NOV02 - WINTERREISE SCHUBERT - Early Music Vancouver
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SCHUBERT
WINTERREISE
Philippe Sly bass-baritone | Michael McMahon fortepiano
Philippe Sly bass-baritone | Michael McMahon fortepiano
RS
AT CHRIST CHURCH CATHEDRAL
NOV02
97 Generously supported by Tony & Margie KnoxEarly Music Vancouver partners
PARTNERS
board of directors Early Music Vancouver gratefully acknowledges the assistance and support of:
board of directors
Chris Guzy
president GOVERNMENT SUPPORT
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president Fran Watters
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Fran Watters
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vice president
treasurer the Province of British Columbia
Spencer Corrigal cpa,ca
Tony Knox
treasurer past president
Tony Knox Ilia Korkh
past president secretary
FOUNDATIONS
Ilia Korkh Sherrill Grace
secretary THE BRENNAN SPANO
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Melody Mason Tim Rendell cpa,ca THE DRANCE FAMILY
EARLY MUSIC VANCOUVER FUND
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Ingrid Söchting
Ingrid Söchting Vincent Tan 2018-19 PRODUCTION PARTNERS
Vincent Tan ÷
÷ José Verstappen cm EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the
artistic director emeritus Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.
José Verstappen cm
artistic director emeritus ÷ pacific
baroque
÷ staff orchestra
alexander weimann
staff
MUSIC director
Matthew White
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Jocelyn PeirceLaina Tanahara production partners in victoria bc:
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VANCOUVER, BC Tony Knox
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Tel: 604 263 5766
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Cell: 604 374 7916
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Email: tknox@knoxlex.com
We also gratefully acknowledge the generosity of our many donors and volunteers.
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relations
emv ticket office: 604.822.2697 THANK YOU!
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and
The corporate sponsors of Early Music Vancouver give back to their community through
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Season Calendar panels 2018-19.indd 36 the support of our performances and education & outreach programmes.16/06/2018Their efforts
12:13:31 PM
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2 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.cathe artists schubert – winterreise
Philippe Sly — this programme will be performed without an interval –
bass-baritone
Michael McMahon Franz Schubert
19th-century pianoforte (1797– 1828)
by broadwood (london, 1870)
from the instrument collection
of early music vancouver
Winterreise
(D. 911, published as Op. 89 in 1828)
A setting of 24 poems by
Wilhelm Müller
(1794– 1827)
1. Gute Nacht 13. Die Post
2. Die Wetterfahne 14. Der greise Kopf
3. Gefror’ne Tränen 15. Die Krähe
4. Erstarrung 16. Letzte Hoffnung
5. Der Lindenbaum 17. Im Dorfe
6. Wasserflut 18. Der stürmische Morgen
7. Auf dem Flusse 19. Täuschung
8. Rückblick 20. Der Wegweiser
9. Irrlicht 21. Das Wirtshaus
10. Rast 22. Mut
11. Frühlingstraum 23. Die Nebensonnen
12. Einsamkeit 24. Der Leiermann
w
“Winterreise is an œuvre that accompanies an artist throughout his development,
with the support of perhaps because it asks the most fundamental of questions: why do we suffer,
and is it meangingful? We could also phrase it another way: how does one draw
meaning from suffering? We live in a society that pathologically avoids such
questions and Schubert’s uncanny effort serves as a bright light in a time of
ignorance and fear.”
– Philippe Sly
generously supported by w
Tony & Margie Knox
Early Music Vancouver’s 19th-Century Pianoforte by Broadwood
Pre-concert introduction at 6:45
The most recent addition to EMV’s important collection of historical instruments was a
with host Matthew White:
generous gift by Dr. Patricia M. Lee and Dr. Nicholas H. Lee.
Philippe Sly This is an original 19th-century instrument by Broadwood, one of the oldest and most
and
renowned piano makers in the world. Established in the mid-1700s, Broadwood has built
Michael McMahon pianos in England for over two centuries and continues to make some of Europe’s finest
pianos today.
This small grand piano of 1870, built in a beautiful walnut burl, was typical for the time; these
instruments in the Empire Revival style were quite popular in late 19th-century parlours and
THE UNAUTHORISED USE OF country house boudoirs. A decal inside the casing reads “Consigned to Balmoral” which
ANY VIDEO OR AUDIO RECORDING suggests that it may have been made for Queen Victoria’s residence at the Scottish castle
DEVICE IS STRICTLY PROHIBITED she loved so much.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 3the artists
Antonio in a recording of Le nozze di Figaro with Nézet-Séguin
at the Baden-Baden Festival on Deutsche Grammophon.
