Ian Bostridge and Sir Antonio Pappano: Requiem

Eric Richmond the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

by Trade WindsColourPrinters Ltd;advertising by Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Sir AntonioPappano Ian Bostridge children?’ Britten Weill interval Butterworth Stephan Wunderhorn’ Mahler Wednesday 5December2018 7.30pm, Hall Pappano: Requiem Antonio Sir and Bostridge Ian located around thefoyers. online, aswell as viafeedback forms orthepods during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) Four Walt WhitmanSongs Four songsfrom ‘Whoare these Three songsfrom ‘DesKnaben 20minutes IchwilldirsingeneinHohelied

SixSongsfrom AShropshire Lad tenor

piano

2 were bornjusttwo years apartanddied Rudi Stephan andGeorge Butterworth that are by turnspowerful andpoignant. three songsfrom context. Thus,they beginwithMahler, and conflict andto examine war inawider beyond mere commemoration of the This isaprogramme designedto go Day earlierthisyear. Fallen’ seriesinthelead-up to Armistice First World War, includingourown ‘For the marking thecentenary of theendof the a compellingaddition to themany events entitled ‘Requiem’, whichpromises to be the piano.Together they present aconcert Antonio Pappano, swapping podiumfor which tenor IanBostridgeisjoinedby Sir A warm welcome to tonight’s concert,in Welcome Des KnabenWunderhorn

Huw Humphreys, Head of Music,Barbican stimulating evening. It promises to beathought-provoking and ever composed. darkest andmostsardonic song-cycles he work Britten was alifelong pacifist andhislate to bethebestsongshehad ever written. wife, thesingerLotte Lenya, declared them to befar better known –indeed,Weill’s Weill’s composers. of ‘whatif’,for both were formidably gifted in both cases,there’s atremendous sense fighting onopposite sidesof thewar. And Who are thesechildren? Four Walt Whitman Songs isoneof the deserve it ispossibleto imagine orrecall thepiano absorbed theminto hissymphonies. Although and orchestra of allof the respectively. Heproduced versions for voice reworked into hisSecondandThird Symphonies and ‘Essungendrei Engel’,whichMahlerhad two of thesongsfrom thatsecondvolume, ‘Urlicht’ ‘Der Tamboursg’sell’ (August 1901) later replaced (composed inJuly1898). ‘Revelge’ (July1899) and included ‘Wo dieschönenTrompeten blasen’ begun in1892 andpublishedin1899, which selected for hisnext volume of folkish texts. Adarker humourmarks thepoems nine songsto someof themore lighthearted, attention inthelate 1880s, whenhecomposed was publishedin1805) initiallyattracted Mahler’s Old GermanSongs’,thefirst volume of which Alte deutscheLieder Brentano’s collection The poemsof Achim von ArnimandClemens the ephemerality of experience itself. remember through songisalsoto acknowledge than thetide),isableto capture timepassing.To than any of theother arts(maybe even more they soonwillbe.Andmusic,perhapsmore Benjamin Britten are not already dead, typically Mahler, RudiStephan, George Butterworth and the protagonists thatpeoplethesongsof Gustav by IanBostridgeandSirAntonio Pappano. If threads together theprogramme of ‘Requiem’ incoming tide.Thetransience of life similarly Each, inevitably, was washed away by the to thepoet-soldierWilfred Owen inFolkestone. the doctor andsuffragist ElsieMaudInglisinFife one of arange of occupationsandranks; from each represented afigure whohad served in the sandof 32beaches around theBritishIsles: Danny Boyle. Giantportraits were raked into Sea’, apublicartproject devised by director one of themostevocative was ‘Pages of the commemorate thecentenary of thearmistice, World War thathave taken place thisautumnto Among themany tributes to thefallen of theFirst For texts, seepage6 War, of war pity the and part fleshed outby orchestral instruments,the (‘TheYouth’s Magic Horn: Des KnabenWunderhorn: Wunderhornlieder Wunderhorn songs, songs, or or Munich butresisted compositiontuition),Stephan harmony andcounterpoint inFrankfurt and More orlessanautodidact (hehad studied orchestra to perform aprogramme of hisworks. Rudi Stephan hired theMunichKonzertverein In 1911, theyear of Mahler’sdeath,23-year-old voice alongsidethetraditional trumpetcalls. the more sympathetic: rage andregret are given an emotional expressivity thatmakes themall in part,butMahler’smusicendows themwith facing thegallows. Theseare stock characters, Tamboursg’sell’, by contrast, isleftallalone, the green turf.Thedrummerboy of ‘Der be trulyunited whenboth are buriedbeneath she realises thatsheandherbeloved willonly one more visitbefore hisdeath?Eitherway, woken by aghostoristhesoldierpaying her are more ambiguous–hasthemaidenbeen (Where theshiningtrumpetssound)matters death; in‘Wo dieschönenTrompeten blasen’ sweetheart watching him marching to his In ‘Revelge’ (Reveille) asoldierimagines his suit theplightsof theirmilitary protagonists. the pianointhree songsprogrammed here sparse textures andpercussive rumblingsof untimely death,however, itseemsthatall this Listening withanawareness of thecomposer’s beguiling, arching lyricismto thevocal writing. is replete withrichharmoniesand there isa 1920). Themusicof ersten Menschen her spouse’slibretto for Stephan’s opera ( verses are nolesssensualandmysterious than Schlieben, thewife of Otto Borngräber. Robertus’s von Robertus, apseudonym for Gertrudvon (1913–14) Stephan chosepoems by Gerda For hissong-cycle on theEastern Front on29September 1915. misgivings, Stephan volunteered andwas killed ersten Menschen on Otto Borngräber’s ‘erotic mysterium’ underway for aproduction of hisopera based of new musicinGermany. Preparations were was soonheralded asoneof thebrightest lights had itsposthumouspremiere in whenwar broke out.Despite Ich willdirsingeneinHohelied Ich willdirsingeneinHohelied Die Die Die Die

