Luca Pisaroni, bass-baritone and Jonathan Ware, piano - THURSDAY, OCTOBER 17, 2019 8PM
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Luca Pisaroni, bass-baritone and
Jonathan Ware, piano
THURSDAY, OCTOBER 17, 2019 • 8PM
Jackson Hall, UC Davis
Individual support provided by
Wanda Lee Graves and Steve Duscha
MONDAVI CENTER 2019 –20 | 1We should take a moment to acknowledge the land on which we are gathered.
For thousands of years, this land has been the home of Patwin people.
Today, there are three federally recognized Patwin tribes:
Cachil DeHe Band of Wintun Indians of the Colusa Indian Community,
Kletsel Dehe Wintun Nation, and Yocha Dehe Wintun Nation.
The Patwin people have remained committed to the stewardship
of this land over many centuries. It has been cherished and protected,
as elders have instructed the young through generations.
We are honored and grateful to be here today on their traditional lands.
https://diversity.ucdavis.edu
MONDAVI CENTER 2019 –20 | 2PROGRAM
Luca Pisaroni, bass-baritone
Jonathan Ware, piano
“La Partenza” Ludwig van Beethoven (1770–1827)
“In questa tomba oscura”
“Hoffnung (Dimmi ben mio)”
“Beato quei che fido”
“L’amante impaziente I”
“Canzon, s’al dolce loco” Johann Friedrich Reichardt (1752–1814)
“Erano i capei d’oro” Texts by Francesco Petrarca (1304–74)
“O poggi, o valli, o fiumi, o selve”
“Piu’ volte gia’ del bel sembiante”
“Pace non trovo”
“Or che ‘l ciel e la terra”
“Memnon” Franz Schubert (1797–1828)
“Fischerweise” D 881
“Schatzgräbers Begehr” D719
“Lied des gefangenen Jägers” D 843
“Der Schiffer”
INTERMISSION
“Schäfers Klagelied” D. 121 Schubert
“Geheimes” D761 Texts by Johann Wolfgang von Goethe (1749–1832)
“Am Flusse” 766
“Wanderers Nachtlied II”
“Erlkönig”
“Auf dem See” D. 543
“Grenzen der Menschheit”
“Ganymed” Op.19 No.3
“Wandrers Nachtlied”
“An Schwager Kronos”
“Rastlose Liebe”
“Willkommen und Abschied”
Luca Pisaroni appears by arrangement with IMG Artists
7 West 54th Street, New York, NY 10019
Tel: 212/994-3500
www.imgartists.com
The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones,
watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.
MONDAVI CENTER 2019 –20 | 3PROGRAM NOTES
LUDWIG VAN BEETHOVEN “Hoffnung (Dimmi ben mio)”
Born December 17, 1770, Bonn
This bright and affectionate song comes from a collection
Died March 26, 1827, Vienna
by Beethoven called Four Arrietas and one Duet which was
published in 1811. Three of the songs are based on texts by
“La Partenza”
Pietro Metastasio, though the author of the text for this
Beethoven’s “La Partenza” is a 1795 setting of a text which first song is still unknown. This song is rather charming,
was originally written and set as a canzonetta by Pietro with the singer calling out to his lover to reciprocate his
Metastasio—a pseudonym for Pietro Antonio Domenico love. Beethoven is a bit more intentional with his setting
Trapassi—in 1749. Beethoven, along with Franz Schubert, for this song, as he includes some ornamental figures on
often studied composition with Antonio Salieri, and the line “Cara, con un sorriso,” (“My dear, with just one
Metastasio was a frequent poet that Beethoven and smile”) indicating the satisfaction given through
Schubert set to music. Beethoven followed Metastasio’s reciprocated fondness. We find Beethoven’s compositional
lead, also fashioning his setting in the style of a canzonetta, creativity once more when the song blissfully intensifies
which was a secular vocal composition that began while the singers mentions the “paradise” that he enters
appearing in the second half of the 16th century in Italy as when he receives her love.
an amalgamation of the madrigal and the villanella—two
popular, secular vocal genres found in Italy in the 16th “Beato quei che fido amor”
century. The canzonetta’s popularity grew quickly, as they
Strangely, this song goes by several different titles, with
were fun to perform and often focused on lighter subjects.
some in German and some in Italian: “Lebensglück,” “Das
The genre was further popularized by renowned baroque
Glück der Freundschaft,” and “Vita felice,” as well as the
composers such as Luca Marenzio and Claudio Monteverdi.
title for this program, “Beato quei che fido amor.” The
These early canzonettas were composed for three to five
discussion of whether the song was originally written in
singers, but as the genre spread throughout Europe during
Italian or German are inconclusive, since the author is
the 18th century, it transformed into a light song for solo
unknown, but it has been set in both German and Italian,
voice and piano accompaniment, which is where we find
and even French. This optimistic song focuses on the
Beethoven’s setting.
positive experiences that one shares with friends and
loved-ones, saying that “shared pleasure doubles itself” and
“In questa tomba oscura”
“shared sorrow melts away.” While this initial theme takes
The origin story of Beethoven’s setting of “In questa tomba on several perspectives, either platonically or romantically,
oscura” is rather interesting, as it was written in response the end of text is exclusively romantic as the poem speaks
to a musical challenge. The Italian poet Giuseppe Carpani to the benefits of a romantic relationship and how it
invited composers living in and around Vienna to compete improves all aspects of one’s life. The joy expressed in the
for the best setting of his poem. In total, sixty-three poem is mirrored in the musical setting. Overall, the song
composers responded to Carpani’s invitation, including is light and cheerfully brisk, and ends with an exuberant
Beethoven, Antonio Salieri, Luigi Cherubini and Carl piano accompaniment, as the singer realizes the wonder he
Czerny, whose setting allegedly filled 11 folio pages. All of has received through love.
the submissions were collected in a large volume, with
Beethoven’s appearing last, and all have since been lost “L’amante impaziente I”
with the exception of Beethoven’s. This song is divided into
This song comes from Beethoven’s collection, Four Ariettas
three sections, with the third section repeating the first.
and one Duet, previously mentioned with the song
The first section opens with a slow and simple piano
“Hoffnung.” This song is derived from Pietro Metastasio’s
accompanying a solemn voice. The middle section is
libretto for the dramma per musica, Adriano in Siria. The
defined by the quickening piano accompaniment and
libretto was first performed in Vienna in 1732 and the aria
soaring vocal melody, as the text details the singer’s
“Che fa il mio bene?” from Act II scene 6 is the source for
indignation toward the woman he once loved. The song
Beethoven’s “L’amante impaziente.” Beethoven saw an
cools off into the third section, marked by a return to the
opportunity to compose two different emotional settings
calmer style of the first section. Although the song sounds
for the same text, and he indicates the difference between
rather sweet at its ending, it is juxtaposed with the singer
these two songs with the subtitle “arietta buffa” (“comic
repeating “ingrata,” indicating the sorrow and despair of
arietta”) for the first, and “arietta assai seriosa” (“very
the singer who now lays in his grave.
