TIC DIRECTOR
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CLASSICAL RADIO BOSTON
A Harmonious E ventng Bi
& MARKET
A Forethought: Before the show, we invite you to enjoy elegant Italian dining at Ristorante Marino or lighter fare at Caffé Marino. We serve authentic dishes prepared with our own farm fresh or- ganic produce and chemical free meats.
& An Afterthought: Post-theater coffee and desserts will be waiting for you at Caffé Marino, Harvard Square and at Ristorante Marino on Mass Ave. Enjoy conversing with friends while sipping an espresso or cappuccino.
Ask about our theater dinner ensemble
Ristorante Marino Caffé Marino
2465 Massachusetts Avenue 30 Dunster Street
North Cambridge Holyoke Center Free Parking Harvard Square, Cambridge
DINNER AND SYMPHONY. IN CONCERT.
Our award-winning chef, Charles Grandon, has created a new symphony menu that’s a perfect prelude to the performance. The three-course dinners are prepared and served with style. And accompanied by free parking. You can enjoy your dinner, then stroll to symphony with time to spare. Reservations are recommended. Call 424-7000.
AT [HE COLONNADE HOTEL On HUNTINGTON AVENUE ACROSS FROM THE PRUDENTIAL CENTER
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The Handel & Haydn Society Christopher Hogwood, Artistic Director
One HuNDRED SEVENTY-NINTH SEASON, 1993-1994
William F. Achtmeyer Robert C. Allen Lucille M. Batal Michael Brosnan Edmund B. Cabot Bradford M. Endicott Eugene E. Grant Dena M. Hardymon
Candace Achtmeyer Anne Adamson
Nathaniel Adamson, Jr.
F. Knight Alexander Rae D. Anderson Althea M. Ballentine Martha Bancroft Afarin Bellisario Joyce Brinton Julian G. Bullitt
T. Edward Bynum Lynda G. Christian John F. Cogan, Jr. John D. Constable Carolyn A. Coverdale Bonnie L. Crane
(GOVERNORS
Timothy C. Robinson, Chairman Charles E. Porter, Vice-Chairman Robert H. Scott, President Leo L. Beranek, Honorary Chairman
Mitchell Adams, Vice President James L. Joslin, Vice President Grace H. Neises, Vice President Herbert J. Boothroyd, Secretary Joseph M. Flynn, Treasurer
Remsen M. Kinne III David H. Knight David L. Landay Karen S. Levy
Anil Madan
Paul J. Marcus Robert A. Marra Barbara E. Maze
George E. Geyer Governor Emeritus
Sharon F. Merrill
Amy Meyer
Pat Collins Nelson Winifred B. Parker Watson Reid
Ronald G. Sampson Michael Fisher Sandler Carl M. Sapers
Jerome Preston, Jr. Governor Emeritus
OVERSEERS
Paul A. Cully
Mark Edwards
Thomas H. Farquhar William H. Fonvielle Virginia S. Gassel Richard B. Gladstone Arthur S. Goldberg Arline Ripley Greenleaf Steven Grossman William Gudenrath Janet M. Halvorson Roy A. Hammer Suzanne L. Hamner Anneliese M. Henderson Mimi B. Hewlett
Roger M. Hewlett
Kenneth P. Latham, Jr. L. William Law, Jr.
R. Willis Leith, Jr.
Lisa S. Lipsett
Lloyd Lipsett
Patricia E. MacKinnon Dorothy M. Mawn Walter Howard Mayo III Betty Morningstar Marianne Mortara Dorothy E. Puhy Judith Lewis Rameior Jeffrey F. Rayport Jane K. Reardon
Alice E. Richmond Holly P. Safford
Elmar Seibel Robert J. Spear Timothy L. Vaill Merrill Weingrod Janet P. Whitla Rawson L. Wood Rya W. Zobel
Robert N. Shapiro Lawrence T. Shields Andy Smith
Jolane Solomon Elizabeth B. Storer Kemon P. Taschioglou Dorothy A. Thompson James J. Vanecko Donald R.Ware Kathleen W. Weld Carol K.White
James B.White Lieselotte H. Willoughby Ronald N. Woodward Gwill E. York
Howard W. Zoufaly
ee ee Se ee a eee Se eee The Handel & Haydn Society is supported in part by generous grants from the Massachusetts Cultural Council, a state agency, and the National Endowment for the Arts. This support enables HEH to present not only several
concert series, but also an educational outreach and free public concerts that bring HGH
program in over forty public schools throughout Massachusetts, ‘ music to wider audiences.
