Johannes Brahms Songs of Loss and Betrayal Simon Wallfisch baritone Edward Rushton piano - Resonus Classics
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Johannes Brahms Songs of Loss and Betrayal Simon Wallfisch baritone Edward Rushton piano
Johannes Brahms (1833–1897)
Songs of Loss and Betrayal
Lieder und Gesänge von G F Daumer, Op. 57 Lieder und Gesänge, Op. 32
Simon Wallfisch baritone 1. Von waldbekränzter Höhe [2:14] 19. Wie ra ich mich auf in der Nacht [3:44]
Edward Rushton piano 2. Wenn du nur zuweilen lächelst [1:31] 20. Nicht mehr zu dir zu gehen [2:57]
3. Es träumte mir [2:48] 21. Ich schleich umher betrübt und stumm [1:29]
4. Ach, wende diesen Blick [1:49] 22. Der Strom, der neben mir verrauschte [1:15]
5. In meiner Nächte Sehnen [1:27] 23. Wehe, so willst du mich wieder [1:42]
6. Strahlt zuweilen auch ein mildes Licht [1:30] 24. Du sprichst, daß ich mich täuschte [2:38]
7. Die Schnur, die Perl an Perle [2:30] 25. Bi eres zu sagen denkst du [1:44]
8. Unbewegte laue Lu [3:46] 26. So stehn wir, ich und meine Weide [1:47]
27. Wie bist du, meine Königin [3:03]
Fünf Lieder, Op. 105
9. Wie Melodien zieht es mir [2:02]
10. Immer leiser wird mein Schlummer [3:15] Total playing me [62:03]
11. Klage [2:09]
12. Auf dem Kirchhofe [2:32]
13. Verrat [3:33]
Fünf Lieder, Op. 94
14. Mit vierzig Jahren [2:57]
15. Steig auf, geliebter Scha en [2:14]
16. Mein Herz ist schwer [2:19]
17. Sapphische Ode [2:14]
18. Kein Haus, keine Heimat [0:40]
About Simon Wallfisch and Edward Rushton:
‘Wallfisch has a consistently fine way with words [...] his ceaseless
shi s in tone create characterisa ons of quite excep onal vividness’
Gramophone
‘Rushton matches his [Simon Wallfisch] verbal dexterity
with colourful, insigh ul playing’
Gramophone
Johannes Brahms: Songs of Loss and Betrayal to ‘make sure that together with your melody
you compose a strong independent bass.’ This
Brahms composed songs throughout his career, difference in approach is reflected in Brahms’s
from the Sechs Gesänge Op. 3 in 1852–3 choice of poetry. For some of the Op. 32 songs
(before his twen eth birthday) to the Vier and all of Op. 57, he chose poems by Georg
ernste Gesänge Op. 121 in 1896, the last work Friedrich Daumer (1800–1875) whose verses
to appear during his life me. The songs on he also used for the Liebeslieder Waltzes and
this recording date from 1864 (Lieder und a number of other songs. By no stretch of the
Gesänge, Op. 32), 1871 (Lieder und Gesänge, imagina on can Daumer be considered a
Op. 57), 1883–4 (Fünf Lieder, Op. 94) and great poet, but his texts were ideal for
1886–8 (Fünf Lieder, Op. 105). To put these Brahms’s purposes, chosen as channels for
in context, Brahms’s instrumental works his own feelings or for evoking a personal
from broadly the same period as these song memory. As Sams wrote, Brahms chose texts
sets include the Piano Quintet (1862–4), the ‘less for their intrinsic merit than for relevance
Piano Quartet in C minor (1873 and earlier), to a given topic or mood. Other composers
the Third Symphony (1883) and the A major set the words; Brahms uses them to set the
Violin Sonata (1886). The links between tone, or the scene, of his own experience.’
Brahms’s vocal and instrumental works are
strong. As Eric Sams put it, Brahms was For Brahms poems were usually a s mulus for
‘above all a musician, seeking an outlet his own composing imagina on rather than as
through poetry for his own feeling. His texts to be explored through music. This is
songs are always ready to turn into well exemplified in ‘Wie bist du, meine Königin’,
instrumental music; it is no mere chance the song that ends the Op. 32 set. The short
that so many of them are echoed in his piano introduc on (marked molto espressivo
violin sonatas, nor that they contain so e dolce) presents the musical material that is
much long-flighted melody and contrapuntal to dominate much of the song: rising
device. This Brahms inhabits that hinterland arpeggios in the le hand, and a pair of falling,
of the Lied where song borders on absolute intertwined melodies in the right hand. These
music.’ This is a crucial point: while his ideas run through the whole song, giving it
contemporary (and savage cri c) Hugo Wolf an eloquence and pathos that is not necessarily
was seeking to create songs that derived their inherent in Daumer’s poem. Though not
every musical detail from aspects of the conceived as a cycle, the Op. 32 songs are a
poems he set, Brahms viewed the process set with shared preoccupa ons – lost love,
from a more straigh orward – and wandering, darkness and light – ending with
more specifically musical – point of view: a magical contempla on of the beloved.
