CAL PERFORMANCES PRESENTS PROGRAM

Saturday, March 9, 2013, 8pm Samuel Barber (1910–1981) With Rue My Heart Is Laden, Op. 2, No. 2 First Congregational Church (1928) Nocturne, Op. 13, No. 4 (1940) Sure on This Shining Night, Op. 13, No. 3 (1938) Nathan Gunn, I Hear an Army, Op. 10, No. 3 (1936) Julie Gunn, piano

Charles Ives (1874–1954) The Circus Band (1894) PROGRAM Down East (1919) Tom Sails Away (1917) An Old Flame (1898) Franz Schubert (1797–1828) Die Taubenpost, D. 965a (1828) General William Booth Enters into Heaven (1914) Das Rosenband, D. 280 (1815) Im Walde, D. 708 (1820) Nachtviolen, D. 752 (1822) William Bolcom (b. 1938) Selections from Cabaret Songs (1977–1985) Auf der Bruck, D. 853 (1825) Song of Black Max George Fur (Murray the Furrier) Robert Schumann (1810–1856) Dichterliebe, Op. 48 (1840) Over the Piano Im wunderschönen Monat Mai Aus meinen Tränen spriessen Die Rose, die Lilie, die Taube, die Sonne Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im schönen Strome Funded by the Koret Foundation, this performance is part of Cal Performances’ 2012– Ich grolle nicht 2013 Koret Recital Series, which brings world-class artists to our community. Und wüssten’s die Blumen, die kleinen Das ist ein Flöten und Geigen Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Hör’ ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab’ im Traum geweinet Allnächtlich im Traume seh’ ich dich Aus alten Märchen winkt es Die alten, bösen Lieder

INTERMISSION

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Franz Schubert (1797–1828) (1772–1829) as linguist, philosopher, patriot, went to Göttingen to begin his university stud- together autobiography, social criticism, and Five Songs poet, and priest in the Catholic Church, which ies, led to an obsessive attention—“stalking” fiction. With his republican sympathies stirred he believed united the ideals of religion and Susan Youens called it in her study of Schubert’s by the July Revolution of 1830 in Paris, Heine Johann Gabriel Seidl (1804–1875), teacher, cu- Romantic philosophy. Between December 1818 Poets—toward two sisters: first Cäcilie Tychsen, moved to France the following year, writing rator, lawyer, censor, and prolific lyrical poet, and December 1820, Schubert set some dozen of and, after she died of tuberculosis in 1812, her political essays (some published in Karl Marx’s had been a friend of Schubert since his youth. Friedrich’s poems. The evocative nature scenes older sister, Adelheid. Schulze volunteered to newspaper Vorwärts [“Forward”]), studies of In 1824, he tried to persuade Franz to use an of Friedrich’s Im Walde (D. 708, “In the Forest”) fight against Napoleon in 1814, but his fragile German culture (in French), and articles about libretto of his titled Der Kurze Mantel, but inspired from Schubert one of his most spacious health quickly forced him out of active duty. He French life and politics, in addition to collec- was refused. Two years later, perhaps as conso- and ambitious songs, composed “as though the died of tuberculosis in 1817; he was 28. Schulze tions of new, sharper-edged poems. Though lation, Schubert set several of Seidl’s poems for spirit of music had whirled him, breathless and recorded his intense feelings in enormous dia- he was largely confined to what he called his solo voice and for male chorus. In October 1828, half-conscious, into some supernormal state,” ries and long poems throughout his brief life, a “mattress-grave” by paralysis, pain, and partial when Schubert’s health had nearly been sapped wrote the late baritone and German Lied spe- number of which were published posthumous- blindness apparently caused by venereal disease by the complications of syphilis that would end cialist Dietrich Fischer-Dieskau. ly in 1822 as the Poetisches Tagebuch (“Poetic during the eight years before he died in Paris in his life only a month later, he returned to Seidl’s Johann Baptist Mayrhofer was born in Steyr Diary”). Schubert came to know this publica- February 1856, Heine continued to write, main- verses and made a setting of Die Taubenpost in 1787, went to school in Linz, and moved to tion early in 1825—he had considered making taining his standing as one of the day’s most (“Pigeon-Post”). Soon after the composer’s Vienna in 1810 to study law. He met Schubert an opera of Schulze’s Die bezauberte Rose (“The widely read but controversial authors. death, the Viennese publisher Tobias Haslinger, four years later, and the two became close friends Enchanted Rose”) the year before, but nothing Schumann met Heine only once, in Munich with the help of Schubert’s devoted brother, despite their contrasting characters—Mayrhofer came of the idea—and he set ten of the poems in May 1828, when 18-year-old Robert was tour- Ferdinand, gathered together the 13 settings of was moody and melancholic; Schubert, ebul- during the following months. Auf der Bruck ing the country before beginning his studies in poems by Heine and Rellstab that had occupied lient and outgoing. Schubert was influenced (“On the Bruck,” D. 853) takes its title from a Leipzig. Schumann expected the poet to be an Franz during his last months, and placed Die both by Mayrhofer’s thoughtfulness and by forested hilltop near Göttingen, a wild place in “ill-tempered, misanthropic man,” but instead Taubenpost at the end of the set as an epilogue. his knowledge of the classics, and he set some Schulze’s day that is reflected in both the poem found in him “a human Anacreon [an ancient This collection of Schubert’s final songs was three-dozen of his poems during the next four and Schubert’s galloping setting of 1825. Greek writer of love poems and drinking songs] published in 1829 with the conventional senti- years. They grew close enough personally that who shook my hand in a most friendly way.... mental title Schwanengesang (“Swan Song”). the composer moved into the poet’s quarters late Only around his mouth is there a bitter, ironic Friedrich Gottlieb Klopstock (1724–1803) in 1818, but when the libertarian but congeni- Robert Schumann (1810–1856) smile; he laughs about the trivialities of life and was among Germany’s most influential 18th- tally contrary Mayrhofer accepted what seemed Dichterliebe (“Poet’s Love”), to texts by is scornful about the pettiness of little people.” century poets and dramatists, cited by some as to be a deliberately self-flagellating post with the Heinrich Heine, Op. 48 Schumann’s encounter with Heine remained the founder of German literary Romanticism. state censor’s office in 1820 to make ends meet, a vivid impression when he selected 20 po- Schubert was so stirred by Klopstock’s Odes Schubert moved out. Their friendship contin- Composed in 1840. ems from the Lyrisches Intermezzo for the cycle of 1771 that he wrote a poem in imitation of ued, however, and Schubert set nine more of Dichterliebe a dozen years later. (Four songs them while still in school. In 1815, that annus Mayrhofer’s verses, including the yearning set- By 1840, Heinrich Heine, born in 1797 to were eliminated before Peters published the first mirabilis when the 18-year-old Schubert com- ting of Nachtviolen in 1822 (“Dame’s Violet,” Jewish parents in Düsseldorf, had been living edition, in Leipzig in 1844.) The songs do not posed some 200 separate works—the Second D. 752), which Schubert scholar Alfred Einstein for a decade in Paris. Though given an advan- form a narrative, but instead comprise a series and Third Symphonies, a string quartet, two called a “masterpiece of mysterious intimacy.” tageous upbringing, he was a poor student, in- of images of nature and countryside in which piano sonatas and four other large piano works, Mayrhofer was deeply moved by Schubert’s early capable of holding a regular job (he reluctantly the dream of love is disillusioned by the loss of two Masses, four choral compositions, five op- death in 1828, and he largely gave up writing converted to Protestantism in 1825 to try for love. Schumann’s songs are remarkable not only eras, and 146 songs—he set nine of Klopstock’s thereafter. He first tried to commit suicide in work in the civil service, then closed to Jews, but for the way in which they allow the singer to poems. Das Rosenband (“The Rose Garland,” 1831, and finally succeeded five years later. never got a government position), and outspo- plumb the moods and nuances of the words, but D. 280), which Klopstock addressed to his wife, Ernst Konrad Friedrich Schulze lived, ken about what he saw as the repressive qualities also for the importance they give to the piano, Cidli, inspired one of Schubert’s most pure and and made poetry, at the far edge of German of German life. He did, however, find success the composer’s instrument, which distills the es- tender melodies. Romanticism. Born in Celle in 1789 into a fam- in writing, establishing his reputation with the sence of each number in its often-lengthy post- The Schlegel brothers were among the ily of lawyers and booksellers, he was a difficult 1823 Lyrisches Intermezzo, which tempered the ludes. “The role of the piano is well-defined,” outstanding literary figures of German and uncommunicative child who retreated into sentimentality and folkish simplicity of much wrote Donald Ivey in his survey of the song Romanticism: August Wilhelm (1767–1845) literature and his own roiling feelings, which German Romantic poetry with a bittersweet literature. “It carries forward the musical move- as writer, aesthetician, provocative champion he began to shape into despairing, spectral, irony and a sometimes corrosive wit. He devoted ment, it engages in dialogue with the voice, and of the most advanced artistic theories of the often cynical poems by the age of fifteen. His much time in the late 1820s to the four volumes always it establishes a character of its own with day, and translator of Shakespeare, Friedrich sexual awakening two years later, when he of Reisebilder (“Pictures of Travel”), which wove bases in the poetic expression rather than merely