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The Handel & Haydn Society Christopher Hogwood, Artistic Director
1993-1994 Chamber Series, John Finney, Director Sunday, March 6 at 8:00 p.m. ¢ Sanders Theatre, Cambridge Friday, March 11 at 8:00 p.m. ¢ Jordan Hall at New England Conservatory, Boston
Charles Fisk, fortepiano Carole Haber, soprano Pamela Dellal, mezzo-soprano William Hite, tenor Donald Wilkinson, bass
FRANZ SCHUBERT (1797-1828)
Gott im Ungewitter, D. 985 Gott der Weltschépfer, D. 986 Hymne an den Unendlichen, D. 232
Die Vogel, D. 691 Die Krahe (from Winterreise, D. 911) Die Taubenpost (from Schwanengesang, D. 957)
12 Deutsche Tanze, D. 790
Im Fruhling, D. 882 Wehmut, D. 772 An mein Herz, D. 860
Der Hochzeitsbraten, D. 930 INTERMISSION
Liebesbotschaft (from Schwanengesang, D. 957) Standchen (from Schwanengesang, D. 957) Friihlingssehnsucht (from Schwanengesang, D. 957)
Seligkeit, D. 433 Nacht und Traume, D. 827 Gretchen am Spinnrade, D. 118
Klaviersttick in E-flat minor (from 3 Klavierstticke, D. 946) Impromptu in G-flat major (from 4 Impromptus, D. 899)
Des Tages Weihe, D. 763 Der Tanz, D. 826 Die Geselligkeit (Lebenslust), D. 609
CHARLES FISK, FORTEPIANO
Pianist Charles Fisk holds degrees from Harvard College and the Yale School of Music. He also attended the Mozarteum Akademie in Salzburg and the Fontainebleau Conservatoire, and spent two years in Paris as a student of Nadia Boulanger. He
has performed recitals and artist lectures throughout Europe, Canada, and the United States. In June of 1980, Mr. Fisk enjoyed the distinction of being the only American prizewinner in the Johann Sebastian Bach competition held in Washington, D.C. His scholarly interests focus on the music of Schubert and on the relationship between performance and analytical and critical approaches to music. He teaches piano, music theory, and music history at Wellesley College.
CAROLE HABER, SOPRANO
Carole Haber is known to her audiences for her stunning inter- pretations of the Mozartian and
bel canto styles. Her operatic debut as the the Queen of the Night won her laudatory reviews in the New York Times. In Boston, where she makes her home, she has been a soloist with H&H, the Dedham Choral Society, Newton Choral Society, the Heritage Chorale, and many other groups. She made her Symphony Hall solo debut in H&H’s 1991 performances of the Mozart Requiem. Ms. Haber is the winner of the Eleanor Steber Music Foundation Award and the Washington International Competition. In addition, she has been a finalist twice in the New England Regional Metropolitan Opera Competition, and a finalist in the Young Concert Artist Competition.
PAMELA DELLAL, MEZZO-SOPRANO
Pamela Dellal has been praised for the “exquisite vocal color” of her singing, and has been soloist with some of the nation’s leading Baroque ensembles, including H&H, the Boston Early Music Festival, and the Dallas Bach Society. In addition to her Baroque repertoire, she has performed a range of music from twelfth-century monody to contemporary compositions. A noted recitalist, Ms. Dellal has been featured in Emmanuel Music’s chamber music series of Schumann, Debussy, and Brahms; she is also a regular soloist in its famed Bach Cantata series. She is a founding member of Favella Lyrica, an ensemble that performs music from the 17th and 18th centuries for two voices. Ms. Dellal has recorded for Arabesque, DG, Koch International, and Harmonia Mundi.
WILLIAM HITE, TENOR
William Hite enjoys a distinguished career in the concert hall and as a recording artist. He has performed with the Boston Symphony Orchestra, the Dallas Bach Society, Boston Baroque, and the Atlanta Choral Guild, in addition to H&H. He has also given period performances with Aston Magna, Abendmusik, The King’s Noyse, and the Boston Cecilia. Mr. Hite has sung at the Festival D’Aix in France, and with the Mark Morris Dance Group in Brussels. He was featured in Philip Glass’s opera The Fall of the House of Usher at the American Repertory Theater, and was a two-time Tanglewood fellow. Mr. Hite’s recordings with Ensemble Sequentia, L6In and the Boston Camerata have won the Diapason D’Or and the Grand Prix du Disque respectively. He has also recorded with Emmanuel Music on Koch International.
DONALD WILKINSON, BARITONE
Donald Wilkinson has appeared with many of America’s finest musical organizations, including the symphony orches- tras of Pittsburgh, Jacksonville, Portland, ME, and Vermont. In 1991, he made his Boston Symphony Orchestra debut with Seiji Ozawa in Salome. He has also appeared with H&H, the Carmel Bach Festival, Washington Bach Consort, Philadelphia Bach Festival, Boston Baroque, and the Colorado Chorale, and has toured nationally with the Boston Camerata. He is active in opera, and has sung the roles of Marcello in La Bohéme, Germont in La Traviata, and Konecy in the American Premiere of Janacek’s Fate. A member of Emmanuel Music since 1984, Mr. Wilkinson has performed more than 100 of Bach’s Cantatas, and has sung in two recordings of Schtitz motets on Koch International.
