Diana Damrau & Helmut Deutsch - Barbican
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Diana Damrau
& Helmut Deutsch
Wednesday 16 January 2019 7.30pm, Hall
Liszt
Der Fischerknabe, S292b No 2
Die stille Wasserrose, S321
Es war ein König in Thule, S278 No 2
Ihr Glocken von Marling, S328
Die Loreley, S273 No 2
Wolf Vier Lieder der Mignon
interval 20 minutes
Richard Strauss
Einerlei, Op 69 No 3
Jiyang Chen
Meinem Kinde, Op 37 No 3
Ständchen, Op 17 No 2
Mädchenblumen, Op 22
3 Lieder der Ophelia, Op 67
Das Rosenband, Op 36 No 1
Wiegenlied, Op 41 No 1
Cäcilie, Op 27 No 2
Diana Damrau soprano
Helmut Deutsch piano
Part of Diana Damrau sings Strauss
Part of Barbican Presents 2018–19
Programme produced by Harriet Smith; printed
by Trade Winds Colour Printers Ltd; advertising by
Cabbell (tel 020 3603 7930)
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the Barbican Centre
online.Welcome
A warm welcome to the first concert in The second half of the concert is devoted
Diana Damrau’s Barbican residency, Diana to the Lieder of Richard Strauss, who had
Damrau sings Strauss. This evening she is a lifelong love affair with the soprano
joined by Helmut Deutsch for a programme voice in particular (it’s no coincidence that
of Lieder. he married a soprano, Pauline de Ahna).
In subjects ranging from Shakespeare’s
Liszt’s contributions to the art form are still Ophelia to simple cradle songs, Strauss
not as well known as they might be, but she unfailingly illuminates his texts to vivid
has proved an ardent champion, both on effect.
the concert platform and in the recording
studio. It promises to be a wonderful evening. Do
join us for Diana’s remaining concerts: on
Anyone who heard Diana Damrau and 26 January she sings Strauss’s Four Last
Jonas Kaufmann performing Wolf’s Songs, while on 31 March she gives the
Italienisches Liederbuch here last year will world premiere of Iain Bell’s The Hidden
know how attuned she is to the music of Place and performs the closing scene from
Hugo Wolf, who is represented here by his Capriccio.
four Mignon Lieder.
Huw Humphreys, Head of Music, Barbican
2Programme note
Longing, love & loss:
The art of Lieder
For texts, see page 8 At the same time it is conceivable that songs
sung at home may have fulfilled a political
The well-rehearsed history of 19th-century role for this disenfranchised middle class. Not
German song opens with a prolific Schubert in the direct sense of being calls to action, but
breaking new ground in terms of musical form rather in establishing what was felt to be a
and subject matter and continues thereafter shared German national identity that overrode
with every one of his musical successors striving the patchwork nature of current political
to match this achievement. And while it is true arrangements from Prussia to Bavaria.
that any composer in the German-speaking
world who valued his reputation wrote songs, And that brings us to the most obvious explanation
this cannot be the complete history of Lieder for why German-speaking composers espoused
from Schubert to Strauss, and beyond. the Lieder tradition with such enthusiasm. German
poetry, which provided ready-made texts for so
Shifts within German and Austrian society many of these songs, went through something of
after the French Revolution and into the post- a sea change from the end of the 18th century
Napoleonic period played their part. A new onwards. At one level it embraced a new lyric
and rising middle class now laid claim to music impulse, it spoke about personal feelings and
which, certainly in Vienna and in many of the thus about identity. If Goethe helped to forge
German states, had previously been reserved this new aesthetic then Heinrich Heine was its
for the aristocracy and those in power. More most consummate practitioner. And Goethe and
than this, the bourgeoisie wanted to make their Heine are the poets of choice for composers in
own music and this ambition coincided with search of texts throughout the 19th century. Where
the development of the piano as the principal they led, Eichendorff and Mörike followed.
instrument for domestic music-making. Add
the human voice and you have a burgeoning Literary archaeologists were also busy excavating
market for songs that could be sung at home buried German poetic traditions – often with
which music publishers were keen to exploit and a distinctively folk flavour which suggested
composers were happy to accommodate. a lost German identity that could might be
recovered and set against the disappointments
The failed revolutions of 1848–9 dashed the of contemporary politics: Romantic Nationalism
hopes of this new middle class for political if you will. Think no further than the collection
reform, so it withdrew from the public sphere, of poems that obsessed Gustav Mahler,
and made peace with its autocratic rulers Des Knaben Wunderhorn, edited by Achim
rather than identifying with the aspirations von Arnim and Clemens Brentano, and
of the working classes. Its members instead first published between 1805 and 1808.
redirected their cultural aspirations towards
taking over artistic patronage from the ruling Franz Liszt wrote songs in six different languages
élite. Mendelssohn’s concerts at the Leipzig ranging from French to Russian, but his German
Gewandhaus in the 1830s and Schumann’s short songs have always held a special interest
time in Düsseldorf 20 years later are examples of for singers. Indeed, when the composer was
ways in which the aristocracy had been displaced living in Weimar in the 1850s, where he had
by a middle-class audience, one that wanted been appointed Kapellmeister Extraordinaire,
to experience music in the large public concert he composed more than 20 new Lieder
halls that were springing up all over Europe. and began to publish his collected songs in
what would eventually run to six volumes.
3‘Der Fischerknabe’ is heard here in its second a series of unresolved chords that add mystery
version. (Liszt was a notorious reviser of his to the song, as well as reminding us of Liszt’s
music, telling his friend Bettine von Arnim that daringly unorthodox handling of tonality.
his ‘early songs [were] mostly sentimentally
bloated and often excessively choked up in the ‘Die Loreley’, which Diana Damrau performs
accompaniments’.) This song is the second of tonight in its second version, is one of the
three that open Friedrich Schiller’s play William composer’s longer songs. Liszt had met its
Tell, whose eponymous hero’s struggle against poet, Heinrich Heine, in Paris, though there
tyranny would certainly have appealed to Liszt. was little love lost between the two men. Heine
The rippling, undulating water music which begins admired the music but not the man and Liszt,
the song is Liszt at his most virtuosic and a fitting when asked on Heine’s death if the poet’s name
introduction to that familiar Romantic tragedy of should be inscribed in the temple of immortality,
a young man lured to his death by a water spirit. famously replied ‘Yes, but in mud’. Again song
and poem tell that familiar German Romantic
‘Die stille Wasserrose’ is a setting of a poem by story, the water spirit who lures sailors to their
Emanuel Geibel whose Spanische Liederbuch death with her seductive singing, in this case
and Italienische Liederbuch would inspire the Loreley on her rock in the River Rhine. The
Hugo Wolf to write some of his greatest songs. piano part sees Liszt at his most accomplished,
It’s also unabashedly erotic, as a swan with with a yearning upward theme for the temptress,
its phallic neck sails amid the very feminine while below the Rhine seethes and foams.