3 Programme note 4 a commonmessage of wartime songs,which and hissweetheart. Life goes on,inother words: spirit asks aboutthefarm, hisfootball team, the fair; in‘Ismy team ploughing?’hisrestless into thebattlefield asthey had oncerushed to similar lines,‘Thelads intheirhundreds’ will pile no more, lad’, itwillnot stop you dying.Along rushing to war: after all, asspelledoutin‘Think suggest hiswinsomenessandthevainglory of in several of thesongs.Thefirst three numbers The lad’s youth andimpetuousnessisstressed also servingasareminder of thepassingof time. nature provides afoil for thehorrors of war while beauty whichonefinds intheverses’. Again, an ‘amazingrestraint [and]thesameterrible Rutland Boughton detected inButterworth’s songs pockets of many servinginthetrenches. Composer copies of the FirstWorld War itwas saidthat well-thumbed nostalgia for theEnglishcountryside. Bythetimeof there are many ghostlydialoguepoems),and soldiers (withshades of the accessibility of itsverse style,investment inlost the SecondBoerWar (1899–1902) becauseof published in1896 andgainedinpopularityduring Housman’s collectionof poemshad been from thefirst of his A Shropshire Lad Other Songs (1911), heard tonight, heproduced As well asthe attracted to thefolkish poetryof A EHousman. young Britishcomposers,Butterworth had been Cross for gallantrythemonthbefore. Like many in August 1916, having received theMilitary Stephan, alsodiedinbattle:hefell attheSomme George Butterworth, justtwo years olderthan my soulpleads silentlyfor you itsevening prayer’). stilles Nachtgebet’ (‘Andfar andwideispeace – ‘Und Friedeweit –dieSeelefleht fürDichein simple risingmelodythatends‘Abendfrieden’: laced withsadness, never more sothaninthe sexy, pouncingblack panther(‘Pantherlied’) –is linden tree (‘InNachbars Garten duftet’) to the beauty –from thelovers beneaththearchetypal A Shropshire Lad (1912) and anorchestral rhapsody Six Songsfrom AShropshire Lad (1912), which usedmaterial Six Songs Des KnabenWunderhorn could be found in the could befound inthe : ‘Loveliest of Trees’. Bredon Hill and Bredon Hilland

American and European styles (although that American andEuropean styles(althoughthat boundaries of popularandcultivated, ormaybe commentators, was theway they blurred the in hislifetime. Theproblem, according to some written’, butthey received nopublicperformances best andmosteffortless songsyou have ever told himthatthe subsequently). Weill’s wife, thesingerLotte Lenya, fields, father’ (anorchestral version was devised Songs the collectionin1947 to 1942. Then,after atripto Europe, heexpanded published asthe in the1920s. Hequicklycomposedwhatwere Leaves of Grass of Pearl Harbor, returned to Whitman’scollection was Kurt Weill, whoinlate 1941, intheaftermath especially exiles from theThird Reich. Onesuch German composersinthefollowing century, one reason why Whitmanappealedto somany sombre witness’.Thatmodernaspectmay be a poetrynot justof patriotic exhortation butof ‘helped to create anew, modernpoetryof war, coming to anend,according to Lawrence Kramer published in1865 astheAmericanCivilWar was Walt Whitman’scollectionof poems comfort for thoseonthefront orathome. teeter between expressing distress andpromising the Children Fund. Thetext was aballad by Crusade In 1969 BenjaminBritten composed son butthefather too (‘Dirge for two veterans’). fields, father’) and,finally, adirge for not onlythe and themother’s ensuinggrief(‘Comeupfrom the informing thoseback homeof theirson’sdeath Captain’), followed by thetragic narrative of for theship’scaptain’s death(‘OCaptain! My call-to-arms (‘Beat!beat!drums!’),thenalament of fighting: beginningwithavigorous butominous narrative was constructed thatstressed thefutility re-ordered in1947, however, amore convincing when they were anything but.Whenthey were Weill seemsto read Whitman’sverses aspro-war oeuvre); or, that,inthesongs’originalorder, seems littledifferent from therest of Weill’s with theaddition of ‘Comeupfrom the for the 50thanniversary of theSave , whichhehad first encountered Walt WhitmanSongs Three Walt WhitmanSongs Four Walt Whitman Children’s Children’s Drum-Taps were ‘the in in , Programme note ©Laura Tunbridge who diedinconflict willnot be forgotten. Britten. Through a‘Requiem’ suchasthisthose songs hauntthoseof Butterworth, Weill and unknown soldiersheard inMahler’s those lost,prove timeless.Thebuglecallsof the remember thefallen, andhow to grieve for themes thesesongsexplore, abouthow to little resemblance to each other. Butthebigger to take place might,historically speaking,bear the countlessconflicts thathave andcontinue Spanish CivilWar, theVietnamWar, orany of Boer War, theFirstorSecondWorld Wars, the during theAmericanCivilWar, orthe Second that thosefighting intheearly19th century, or era. Military technologies changesorapidly chosen by composersoften comefrom another – andthenthefutilityof battle.Thepoets questions abouthow to convey theattraction never to stop artistsfrom asking the same War, asportrayed intonight’s songs,isshown drones of planesandwartime air-raid sirens. brought itstillcloserto homeby evoking the the bloodshedof theSpanishCivilWar; Britten children’ was apoemwritten inresponse to glides through abombed-outvillage. ‘The of 1941 inwhichafox-hunting partysurreally photograph from the titular ‘Whoare thesechildren?’ was basedona increasingly outof kilter withoneanother. The in whichhumanitypetrifies, hasvoice andpiano down andemitshumancries,while‘Slaughter’, in thelatter mode.In‘Nightmare’, atree iscut of moderncivilisation.Theselectiontonight are four Englishpoemsconcernedwiththecruelty lad inhisnatural habitat, are interleaved with rhymes inScottish dialect,depictingthecarefree Scottish poetWilliamSoutar. Eightriddlesand 12 songssetting‘lyrics,rhymes andriddles’by the Europe. Thenfollowed note rows to symbolise thedyingcivilisation of ‘very grislypiece’,asBritten calledit,used12- band of children inwar-torn Poland in1939. The Kinderkreuzzug Weill’s one-timecollaborator BertholtBrecht – , aboutthedeathof awandering Times Literary Supplement Who are thesechildren? Wunderhorn ,