Philippe has performed Narbal in Berlioz’s Les Troyens with
Orchestre Philharmonique de Strasbourg under John Nelson,
which won a Grammy Award (Warner/Erato). He made his
Los Angeles Philharmonic as Guglielmo in Così fan tutte under
Gustavo Dudamel in a production by Christopher Alden, his
Philadelphia Orchestra debut in Fauré’s Requiem conducted
by Alain Altinglou, Minnesota Orchestra debut in Fauré’s
Requiem conducted by Bernard Labadie, and Dallas Symphony
debut in Bach’s Matthäus-Passion with Jaap van Zweden.
Additional concert engagements have included Handel’s
Messiah with the Toronto Symphony, Montreal Symphony,
Winnipeg Symphony Orchestra, and at the National Arts
Philippe Sly Centre; Handel’s Solomon with Bernard Labadie and Violons
du Roy; concerts of Fauré, Handel, and Haydn with Orchestre
French-Canadian bass-baritone Philippe Sly has gained
Symphonique de Québec; a concert of arias with the Malaysian
international recognition for his “beautiful, blooming tone
Philharmonic; and Mozart’s Requiem and Mozart arias with
and magnetic stage presence” (San Francisco Chronicle).
the Toronto Symphony and Labadie.
Mr. Sly is the first prize winner of the prestigious Concours
Musical International de Montréal and a grand prize winner On the opera stage, Philippe Sly debuted at the Paris Opera
Metropolitan Opera National Council Auditions singing the in a new production of Così fan tutte as Guglielmo conducted
varied repertoire of Mozart, Bach, Handel, Stravinsky and by Philippe Jordan, followed by Zebul in Claus Guth’s new
Wagner. Recently, he was awarded Concert of the Year in production of Jephtha conducted by William Christie. He
Romantic, Post-Romantic and Impressionist Music at the 16th also debuted at Festival d’Aix-en-Provence and Opéra de
annual ceremony of the Prix Opus in Québec. Lyon as the title role in new productions of Don Giovanni. He
debuted at the Hamburg Opera in fully-staged performances
In the 2018-2019 season, Philippe Sly returns to the Paris Opera
of Bach’s Matthäus-Passion in a Romeo Castellucci production
for his first performances of Leporello in a new production
which was broadcast across Europe and was seen at Opéra
of Don Giovanni conducted by Philippe Jordan. He will be
Comique in Boesmann’s Au monde. Mr. Sly was a member of
heard in Handel’s Messiah with the Philadelphia Orchestra
the prestigious Adler Fellowship Program at the San Francisco
conducted by Yannick Nézet-Séguin and with the Handel &
Opera where he made his mainstage debut as Guglielmo in
Haydn Society conducted by Bernard Labadie. Additional
Così fan tutte conducted by Nicola Luisotti. He has also been
concert engagements include Haydn’s Lord Nelson Mass and
seen in San Francisco as Ormonte in Christopher Alden’s
Mozart’s Requiem with Orchestra of St. Luke’s and Labadie, as
award-winning production of Handel’s Partenope and as
well as Bach Matthäus-Passion with the National Arts Centre
Figaro in Le nozze di Figaro. Mr. Sly made his Glyndebourne
in Ottawa. In recital, he performs Winterreise with pianist
debut as Claudio in a new production of Berlioz’s Béatrice et
Michael McMahon in Montreal, Vancouver, San Francisco,
Bénédict directed by Laurent Pelly.
and others. He will also be seen in special performances with
Le Chimera Project of Schubert’s Winterreise arranged for As a recitalist, Mr. Sly toured Canada in recital with the Debut
Klezmer quartet. Atlantic Series and was heard at the Toronto Summer Music
Festival with pianist Julius Drake, as well as at the Banff Centre
A native of Montreal, Mr. Sly frequently appears with the
and with the Coast Recital Society. He frequently collaborates
Montreal Symphony and Kent Nagano. He has been heard
with guitarist John Charles Britton for guitar/voice duo recitals
with the OSM in Debussy’s Pelléas et Melisande as Golaud,
of Schubert, most recently at the Tucson Guitar Society and in
Honegger’s L’Aiglon (recorded for commercial release), Bach’s
Montreal with Fondation Arte Musica / Musée des beaux-arts
Johannes-Passion, Méphistophélès in Berlioz’s La damnation
de Montréal. Mr. Sly was a Révélation Radio-Canada artist for
de Faust, and Nielsen’s Symphony No. 3, as well as songs of
the 2012-2013 season.