24 CAL PERFORMANCES CAL PERFORMANCES 25 PROGRAM NOTES PROGRAM NOTES furnishing a harmonic support for the voice.” This Shining Night proved to be one of Barber’s Maine coast, which is northeast and downwind included excerpts from the poem, and it was Such sensitivity to the indissoluble bonding of most popular songs, and he orchestrated it for a from there. It has come to refer generally to the upon those verses that Ives composed one of his word and tone places Schumann upon the most broadcast appearance as conductor with mezzo- state of Maine, and in 1919 Ives used it as the ti- greatest songs, a distillation of his conviction rarified plateau of masters of the German Lied. Jennie Tourel and the CBS Symphony tle of Down East to trigger memories of his early that music could be an instrument of nearly reli- Orchestra on May 5, 1945, and arranged it for years in New England. The song, a virtual mi- gious power in raising the human spirit to tran- chorus and piano in 1961. crocosm of Ives’s creativity, begins with wander- scendent heights. Samuel Barber (1910–1981) The Three Songs, Op. 10Rain ( Has Fallen, ing, unsettled harmonies to evoke “visions of my Four Songs Sleep Now, and I Hear an Army), written in 1935– homeland” (Ives also wrote the text) from which 1936 to texts from James Joyce’s Chamber Music arises a newly created, hymn-like tune about “a William Bolcom (b. 1938) Samuel Barber’s four dozen songs extend across (1907, Joyce’s first published work), are exactly village by the sea” that culminates in a quotation Selections from Cabaret Songs the whole of his career, from A Slumber Song of contemporary with Barber’s Adagio for Strings, from the hymn Nearer My God to Thee. the Madonna, written when he was 15, to the and, though very different in mood and manner, The World War I song Tom Sails Away William Bolcom epitomizes the “problem” fac- Three Songs, Op. 45, of 1972, his next-to-last share with that modern masterwork an uncanny (1917), for which Ives wrote both text and mu- ing the American composer at the start of the completed work. They distill the essence of his ability to create both a carefully sculpted expres- sic, expresses essential elements of his creative new millennium: how to respect the great tradi- art—its lyricism, its precise contrapuntal inter- sive world and a sure sense of musical line. work: memory (though the song’s fraternal tions—European, American, ethnic, popular— play, its warmth of harmony, its exquisite sensi- Tom is fictional), longing for on which our culture is found- tivity to the written word. the purer world of childhood, ed while creating music that is Barber composed With Rue My Heart Is Charles Ives (1874–1954) and sadness over the intrusion new and vital. But every “prob- Laden in 1928, when he was still a student at Five Songs of powerful political forces into lem” also offers a challenge and Curtis. The song sets a poignant verse about individual lives. A quotation an opportunity, and Bolcom, the loss of friends from youth from the col- Ives wrote more than 150 songs of widely var- at the song’s crucial moment like many of his colleagues, lection A Shropshire Lad by the English poet ied character, ranging from German-style Lieder transforms George M. Cohan’s has created an exciting musical Alfred Edward Housman. With Rue My Heart to French chansons, from sentimental ballads to popular Over There from march vocabulary that draws together Is Laden was one of three songs from those years philosophical tracts, many pilfering snippets into lament. the vast sweep of music old and that was published in 1936 as Barber’s Op. 2 by of existing music and threading them togeth- Ives wrote An Old Flame to new into a synthesis for our G. Schirmer, beginning what became a lifelong er with his original strains. “A song has a few his own text around 1898, when time. It is a job requiring talent, association with that distinguished firm. rights, the same as an ordinary citizen,” Ives pro- such parlor songs were popular dedication, erudition, judg- Nocturne (1940), the last of the Four Songs, pounded in the Postface to his collection of 114 among his fellow undergradu- ment, taste, and even humor. Op. 13, sets a poem from a 1938 collection titled Songs, published (at his own expense) in 1922; it ates at Yale. He revised the song Bolcom brings to this task im- The Carnival by the American writer and trans- was the first of his music to see print. “If it feels in 1901, after he had moved to peccable qualifications—train- lator Frederic Prokosch (1906–1989), whose like trying to fly where humans cannot fly—to New York following his gradu- ing with distinguished (mostly peripatetic life provided him with the material sing what cannot be sung—to walk in a cave, ation to join an insurance firm, French) teachers, includ- for a dozen novels, including two bestsellers in on all fours—or to tighten up its girth in blind and grouped it among the Eight Nathan Gunn ing Milhaud, Messiaen, and the 1930s (The Asiatics and The Seven Who Fled), hope and faith, and try to scale mountains that Sentimental Ballads in 114 Songs. Illustration by Tom Bachtell Boulez; commissions from the several books of verse, and a memoir (Voices) that are not—Who shall stop it!—In short, must a Upon the death in 1912 NEA, the Guggenheim, and recounted his encounters with some of the day’s song always be a song!” of “General” William Booth, founder of the Rockefeller foundations, and many other lead- leading literary figures. Barber admitted that Ives wrote the text and music for The Salvation Army, American writer Vachel ing organizations, ensembles, and performers; a he was “not very keen” about Prokosch’s poem, Circus Band in 1894, just after he had arrived Lindsay created a visionary poem imagining the Pulitzer Prize in 1988 for his Twelve New Etudes which begins tenderly but becomes increasingly as an undergraduate at Yale, already primed to religious man pounding “his big drum” to for Piano; the National Medal of Arts in 2006; enigmatic, but said that “the music just popped defy the traditional modes of form, harmony, lead his “unwashed legions” into heaven, where Professor of Composition at the University of out for it.” and expression advocated by his composition they were transformed and “clad in raiment Michigan from 1973 to 2008; recognition as Sure on This Shining Night (1938), the third teacher, Horatio Parker. When he assembled his new.” Lindsay toured the country giving flam- the 2007 “Composer of the Year” by Musical of the Four Songs, Op. 13, sets a meditative 114 Songs in 1922, Ives placed this delightfully boyantly dramatic readings of his poem, General America—as well as a thorough absorption of verse that appeared in 1934 in Permit Me Voyage, raucous evocation of childhood’s memory of William Booth Enters into Heaven, and Ives en- the entire gamut of traditional and modern con- the first published collection of poems by the a circus parade as the last of the 5 Street Songs countered a notice of one such performance in cert styles, many species of world music, and the American writer, journalist, and critic James and Pieces. The Independent of January 12, 1914. The report rich panoply of American jazz, folk, blues, rock, Agee; Barber returned to Agee’s poetry a decade The phrase “down east” apparently origi- later for his Knoxville: Summer of 1915. Sure on nated with mariners sailing out of Boston to the