5 Programme note 6 Tral-la-li, tral-la-ley, tral-la-lera-la-la, Sie schlagen ihren Feind. Tral-la-li, tral-la-ley, tral-la-li, tral-la-ley! Er wecket seinestillenBrüder. Er schlägt dieTrommel aufundnieder, Sie liegenwiegemäht.’ Die Brüderdichtgesät, Tral-la-li, tral-la-ley, tral-la-la. Sonst werd’ ichmichverlieren, Tral-la-li, tral-la-ley, tral-la-li, Ich musswohl meineTrommel rühren. Ihr tretet mirzunah! Tral-la-li, tral-la-ley, tral-la-lera, Als wär’s mitmirvorbei! ‘Ach, Brüder, ihrgehtjamirvorüber, Ich mussmarschieren bisinTod!’ Tral-la-li, tral-la-ley, tral-la-lera, Helf’ dirderliebeGott! Die Feinde habenunsgeschlagen! ‘Ach, Bruder, ichkann dichnichttragen, Es istnichtweit von hier.’ Tral-la-li, tral-la-ley, tral-la-lera, Trag’ michinmeinQuartier! Die Kugel hatmichschwer getroffen, ‘Ach, Bruder, jetztbinichgeschossen, Mein Schätzelsiehtherab! Tral-la-li, tral-la-ley, tral-la-lera, Das Gässleinaufundab. Da müssenwirSoldaten marschieren Des Morgens zwischendrei’n undvieren, Revelge Knaben WunderhornDes Gustav Mahler(1860–1911) Man führtmichaus demG’wölb. Ich armerTamboursg’sell! Der Tamboursg’sell Tral-la-li, tral-la-ley, tral-la-lera. Dass sieihnsehenkann. Die Trommel steht voran, In Reih’ undGlied,siesteh’n wieLeichensteine, Des Morgens stehen dadieGebeine Tral-la-li, tral-la-ley, tral-la-lera. Sie zieh’nvor SchätzleinsHaus. Ins Gässleinhellhinaus, Tral-la-li, tral-la-ley, tral-la-li, tral-la-ley! Da sindsievor demNachtquartier schonwieder. Er schlägt dieTrommel aufundnieder, Ein Schrecken schlägt denFeind! He woke hissilentbrothers. He beathisdrumhighandlow. On theground like mown grass.’ The brothers allliethick Tral-la-li, Or elseIamlostforever. Tral-la-li, I mustupandbeatmy drum. You tread too closely where Ilie. Tral-la-li, As thoughmy lasthourhad come. ‘Ah brothers, you passmeby I mustmarch onto my death.’ Tral-la-li, May dearGodhelpyou! The enemy hasbeaten us. ‘Brother, Icannot carryyou there. It isnot far off.’ Tral-la-li, etc. Carry meback to thecamp. The bullethaswounded mesorely. ‘Ah brother, Iamhit, My sweetheart islookingon. Tral-la-li, Up anddown thestreet. We soldiersmustbemarching Between three andfour of amorning Reveille They are taking me from my cell. A poordrummer boy amI! The DrummerBoy Tral-la-li, That shemightseehimthere. At theirhead was thedrummerboy Row uponrow, skeleton limbs. There inthemorninglightlay theirbones, Tral-la-li, They marched to hissweetheart’s house. Along thestreet asclearday Tral-la-li, Soon they are allback atthecamp. High andlow hebeathisdrum. A great terror overcame thefoe. Tral-la-li, They puttheenemy to flight. Tra-la-li,