Rachmaninoff, Grieg, and Sibelius. As a soloist with Yannick
Nézet-Séguin, he has sung performances of Mozart’s Mass Mr. Sly holds a Bachelor of Music degree in voice performance
in C minor and Bach’s Matthäus-Passion, both with the from McGill University’s Schulich School of Music in Montreal.
Philadelphia Orchestra, and Bach’s Matthäus-Passion again After winning the MET National Council Auditions, Mr. Sly
with Orchestre Métropolitain in Montreal. He is featured as became a member of the ensemble at the Canadian Opera
4 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.caCompany, followed by the San Francisco Opera’s Merola
Program and Adler Fellowship. Mr. Sly recently recorded
“Phantom on the Dance Floor” and subsequent music video
with Canadian singer/songwriter Kiesza. His solo recordings
are available on Analekta Records. n
Michael McMahon
Pianist Michael McMahon is the preferred partner to many
of Canada’s finest singers. He has performed regularly
throughout Canada and in Europe, Japan, and the USA with
singers such as Catherine Robbin, Karina Gauvin, Measha
Brueggergosman, Gordon Bintner, Marianne Fiset, Lyne Fortin,
Dominique Labelle, Wendy Nielsen, Maureen Forrester,
Marie-Nicole Lemieux, Annamaria Popescu, Joseph Kaiser,
Nathan Berg, Brett Polegato, Benjamin Butterfield, Philippe
Sly, Daniel Taylor, Kimy McLaren,Michael Schade, Russell
Braun, and Richard Margison.
Following his studies at McGill University in Montreal, Michael
completed his musical education in Vienna at the Hochschule
THANK YOU TO
für Musik und darstellende Kunst and the Franz Schubert
Institute, and in Salzburg at the Mozarteum. During this time,
OUR VOLUNTEERS!
he studied with such legendary artists as Erik Werba, Hans
Our activities are made possible
Hotter, Elly Ameling, Jörg Demus, and Kim Borg.
through the generous assistance of many volunteers
In addition to his active performing schedule, Michael is a who offer their time. We would like to thank the following:
Professor at the Schulich School of Music of McGill University
Pam Atnikov, Richard Cameron, Alexandra Charlton,
in Montreal. He has had long associations with l’Atelier
Ron Costanzo, Donna Cohen, Catherine Crouch, Bill Dovhey,
lyrique de L’Opéra de Montréal, Opera Nuova, the Orford
Sandy Dowling, David Dyck, Helen Elfert, Bev Ferguson,
Arts Centre, and the Banff Centre for the Arts, where he has
Elizabeth Ferguson, Jean-Pierre Fougeres, Gail Franko, Maureen
worked regularly as a vocal coach. He is also often asked to
give masterclasses for singers and pianists, and is a resident Girvan, Stanley Greenspoon, Satoko Hashigasako, Martha
artist at the Franz Schubert Institute in Austria and the C.O.S.I. Hazevoet, Delma Hemming, Margaret Hendren, Michiko Higgins-
Summer Opera program in Italy. Kato, Maggie Holland, Richard Huber, Gigi Huxley, Gretchen Ingram,
Ron Jobe, Gerald Joe, Susan Kaufman, Barb Knox, Susan Larkin,
Michael has made numerous broadcast recordings for the Marlene LeGates, Pat Lim, Christina MacLeod, Wanda
English and French networks of the CBC, as well as for the Madokoro, Dolina McLay, Kathryn McMullen, Vania Mello,
BBC, RBTF, Radio Suisse Romande, and Radio France. His Fran Moore, Carole Nakonechny, Veronika Ong, Gina
recordings on the Marquis, CBC , Atma, and Analekta labels Page, Betty Lou Phillips, Selma Savage, Traudi Schneider,
have met with critical acclaim, including Juno nominations Jill Schroder, Alison Stockbrocks, Eleanor Third.
and the Prix Opus. He was also a judge and vocal coach for
the award-winning television series “Bathroom Divas”. In Interested in joining our volunteer corps?
2012, Michael was honoured with a Ruby Award by Opera Phone 604.732.1610 for details.