THE HANDEL & HAYDN SOCIETY
The Handel & Haydn Society is a premier chorus and period orchestra under the artistic direction of renowned conductor Christopher Hogwood. H&H is a leader in “Historically Informed Performance,” performing on the instruments and with the performing forces and techniques of the time in which the music was composed.
Founded in 1815, H&H is the oldest continuously-performing arts organization in the United States. From its beginning, H&H has been at the musical forefront, and performed several American premieres of Baroque and Classical works in the nineteenth century. In recent years, H&H has achieved widespread acclaim through recordings on the London Records/L’Oiseau-Lyre label, national broad- casts, and sold-out performances across North America. H&H also offers an innovative educational program that brings the enjoyment and knowledge of classical music to over 5,000 students in 45 schools throughout Massachusetts.
The fortepiano in this program was made by R.J. Regier, Freeport, ME, and is patterned after a Viennese instrument, c. 1824.
H&H ADMINISTRATION Mary A. Deissler, Executive Director
Janet M. Bailey, Director of Marketing
Robin L. Baker, Director of Educational Activities Debra A. Cole, Business Manager
Philip C. Crosby, Development Assistant Elisabeth B. Galley, Capital Campaign Director Michael E. Jendrysik, Annual Fund Coordinator Lisa J. Ketcham, Development Intern
James David Christie, Artistic Consultant Jesse Levine, Production Manager/Librarian Richard Shaughnessy, Personnel Manager Yoichi Udagawa, Rehearsal Assistant Angela Vanstory, Rebearsal Accompanist
Rachel C. King, Communications Manager William Ledbetter, Box Office Assistant
Deborah MacKinnon, Box Office Manager Thomas L. Vignieri, Artistic Administrator
Rachel Yurman, Assistant Director of Development
Hill & Barlow, Of Counsel
H&H Education Program
Geoffrey Dana Hicks, Choral Director,
Vocal Apprenticeship Program
Rebecca Plummer, Director, Educational Quartet Timothy Steele, pianist
Marilyn Bulli, Margaret O’Keefe, sopranos
Luz Bermejo, alto
Noel Vazquez, tenor
Donald Wilkinson, Emery Stephens, basses
Handel & Haydn Society ¢ Horticultural Hall ¢ 300 Massachusetts Ave., Boston, MA 02115 ¢ (617) 262-1815
GF
A SCHUBERT EVENING Robert Mealy
In 1817, the twenty-year-old Franz Schubert had one of the most influential meetings of his short career. It was not the most propitious event at the time: Schubert was deeply shy, and the man to whom he was introduced was far more worldly and sophisticated. But he would prove to be one of Schubert’s most important advocates. This man was Johann Michael Vogl, the fifty-year-old baritone soloist at the Kdrntnertor Theatre, a respected performer who spoke four languages and read philosophy during his intermissions at the theatre. Together they formed a remarkable team; they performed together often, both in Vienna and outside it, introducing the world to Schubert’s songs. This musical form gave Schubert his first fame, beginning with the astonishing Erlkénig written when he was only eighteen. In the thirteen years that remained to him, Schubert was to write more than six hundred songs. A visitor in 1827, the year of his collection Winterreise, found him hard at work in bed and was told “I write for several hours every morning. When one piece is finished, I begin another.”
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epia drawt
One of the most delightful things about this genre, as Schubert practiced it, was its inherent sociability. In 1821, fourteen of Schubert’s closest friends met with him to play and sing his music. This was the first “Schubertiade” (or Schubert Abend), although it was only called that in retrospect. At these events there would be singing, playing, and much drinking, continuing into the small hours of the morning. Given the limitations of mod- erm concert culture, unfortunately only the first two of these elements can be presented in this performance, but the range of works in tonight’s concert gives a good idea of how it was not only possible but delightful for Schubert’s friends to make an evening of his music on a regular basis.
of a Schubert Abend at the home of Joseph von Spaun; Schubert is at the piano, sitting between Johann Vogl, on his right, and Spaun, on his left the aristocratic
Although these Schubertiades were at first put on only by members of Schubert’s close circle of friends, they rapidly became true salon events. The same year, Schubert’s friend Schober wrote that “there were a couple of Schubertiades at the Bishop’s, and one at Baroness Miink’s, of whom I am quite fond, where a Princess, two Countesses, and three Baronesses were present, all most generously ecstatic.” And in fact the line between an evening of friends and a gathering of potential patrons was often unclear. The unifying factor in these gatherings was the music of a single composer, presented in an atmosphere which was neither that of
Se aiaie ie 7
salons, which Beethoven had frequented, nor that of the public concert hall. And Schubert’s songs spoke to this condition; to this day they have remained in a unique position in Western music, at once a high art requiring great taste and intelligence, and a body of work that is truly beloved, somewhere in a middle ground between public and private.
Schubert himself soon had had enough of these events, as the crowds got larger and larger and as he himself became more and more occupied with his compositions. The fame that accompanied his songs was not unwelcome, but not exactly what he had in mind. To be known as a composer of large- scale forms — symphonies and operas — was the real test. Schubert’s only public concert devoted entirely to his works was performed, significantly, on the anniversary of Beethoven’s death, and he constantly sought unsuccessfully to carve out a career as an Opera composer.