etc etc etc etc etc etc etc etc etc etc ...... Da istmeinHaus von grünem Rasen.’ Allwo dortdieschönenTrompeten blasen, Die grüneHeide,dieistsoweit. Ich zieh’inKriegaufgrüneHeid’; O Lieb’aufgrünerErden! Wie’s keine sonstaufErden ist, Mein eigensollstduwerden gewiss, Aufs Jahrsollstdumeineigensein. ‘Ach weine nicht,duLiebste mein, Das Mädchen fing zuweinen an. Von ferne sangdieNachtigall, Sie reicht ihmauchdieschneeweisse Hand. So langhastdugestanden!’ ‘Willkommen lieberKnabemein! Sie heisstihnauchwillkommen sein. Das Mädchen stand aufundliessihnein, Bei meinemHerzallerlieble.’ Bei meinemSchatzdawär ichgern, Die Morgenröt’, zwei helleStern’. Ich seh’dieMorgenröt’ aufgeh’n, Was sollichhiernunlängersteh’n? Steh aufundlassmichzudirein! ‘Das istderHerzallerliebste dein, Der michsoleisewecken kann?’ ‘Wer istdenndraussen undwer klopfet an, Wo dieschönen Trompeten blasen Gute Nacht! Gute Nacht! von euchichUrlaubnimm’: Ich schrei’ mithellerStimm’, Korporal undGrenadier! Gute Nacht, ihrOffizier, Korporal undMusketier! Gute Nacht, ihrOffizier, ihr Berg’ undHügelein! Gute Nacht ihrMarmelstein’, Tambour von derLeibkompanie! wenn siefragen wer i’ g’wesen bin: bei mirniteinquartier’n, Wenn Soldaten vorbeimarschier’n Weil i’weiss, dassi’g’hördran. Ich schau’dichnichtmehran. du siehstsofurchtbar aus. O Galgen,duhohesHaus, dürft’ ichnichtgefangen liegen. Wär icheinTambour blieben, Clemens Brentano Des KnabenWunderhorn: Achim von Arnim& Beside my dearest love.’ I longto bebesidemy sweetheart, The rosy dawn andtwo brightstars. I seetherosy dawn isrising; Why mustIwait longer? Rise upandletmein. ‘It isyour heart’sdearest love. Waking mesogently?’ ‘Who stands outthere, knockingatmy door, Where theshiningtrumpets sound Good night,goodnight. From you Itake asoldier’sleave: I cryloudandclear, Corporal andgrenadier. Good night,you officers, Corporal andmusketeer. Good night,you officers, You hillsandhighmountains. Good night,you stones of marble, Say, ‘Drummerfrom thecolonel’sown regiment’. And whenthey askwhoIwas, To other quarters thanmine When thesoldiersmarch past For Iknow you are thehomewhere Ibelong. I shalllookatyou nomore. How fearful you appear! O gallows, thatstand sohigh, I would not have laininprison. Had Iremained adrummerboy, Translation ©JulianBudden There ismy homeunderthe green turf.’ Where theshiningtrumpetssound, The green moorsofar away. I amaway to thewars onthegreen moor, O love ontheearth sogreen! As nooneelseonthisearthcanbe. You shallbemine Before theyear isgone ‘Do not weep, my dearest love. The maidenbeganto weep. Far away thenightingale sang. She gave himhersnow-white hand. ‘Too longyou have stayed outthere.’ ‘Welcome, my dearest lad,’ shesaid. She bade himrightwelcome. The maidenrose upandlethimin.

7 Texts 8 Die Augen mirübergehn? Weshalb nurinbrennendem Schmerze Verschlungen zwei Liebendestehn – Heut’ sahichunter derLinde Ein Herzamandernschlägt. Als obinSturmes Takte Im Lindenwipfel bewegt – In Nachbars Garten rauscht es Ein süssGeheimnisschlief. Als obindenBlättern verborgen Die Lindenzweige tief In Nachbars Garten schatten Ist’s dämmerlauschigkühl. Doch unter denwuchtigenZweigen Die Lindenblüte schwül, In Nachbars Garten duftet 4 InNachbars Garten duftet für DicheinstillesNachtgebet. Und Friedeweit –dieSeelefleht Wie Weihrauch schwebt esdunstigumdieHänge. Die Nebelwallen –eineProzession – Ganz leisverhallt desAve letzter Ton; Das Sonnenfeuer starb –Rubingepränge – Abendfrieden 3 Neulich imTraum grubstdusiemirin’sHerz! Lass michnie,niedeineKrallen spüren; Ach, unddieSammettatzen, wieliebsiestreicheln! Panther. Ach, wieweich istdeinSammetfell, duschöner So hastduvon mirBesitzergriffen. Geschmeidig undwildwieeinjungerPanther 2 Pantherlied Gen Aphrodites Inselreich: Kythere. Die Barke, Liebster, lenkundlassunsstreben Ganz ferne, feiner Äolsharfen klingen– Sich zuunsüberpurpurblaueMeere. In weichen Wellen, diewieBrüste beben, Der Rosen Düfte liebeatmendschwingen 1 Kythere Ich willdirsingeneinHohelied Rudi Stephan (1887–1915)

Yet beneathitsheavy branches The lindenblossomgives forth itssultryfragrance, In theneighbour’sgarden In theneighbour’sgarden My soulpleads silentlyfor you itsevening prayer. And far andwideispeace – Circling theslopeslike ahazeof incense. Wreaths of mistdriftinprocession, The Ave’s closingnotes fade soft andlow; With ruby splendourthesun’sfire dies, Evening’s Peace heart! Lately, inadream, you sankthemdeepinto my Never, never letmefeel your claws; caress! Ah, andyour velvety paws, how tenderly they panther. Ah, how soft isyour velvet coat,you beautiful You have taken possessionof me. Supple andwildlike ayoung panther, Panther Song Aphrodite’s islandrealm: Cythera. Pilot ourbark,Obestbeloved, andletusseekout harps. From afar comestheexquisite soundof Aeolian Across indigoseas. In soft waves like swelling breasts, Fragrance of roses, breathing love, wafts to us, Cythera Overflow inburningpain? Why then domy eyes Entwined underthelindentree. Today Isaw two lovers To thecadence of thestorm. As ifoneheartwere beatingintimewithanother stirring The tops of thelindentrees are sighingand In theneighbour’sgarden Hidden initsleaves. As ifasweet secret slept The lindenbranches castadeepshade In theneighbour’sgarden Is acoolduskyseclusion.