lotus flowers. And it’s tonally daring too,
particularly when the moon illuminates the By the time that Liszt was composing songs in
floating flowers with their pure white calyxes. Weimar only the most gifted of non-professional
pianists would have been able to master his
Liszt belonged to a generation who revered keyboard writing and amateur singers would
Goethe and when he moved to Weimar – the city have been stretched technically too. The Lied had
where the poet had made his home – in 1848 it become professionalised and was now an art
must have seemed a kind of cultural homecoming. song for public rather than private consumption.
Goethe’s extraordinary drama Faust exerted This is particularly true of the songs composed
a powerful hold over Liszt (and many other by Hugo Wolf, who rebalanced the relationship
composers), inspiring his Faust Symphony, among between pianist and singer. Where once the
other works. In an earlier song Gretchen sings the voice had led, now the drama is to be found in
ballad-like ‘Es war ein König in Thule’, which in the complex piano parts, which exploit the tonal
its musical simplicity matches her innocence, just dislocations that Wagner and Liszt had explored
before she discovers the casket of jewels that Faust in the so called ‘Music of the Future’, adding a
and Mephistopheles have left to tempt her – a psychological complexity to the songs’ narratives.
material gift that only heightens the irony of a song
which tells of a king who loved beyond the grave. The story of Mignon told in Goethe’s
Bildungsroman Wilhelm Meisters Lehrjahre
‘Ihr Glocken von Marling’ is a late song dating (‘Wilhelm Meister’s Apprenticeship’) had attracted
from 1874, nine years after after Liszt had taken composers from Beethoven and Schubert
minor orders in the Roman Catholic Church. The onwards. Indeed, Schubert spent a decade
Viennese poet Emil Kuh, who spent his last days obsessing about Goethe’s ‘child-woman’. Wolf,
in the Southern Tyrolese village of Marling, wrote who was captivated as others before him by
the text. Church bells toll throughout, creating Mignon’s sweet innocence and precocious
4Programme note
wisdom, spent less time in her company, Hugo Wolf often wrote at an astonishing rate.
composing his four Mignon songs in 1888. Between February 1888 and June 1890 he set
‘Heiss mich nicht reden’ has been described cycles of poems by Mörike and Eichendorff
as ‘an anti-song’ that respects Mignon’s and embarked on his Spanish Songbook. In
wish to keep her thoughts to herself. ‘Bid me the 1890s he was sometimes writing as many
not speak, bid me be silent.’ For once the as three songs a day. Richard Strauss also
piano part buttons its lip, never tempting composed songs with remarkable ease. There’s
the young woman into revealing emotional an anecdote that has him waiting at home
indiscretion. Though the hint of Wagner’s for a business associate who was delayed.
Tristan at the beginning is a terrible tease. To fill the time Strauss wrote a new song!
‘Nun wer die Sehnsucht kennt’ is suffused Until comparatively recently there was a critical
with longing: ‘Only those who know yearning view that quality was sacrificed for quantity
/ can fathom grief like mine.’ And the piano in Strauss; and that the handful of best songs
prelude introduces an aching melody that which had won a regular place in the recital
recurs throughout the song but which the singer repertoire were to be heard as the ripe fruit of
never manages to articulate as the vocal line late Romanticism. But that is to underestimate
drifts away. Eventually the piano accepts the the musical variety we hear in Strauss’s Lieder.
singer’s line and the song ends with a brutally And the subject matter he chooses isn’t just
short postlude in which nothing is resolved. about lonely walks through dark woods at
twilight and yearnings for the absent beloved.
In ‘So lasst mich scheinen’ Mignon initially Strauss’s songs undoubtedly look back to the
appears to be in happier mood. Dressed as German Romantic tradition but they also look
an angel to distribute gifts at a children’s party forward to Expressionism and to those darker
she refuses to take off her costume. But death truths about the human psyche that preoccupied
awaits her, a death that will come as a relief. early Modernism. If the power of Wolf’s song-
‘I grew old with grief before my time / now let cycles is cumulative, Strauss can turn a single
me be made for ever young.’ In the piano part song into a miniature music drama that stands
we hear Mignon playing her zither, somehow freely on its own. What he also brings to the
slipping into her grave as the piano mimics the Lieder tradition are his own remarkable abilities
instrument’s drone and plucked harmonies. as a pianist and an ability to set text with great
vividness, often using word painting, as well as
‘Kennst du das Land?’ is perhaps the best-known embracing the emotional content of his dramas.
of the Mignon songs and it was the first that Wolf
set to music in a matter of days in December ‘Einerlei’, composed in 1918, has a simple lyric
1888. It is also the most directly emotional of the by Ludwig Achim von Arnim, joint editor of Des
four, as Mignon invokes the land where lemons Knaben Wunderhorn. In six short lines the poet
blossom, the sun-filled south. ‘There, there’, she celebrates the diversity of his lover, who is always
cries at the end of each verse, as if by describing the same yet always different. Strauss tailors the
this paradisal world she could command it into song for his favourite voice, the soprano, and
existence, and each time the piano seems to roots it in his favoured key of C major. But this is
overthrow her vision. Indeed the piano part swirls a drama that begins where it ends. The refrain
chromatically about the vocal line as if looking for that belongs to the final paradox about sameness
some fragment to shore against Mignon’s ruin. and diversity being combined in the beloved is
hinted at in the opening prelude to the song.