Tonight’s program presents works extending from the early part of Schubert’s musical career, just after he finished his studies
with Salieri, to what may be the very last song he wrote (Die Taubenpost, composed in October of 1827). Along with the solo songs, among which will be heard both beloved favorites and unexpected surprises, the evening’s entertainment will also feature some more rarely-heard genres of Schubert’s work. The part-song, for instance, is a form Schubert rescued from the artistic oblivion of glee clubs to give it the dignity of some of his greatest solo songs. In the first three works on this program, which came to be published (much after his death, by haphazard collocation) as Op.112, Schubert can be heard trying on some of the more serious choral effects. In Gott im Ungewitter it is the Handelian fugue and the dramatic interjection, while in Gott der Weltschopfer it is the four-square chorus reminiscent of Mozart’s Masonic music in The Magic Flute. These texts, and the hymn by Schiller (Hymne an den Unendlichen) which completes the collection, may have come closer than anything else to religion for Schubert. Certainly the Romantic emotion of Sebnsucht, that melancholy longing evoked at the sight of natural beauty and sublimity, was one with which Schubert identified.
Der Hochzeitsbraten, with its yodelling finale, is in a lighter and more domestic vein. Two of the other part-songs on our program share this aesthetic: the frolicsome Der Tanz and Der Geselligkeit. Schubert, who enjoyed parties, would often accompany dances with
improvised walzes, and his published piano works included not only the important genre of sonata but the Gebrauchsmusik (practical music) of the popular dances of the time. His twelve German dances were actually published as “Landler,” with the indication “Deutsches Tempo.” Such generic confusion between waltzes, landler, and “German dances” were common at the time. This was to be the only collection of dances from Schubert’s maturity to be published exactly as he left it, although they had to wait forty-one years before Brahms shepherded them through publication.
Schubert experimented with other, newer forms of piano music as well as the conventional genres of dance and sonata. The Klavierstiicke D. 946 were written in May of the last year of his life; they are composed in a three-part form, with a tranquil and lyrical middle separating the stormy and impetuous outer sections. They are similar in mood and figuration to the Opus 90 Impromptus he had composed the summer before. The third in this collection is really a nocturne, in the distant key of G-flat Major. With these pieces, Schubert inaugurated the whole nineteenth-century tradition of “improvisatory” and highly evocative piano music.
Robert Mealy is a professional violinist as well as program annotator. He is a member of the period-instrument ensemble Benefit Street.
H&H Concerts COMING Up
At Symphony Hall April 8 and 10: Beethoven Festival Symphony No. 6, “Pastoral” Piano Concerto No. 4 * Symphony No. 5 Christopher Hogwood conducting Robert Levin, fortepiano
April 22 and 24: Spring Suites Bach: Orchestral Suites No. 1 and 3 Telemann: Water Music and Don Quixote Daniel Stepner directing
June 27 and 29: Vivaldi’s Four Seasons Stanley Ritchie directing
At Jordan Hall and Sanders Theatre May 13 GH) and 15 (ST):
Handel: Anthems and Cantatas Chandos Anthems and selected cantatas John Finney directing Sharon Baker, soprano; Stephen Hammer, oboe Sponsored by WCRB, 102.5 FM.
H&H
FOR INFORMATION OR TICKETS, CALL THE H&H BOX OFFICE AT (617) 266-3605
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ViOGCA Tel Eels
Gott im Ungewitter, D. 985, [God in the Storm] Joseph Peter Uz Thou Terrible One,
Du Schrecklicher, Who can stand before thee and thy thunder?
Wer kann vor dir und deinem Donner steh’n?
Gro ist der Herr, was trotzen wit? Er winkt, und wir vergeh’n.
Er lagert sich in schwarzer Nacht, Die Volker zittern schon: Gefliigeltes Verderben wacht
Um seinem furchtbarn Thron. Rothgliihend schleudert seine Hand Den Blitz aus finstrer Hoh’:
Und Donner sttirzt sich auf das Land In einer Feuersee,
Dafg selbst der Erde fester Grund Vom Zorn des Donners bebt,
Und was um ihr erschtitternd Rund Und in der Tiefe lebt.
Den Herrn und seinen Arm erkennt Die zitternde Natur,
Da weit umher der Himmel brennt, Und weit umher die Flur.
Wer schtitzt mich Sterblichen, mich Staub,
Wenn, der im Himmel wohnt
Und Welten pfliickt wie diirres Laub, Nicht huldreich mich verschont?
Wir haben einen Gott voll Huld, Auch wenn er zornig scheint:
Er herrscht mit schonender Geduld, Der grof&%e Menschenfreund.
Great is the Lord, why do we defy?
He nods, and we perish.
He rests in the dark night,
The people tremble.
Winged destruction keeps watch
Around his awful throne.