26 CAL PERFORMANCES CAL PERFORMANCES 27 PROGRAM NOTES TEXTS & TRANSLATIONS pop, and ragtime. Bolcom has gathered what he composer studied with Roethke the poet, and Franz Schubert wished from this torrent of musical streams, and before that, his feet barely hitting the pedals, Die Taubenpost The Pigeon-Post channeled it with masterful flamboyance into Bill had played for the vaudeville shows passing Text: Johann Gabriel Seidl his own, personal idiom. through Seattle with such songs in the reper- Ich hab’ eine Brieftaub’ in meinem Sold, I have a carrier-pigeon in my pay, Playwright, poet, and Columbia faculty tory as Best Damn Thing Am Lamb Lamb Lamb. Die ist gar ergeben und treu, Devoted and true; member Arnold Weinstein has collaborated Milhaud found Bill and brought him back alive Sie nimmt mir nie das Ziel zu kurz She never stops short of her goal with Bolcom on the “actor’s opera” Dynamite to highbrow music, though he never lost his low- Und fliegt auch nie vorbei. And never flies too far. Tonight!, the music theater piece Casino brow soul (neither did Milhaud). later, Paradise, two full-scale works for Lyric Opera we wrote these songs as a cabaret in themselves, Ich sende sie viel tausendmal Each day I send her out of Chicago (McTeague [1992] and View from the no pro­duction ‘values’ to worry about. The scene Auf Kundschaft täglich hinaus, A thousand times on reconnaissance, Bridge [1999]) and four sets of Cabaret Songs. is the piano, the cast is the singer.” Vorbei an manchem lieben Ort, Past many a beloved spot, In a preface to the Cabaret Songs, Weinstein Bis zu der Liebsten Haus. To my sweetheart’s house. wrote, “Norse‑American William Bolcom the © 2013 Dr. Richard E. Rodda Dort schaut sie zum Fenster heimlich hinein, There she peeps furtively in at the window, Belauscht ihren Blick und Schritt, Observing every look and step, Gibt meine Grüsse scherzend ab Conveys my greeting breezily, Und nimmt die ihren mit. And brings her back to me.

Kein Briefchen brauch ich zu schreiben mehr, I no longer need to write a note, Die Träne selbst geb ich ihr, I can give her my very tears; Oh, sie verträgt sie sicher nicht, She will certainly not deliver them wrongly, Gar eifrig dient sie mir. So eagerly does she serve me.

Bei Tag, bei Nacht, im Wachen, im Traum, Day or night, awake or dreaming, Ihr gilt das alles gleich, It is all the same to her; Wenn sie nur wandern, wandern kann, As long as she can roam Dann ist sie überreich! She is richly contented.

Sie wird nicht müd, sie wird nicht matt, She never grows tired or faint, Der Weg ist stets ihr neu; The route is always fresh to her; Sie braucht nicht Lockung, braucht nicht Lohn, She needs no enticement or reward, Die Taub’ ist so mir treu! So true is this pigeon to me.

Drum heg ich sie auch so treu an der Brust, I cherish her as truly in my heart, Versichert des schönsten Gewinns; Certain of the fairest prize; Sie heisst—die Sehnsucht! her name is—Longing! Kennt ihr sie? Die Botin treuen Sinns. Do you know her? The messenger of constancy.

Schubert Rosenband Rosy Ribbons Text: Friedrich Gottlieb Klopstock

Im Frühlingsschatten fand ich sie, In spring shade I found her, Da band ich sie mit Rosenbändern: And bound her with rosy ribbons: Sie fühlt’ es nicht und schlummerte. She did not feel it, and slumbered on.

Ich sah sie an; mein Leben hing I looked at her; my life hung Mit diesem Blick an ihrem Leben: With that gaze on her life: Ich fühlt’ es wohl und wusst’ es nicht. I felt it well, but knew it not.

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Doch lispelt’ ich ihr sprachlos zu But I whispered wordlessly to her Schubert Und rauschte mit den Rosenbändern. And rustled the rosy ribbons. Nachtviolen Dame’s Violet Da wachte sie vom Schlummer auf. Then she awoke from her slumber. Text: Johann Baptist Mayrhofer

Sie sah mich an; ihr Leben hing She looked at me; her life hung Nachtviolen, Nachtviolen! Dame’s violet! Mit diesem Blick an meinem Leben, With this gaze on my life: Dunkle Augen, seelenvolle, Dark-eyed, soulful, Und um uns ward Elysium. And around us it became Elysium. Selig ist es, sich versenken How blissful it is to sink In dem samtnen Blau. Into your velvety blue.