5‘Meinem Kinde’ was originally written in 1897 for stuffed with subordinate clauses. Strauss
a chamber ensemble of 10 instruments before navigates the difficulties with consummate skill.
being recomposed for the piano. It belongs to ‘Mohnblumen’ couldn’t be more different, these
a group of lullabies that Strauss wrote in the poppy girls are positively skittish, first cousins you
years around the birth of his son Franz. With feel of Zerbinetta in Ariadne auf Naxos. And the
its rocking rhythms and sleepy harmonies it piano part matches that flighty soubrette with
is every bit as satisfying as the better-known trills and razor-sharp chords, yet the harmonies
‘Wiegenlied’, which is as much about the look forward to a more troubled heroine, to the
celebration of the ecstasy in which the child was brutal world of Salome. ‘Efeu’ is clinging ivy, and
created as the resultant bundle asleep in its crib. the song clings too with its description of girls who
‘are born to twine themselves / lovingly around
‘Ständchen’ is one of Richard Strauss’s best- another’s life’. Strauss walks an all too familiar
known songs and it haunted the composer in tightrope between sentimentality and genuine
any number of popular arrangements – among inspiration but all can be forgiven when we hear
them versions for piano duet and for palm court the three chords marked ppp that accompany
orchestra – tempting Strauss to shrug off what the singer’s final phrase. The composer has
he had written. But the setting of Adolf Friedrich somehow spun a genuine mystery out of this
von Schack’s poem written in the middle 1880s ’rare breed of flower that blossoms only once’.
is magnificently accomplished for a musician The longest of these flower girls comes last.
who was barely into his twenties, with the drama ‘Wasserrose’ opens with an extended parlando
growing ever more urgent as the song develops with the singer somehow talking to herself as the
through its three verses with a kind of quickening piano ripples across the surface of the water. We
call and response. When ‘Dusk falls mysteriously are two-thirds of the way through the song before
here / beneath the linden trees’ you positively the bass line appears: ‘Her speech resembles
hold your breath waiting to learn the outcome. the silver rippling of waves’ and the piano
plashes through the water leading the soloist to
Mädchenblumen is a set of four songs to texts the kind of soaring duet at the end of the song
by Felix Dahn composed in the mid-1880s when that Strauss could bring off like no-one else.
the Jugendstil seemed the acme of modernity
to both Viennese and other German-speaking The three Ophelia Songs were born out of a
audiences. Here the translation of women into dispute with a music publisher. Strauss had
flowers – cornflowers, poppies, ivy and a water long championed composers’ rights to the
lily – matches that aesthetic with piano parts that music they wrote and founded the Society of
seem to send out shoots and tendrils that reflect German Composers to protect himself and his
nature as represented in the Art Nouveau style. colleagues. But the composer himself was bound
by contract to offer his next set of songs to the
‘Kornblumen’ is a real challenge for the singer. publisher Bote and Bock, who had founded a
There is no piano introduction and the opening rival society that championed publishers’ (rather
sentence of the poem is tortuously long and than composers’) rights. Strauss prevaricated
6Programme note
but when threatened with legal action in 1918, shifts in the piano part are unmistakably late 19th
he hastily composed the Drei Lieder der Ophelia century and a lover binding his beloved with a
and some Goethe settings. It’s ironic that the garland of roses is more erotic than charming.
Ophelia songs so swiftly written to keep him out
of court proved to be such a success. Together ‘Cäcilie’ was one of four songs that Strauss
they form a chilling portrait of a mind reaching wrote as a wedding gift for his wife Pauline von
the end of its tether, and remind us what a skilled Ahna, composed the day before their marriage
musical dramatist Strauss was in his songs. ceremony on 9 September 1894. Frau Strauss
would regularly sing it at recitals with her husband.
In the first song Ophelia’s empty, wandering The three verses of Heinrich Hart’s poem are
mind is captured in a phrase for the right set in contrasting ways as a kind of miniature
hand that seems to have lost its way. Death is three-act drama. First there is the unfettered joy
announced in a pungent dissonance on the line of love in the major key, then the more complex
‘Tot und hin’ – ‘Dead and gone’ – and if there aspects of a marriage are explored in the minor
is a moment of hope in the final line of this song key – ‘lonely nights, / in the frightening storm’
to Queen Gertrude it is fleeting. In the second with no ‘soft voice / to comfort’ – and finally a
song Ophelia parodies a rude old number rapturous celebration of marital togetherness.
before King Claudius, ‘Tomorrow is St Valentine’s Strauss creates a final phrase that taxes the art
Day’ – there are mad leaps in the vocal line of the singer to the utmost, demanding perfect
and the piano part seems to have wandered breath control and immaculate enunciation
in from a beer hall. In the final one Ophelia’s on the word ‘lebtest’ in the line ‘You would live
brother Laertes has returned. In the piano’s with me’ as the song rises to a crescendo.
flowing triplets we sense the stream in which this
young woman will shortly drown herself as the This is Strauss at his most accomplished and
sombre beat of a funeral march spells out her it’s also Strauss celebrating that cornerstone
fate. In contrast the vocal part blends sanity and of 19th-century bürgerlich life, ‘romantic love
madness as it lurches in and out of waltz time. within marriage’.The bad boy whose operas
Salome and Elektra scandalised his generation
‘Das Rosenband’ exists in two closely was at heart a conformist. Like so many of his
contemporary forms – for soloist and large German song-writing contemporaries, he is not
orchestra, and soloist with piano. In the latter, just composing for himself but is ever mindful
there’s a richness to the piano part, while of the society for which he is writing, attuned to
the drama is even more focused than in the its values and its beliefs. We perhaps need to
symphonic version, with the soloist taking the retrieve this part of the history of Lieder rather
lead role. Klopstock’s elegant poem, written than focusing on the narrative which begins
in the 18th century, allows Strauss to slip into with Schubert setting an artistic benchmark for
the world that he would soon create for Der succeeding generations of German-speaking
Rosenkavalier. But the opera’s Rococo pastiche composers for that is a only a partial history.
couldn’t be further from his mind. The harmonic
Programme note © Christopher Cook
7Franz Liszt (1811–86)
Der Fischerknabe, S292b No 2 The fisher lad
Es lächelt der See, er ladet zum Bade, The lake smiles, an enticement to bathe,
Der Knabe schlief ein am grünen Gestade, The lad fell asleep on the green shore,
Da hört er ein Klingen, Then he hears sounds
Wie Flöten so süss, As of sweetest flutes,
Wie Stimmen der Engel Like voices of angels
Im Paradies. In Paradise.
Und wie er erwachet in seliger Lust, And as he awakes in rapturous joy,
Da spülen die Wasser ihm um die Brust, The waters rise up to his breast,
Und es ruft aus den Tiefen: And a voice calls from the depths:
Lieb’ Knabe, bist mein! ‘Dear lad, you are mine!