Glowing red, his hand hurls
The lightning out of the dark heights:
And thunder crashes down on the earth
In a sea of fire,
So that even the firm foundations of the earth Tremble from the anger of the thunder,
As does everything
That lives in its depths.
Trembling nature acknowledges the Lord and The hand of the Lord,
As all around the heavens burn,
And all around the fields burn.
Who would protect me, a mortal of mere dust, If he who abides in heaven and gathers whole Worlds like parched leaves,
Did not graciously spare me?
We have a God full of mercy,
Even when he appears angry:
He reigns with saving patience,
The great friend of all mankind.
Gott der Weltschopfer, D. 986 [God, the Creator of the World]
Zu Gott flieg’ auf,
Hoch tber alle Spharen,
Jauchz’ ihm, weitschallender Gesang, Dem Ewigen!
Er hief$ das alte Nichts gebdren;
Und sein allmachtig Wort war Zwang. Thm, aller Wesen Quelle,
Werde von allen Wesen Lob gebracht Im Himmel und auf Erden
Lob seiner weisen Macht.
Zu Gott flieg’ auf,
Mein schallender Gesang!
?
Joseph Peter Uz
Fly up to God,
High above all spheres,
Praise him, wide-resounding song, Praise the Eternal!
He commanded the old Nothingness to be fruitful, And his almighty word was law.
To him, the source of all beings,
May praise be brought from all beings, In heaven and on earth,
The praise of his judicious power.
Fly up to God,
My resounding song!
Hymne an den Unendlichen, D.232 [Hymn to the Eternal One]
Zwischen Himmel und Erd’ Hoch in der Lufte Meer,
In der Wiege des Sturms Tragt mich ein Zackenfels;
Wolken thirmen unter mir sich zu Sturmen,
Schwindelnd gaukelt der Blitz umher, Und ich denke dich, Ewiger!
Deinen schauernden Pomp
Borge dem Endlichen,
Ungeheure Natur!
Du der Unendlichkeit Riesentochter! Sei mir Spiegel Jehovah’s!
Seinen Gott dem verniinft gen Wurm Orgle prachtig, Gewittersturm!
Horch! er orgelt,
Den Fels wie er herunter dréhnt! Brullend spricht der Orkan Zebaoth’s Namen aus,
Hingeschrieben mit dem Griffel des Blitzes:
Creaturen, erkennt ihr mich? Schone, Herr! wir erkennen dich!
Friedrich von Schiller
Between heaven and earth,
High in the sea of the atmosphere,
In the cradle of the storm,
I stand upon a jagged rock;
Under me, clouds pile up into storms, The lightning flits dizzyingly about, And I think of thee, Eternal One!
Yield your shuddering pomp
To the Ultimate One,
Oh monstrous Nature!
You, the giant daughter of infinity!
Be for me the mirror of Jehovah!
Oh tempest, sing splendidly unto Man About his God!
Hark! he sings;
How the rock rumbles below!
The storm roars out
The name of the Lord of Hosts, Written with the stylus of the lightning: Creatures, do you acknowledge me? Spare us, Lord! We acknowledge thee!
Die Vogel, D. 691 [The Birds]
Wie lieblich und frdhlich, Zu schweben, zu singen, Von glanzender Hohe Zur Erde zu blicken!
Die Menschen sind toricht, Sie k6nnen nicht fliegen. Sie jammern in Noten,
Wir flattern gen Himmel.
Der Jager will toten,
Dem Friichte wir pickten; Wir miissen ihn hohnen, Und Beute gewinnen.
Friedrich von Schlegel
How delightful and exhilarating it is To soar and to sing,
To look down on the earth
From the radiant heights!
Men are foolish:
They cannot fly.
They lament in their distress; We fly up to the heavens.
The huntsman whose fruit we pecked Wants to kill us;
But we should mock him
And snatch our spoils.
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Die Krihe (from Winterreise, D. 911) [The Crow] Wilhelm Miiller
Eine Kraihe war mit mir Aus der Stadt gezogen, Ist bis heute fiir und fur Um mein Haupt geflogen.
Krihe, wunderliches Tier, Willst mich nicht verlassen? Meinst wohl bald als Beute hier Meinen Leib zu fassen?
Nun, es wird nicht weit mehr gehn An dem Wanderstabe.
Krihe, laf§ mich endlich sehn Treue bis zum Grabe!
A crow has come with me
From the town,
And to this day
Has been flying ceaselessly about my head.
Crow, you strange creature, Will you not leave me?
Do you intend soon
To seize my body as prey?
Well, I do not have much farther to walk With my staff.
Crow, let me at last see
Faithfulness unto the grave.
Die Taubenpost (from Schwanengesang, D. 957) [Pigeon Post] Johann Gabriel Seidl
Ich hab’ eine Brieftaub in meinem Sold, Die ist gar ergeben und treu,
Sie nimmt mir nie das Ziel zu kurz,
Und fliegt auch nie vorbei.