Schubert Grüne Blätter streben freudig Green leaves strive cheerfully Im Walde In the Forest Euch zu hellen, euch zu schmücken; To brighten you, to adorn you; Text: Friedrich von Schlegel Doch ihr blicket ernst und schweigend But you gaze at her earnestly and silently In die laue Frühlingsluft. In the mild spring breeze. Windes Rauschen, Gottes Flügel, The rushing wind, the wings of God, Tief in kühler Waldesnacht, Deep in the cool forest night, Mit erhabnen Wehmutsstrahlen With sublime rays of melancholy Wie der Held in Rosses Bügel, As with the hero in the horse’s stirrups, Trafet ihr mein treues Herz, You have touched my heart sincerely, Schwingt sich des Gedankens Macht. Thus does the power of thought soar. Und nun blüht in stummen Nächten And now blossoms on silent nights Wie die alten Tannen sausen, As the old pine trees sigh, Fort die heilige Verbindung. our holy union. Hört man Geisterwogen brausen. Thus one hears the roar of the ghostly waves.

Herrlich ist der Flamme Leuchten Magnificent is the glow from the flames Schubert In des Morgenglanzes Rot, In the rosy light of morn, Auf der Bruck On the Bruck Oder, die das Feld beleuchten, Or the flashes that light up the fields— Text: Ludwig Rellstab Blitze, schwanger oft von Tod. Lightning, often pregnant with death. Rasch die Flamme zuckt und lodert, Swiftly the flame flickers and blazes, “Der Bruck” is a forested hilltop on the outskirts of Göttingen. Wie zu Gott hinauf gefordert. As if summoned upwards by God. Frisch trabe sonder Ruh und Rast, Trot briskly, without rest, Ewig’s Rauschen sanfter Quellen The eternal murmuring of gentle springs Mein gutes Ross, durch Nacht und Regen! My good steed, through night and rain! Zaubert Blumen aus dem Schmerz, Conjures flowers from sorrow; Was scheust du dich vor Busch und Ast Why do you shy at bush and branch Trauer doch in linden Wellen Sadness yet in gentle waves Und strauchelst auf den wilden Wegen? And stumble on the wild paths? Schlägt uns lockend an das Herz. Beats enticingly against the heart. Dehnt auch der Wald sich tief und dicht, Though the forest stretches deep and dense, Fernab hin der Geist gezogen, The spirit is drawn far away Doch muss er endlich sich erschliessen; It must open out at last; Die uns locken, durch die Wogen. By those beckoning waves. Und freundlich wird ein fernes Licht And a distant light will greet us cheerfully Uns aus dem dunkeln Tale grüssen. From the dark valley. Drang des Lebens aus der Hülle, Life presses against its bonds, Kampf der starken Triebe wild Struggles with strong, wild urges Wohl könnt ich über Berg und Feld Well could I fly over mountain and field Wird zur schönsten Liebesfülle, Toward the beautiful fulfillment of love, Auf deinem schlanken Rücken fliegen On your slender back Durch des Geistes Hauch gestillt. Stilled by the breath of the spirit. Und mich am bunten Spiel der Welt, And enjoy the world’s varied sport Schöpferischer Lüfte Wehen The creative breezes An holden Bildern mich vergnügen; And its fair vistas. Fühlt man durch die Seele gehen. One feels blowing through the soul. Manch Auge lacht mir traulich zu Many an eye smiles familiarly at me, Und beut mit Frieden, Lieb und Freude, Bidding peace, love and joy; Windes Rauschen, Gottes Flügel, The rushing wind, the wings of God, Und dennoch eil ich ohne Ruh, And yet I hurry on without rest, Tief in kühler Waldesnacht, Deep in the cool forest night, Zurück zu meinem Leide. Returning to my sorrow. Freigegeben alle Zügel Freed from all restraints Schwingt sich des Gedanken Macht, The power of thought soars, Denn schon drei Tage war ich fern For three days now I have been away Hört in Lüften ohne Grausen We hear in the breezes, without fear, Von ihr, die ewig mich gebunden; From her to whom I am forever bound; Den Gesang der Geister brausen. The roar of the spirits’ song. Drei Tage waren Sonn und Stern For three days, sun and star Und Erd und Himmel mir verschwunden. And earth and heaven have vanished for me. Von Lust und Leiden, die mein Herz Of the joy and sorrow that sometimes healed, Bei ihr bald heilten, bald zerrissen Sometimes tore apart my heart, Fühlt ich drei Tage nur den Schmerz, I have felt only pain for three days, Und ach! die Freude musst ich missen! And oh! the joy I had to forego!

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Weit sehn wir über Land und See We see far over land and sea, 4. Wenn ich in deine Augen seh’ Zur wärmer Flur den Vogel fliegen; A bird flying to warmer pastures; Wie sollte denn die Liebe je How then should love ever Wenn ich in deine Augen seh’, When I gaze into your eyes, In ihrem Pfade sich betrügen? Deceive itself along its course? So schwindet all’ mein Leid und Weh; All my pain and woe vanishes; Drum trabe mutig durch die Nacht! So trot bravely through the night! Doch wenn ich küsse deinen Mund, Yet when I kiss your lips, Und schwinden auch die dunkeln Bahnen, Although the dark paths may fade, So werd’ ich ganz und gar gesund. I am made wholly and entirely healthy. Der Sehnsucht helles Auge wacht, The bright eye of longing still watches, Und sicher führt mich süsses Ahnen. And sweet foreboding guides me safely on. Wenn ich mich lehn’ an deine Brust, When I lay against your breast Kommt’s über mich wie Himmelslust; It comes over me like longing for heaven; Doch wenn du sprichst: Ich liebe dich! Yet when you say, “I love you!” Robert Schumann So muss ich weinen bitterlich. I must cry so bitterly. Dichterliebe Poet’s Love Texts: Heinrich Heine 5. Ich will meine Seele tauchen

1. Im wunderschönen Monat Mai Ich will meine Seele tauchen I want to dip my soul In den Kelch der Lilie hinein; Into the cup of the lily; Im wunderschönen Monat Mai, In the wonderfully beautiful month of May, Die Lilie soll klingend hauchen The lily should give resoundingly Als alle Knospen sprangen, When all the buds are bursting open, Ein Lied von der Liebsten mein. A song belonging to my beloved. Da ist in meinem Herzen There, from my own heart, Die Liebe aufgegangen. Bursts forth my own love. Das Lied soll schauern und beben The song should shudder and tremble Wie der Kuss von ihrem Mund’, Like the kiss from her lips Im wunderschönen Monat Mai, In the wonderfully beautiful month of May, Den sie mir einst gegeben That she once gave me Als alle Vögel sangen, When all the birds are singing, In wunderbar süsser Stund’. In a wonderfully sweet hour. Da hab’ ich ihr gestanden So have I confessed to her Mein Sehnen und Verlangen. My yearning and my longing. 6. Im Rhein, im schönen Strome

