Residential Mastercourse for Singers & Pianists 2021 - Oxford ...
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Residential Mastercourse for Singers & Pianists 2021
led by
Joan Rodgers
with guest tutors
Anna Tilbrook Julius Drake
Jan Philip Schulze
Oxford Lieder’s Mastercourse is generously supported by
The Derrill Allatt Foundation
The Fenton Arts Trust
The Fidelio Charitable Trust
The John S Cohen Foundation
The Cecil King Memorial Foundation
The Kirby Laing Foundation
The Adrian Swire Charitable Trust
Joan Rodgers is kindly supported by Sir Martin & Lady Elise Smith
CONTENTS
Schedule for the week 3
Participating duos and their repertoire 8
Texts and translations 24
2
MASTERCOURSE SCHEDULE
Session times subject to change: updated timings will be posted daily at the venues
Monday 18th October
Anna Tilbrook Joan Rodgers
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Chloë Allison (mezzo) Morgan Manifacier (tenor)
1000
& Adam McDonagh & Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1035
& Michael Pecak & JongSun Woo
1110 Break Break
Sofia Livotov (soprano) Grace O'Malley (soprano)
1125
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1200
& Hebba Benyaghla & Daan Boertien
1235 Lunch break Lunch break
Joan Rodgers Anna Tilbrook
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Chloë Allison (mezzo) Morgan Manifacier (tenor)
1430
& Adam McDonagh & Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1505
& Michael Pecak & JongSun Woo
1540 Break Break
Sofia Livotov (soprano) Grace O'Malley (soprano)
1550
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1625
& Hebba Benyaghla & Daan Boertien
3
Tuesday 19th October
Julius Drake Joan Rodgers
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Thomas Neißer (baritone) Hannah de Priest (soprano)
1000
& JongSun Woo & Michael Pecak
Grace O'Malley (soprano) Sofia Livotov (soprano)
1035
& Victoire-Théodora Pruvost & Prajna Indrawati
1110 Break Break
Alexander York (baritone) Héloïse Bernard (soprano)
1125
& Daan Boertien & Hebba Benyaghla
Morgan Manifacier (tenor) Chloë Allison (mezzo)
1200
& Corinne Penner & Adam McDonagh
1235 Lunch break Lunch break
Joan Rodgers Julius Drake
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Thomas Neißer (baritone) Hannah de Priest (soprano)
1430
& JongSun Woo & Michael Pecak
Grace O'Malley (soprano) Sofia Livotov (soprano)
1505
& Victoire-Théodora Pruvost & Prajna Indrawat
1540 Break Break
Alexander York (baritone) Héloïse Bernard (soprano)
1550
& Daan Boertien & Hebba Benyaghla
Morgan Manifacier (tenor) Chloë Allison (mezzo)
1625
& Corinne Penner & Adam McDonagh
4
Wednesday 20th October
Jan Philip Schulze Joan Rodgers
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Sofia Livotov (soprano) Grace O'Malley (soprano)
1000
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1035
& Hebba Benyaghla & Daan Boertien
1110 Break Break
Chloë Allison (mezzo) Morgan Manifacier (tenor)
1125
& Adam McDonagh & Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1200
& Michael Pecak & JongSun Woo
1235 Lunch break Lunch break
Joan Rodgers Jan Philip Schulze
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Sofia Livotov (soprano) Grace O'Malley (soprano)
1430
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1505
& Hebba Benyaghla & Daan Boertien
1540 Break Break
Chloë Allison (mezzo) Morgan Manifacier (tenor)
1550
& Adam McDonagh & Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1625
& Michael Pecak & JongSun Woo
5
Thursday 21st October
Joan Rodgers
Holywell Music Room
Public
Alexander York (baritone)
1000
& Daan Boertien
Héloïse Bernard (soprano)
1035
& Hebba Benyaghla
1110 Break
Morgan Manifacier (tenor)
1125
& Corinne Penner
Chloë Allison (mezzo)
1200
& Adam McDonagh
1235 Lunch break
Joan Rodgers
Holywell Music Room
Public
Thomas Neißer (baritone)
1430
& JongSun Woo
Hannah de Priest (soprano)
1505
& Michael Pecak
1540 Break
Grace O'Malley (soprano)
1550
& Victoire-Théodora Pruvost
Sofia Livotov (soprano) &
1625
Prajna Indrawati
6
Friday 22nd October
Joan Rodgers
Holywell Music Room Jacqueline du Pré buildling
Public Public/Livestream
Chloë Allison (mezzo) Morgan Manifacier (tenor) &
1000
& Adam McDonagh Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1035
& Michael Pecak & JongSun Woo
1110 Break Break
Sofia Livotov (soprano) Grace O'Malley (soprano)
1125
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1200
& Hebba Benyaghla & Daan Boertien
1235 Lunch break Lunch break
Joan Rodgers
Holywell Music Room Jacqueline du Pré Building
Public Public/Livestream
Chloë Allison (mezzo) Morgan Manifacier (tenor)
1430
& Adam McDonagh & Corinne Penner
Hannah de Priest (soprano) Thomas Neißer (baritone)
1505
& Michael Pecak & JongSun Woo
1540 Break Break
Sofia Livotov (soprano) Grace O'Malley (soprano)
1550
& Prajna Indrawati & Victoire-Théodora Pruvost
Héloïse Bernard (soprano) Alexander York (baritone)
1625
& Hebba Benyaghla & Daan Boertien
7
Chloë Allison (mezzo) & Adam McDonagh
Chloë Allison has a PhD from the University of
Cambridge, researching methods of oral musical
creation in 12th-century Paris and exploring the
experiences of nameless singers from 800 years ago.
She is a founder of the performance collective,
Marginalia, which collaborates with researchers to
workshop their ideas in practice and turns stories
from research into innovative performance events.