Ich locke den Schläfer, I lure the slumberer
Ich zieh ihn herein. And drag him down.’
Friedrich von Schiller (1759–1805)
Die stille Wasserrose, S321 The silent lotus flower
Die stille Wasserrose The silent lotus flower
Steigt aus dem blauen See, Rises from the blue lake,
Die Blätter flimmern und blitzen, Its leaves glitter and glow,
Der Kelch ist weiss wie Schnee. Its cup is as white as snow.
Da giesst der Mond vom Himmel The moon then pours from heaven
All’ seinen gold’nen Schein, All its golden light,
Giesst alle seine Strahlen Pours all its rays
In ihren Schoss hinein. Into its lap.
Im Wasser um die Blume In the water, round the flower,
Kreiset ein weisser Schwan: A white swan circles:
Er singt so süss, so leise It sings so sweetly, so quietly,
Und schaut die Blume an. And gazes on the flower.
Er singt so süss, so leise It sings so sweetly, so quietly,
Und will im Singen vergehn. And wishes to die as it sings.
O Blume, weisse Blume, O flower, white flower,
Kannst du das Lied verstehn? Can you fathom the song?
Emanuel von Geibel (1815–84)
Es war ein König in Thule, S278 No 2 There was a king in Thule
Es war ein König in Thule There was a king in Thule,
Gar treu bis an das Grab, Faithful to the grave,
Dem sterbend seine Buhle To whom his mistress, as she died,
Einen goldnen Becher gab. Gave a golden beaker.
Es ging ihm nichts darüber, He valued nothing higher,
Er leert’ ihn jeden Schmaus; He drained it at every feast,
Die Augen gingen ihm über, And each time he drank from it,
So oft er trank daraus. His eyes would fill with tears.
Und als er kam zu sterben, And when he came to die,
Zählt’ er seine Städt’ im Reich, He counted the cities of his realm,
8Texts
Gönnt’ alles seinen Erben, Gave all he had to his heirs,
Den Becher nicht zugleich. The beaker though excepted.
Er sass beim Königsmahle, He sat at the royal banquet,
Die Ritter um ihn her, Surrounded by his knights,
Auf hohem Vätersaale, There in the lofty ancestral hall,
Dort auf dem Schloss am Meer. In the castle by the sea.
Dort stand der alte Zecher, There he stood, that old toper,
Trank letzte Lebensglut, Drank his life’s last glow,
Und warf den heil’gen Becher And hurled the sacred beaker
Hinunter in die Flut. Into the waves below.
Er sah ihn stürzen, trinken He saw it fall and fill
Und sinken tief ins Meer. And sink deep into the sea.
Die Augen täten ihm sinken; His eyes closed;
Trank nie einen Tropfen mehr. He never drank another drop.
Johann Wolfgang von Goethe (1749–1832)
Ihr Glocken von Marling, S328 Bells of Marling
Ihr Glocken von Marling, Bells of Marling,
Wie brauset ihr so hell; How brightly you chime;
Ein wohliges Läuten, A pleasing sound
Als sänge der Quell. Like a babbling spring.
Ihr Glocken von Marling, Bells of Marling,
Ein heil’ger Gesang A sacred song
Umwallet wie schützend Embraces and protects
Den weltlichen Klang. The sounds of the earth.
Nehmt mich in die Mitte Take me to the heart
Der tönenden Flut, Of your resounding flood,
Ihr Glocken von Marling, Bells of Marling,
Behütet mich gut! Watch over me well!
Emil Kuh (1828–76)
Die Loreley, S273 No 2 The Loreley
Ich weiss nicht, was soll es bedeuten I do not know what it means
Dass ich so traurig bin; That I should feel so sad;
Ein Märchen aus alten Zeiten There is a tale from olden times
Das kommt mir nicht aus dem Sinn. I cannot get out of my mind.
Die Luft ist kühl und es dunkelt, The air is cool, and twilight falls,
Und ruhig fliesst der Rhein; And the Rhine flows quietly by;
Der Gipfel des Berges funkelt The summit of the mountains glitters
Im Abendsonnenschein. In the evening sun.
Die schönste Jungfrau sitzet The fairest maiden is sitting
Dort oben wunderbar, In wondrous beauty up there,
Ihr goldnes Geschmeide blitzet, Her golden jewels are sparkling,
Sie kämmt ihr goldenes Haar. She combs her golden hair.
9Sie kämmt es mit goldenem Kamme She combs it with a golden comb
Und singt ein Lied dabei, And sings a song the while;
Das hat eine wundersame, It has an awe-inspiring,
Gewaltige Melodei. Powerful melody.
Den Schiffer im kleinen Schiffe It seizes the boatman in his skiff
Ergreift es mit wildem Weh, With wildly aching pain;
Er schaut nicht die Felsenrisse, He does not see the rocky reefs,
Er schaut nur hinauf in die Höh. He only looks up to the heights.
Ich glaube, die Wellen verschlingen I think at last the waves swallow
Am Ende Schiffer und Kahn. The boatman and his boat;
Und das hat mit ihrem Singen And that, with her singing,
Die Lorelei getan. The Loreley has done.
Heinrich Heine (1797–1856) Translations © Richard Stokes; reproduced with kind
permission from Hyperion Records
Hugo Wolf (1860–1903)
Vier Lieder der Mignon
Mignon I: Heiss mich nicht reden Bid me not speak
Heiss mich nicht reden, heiss mich schweigen, Bid me not speak, bid me be silent,
Denn mein Geheimnis ist mir Pflicht; for secrecy is my duty.
Ich möchte dir mein ganzes Innre zeigen, I should willingly show you all my inmost heart,
Allein das Schicksal will es nicht. but fate has willed it otherwise.
Zur rechten Zeit vertreibt der Sonne Lauf In due time the sun’s course
Die finstre Nacht, und sie muss sich erhellen; Dispels the dark night, and it must grow bright;
Der harte Fels schliesst seinen Busen auf, The hard rock opens its bosom,
Missgönnt der Erde nicht die tiefverborgnen And does not grudge the earth the deep-hidden
Quellen. springs.
Ein jeder sucht im Arm des Freundes Ruh, Everyone seeks peace in the arms of a friend,
Dort kann die Brust in Klagen sich ergiessen; There the breast can pour out its laments;
Allein ein Schwur drückt mir die Lippen zu, But my lips are closed by a vow,
Und nur ein Gott vermag sie aufzuschliessen. And only a god can release them.