his advice to aspiring song composers was Musically, they are quite concise, each song
based on one or two mo fs. It is impossible to the ero c imagery of Daumer’s texts. The music same, he set another Rückert poem as the and powerful, grimly drama c at the close. It
do anything more than guess at Brahms’s itself is more tender, and much more personal, first of his songs with viola and piano, could hardly be more different from the first
mo va on in wri ng this group of songs, but especially as there is a musical link to Clara. Op. 91). When the baritone Julius Stockhausen of the group, ‘Wie Melodien zieht es’, a poem
two factors in his personal life at the me may Schumann himself developed a musical cypher first sang through ‘Mit vierzig Jahren’ with (by Klaus Groth) that muses on the ways in
have come into play. First, at a Christmas party for Clara, the notes C–B–A–G sharp–A Brahms at the piano, he was apparently which crea ve ideas occur. Brahms opens his
in 1863, he was about to propose marriage to (i.e. C–[L]–A–[R]–A, which could also be was moved to tears. The most celebrated song with an arching phrase that is a near
the singer O lie Hauer (later O lie Ebner), transposed into any other key, in the minor or song in the set is the ‘Sapphic Ode’, based quota on from the A major Violin Sonata,
but discovered at the last moment that she the major). Brahms – no slouch when it came to on a poem by the li le-known Hans Schmidt wri en at the same me. Here, as in earlier
had become engaged that very morning inven ng cyphers of his own (notably his (1856–1923), who was a composer as well song sets, Brahms’s vocal and instrumental
(they remained good friends). But there A–G–A–H–E theme for Agathe von Siebold) – as a poet. The tle refers not to Sappho’s composi ons seem to fuse into one, his gi
was another lifelong refrain in Brahms’s was well aware of this ‘Clara’ theme. In the lesbianism but to one of the metres she as a melodist at its most radiant.
correspondence: his devo on to, and Op. 57 songs, mo fs derived from it are used in her poems. Brahms’s se ng is a
unrequited love for, Clara Schumann. On threaded through the set. Most tellingly of wonderful combina on of tender love song © 2020 Nigel Simeone
13 October 1864 – a month a er finishing all, as Sams revealed, the ‘Clara’ theme occurs and poignant remembrance of things past,
the Op. 32 songs – he wrote to Clara from in the Op. 57 songs at crucial points: ‘As a lyrical outpouring similar in mood to the
Vienna in characteris cally adoring terms: Brahms told Clara, certain music made her slow movement of the Violin Concerto, the
‘My dearest Clara ... my heart was so full of physically present to him. He meant, I suggest, main theme of which begins with the same
love and joy that all the clouds vanished, the theme which occurs in the Op. 57 songs three notes.
which for so long had hidden from it what whenever that physical presence is evoked.
is most worthy of love, and the heart just If so, they speak for themselves ... with a Three of the songs that make up Op. 105
has to say a word at once!’ There’s no way of profound power and pathos.’ Two examples were composed in the summer of 1886, an
knowing whether he had Clara specifically underline this point: in No. 6 (‘Strahlt zuweilen extraordinarily produc ve stay in the idyllic
in mind when he wrote the Op. 32 songs, auch ein mildes Licht’) at the words ‘auf mich surrounding of Thun in Switzerland (at the
but it wouldn’t be far-fetched to think that hin aus diesem Angesicht’ (‘On me from your other end of the Thunersee from Interlaken).
he might have done. countenance’), and on the final line of No. 7, In a ma er of weeks, Brahms composed
‘An eine solche Brust’ (‘On such a breast’), the F major Cello Sonata (Op. 99), the A
The Op. 57 songs are all on texts by Daumer. Brahms’s melody is derived from the ‘Clara’ major Violin Sonata (Op. 100), the Piano
They were composed by Autumn 1871, but theme. It’s hard to imagine this being a Trio in C minor (Op. 101) and the songs
some or all of them may date from as early coincidence. Op. 105 Nos. 1, 2 and 5. The other two
as the summer of 1868. The Daumer poems songs were probably wri en in 1888, the
provided an ideal vehicle for crea ng music For the Five Songs Op. 94, composed in 1883–4, year in which the set was published. As
that embodied his feelings for an unnamed Brahms drew on five different poets. The with Op. 94, Brahms set five different
beloved. In this case we can be more confident best-known of them is certainly Friedrich poets. Perhaps the most unusual song
in claiming that it was Clara Schumann. The Rückert’s ‘Mit vierzig Jahren’. Brahms wrote it in the set is the last: ‘Verrat’, on a poem by
poems are o en quite sexually explicit, and a er Rückert’s daughter asked why he had never Karl Lemcke (1831–1913). Brahms sets this Johannes Brahms c. 1875
some prudish cri cs at the me objected to set any of her father’s poetry (at about the bloodthirsty ballad with music that is dark by Fritz Luckhardt (1843–1894)Texts and Transla ons 4. Ach, wende diesen Blick, wende dies Angesicht! 4. Oh turn away your gaze, turn away your face!