Their current projects include ‘In the Shadow of
Notre Dame,’ a story-telling and live-performance
event that invites audiences to experience intriguing
and unique medieval soundscapes, and ‘A rose by
another name: Juliet and Romeo’, an opera-theatre
fusion created from extracts of Bellini’s I Capuleti e I
Montecchi and words from Shakespeare’s play. It
questions the roles of society and fate in the story and considers whether Romeo and
Juliet’s love really did really have the power to heal age-old rifts. Her most fulfilling
onstage experience has been the creation and performance of Green Opera’s ‘Fillu’, a
Lieder-opera, telling the story of Eugenie Schumann, the youngest daughter of Clara and
Robert, and her lover, the Austrian soprano Marie Fillunger. It champions diversity in love
and gives a group a people whose experiences are so rarely explored, particularly in opera,
a chance to see themselves represented on stage.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
Dublin-born pianist Adam McDonagh is a Samling Artist, 2019-20 ‘Making Music Selected
Artist’ and a graduate of DIT (now TU Dublin) Conservatory of Music and Drama and
Queens’ College, University of Cambridge. He has been awarded 2nd Prize in the Irish
Freemasons Young Musician of the Year
competition, the Michael McNamara Gold
Medal and was recently a finalist in the 10e
Concours de Chant-Piano Nadia et Lili
Boulanger. He has been generously supported
by the Robert Gardiner Memorial Scholarship,
Dún Laoghaire-Rathdown County Council and
Music Network’s Music Capital Scheme. Adam
has also acted as accompanist in the
masterclasses of Patricia Bardon, Emma
Kirkby, Ailish Tynan and Maxim Vengerov.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
8
Chloë Allison (mezzo) & Adam McDonagh
Texts and translations page 24 onwards
Amy Beach Come, ah come! (Four Songs, Op. 48 no.1) 1
Amy Beach In the Twilight (Op. 85) 2
Amy Beach Sweetheart, sigh no more (Four Songs, Op. 14 no.3) 3
Ina Boyle Eternity 4
Ina Boyle Sleep Song 5
Maurice Ravel Le paon (Histoires naturelles) 6
Maurice Ravel Le grillon (Histoires naturelles) 7
Maurice Ravel Le cygne (Histoires naturelles) 8
Maurice Ravel Le martin-pêcheur (Histoires naturelles) 9
Maurice Ravel La pintade (Histoires naturelles) 10
Sergei Rachmaninov Ne poi krasavitsa (Op. 4 no.4) 11
Sergei Rachmaninov Uzh ty, niva moja, nivushka (Op. 4 no.5) 12
Sergei Rachmaninov Jeshchjo v poljakh belejet sneg (Op. 14 no.11) 13
Clara Schumann Ich stand in dunkeln Träumen (Sechs Lieder, Op. 13 no.1) 14
Clara Schumann Sie liebten sich beide (Sechs Lieder, Op. 13 no.2) 15
Clara Schumann Liebeszauber (Sechs Lieder, Op. 13 no.3) 16
Clara Schumann Der Mond kommt still gegangen (Sechs Lieder, Op. 13 no.4) 17
Clara Schumann Ich hab’ in deinem Auge (Sechs Lieder, Op. 13 no.5) 18
Clara Schumann Die stille Lotosblume (Sechs Lieder, Op. 13 no.6) 19
Jean Sibelius Den Första Kyssen (Op. 37 no.1) 20
Jean Sibelius Var det en dröm? (Op. 37 no.4) 21
Jean Sibelius Flickan kom ifrån sin älsklings möte (Op. 37 no.5) 22
Pauline Viardot Haï Luli 23
Pauline Viardot Madrid 24
9
Hannah de Priest (soprano) & Michael Pecak
Praised for her “impeccable” singing, American
soprano Hannah De Priest is quickly developing a
reputation for “masterful” (Olyrix) performances on
both sides of the Atlantic. The 2nd Prize Winner of
the 2021 International Cesti Competition, she is
especially known for “vivid portrayals” of music
from the high baroque, but performs an ever-
widening range of repertoire. Opera credits include
an “irresistible” (L’Opera) Belinda in Dido & Aeneas,
Ïole (Handel’s Hercules), Drusilla (L'incoronazione
di Poppea), and Oberto and Morgana in Alcina.
Recent performances include a "sensational" debut
singing French baroque cantatas with Les Délices, being named a finalist in North
America’s two major Bach Competitions, the Handel Aria Competition (2021), Le Concours
Corneille (2019), attending the Carmel Bach Festival as a Virginia Best Adams Vocal
Fellow, and covering the lead role in André Campra’s Le Carnaval de Venise as a Young
Artist with the Boston Early Music Festival. Highlights of the 2021-2022 season include
debuts with Columbus Symphony, Apollo Chorus & Orchestra, and Pegasus Early Music, as
well as return engagements with, among others, Les Délices and Bella Voce. With duo
partner Michael Pecak, she will perform several recitals, including a program with
fortepiano inspired by the repertoire of Classical-Era soprano Josepha Duschek.
Michael Pecak enjoys a multifaceted career as a conductor, collaborative pianist, and
historical keyboardist. As an opera conductor, Michael has worked on repertoire from
Handel to Puccini to new works with numerous important American opera companies.
This season’s highlights include conducting the world premiere of The Beekeeper, a new
commission by Chicago Opera Theatre. With frequent collaborator soprano Hannah De
Priest, he was recently named a Rising Young Artist by Pegasus Early Music in New York. A
heritage speaker of Polish, Michael is an advocate for Polish art-song and opera and has
curated and led workshops for singers devoted to Polish
diction and performance traditions in Polish art songs
from the past three centuries. Michael earned degrees in
piano and conducting from Northwestern and Indiana
Universities. A Fulbright Scholarship enabled further
studies at the F. Chopin University of Music in Warsaw,
Poland. An accomplished fortepianist, Michael attended
Cornell University as a Graduate Fellow where he
worked with Malcolm Bilson before earning a D.Mus. in
historical performance practices from McGill University.
He has been a guest lecturer at the Royaumont
Fondation in Paris and his scholarly articles have been
published by Cornell University and the Natioxnal
Fryderyk Chopin Institute in Warsaw.
10Hannah de Priest (soprano) & Michael Pecak
Texts and translations page 34 onwards
Claude Debussy Apparition (L53) 25
Cécile Chaminade La lune paresseuse 26
Francis Poulenc C (Deux poèmes de Louis Aragon, FP 122) 27
Olivier Messiaen Pourquoi? (Trois Mélodies) 28
Samuel Barber Puisque tout passe (Mélodies passagères, Op. 27 no.1) 29
Samuel Barber Un cygne (Mélodies passagères, Op. 27 no.2) 30
Samuel Barber Tombeau dans un parc (Mélodies passagères, Op. 27 no.3) 31
Samuel Barber Le clocher chante (Mélodies passagères, Op. 27 no.4) 32
Samuel Barber Départ (Mélodies passagères, Op. 27 no.5) 33
Alfred Bachelet Chère nuit 34
Richard Strauss An die Nacht (Sechs Lieder, Op. 68 no.1) 35
Richard Strauss Zueignung (8 Gedichte aus “Letzte Blätter”, Op. 10 no.1) 36
Richard Strauss Die Nacht (8 Gedichte aus “Letzte Blätter”, Op. 10 no.3) 37
Richard Strauss Allerseelen (8 Gedichte aus “Letzte Blätter”, Op. 10 no.8) 38
Erich Korngold Was du mir bist? (Op. 22 no.1) 39
Erich Korngold Mit dir zu schweigen (Op. 22 no.2) 40
Erich Korngold Welt ist stille eingeschlafen (Op. 22 no.3) 41
Thea Musgrave A Winter’s Morning 42
Giacomo Puccini Morire? (SC 89) 43
Giacomo Puccini Sole e amore 44
11Sofia Livotov (soprano) & Prajna Indrawati
Soprano Sofia Livotov is a versatile artist, equally at ease in
opera, art song, and contemporary music. Based in London, Sofia
has performed at venues, such as Tonhalle Zurich, Tête à Tête
Festival and TivoliVredenburg. In 2019 she made her successful
first appearance on the Indonesian concert stage in Jakarta.