Mignon II: Nur wer die Sehnsucht kennt Only those who know yearning
Nur wer die Sehnsucht kennt, Only those who know yearning
weiss, was ich leide! Can fathom grief like mine.
Allein und abgetrennt Alone and sundered
Von aller Freude, from all joy
Seh’ ich an’s Firmament I scan the skies
Nach jener Seite. To the south.
Ach! Der mich liebt und kennt, Ah! he who loves and knows me
Ist in der Weite! Is far away.
Es schwindelt mir, es brennt My senses reel,
Mein Eingeweide. My inmost being burns.
Nur wer die Sehnsucht kennt Only those who know yearning
Weiss, was ich leide! Can fathom grief like mine.
10Texts
Mignon III: So lasst mich scheinen Let me seem to be an angel
So lasst mich scheinen, bis ich werde, Let me seem to be an angel until I become one;
Zieht mir das weisse Kleid nicht aus! Do not take my white dress from me.
Ich eile von der schönen Erde I am hastening away from this fair earth
Hinab in jenes feste Haus. To that long home.
Dort ruh’ ich eine kleine Stille, There I shall rest awhile;
Dann öffnet sich der frische Blick; Then my eyes will open, renewed;
Ich lasse dann die reine Hülle, Then I shall leave behind this pure raiment,
Den Gürtel und den Kranz zurück. The girdle and the garland.
Und jene himmlischen Gestalten And those heavenly forms,
Sie fragen nicht nach Mann und Weib, They make no question of man or woman;
Und keine Kleider, keine Falten And no clothes, no folds,
Umgeben den verklärten Leib. Trammel the transfigured body.
Zwar lebt’ ich ohne Sorg’ und Mühe, True, I have lived without trouble and care;
Doch fühlt’ ich tiefen Schmerz genung. But I felt deep pain enough.
Vor Kummer altert’ ich zu frühe; I grew old with grief before my time;
Macht mich auf ewig wieder jung! Now let me be made for ever young.
Mignon: Kennst du das Land? Do you know the land?
Kennst du das Land, wo die Zitronen blühn, Do you know the land where the lemons blossom,
Im dunklen Laub die Gold-Orangen glühn, Where oranges glow golden among dark leaves?
Ein sanfter Wind vom blauen Himmel weht, A soft wind breathes from the blue sky,
Die Myrte still und hoch der Lorbeer steht, The silent myrtle stands there and the tall laurel.
Kennst du es wohl? Do you know it?
Dahin! Dahin There, there
Möcht ich mit dir, o mein Geliebter, ziehn. I long to go with you, my love.
Kennst du das Haus? Auf Säulen ruht sein Dach, Do you know the house? Its roof rests on pillars,
Es glänzt der Saal, es schimmert das Gemach, The hall shines, the room gleams,
Und Marmorbilder stehn und sehn mich an: And marble statues stand and look at me –
Was hat man dir, du armes Kind getan? What have they done to you, you poor child?
Kennst du es wohl? Do you know it?
Dahin! Dahin There, there
Möcht ich mit dir, o mein Beschützer, ziehn! I long to go with you, my protector.
Kennst du den Berg und seinen Wolkensteg? Do you know the mountain and its cloudy paths,
Das Maultier sucht im Nebel seinen Weg: Where the mule seeks its way in the mist;
In Höhlen wohnt der Drachen alte Brut; In caves the old brood of the dragons dwells,
Es stürzt der Fels und über ihn die Flut, The rock falls sheer and the torrent over it.
Kennst du ihn wohl? Do you know it?
Dahin! Dahin There, there
Geht unser Weg! o Vater, lass uns ziehn! Lies our way; oh, father, let us go.
Johann Wolfgang von Goethe Translations by Eric Sams; reproduced with kind
permission from Hyperion Records
interval 20 minutes
11Richard Strauss (1864–1949)
Einerlei, Op 69 No 3 Sameness
Ihr Mund ist stets derselbe, Her mouth is always the same,
Sein Kuss mir immer neu, Its kiss is ever new,
Ihr Auge noch dasselbe, Her eyes remain the same,
Sein freier Blick mir treu; Their frank gaze true to me;
O du liebes Einerlei, O you dear sameness,
Wie wird aus dir so mancherlei! The diversity that comes of you!
Ludwig Achim von Arnim (1781–1831)
Meinem Kinde, Op 37 No 3 My child
Du schläfst und sachte neig’ ich mich You sleep and softly I bend down
Über dein Bettchen und segne dich. Over your cot and bless you.
Jeder behutsame Atemzug Every cautious breath you take
Ist ein schweifender Himmelsflug, Soars up towards heaven,
Ist ein Suchen weit umher, Searches far and wide to see
Ob nicht doch ein Sternlein wär’, If there might not be some star,
Wo aus eitel Glanz und Licht From whose pure radiance and light
Liebe sich ein Glückskraut bricht, Love may pluck a herb of grace,
Das sie geflügelt herniederträgt To descend with it on her wings
Und dir aufs weisse Deckchen legt. And lay it on your white coverlet.
Gustav Falke (1853–1916)
Ständchen, Op 17 No 2 Serenade
Mach auf, mach auf! doch leise, mein Kind, Open up, open up! but softly, my child,
Um Keinen vom Schlummer zu wecken! So that no one’s roused from slumber!
Kaum murmelt der Bach, kaum zittert im Wind The brook hardly murmurs, the breeze hardly
moves
Ein Blatt an den Büschen und Hecken; A leaf on the bushes and hedges;
Drum leise, mein Mädchen, dass nichts sich regt, Gently, my love, so nothing shall stir,
Nur leise die Hand auf die Klinke gelegt! Gently with your hand as you lift the latch!
Mit Tritten, wie Tritte der Elfen so sacht, With steps as light as the steps of elves,
Um über die Blumen zu hüpfen, As they hop their way over flowers,
Flieg leicht hinaus in die Mondscheinnacht, Flit out into the moonlit night,
Zu mir in den Garten zu schlüpfen! Slip out to me in the garden!
Rings schlummern die Blüten am rieselnden Bach The flowers are fragrant in sleep
Und duften im Schlaf, nur die Liebe ist wach. By the rippling brook, only love is awake.