Ich sende sie viel tausendmal Auf Kundschaft taglich hinaus, Vorbei an manchem lieben Ort, Bis zu der Liebsten Haus.
Dort schaut sie zum Fenster heimlich hinein, Belauscht ihren Blick und Schritt,
Gibt meine GriifSe scherzend ab
Und nimmt die ihren mit.
Kein Briefchen brauch ich zu schreiben mehr Die Trane selbst geb ich ihr:
O sie vertragt sie sicher nicht,
Gar eifrig dient sie mir.
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Bei Tag, bei Nacht, im Wachen, im Traum Ihr gilt das alles gleich,
Wenn sie nur wandern, wandern kann, Dann ist sie Uberreich.
Sie wird nicht mud, sie wird nicht matt,
Der Weg ist stets ihr neu;
Sie braucht nicht Lockung, braucht nicht Lohn, Die Taub ist so mir treu.
Drum heg ich sie auch so treu an der Brust, Versichert des sch6nsten Gewinns;
Sie heifSt - die Sehnsucht!
Kennt ihr sie? Die Botin treuen Sinns.
I have a carrier-pigeon in my pay, Devoted and true;
She never stops short of her goal And never flies too far.
Each day I send her out
A thousand times on reconnaissance, Past many a beloved spot,
To my sweetheart’s house.
There she peeps furtively in at the window, Observing her every look and step, Conveys my greeting breezily,
And brings hers back to me.
I no longer need to write a note,
I can give her my very tears;
She will certainly not deliver them wrongly, So eagerly does she serve me.
Day or night, awake or dreaming, It is all the same to her;
As long as she can roam
She is richly contented.
She never grows tired or faint,
The route is always fresh to her;
She needs no enticement or reward, So true is this pigeon to me.
I cherish her as truly in my heart,
Certain of the fairest prize;
Her name is — Longing!
Do you know her? The messenger of constancy.
Im Fruhling, D. 882 [In Spring] Ernest Schulze
Still sitz ich an des Htigels Hang, Der Himmel ist so klar,
Das Liftchen spielt im grtinen Tal, Wo ich beim ersten Fruhlingsstrahl Einst, ach so glticklich war.
Wo ich an ihrer Seite ging
So traulich und so nah,
Und tief im dunklen Felsenquell Den sch6nen Himmel blau und hell Und sie im Himmel sah.
Sieh, wie der bunte Friihling schon
Aus Knosp’ und Blite blickt!
Nicht alle Bliiten sind mir gleich,
Am liebsten pfliickt ich von dem Zweig, Von welchem sie gepfltickt!
Denn alles ist wie damals noch,
Die Blumen, das Gefild;
Die Sonne scheint nicht minder hell,
Nicht minder freundlich schwimmt im Quell Das blaue Himmelsbild.
Es wandeln nur sich Will und Wahn, Es wechseln Lust und Streit, Voruber flieht der Liebe Gltick,
Und nur die Liebe bleibt zurtick, Die Lieb und ach, das Leid!
O war ich doch ein Véglein nur
Dort an dem Wiesenhang!
Dann blieb ich auf den Zweigen hier, Und sang ein stisses Lied von ihr, Den ganzen Sommer lang.
I sit silently on the hillside,
The sky is so clear,
The breezes play in the green valley Where once, in the first rays of spring, I was, oh, so happy.
Where I walked by her side,
So tender, so close,
And saw deep in the dark rocky stream The fair sky, blue and bright,
And her reflected in that sky.
See how the colorful spring
Already peeps from bud and blossom.
Not all the blossoms are the same to me:
I like most of all to pluck them from the branch From which she has plucked.
For all is still as it was then,
The flowers, the fields;
The sun shines no less brightly,
And no less cheerfully
The sky’s blue image bathes in the stream.
Only will and whim change, And joy alternates with strife; The happiness of love flies past, And only love remains,
Love and, alas, sorrow.
Oh, if only I were a bird,
There on the sloping meadow!
Then I would stay on these branches here, And sing a sweet song about her
All summer long.
Wehmut, D. 772 [Melancholy] Matthdus von Collin
Wenn ich durch Wald und Fluren geh’, Es wird mir dann so wohl und weh
In unruhvoller Brust.
So wohl, so weh, wenn ich die Au
In ihrer Schonheit Fulle schau’,
Und all die Friihlingslust.
Denn was im Winde t6nend weht, Was aufgettirmt gen Himmel steht, Und auch der Mensch, so hold vertraut Mit all der Schonheit, die er schaut, Entschwindet, und vergeht.
When I walk through the woods and fields I feel so happy and yet so sad
In my unquiet heart;
So happy and so sad when I behold
The meadows in the fullness of their beauty, And all the joy of spring.
For all that blows and echoes in the wind, All that towers up towards heaven,
And man himself, communing so fondly With all the beauty he beholds —
All shall vanish and perish.
Ee
An mein Herz, D. 860 [To My Heart] Ernst Schulze
O Herz, sei endlich stille!