Recent engagements include appearances at the Hamburg
Climate Week 2021 with musicians from NDR Elbphilharmonie
Orchestra and from Orchestras of Change (Orchester des
Wandels), the Nextus Festival 2021, as well as recitals in Berlin
with the pianist Natalia Pegarkova – Barenboim. Sofia has
performed with the Festival Strings Lucerne, the Tonhalle
Orchestra Zurich, the Sinfonietta Zurich and the London
Philharmonic Orchestra. Besides her appearances in contemporary opera productions at
the Tête à Tête Festival and Lucerne Theatre, her roles include Pamina (Die Zauberflöte),
Musetta (La Boheme), Adina (L`Elisir d`amore) and Micaela (Carmen).Together with
pianist Prajna Indrawati, Sofia has been selected for the International Lied Competition
Bolko v. Hochberg 2022 and has been awarded the Help Musicians’ Transmision Fund
2020. Obtaining her vocal degrees at the Lucerne School of Music (2013) and the
Conservatorium van Amsterdam Sofia is the recipient of numerous scholarships by Swiss,
German and British foundations. Currently she is being coached by Nelly Miricioiu in
London.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
Indonesian pianist Prajna Indrawati gained her Master of Performance degree in Piano
Accompaniment (2018) at the Royal College of Music under tutelage of Roger Vignoles,
Kathron Sturrock, and Simon Lepper. She was awarded second place for Accompanist
Prize in “Brooks- van der Pump” English Song Competition and Joan Chisell Schumann
Competition and Titanic Memoriam Award for accompanist in
Lies Askonas Competition 2018. She has performed in
BBRadio3 “in Tune”, St. Martin in-the-fields, Royal Festival Hall,
St. James Picadilly, Kings Place London, Perth Music Festival,
Newbury Spring Festival, Alderney Music Festival, Leeds
International Music Festival, etc; as well in Seville (Spain) and
Creete (Greece). In 2019, she joined Jakarta City Philharmonic
as a soloist in Mozart Piano Concerto c minor. She had
participated in masterclasses with renowned pianists Adam
Gyorgy and Patrick Zygmanowsky and others. Together with
soprano Sofia Livotov, they took part in NexTus Online Festival
2021 and will compete in “Bolko v. Hochberg” Song
Competition in Görlitz-Zgrozelec.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
Sofia and Prajna’s participation in the Oxford Lieder Mastercourse 2021 is generously
supported by HelpMusicians UK and Oxford Lieder.
12Sofia Livotov (soprano) & Prajna Indrawati
Texts and translations page 42 onwards
Franz Schubert Atys (D585) 45
Franz Schubert Ganymed (D544) 46
Franz Schubert Die Götter Griechenlands (D677) 47
Franz Schubert Gruppe aus dem Tartarus (D583) 48
Hugo Wolf Anakreons Grab (Goethe-Lieder) 49
Clara Schumann Lorelei 50
Gustav Mahler Erinnerung (Lieder und Gesänge aus der Jugendzeit) 51
Claude Debussy Apparition (L53) 52
Maurice Ravel Chanson de la mariée (5 Mélodies populaires grecques) 53
Maurice Ravel Là-bas, vers l'église (5 Mélodies populaires grecques) 54
Henri Duparc Chanson triste 55
Nikolai Rimsky-Korsakov Ne veter, veja s vysoty (Op. 43 no.2) 56
Nikolai Rimsky-Korsakov O chjom v tishi nochej (Op. 40 no.3) 57
Frank Bridge Love went a-riding (H 114) 58
Iskandar / Mochtar Embut Kisah Mawar di Malam Hari 59
13Héloïse Bernard (soprano) & Hebba Benyaghla
After completing a Masters in French Literature and a
curriculum in Drama, Héloïse Bernard pursued her musical
training at the Royal Conservatoire of Scotland, studying
with Wilma MacDougall. An eager recitalist, Héloïse is a Live
Music Now Scotland artist, and she was awarded in the
Estonian Music Academy Lied Duo Competition. Her passion
for Early Music led her to collaborate with ensembles such
as the Spinacino Consort, the Linarol Consort of Viols and
her own, Cordes en Ciel. Thanks to a Dartington Festival
bursary, she received guidance from Dame Emma Kirkby on
the art of Lute Song. One of her recent highlights include her
appearence as Iris in the recording of John Eccles’ Semele by
the Academy of Ancient Music, conducted by Julian Perkins.
Also commited to singing contemporary works, she collaborates with composers such as
Electra Perivolaris or Ryland Gleave. Operatic roles includes Dido in Dido and Aeneas by
Purcell with the Young Northern Baroque ensemble, Tallinn ; Mélisande, Pelleas et
Mélisande by Debussy at the Estonian Theatre Festival, Tartu, Estonia ; Amore, in
Monterverdi’s Incoronazione with OrQuesta in London ; Susanna, in the Nozze di Figaro,
with the Opera de Castello ; Lucy in Menotti’s Telephone with Daïmon opera.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
Hebba Benyaghla is a Scottish pianist and a graduate of the Royal Conservatoire of
Scotland, where she completed both her Undergraduate and Masters Degrees. She was the
first recipient of the ‘Principals’ Scholarship’ studying with Graeme McNaught and Prof.
Aaron Shorr. Hebba has performed as part of many events and festivals including the
Aurora Chamber Music Festival (Sweden), The Lammermuir Festival, Music at Paxton,
Haddo Arts, Forum Musikae Academia International de
Musica (Madrid), The Young Classical Artists Programme at
Queen’s Hall Edinburgh and on BBC Radio 3 as part of
International Women’s Day. She enjoys a diverse musical
career as a pianist for song, chamber musician and orchestral
pianist and has worked with many of Scotland’s National
companies including Scottish Opera, The National Youth
Choirs of Scotland, RSNO Chorus and Junior Chorus and as a
deputy lecturer in piano/accompanist for the Royal
Conservatoire of Scotland’s Junior Department. Hebba was
selected for the London Sinfonietta Academy 2020/21 and
performed as part of the Sinfonietta’s ‘World Premiere
Wednesday’ livestream earlier this year at Kings Place. She is
also an Associate of the London Philharmonic Orchestra’s
Foyle Future Firsts programme for the 2021/22 season.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
14Héloïse Bernard (soprano) & Hebba Benyaghla
Texts and translations page 48 onwards
Erich Korngold Schneeglöckchen (6 Einfache Lieder, Op. 9 no.1) 60
Clara Schumann Ich stand in dunkeln Träumen (Sechs Lieder, Op. 13 no.1) 61
Clara Schumann Sie liebten sich beide (Sechs Lieder, Op. 13 no.2) 62
Clara Schumann Liebeszauber (Sechs Lieder, Op. 13 no.3) 63
Olivier Messiaen Pourquoi? (Trois Mélodies) 64
Olivier Messiaen Le sourire (Trois Mélodies) 65
Olivier Messiaen La fiancée perdue (Trois Mélodies) 66
Erik Satie La diva de l’empire 67
George Crumb Night (Three Early Songs) 68
George Crumb Let it be forgotten (Three Early Songs) 69
George Crumb Wind elegy (Three Early Songs) 70
Pyotr Ilyich Tchaikovsky Ja li v pole da ne travushka (Op. 47 no.7) 71
Sergei Rachmaninov Zdes' khorosho (Op. 21 no.7) 72
15Morgan Manificier (tenor) & Corrine Penner
French tenor Morgan Manifacier is quickly
establishing an international career as an interpreter
of repertoire spanning from the Renaissance to the
newest of contemporary music. Notable opera role
credits include the title role of Pygmalion (Rameau),
Chevalier de La Force in Dialogues des Carmélites,
Don Ottavio in Don Giovanni, Tamino in Die
Zauberflöte, Sultan Soliman in Zaide, Siavash in We,
the Innumerable (Niloufar Nourbakhsh), Agenore in Il
re pastore, Sorcerer in Dido and Æneas, Dr. Blind in
Die Fledermaus, and Borsa in Rigoletto.
Morgan is a fellowship recipient from SongFest at
Colburn (Los Angeles), Musiktheater Bavaria, and the
AlpenKammerMusik Festival. He has performed with
the Schleswig-Holstein Musik Festival, dell’Arte
Opera Ensemble, Amherst Music Festival, Manhattan
Opera Studio, and Stony Brook Opera. A DMA
Candidate at Stony Brook University, he continues to
study under the tutelage of Randall Scarlata, Jeremy Little, and Laura Brooks Rice. He has
received several career grants from organizations in the United States, including the
Performing Arts Consortium and the Anna Sosenko Assist Trust. A deeply committed
educator, he currently serves as Lecturer of Music in Voice at the University of Nevada,
Reno.