To seethecherryhungwithsnow. About thewoodlands Iwillgo Fifty springsare littleroom, And sinceto lookatthingsinbloom It onlyleaves mefifty more. And take from seventy springsascore, Twenty willnot comeagain, Now, of my threescore years andten, Wearing white for Eastertide. And stands aboutthewoodland ride Is hungwithbloomalongthebough, Loveliest of trees, thecherrynow 1 Loveliest of trees Six Songsfrom A Shropshire Lad George Butterworth (1885–1916) 1873–1939) Gerda von Robertus (aka Gertrudvon Schlieben, Drin alleStröme meinerSehnsuchtmünden. Der LiebeMeerumrauscht jaDeinenStrand, Lass allesLeiderinnernRuhefinden. O hehre Nacht, tuaufdeinWunderland, Ich singesmit–Duküsstmirvom Munde: Es klingteinLied–derNacht einHohelied– ein Flüstern raunt esdurch dietiefe Stunde. schied, Zwei Tage reichen sichdieHand–dereine 6 DasHoheliedderNacht Einsamkeiten. Zwei Königewir, diefanden dasReich ihrer göttliche Weiten. An Felsengraten standen wirjauchzendin gestiegen. Wir sindausTal undEngegemeinsamzuGipfeln Gleichempfinden geschwiegen; Wir habenimLärmderMenge 5 Glück zuZweien

‘Give crowns andpounds guineas I heard awisemansay, When Iwas one-and-twenty 2 When Iwas one-and-twenty Translations ©Warner Classics theirmouth. Where allthetorrents of my yearning reach Upon your shores there beatstheseaof love Lay allremembrance of suffering to rest. Oh sublimenight,openupyour wonderland, I singittoo –you kissitfrom my mouth: night– There isthesoundof asong–HighSongof the hour. a whispered murmurpassesthrough thedeep Two days touch hands–onedeparts, The HighSongof theNight solitudes. We were two kingsdiscovering therealm of our expanses. On rocky ridgeswe stood exulting indivine together. From thenarrow valley we have climbedsummits of shared feeling; In thehubbubof thecrowd we found thesilence for TwoHappiness And oh,’tistrue,true. And Iamtwo-and-twenty, And soldfor endlessrue.’ ’Tis paidwithsighsaplenty Was never given invain; ‘The heartoutof thebosom I heard himsay again, When Iwas one-and-twenty No useto talk to me. But Iwas one-and-twenty, But keep your fancy free.’ Give pearlsaway andrubies But not your heartaway;

9 Texts 10 discern; The fortunate fellows thatnow you cannever tokens to tell I wishonecouldknow them,Iwishthere were thegrave. And few thatwillcarrytheirlooks ortheirtruthto handsomeof heart, And many thehandsomeof face andthe brave, And many to countare thestalwart, andmany the tillandthecart, There’s chapsfrom thetown andthefield andthe beold. And there withtherest are thelads thatwillnever are there, The lads for thegirlsandlads for theliquor millandthefold, There’s menfrom thebarnandforge andthe thefair, The lads intheirhundreds to Ludlow comeinfor 5 The ladsintheirhundreds Lays lads underground. Think nomore; ’tisonlythinking Oh, they would beyoung for ever; If young heartswere not soclever, Spins theheavy world around. Oh, ’tisjesting,dancing,drinking Bears thefalling sky. And thefeather pate of folly Make therough road easy walking, Empty heads andtongues a-talking Why shouldmenmake haste to die? Think nomore, lad; laugh,bejolly; 4 Think nomore, lad A jonquil,not aGrecian lad. Stands amidtheglancingshowers With downward eye andgazessad, There, whentheturfinspringtimeflowers, And never looked away again. Looked into aforest well One thatmany loved invain, A Grecian lad, asIheartell, Perish? Gazenot inmy eyes. But why shouldyou aswell asI Spent instar-defeated sighs, One thelongnightsthrough mustlie And love itandbelostlike me. And there you find your face too clear They mirror truethesightIsee, Look not inmy eyes, for fear 3 Looknot inmy eyes

Stands upto keep thegoal. The goalstands up,thekeeper The lads play heartandsoul; Ay, theballisflying, Now Istand upnomore?’ With lads to chasetheleather, Along theriver-shore, ‘Is football playing The landyou usedto plough. No changethoughyou lieunder The harnessjinglesnow; Ay, thehorsestrample, When Iwas manalive?’ And heartheharnessjingle That Iwas usedto drive ‘Is my team ploughing, 6 Ismy team ploughing? old. The lads thatwilldieintheirgloryandnever be of man, They carryback brightto thecoinermintage to betold And brushingyour elbow unguessedatandnot nothing to scan; But now you may stare asyou like andthere’s not return. And watch themdepartontheway thatthey will wishthemfarewell And thenonecouldtalk with themfriendlyand Alfred Edward Housman(1859–1936) Never askmewhose. I cheeradead man’ssweetheart, I lieaslads would choose; Yes, lad, Ilieeasy, A better bedthanmine?’ And hashefound to sleepin Now Iamthinandpine, ‘Is my friendhearty, Be still,my lad, andsleep. Your girliswell contented. She liesnot down to weep: Ay, sheliesdown lightly, As sheliesdown ateve?’ And hasshetired of weeping That Ithoughthard to leave, ‘Is my girlhappy,