Was schlaigst du so unruhvoll? Es ist ja des Himmels Wille, Dag ich sie lassen soll.
Und gab auch dein junges Leben Dir nichts als Wahn und Pein, Hat’s ihr nur Freude gegeben,
So mag’s verloren sein.
Und wenn sie auch nie dein Lieben Und nie dein’ Lieb’ verstand,
So bist du doch treu geblieben, Und Gott hat’s droben erkannt.
Wir wollen es mutig ertragen,
So lang nur die Trane noch rinnt, Und trdumen von schéneren Tagen, Die lange vortiber sind.
Und siehst du die Bluten erscheinen, Und singen die Végel umher,
So magst du wohl heimlich weinen, Doch klagen sollst du nicht mehr.
Geh’n doch die ewigen Sterne Dort oben mit goldenem Licht Und lacheln so freundlich von ferne, Und denken doch unser nicht.
O heart! Be silent at last!
Why do you beat so restlessly? For it is Heaven’s will
That I should leave her.
Even though your youthful life Gave you nothing but delusion and pain, As long as it gave her joy
Then no matter if it was lost to you.
And though she never understood Your loving or your love,
You nevertheless remained faithful And God above saw it.
Let us bravely endure
As long as tears still flow, And dream of fairer days Long since past.
When you see the blossoms appearing, When the birds sing all around,
Then you may weep in secret
But you should complain no more.
For the eternal stars above Move with a golden light, Smiling kindly from afar
And yet with no thought for us.
Der Hochzeitsbraten, D.930 [The Roast for the Wedding Feast]
Therese:
Ach liebes Herz, ach Theobald, Lafs dir nur dies mal rathen,
Ich bitt’ dich, geh’ nicht in den Wald, Wir brauchen keinen Braten. Theobald:
Der Stein ist scharf, ich fehle nicht, Den Hasen mufs ich haben,
Der Kerl mufg uns als Hauptgericht Beim Hochzeitschmause laben. Therese:
Ich bitt’ dich, Schatz,
Theobald:
Ich geh’ allein,
Therese:
Sie hangen dich,
Theobald:
Was fallt dir ein!
Friedrich von Schober
Therese:
Oh, sweetheart, oh Theobald, Just listen to this advice,
I beg you, don’t go into the woods, We don’t need a roast.
Theobald:
The stone is sharp, I won’t miss,
I must have the hare!
That fellow must be the main course At our wedding feast.
Therese.
I beg you, dear,
Theobald:
Pll go alone,
Therese:
They will hang you,
Theobald:
What are you thinking about!
Therese:
Allein?
Allein kann ich nicht bleiben,
Nein, allein kann ich nicht bleiben. Theobald:
Nun gut, so magst du treiben. Therese:
Wo steckt er denn?
Theobald:
Hier ist der Ort, Jetzt treibe fort,
[Therese:
gsch! gsch! prr, prr] Jetzt hier im Kraut, Jetzt im Gebtisch,
Nur nicht so laut.
Caspar:
Horch! horch!
Potz Blitz, was soll das sein?
Ich glaub’, sie jagen,
Da schlag’ der Hagel drein! Theobald:
Da sprach ja wer?
Therese.
Was du nicht horst!
Caspar:
Der kommt nicht aus, den sperr ich ein. Theobald:
Es wird der Wind gewesen sein. Therese:
O Lust, ein Jagersmann zu sein! gsch! gsch! prr, prr
Ein Has’, ein Has’!
Theobald:
Da liegt er schon,
Welch Meisterschufs, grad’ in die Brust, O Lust, 0 sliffe, stifse Jagerlust. Therese:
O sieh! den feisten Ricken,
Den will ich trefflich spicken.
O Lust, o stife, stifSe Jagerlust. Caspar:
Nun wart,’ Hallunk, dich trifft dein Lohn, Du Galgenstrick, du Enakssohn! Halt Diebsgepack! Halt! Halt! Therese & Theobald:
Nun ist es aus!
Caspar:
Den Hasen gebt, die Buchs’ heraus, In’s Loch, in’s Arbeitshaus,
Ich treib euch schon das Stehlen aus. Therese & Theobald:
Teh’mus = ich wiliaie,:
O weh! o weh! mit uns ist’s aus. Herr Jager, seid doch nicht von Stein, Die Hochzeit sollte morgen sein.
Therese:
Alone?
I can’t remain alone,
No, I can’t remain alone.
Theobald:
All right, then you may flush him out. Therese:
Now, where is he hiding?
Theobald:
Here is the place,
Now flush him out,
[Therese:
gsh! gsh! prr, prr]
Now in the grass,
Now in the bushes,
But not so loud!
Caspar:
Hark! Hark!
What the devil is this?
J think they’re hunting,
That’s where the shot was.
Theobald:
Who was that speaking?
Therese:
You're hearing things!
Caspar:
He won’t get away, ll trap him. Theobald:
It must have been the wind.
Therese:
Oh, what joy to be a hunter!
gsh! gsh! prr, prr,
A hare, a hare!