Pianist Corinne Penner’s performances have taken her across Europe and the United
States, including venues such as Seiji Ozawa Hall, Carnegie Hall’s Weill Recital Hall, Museo
del Violino (Cremona), and Colburn’s Zipper Hall. She has received fellowships from the
Tanglewood Music Center and SongFest (Los Angeles) and spent several summers
studying with pianist Ann Schein at the Aspen Music
Festival. A multi-faceted performer, Penner’s playing has
been broadcast on WMHT, and she has been a prizewinner
in various solo, chamber, and concerto competitions. Her
teachers have included Christina Dahl and Li-Shan Hung,
and she has played in several masterclass series with
Menahem Pressler. Her special love for vocal music has led
to performances in classes for Renée Fleming, Dawn
Upshaw, Stephanie Blythe, and others, and she has worked
with composers Jake Heggie, William Bolcom, Libby
Larsen, and Matthew Aucoin on their own compositions.
Ms. Penner previously served on the chamber music
faculty of the Stony Brook Young Artist Program, and she
recently joined the faculty of the University of Nevada,
Reno. She holds degrees from Biola University and Stony
Brook University, where she is also a doctoral candidate.
16Morgan Manificier (tenor) & Corrine Penner
Texts and translations page 53 onwards
William Alwyn The pilgrim cranes (A leave-taking) 73
William Alwyn A leave-taking (A leave-taking) 74
Hector Berlioz Villanelle (Les nuits d'été, Op. 7 no.1) 75
Lili Boulanger Un poète disait (Clairières dans le ciel, no.4) 76
Lili Boulanger Deux Ancolies (Clairières dans le ciel, no.10) 77
Lili Boulanger Par ce que j'ai souffert (Clairières dans le ciel, no.11) 78
Rendete agli occhi miei (Sonetto XXXVIII) (Seven Sonnets of
Benjamin Britten 79
Michaelangelo, Op. 22)
S’un casto amor (Sonetto XXXII) (Seven Sonnets of
Benjamin Britten 80
Michaelangelo, Op. 22)
Spirto ben nato (Sonetto XXIV) (Seven Sonnets of Michaelangelo,
Benjamin Britten 81
Op. 22)
Gerald Finzi The Comet at Yell'ham (A Young Man's Exhortation, Op. 14) 82
It never looks like summer here (Till Earth Outwears, Op. 19a
Gerald Finzi 83
no.5)
Franz Schubert Der Müller und der Bach (Die schöne Müllerin, D795 (Op. 25)) 84
Franz Schubert Trockne Blumen (Die schöne Müllerin, D795 (Op. 25)) 85
17Thomas Neißer (baritone) & Jongsung Woo
Welsh-German baritone Thomas Nießer was educated at
the University of Bristol and the Guildhall School of Music
and Drama, where he studied under Professor Janice
Chapman. As part of his undergraduate degree, he spent a
year in Heidelberg where he studied under Ashley Prewitt
at the Staatsoper Stuttgart. Recent opera roles include Dr
Falke Die Fledermaus (Schlossfestspiele Ettlingen), Don
Giovanni Don Giovanni (Berlin Opera Academy), Guglielmo
Così fan tutte (Love Opera) and Alfio Cavalleria Rusticana
(North Wales Opera). He is also in demand on the concert
stage, his oratorio roles including Elgar The Dream of
Gerontius, Bach Weihnachtsoratorium, Handel Messiah and
the Requiems of Mozart, Brahms, Duruflé and Fauré. A
proud Welsh speaker, Thomas has a passion for Welsh
song and enjoys bringing this lesser-known repertoire to a
wider audience.
Pianist JongSun Woo is currently in her first year of Artist Diploma in Collaborative Piano
at Guildhall School of Music and Drama. JongSun has been broadcast on BBC Radio 3,
performed at venues such as the Wigmore Hall, Crush Room Royal Opera House, Purcell
Room Southbank Centre, St. John's Smith Square. She has made multiple appearances as a
concerto soloist with orchestras in UK and as a chamber musician, she performed
Beethoven's complete works for 'cello and piano in 2017 in New York. JongSun started her
studies with Patsy Toh at Junior Royal Academy of Music and the Purcell School. After
graduating from Guildhall School of Music and Drama with First Class Honours in 2014,
she then went on to win a full scholarship to study with Peter Serkin at Bard College
Conservatory, New York. She has also
participated in masterclasses with Ferenc
Rados and Rita Wagner at Prussia Cove
International Musicians' Seminar 2015 &
2016 and has received guidance from
Krysia Osostowicz and Richard Lester
among others. In 2021, she completed her
Master’s degree in Piano Accompaniment,
graduating with Distinction and Concert
Recital Diploma, studying with Eugene
Asti, Pamela Lidiard and Carole Presland.
JongSun is generously supported by Help Musicians and Guildhall School Trust.
Cecil King Scholar, Oxford Lieder Mastercourse 2021
18Thomas Neißer (baritone) & Jongsung Woo
Texts and translations page 59 onwards
Gerald Finzi Come away, death (Let us Garlands bring, Op. 81) 86
Gerald Finzi Who is Silvia? (Let us Garlands bring, Op. 81) 87
Gerald Finzi Fear no more the heat o' the sun (Let us Garlands bring, Op. 81) 88
Gerald Finzi O mistress mine (Let us Garlands bring, Op. 81) 89
Gerald Finzi It was a lover and his lass (Let us Garlands bring, Op. 81) 90
Meirion Williams Gwynfyd 91
Maurice Ravel Chanson romanesque (Don Quichotte à Dulcinée) 92
Maurice Ravel Chanson épique (Don Quichotte à Dulcinée) 93
Maurice Ravel Chanson à boire (Don Quichotte à Dulcinée) 94
Wenn mein Schatz Hochzeit macht (Lieder eines fahrenden
Gustav Mahler 95
Gesellen)
Gustav Mahler Ging heut’ Morgen über’s Feld (Lieder eines fahrenden Gesellen) 96
Gustav Mahler Ich hab’ ein glühend Messer (Lieder eines fahrenden Gesellen) 97
Die zwei blauen Augen von meinem Schatz (Lieder eines
Gustav Mahler 98
fahrenden Gesellen)
19Grace O'Malley (soprano) & Victoire-Théodora Pruvost
Grace O’Malley is a 23 year-old
soprano from Lancashire. Having
completed her Undergraduate
degree, she is now in her second year
of Postgraduate studies at The Royal
College of Music. Grace is a Derek
Butler scholar and receiver of the
James Toland Vocal Arts Director
award, studying with Peter Savidge.
Grace started singing lessons at age
six, attending Chethams School of
Music as a chorister at eight, left at
ten and went on to study at the Junior RNCM for eight years with Linda Richardson. She
was the gold medal winner at the Llangollen International Eisteddfod and was awarded
the Helen Latto Award for Singing and the Rotary award for Performance at the RNCM. At
the RCM, Grace has participated in numerous opera scenes, in October 2019 she was the
soloist in Lili Boulanger’s Hymne au Soleil (Les Sirenes), conducted by Natalie Murray
Beale. In March 2020, Grace participated in a Lieder collaborative masterclass with
Helmut Deutsch and a masterclass with Soprano Lynn Eustis. Grace has raised over
£100,000 for charities by organising concerts and producing four charity CDs. She has
received awards, including a ‘BBC Rotary Young Citizen’ and is a founding member of The
Rotaract Club of London.