serious arietta”) for the second. This first version opens
with a flurry of notes from the piano, trading off with the
solo voice, followed by a lilting accompaniment that evokes
the lighthearted and comic style that Beethoven hoped to
draw out of the text. The buffa version of this song hints at
MONDAVI CENTER 2019 –20 | 4the untroubled attitude of the singer, as they are waiting for meaning of the text. This leaves the voice to express the
their lover to return to them. Although they do not know natural beauty of Petrarch’s poetry. The voice is
why their lover has yet to return, they merrily long for the reminiscent of Italian opera of the period, with soaring,
lover, carrying on casually. These feelings are heightened elongated, but controlled melodies that build on the
by the piano, which continues the vivacious and jaunty romanticism and tension found in the poetry, while the
accompaniment that is found at the beginning of the song. piano rhythmically drives the song forward, providing
harmonic underpinnings that comment on the mood and
emotion of a given verse.
JOHANN FRIEDRICH REICHARDT
Born November 25, 1752, Königsberg
June 27, 1814, Giebichenstein FRANZ SCHUBERT
Born January 31, 1797, Vienna
“Canzon, s’al dolce loco” Died November 19, 1828, Vienna
“Erano i capei d’oro”
“O poggi, o valli, o fiumi, o selve” “Memnon”
“Piu’ volte gia’ del bel sembiante”
Franz Schubert was particularly close with the Austrian
“Pace non trovo”
poet Johann Baptist Mayrhofer, who wrote the text to this
“Or che ‘l ciel e la terra”
song. Schubert set Mayrhofer’s poems 47 times and used
his librettos for two operas—Die Freunde von Salamanka
Johann Friedrich Reichardt was a classical era composer
and Adrast—but his lieder by Mayrhofer are profoundly
who is primarily known for his prolific song
beautiful. Mayrhofer’s text is based on the Greek
composition—over 1,500 songs set to over 125 poets.
mythological story of Memnon, the Ethiopian king and son
Reichardt was born into a musical family 1752 in East
of Tithonus and Eos. Memnon was a strong warrior and
Prussia. His father was a lutenist and city musician and
was sent to Troy to help defend against the Greeks. While
Reichardt began studying lute, violin and keyboard from a
in battle at Troy, Memnon was killed by Achilles, who
very early age. Later in life, Reichardt held several
sought revenge against Memnon for slaying Antilochus.
important musical positions such as the Kapellmeister for
According to the mythology, Zeus was profoundly moved
the Royal Prussian Court in Potsdam and Theater Director
by Memnon’s death and granted him immortality.
in Kassel, and was able to frequently compose music, even
Mayrhofer’s text captures the tragedy of Memnon’s fight in
while evading French troops in Paris for his outspoken
Troy, as he frames this current moment as a lament by
political opposition to Napoleon.
Memnon, and Schubert’s gorgeous setting draws upon the
monumentality of Memnon and the dramatic elements of
It is not clear when these songs were composed, as very few
his story. The hastened accompaniment in the third verse
of Reichardt’s songs exist in modern editions and a
is particularly noticeable and it marks the shifting mood
majority of attention given to the study of Reichardt’s
from optimism in death to sorrow, fear and anguish. The
music focuses on his partnership with Goethe. Francesco
final verse reclaims the serenity found at the beginning of
Petrarch, the poet that Reichardt chose for this set of songs,
the song, and closes tenderly, as we hear Memnon calling
was a fourteenth-century Italian poet who is credited in
to the goddess of dawn for his liberation.
part with the start of the Renaissance, and is particularly
known for his contributions to humanism. His sonnets are
“Fischerweise”
some of his most beloved medieval poetry and were seen as
the model of lyric poetry for medieval and renaissance Unlike a lot of lieder where the subject is romantic or a
poets, many of whom attempted to imitate his style. desirable lover, Schubert’s “Fischerweise,” with a text by
Reichardt’s choice of Petrarch is not surprising, given that Franz Schlechta, rather focuses on the sole male character
Petrarch has been set by many composers throughout and his romanticized fishing experience. Schlechta’s
history, including Cipriano de Rore, Palestrina, Monteverdi colorful text, depicting the motion of the water and the fish
and even Schoenberg. that swim through it, as well as the feelings of freedom and
delight intimated by the fisherman, is enhanced by
Very little is known about Reichardt’s settings of Petrarch, Schubert’s energetic and driving piano accompaniment.
though there are some musical features to his settings that The structure of the vocal melody also contributes to the
make these songs attractive. Reichardt’s piano musical expression, alternating between stronger, louder
accompaniment for many of these songs are simple, yet verses and lighter, softer verses, further mirroring the
somewhat characteristic of accompaniments of the period. sentiments and illustrations of the text. While we expect a
The piano is a harmonic “guide” for the song, setting the day of fishing to be calm and soft, Schubert’s setting
overall tone and mood of a song, but does not engage in too instead highlights the fisherman’s delectation on his day in
many illustrative techniques—more common with lieder of nature.
the Romantic era—that may connect it closer to the
MONDAVI CENTER 2019 –20 | 5“Schatzgräbers Begehr” danger of the poem, but rather the tenacity of the sailor
and his dominance over the forces that seek his failure. In
Schubert developed a close relationship with poet Franz
the third verse of the poem, the singer states that they
von Schober in hopes of creating a large-scale romantic
desired this struggle, saying that they much prefer a good
opera production together—a departure from the lighter
challenge over an easier task. Though Schubert’s setting
genre of singspiel that Schubert had previously composed
does not vary much through all four verses, the pace and
for. Though they achieved their goal, completing the opera
vigor of the piano accompaniment and the heroism of the
Alfonso und Estrella in the late part of 1822, no opera house
vocal melody suffice in their expression of the ideas
in Vienna, Berlin or Graz wanted to stage their final
injected in Mayrhofer’s original poem.