2. Aus meinen Tränen spriessen Im Rhein, im heiligen Strome, In the Rhine, in the holy stream Da spiegelt sich in den Well’n Is it mirrored in the waves— Aus meinen Tränen spriessen From my tears sprout forth Mit seinem grossen Dome With its great cathedral— Viel blühende Blumen hervor, Many blooming flowers, Das grosse, heil’ge Köln. That great, holy city Cologne. Und meine Seufzer warden And my sighing become joined with Ein Nachtigallenchor. The chorus of the nightingales. Im Dom da steht ein Bildnis, In the Cathedral stands an image Auf goldnem Leder gemalt; Painted on golden leather; Und wenn du mich lieb hast, Kindchen, And if you love me, dear child, In meines Lebens Wildnis Into the wildness of my life Schenk’ ich dir die Blumen all’, I will send you so many flowers; Hat’s freundlich hineingestrahlt. Has it shone, friendly. Und vor deinem Fenster soll klingen And before your window should sound Das Lied der Nachtigall. The song of the nightingale. Es schweben Blumen und Eng’lein Flowers and little cherubs hover Um unsre liebe Frau; Around our beloved Lady; Die Augen, die Lippen, die Wänglein, The eyes, the lips, the cheeks— 3. Die Rose, die Lilie, die Taube, die Sonne Die gleichen der Liebsten genau. They match my beloved’s exactly.

Die Rose, die Lilie, die Taube, die Sonne, The rose, the lily, the dove, the sun, Die liebt’ ich einst alle in Liebeswonne. I loved them all once in love’s bliss. 7. Ich grolle nicht Ich lieb’ sie nicht mehr, ich liebe alleine I love them no more, I love only Die Kleine, die Feine, die Reine, die Eine; The Small, the Fine, the Pure, the One; Ich grolle nicht, und wenn das Herz auch bricht. I bear no grudge, even when my heart is breaking! Ewig verlor’nes Lieb ! Ich grolle nicht. Love lost forever! I bear no grudge. Sie selber, aller Liebe Bronne, She herself—the source of all love— Wie du auch strahlst in Diamantenpracht, Although you shine in diamond splendor, Ist Rose und Lilie und Taube und Sonne. Is the rose, lily, dove, and sun. Es fällt kein Strahl in deines Herzens Nacht. No beam falls into the night of your heart. Ich liebe alleine I love only Das weiss ich längst. I will know that for a long time. Die Kleine, die Feine, die Reine, die Eine. The Small, the Fine, the Pure, the One. Ich grolle nicht, und wenn das Herz auch bricht. I bear no grudge, even when my heart is breaking!

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Ich sah dich ja im Traume, I truly saw you in my dreams 11. Ein Jüngling liebt ein Mädchen Und sah die Nacht in deines Herzens Raume, And saw the night in the room of your heart, Und sah die Schlang’, die dir am Herzen frisst, And saw the snake that bites your heart; Ein Jüngling liebt ein Mädchen, A young man loved a girl Ich sah, mein Lieb, wie sehr du elend bist. I saw, my dear, how truly miserable you are. Die hat einen andern erwählt; Who had chosen another man; Ich grolle nicht. I bear no grudge. Der andre liebt eine andre, This other man loved yet another girl Und hat sich mit dieser vermählt. And wed that one.

8. Und wüssten’s die Blumen, die kleinen Das Mädchen nimmt aus Ärger The first girl took out of spite Den ersten besten Mann, The first, best man Und wüssten’s die Blumen, die kleinen, And if the blooms—the small ones—knew Der ihr in den Weg gelaufen; That happened into her path; Wie tief verwundet mein Herz, How deeply wounded is my heart, Der Jüngling ist übel dran. That young man is not well off. Sie würden mit mir weinen, They would weep with me Zu heilen meinen Schmerz. To heal my pain. Es ist eine alte Geschichte, It is an old story, Doch bleibt sie immer neu; Yet it remains ever new; Und wüssten’s die Nachtigallen, And if the nightingales knew Und wem sie just passieret, And to he whom it has just happened, Wie ich so traurig und krank, How sad and ill I am, Dem bricht das Herz entzwei. It will break his heart in two. Sie liessen fröhlich erschallen They would let forth merrily Erquickenden Gesang. A refreshing song. 12. Am leuchtenden Sommermorgen Und wüssten sie mein Wehe, And if they knew my woe— Die goldenen Sternelein, The little golden stars— Am leuchtenden Sommermorgen On a shining summer morning Sie kämen aus ihrer Höhe, They would come down from their heights Geh’ ich im Garten herum. I wander around my garden. Und sprächen Trost mir ein. And speak their consolation to me. Es flüstern und sprechen die Blumen, The flowers are whispering and speaking; Ich aber wandle stumm. I, however, wander silently. Sie alle können’s nicht wissen, But all of them could not know this, Nur eine kennt meinen Schmerz; Only one knows my pain; Es flüstern und sprechen die Blumen, The flowers are whispering and speaking, Sie hat ja selbst zerrissen, He himself has indeed torn, Und schau’n mitleidig mich an: And look at me sympathetically. Zerrissen mir das Herz. Torn my heart in two. Sei unsrer Schwester nicht böse, “Do not be angry with our sister, Du trauriger blasser Mann. You sad, pale man.”

9. Das ist ein Flöten und Geigen 13. Ich hab’ im Traum geweinet Das ist ein Flöten und Geigen, There is a fluting and fiddling Trompeten schmettern darein; With blaring in; Ich hab’ im Traum geweinet, I wept in my dream— Da tanzt wohl den Hochzeitsreigen In a wedding dance, dances Mir träumte, du lägest im Grab. I dreamed you lay in a grave. Die Herzallerliebste mein. She who is my heart’s whole love. Ich wachte auf, und die Thräne I awoke, and my tears Floss noch von der Wange herab. Still flowed down my cheeks. Das ist ein Klingen und Dröhnen, There is a ringing and roaring, Ein Pauken und ein Schalmein; A drumming and sounding of shawms, Ich hab’ im Traum geweinet, I wept in my dream— Dazwischen schluchzen und stöhnen In between which sob and moan Mir träumt’, du verliessest mich. I dreamed you had abandoned me. Die lieblichen Engelein. The lovely little angels. Ich wachte auf, und ich weinte I awoke and I cried Noch lange bitterlich. Bitterly for a long while.