Sitz nieder! Hier dämmerts geheimnisvoll Sit down! Dusk falls mysteriously here
Unter den Lindenbäumen. Beneath the linden trees.
Die Nachtigall uns zu Häupten soll The nightingale above us
Von unseren Küssen träumen Shall dream of our kisses
Und die Rose, wenn sie am Morgen erwacht, And the rose, when it wakes at dawn,
Hoch glühn von den Wonneschauern der Nacht. Shall glow from our night’s rapture.
Adolf Friedrich von Schack (1815–94)
12Texts
Mädchenblumen, Op 22
1 Kornblumen Cornflowers
Kornblumen nenn’ ich die Gestalten, Cornflowers are what I call those girls,
Die milden, mit den blauen Augen, Those gentle girls with blue eyes,
Die, anspruchslos, in stillem Walten, Who simply and serenely impart
Den Thau des Friedens, den sie saugen The dew of peace, which they draw
Aus ihren eignen klaren Seelen, From their own pure souls,
Mitteilen allem, dem sie nah’n, To all those they approach,
Bewusstlos der Gefühlsjuwelen, Unaware of the jewels of feeling
Die sie von Himmelshand empfahn: They receive from the hand of Heaven:
Dir wird so wohl in ihrer Nähe, You feel so at ease in their company,
Als gingst du durch ein Saatgefilde, As though you were walking through a cornfield,
Durch das der Hauch des Abends wehe Rippled by the breath of evening,
Voll frommen Friedens und voll Milde. Full of devout peace and gentleness.
2 Mohnblumen Poppies
Mohnblumen sind die runden, Poppies are the round,
Rothblutigen, gesunden, Red-blooded, healthy girls,
Die sommerspross-gebraunten, The brown and freckled ones,
Die immer froh gelaunten, The always good-humoured ones,
Kreuzbraven, kreuzfidelen, Honest and merry as the day is long,
Tanz-nimmermüden Seelen, Who never tire of dancing,
Die unterm Lachen weinen, Who laugh and cry simultaneously
Und nur geboren scheinen, And only seem to be born
Die Kornblumen zu necken, To tease the cornflowers,
Und dennoch oft verstecken And yet often conceal
Die weichsten, besten Herzen The gentlest and kindest hearts
Im Schlinggewächs von Scherzen, As they entwine and play their pranks,
Die man, weiss Gott! mit Küssen Those whom, God knows,
Ersticken würde müssen, You would have to stifle with kisses,
Wär’ man nicht immer bange, Were you not so timid,
Umarmest du die Range, For if you embrace the minx,
Sie springt ein voller Brander, She will burst, like smouldering timber,
Aufflammend auseinander! Into flames!
3 Efeu Ivy
Aber Efeu nenn’ ich jene But ivy is my name for those
Mädchen, mit den sanften Worten, Girls with gentle words,
Mit dem Haar, dem schlichten, hellen, With sleek fair hair
Um den leis’ gewölbten Brauen, And slightly arched brows,
Mit den braunen, seelenvollen With brown soulful
Rehenaugen, die in Thränen Fawn-like eyes that well up
Steh’n so oft, in ihren Thränen So often with tears – which are
Grade sind unwiderstehlich; Simply irresistible;
Ohne Kraft und Selbstgefühl, Without strength and self-confidence,
Schmucklos, mit verborgner Blüthe, Unadorned with hidden flowers,
Doch mit unerschöpflich tiefer, But with inexhaustibly deep,
Treuer, inniger Empfindung True and ardent feeling,
Können sie mit eigner Triebkraft They cannot, through their own strength,
Nie sich heben aus den Wurzeln, Rise from their roots,
Sind geboren, sich zu ranken But are born to twine themselves
Liebend um ein ander Leben: – Lovingly round another’s life: –
An der ersten Liebumrankung Their whole life’s destiny
Hängt ihr ganzes Lebensschicksal, Depends on their first love-entwining,
13Denn sie zählen zu den seltnen For they belong to that rare breed of flower
Blumen, die nur einmal blühen. That blossoms only once.
4 Wasserrose Water lily
Kennst du die Blume, die märchenhafte, Do you know this flower, the fairy-like
Sagen-gefeierte Wasserrose? Water lily, celebrated in legend?
Sie wiegt auf ätherischem, schlanken Schafte On her ethereal, slender stem
Das durchsichtige Haupt, das farbenlose, She sways her colourless transparent head;
Sie blüht auf schilfigem Teich im Haine, It blossoms on a reedy and sylvan pond,
Gehütet vom Schwan, der umkreiset sie einsam, Protected by the solitary swan that swims round it,
Sie erschliesst sich nur dem Mondenscheine, Opening only to the moonlight,
Mit dem ihr der silberne Schimmer gemeinsam. Whose silver gleam it shares.
So blüht sie, die zaubrische Schwester der Sterne, Thus it blossoms, the magical sister of the stars,
Umschwärmt von der träumerisch dunklen As the dreamy dark moth, fluttering round it,
Phaläne,
Die am Rande des Teichs sich sehnet von ferne, Yearns for it from afar at the edge of the pond,
Und sie nimmer erreicht, wie sehr sie sich sehne. – And never reaches it for all its yearning. –
Wasserrose, so nenn’ ich die schlanke, Water lily is my name for the slender
Nachtlockige Maid, alabastern von Wangen, Maiden with night-black locks and alabaster
cheeks,
In dem Auge der ahnende, tiefe Gedanke, With deep foreboding thoughts in her eyes,
Als sei sie ein Geist und auf Erden gefangen. As though she were a spirit imprisoned on earth.
Wenn sie spricht, ist’s wie silbernes Her speech resembles the silver rippling of waves,
Wogenrauschen,
Wenn sie schweigt, ist’s die ahnende Stille der Her silence the foreboding stillness of a moonlit
Mondnacht, night,
Sie scheint mit den Sternen Blicke zu tauschen, She seems to exchange glances with the stars,
Deren Sprache die gleiche Natur sie gewohnt Whose language – their natures being the same
macht. – she shares.
Du kannst nie ermüden, ins Aug’ ihr zu schauen, You can never tire of gazing into her eyes,
Das die seidene lange Wimper umsäumt hat Framed by her silken long lashes,
Und du glaubst, wie bezaubert von seligem And you believe, bewitched by their blissful grey,
Grauen,
Was je die Romantik von Elfen geträumt hat. All that Romantics have ever dreamt about elves.