product. It is unknown exactly when the song and text for
“Schatzgräbers Begehr” were written, though it is
“Schäfers Klagelied”
conceivable that they were written contemporaneously
with Alfonso und Estrella, and perhaps the attitudes of the Only one song can claim to be Schubert’s first publicly
compositional process of the opera made their way into performed song. Schubert’s setting of Goethe’s “Shepherd’s
this song. The song is clearly divided into two sections, Lament,” first published in 1804, was warmly received at
marked by the noticeable shift in volume and expression. its premiere, and that can partially be attributed to
The first two verses are exceptionally fierce, supported by a Schubert’s attention to popular lieder aesthetics of the
minor key, and depict the intensity of the singer and their period. The pastoral subject of this poem combined with
desire to prove to the world their efforts searching for the the dotted rhythms found throughout are telltale
so-called “treasure” are not wasteful. In the second half, characteristics of a siciliano, which was a baroque musical
the song slackens as the singer realizes that while they may style that was popular with audiences, even into the
be digging fervently, searching for their treasure, they may nineteenth century. The first three verses differ in their
also be digging their own grave. However, the vocal melody style, with the second section defined by its repetitive,
rises to the upper register and the accompaniment shifts ascending piano triplets and the third and fourth sections
into a major key, illustrating that their inner perseverance marking the overall climax of the song. If one listens
toward a personal goal is remarkable in the face of doubters closely you will recognize the vocal melody and piano
and nay-sayers. accompaniment of the fifth section are the same as the
second, and the final section harkens all the way back to
“Lied des gefangenen Jägers” the first, making the form of this song palindromic. Beyond
the form, Schubert’s setting alternates between major and
Adam Storck’s poem, “Lied des gefangenen Jägers,” is a
minor keys effectively to mirror the melancholic expression
German adaptation of “Lay of the imprisoned Huntsman”
of the lamenting shepherd. While he is surrounded by
from Lady of the Lake (1810) by the eminent English poet
natural beauty, remarking in every verse a new, wonderful
and playwright, Sir Walter Scott. Each of the three verses
facet, he is depressed over lost love and only the sheep keep
are divided into two parts: the first four lines are the
him company at the song’s end.
lament, with the dejected hunter reviewing the sad state of
affairs that they currently face—a weary horse, a dog that
“Geheimes”
dislikes their food, and so on—while the second four lines
express the optimism and joy found in the hunter when Albeit fleeting, this gentle, little song is nothing short of
they think about the pleasures of hunting and the delightful. The vocal melody takes center stage in
gratification of bringing home a trophy. However, the last Schubert’s setting of Mayrhofer’s poem, as the piano
line in each verse returns once again to the despair and accompaniment is repetitions of the same rhythmic idea.
misery of separation from hunting. Schubert’s setting, However, it’s difficult to tell how Schubert interpreted this
published in 1819, perfectly echoes the sentiments poem, as the third verse certainly describes some
expressed by the singer, as the sprightly rhythm of the flirtatious actions by the female subject, which in context
piano accompaniment harkens to the feeling of adventure, with the first verse, reflecting on everyone’s attention
while the minor and major keys relate to the hunter’s toward “his” woman, it might appear that the action is
emotional state as he oscillates between pessimism and taking place in a brothel. The second verse would appear to
hope. confirm this suspicion, as it mentions the seductive eyes,
which appear to be personal to one man, yet every man in
“Der Schiffer” the room receives the same alluring eyes and feels
similarly. On top of that, the title, “Secret,” makes this
Mayrhofer’s “Der Schiffer,” written in 1817, is an
reading almost impossible to dismiss. Given this
inspirational poem that depicts a sailor fighting against
interpretation, Schubert’s setting is rather puzzling, as it
raging waters and violent storms. Mayrhofer’s descriptive
sounds almost harmless and innocent. Underneath the
text illustrates the power of the storm and its effect on the
surface, however, Schubert’s clever setting, with the use of
boat, as it creaks and rolls through the wind and waves.
major and minor keys to evoke false love, the seductive-
This brief, rousing setting by Schubert focuses not on the
MONDAVI CENTER 2019 –20 | 6sounding melodic ornaments, and the tension created by boy once more, only this time he threatens to forcefully
the near-constant repetition of the rhythmic motif, this take him. The boy screams out as he feels the touch of the
little song turns out to be rather complex and immensely Erlking, and the father responds instantly by riding faster.
suggestive. However, the father is too late. When they arrive back at
the farm, he finds the son dead in his arms. The emotional
“Am Flusse” quality of the piano accompaniment tracks the
development of the story: the opening is hurried and
Schubert set this particular 1799 text by Goethe twice, one
menacing and shifts to serene and beautiful when the
in 1815, and this version just seven years later in 1822. The
Erlking is luring the son. Schubert is also careful in
1815 setting of “Am Flusse” is far more mournful, which
mirroring the physical movement of this story in the piano
can be mostly attributed to its minor key, but this later
accompaniment. As the song approaches the end, the
version is in a major key, evoking a lighter and more
repeated notes slowly come to a halt, paralleling the horse’s
relaxed feeling. At only 33 measures, “Am Flusse” is very
slowing as they reach the farm. Additionally, Schubert is
short, though it is shocking to note how a simple change
rather clever with this song, as he pairs each of the four
from minor setting to major setting drastically changes
characters of the story—narrator, father, son, and
our interpretation of the same text. It is a mature
Erlking—with a certain vocal range. The narrator, heard
interpretation, whereas the then 18-year-old Schubert
right at the beginning of the song, generally falls in the
opted for a sorrowful lament. Schubert chose in this
middle range, while the father lies in the low range. The
version to focus on the relief expressed by the singer as
son and the Erlking both occupy a higher range. Though
they watch the pain and scorn float away from them and
many composers attempted to set this poem, few were as
down the river. The idiomatic phrase “water under the
successful as Schubert, who published his first edition of
bridge” relates well to Schubert’s emotional expression in
this song in 1815 when he was just a teenager.
his gorgeous second edition of “Am Flusse.”
“Auf dem See”
“Wanderers Nachtlied II”
Goethe wrote this poem in Summer 1775 when he was
If you thought “Am Flusse” was short, Schubert’s setting of
visiting his good friends in Switzerland. Musicologist
the famous Goethe poem from 1780 comes in at a mere 14
Lorraine Byrne suggests in her book Schubert’s Goethe
measures—with all the music fitting onto a single page.