Theobald:
There he lies,
What a masterful shot, right in the heart! Oh joy, oh the sweet joy of being a hunter! Therese:
Oh look! what a fine fat piece of meat!
I will dress it splendidly.
Oh joy, oh the sweet joy of being a hunter! Caspar: Just wait, you'll get what’s coming to you, You rascal, you son of Enak!
Stop, you pack of thieves! Stop! Stop! Therese & Theobald:
Now we're done for!
Caspar:
Give me the hare,
Into prison with you, into the work-house! Ill teach you not to steal!
Therese & Theobald:
Lmustee ol Wilt ae
Oh woe! oh woe! now we're done for! Oh hunter, sir, don’t be made of stone, We're supposed to be married tomorrow!
please turn the page quietly
TS
Caspar:
Was kiimmert’s mich!
Therese & Theobald:
O hért, mit Most will ich euch reich verseh’n, O hort, und ich, ich strick’ euch einen Beutel, Und dieser Thaler weif§ und blank, Lagt ihr uns geh’n, sei euer Dank. Caspar:
Das Madchen ist verzweifelt schon. Therese:
Ach! statt den Hasenrticken
Mugs ich den Jager spicken. Theobald:
Ach! statt den Hasenrticken
Mu sie den Jager spicken.
Caspar:
Sie ist doch zum Entzticken,
Ich muf§ ein Aug’ zudriicken.
Nun wohl, weil ernstlich ihr bereut, Und ‘s erstemal im Forste seid, Mag Gnad’ fiir Recht heut’ walten, Ihr méget Hochzeit halten.
Therese & Theobald:
O tausend Dank, O lieber Herr, Gebt uns zur Hochzeit doch die Ehr’! Caspar:
Es sei, ich komme morgen,
Furn Braten will ich sorgen. Therese, Theobald, & Caspar:
Lebt wohl bis morgen.
Therese & Theobald:
Das Herz ist frei von seiner Last, Wir haben Hochzeit und ‘nen Gast, Und obendrein den Braten,
So sind wir gut berathen. taal
Caspar:
Hol’ euch der Fuchs,
Ich ware fast der Braut’gam lieber als der Gast, Sie ist kein schlechter Braten,
Der Kerl ist gut berathen.
Caspar:
What does that matter to me!
Therese & Theobald:
Oh listen, I'll supply you well with wine, Oh listen, and I, I'll knit you a new pouch, And this bright shiny coin,
please let us go, and we'll be grateful to you. Caspar:
The girl is remarkably beautiful.
Therese:
Ah, instead of roasting the hare
I have to bribe the hunter.
Theobald:
Ah, instead of roasting the hare,
She has to bribe the hunter.
Caspar:
She is delightful,
I must shut my eyes.
All right, since you have sincerely repented, And since this is your first time in the forest, Let mercy go before the law,
You may have your wedding.
Therese & Theobald:
Oh, a thousand thanks, dear sir,
Please be an honored guest at our wedding! Caspar:
So be it, I'll come tomorrow,
And I'll take care of the roast.
Therese, Theobald, & Caspar:
Farewell until tomorrow.
Therese & Theobald:
The burden is removed from our hearts, We shall have a wedding and a guest, And what’s more, the roast —
So everything has turned out well for us. Palas
Caspar:
The devil take you!
I'd rather be the groom than a guest,
She’s quite a catch,
This fellow has made out all right.
Liebesbotschaft (from Schwanengesang, D. 957) [Love’s Message] Ludwig Rellstab
Rauschendes Bachlein, so silbern und hell, Eilst zur Geliebten so munter und schnell? Ach, trautes Bachlein, mein Bote sei du; Bringe die GriifSe des Fernen ihr zu.
All ihre Blumen im Garten gepflegt, Die sie so lieblich am Busen tragt, Und ihre Rosen in purpurner Glut, Bachlein, erquicke mit ktihlender Flut.
Murmuring brook, so silver and bright, Do you hasten, so lively and swift, to my beloved? Ah, sweet brook, be my messenger;
Bring her greetings from her distant lover.
All the flowers, tended in her garden,
Which she wears so charmingly on her breast, And her roses with their crimson glow: Refresh them, brooklet, with your cooling waters.
Wenn sie am Ufer, in Trdume versenkt, Meiner gedenkend, das Képfchen hanegt, Trdste die SUSe mit freundlichem Blick, Denn der Geliebte keht bald zurtick.
Neigt sich die Sonne mit rdtlichem Schein, Wiege das Liebchen in Schlummer ein. Rausche sie murmelnd in stifge Ruh, Flistre ihr Trdume der Liebe zu.
When on your banks she inclines her head, Lost in dreams, thinking of me,
Comfort my sweetheart with a kindly glance, For her beloved will soon return.
When the sun sinks in a red flush,
Lull my sweetheart to sleep.
With your soft murmurings bring her sweet repose, And whisper dreams of love.
Standchen (from Schwanengesang, D. 957) [Serenade]
Ludwig