10. Hör’ ich das Liedchen klingen Ich hab’ im Traum geweinet, I wept in my dream— Mir träumte, du wär’st mir noch gut. I dreamed you were still good to me. Hör’ ich das Liedchen klingen, I hear the dear song sounding Ich wachte auf, und noch immer I awoke, and still Das einst die Liebste sang, That once my beloved sang. Strömt meine Thränenflut. Streams my flood of tears. So will mir die Brust zerspringen And my heart wants to burst so strongly Von wildem Schmerzendrang. From the savage pressure of pain.

Es treibt mich ein dunkles Sehnen A dark longing is driving me Hinauf zur Waldeshöh’, Up into the heights of the woods, Dort löst sich auf in Tränen Where in my tears can be dissolved Mein übergrosses Weh’. My own colossal woe.

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14. Allnächtlich im Traume seh’ ich dich Ach! jenes Land der Wonne, Ah! This is the land of bliss Das seh’ ich oft im Traum, That I see so often in a dream, Allnächtlich im Traume seh’ ich dich Nightly I see you in my dreams Doch kommt die Morgensonne, But when the morning sun comes, Und sehe dich freundlich grüssen, And I see you greet me, friendly, Zerfliesst’s wie eitel Schaum. It melts like mere froth. Und laut aufweinend stürz’ ich mich And crying out loudly, I throw myself Zu deinen süssen Füssen. At your sweet feet. 16. Die alten, bösen Lieder Du siehest mich an wehmütiglich You look at me sorrowfully Und schüttelst das blonde Köpfchen; And shake your dear, blond head; Die alten, bösen Lieder, The old, angry songs, Aus deinen Augen schleichen sich From your eyes sneak forth Die Träume bös’ und arg, The dreams angry and wicked— Die Perlentränentröpfchen. The pearly teardrops. Die lasst uns jetzt begraben, Let us now bury them. Holt einen grossen Sarg. Fetch a large coffin. Du sagst mir heimlich ein leises Wort You say a soft word to me secretly, Und gibst mir den Strauss von Zypressen. And give me a branch of the cypress; Hinein leg’ ich gar Manches, In it will I lay many things, Ich wache auf, und der Strauss ist fort, I awake, and the branch is gone, Doch sag’ ich noch nicht was; But I will still not say quite what. Und’s Wort hab’ ich vergessen. And I have forgotten the word. Der Sarg muss sein noch grösser, The coffin must be still larger Wie’s Heidelberger Fass. As the cask in Heidelberg.

15. Aus alten Märchen winkt es Und holt eine Totenbahre And fetch a death bier Und Bretter fest und dick; And planks firm and thick; Aus alten Märchen winkt es From old fairy tales beckons Auch muss sie sein noch länger, They must be still longer Hervor mit weisser Hand, To me a white hand, Als wie zu Mainz die Brück’. Than the bridge to Mainz. Da singt es und da klingt es Where there is a singing and sounding Von einem Zauberland; Of a magical land, Und holt mir auch zwölf Riesen, And fetch me, too, twelve giants; Die müssen noch stärker sein, They must be still stronger Wo bunte Blumen blühen Where multicolored flowers bloom Als wie der starke Christoph Than that strong St. Christopher Im gold’nen Abendlicht, In golden twilight, Im Dom zu Köln am Rhein. In the Cathedral to Cologne on the Rhine. Und lieblich duftend glühen, And glow lovely and fragrant Mit bräutlichem Gesicht; With their bridal visage, Die sollen den Sarg forttragen, They should carry the coffin away Und senken ins Meer hinab; And sink it down deep in the sea, Und grüne Bäume singen And where green trees sing Denn solchem grossen Sarge Since such a great coffin Uralte Melodei’n, Primeval melodies; Gebührt ein grosses Grab. Deserves a great grave. Die Lüfte heimlich klingen, Where breezes sound secretly, Und Vögel schmettern drein; And birds warble, Wisst ihr, warum der Sarg wohl Do you know why the coffin So gross und schwer mag sein? Must be so large and heavy? Und Nebelbilder steigen And mist-figures rise Ich senkt’ auch meine Liebe I sank with it my love Wohl aus der Erd’ hervor, From the earth Und meinen Schmerz hinein. And my pain, deep within. Und tanzen luft’gen Reigen And dance airy round-dances Im wunderlichen Chor; In an odd chorus,

Und blaue Funken brennen And blue sparks burn An jedem Blatt und Reis, On every leaf and twig, Und rote Lichter rennen And red lights run Im irren, wirren Kreis; In a mad, chaotic circle,

Und bunte Quellen brechen And loud springs break Aus wildem Marmorstein. Out of wild marble stone, Und seltsam in den Bächen And in the streams—oddly— Strahlt fort der Widerschein. Shine forth the reflections.

Ach, könnt’ ich dorthin kommen, Ah! If I could enter there Und dort mein Herz erfreu’n, And indulge my heart, Und aller Qual entnommen, And give up my agony, Und frei und selig sein! And be free and holy!