Settings that the lake that is the backdrop of this song is
The story behind the original poem is perhaps the more
Lake Zurich and the female subject and love interest of the
interesting. Goethe was hiking in the mountains near
third verse is said to be Lili Schönemann, whom Goethe
Weimar and etched this poem onto the wall of the hotel he
was infatuated with in his hometown of Frankfurt.
was staying in at the top of the Kickelhahn mountain. The
Schubert’s setting for “Auf dem See” proves rather
poem alone is sublime. Goethe beautifully describes the
challenging for the singer in the first verse, as the vocal
calming at the top of the mountain, as the birds hush and
melodies are long and drawn-out, requiring a significant
the winds die down, foreshadowing the rest that is coming
breath. The accompaniment is busy, but controlled, moving
for the reader (the popular holiday song “Silent Night”
gracefully up and down the piano, adding to the serenity of
immediately comes to mind here). Schubert does no harm
the beautiful scene by the lake. The second verse marks a
with his setting and only enhances the calm scene that
change in texture, as the piano accompaniment shifts
Goethe has painted at the top of the mountain. Schubert
slightly to accommodate the change in emotion by the
keeps the piano accompaniment simple and the voice soft,
singer. The singer questions the moment they are
which turns this gorgeous little poem into a lullaby of
experiencing: is this a dream? They quickly dismiss the
sorts, peacefully sending the listener into a good night’s
rosy “vision” and believe instead that love and life are
rest.
happening right in front of them. Schubert shifts into a
minor key briefly, and the piano slides around several key
“Erlkönig”
areas, echoing the questions of the singer. The end of the
Franz Schubert’s tumultuous setting of Goethe’s “Erlkönig” song is striking, as we hear the singer bid farewell to the
is a beloved piece of the tenor vocal repertoire. This stars. It’s a particularly sublime moment, and we hear the
narrative song recounts the tragic story of a father and son grace and serenity in the singer through a soaring, but
riding on a horse through the woods late at night and their gentle vocal melody, as the piano gradually diminishes.
encounter with the alluring, maleficent Erlking. As the
father and son are riding, the son exclaims to the father “Grenzen der Menschheit”
that he sees the Erlking off in the distance. The Erlking
It’s unusual that Schubert composed a standalone song
lures the child with promises of games, extravagant
much longer than three or four minutes, making this song
clothing and beautiful locales. Although the boy grows
particularly interesting, at least at first glance. Composed
more distressed, the father ignores his son’s pleas,
in 1821 and published over a decade later, Schubert’s
dismissing them as merely fog, rustling leaves or willow
“Grenzen der Menschheit” builds upon the supplication
branches blowing in the breeze. The Erlking entices the
MONDAVI CENTER 2019 –20 | 7and humility found in Goethe’s poem, with all of the of several letters that Goethe sent to his friend Charlotte
seriousness and intention that such a text might demand von Stein in 1776 from a mountain in the area surrounding
from a musical setting. Schubert’s undemanding piano Ettersberg, which is found in Goethe’s signature on the
accompaniment is more of a collection of harmonic guides letter. The poem is similar to the second “Wandrers
rather than any collection of melodic material. However, it Nachtlied” in that its subject focuses on ridding oneself of
is notable that his straightforward accompaniment grief and sorrow bestowed upon them by the world and
undergirds the sacred and humble singer with harmonies resting and refreshing. Schubert’s simplistic setting for this
that both create tension and bring relief and grace. Perhaps poem begins softly and gradually builds in activity and
the simplicity of the piano accompaniment allowed the emotional intensity until it climaxes on “Ach” in the
moving vocal melody to shine through. The prominence middle of the poem, as the singer despairs over their
given to the voice suggests to the listener that the true weariness. The final two lines steadily settle, with Schubert
subject of invocation suggested through the text is most echoing the gentle accompaniment from the beginning of
important, rather than the illustrative and metaphorical the song, leading the singer into their time of rest.
elements that might be abstracted from it, as is customary
for many of Schubert’s songs. Though if one listens closely, “An Schwager Kronos”
the carefully crafted vocal melody evokes several musical
Schubert’s rhythmically-driving setting for Goethe’s 1774
ideas: the sacred, chantlike sound of repeated notes, or the
poem perfectly mimics the circumstances that surround
rising and falling melodies linked with the undulation of
the metaphor created through Goethe’s text. Goethe
the rolling waves. The emphasis on the voice in this song
apparently wrote this poem as he was riding in a coach
shows Schubert’s flexibility with the genre, by granting the
from Darmstadt to his hometown of Frankfurt. It is
majority of the illustrative labor to the vocal melody rather
possible to read this poem as quasi-autobiographical, with
than the piano.
the ups and downs of the poetics alluding to his own life,
though it is perhaps more interesting to focus on how
“Ganymed”
Schubert negotiates this “ride through life.” Schubert is not
Ganymede is a divine hero from Greek mythology who is afraid of drawing inspiration from mechanical, moving
recognized as the most beautiful of all mortals. In this aspects of poetry and often uses them to drive the song
particular story, Ganymede is seduced by Zeus, who, in forward through a repetitive, motor-like accompaniment.
some versions of the mythology, fell in love with The steady accompaniment found here echoes some of his
Ganymede’s stunning appearance. The myth stirs questions other well-known works that utilize the same technique,
of homosexuality and the ancient Greek custom of such as “Gretchen at the spinning wheel” and “Erlkönig.”
paiderastia, which was a social, romantic relationship Looking at the voice, one will find great variety in the
between an adult man and a younger man. Goethe’s poem dynamics as well as the expression. In the early verses of
focuses on this romantic exchange between Zeus and the song, the voice is strong and punctuated, though in the
Ganymede, depicting the response by Ganymede to Zeus’s middle verses, the voice softens dramatically, marking the
seduction. Schubert’s setting is light and bright, especially shift in focus away from the wilder parts of his life to his
in the first verse with soaring vocal melodies and a serene numerous romantic encounters. Not too long after,
accompaniment. At the end of the first verse, Schubert however, the ferocity of the voice returns as the piano
dramatically slows the music, drawing upon the sentiments continues to push onward and the singer sings about the
of Ganymede as he remarks about Zeus’s warmth and their end of life and the frailty of man as they grow older. It is
embrace. The piano accompaniment is quite illustrative in well documented that Schubert was deeply invested in
the second verse. Schubert makes note of the nightingale Goethe’s poetry, and this particular example shows not
mentioned and the accompaniment almost echoes a bird only his interest in Goethe’s more autobiographical works,
call. At the end of the verse, with Ganymede stating, “I am but also echoes the same metaphors expressed by the
coming, I am coming,” the song accelerates quickly, original text through his illustrative setting.
remarking about the excitement expressed by Ganymede in
that moment. As the song gently closes, one notices how “Rastlose Liebe”
the piano and voice work in tandem in this song to evoke
“Rastlose Liebe” was composed by Schubert in 1815 and
the sense of shared affection between Ganymede and Zeus.
dedicated to one of his composition teachers, Antonio
The comfort of the final lines is brought out by the piano
Salieri (For those of you who may not recognize this name,
that fades into the background and the soft voice that
this is the man who recalls the story of Mozart in the well-
disappears into the clouds along with Ganymede.
known Amadeus film.) Like many of the songs on this
program, this poem, written by Goethe during a
“Wandrers Nachtlied”
snowstorm in 1776, was set twice by Schubert, with the
Schubert’s first “Wandrers Nachtlied” was composed in second edition composed in 1821, though it was not
1815 and is based on the first of the two poems that Goethe published until 1970 as part of the New Schubert Edition.
wrote for “Wandrers Nachtlied.” This first poem was part This powerful and storming setting was quite popular after
MONDAVI CENTER 2019 –20 | 8its 1824 premiere and has become a mainstay of Schubert’s ABOUT THE ARTISTS
vocal repertoire. It is clear that Schubert paid attention to
the fact that Goethe wrote this poem during a snow storm, Luca Pisaroni, bass-baritone
and makes every attempt in both the voice and piano to
Italian bass-baritone Luca Pisaroni has established
replicate the ferocity of the weather event. The flurrying
himself as one of the most charismatic and versatile
piano accompaniment and potent vocal melody help create
singers performing today. Since his debut at age 26 with
the tempest of this song. In regards to the lyrical content of
the Vienna Philharmonic at the Salzburg Festival, led by
this piece, perhaps the sheer difficulty in performing this
Nikolaus Harnoncourt, Pisaroni has continued to bring his
song relates to the overall positive message about the
compelling artistry to the world’s leading opera houses,
struggle of love suggested by the lyrics: the final result is
concert halls and festivals.
worth the challenging journey.