Felix Ludwig Julius Dahn (1834–1912)
Lied der Ophelia No 1: Wie erkenn’ ich mein How shall I know my true love
Treulieb?, Op 67 No 1
Wie erkenn’ ich mein Treulieb How shall I know my true love
Vor andern nun? From others now?
An dem Muschelhut und Stab By his cockle hat and staff
Und den Sandalschuh’n. And his sandal shoes.
Er ist tot und lange hin, He is dead and long gone,
Tot und hin, Fräulein. Dead and gone, lady!
Ihm zu Häupten grünes Gras, At his head green grass,
Ihm zu Fuss ein Stein. – O, ho! At his feet a stone. O, ho!
Auf seinem Bahrtuch, weiss wie Schnee, On his shroud white as snow
Viel liebe Blumen trauern: Many sweet flowers mourn.
Sie gehn zu Grabe nass, o weh, They’ll go wet to the grave, alas,
Vor Liebesschauern. Wet with love’s showers.
14Texts
Lied der Ophelia No 2: Guten Morgen, Good morning, it’s St Valentine’s Day
‘s ist Sankt Valentinstag, Op 67 No 2
Guten Morgen, ’s ist Sankt Valentinstag, Good morning, it’s St Valentine’s Day,
So früh vor Sonnenschein So early before sunrise.
Ich junge Maid am Fensterschlag I, young maid at the window,
Will euer Valentin sein. Shall be your Valentine.
Der junge Mann tut Hosen an, The young man put trousers on,
Tät auf die Kammertür Opened up the chamber door,
Liess ein die Maid, die als Maid Let in the maid who as a maid
Ging nimmermehr herfür. Departed nevermore.
Bei Sankt Niklas und Charitas, By St Nicholas and Charity,
Ein unverschämt Geschlecht! What a shameless breed!
Ein junger Mann tut’s wenn er kann, A young man does it when he can,
Fürwahr, das ist nicht recht. Which is, forsooth, not right.
Sie sprach: Eh’ ihr gescherzt mit mir, She said: before you trifled with me,
Verspracht ihr mich zu frei’n. You promised to marry me.
Ich bräch’s auch nicht, bei’m Sonnenlicht! I’d not, by sunlight! have broken my word,
Wär’st du nicht kommen herein. If you had not come in.
Lied der Ophelia No 3: Sie trugen ihn auf der They carried him naked on the bier
Bahre bloss, Op 67 No 3
Sie trugen ihn auf der Bahre bloss, They carried him naked on the bier,
Leider ach leider den Liebsten! Alas, alas, the dear one!
Manche Träne fiel in des Grabes Schoss: Many a tear dropped in the grave –
Fahr’ wohl, meine Taube! Farewell, farewell, my dove!
Mein junger frischer Hansel ist’s der mir gefällt, My young fresh Johnnie it is I love –
Und kommt er nimmermehr? And will he come never more?
Er ist tot, o weh! He is dead, ah woe!
In dein Todbett geh, To your deathbed go,
Er kommt dir nimmermehr. He will come to you never more.
Sein Bart war weiss wie Schnee, His beard was white as snow,
Sein Haupt wie Flachs dazu: His head was like flax.
Er ist hin, er ist hin, He is gone, he is gone,
Kein Trauern bringt Gewinn: Nothing comes of mourning:
Mit seiner Seele Ruh! May his soul rest in peace
Und mit allen Christenseelen! darum bet’ ich! – With all Christian souls! That is my prayer!
Gott sei mit euch. God be with you!
Karl Joseph Simrock (1802–76)
from Shakespeare’s ‘Hamlet’ IV: 5
15Das Rosenband, Op 36 No 1 The Rose Garland
Im Frühlingsschatten fand ich sie; I found her in the spring shade,
Da band ich Sie mit Rosenbändern: And bound her fast with a rose garland:
Sie fühlt’ es nicht und schlummerte. Oblivious, she slumbered on.
Ich sah sie an; mein Leben hing I gazed on her; with that gaze
Mit diesem Blick an ihrem Leben: My life became entwined with hers:
Ich fühlt’ es wohl, und wusst’ es nicht. This I sensed, yet did not know.
Doch lispelt’ ich ihr sprachlos zu, I murmured wordlessly to her
Und rauschte mit den Rosenbändern: And rustled the garland of roses:
Da wachte sie vom Schlummer auf. Then she woke from slumber.
Sie sah mich an; ihr Leben hing She gazed on me; with that gaze
Mit diesem Blick’ an meinem Leben, Her life became entwined with mine,
Und um uns ward Elysium. And Paradise bloomed about us.
Friedrich Gottlieb Klopstock (1724–1803)
Wiegenlied, Op 41 No 1 Cradle Song
Träume, träume, du mein süsses Leben, Dream, dream, my sweet, my life,
Von dem Himmel, der die Blumen bringt. of heaven that brings the flowers;
Blüten schimmern da, die beben blossoms shimmer there, they live
Von dem Lied, das deine Mutter singt. from the song your mother sings.
Träume, träume, Knospe meiner Sorgen, Dream, dream, bud born of my anxiety,
Von dem Tage, da die Blume spross; of the day the flower unfolded;
Von dem hellen Blütenmorgen, of that morning bright with blossom,
Da dein Seelchen sich der Welt erschloss. when your soul opened to the world.
Träume, träume, Blüte meiner Liebe, Dream, dream, blossom of my love,
Von der stillen, von der heilgen Nacht, of the silent, of the sacred night,
Da die Blume seiner Liebe when the flower of his love
Diese Welt zum Himmel mir gemacht. made this world my heaven.
Richard Dehmel (1863–1920)
Cäcilie, Op 27 No 2 Cecily
Wenn fu es wüsstest, If you knew
Was träumen heisst What it is to dream
Von brennenden Küssen, Of burning kisses,
Vom Wandern und Ruhen Of walking and resting
Mit der Geliebten, With one’s love,
Aug’ in Auge Gazing at each other
Und kosend und plaudernd – And caressing and talking –
Wenn du es wüsstest, If you knew,
Du neigtest dein Herz. Your heart would turn to me.
Wenn du es wüsstest, If you knew
Was bangen heisst What it is to worry
In einsamen Nächten, On lonely nights,
Umschauert vom Sturm, In the frightening storm,
Da niemand tröstet With no soft voice
Milden Mundes To comfort
16Texts
Die kampfmüde Seele – The struggle-weary soul –
Wenn du es wüsstest, If you knew,
Du kämest zu mir. You would come to me.