Das Inn’re mir mit ewig neuer Glut, Do not fill my innermost being with ever new passion,
Lieder und Gesänge von G. F. Daumer, Op. 57 Mit ewig neuem Harm erfülle nicht! with ever new agony!
1. Von waldbekränzter Höhe 1. From up on the wooded heights Wenn einmal die gequälte Seele ruht, Even if one day my tormented soul finds rest,
Werf’ ich den heißen Blick I cast my hot eyes back down, Und mit so fieberischer Wilde nicht and my hot blood no longer rolls in my veins
Der liebefeuchten Sehe my gaze moistened with love, In meinen Adern rollt das heiße Blut – with this feverish wildness –
Zur Flur, die dich umgrünt, zurück. to the green pastures which surround you.
Ein Strahl, ein flüch ger, von deinem Licht, a transient beam of your light
Ich senk’ ihn auf die Quelle – It se les on the rising stream - Er wecket auf des Wehs gesamte Wut, will awaken my wound’s furious anger,
Vermöcht’ ich, ach, mit ihr If only I could flow with it, Das schlangengleich mich in das Herze s cht. that s ngs my heart like a snake.
Zu fließen eine Welle, just for a li le wave,
Zurück, o Freund, zu dir, zu dir! back to you, my friend, to you!
5. In meiner Nächte Sehnen, 5. In the yearnings of my nights,
Ich richt’ ihn auf die Züge I turn it to the flight So ef allein, deeply alone,
Der Wolken über mir – of clouds above my head - Mit tausend, tausend Tränen, with a thousand, thousand tears,
Ach, flög’ ich ihre Flüge, If only I could fly with their flying, Gedenk’ ich dein. I think of you.
Zurück, o Freund, zu dir, zu dir! back to you, my friend, to you!
Ach, wer dein Antlitz schaute, Oh, whoever saw your face,
Wie wollt’ ich dich umstricken, How then I would entangle you, Wem dein Gemüt whoever received
Mein Heil und meine Pein, my salva on, my agony, Die schöne Glut vertraute, that fine glow that burns
Mit Lippen und mit Blicken, with my lips, my eyes, Die es durchglüht, through your spirit,
Mit Busen, Herz und Seele dein! my breast, my heart, my soul – I am yours!
Wem deine Küsse brannten, whomever your kisses scalded,
Wem je vor Lust whoever lost all his senses
2. Wenn du nur zuweilen lächelst, 2. If you only would smile once in a while, All seine Sinne schwanden in ecstasy at your breast –
Nur zuweilen Kühle fächelst just now and again fan a cool breeze An deiner Brust –
Dieser ungemeßnen Glut – onto my immeasurable heat –
In Geduld will ich mich fassen then, I would pa ently control myself Wie rasteten in Frieden that man’s body and soul
Und dich alles treiben lassen, and let you do everything Ihm Seel’ und Leib, will only rest in peace
Was der Liebe wehe tut. that makes love hurt. Wenn er von dir geschieden, when he is separated from you,
Du gö lich Weib! you god-like woman!
3. Es träumte mir, 3. I dreamt that
Ich sei dir teuer; you loved me; 6. Strahlt zuweilen auch ein mildes Licht 6. Even though once in a while a mild light
Doch zu erwachen but I hardly needed Auf mich hin aus diesem Angesicht – shines from your face on me,
Bedur ’ ich kaum. to wake. Ach, es können auch wohl Huldgebärden or worse, it might be gestures of favour,
Denn schon im Traume For s ll dreaming, Machen, daß uns fast das Herze bricht. but it makes our heart all but break.
Bereits empfand ich, I already felt Was die Liebe sucht, um froh zu werden, The thing that love strives for, in order to become happy,
Es sei ein Traum. it was a dream. Das verraten diese Blicke nicht. will not be revealed by these glances.7. Die Schnur, die Perl’ an Perle 7. The necklace, strung pearl upon pearl Doch kommt das Wort und faßt es But words come along
Um deinen Hals gereihte, about your neck, Und führt es vor das Aug’, and put it before my eyes,
Wie wiegt sie sich so fröhlich swings merrily Wie Nebelgrau erblaßt es and it pales away like grey mist
Auf deiner schönen Brust! on your beau ful breast! Und schwindet wie ein Hauch. and disappears like a breath.
Mit Seel’ und Sinn begabet, It is granted soul and sense,
Mit Seligkeit berauschet it is intoxicated with bliss, Und dennoch ruht im Reime And yet: in the rhyme
Sie, diese Gö erlust. through divine pleasure. Verborgen wohl ein Du , a scent lies hidden,
Den mild aus s llem Keime which a damp eye
Was müssen wir erst fühlen, Imagine then what we would feel, Ein feuchtes Auge ru . conjures up out of a s ll seed.
In welchen Herzen schlagen, we, within whom
So heiße Menschenherzen, hot human hearts beat, Klaus Groth
Wofern es uns gesta et, if we were permi ed
Uns traulich anzuschmiegen to nestle in mately against
An eine solche Brust? such a breast? 10. Immer leiser wird mein Schlummer, 10. My slumber becomes ever quieter,
Nur wie Schleier liegt mein Kummer only my sorrow lies, like a veil,
Zi ernd über mir. quivering over me.
8. Unbewegte laue Lu , 8. Unmoving, cool air, O im Traume hör’ ich dich In my dreams I o en hear you
Tiefe Ruhe der Natur; nature’s deep peace; Rufen drauß vor meiner Tür: calling outside my door;
Durch die s lle Gartennacht through the garden's s ll night Niemand wacht und öffnet dir, No one is awake to let you in,
Plätschert die Fontäne nur. only the fountain burbles. Ich erwach’ und weine bi erlich. and I wake up and cry bi erly.
Aber im Gemüte schwillt But in my spirit
Heißere Begierde mir, ho er longings are s rring, Ja, ich werde sterben müssen, Yes, I must die,
Aber in der Ader quillt in my veins life is burgeoning Eine Andre wirst du küssen, you will kiss another
Leben und verlangt nach Leben. and clamouring for life! Wenn ich bleich und kalt. when I am white and cold.
Sollten nicht auch deine Brust Should not your breast also Eh’ die Maienlü e wehen, Before the may-breezes blow,
Sehnlichere Wünsche heben? hold more ardent desires? Eh’ die Drossel singt im Wald: before the thrush sings in the woods:
Sollte meiner Seele Ruf Should not the call of my soul Willst du mich noch einmal sehn, would you see me one more me,
Nicht die deine ef durchbeben? deeply, tremblingly, penetrate into yours? Komm, o komme bald! come, o come soon!
Leise mit dem Ätherfuß Quietly, on feet of ether,
Säume nicht, daherzuschweben! don’t delay, come and float here! Hermann Lingg
Komm, o komm, damit wir uns Come, o come, that we might fulfil
Himmlische Genüge geben! each other with heavenly pleasures!
11. Klage 11. Complaint
G. F. Daumer Feins Liebchen, trau du nicht, Sweet dearest, don’t believe
Daß er dein Herz nicht bricht! he won’t break your heart!
Schön Worte will er geben, He will tell you fine words,
Fünf Lieder, Op. 105 Es kostet dein jung Leben, it’ll cost you your young life,
Glaubs sicherlich, glaubs sicherlich! believe me for sure.
9. Wie Melodien zieht es 9. Like melodies it quietly passes
Mir leise durch den Sinn, through my mind, Ich werde nimmer froh, I will never be happy,
Wie Frühlingsblumen blüht es, like the blossoming of spring flowers, Denn mir ging es also: for that’s what happened to me:
Und schwebt wie Du dahin. and perfumed breezes. Die Blä er vom Baum gefallen the leaves fallen off the trees,Mit den schönen Worten allen, with all the fine words, Laß ab vom Druck und Kuß, Feinslieb, You can stop your hugging and kissing, sweet love,
Ist Winterzeit, ist Winterzeit! it’s winter me, winter me! Du Schöner im Sammetkleide, and you, fancy man all in velvet!
Nun spute dich, du feiner Dieb, Hurry away, wily thief,
Es ist jetzt Winterzeit, Now it’s winter me, Ein Mann harrt auf der Heide. there’s a man wai ng for you on the heath.
Die Vögelein sind weit, the li le birds who sang
Die mir im Lenz gesungen, in spring are long gone. Der Mond scheint hell, der Rasen grün The moon shines bright, and the green grass
Mein Herz ist mir gesprungen My heart has sha ered Ist gut zu unserm Begegnen, is perfect for our mee ng.
Vor Liebesleid, vor Liebesleid. with love’s pain, love’s pain. Du trägst ein Schwert und nickst so kühn, You carry a sword and nod so keenly,
Dein’ Liebscha will ich segnen! – I'll bless your loving! –
Anonymous
Und als erschien der lichte Tag, And as the light of day appeared,
Was fand er auf der Heide? what did it find on the heath?
12. Auf dem Kirchhofe 12. In a churchyard Ein Toter in dem Blumen lag A dead man lying in the flowers,
Der Tag ging regenschwer und sturmbewegt, The day passed, heavy with rain and blown by storms. Zu einer Falschen Leide. much to the sorrow of a false woman.
Ich war an manch vergeßnem Grab gewesen, I had been by many a forgo en grave:
Verwi ert Stein und Kreuz, die Kränze alt, the headstones and crosses were weathered, the wreaths old, Karl Lemcke
Die Namen überwachsen, kaum zu lesen. the names overgrown, hardly legible.
Der Tag ging sturmbewegt und regenschwer, The day passed, blown by storms and heavy with rain. Fünf Lieder, Op. 94
Auf allen Gräbern fror das Wort: Gewesen. On all the graves one word froze: was.
Wie sturmestot die Särge schlummerten, The coffins were slumbering, dead by storm, 14. Mit vierzig Jahren ist der Berg ers egen, 14. At forty the mountain is climbed,
Auf allen Gräbern taute s ll: Genesen. and on all the graves silently thawed: cured. Wir stehen s ll und schaun zurück; we stand s ll and look back;
Dort sehen wir der Kindheit s lles liegen over there we see the peaceful happiness of childhood
Detlev von Liliencron Und dort der Jugend lautes Glück. and there, the loud joy of youth.
Noch einmal schau’, und dann gekrä igt weiter One more look, and then, strengthened,
13. Verrat 13. Betrayal Erhebe deinen Wanderstab! ever onwards li ing up your walking-staff!
Ich stand in einer lauen Nacht One cool night Hindehnt ein Bergesrücken sich ein breiter A broad mountain ridge stretches away
An einer grünen Linde, I stood by a green linden tree. Und hier nicht, drüben gehts hinab. and the way down is here, not there.
Der Mond schien hell, der Wind ging sacht, The moon was bright, the wind blew so ,
Der Gießbach floß geschwinde. the rapids in the gully flowed speedily by. Nicht athmend aufwärts brauchst du mehr zu steigen, No more must you climb with heavy breath:
Die Ebene zieht von selbst dich fort; the plains draw you forward effortlessly;
Die Linde stand vor Liebchens Haus, The tree stood in front of my beloved’s house; Dann wird sie sich mit dir unmerklich neigen, without you no cing they will lead you down
Die Türe hört’ ich knarren. I heard the door creak: Und eh du’s denkst, bist du im Port. and before you know, you’ll have come in to port.
Mein Schatz ließ sacht ein Mannsbild raus: my love so ly let out a manly figure:
»Laß morgen mich nicht harren; “Don’t keep me wai ng tomorrow; Friedrich Rückert
Laß mich nicht harren, süßer Mann, don’t keep me wai ng, sweet man,
Wie hab’ ich dich so gerne! I love you so!
Ans Fenster klopfe leise an, Tap quietly on my window,
Mein Schatz ist in der Ferne!« my sweetheart is far away!”15. Steig auf, geliebter Scha en, 15. Rise up, beloved shade, 17. Sapphische Ode 17. Sapphic ode
Vor mir in toter Nacht, before me this dead night, Rosen brach ich nachts mir am dunklen Hage; I plucked roses at night from the dark bushes;
Und lab mich Todesma en and refresh me, who am dead red, Süßer hauchten Du sie als je am Tage; their scent was sweeter than ever it was by day;
Mit deiner Nähe Macht! with the power of your nearness! Doch verstreuten reich die bewegten Äste yet the branches I had moved shed
Tau, der mich näßte. dew, which we ed me.
Du hast’s gekonnt im Leben, You were good at it when alive,
Du kannst es auch im Tod. you can do it too in death. Auch der Küsse Du mich wie nie berückte, So too the scent of your kisses entranced me as never before
Sich nicht dem Schmerz ergeben, Not to give in to pain, Die ich nachts vom Strauch deiner Lippen pflückte: at night, when I plucked them from your lips:
War immer dein Gebot. that was always your commandment. Doch auch dir, bewegt im Gemüt gleich jenen, yet, like the branches, your tears were moved to fall
Tauten die Tränen. as dew from your spirit.
So komm, s ll meine Tränen, So come and silence my tears,
Gib meiner Seele Schwung, let my soul surge, Hans Schmidt
Und Kra den welken Sehnen, give strength to my withered sinews,
Und mach mich wieder jung. and make me young again.
18. Kein Haus, keine Heimat, 18. No house, no home,
Friedrich Halm Kein Weib und kein Kind, no woman, no child,
So wirbl’ ich, ein Strohhalm, so I whirl, like a straw,
In We er und Wind! through wind and weather!
16. Mein Herz ist schwer, mein Auge wacht, 16. My heart is heavy, my eye is watchful,
Der Wind fährt seufzend durch die Nacht; the wind blows, sighing, across the night; Well’ auf und Well’ nieder, Up the wave and down the wave,
Die Wipfel rauschen weit und breit, the treetops are soughing all around, Bald dort und bald hier; now here and now there;
Sie rauschen von vergangner Zeit. telling of past mes. Welt, fragst du nach mir nicht, world, if you don't ask a er me,
Was frag’ ich nach dir? why should I bother with you?
Sie rauschen von vergangner Zeit, They’re telling of past mes,
Von großen Glück und Herzeleid, of great happiness and heartbreak, Friedrich Halm
Vom Schloß und von der Jungfrau drin - of a castle and a maiden within -
Wo ist das alles, alles hin? where has all this gone?
Lieder und Gesänge von August von Platen
Wo ist das alles, alles hin, Where has all this gone, und G. F. Daumer, Op. 32
Leid, Lieb’ und Lust und Jugendsinn? suffering, love and youthfulness?
Der Wind fährt seufzend durch die Nacht, The wind blows sighing through the night, 19. Wie ra ’ ich mich auf in der Nacht, in der Nacht, 19. How I hauled myself up in the night
Mein Herz ist schwer, mein Auge wacht. my heart is heavy, my eye watchful. Und fühlte mich fürder gezogen, and felt myself drawn ever onwards,
Die Gassen verließ ich vom Wächter bewacht, I le the alleyways behind me, guarded by watchmen,
Emanuel Geibel Durchwandelte sacht and wandered gently
In der Nacht, in der Nacht, in the night, in the night,
Das Tor mit dem go schen Bogen. through the Gothic arch of the city gate.
Der Mühlbach rauschte durch felsigen Schacht, The millrace rushed through its rocky gorge.
Ich lehnte mich über die Brücke, I leant over the bridge,
Tief unter mir nahm ich der Wogen in Acht, no cing the waves far beneath me,
Die wallten so sacht, that flowed so gentlyIn der Nacht, in der Nacht, in the night, in the night, 21. Ich schleich umher, 21. I skulk around,
Doch wallte nicht eine zurücke. but not one of them flowed backwards. Betrübt und stumm, dejected and silent.
Du fragst, o frage You ask me,
Es drehte sich oben, unzählig en acht, Up above me turned about in myriad sparks Mich nicht, warum? but oh don’t ask, why?
Melodischer Wandel der Sterne, the melodious flux of stars, Das Herz erschü ert Some great anguish
Mit ihnen der Mond in beruhigter Pracht, and with them the moon in becalmed glory. So manche Pein! convulses my heart!
Sie funkelten sacht They twinkled gently Und könnt’ ich je And could it ever be
In der Nacht, in der Nacht, in the night, in the night, Zu düster sein? too dark within me?
Durch täuschend entlegene Ferne. through decep vely distant space.
Der Baum verdorrt, The tree withers,
Ich blickte hinauf in der Nacht, in der Nacht, I looked up in the night, in the night, Der Du vergeht, the scents vanish,
Und blickte hinunter aufs neue: and looked down once more: Die Blä er liegen the leaves lie
O wehe, wie hast du die Tage verbracht, Alas, how have you spent your days… So gelb im Beet, yellow in the beds,
Nun s lle du sacht now silence gently Es stürmt ein Schauer a squall storms
In der Nacht, in der Nacht, in the night, in the night, Mit Macht herein, over me with might,
Im pochenden Herzen die Reue! your thumping heart full of regret! Und könnt ich je and could it ever be
Zu düster sein? too dark within me?
August von Platen
August von Platen
20. Nicht mehr zu dir zu gehen 20. I was determined, and swore to myself
Beschloß ich und beschwor ich, I would never again go to you, 22. Der Strom, der neben mir verrauschte, wo ist er nun? 22. The river that rushed past me, where is it now?
Und gehe jeden Abend, but I go, every evening, Der Vogel, dessen Lied ich lauschte, wo ist er nun? The bird whose song I listened to, where is it now?
Denn jede Kra und jeden Halt verlor ich. since all strength and support is lost to me. Wo ist die Rose, die die Freundin am Herzen trug? Where is the rose that my beloved once wore upon her heart?
Und jener Kuß, der mich berauschte, wo ist er nun? And that kiss that intoxicated me, where is it now?
Ich möchte nicht mehr leben, I don’t want to live any more, Und jener Mensch, der ich gewesen, und den ich längst And the human I used to be, and whom I have long since
Möcht’ augenblicks verderben, I would rather perish on the spot, Mit einem andern ich vertauschte, wo ist er nun? exchanged for another me, where is it now?
Und möchte doch auch leben and want to live a er all,
Für dich, mit dir, und nimmer, nimmer sterben. for you, with you, and never, never die. August von Platen
Ach, rede, sprich ein Wort nur, Oh speak, say just one word,
Ein einziges, ein klares; a single, clear one; 23. Wehe, so willst du mich wieder, 23. Dare you, you inhibi ng fe ers,
Gib Leben oder Tod mir, grant me life or death, Hemmende Fessel, umfangen? entrap me again?
Nur dein Gefühl enthülle mir, dein wahres! but reveal to me your feeling, your true one. Auf, und hinaus in die Lu ! Up and away into the sky!
Ströme der Seele Verlangen, Rivers of my soul's desire
Georg Friedrich Daumer, a er a Czech folk-song Ström’ es in brausende Lieder, must flow in thunderous songs,
Saugend ätherischen Du ! inhaling ethereal perfume!
Strebe dem Wind nur entgegen Strive to head into the wind,
Daß er die Wange dir kühle, that it might cool your cheeks,
Grüße den Himmel mit Lust! and greet heaven with delight!
Werden sich bange Gefühle Can one feel the mo ons of fearIm Unermeßlichen regen? when face to face with the Immeasurable? Sie kränket es, wenn ich die S rn ihr She is affronted when I crown
Atme den Feind aus der Brust! Breathe the enemy out of your breast! Mit einem Diadem bekleide; her forehead with a coronet.
August von Platen Ich danke selbst, wie für ein Lächeln I even give her thanks, as though she had favoured
Der Huld, für ihre Zornbescheide. me with a smile,
when she angrily orders me around.
24. Du sprichst, daß ich mich täuschte, 24. You say I was mistaken, Georg Friedrich Daumer, a er Hafiz
Beschworst es hoch und hehr, you swear it on the highest honour,
Ich weiß ja doch, du liebtest, but I know that you loved me,
Allein du liebst nicht mehr! it's only that you don’t love me any more! 27. Wie bist du, meine Königin, 27. My queen, how blissful you are
Durch san e Güte wonnevoll! through your gentle goodness!
Dein schönes Auge brannte, Your beau ful eye burned into me, Du lächle nur, Lenzdü e wehn Only smile, and spring scents wa
Die Küsse brannten sehr, the kisses scalded me, Durch mein Gemüte, wonnevoll! through my spirit, blissfully!
Du liebtest mich, bekenn es, you loved me, admit it,
Allein du liebst nicht mehr! it’s only that you don’t love me any more! Frisch aufgeblühter Rosen Glanz, Can I compare the brilliance of roses
Vergleich ich ihn dem deinigen? in fresh bloom to yours?
Ich zähle nicht auf neue, I’m not coun ng on your renewed Ach, über alles, was da blüht, Ah, your blossoms bloom
Getreue Wiederkehr; and faithful return; Ist deine Blüte wonnevoll! far be er than anything else, blissfully!
Gesteh nur, daß du liebtest, just confess that you loved me,
Und liebe mich nicht mehr! and love me no more! Durch tote Wüsten wandle hin, When you walk through dead deserts,
Und grüne Scha en breiten sich, green shade spreads out,
August von Platen Ob fürchterliche Schwüle dort however terribly and endlessly
Ohn Ende brüte, wonnevoll! the heat may sear, blissfully!
25. Bi eres zu sagen denkst du; 25. You imagine you are saying bi er things; Laß mich vergehn in deinem Arm! Let me dissolve in your arms!
Aber nun und nimmer kränkst du, but you can never ever hurt me, Es ist ihm ja selbst der Tod, There, however the most acute
Ob du noch so böse bist. however mean you are. Ob auch die herbste Todesqual and deadly torments ravage my breast,
Deine herben Redetaten Your harsh verbal deeds Die Brust durchwüte, wonnevoll! even death itself is blissful!
Scheitern an korall’ner Klippe, collapse against a coral cliff
Werden all zu reinen Gnaden, and turn into pure blessings; Georg Friedrich Daumer, a er Hafiz Transla ons © 2020 Edward Rushton
Denn sie müssen, um zu schaden, for, in order to wreak their damage,
Schiffen über eine Lippe, they must first swim over lips
Die die Süße selber ist. that are sweetness itself.
Georg Friedrich Daumer, a er Hafiz
26. So stehn wir, ich und meine Weide, 26. Sadly, that’s how things are
So leider miteinander beide. between us, me and the apple of my eye.
Nie kann ich ihr was tun zu Liebe, I can’t do anything that pleases her,
Nie kann sie mir was tun zu Leide. she can’t do anything that hurts me.Simon Wallfisch (baritone) Musik 2006–2007) and Leipzig (at the Edward Rushton (piano) His love for Lieder and song led him in 2015
Hochschule für Musik und Theater Felix to found, together with a group of like-minded
Making his Royal Opera House debut in 2020, Mendelssohn-Bartholdy 2007–2009), studying Edward Rushton studied piano (with singers and pianists, the company ‘Besuch der
and in interna onal demand as a concert and with Dr Favaro-Reuter, and in the Liedklasse Renna Kellaway) and composi on at Lieder’ (‘The Company of Song’) in order to
opera singer, Simon Wallfisch is amassing a of Wolfram Rieger. Subsequently he was engaged Chetham’s School of Music in Manchester, further the performance of Lieder in private
steady output of recordings, including Songs at the Interna onal Opera Studio of the Zurich before going on to read Music at King’s spaces in Switzerland.
by Geoffrey Bush (Lyrita, 2015), Songs by Opera House (2009–2011). College, Cambridge. A er gradua on in
Caplet, Honegger, Milhaud and Ravel (Nimbus, 1994 he took the MMus degree in His discography includes discs for BIS, Resonus,
2017), ‘Gesänge des Orients’ (Nimbus, 2018), In demand as a teacher, Simon has adjudicated composi on at the Royal Sco sh Academy CPO, Nimbus, Lyrita, Musiques Suisses and
Songs by Thea Musgrave (Lyrita, 2019), Songs and given workshops and classes at the Royal of Music and Drama, while being increasingly Musicaphon.
by Robin Holloway (Delphian, 2019) and Lieder College of Music in London, the Royal ac ve as an accompanist, working with
by Schumann (Resonus, 2019). He made his Conservatoire Birmingham, Musikhochschule student singers and instrumentalists. In his Edward is also in demand as a composer, with
Wigmore Hall debut in 2017, performing with Osnabrück, Ins tut für Verfemte Musik second year in Glasgow, Edward held the recent works performed and commissioned by
the Nash Ensemble live on BBC Radio 3. He Schwerin, Hochschule für Musik Rostock, post of Broadwood Junior Fellow in the Schubert Ensemble, Birmingham
has appeared several mes at the Oxford Jerusalem Music Centre, Aldeburgh Young Accompaniment. In 2001 he graduated Contemporary Music Group, Tonhalle Orchestra
Lieder Fes val, London Song Fes val and Musicians and the University of West London. with dis nc on from Irwin Gage’s Zurich, Leeds Lieder, Orchestra of the Na onal
numerous venues across Europe including masterclass in Lied interpreta on at the Theatre Mannheim, London Symphony
Berlin’s Konzerthaus and Hamburg’s Laeiszhalle. Simon began his musical career as a cellist, Zurich University of Applied Arts. He has Orchestra, Counterpoise, The Choir of Gonville
Recent opera c roles include Fieramosca studying with Leonid Gorokhov at the Royal been teaching piano accompaniment at and Caius College, Cambridge, Harry White
in Berlioz’ Benvenuto Cellini (Staatsoper College of Music, and has played with the the Musikhochschule Luzern since 2000. Trio, Gemischter Chor Zürich, Origen Fes val,
Nürnberg), Marcello in Puccini’s La Bohème English Chamber Orchestra, Royal Philharmonic University of Zurich, Zürcher Singakademie.
(Teatro Verdi Casciana Terme, Pisa), Escamillo and London Mozart players. He con nues to He has played numerous song recitals in His operas have been performed throughout
in La Tragédie de Carmen (Na onal Reis be in demand as chamber musician and o en the UK, Germany, Switzerland, France, Switzerland, Germany, the UK, and in
Opera, Holland), Pelléas in Debussy’s combines both voice and cello in concert. Belgium, Italy and Greece with such singers Philadelphia. Composing for voice and piano
Pelléas et Mélisande and Albert in Massenet’s as Juliane Banse, Renate Berger, Sybille also forms a core part of his oeuvre, and he
Werther (English Touring Opera). www.simonwallfisch.com Diethelm, Melanie Forgeron, Annina Haug, has already wri en over twenty song cycles
Jeannine Hirzel, Kathrin Ho ger, Lena and individual works in this, one of his favourite
He gained a postgraduate diploma from the Kiepenheuer, Theresa Kronthaler, Yvonne genres. He was awarded the Werkjahr s pend
Royal College of Music in 2006, studying with Naef, Robin Adams, Richard Burkhard, of the City of Zurich in 2013.
Russell Smythe. During his studies in London, Michael Mogl, René Perler, Jakob Pilgram,
he was awarded several prizes including the Lázsló Polgár, Jonathan Sells, and Simon For his achievements he was awarded the
Royal Overseas League Singer of Promise Wallfisch. He plays regularly with a variety Conrad Ferdinand Meyer Founda on’s prize
2005. of chamber music partners including Harry in 2020.
White, saxophone, Raphael Wallfisch, cello,
In 2006 Wallfisch con nued his studies in and Alison Cullen, piano. www.edwardrushton.net
Berlin (at the Hanns Eisler Hochschule fürMore titles from Resonus Classics
Johannes Brahms: Sonatas for Cello and Piano
Robin Michael (cello), Daniel Tong (piano)
RES10188
‘The playing is virtuosic but the sound world is subtly
shaded, almost restrained, and recreates the
atmosphere of an intimate recital in a tasteful
19th-century drawing room. Recommended.’
The Observer
Robert Schumann: Songs of Love and Death
Simon Wallfisch (baritone), Edward Rushton (piano)
RES10247
‘[...] softly gracious [...] Rushton plays with faithful
sensitivity.’
The Observer
© 2020 Resonus Limited
è 2020 Resonus Limited
Recorded in St John the Evangelist, Oxford (SJE Arts) on 25–27 November 2019
Producer, engineer & editor: Adam Binks
Session photography © Resonus Limited
Recorded at 24-bit/96kHz resolution
Steinway Model D piano maintained by Joseph Taylor
Cover image: Candlestick, fireplace & books by Kate Hellion (shutterstock.com)
RESONUS LIMITED – UK
info@resonusclassics.com
www.resonusclassics.comRES10258
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