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Samuel Barber Sure on this shining night I weep for wonder Ives Through seasons gliding, With Rue My Heart Is Laden wand’ring far alone Down East Thou art abiding Text: Alfred Edward Housman Of shadows on the stars. Text: Charles Ives In the depths of my heart untold; For I do love thee, With rue my heart is laden Songs! Visions of my homeland, May God above thee For golden friends I had, Barber come with strains of childhood, His guarding care unfold. For many a rose-lipt maiden I Hear an Army Come with tunes we sang in school days Ah! could I meet thee, And many a lightfood lad. Text: James Joyce and with songs from mother’s heart; And have thee greet me, Way down east in a village by the sea, Come to me, By brooks too broad for leaping I hear an army charging upon the land, stands an old, red farmhouse Stand by me, The lightfoot boys are laid; And the thunder of horses plunging, foam about that watches o’er the lea; Love me as yore, The rose-lipt girls are sleeping their knees: All that is best in me, Sadness outdone then, In fields where roses fade. Arrogant, in black armour, behind them stand, lying deep in memory, New life would come then, Disdaining the reins, with flutt’ring whips, draws my heart where I would be, Such joy never known before; the charioteers. nearer to thee. For I do love thee, Barber Ev’ry Sunday morning, May God above thee, Nocturne They cry unto the night their battlename: when the chores were almost done, Bless thee ever more, Text: Frederic Prokosch I moan in sleep when I hear afar their whirling laughter. from that little parlor God bless thee! They cleave the gloom of dreams, a blinding flame, sounds the old melodeon, Love, Bless thee! Love. Close, my darling, both your eyes, Clanging, clanging upon the heart as upon an anvil. “Nearer my God to Thee, nearer to Thee,” Let your arms lie still at last. With those strains a stronger hope Calm the lake of falsehood lies They come shaking in triumph their long, green hair: comes nearer to me. Ives And the wind of lust has passed. They come out of the sea and run shouting by the shore. General William Booth Enters into Heaven My heart, have you no wisdom thus to despair? Text: Vachel Lindsay Waves across these hopeless sands My love, my love, why have you left me alone? Ives Fill my heart and end my day, Tom Sails Away Booth led boldly with his big —(Are you Underneath your moving hands Text: Charles Ives washed in the blood of the Lamb?) saints smiled grave- All my aching flows away. Charles Ives ly, and they said: “He’s come.” (Are you washed in the The Circus Band Scenes from my childhood are with me, blood of the Lamb?) Walking lepers followed, rank on Even the human pyramids Text: Charles Ives I’m in the lot behind our house upon the hill, rank, lurching bravoes from the ditches dank, drabs Blaze with such a longing now: A spring day’s sun is setting, from the alleyways and drug fiends pale—minds Close, my love, your trembling lids, All summer long, we boys mother with Tom in her arms still passion-ridden, soul-powers frail—vermin-eaten Let the midnight heal your brow. dreamed ’bout big circus joys! is coming towards the garden; saints with mouldy breath, unwashed legions with the Down Main street, comes the band, the lettuce rows are showing green. ways of Death—(Are you washed in the blood of the Northward flames Orion’s horn, Oh! “Ain’t it a grand and glorious noise!” Thinner grows the smoke o’er the town, Lamb?) every slum had sent its half-a-score the round Westward the Egyptian light. stronger comes the breeze from the ridge, world over. (Booth had groaned for more.) Every ban- None to watch us, none to warn Horses are prancing, knights advancing; ’Tis after six, the whistles have blown, ner that the wide world flies bloomed with glory and But the blind eternal night. Helmets gleaming, pennants streaming, the milk train’s gone down the valley transcendent dies. Big-voiced lassies made their banjos Cleopatra’s on her throne! Daddy is coming up the hill from the mill, bang, tranced, fanatical they shrieked and sang—“Are That golden hair is all her own. We run down the lane to meet him you washed in the blood of the Lamb?” Hallelujah! Barber But today! In freedom’s cause Tom sailed away Lord, it was queer to see bull-necked convicts with Sure on This Shining Night Where is the lady all in pink? for over there, over there! that land make free. Loons with trumpets blowed a Text: James Agee Last year she waved to me I think, Scenes from my childhood blare, on, on upward thro’ the golden air! (Are you Can she have died? Can! that! rot! are floating before my eyes. washed in the blood of the Lamb?) Jesus came from Sure on this shining night She is passing but she sees me not. the court-house door, stretched his hands above the Of starmade shadows round, passing poor. Booth saw not, but led his queer ones Kindness must watch for me —Hear the ! Ives round and round the mighty court-house square. Yet This side the ground. An Old Flame in an instant all that blear review marched on spot- Text: Charles Ives less, clad in raiment new. The lame were straightened, The late year lies down the north. withered limbs uncurled, and blind eyes opened on All is healed, all is health. When dreams enfold me, a new, sweet world. (Are you washed in the blood of High summer holds the earth. Then I behold thee, the Lamb?) Hearts all whole. See thee, the same loving sweetheart of old.

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William Bolcom I was climbing on the train The funeral was at the cocktail hour. coughing coughing. Song of Black Max one day going far away We knew George would like it like that. My Uncle Murray the furrier Text: Arnold Weinstein to the good old U.S.A. Tears fell on the beads, brocade and pins no, no worrier he. when I heard some music in the coffin He was always dressed in black, underneath the tracks. which was white long black jacket, broad black hat, Standing there beneath the bridge, because George was a virgin. Bolcom sometimes a cape, long black jacket, broad black hat, Over the Piano and as thin, and as thin as rubber tape: playing the harmonica, one hand free Oh call him Georgia, hon, Text: Arnold Weinstein Black Max. to lift that hat to me: get yourself a drink. “You can call me Georgia, hon, He sang songs to her over the piano. He would raise that big black hat Black Max, Black Max, Black Max. get yourself a drink!” Sang long songs to her over the piano. to the big-shots of the town Low slow songs, lusty songs of love. who raised their hats right back, Loving songs of long lost lust never knew they were bowing to Bolcom Bolcom just to her, just for her, over the piano. Black Max. George Fur (Murray the Furrier) Text: Arnold Weinstein Text: Arnold Weinstein Until at last at half past four I’m talking about night in Rotterdam Ev’rybody out the door! when the right night people of all the town My friend George My Uncle Murray the furrier She asked him please play me one more. would find what they could used to say was a big worrier Which he did and as he did in the night neighborhood of “Oh call me Georgia, hon, but he’s no hurrier Slid off the bench and said to her over the piano Black Max. get yourself a drink,” not today. Goodbye. and sang the best soprano There were women in the windows in our part of town. He’s good and retired now, with bodies for sale didn’t get fired, dressed in curls like little girls In beads, brocade and pins, now fulfills his desires on half of his pay. in little dollhouse jails. he sang it you happened in When the women walked the street through the door he never locked He eats in the best of dives with the beds upon their backs, and said, “Get yourself a drink,” although he dines alone. who was lifting up his brim to them? and sang out loud He buried two wonderful wives Black Max! till tears fell in the cognac and he still has the princess phone. and the choc’late milk and gin And there were looks for sale, and on the beads, brocade and pins. It’s the best of all possible lives owning all that he the art of the smile— owns on his own. (only certain people walked that mystery mile; When strangers happened through artists, charlatans, vaudevillians, his open door, You see, he never took off a lot, men of mathematics, acrobatics, and civilians). George said, “Stay, and used to cough a lot, but you gotta keep quiet fur in his craw from hot days in the store. There was knitting-needle music while I sing from a lady organ-grinder and then a minute after. Worked his way up to the top. with all her sons behind her, And call me Georgia.” Was the steward of the shop. Marco, Vito, Benno Has a son who is a cop (Was he strong! though he walked like a woman) One fine day and he is free! and Carlo, who was five. a stranger in a suit He must be still alive! of navy blue My Uncle Murray the retiree took George’s life loves this democracy Ah, poor Marco had the syph, and if with a knife and says it very emphatically. you didn’t take the terrible cure those days you went George had placed He lives where he wishes, crazy and died beside an apple pie he’d baked when he wants does the dishes, and he did. and stabbed him in the middle eats greasy knishes, And at the coffin of Un bel di vedremo yes siree! He is free! before they closed the lid, which he sang No guilt, no ghost, who raised his lid? for this particular stranger no gift for no host, Black Max. who was in the Navy. he goes, coast to coast,