Wenn du es wüsstest, If you knew
Was leben heisst What it is to live
Umhaucht von der Gottheit Enveloped in God’s
Weltschaffendem Atem, World-creating breath,
Zu schweben empor To soar upwards,
Lichtgetragen Borne on light
Zu seligen Höh’n – To blessed heights –
Wenn du es wüsstest, If you knew,
Du lebtest mit mir. You would live with me.
Heinrich Hart (1855–1906) Translations © Richard Stokes; reproduced with kind
permission from Hyperion Records
17About the performers
have included new productions of Rigoletto,
The Barber of Seville (Rosina), Le comte Ory
(Adèle) and Les pêcheurs des perles (Leïla).
Diana Damrau has twice participated in the
annual inaugural performance at La Scala,
Milan: in 2004 in the title-role of Salieri’s Europa
riconosciuta at the house’s reopening and in 2013
as Violetta in a new production of La traviata
to commemorate Verdi’s 200th anniversary.
Jiyang Chen
She has also performed contemporary works
Diana Damrau for the opera stage in roles written especially
for her, most notably in the title-role of Iain Bell’s
Diana Damrau soprano operatic adaptation of Hogarth’s A Harlot’s
Progress (Theater an der Wien, 2013) and as
Soprano Diana Damrau has been performing Drunken Woman/Gym Instructress in Lorin
on the world’s leading opera and concert stages Maazel’s 1984 (Royal Opera House, 2005).
for two decades. Her vast repertoire spans both
lyric soprano and coloratura roles including the Diana Damrau has established herself as one
title-roles in Lucia di Lammermoor (La Scala, of today’s most sought-after interpreters of
Bavarian State Opera, Metropolitan Opera, song, regularly performing at leading venues
Royal Opera House), Manon (Vienna State worldwide. She enjoys a close artistic partnership
Opera, Metropolitan Opera) and La traviata (La with pianist Helmut Deutsch and frequently
Scala, Metropolitan Opera, Royal Opera House, performs in recital with harpist Xavier de Maistre.
Opéra de Paris and Bavarian State Opera), The latter collaboration can be heard in the CD
as well as Queen of the Night in The Magic release Nuit d’étoiles and a DVD capturing their
Flute (Metropolitan Opera, Salzburg Festival, performance at the Festspielhaus Baden-Baden.
Vienna State Opera, Royal Opera House).
She has an exclusive recording contract
Invested as Kammersängerin of the Bavarian with Warner/Erato and her award-winning
State Opera (2007) and holder of the Bavarian discography includes Mozart and Salieri
Maximilian Order for Science and Art (2010), arias and songs by Liszt and Richard Strauss.
Diana Damrau has forged close links with the Her most recent disc, Grand Opera, is
Bavarian State Opera in Munich, where she dedicated to the music of Meyerbeer.
has been seen in new productions of Lucia
di Lammermoor, Les contes d’Hoffmann (the Highlights last season included a return to
four heroines), Ariadne auf Naxos (Zerbinetta), the Bavarian State Opera for the title-role in
Die schweigsame Frau (Aminta), The Magic Lucia di Lammermoor and as Violetta; her
Flute (Queen of the Night) and Rigoletto role debut in the title-role of Maria Stuarda at
(Gilda). Other high-profile appearances the Zurich Opera House, which she reprised
have included La traviata (Violetta) and Die at the Deutsche Oper Berlin, where she also
Entführung aus dem Serail (Constanze). made her role debut as Marguérite (Faust); and
Meyerbeer’s Les Huguenots at the Opéra de
The Metropolitan Opera is a house in which Paris. She also performed Wolf’s Italienisches
the soprano has performed her signature roles, Liederbuch on tour with Jonas Kaufmann
been broadcast in HD to cinemas globally and Helmut Deutsch at major European
and made seven role debuts since her own venues, including here at the Barbican.
debut there as Zerbinetta in 2005. Highlights
18About the performers
In September 2017 she opened the concert concentrated primarily on accompanying in
season of the Royal Concertgebouw Orchestra, song recitals. At the beginning of his career he
Amsterdam. At the reopening gala of the worked with the soprano Irmgard Seefried, but
Berlin State Opera she sang in Beethoven’s the most important singer of his early years was
Ninth Symphony under Daniel Barenboim. Hermann Prey, whom he accompanied as a
permanent partner for 12 years. Subsequently he
Recent and forthcoming highlights include has worked with many of the leading recitalists
the role of Violetta at the Metropolitan and played in the world’s major music centres.
Opera in December 2018, Marguérite His collaborations with Jonas Kaufmann, Diana
at the Royal Opera House in April and a Damrau and Michael Volle are currently among
residency here at the Barbican Centre. his most important.
www.diana-damrau.com Helmut Deutsch has recorded more than 100 CDs.
instagram.com/diana.damrau In recent years the development of young talent
facebook.com/DianaDamrau has been especially close to his heart. After his
twitter.com/DianaDamrau professorship in Vienna he continued his teaching,
principally in Munich at the Hochschule für Musik
Concerts, Tours & Media Diana Damrau: und Theater, where he worked as a professor of
CCM Classic Concerts Management song interpretation for 28 years.
www.ccm-international.de
Diana Damrau records exclusively He is also a visiting professor at various other
for Erato/Warner Classics universities and is sought-after for an increasing
number of masterclasses in Europe and the
Far East. The young Swiss tenor Mauro Peter
was one of his last students in Munich and has
become one of his favourite recital partners.
Shirley Suarez
Helmut Deutsch
Helmut Deutsch piano
Helmut Deutsch ranks among the finest, most
successful and most in-demand song recital
accompanists in the world. He was born in
Vienna, where he studied at the Conservatory,
the Music Academy and the University. He was
awarded the Composition Prize of Vienna in 1965
and appointed professor at the age of 24.
Although he has performed with leading
19
instrumentalists as a chamber musician, he hasDiana Damrau
sings Strauss
Diana Damrau © Jiyang Chen
Wed 16 Jan 2019 Sun 31 Mar 2019
Diana Damrau in recital Diana Damrau and
the London Symphony
Sat 26 Jan 2019 Orchestra
Diana Damrau sings
Strauss’s Four Last Songs
20
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