Fallen coldanddead. Where onthe deckmy Captain lies, O thebleedingdrops of red, But Oheart! anddaring; While follow eyes thesteady keel, thevessel grim exulting, The portisnear, thebellsIhear, thepeopleall soughtiswon, The shiphasweather’d every rack, theprizewe O Captain! my Captain! ourfearful tripisdone, 2 OCaptain! my Captain! you buglesblow. So strong you thumpOterrible drums–soloud they lieawaiting thehearses, Make even thetrestles to shake thedead where entreaties, Let not thechild’svoice beheard, northemother’s Mind not theoldmanbeseechingyoung man, prayer, Mind not thetimid–mindnot theweeper or Make noparley –stop for noexpostulation, Beat! beat!drums!–blow! bugles!blow! wilderblow. Then rattle quicker, heavier drums–you bugles before thejudge? Would thelawyer riseinthecourtto state hiscase attempt to sing? Would thetalkers betalking? would thesinger speculators –would they continue? No bargainers’ bargains by day –nobrokers or houses?nosleepersmustsleepinthosebeds, Are bedsprepared for sleepers atnightinthe wheelsinthestreets; Over thetraffic of cities–over therumbleof Beat! beat!drums!–blow! bugles!blow! shrillyou buglesblow. So fierce you whirrandpoundyou drums–so hisfield orgatheringhisgrain, Nor thepeaceful farmer any peace, ploughing musthehave now withhisbride, Leave not thebridegroom quiet–nohappiness Into theschoolwhere thescholarisstudying, congregation, Into thesolemnchurch, andscatter the aruthlessforce, Through thewindows –through doors–burstlike Beat! beat!drums!–blow! bugles!blow! 1 Beat!beat!drums! Four WaltSongs Whitman KurtWeill (1900–50)

Cool andsweeten Ohio’svillages withleaves redder, Lo, where thetrees, deepergreen, yellower and Lo, ’tisautumn, from thy dearson. And cometo thefront door, mother, here’s aletter from ourPete, Come upfrom thefields, father, here’s aletter 3 Comeupfrom thefields,father Fallen coldanddead. Walk thedeckmy Captain lies, But Iwithmournfultread, Exult Oshores, andringObells! objectwon; From fearful tripthevictor shipcomesinwith closedanddone, The shipisanchor’dsafe andsound,itsvoyage norwill, My father doesnot feel my arm,hehasnopulse still, My Captain doesnot answer, hislipsare paleand You’ve fallen coldanddead. It issomedream thatonthedeck, This armbeneathyour head! Here Captain! dearfather! faces turning; For you they call,theswaying mass,theireager theshores a-crowding, For you bouquetsandribbon’dwreaths –for you bugletrills, Rise up–for you theflag isflung –for you the O Captain! my Captain! riseupandhearthebells; hersteps trembling, Fast asshecanhurries, somethingominous, comerightaway. And cometo theentry, mother, to thefront door daughter’s call, But now from thefields come,father, comeatthe Down inthefields allprospers well, thefarm prospers well. Below too, allcalm,vital andbeautiful, therain, andwithwondrous clouds, Above all,lo,theskysocalm,transparent after lately buzzing?) Smell you thebuckwheatwhere thebeeswere (Smell you thesmellof thegrapes onthevines? grapes onthetrellis’d vines, Where applesripeintheorchards hangand fluttering inthemoderate wind,

11 Texts 12 Immense andsilent moon. moon, Beautiful over thehouse-tops, ghastly, phantom Up from the east thesilvery round moon, Lo, themoonascending, Down anew-made doublegrave. looking, On thepavement here, andthere beyond itis Lightly falls from the finish’d Sabbath, The lastsunbeam 4 Dirge for Two Veterans To follow, to seek,to bewithherdeardead son. life escapeandwithdraw, O thatshemightwithdraw unnoticed, silentfrom deeplonging, In themidnightwaking, weeping, longingwithone sleeping,often waking, By day hermealsuntouch’d, thenatnightfitfully She withthinform presently drest inblack, But themother needsto bebetter, The onlysonisdead. already, While they stand athomethedoorheisdead needsto bebetter, thatbrave andsimplesoul,) Alas poorboy, hewillnever bebetter, (normay-be bebetter. See, dearest mother, theletter says Pete willsoon dismay’d,) The littlesisters huddlearound speechlessand daughter speaks through hersobs, Grieve not so,dearmother By thejambof adoorleans. faint, Sickly white intheface anddullinthehead, very citiesandfarms, Amid allteeming andwealthy Ohiowithallits Ah now thesinglefigure to me, At present low, butwillsoonbebetter. cavalry skirmish,taken to hospital, Sentences broken, catches themainwords only, All swims before hereyes, flashes withblack, she Ostricken mother’s soul! O astrange handwrites for ourdearson, sign’d, O thisisnot ourson’s writing,yet hisnameis Open theenvelope quickly, hercap. She doesnot tarry to smooth herhairnoradjust gunshot wound inthebreast, , (thejust-grown