40 CAL PERFORMANCES CAL PERFORMANCES 41 ABOUT THE ARTISTS ABOUT THE ARTISTS

Higdon’s . Because of this dedi- Rochester and at the ; a series Nathan Gunn is represented by Opus 3 cation to new works, Mr. Gunn was recently of cabaret shows at the famed Café Carlyle in Artists, 470 Park Avenue South, Ninth Floor named Director of the American Repertoire New York City and at the Segerstrom Center for North, New York, New York 10016. Council at the Opera Company of Philadelphia, the Arts in Orange County; special guest art- a steering council focused on advancing the ist in the Mormon ’s annual Julie Jordan Gunn is a pianist and arranger company’s American Repertoire Program which Christmas with the Mormon Tabernacle Choir and of music ranging from classical song recitals to is committed to produce a new American work Orchestra at Temple Square; and a performance cabaret evenings to Broadway-style concerts. in ten consecutive seasons. of Sting and Trudie Styler’s work Twin Spirits in She has appeared on many prestigious series over Also a distinguished concert performer, the Allen Room at Jazz at Lincoln Center. the last several years, including Carnegie Hall Mr. Gunn has appeared with the New York Mr. Gunn’s solo album, Just Before Sunrise, Pure Voice, Lincoln Center Great Performers, Philharmonic, Boston Symphony, Chicago was released on Sony/BMG Masterworks. and Manhattan’s legendary Café Carlyle. She Symphony, San Francisco Symphony, Other recordings include the title role in Billy has had the honor of sharing the recital stage Pittsburgh Symphony, Cleveland Orchestra, Budd with Daniel Harding and the London with William Burden, Richard Croft, Michelle Minnesota Orchestra, London Symphony, Symphony Orchestra (Virgin Classics), which DeYoung, , Yvonne Gonzales Münchner Rundfunkorchster, and the won the 2010 Grammy Award; the first complete Redman, Mandy Patinkin, and her husband Rotterdam Philharmonic. The many conduc- recording of Rogers & Hammerstein’s Allegro Nathan Gunn. Her arrangements of American M. Sharkey Photography Sharkey M. tors with whom he has worked with include (Sony’s Masterworks Broadway), songs have been programmed by orchestras Nathan Gunn has made a reputation as one of Sir Andrew Davis, Sir Colin Davis, Christoph with Sir Colin Davis and London Symphony throughout the United States and abroad. the most exciting and in-demand of von Dohnányi, Christoph Eschenbach, Alan Orchestra (LSO Live!) which was nominated for Dr. Gunn also is on the faculty of the the day. Gilbert, Daniel Harding, James Levine, Kurt a 2005 Grammy Award, Il Barbiere di Siviglia University of Illinois, where she teaches singers, He has appeared in internationally renowned Masur, Kent Nagano, Antonio Pappano, (Sony Classics), Kullervo with the Atlanta pianists, and chamber musicians. She has served opera houses such as the , David Robertson, Donald Runnicles, Esa- Symphony Orchestra (Telarc), and American on the music staff at the Metropolitan Opera , , Pekka Salonen, , Michael Tilson Anthem (EMI). He also starred as Buzz Aldrin Young Artist Program, Wolf Trap Opera, Opera Royal Opera House (Covent Garden), Paris Thomas, and Mark Wigglesworth. in Man on the Moon, an opera written specifi- Theatre of Saint Louis, Southern Methodist Opera, Bayerische Staatsoper, Glyndebourne A frequent recitalist, Mr. Gunn has been cally for television and broadcast on the BBC in University, Opera North, Theaterworks, Opera Festival, , Teatro presented in recital at Alice Tully Hall and the U.K. The program was awarded the Golden Chicago Opera Theater, and Cincinnati Opera, Real in Madrid, and Théâtre Royal de la by Carnegie Hall in Zankel Hall. He has Rose Award for Opera at the Montreux Festival and given master classes at universities and Monnaie in Brussels. His many roles include also been presented by Roy Thomson Hall, in Lucerne. young artists’ programs all over the United the title roles in , Eugene Onegin, Il Cal Performances, the Schubert Club, the This season, Mr. Gunn returns to the States, including the Ryan Young Artists’ Barbiere di Siviglia, and ; Guglielmo in Philadelphia Chamber Music Society, the Metropolitan Opera for Le Comte d’Ory, the Program, the Houston Grand Opera Studio, the Così fan tutte, the Count in Le Nozze di Figaro, Vocal Arts Society in Washington, D.C., the for The Aspern Papers, and the Steans Institute at Ravinia, the Aspen Festival, Tarquinius in The Rape of Lucetia, Malatesta in University of Chicago, the Krannert Center, New York Philharmonic as Billy Bigelow in per- and the Cincinnati Conservatory of Music. , Belcore in L’Elisir d’Amore, and the Wigmore Hall, and the Théâtre Royal de formances of Carousel that will be broadcast on She lives in Champaign, Illinois, with her Ottone in L’incoronazione di Poppea. la Monnaie. As a student, he performed in se- PBS’s Live from Lincoln Center series. He also ap- husband and five children. A noted supporter of new works, Mr. Gunn ries of recitals with his teacher and mentor John pears in recital in Carnegie Hall’s Zankel Hall, most recently created the role of Paul in the Wustman that celebrated the 200th anniversary Boston’s Jordan Hall, and in Chicago, Berkeley, world premiere of Daron Hagen’s Amelia at of Franz Schubert’s birth. Terra Haute, and Notre Dame. the . He also created the roles of Mr. Gunn has recently ventured outside Mr. Gunn was the recipient of the first an- Alec Harvey in André Previn’s Brief Encounter the standard opera repertoire with appear- nual Beverly Sills Artist Award, and was award- at Houston Grand Opera, Father Delura in ances in performances of Camelot with the ed the Pittsburgh Opera Renaissance Award. Peter Eötvös’s Love and Other Demons at the New York Philharmonic (broadcast live on He is an alumnus of the Metropolitan Opera Glyndebourne Opera Festival, and Clyde PBS’s Great Performances) and at Lindemann Young Artists Program and was Griffiths in ’s An American Tragedy Carnegie Hall. He also appeared in the New the winner of the 1994 Metropolitan Opera at the Metropolitan Opera. In summer 2012, York Philharmonic’s 80th birthday gala celebra- National Council Competition. Mr. Gunn is he creates the role of Yeshua in Mark Adamo’s tion for and appeared with also an alumnus of the University of Illinois The Gospel of Mary Magdalene at San Francisco the orchestra in an evening of Broadway clas- at Champaign-Urbana, where he is currently a Opera, and in summer 2015 he will return to sics with Kelli O’Hara. Other engagements have professor of voice. for the premiere of Jennifer included appearances with Mandy Patinkin in

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