Canada for his contribution to music in Canada. n
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 5programme notes
© susan youens, 1997; used here with permission
Thirty years after Schubert’s death, one of his closest friends, entitled Siebenundsiebzig Gedichte aus den hinterlassenen
a man named Joseph von Spaun, wrote down his memories Papieren eines reisenden Waldhornisten (Seventy seven poems
of the first performance of this song cycle, a private from the posthumous papers of a travelling horn player),
performance in which the composer previewed his latest published in the poet’s native Dessau in 1821, and had set the
work for his circle of friends. first work in the volume – Die schöne Müllerin (The Beautiful
For some time, Schubert appeared very upset and Miller Maid) – to music in 1823. Several years later, perhaps
melancholy. When I asked him what was troubling him, near the end of 1826, he discovered a cycle of twelve poems
he would say only, “Soon you will hear and understand.” entitled Die Winterreise (The Winter Journey) in the literary
One day he said to me, “Come over to Schober’s today periodical Urania: Taschenbuch auf das Jahr 1823 (pp. 207 22).
and I will sing you a cycle of horrifying [schauerlicher] Thinking that this was the entirety of the work, he set the
songs. I am anxious to know what you will say about cycle to music, perhaps in early 1827, and wrote “Fine” – The
them. They have cost me more effort than any of End – with a flourish at the conclusion of the twelfth song.
my other songs.” So he sang the entire Winterreise
through to us in a voice full of emotion. We were Soon after, possibly in March or April, Schubert discovered
utterly dumbfounded by the mournful, gloomy tone of volume 2 of Müller’s Poems from the posthumous papers of
these songs, and Schober said that only one of them, a travelling horn player, published in 1824; there, he found
“Der Lindenbaum” (The Linden Tree), had appealed to the cycle extended to twice its original length, from twelve
him. To this Schubert replied, “I like these songs more poems to twenty four, and reshuffled in a different order
than all the rest, and you will come to like them as well.” from the Urania text. Müller might speculatively have
“Like” is far too pallid a word for the way we now feel about this, wanted to take the solitary wanderer we meet in this work
one of the supreme masterpieces of the genre. Schubert’s to some kind of resolution beyond what one finds in the first
autograph manuscript for the first half of the cycle is twelve poems, and therefore augmented the cycle. Schubert
testimony to the effort Spaun recorded in his reminiscences could not duplicate Müller’s final order without disturbing
– there are places that look as if the Napoleonic Wars had the subtle musical relationships between the twelve songs
been fought all over again on these folios, replete with he had already composed and therefore set the remaining
revisions, deletions, added bars, and changes of all kinds poems in order (with one exception: he switched the order
(the entire manuscript is in The Pierpont Morgan Library in of “Die Nebensonnen” and “Mut” near the end) as the
New York and in a facsimile edition by Dover Publications, “Fortsetzung” (Continuation) of his winter journey.
Inc.). One can, for example, see Schubert’s exasperation with The poetic cycle, Die Winterreise, is thus in some respects
an entire lengthy passage in the twelfth song, “Einsamkeit” a different work from Schubert’s cycle Winterreise (the
(“Loneliness”), when he crosses out three unfinished staff composer omitted the definite article for a starker, stronger
systems with an X so furious that it almost cuts through the effect). In these poems, Müller took a Romantic cliché – an
paper. alienated, isolated wanderer on a journey into the wintry
Schubert insisted that he had to have good poetry before geography of the soul in search of self-knowledge – and
he could compose good songs – he was among the most fashioned something original from it, a post-Romantic
literary of all composers. We can surmise that he had sought variation on a theme. At the outset, Müller’s wayfarer
appropriate poetry for a song cycle of his own for some time, is impelled by rejection in love to dissect his innermost
and he finally found the perfect subject for his purposes being, and to do so decades before Freud would propose a
in works by the Prussian poet Wilhelm Müller (1794-1827), framework for such investigations. His first words, “Fremd
almost exactly his contemporary. It was fashionable for much bin ich eingezogen, Fremd zieh’ ich wieder aus” (“I came
of this century to decry Müller as a second rate (or worse) here a stranger, I depart a stranger”), state an existential
hack, but he was actually a fine poet and a powerful one dilemma beyond sorrow over lost love, as wrenching as that
on many occasions, a writer who found new expression for is; thereafter, over and over again, he asks himself variations
the literary ideals of his day. Winterreise was not Schubert’s on the fundamental question, “Why am I always a Fremdling,
first cycle to poems by Müller, who was famous in his own a stranger to others and to myself?”. Müller fashioned
lifetime as the “Griechen Müller”, or “Greek Müller” (like Lord his wanderer’s search for answers as a monodrama, with
Byron, whose works Müller helped to popularize in Germany, only one speaking character and no narrator to supply
he championed Greek independence from the Ottoman information the wanderer omits; we are never told his
Empire). In late 1822 or early 1823, Schubert had discovered name, what he looks like (except that he has black hair),
Müller’s first anthology of poetry, the extravagantly his birthplace, occupation, upbringing, or personal history.