And thebuglesanddrumsgive you music, The moongives you light, What Ihave Ialsogive you. burial! O my soldierstwain! Omy veterans passingto soothe me! O moonimmensewithyour silvery face you O strong dead-march you please me! In heaven brighter growing.) (‘Tis somemother’s large transparent face, The sorrowful vast phantom moves illumin’d, In theeastern skyup-buoying, And thestrong dead-march enwraps me. faded, And thedaylight o’erthepavement quite has And thedrumsstrike more convulsive, Now nearer blow thebugles, And thedoublegrave awaits them.) Two veterans sonandfather dropt together, (In theforemost ranks of thefierce assaultthey fell, For thesonisbrought withthefather, Strikes methrough andthrough. And every blow of thegreat convulsive drums, And thesmalldrumssteady whirring, I hearthegreat drumspounding, As withvoices andwithtears. All thechannelsof the citystreets they’re flooding, And Ihearthesoundof coming full-key’d bugles, I seeasad procession, Walt Whitman(1819–92) My heartgives you love. And my heart,Omy soldiers,my veterans,

Within aworld atwar? A scenemore alienthanthisscene Under thismorninghour; Is there adalemore calm,more green And onthehuntingwhips. Brightness of silver atthe throats And onthewomen’s lips: Brightness of blooduponthecoats Ride through thevillage street. The ladies andthegentlemen And houndsattheirhorses’feet, With easy handsupontherein, Who are thesechildren? And from ourfaces show. The phantoms of thedead remain The laurel bindsthebrow: All are theconquered; and invain Our bitterness andfear? These dungeonsof misruleenslave Our enmityinter; And shallthemultitudinousgrave And tramples citiesdown. Fate ridesuponaniron beast The silenceof astone: Above thelover’s mouthispressed The babediesinthewomb. Young bonesare hollowed by theworm; The wisemenare made dumb: Within theviolenceof thestorm Slaughter Bleeding beneaththeaxe-man’s stroke. Yet intheday thetree stillstood And withitsfear thedream-world woke: There cameafear whichsighedaloud; And thedarkmurderer was aman. The branches flowered withchildren’s eyes From itsdeepeninghurtthebloodran: The tree criedoutwithhumancries: Across thewound inthebroken wood. As lightningglittered theaxe-gleam Beside thetree adarkshapebowed: The tree stood flowering inadream: Nightmare Who are thesechildren? Benjamin Britten (1913–76) William Soutar (1898–1943) And ourcharityisinthechildren’s faces. With blindandfearful faces: But from earththechildren stare Silent andserene thestars move to theirplaces: The stars move to theirplaces: Silence isintheair: The bloodof children corruptstheheartsof men. Corrupts theheartsof men: A wound whicheverywhere The earthisdarkened withadarkening stain: But uponearthastain: Again theskyisclear Darkness slanted over thebrightafternoon. In thebrightafternoon: Death cameoutof thesky stone. The bloodof children stares from thebroken Beside thebroken stone: Upon thestreet they lie The children Upon thefoxing folk? That withremembering faces stare Out of thefire andsmoke Who are thesechildren gathered here

13 Texts 14 Sim Canetty-Clarke was alsoseeninNew York andontheWest Coast Netia Jonesstaging here attheBarbican,which Nelsons; andMadwoman ( Royal ConcertgebouwOrchestra underAndris Vladimir Jurowski; the LondonPhilharmonicOrchestra under celebrations includedthe Performances duringthe2013 Britten anniversary and QuintattheTeatro allaScala,Milan. Progress the WienerStaatsoper; Tom Rakewell ( in Royal Opera House,Covent Garden; thetitle-role and Caliban(ThomasAdès’s Turn of theScrew in Venice Flute In opera, hehasperformed Tamino ( its kind. and withtheSeoulPhilharmonic,first of Philharmonie, BarbicanCentre, Wigmore Hall York, Amsterdam Concertgebouw, Luxembourg the WienerKonzerthaus, CarnegieHall,New Aldeburgh festivals. Hehashad residencies at Edinburgh, Munich,Vienna,Schwarzenberg and with regular appearances attheSalzburg, Europe, SouthEastAsiaandNorthAmerica, takes himto theforemost concert hallsof Ian Bostridge’sinternational recital career Ian Bostridge About the performers Ian Bostridge Jephtha ), Jupiter ( ) attheBayerische Staatsoper, Munich; ) atEnglishNationalOpera; Quint( for theOpéra deParis; DonOttavio at Semele tenor ), DonOttavio ( Les illuminations ) andAschenbach ( War Requiem Curlew River The Tempest Don Giovanni

with the with the The Magic The Rake’s with with ) in the ) inthe Death Death ) for the