Luca Pisaroni began the 2019-20 season with a return
“Willkommen und Abschied”
to the Wiener Staatsoper to star as the Four Villains in
How appropriate to end a concert with a song saying Offenbach’s Les Contes d’Hoffmann. He then sang the
“hello” and “goodbye”? Schubert set this 1771 poem by title role of Mozart’s Don Giovanni in a concert staging
Goethe in 1822, with two versions: one in the key of C with the Sinfonieorchester Basel at the George Enescu
Major, published in 1826, and a version in D Major in 1895. Festival. Pisaroni returns to the Metropolitan Opera
Beyond the difference in key, there are only minor changes for two productions this season: Le Nozze di Figaro
in the wording of the text. The bouncy rhythm that makes (Figaro) and Così fan tutte (Guglielmo), marking the first
up the majority of the piano accompaniment in this song revival of Phelim McDermott’s popular staging inspired
most likely relates to the horse referenced in the very first by Coney Island. After a successful tour with Il Pomo
line. It is said that this poem echoes a horse ride that d’Oro last season, Pisaroni reunites with the ensemble
Goethe would take himself, since he was courting a woman for his role debut as Zoroastro in Handel’s Orlando on
who lived in the next town over—a short ride by horse— tour in Europe. He will close out the season starring in
while he was studying at the University in Strasburg. This multiple productions of Don Giovanni, beginning at the
poem describes a man who rides through the cold, dark Palais Garnier as the title role with the Opéra National de
night to visit a woman, with whom we can assume he is Paris, singing Leporello at the Bayerische Staatsoper, and
infatuated. He arrives and her eyes, embrace and kisses concluding with the title role at Opernhaus Zürich.
overcome the man with great love and happiness, but he
must depart as the morning sun crests over the horizon. Pisaroni’s 2019-20 concert appearances include Mozart’s
The first and second verses are the most intense, as the Requiem with the Orchester Wiener Akademie, Beethoven’s
man is riding through the night and encounters some Symphony No. 9 with NHK Symphony Orchestra and a
monsters hiding in the woods, watching him ride by. concert with I Virtuosi del Teatro alla Scala at Zaryadye
Schubert’s piano accompaniment in the second verse shifts Hall in Moscow. In recital, Luca will appear at the Teatro
into a minor key, mirroring the menacing look of the della Pergola in Florence, at the Mondavi Center for the
hundred eyes peering through the bushes and the fear felt Performing Arts and at UBC Opera in Vancouver for their
by the singer. The driving rhythm of the horse ceases right “Singer Behind the Song” series. Pisaroni reunites with
as the singer approaches the woman in the third and final baritone Thomas Hampson for their acclaimed “No Tenors
verses, showing that he has taken a moment off of his Allowed” concert series in Provo, Utah and then at Teatro
locomotion to share affection with this woman, though he Colón in Buenos Aires.
resumes almost immediately after he notices the sun rising,
marking his departure on horse. Mr. Pisaroni has recorded for all major labels. His
discography includes Don Giovanni and Rinaldo from
—by Jonathan Minnick the Glyndebourne Festival; Le nozze di Figaro with the
Opéra National de Paris; Così fan tutte, Don Giovanni
and Le nozze di Figaro from the Salzburg Festival; Verdi’s
Simon Boccanegra with the Wiener Symphoniker and
recordings of Don Giovanni and Le nozze di Figaro with the
Mahler Chamber Orchestra and Yannick Nézet-Séguin.
Recent releases include Berlioz’ Roméo et Juliette with the
San Francisco Symphony; Beethoven’s Mass in C Major
with Mariss Jansons and the Symphonieorchester des
Bayerischen Rundfunks and Rossini’s Petite Messe Solennelle
with the Orchestre Philharmonique du Luxembourg and
Gustavo Gimeno.
MONDAVI CENTER 2019 –20 | 9In 2019, Luca Pisaroni was honored as one of five recipients In North America he has given recitals at the Alice Tully
of the Opera News Award at a ceremony hosted in New Hall, Carnegie’s Weill Hall as part of Marilyn Horne’s
York City. The Song Continues programme, Lincoln Center with
cellist Michael Katz, the Ravinia Festival and The Phillips
Luca lives in Vienna with his wife, Catherine. Their golden Collection Washington DC, as well as a tour with mezzo-
retriever Lenny 2.0 and miniature dachshund Tristan are soprano Tara Erraught.
the singer’s constant traveling companions.
Passionate about the song repertory, during the 2012-13
Jonathan Ware, piano season Jonathan was artistic co-director of Schubert and
Company, a year-long festival devoted to the performance
Sought after as a song accompanist and chamber of the complete Schubert Lieder in New York. He has been
musician, during the 2019-20 season Jonathan will give a member of the accompanying staff of the Steans Institute
concerts across Europe at venues including the Théâtre at Chicago’s Ravinia Festival and the coaching staff of
des Champs-Elysée, Berlin Staatsoper, Bordeaux Opera, the Internationale Meistersinger Akademie in Neumarkt
the Concertgebouw Amsterdam and Wigmore Hall, Germany. He has also worked as a répétiteur with Juilliard
collaborating with Elsa Dreisig and Robin Tritschler. In Opera, New York City Opera and Frankfurt Opera.
2020 he makes his debut at La Scala with Bejun Mehta and
returns to the Heidelberger Frühling Festival with Bejun As a soloist Jonathan has given concerts in Dallas, New
Mehta and Ludwig Mittelhammer. York, Washington DC, Miami and Hammamatsu in
Japan. He won the Grand Prize at the 2005 Kingsville
In the United States, Jonathan will also give recitals at International Competition and was a medalist in the 2002
Carnegie Hall with Golda Schultz, the Kennedy Center Missouri Southern and New York International Piano
in Washington D.C. with Brenda Rae and the UC Davis Competitions. His performances have been broadcast
Mondavi Center with Luca Pisaroni. on WQXR (New York), WFMT (Chicago), WRR (Dallas),
Bavarian Radio and on US public television.
Over the last year Jonathan has recorded with Elsa
Dreisig for Warner, Luca Pisaroni for Primo Classics, and
gateway
Ludwig Mittelhammer for Berlin Classics and Bayerisches
Rundfunk. He gave recitals at the Pierre Boulez Saal, Snape
Maltings, the Elbphilharmonie, L’Auditori, as well as the
Strauss Festival and collaborated with the Vogler Quartet
and trombonist Peter Moore at major venues in Europe and
with oboist Olivier Stankiewicz in the US, appearing at the
Morgan Library in New York to critical acclaim.
The Composer
Texas born, Jonathan now resides in Berlin where he
teaches at the Hochschule ‘Hanns Eisler’ and Barenboim-
and the Poet
Said Academy in Berlin. He studied at the Juilliard School
in New York, and the Hochschule für Musik ‘Hanns Eisler.’
T
He regularly returns to the Verbier Festival Academy as
he songs performed as duets by Luca Pisaroni,
staff and to the Samling Institute to give masterclasses.
bass-baritone and Jonathan Ware, piano, also
Awards include 1st Prize with Ludwig Mittelhammer required dual efforts to compose. This program
in the International Hugo Wolf Competition and the features several works by composer Franz Schubert set
Pianist’s Prize at the Das Lied and Wigmore Hall/Kohn to the texts of Johann Wolfgang Von Goethe.
Foundation Song Competitions. In 2014 he was selected for
Learn more about Schubert, Goethe, and their
representation by Young Classical Artists Trust.
relationship from the resources referenced in our
Jonathan has performed widely throughout Europe blog post, “A Closer Look at Schubert and Goethe.”
appearing at major festivals and venues including the
Munich Philharmonie, Kölner Philharmonie, Berlin
Konzerthaus, the Rheingau Festival and Salzburg Festival Read more on our blog:
Dialogues at the Mozarteum. He has collaborated with mondaviarts.org/blog
Mojca Erdmann, Michael Collins, Golda Schultz, Dame
Ann Murray, Dame Felicity Lott, Ailish Tynan, Fatma Said Painting of Schubert (left) by Wilhelm
August Reider, c. 1825; Goethe (right)
and Benjamin Appl, among many others. by Joseph Karl Stiegler, 1828.
MONDAVI CENTER 2019 –20 | 10T E X T S A N D T R A N S L AT I O N S
Ludwig van Beethoven
“La Partenza”
Ecco quel fiero istante: Now comes the painful moment
Nice, mia Nice, addio. Nice, my Nice, goodbye,
Come vivrò ben mio, How will I live, my love
Così lontan da te? So far from you?
Io vivrò sempre in pene, I will always live in pain
Io non avrò più bene: I will no longer be well
E tu, chi sa se mai And you, who knows if ever
Ti sovverrai di me You will remember me.
“In questa tomba oscura”
In questa tomba oscura In this dark tomb
Lasciami riposar; Let me rest
Quando vivevo, ingrata, When I was living, ungrateful,
Dovevi a me pensar. You should have given me a thought.
Lascia che l’ombre ignude Let the shadows ignore
Godansi pace almen Relish their peace
E non, e non bagnar mie ceneri And no, do not bathe my ashes
D’inutile velen. With innocuous poison
“Hoffnung (Dimmi ben mio)”
Dimmi, ben mio, che m’ami, Say, my dear, that you love me,
Dimmi che mia tu sei. Say that you are mine
E non invidio ai Dei And I will not envy the gods
La lor’ divinità! Their power divine!
Con un tuo sguardo solo, With one single look from you,
Cara, con un sorriso My dear, with just one smile
Tu m’apri il paradiso You open heaven to me
Di mia felicità! Of my happiness!
MONDAVI CENTER 2019 –20 | 11“Beato quei che fido”
Beato quei che fido amor Blessed is he
Mai seppe meritar! who has a faithful love!
Ei solcherà senza timor Without fear for his life
Di questa vita il mar. he will weather the sea
Dovunque lo conduca il ciel, Wherever heaven leads him
Gli ride dolce fior; sweet flowers smile;
La gioja non là cuopre un vel, Joy is not veiled,
Si scema ogni dolor. and every sorrow fades.
Ei sente l’alma divam par He feels his soul aglow
Di generoso ardir; of generous boldness;
Il vero ei puote sol amar, He loves only the truth
Del bello sol gioir. and only beauty brings him joy
Felice chi ad un fido sen Happy is he who can rest
Può cheto riposar, On a faithful breast
E negl’ occhietti del suo ben And happily see his image reflected
Contento si specchiar! In the eyes of his beloved!
Che in mezzo agli disa striancor That in the midst of disaster
Quel sol gli riderà, he will still see the sun shining,
Ed a più bella calma oror And to a more beautiful, calm damn
Tutto gli tornerà. everything will return
“L’amante impaziente I”
Che fa, che fa il mio bene? What is, what is my darling doing?
Perchè, perché non viene? Perhaps, perhaps she will not come?
Vedermi vuole languir She likes to see me languish
Così, così, così! Like this, like this, like this!
Oh come è lento nel corso il sole! How slowly the sun runs its course,
Ogni momento mi sembra un dì, Every second is like a day.
Che fa, che fa il mio bene? What is, what is my darling doing?
Perchè, perché non viene? Perhaps, perhaps she will not come?
Vedermi vuole languir She likes to see me languish
Così, così, così! Like this, like this, like this!
MONDAVI CENTER 2019 –20 | 12Johann Friedrich Reichardt
Texts by Francesco Petrarca
“Canzon, s’al dolce loco”
Canzon, s’al dolce loco Song, if you see my lady
la donna nostra vedi, in that sweet place,
credo ben che tu credi I know well you think
ch’ella ti porgerà la bella mano, she’ll stretch out her lovely hand to you
ond’io son sí lontano. that I am far away from.
Non la tocchar; ma reverente ai piedi Do not touch it: but do adulate at her feet
le di’ ch’io sarò là tosto ch’io possa, and say I shall be there as swiftly as I can,
o spirto ignudo od uom di carne et d’ossa as nude spirit, or man of flesh and bone.
“Erano i capei d’oro”
Erano i capei d’oro a l’aura sparsi She let her sunlit hair fly in the breeze
che ‘n mille dolci nodi gli avolgea, that tangled in a thousand sweet knots,
e ‘l vago lume oltra misura ardea and twinkling light would burn beyond measure
di quei begli occhi, ch’or ne son sì scarsi; in those beautiful eyes, now so rare:
e ‘l viso di pietosi color farsi and it seemed to me her countenance bore the color
(non so se vero o falso) mi parea; of pity, I know not whether false or true:
i’ che l’ésca amorosa al petto avea, I who had the lure of love in my breast,
qual meraviglia se di subito arsi? what wonder if I suddenly caught fire?
Non era l’andar suo cosa mortale A fiery lightness in her being,
ma d’angelica forma, et le parole a voice that wasn’t mortal; it was song,
sonavan altro che pur voce umana: rang higher than a human voice.
uno spirto celeste, un vivo sole A celestial spirit, a living sun
fu quel ch’ i’ vidi, et se non fosse or tale, was what I saw: and if she is not such now,
piaga per allentar d’arco non sana. the wound’s not healed, although the bow is slack.
“O poggi, o valli, o fiumi, o selve”
O poggi, o valli, o fiumi, o selve, o campi, O hills, O Valleys, O rivers, O woods, O fields,
o testimon’ de la mia grave vita, O testimony of my hard life,
quante volte m’udiste chiamar morte! how many times have you heard me call for death!
Ahi dolorosa sorte Ah painful fate
lo star mi strugge, e ‘l fuggir non m’aita. staying here destroys me, and fleeing is no help.
Ma se maggior paura But if a greater fear
non m’affrenasse, via corta et spedita did not restrain me, a short swift way
trarrebbe a fin questa apra pena et dura; would bring an end to this this harsh bitter pain:
et la colpa è di tal che non à cura. and the fault would be hers, who does not care
MONDAVI CENTER 2019 –20 | 13“Piu’ volte gia’ del bel sembiante”
Più volte già dal bel sembiante umano Many times already, from the beautiful human
ò preso ardir co le mie fide scorte appearance
d’assalir con parole oneste accorte I’ve dared to assail my enemy, quiet and humble
la mia nemica in atto umile et piano. in her actions, with prudent and honest words,
with my honest well-considered speech.
Fanno poi gli occhi suoi mio penser vano Then they make my eyes rendered vain
per ch’ogni mia fortuna, ogni mia sorte, For every fortune of mine, all my destiny,
mio ben, mio male, et mia vita et mia morte my good, my bad, my life, and my death
quei che solo il pò far l’à posto in mano. placed in her hands, by him who alone can do so.
Ond’ io non pote’ mai formar parola So I could not even form true words
ch’ altro che da me stesso fosse intesa, that anyone but me could understand:
cosi m’à fatto Amor tremante et fioco. So Love had made me blaze and tremble.
Et veggi’ or ben che caritate accesa And I see clearly now that glowing charity
lega la lingua altrui, gli spirti invola: ties a man’s tongue, and daunts his spirit:
chi pò dir com’ egli arde è ‘n picciol foco. who utters while he burns is in slight fire.
“Pace non trovo”
Pace non trovo, et non ò da far guerra; I find no peace, and I do not make war:
e temo, et spero; et ardo, et son un ghiaccio; I fear and hope: I burn and I am ice:
et volo sopra ‘l cielo, et giaccio in terra; and fly above the heavens, and fall to earth,
et nulla stringo, et tutto ‘l mondo abbraccio. and clutch at nothing, and embrace the world.
Tal m’à in pregion, che non m’apre né serra, Who neither frees nor jails, imprisons me,
né per suo mi riten né scioglie il laccio; And holds me not, yet herself slips the noose:
et non m’ancide Amore, et non mi sferra, and Love does not destroy me, and does not loose me,
né mi vuol vivo, né mi trae d’impaccio. wishes me not to live, but does not remove my bar.
Veggio senza occhi, et non ò lingua et grido; I see without eyes, and without tongue I cry,
et bramo di perir, et cheggio aita; and want to perish, yet I beg for help:
et ò in odio me stesso, et amo altrui. I love another and hold myself in hate.
Pascomi di dolor, piangendo rido; I feed on sorrow, laughing weep:
egualmente mi spiace morte et vita: Equally death and life displease me:
in questo stato son, donna, per voi. and I am in this state, lady, because of you.
MONDAVI CENTER 2019 –20 | 14“Or che ‘l ciel e la terra”
Or che ‘l ciel e la terra e ‘l vento tace, Now that the heaven and the earth and the wind
E le fere e gli augelli il sonno affrena, are silent
Notte il carro stellato in giro mena and the wild creatures and the birds sleep,
E nel suo letto il mar senz’onda giace; Night leads its starry wagon in its round,
and in bed lies the sea without a wave lies.
Vegghio, penso, ardo, piango; e chi mi sface I look, think, burn, weep: and she who destroys me
Sempre m’è inanzi per mia dolce pena: is always before my eyes to my sweet sorrow,
Guerra è il mio stato, d’ira et di duol piena; war is my state, filled with grief and anger,
E sol di lei pensando ho qualche pace. and I find peace only in thinking of her
Così sol d’una chiara fonte viva So from only one pure living fountain
Move ‘l dolce e l’amaro ond’io mi pasco; flow the sweet and bitter which I drink:
Una man sola mi risana e punge. one hand alone heals me and pierces me:
E perchè ‘l mio martìr non giunga a riva, and so that my martyrdom may not reach haven,
Mille volte il dì moro e mille nasco; I am born and die a thousand times a day,
Tanto da la salute mia son lunge! I am so far from my salvation.
Franz Schubert
Memnon
Den Tag hindurch nur einmal mag ich sprechen, During the day I only speak once:
Gewohnt zu schweigen immer und zu trauern: Always used to constant silence and grieving;
Wenn durch die nachtgebor’nen Nebelmauern when Aurora’s tender purple rays
Aurorens Purpurstrahlen liebend brechen. break through the night-bestowed walls of fog.
Für Menschenohren sind es Harmonien. To human ears these are harmonies.
Weil ich die Klage selbst melodisch künde Since I proclaim a melodic complaint,
Und durch der Dichtung Glut des Rauhe ründe, and transfigure its roughness in the glow of poetry,
Vermuten sie in mir ein selig Blühen. they imagine that blessing of flowers within me.
In mir, nach dem des Todes Arme langen, Within me, to whom the arms of death stretch out,
In dessen tiefstem Herzen Schlangen wühlen; as serpents rummage deep in my heart;
Genährt von meinen schmerzlichen I am nourished by my painful thoughts,
Gefühlen Fast wütend durch ein ungestillt and almost frenzied by an unquenched desire.
Verlangen:
Mit dir, des Morgens Göttin, mich zu einen, Oh to be united with you, goddess of morning,
Und weit von diesem nichtigen Getriebe, and, far from this vain bustle,
Aus Sphären edler Freiheit, aus Sphären reiner to shine down as a silent, pale star
Liebe,
Ein stiller, bleicher Stern herab zu scheinen. from spheres of noble freedom, from spheres of
pure love.
MONDAVI CENTER 2019 –20 | 15Fischerweise D 881
Den Fischer fechten Sorgen The fisherman is not worried
Und Gram und Leid nicht an; by cares, grief or sorrow.
Er löst am frühen Morgen In the early morning he releases
Mit leichtem Sinn den Kahn. his boat with a light heart.
Da lagert rings noch Friede There is still peace around it
Auf Wald und Flur und Bach, over forest, land, and brook,
Er ruft mit seinem Liede He calls with his song
Die gold’ne Sonne wach. the golden sun awake.
Er singt zu seinem Werke He sings at his work
Aus voller frischer Brust, from a full, enlivened heart.
Die Arbeit gibt ihm Stärke, His work gives him strength,
Die Stärke Lebenslust. The strength of life.
Bald wird ein bunt’ Gewimmel Soon a colorful crowd
In allen Tiefen laut will resound in the depths,
Und plätschert durch den Himmel, and splash
Der sich im Wasser baut. through the watery heavens.
Doch wer ein Netz will stellen, But whoever wishes to set a net
Braucht Augen klar und gut, needs good, clear eyes,
Muss heiter gleich den Wellen must be as cheerful as the waves,
Und frei sein wie die Flut. and as free as the tide.
Dort angelt auf der Brücke There, on the bridge, the shepherdess
Die Hirtin, Schlauer Wicht, is fishing. Sly wench,
Gib auf nur deiner Tücke, leave off your tricks!
Den Fisch betrügst du nicht! You won’t deceive the fish!
Schatzgräbers Begehr D719
In tiefster Erde ruht ein alt Gesetz, Deep in the soil rests an old law.
Dem treibt mich’s rastlos immer nachzuspüren; I feel a restless, relentlessly seeking it out,
Und grabend kann ich Andres nicht vollführen. and as I dig, I can accomplish nothing else.
Wohl spannt auch mir die Welt ihr goldnes Netz, Let the world stretch its golden net to lure me, too;
Wohl tönt auch mir der Klugheit seicht Geschwätz: Let wisdom’s shallow gossip sound in my ears:
„Du wirst die Müh’ und Zeit umsonst verlieren;“ ‘You are wasting your time and efforts in vain!’
Das soll mich nicht in meiner Arbeit irren, That shall not turn me aside from my work;
Ich grabe glühend fort, so nun, wie stets. I go on digging away, now as ever.
Und soll mich nie des Findens Wonne laben, And even if the joy of discovery never rewards me,
Sollt’ ich mein Grab mit dieser Hoffnung graben: if I am digging my own grave with this hope,
Ich steige gern hinab, gestillt ist dann mein Sehnen. yet I will climb down, for then my longing is satisfied
Drum lasset Ruhe mir in meinem Streben! So leave me in peace with my pursuit.
Ein Grab mag man wohl jedem gerne geben, Surely a grave is gladly given to every man;
Wollt ihr es denn nicht mir, ihr Lieben, gönnen? will you then not grant me, dear ones?
MONDAVI CENTER 2019 –20 | 16Lied des gefangenen Jägers D 843
Mein Ross so müd’ in dem Stalle sich steht, My horse is so tired of his stall;
Mein Falk ist der Kapp’ und der Stange so leid, my hawk is displeased with his perch and hood;
Mein müssiges Windspiel sein Futter verschmäht, my idle greyhound spurns his food,
Und mich kränkt des Turmes Einsamkeit. and I am offended by this tower’s loneliness.
Ach wär’ ich nur, wo ich zuvor bin gewesen, I wish I were as I was before;
Die Hirschjagd wäre so recht mein Wesen, Deer hunting is truly in my nature,
Den Bluthund los, gespannt den Bogen: with bloodhound free and bow drawn:
Ja, solchem Leben bin ich gewogen. yes, I was weighted to such a life.
Ich hasse der Turmuhr schläfrigen Klang, I hate the sleepy chime of the tower clock,
Ich mag nicht seh’n, wie die Zeit verstreicht, I do not like to see time pass
Wenn Zoll um Zoll die Mauer entlang When, inch by inch along the wall,
Der Sonnenstrahl so langsam schleicht. the sunbeams slowly sneaks.
Sonst pflegte die Lerche den Morgen zu bringen Once the lark would bring the morning,
Die dunkle Dohle zur Ruh’ mich zu singen, and the dark rook sing me to rest.
In dieses Schlosses Königshallen, In the kingly halls of this castle
Da kann kein Ort mir je gefallen. I can find nowhere that pleases me.
Früh, wenn der Lerche Lied erschallt, Early in the morning, when the lark’s song resounds,
Sonn’ ich mich nicht in Ellens Blick, I do not see myself in Ellen’s eyes;
Nicht folg’ ich dem flüchtigen Hirsch durch den Wald, I do not follow the fleeing deer through the forest
Und kehre, wenn Abend taut, zurück. and return home with the evening dew.
Nicht schallt mir ihr frohes Willkommen entgegen, Does not sound to me a joyful welcome
Nicht kann ich das Wild ihr zu Füssen mehr legen, I cannot lay my game at her feet;
Nicht mehr wird der Abend uns selig entschweben, The evening will no longer float away blissfully
Dahin ist Lieben und Leben. That is love and life.
Der Schiffer
Im Winde, im Sturme befahr’ ich den Fluss, In the wind, in the storm I row on the river,
Die Klieder durchweichet der Regen im Guss; my clothes soaked by the pouring rain;
Ich peitsche die Wellen mit mächtigem Schlag, I whip the waves with powerful punches,
Erhoffend mir heiteren Tag. hoping for a happy day.
Die Wellen, sie jagen das ächzende Schiff, The waves drive the creaking ship,
Es drohet der Strudel, es drohet der Riff, whirlpool and reef threaten:
Gesteine entkollern den felsigen Höh’n, rocks roll down from the craggy heights,
Und Tannen erseufzen wie Geistergestöh’n. and fir trees sigh like moaning ghosts.
So musste es kommen, ich hab’ es gewollt, It had to come to this, I wished it so;
Ich hasse ein Leben behaglich entrollt; I hate a life that unfolds comfortably.
Und schlängen die Wellen den ächzenden Kahn, And if the waves devoured the creaking boat,
Ich priese doch immer die eigene Bahn. I would still praise my chosen course.
Drum tose des Wassers ohnmächtige Zorn, So let the waters roar with fainting anger,
Dem Herzen entquillet ein seliger Born, a fountain of bliss gushes from my heart,
Die Nerven erfrischend, o himmlische Lust, refreshing my nerves. O heavenly desire,
Dem Sturme zu trotzen mit männlicher Brust! to defy the storm with a manly heart!
MONDAVI CENTER 2019 –20 | 17You can also read