6 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.caOf his inner life, we learn much more – he is a philosopher the wanderer decisively in “Das Wirtshaus” immediately
manqué, an atheist who cannot be comforted by appeals to after “Der Wegweiser”; this cycle has as one important
a spiritual realm, a realist who knows that dreams are wish theme the difficulty of dying when one wishes, or the
fulfilment, a being remarkably free from self-pity. By the end, tenacity of life, all the more marked when unwanted. What if
he even understands his past love to have been illusion. In the sign tells of a Künstlerberufung, or an artist’s discovery of
“Die Nebensonnen”, he sees the atmospheric illusion known his calling? The wanderer has sung of his journey all along;
as perihelia, or two phantom suns on either side of the real now he discovers that he is condemned to continued life, or
sun; like the short lived light of the illusory globes of light in rather, a living death as a singer poet irrevocably set apart
the sky, his sweetheart’s eyes shone on him only briefly and from society.
then vanished. She was not meant for him because he was The wanderer, however, does not want this fate. He has
destined to travel “eine Straße.., die noch keiner ging zurück” yearned throughout the cycle for reciprocated love and
(“a road from which no one returned”). domesticity, for a “bright, warm house” and a “beloved soul”
That line in the twentieth song, “Der Wegweiser”, is what within; when this precious, ordinary happiness is denied him,
the Greeks termed the peripeteia of the work, the moment he longs for a nihilistic death. The prospect of an artist’s
of revelation in which all of the veils obscuring the truth lonely existence horrifies him, impelling once again the
from our gaze are stripped away. Here, unutterably weary desire for death real death. In this, as in much else, Müller
and depressed, the wanderer asks himself why his journey shows his colours as a post Romantic; a true Romantic
– his life – is so different from that of other people, what would have found some possibility for art as a means of
compulsion drives him to keep going, and why he chooses transcendence, but the wanderer can find nothing of the
to be so isolated. (Recognizing the bridge between the first kind in the fate he sees spelled out for him on a signpost
song, “Gute Nacht”, in which the wanderer first describes in the mind. At the end of the cycle (which is not a true
the journey, and this song, Schubert fills both lieder with a ending), he “meets” the hurdy gurdy player, who is perhaps
repeated note figure emblematic of the journey.) As if his a nightmarish image of the wanderer’s own future and a
very frustration had opened a window in the mind, all of a haunting statement of the absolute necessity for human
sudden he sees a metaphorical signpost pointing the way bonds; where they do not exist, the mind will project them
to a road “from which no one returned”. Is this death, the onto the external world in a Doppelgänger mirror of itself.
journey from which no traveller returns? But death rejects lt is crucial that this uniquely powerful figure (Müller had
a knack for ending cycles with his best efforts) is a beggar
musician: music reduced to its most elemental state – “laute
Leere”, or “sounding nothingness” – is all that is left to the
wanderer.
We should remember that when Schubert set these poems
to music, he was confronting his own probable fate. Enough
was known about the terminal stages of syphilis in the 1820s
for Schubert to realize that this illness ended in horrifying
dementia and paralysis preceding the ultimate denouement,
If death turned him away in the first or second stages of the
disease, as it turns away the wanderer in “Das Wirtshaus”,
would he have to suffer the living death the wanderer endures,
his creative faculties numbed and the stream of his music
frozen? The cycle ends on a terrifying question mark, for
which there is no answer, only the echoing silence following
the dying away drone of the hurdy-gurdy. Realizing this, one
understands what a heroic act it was for Schubert to set this
text, of all texts, to music, to wring music of this power from
the bleakest fear imaginable. Somewhat fancifully, I like to
think that Death, perhaps flattered by Schubert’s many and
varied portraits of him in music, spared the composer the
fate he most dreaded, taking him swiftly and before the
Pick up our colourful calendar/brochure otherwise inevitable onset of insanity. Despite the tragedy
in the lobby today – it includes full details of his premature death (and we will always wonder what
about the 2018-2019 winter season. might have been), we can only be grateful that he escaped
the wanderer’s miserable fate, that he transformed Müller’s
earlymusic.bc.ca characters into songs “I like more than all the rest” before
his own gentler end. n
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 7texts & translations
translation by richard stokes © 2003
this programme will be performed without an interval.
the audience is requested to hold their applause until the end of the concert.