The The ) the Wigmore HallwithpianistsLarsVogt and the three majorSchubertsong-cycles live at by NetiaJones,inShanghai;recordings of performances of theZender Orchestra for theWW1centenary; staged James MacMillan withtheLondonSymphony the world premiere of anew commissionby Sir will includeanew compositionby Mehldau; recital tour withjazzpianistBrad Mehldauwhich Highlights of thisseasonincludeaEuropean and West Coastsof America. Ludovic Morlot; andrecital tours to both theEast nuits d’été and atNew York’s LincolnCenter; Berlioz’s in Taipei, Perth, for Musikkollegium Winterthur Hans Zender’sorchestrated version of tour of Recent engagements includeanAmericanrecital translated into 12 languages. non-fiction writingfor thebook,whichhasbeen awarded theThePol Roger DuffCooperPrizefor Anatomy of anObsession publication of hisbook Winterreise on aEuropean recital tour of Schubert’s of America.Intheautumnof 2014 heembarked Oxford. Professor of ClassicalMusicattheUniversity of New Year’s Honours.In2014 hewas Humanitas College, Oxford. Hewas made aCBEinthe2004 he was made anhonorary fellow of St John’s music by theUniversity of St Andrews andin2010 In 2003hewas given anhonorary doctorate in was elected anhonorary fellow of thecollege. Christi College,Oxford (1992–5) andin2001 Ian Bostridgewas afellow inhistory atCorpus with SirAntonio Pappano atthepiano. for 15 Grammys. Hislatest release is international record prizesandbeennominated His many recordings have won allthemajor the operatic stage attheDeutsche Oper. Europa Galante. Furtherahead, hewillreturn to and Korea; andaEuropean concerttour with Thomas Adès; recital tours inJapan,HongKong Winterreise with the Seattle Symphony under withtheSeattleSymphony under withThomasAdès to coincidewiththe withAdès; performances of Schubert’s Winter Journey: . In2016 hewas Winterreise Requiem Winterreise , directed Les Les ,

Musacchio & Ianniello Guillaume Tell Siviglia District Giovanni auf Naxos wide-ranging, withproductions of at theRoyal Opera Househasbeen notably the Teatro allaScala( debut attheSalzburg Festival ( highlights of recent seasonsincludehisoperatic Théâtre duChâtelet andStaatsoper Berlin,and San Francisco Opera, LyricOpera of Chicago, conducted and atthe1999 Bayreuth Festival, where he Opera, New York, in1997 with folllowed thiswithdebutsatthe Metropolitan at thelastminute inWagner’s 1993, standing infor Christoph von Dohnányi He made hisdebutattheViennaStaatsoper in Europe andNorthAmerica. at many of themostimportant opera housesin as apianist,répétiteur andassistant conductor Cecilia inRome since2005.Heinitiallyworked Orchestra dell’Accademia NazionalediSanta Garden, since2002,andMusicDirector of the Director of theRoyal Opera House,Covent and operatic repertoire. HehasbeenMusic inspirational performances inboth symphonic sought-after conductors, acclaimed for his Sir Antonio Pappano isoneof today’s most Sir AntonioPappano rusticana new productions of Minotaur Sir Antonio Pappano , , the Il trittico , and and , Aida Lohengrin Wozzeck Ring , Pagliacci Anna Nicole , Andrea Chenier , The Lady Macbeth of theMtsensk cycle, Fidelio Boris Godunov , Falstaff . Hehasworked atthe Les Troyens piano Lulu , , Norma Parsifal . Recently hehas led , Les vêpres siciliennes , La bohème Siegfried Don Carlo , Eugene Onegin and , King Roger ). Hisrepertoire Il barbiere di Ariadne , Cavalleria Otello ; he ; he , ) and ) and Don Don , and , and , The The

, trittico Carlo of theUSA withJoyce DiDonato andtaking up summer tour withtheNationalYouth Orchestra educational work, undertaking aninternational Matthias Goerne.Next year hebroadens his and appearattheWigmore Hallaspianistwith Europe andLondonPhilharmonicorchestras, Francisco Symphony, ChamberOrchestra of Gewandhaus, Royal Concertgebouw, San also return to theStaatskapelle Berlin, Leipzig and the Highlights of thisseasonandbeyond include Orchestra. Philharmonic Orchestra andVerbier Festival with theChamberOrchestra of Europe, Berlin Orchestra. Recent highlightsincludedebuts strong relationship withtheLondonSymphony Orchestre deParis. Hemaintains a particularly Philadelphia andCleveland orchestras andthe the Chicago andBoston Symphony orchestras, orchestras, theRoyal Concertgebouw Orchestra, the Munich,New York andViennaPhilharmonic many of theworld’s leading orchestras, including He hasappeared asaguestconductor with von Nurnberg revivals of Janine Jansen,Jan LisieckiandBeatriceRana. Kaufmann, LeifOve Andsnes,Maxim Vengerov, Plácido Domingo, AnnaNetrebko, Jonas soloists ondisc,includinginNinaStemme, He hasalsopartnered singersandinstrumental Joyce DiDonato, Gerald Finley andIanBostridge. some of themostcelebrated singers,including As apianist,SirAntonio Pappano appearswith the Accademia NazionalediSanta Cecilia. recently, Tosca features many complete operas, including 1995, andhisaward-winning discography Warner Classics(formerly EMIClassics)since He hasbeenanexclusive recording artistfor capacity, attheAldeburgh vocal summercourse. the positionof CourseDirector, inacoaching Ring Otello , , , Il trovatore La rondine Werther cycle, Aida Manon Lescaut attheRoyal Opera House.Hewill . Hehasalsorecorded widelywith . Tannhäuser , Manon , , Tristan undIsolde La bohème , Madama Butterfly , and La forza deldestino , William Tell Die Meistersinger and, most and,most , Don Don , Il Il

15 About the performers Diana Damrau A5monoad.indd 1 16 Book nowBook atbarbican.org.uk/classical1819 Strauss’s Songs Four Last sings Damrau Diana 26Sat Jan 2019 inrecital Damrau Diana Wed 16 Jan 2019 sings Strauss sings Diana Damrau Sun 31 2019 Mar Orchestra Symphony London the and Damrau Diana 29/01/2018 17:31