Victoire-Théodora Pruvost started her musical education at the C.N.S.M.D. de Lyon
where she obtained her Bachelor in Music as well as the Chamber Music Recognition
Award in 2016. She studied with Alain Planès as well as frequently working and
collaborating with the Ysaye Quartet and the Danel Quartet. In 2019, she started a Master
in Performance at the Royal College of Music London in the class of Gordon Fergus-
Thompson. Keen to perfect her skills as a soloist as well as a song pianist, she received
coachings from Simon Lepper, Roger Vignoles and Caroline Dowdle. In fall 2021, she
pursues her Artist Diploma in Solo Performance at the Royal College of Music with Dmitri
Alexeev and Dina Parakhina. In 2016 she was a selected Young Artist for the French
American Piano Society making her U.S.A. debut at the Lang Recital Hall in New-York. She
has performed in prestigious venues such as
Salle Gaveau, Salle Cortot, P.S.G. Fondation,
Palais de l’Athénée in Geneva, Teatro de
Ferrara, St George’s Hanover Square. She is
also the recipient of numerous awards such as
the Dorothy McKenzie Artist Recognition
Award, Société des Arts de Genève, Art of the
Piano and is a Joan Chessell-Schumann
Competition Highly Commented Artist. Her
debut album in preparation with Sheva
Collection will be coming out in 2022-23.
20Grace O'Malley (soprano) & Victoire-Théodora Pruvost
Texts and translations page 66 onwards
I felt a funeral in my brain (Twelve poems of Emily
Aaron Copland 99
Dickinson)
Aaron Copland Going to Heaven! (Twelve poems of Emily Dickinson) 100
Aaron Copland The chariot (Twelve poems of Emily Dickinson) 101
Enrique Granados No lloréis ojuelos (Canciones amatorias) 102
Enrique Granados Iban al pinar (Canciones amatorias) 103
D'Anne qui me jecta de la neige (Deux épigrammes de
Maurice Ravel 104
Clément Marot)
D'Anne jouant de l'espinette (Deux épigrammes de Clément
Maurice Ravel 105
Marot)
Alma Mahler In meines Vaters Garten (Fünf Lieder) 106
Alma Mahler Bei dir ist es traut (Fünf Lieder) 107
Alma Mahler Ich wandle unter Blumen (Fünf Lieder) 108
Franz Liszt Die Loreley (S273) 109
Richard Strauss Nachtgang (Op. 29 no.3) 110
Richard Strauss Breit’ über mein Haupt (Op. 19 no.2) 111
Richard Strauss Zueignung (Op. 10 no.1) 112
Richard Strauss Nichts (Op. 10 no.2) 113
Jake Heggie Animal Passion (Natural Selection) 114
21Alexander York (baritone) & Daan Boertien
Baritone Alexander York, from Wisconsin, was most recently seen as Schaunard in La
bohème at the Verbier Festival in Switzerland. In the
January 2021 edition of Opéra Magazine, York was
profiled as a Young Talent to Watch. In September 2020,
he was awarded three prizes at the International
Competition of Art Song in Gordes, France. From 2018-
2021, York was a member of the opera studio of the Paris
Opera. Highlights of his work there include singing
Tarquinius in Britten's Rape of Lucretia and Dr. Falke in
Die Fledermaus. In 2018, York received a master’s degree
in Art Song Performance from the Munich Conservatory.
He was a winner of the Fulbright Research Grant.In 2019,
York appeared with the Jewish Chamber Orchestra
Munich for Mahler's 14 Lieder und Gesänge and sang a
Liederabend in the Hamburg Art Museum. In 2018, he
premiered Rudi Spring's Augenblicke des Abschieds, a song
cycle for baritone and hammered dulcimer. In 2017, he sang a solo recital at the
Muziekgebouw in Amsterdam.As a guest, York has performed with the Bayerischer
Staatsoper, Munich Radio Orchestra, and at the Bregenz Festival. In 2016, he made his
European debut as Belcore in L’elisir d’amore at Theater Augsburg.
Daan Boertien is a Dutch concert pianist specialising in song accompaniment performing
all over Europe. Since 2020, Daan is Associate Artist of the Dutch National Opera Studio.
Daan studied at the Conservatory of Amsterdam with David
Kuyken and at the Hochschule für Music und Theater
Hamburg with Burkhard Kehring. He has won many prizes
including the Berenberg Prize in 2020, the DAAD prize in
2019 and, together with baritone Raoul Steffani, the
Audience Award of Dutch Classical Talent in 2018. He also
won first prize at the Gustav-Mahler-Wettbewerb in
Hamburgh. Daan performs regularly for radio and
television and in 2019 performed at the Prinsengracht
concert in Amsterdam. In recent years, Daan has given
concerts with singers such as Benjamin Appl, Roderick
Williams, Raoul Steffani, Verity Wingate, Polly Leech and
Michael Wilmering. Daan has received coaching for song
interpretation from Roger Vignoles, Graham Johnson,
Malcolm Martineau and Alfred Brendel.
22Alexander York (baritone) & Daan Boertien
Texts and translations page 73 onwards
Franz Schubert Lied eines Schiffers an die Dioskuren (D360) 115
Franz Schubert Fischerweise (D881) 116
Franz Schubert An die Leier (D737) 117
Franz Schubert Nachtstück (D672) 118
Henri Duparc Testament 119
Hugo Wolf Der Genesene an die Hoffnung (Mörike-Lieder) 120
Hugo Wolf Der Tambour (Mörike-Lieder) 121
Hugo Wolf Der Gärtner (Mörike-Lieder) 122
Hugo Wolf Gebet (Mörike-Lieder) 123
Amy Beach The wandering knight (Four Songs, Op. 29 no.2) 124
Nadia Boulanger Chanson 'Elle a vendu mon cœur' 125
Sergei Rachmaninov O, dolgo budu ja (Op. 4 no.3) 126
Sergei Rachmaninov Na smert' chizhika (Op. 21 no.8) 127
Sergei Rachmaninov Ya bil u ney (Op. 14 no.4) 128
Robert Schumann Belsatzar (Op. 57) 129
23TEXT & TRANSLATIONS
1 COME, AH COME!
Beach / Beach
When the summertime has flown,
Bright with happy dreams,
And the fading leaves alone
Are left of all its gleams,
Come, ah come, my own true love,
Ah come!
Come, ah come, my own true love,
To me thy promise keep,
And bring the bliss of heav’n above,
When I alone shall weep!
Come, ah come, my own true love,
Ah come!
2 IN THE TWILIGHT
Beach / Longfellow
The twilight is sad and cloudy,
The wind blows wild and free,
And like the wings of sea-birds
Flash the white caps of the sea.
But in the fisherman's cottage
There shines a ruddier light,
And a little face at the window
Peers out into the night.
Close, close it is pressed to the window,
As if those childish eyes
Were looking into the darkness,
To see some form arise.
And a woman's waving shadow
Is passing to and fro,
Now rising to the ceiling,
Now bowing and bending low.
What tale do the roaring ocean,
And the night-wind, bleak and wild,
As they beat at the crazy casement,
Tell to that little child?
And why do the roaring ocean,
And the night-wind, wild and bleak,
As they beat at the heart of the mother,
Drive the color from her cheek?
243 SWEETHEART, SIGH NO MORE
Beach / Aldrich
It was with doubt and trembling
I whispered in her ear.
Go, take her answer, bird-on-bough,
That all the world may hear –
Sweetheart, sigh no more!
Sing it, sing it, tawny throat,
Upon the wayside tree,
How fair she is, how true she is,
How dear she is to me –
Sweetheart, sigh no more!
Sing it, sing it, tawny throat,
And through the summer long
The winds among the clover-tops
And brooks, for all their silvery stops,
Shall envy you the song –
Sweetheart, sigh no more!
4 ETERNITY
Boyle / Herrick
O years! and age! farewell:
Behold I go,
Where I do know
Infinity to dwell.
And these mine eyes shall see
All times, how they
Are lost i’ th’ sea
Of vast eternity.
Where never moon shall sway
The stars; but she,
And night, shall be
Drown’d in one endless day.
255 SLEEP SONG
Boyle / Traditional Irish, translated by Pearse
Deirín dé, deirín dé!
The brown bittern speaks in the bog;
Deirín dé, deirín dé!
The nightjar is abroad on the heath.
Deirín dé, deirín dé!
Kine will go west at dawn of day;
Deirín dé, deirín dé!
And my child will go to the pasture to mind them.
Deirín dé, deirín dé!
Moon will rise and sun will set;
Deirín dé, deirín dé!
Kine will come east at end of day.
Deirín dé, deirín dé!
I will let my child go gathering blackberries,
Deirín dé, deirín dé!
If he sleep softly till the ring of day!
HISTOIRES NATURELLES
6 LE PAON THE PEACOCK
Ravel / Renard English Translation © Richard Stokes
Il va sûrement se marier aujourd’hui. He will surely get married today.
Ce devait être pour hier. En habit de gala, il était prêt. It was to have been yesterday. In full regalia he was
Il n’attendait que sa fiancée. Elle n’est pas venue. ready. It was only his bride he was waiting for. She has
Elle ne peut tarder. not come. She cannot be long.
Glorieux, il se promène avec une allure de prince indien Proudly he processes the with air of an Indian prince,
et porte sur lui les riches présents d’usage. bearing about his person the customary lavish gifts.
L’amour avive l’éclat de ses couleurs et son aigrette Love burnishes the brilliance of his colours,
tremble comme une lyre. and his crest quivers like a lyre.
La finacée n’arrive pas. His bride does not appear.
Il monte au haut du toit et regarde du côté du soleil. He ascends to the top of the roof and looks towards the
Il jette son cri diabolique: sun. He utters his devilish cry:
Léon! Léon! Léon! Léon!
C’est ainsi qu’il appelle sa fiancée. Il ne voit rien venir It is thus that he summons his bride. He can see nothing
et personne ne répond. drawing near, and no one replies.
Les volailles habituées ne lèvent même point la tête. The fowls are used to all this and do not even raise
Elles sont lasses de l’admirer. their heads.
Il redescend dans la cour, si sûr d’être beau qu’il est They are tired of admiring him. He descends once more
incapable de rancune. to the yard, so sure of his beauty that he is incapable of
Son mariage sera pour demain. resentment.
Et, ne sachant que faire du reste de la journée, il se His marriage will take place tomorrow.
dirige vers le perron. And, not knowing what to do for the rest of the day, he
Il gravit les marches, comme des marches de temple, heads for the flight of steps.
d’un pas officiel. He ascends them, as though they were the steps of a
Il relève sa robe à queue toute lourde des yeux qui temple, with a formal tread.
n’ont pu se détacher d’elle. He lifts his train, heavy with eyes that have been unable
Il répète encore une fois la cérémonie. to detach themselves.
Once more he repeats the ceremony.
267 LE GRILLON THE CRICKET
Ravel / Renard English Translation © Richard Stokes
C’est l’heure où, las d’errer, l’insecte nègre revient de It is the hour when, weary of wandering, the black insect
promenade et répare avec soin le désordre de son returns from his outing and carefully restores order to
domaine. his estate.
D’abord il ratisse ses étroites allées de sable. First he rakes his narrow sandy paths.
Il fait du bran de scie qu’il écarte au seuil de sa He makes sawdust which he scatters on the threshold of
retraite. his retreat.
Il lime la racine de cette grande herbe propre à le He files the root of this tall grass likely to annoy him.
harceler. He rests. Then he winds up his tiny watch.
Il se repose. Puis, il remonte sa minuscule montre. Has he finished? Is it broken? He rests again for a while.
A-t-il fini? Est-elle cassée? Il se repose encore un peu. He goes inside and shuts the door.
Il rentre chez lui et ferme sa porte. For an age he turns his key in the delicate lock.
Longtemps il tourne sa celf dans la serrure délicate. And he listens:Nothing untoward outside.
Et il écoute: Point d’alarme dehors. But he does not feel safe.
Mais il ne se trouve pas en sûreté. And as if by a tiny chain on a creaking pulley, he lowers
Et comme par une chaînette dont la poulie grince, il himself into the bowels of the earth.
descend jusqu’au fond de la terre. Nothing more is heard.
On n’entend plus rien. In the silent countryside the poplars rise like fingers in
Dans la campagne muette, les peupliers se dressent the air, pointing to the moon.
comme des doigts en l’air et désignent la lune.
8 LE CYGNE THE SWAN
Ravel / Renard English Translation © Richard Stokes
Il glisse sur le bassin, comme un traîneau blanc, de He glides on the pond like a white sledge, from cloud to
nuage en nuage. cloud.
Car il n’a faim que des nuages floconneux qu’il voit For he is hungry only for the fleecy clouds that he sees
naître, bouger, et se perdre dansl’eau. forming, moving, dissolving in the water.
C’est l’un d’eux qu’il désire. Il le vise du bec, et il It is one of these that he wants. He takes aim with his
plonge tout à coup son col vêtu de neige. beak and suddenly immerses his snow-clad neck.
Puis, tel un bras de femme sort d’une manche, il le Then, like a woman’s arm emerging from a sleeve, he
retire. draws it back up.
Il n’a rien. He has caught nothing.
Il regarde: les nuages effarouchés ont disparu. He looks about: the startled clouds have vanished.
Il ne reste qu’un instant désabusé, car les nuages Only for a second is he disappointed, for the clouds are
tardent peu à revenir, et, là-bas, où meurent les not slow to return, and, over there, where the ripples
ondulations de l’eau, en voici un qui se reforme. fade, there is one reappearing.
Doucement, sur son léger coussin de plumes, le cygne Gently, on his soft cushion of down, the swan paddles
rame et s’approche … and approaches …
Il s’épuise à pêcher de vains reflets, et peut-être qu’il He exhausts himself fishing for empty reflections and
mourra, victime de cette illusion, avant d’attraper un perhaps he will die, a victim of that illusion, before
seul morceau de nuage. catching a single shred of cloud.
Mais qu’est-ce que je dis? But what am I saying?
Chaque fois qu’il plonge, il fouille du bec la vase Each time he dives, he burrows with his beak in the
nourrissante et ramène en ver. nourishing mud and brings up a worm.
Il engraisse comme une oie. He’s getting as fat as a goose.
279 LE MARTIN-PÊCHEUR THE KINGFISHER
Ravel / Renard English Translation © Richard Stokes
Ça n’a pas mordu, ce soir, mais je rapporte une rare Not a bite, this evening, but I had a rare experience.
émotion. As I was holding out my fishing rod, a kingfisher came
Comme je tenais ma perche de ligne tendue, un martin- and perched on it.
pêcheur est venu s’y poser. We have no bird more brilliant.
Nous n’avons pas d’oiseau plus éclatant. He was like a great blue flower at the tip of a long stem.
Il semblait une grosse fleur bleue au bout d’une longue The rod bent beneath the weight.
tige. I held my breath, so proud to be taken for a tree by a
La perche pliait sous le poids. Je ne respirais plus, tout kingfisher.
fier d’être pris pour un arbre par un martin-pêcheur. And I’m sure he did not fly off from fear, but thought he
Et je suis sûr qu’il ne s’est pas envolé de peur, mais was simply flitting from one branch to another.
qu’il a cru qu’il ne faisait que passer d’une branche à
une autre.
10 LA PINTADE THE GUINEA-FOWL
Ravel / Renard English Translation © Richard Stokes
C’est la bossue de ma cour. Elle ne rêve que plaies à She is the hunchback of my barnyard. She dreams only
cause de sa bosse. of wounding, because of her hump.
Les poules ne lui disent rien: brusquement, elle se The hens say nothing to her: suddenly, she swoops and
précipite et les harcèle. harries them.
Puis elle baisse sa tête, penche le corps, et, de toute la Then she lowers her head, leans forward, and, with all
vitesse de ses pattes maigres, elle court frapper, de son the speed of her skinny legs, runs and strikes with her
bec dur, juste au centre de la roue d’une dinde. hard beak at the very centre of a turkey’s tail.
Cette poseuse l’agaçait. This poseuse was provoking her.
Ainsi, la tête bleuie, ses barbillons à vif, cocardière, elle Thus, with her bluish head and raw wattles,
rage du matine au soir. pugnaciously she rages from morn to night.
Elle se bat sans motif, peut-être parce qu’elle s’imagine She fights for no reason, perhaps because she always
toujours qu’on se moque de sa taille, de son crâne thinks they are making fun of her figure, of her bald
chauve et de sa queue basse. head and drooping tail.
Et elle ne cesse de jeter un cri discordant qui perce l’air And she never stops screaming her discordant cry,
comme une pointe. which pierces the air like a needle.
Parfois elle quitte la cour et disparaît. Elle laisse aux Sometimes she leaves the yard and vanishes. She gives
volailles pacifiques un moment de répit. the peace-loving poultry a moment’s respite.
Mais elle revient plus turbulente et plus criarde. Et, But she returns more rowdy and shrill. And in a frenzy
frénétique, elle se vautre par terre. she wallows in the earth.
Qu’a-t-elle donc? Whatever’s wrong with her?
La sournoise fait une farce. The cunning creature is playing a trick.
Elle est allée pondre son œuf à la campagne. She went to lay her egg in the open country.
Je peux le chercher si ça m’amuse. I can look for it if I like.
Elle se roule dans la poussière, comme une bossue. And she rolls in the dust, like a hunchback.
11 NE POI KRASAVITSA OH DO NOT SING, FAIR MAIDEN
Rachmaninov / Pushkin English Translation © Philip Ross Bullock
Ne poi, krasavitsa, pri mne Oh do not sing for me, fair maiden,
Ty pesen Gruzii pechalnoi; Those Georgian songs so sad;
Napominayut mne one They remind me
Druguyu zhizn i bereg dalnyi. Of another life and a distant shore.
Uvy, napominayut mne Alas, your cruel strains
Tvoi zhestokie napevy Remind me
I step, i noch – i pri lune Of the steppe and the night,
Cherty dalyokoy, miloi devï. And the moonlit face of my distant beloved.
2812 UZH TY, NIVA MOJA, NIVUSHKA THE HARVEST OF SORROW
Rachmaninov / Tolstoy English Translation © Philip Ross Bullock
Uzh ty, niva moja, nivushka, Oh you, my field, dearest field of mine,
Ne skosit' tebja s makhu jedinogo, You are not to be mowed at a single stroke,
Ne svjazat' tebja vsju vo jedinyj snop! You are not to be bound up in a single sheaf!
Uzh vy, dumy moi, dumushki, Oh you, my thoughts, dearest thoughts of mine,
Ne strjakhnut' vas razom s plech doloj, You are not to be shaken off with just one shrug,
Odnoj rech'ju-to vas ne vyskazat'! You are not to be expressed in just one telling!
Po tebe-l', niva, veter razgulival, You, oh field, have you not been battered by the wind,
Gnul kolos'ja tvoi do-zemli, Which forced your ears of grain down to the ground,
Zrely zerna-vse razmetyval! And scattered your ripe grain in all directions!
Shiroko vy, dumy, porassypalis', Wherever a thought should fall,
Kuda pala kakaja dumushka. There a sorrowful blade of grass would sprout,
Tam vskhodila ljuta pechal'-trava, Breeding the bitterest misery.
Vyrostalo gore gorjucheje.
13 JESHCHJO V POLJAKH BELEJET SNEG SPRING WATERS
Rachmaninov / Tyutchev English Translation © Philip Ross Bullock
Jeshchjo v poljakh belejet sneg, The fields are still white with snow,
A vody uzh vesnoj shumjat -- But already there is the sound of spring in the waters –
Begut i budjat sonnyj breg, They run along and wake the sleepy banks,
Begut, i bleshchut, i glasjat... They run, and glitter, and proclaim…
Oni glasjat vo vse koncy: They proclaim in every direction:
"Vesna idjot, vesna idjot! ‘Spring is coming, spring is coming!
My molodoj vesny goncy, We are the heralds of youthful spring,
Ona nas vyslala vperjod. Who sends us on ahead.
Vesna idjot, vesna idjot, Spring is coming, spring is coming,
I tikhikh, teplykh majskikh dnej And the quiet, warm days of May,
Rumjanyj, svetlyj khorovod Like some rosy, radiant round-dance,
Tolpitsja veselo za nej!..." Hurry along in its wake.
SECHS LIEDER
14 ICH STAND IN DUNKELN TRÄUMEN I STOOD DARKLY DREAMING
Schumann / Heine English Translation © Richard Stokes
Ich stand in dunklen Träumen I stood darkly dreaming
Und starrte ihr Bildnis an, And stared at her picture,
Und das geliebte Antlitz And that beloved face
Heimlich zu leben begann. Sprang mysteriously to life.
Um ihre Lippen zog sich About her lips
Ein Lächeln wunderbar, A wondrous smile played,
Und wie von Wehmutstränen And as with sad tears,
Erglänzte ihr Augenpaar. Her eyes gleamed.
Auch meine Tränen flossen And my tears flowed
Mir von den Wangen herab – Down my cheeks,
Und ach, ich kann’s nicht glauben, And ah, I cannot believe
Dass ich dich verloren hab! That I have lost you!
2915 SIE LIEBTEN SICH BEIDE THEY LOVED ONE ANOTHER
Schumann / Heine English Translation © Richard Stokes
Sie liebten sich beide, doch keiner They loved one another, but neither
Wollt’ es dem andern gestehn; Wished to tell the other;
Sie sahen sich an so feindlich, They gave each other such hostile looks,
Und wollten vor Liebe vergehn. Yet nearly died of love.
Sie trennten sich endlich und sah’n sich In the end they parted and saw
Nur noch zuweilen im Traum; Each other but rarely in dreams.
Sie waren längst gestorben They died so long ago
Und wussten es selber kaum. And hardly knew it themselves.
16 LIEBESZAUBER LOVE’S MAGIC
Schumann / Geibel English Translation © Richard Stokes
Die Liebe saß als Nachtigall Love, as a nightingale,
Im Rosenbusch und sang; Perched on a rosebush and sang;
Es flog der wundersüße Schall The wondrous sound floated
Den grünen Wald entlang. Along the green forest.
Und wie er klang, - da stieg im Kreis And as it sounded, there arose a scent
Aus tausend Kelchen Duft, From a thousand calyxes,
Und alle Wipfel rauschten leis’, And all the treetops rustled softly,
Und leiser ging die Luft; And the breeze moved softer still;
Die Bäche schwiegen, die noch kaum The brooks fell silent, barely
Geplätschert von den Höh’n, Having babbled from the heights,
Die Rehlein standen wie im Traum The fawns stood as if in a dream
Und lauschten dem Getön. And listened to the sound.
Und hell und immer heller floß Brighter, and ever brighter
Der Sonne Glanz herein, The sun shone on the scene,
Um Blumen, Wald und Schlucht ergoß And poured its red glow
Sich goldig roter Schein. Over flowers, forest and glen.
Ich aber zog den Wald entlang But I made my way along the path
Und hörte auch den Schall. And also heard the sound.
Ach! was seit jener Stund’ ich sang, Ah! all that I’ve sung since that hour
War nur sein Widerhall. Was merely its echo.
17 DER MOND KOMMT STILL GEGANGEN THE MOON RISES SILENTLY
Schumann / Geibel English Translation © Richard Stokes
Der Mond kommt still gegangen The moon rises silently
Mit seinem gold’nen Schein. With its golden glow.
Da schläft in holdem Prangen The weary earth then falls asleep
Die müde Erde ein. In beauty and splendour.
Und auf den Lüften schwanken Many thousand loving thoughts
Aus manchem treuen Sinn From many faithful minds
Viel tausend Liebesgedanken Sway on the breezes
Über die Schläfer hin. Over those who slumber.
Und drunten im Tale, da funkeln And down in the valley
Die Fenster von Liebchens Haus; The windows sparkle of my beloved’s house;
Ich aber blicke im Dunklen But I in the darkness gaze
Still in die Welt hinaus. Silently out into the world.
3018 ICH HAB’ IN DEINEM AUGE I SAW IN YOUR EYES
Schumann / Rückert English Translation © Richard Stokes
Ich hab’ in deinem Auge I saw in your eyes
Den Strahl der ewigen Liebe gesehen, The ray of eternal love,
Ich sah auf deinen Wangen I saw on your cheeks
Einmal die Rosen des Himmels stehn. The roses of heaven.
Und wie der Strahl im Aug’ erlischt And as the ray dies in your eyes,
Und wie die Rosen zerstieben, And as the roses scatter,
Ihr Abglanz ewig neu erfrischt, Their reflection, forever new,
Ist mir im Herzen geblieben, Has remained in my heart,
Und niemals werd’ ich die Wangen seh’n And never will I look at your cheeks,
Und nie in’s Auge dir blicken, And never will I gaze into your eyes,
So werden sie mir in Rosen steh’n And not see the glow of roses,
Und es den Strahl mir schicken. And the ray of love.
19 DIE STILLE LOTOSBLUME THE SILENT LOTUS FLOWER
Schumann / Geibel English Translation © Richard Stokes
Die stille Lotosblume The silent lotus flower
Steigt aus dem blauen See, Rises out of the blue lake,
Die Blätter flimmern und blitzen, Its leaves glitter and glow,
Der Kelch ist weiß wie Schnee. Its cup is as white as snow.
Da gießt der Mond vom Himmel The moon then pours from heaven
All seinen gold’nen Schein, All its golden light,
Gießt alle seine Strahlen Pours all its rays
In ihren Schoß hinein. Into the lotus flower’s bosom.
Im Wasser um die Blume In the water, round the flower,
Kreiset ein weißer Schwan, A white swan circles,
Er singt so süß, so leise It sings so sweetly, so quietly,
Und schaut die Blume an. And gazes on the flower.
Er singt so süß, so leise It sings so sweetly, so quietly,
Und will im Singen vergehn. And wishes to die as it sings.
O Blume, weiße Blume, O flower, white flower,
Kannst du das Lied verstehn? Can you fathom the song?
20 DEN FÖRSTA KYSSEN THE FIRST KISS
Sibelius / Runeberg Anon.
På silvermolnets kant satt aftonstjärnan, The evening star sat on the rim of silver mist.
Från lundens skymning frågte henne tärnan: From the shadowy grove the maiden asked her:
Säg, aftonstjärna, vad i himlen tänkes, Tell me, evening star, what do they think in heaven
När första kyssen åt en älskling skänkes? when you give the first kiss to your lover?
Och himlens blyga dotter hördes svara: And heaven's shy daughter was heard to answer:
På jorden blickar ljusets änglaskara, The angels of light look toward the earth
Och ser sin egen sällhet speglad åter; and see their own bliss reflected back;
Blott döden vänder ögat bort -- och gråter. only death turns his eyes away and weeps.
3121 VAR DET EN DRÖM? WAS IT A DREAM?
Sibelius / Wecksell Anon.
Var det en dröm, att ljuvt en gång Was it a dream, that once upon a blissful time
jag var ditt hjärtas vän? I was your heart’s friend?
Jag minns det som en tystnad sång, I remember it like a silent song
då strängen darrar än. Whose melody still lingers on.
Jag minns en törnros av dig skänkt, I remember you gave me a rose
en blick så blyg och öm; With a look so shy and tender,
jag minns en avskedstår, som blänkt. I remember the glistening of a parting tear.
Var allt, var allt en dröm? Was it all just a dream?
En dröm lik sippans liv så kort A dream like a wildflower's life,
uti en vårgrön ängd, So brief in the verdant meadow,
vars fägring hastigt vissnar bort Whose beauty quickly withers away
för nya blommors mängd. Within an ocean of new flowers
Men mången natt jag hör en röst But on many a night I hear a voice
vid bittra tårars ström: Through a stream of bitter tears.
göm djupt dess minne i ditt bröst, Hide this memory deep in your heart
det var din bästa dröm! For this was your best dream.
22 FLICKAN KOM IFRÅN SIN ÄLSKLINGS MÖTE THE MAIDEN CAME FROM HER LOVER’S TRYST
Sibelius / Runeberg English Translation © Maria Forsström
Flickan kom ifrån sin älsklings möte, The maiden came from her lover's tryst,
kom med röda händer. Modern sade: Came with red hands. The mother said:
"Varav rodna dina händer, flicka?" "Whence redden your hands, maiden?"
Flickan sade: "Jag har plockat rosor The maiden said: "I have picked roses
och på törnen stungit mina händer." And stung my hands on the thorns."
Åter kom hon från sin älsklings möte, Again she came from her lover's tryst,
kom med röda läppar. Modern sade: Came with red lips. The Mother said:
"Varav rodna dina läppar, flicka?" "Whence redden your lips, maiden?"
Flickan sade: "Jag har ätit hallon The maiden said: "I have eaten raspberries
och med saften målat mina läppar." And with the juices painted my lips."
Åter kom hon från sin älsklings möte, Again she came from her lover's tryst,
kom med bleka kinder. Modern sade: Came with pale cheeks. Her mother said:
"Varav blekna dina kinder, flicka?" "Whence pale your cheeks, maiden?"
Flickan sade: "Red en grav, o moder! The maiden said: "Make me a grave, o mother!
Göm mig där och ställ ett kors däröver, Hide me there and put a cross on top,
och på korset rista, som jag säger: And on the cross carve, what I say:
En gång kom hon hem med röda händer, Once she came home with red hands,
ty de rodnat mellan älskarns händer. Since they had reddened between her lover's hands.
En gång kom hon hem med röda läppar, Once she came home with red lips,
ty de rodnat under älskarns läppar. Since they reddened under her lover's lips.
Senast kom hon hem med bleka kinder, Lastly she came home with pale cheeks,
ty de bleknat genom älskarns otro." Since they had paled with her lover's unfaithfulness.
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