1. 1.
Gute Nacht Good night
Fremd bin ich eingezogen, A stranger I came,
Fremd zieh ich wieder aus. A stranger I depart.
Der Mai war mir gewogen The month of May favoured me
Mit manchem Blumenstrauß. With many bouquets of flowers.
Das Mädchen sprach von Liebe, The girl spoke of love,
Die Mutter gar von Eh – Her mother of marriage even –
Nun ist die Welt so trübe, And now the world’s so bleak
Der Weg gehüllt in Schnee. The road concealed in snow.
Ich kann zu meiner Reisen I cannot choose the time
Nicht wählen mit der Zeit: For my journey:
Muß selbst den Weg mir weisen I must find my own way
In dieser Dunkelheit. In this darkness.
Es zieht ein Mondenschatten A shadow in the moonlight
Als mein Gefährte mit, Keeps me company,
Und auf den weißen Matten And on the white meadows
Such ich des Wildes Tritt. I seek the tracks of deer.
Was soll ich länger weilen, Why should I wait any longer
Dass man mich trieb’ hinaus? For them to drive me out?
Laß irre Hunde heulen Let stray dogs howl
Vor ihres Herren Haus! Before their master’s house!
Die Liebe liebt das Wandern, Love loves to wander,
Gott hat sie so gemacht – God has made it so –
Von einem zu dem andern – From one to another –
Fein Liebchen, gute Nacht! My sweetest love, good night!
Will dich im Traum nicht stören, I’ll not disturb your dreams,
Wär schad um deine Ruh, A shame to spoil your rest!
Sollst meinen Tritt nicht hören – You shall not hear my footsteps,
Sacht, sacht die Türe zu! As I softly close the door!
Schreib’ im Vorübergehen I’ll write ‘Good night’ on your gate,
Ans Tor dir gute Nacht, As I pass,
Damit du mögest sehen, So that you may see
An dich hab ich gedacht. I’ve thought of you.
2. 2.
Die Wetterfahne The weather-vane
Der Wind spielt mit der Wetterfahne The wind plays with the weather-vane
Auf meines schönen Liebchens Haus. On my beloved’s house.
Da dacht ich schon in meinem Wahne, In my folly I thought it mocked
Sie pfiff’ den armen Flüchtling aus. The wretched fugitive. >>
8 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.caEr hätt es eher bemerken sollen, He should have noticed it sooner,
Des Hauses aufgestecktes Schild, This sign fixed on the house,
So hätt er nimmer suchen wollen He’d never then have thought to find
Im Haus ein treues Frauenbild. A faithful woman there.
Der Wind spielt drinnen mit den Herzen The wind plays with hearts in the house,
Wie auf dem Dach, nur nicht so laut. Though less loudly than on the roof.
Was fragen sie nach meinen Schmerzen? What is my torment to them?
Ihr Kind ist eine reiche Braut. Their child’s a rich bride.
3. 3.
Gefrorne Tränen Frozen tears
Gefrorne Tropfen fallen Frozen drops fall
Von meinen Wangen ab: From my cheeks:
Ob es mir denn entgangen, Did I, then, not notice
Daß ich geweinet hab? I’d been weeping?
Ei Tränen, meine Tränen, O tears, my tears,
Und seid ihr gar so lau, Are you so tepid
Daß ihr erstarrt zu Eise That you turn to ice
Wie kühler Morgentau? Like cool morning dew?
Und dringt doch aus der Quelle And yet you spring from my heart
Der Brust so glühend heiß, With as fierce a heat,
Als wolltet ihr zerschmelzen As if you would melt
Des ganzen Winters Eis. All the winter’s ice.
4. 4.
Erstarrung Numbness
Ich such im Schnee vergebens In vain I seek
Nach ihrer Tritte Spur, Her steps in the snow,
Wo sie an meinem Arme Where we walked arm in arm
Durchstrich die grüne Flur. