of my bosom, Franz Schubefi sweet morning wind! The nightingale calls me Only those who know yearning lovingly f rom the misty vale. can fathom grief like mine. Alone and sundered from alljoy lcome, I come! I scan the skies to the south. Whither? Ah, whither? Upwards! Upwards the striving Ahl he who loves and knows me is far away The clouds float My senses reel, my inmost being burns. down, the clouds Only those who know yearning bow down to yearning love. can fathom grief like mine. To me! To me! ln your lap upwards! Embracing embraced! Upwards to your bosom, All-loving Father!

Liebhaber in allen Gestalten, D. 588 (1817) (Lover in all Guises) Franz Schubert

I wish I were a fish, so nimble and brisk; and if you came to angle, I would be there. I wish I were a fish, so nimble and brisk. lwish lwere a horse, that I were worthy to You. Oh--if I only were a carriage To carry you comfoftablY. lwish lwere a horse, Die Liebende schreibt, Op. 86,3 (1831) young and fair and carefree, (The Beloved Writes) so that it resounded through the fields--

Felix Mendelssohn-Baftholdy (1 809-1 847) so ia la i le ralla I Thyrsis offered her, just for one kiss, A look from your eyes into mine, two lambkins, three on the spot. a kiss from your mouth upon my mouth, She looked at him roguishly for a while, who, like me, is assured of these, but then went on singing and laughing: can aught else delight her? sola Ial lerallai And another offered her ribbons,

Far f rom you, a stranger to my own, and the third his heart; constantly I let my thoughts range round, but she jested with head and ribbons and always to that hour do they return, as with the lambs: just la la ! Ie ral la I that only hour; then I begin to weep.

Abruptly those tears dry uP again: Die Bekehrte (1889) his love, I think, he sends into this silence (The Repentant Shepherdess) should you not reach into the distance? Hugo Wolf

Hark to the whisper of this wafting love; ln the red glow o{ sunset I walked silently your will is my sole happiness on earth, through the wood. your loving will towards me; give me a sign! Damon sat and blew his flute so that the rocks resounded; so la la ! And he drew me down to him and kissed me Mit einem gemalten Band, Op. 83,3 (1810) so gently, so sweetly, and I said "blow again' (To Accompany a Painted Ribbon) and the good-hearted lad blew. So la la I Ludwig van Beethoven (1770'1827) My peace of mine is now lost, Small flowers. small leaves my joy has flown away, and I hear in my ears are strewn for me with light hand only the old tones of so la la ! ralla! by good young spring gods playfully on airy ribbon. Wonne der Wehmut, Op. 83,1 (1810) Zephyr, bear it on your wings, (Bliss of Sadness) twine it round my loved one's dress; Ludwig van Beethoven then before her glass she'll steP in all her gaiety. Grow not dry, grow not dry, tears of eternal love! Rose-encircled she will see Ah, to the merely half-dry eye herself, fresh as any rose. how bleak, how dead earth appears! One look, beloved! Grow not dry, grow not dry, And rewarded well enough l'll be tears of unhappy love!

Feel what this heaft feels, freely give me your hand, and let the bond binding us be no frail ribbon of roses!

Die Spr

On the clearest of spring mornings the shepherdess went walking and singing, Rastlose Liebe, Op. 33 6 (1864) lch denke dein, Op. 78,3 (1849) (Festless Love) (l think of you) Roberl F ranz (181 5-1 892) Robert Schumann lnto snow, into rain, When the shimmer of the sun gleams f rom the sea, into wind, headlong, I think of you; through the gorges' fog, when the glimmer of the moon is reflected through mist, in the streams, ever onl Ever on! I think of you. No halt, no restl When the dust rises along the distant road, Through affliction I see you; sooner I'd battle, in the dead of night when the traveller trembles than so many joys on the narrow bridge. of life endure. All this inclining When the waves surge with a dull roar, of heart for heart, I hear you; ah, how strangely often I go in the silent grove and listen, it creates pain! when all is still.

How shall I flee? However far away you may be, lr/ake for the woods? I am beside you, and you are near mel All is in vainl The sun sets; Diadem of life, soon the stars will shine fofih for me. joy without rest, lf only you were here! that, Love, are you!

Translations by , Lucien Stark, George Bird, Richard Stokes, Norma Deane, Celia Larner, and Eckart Sellheim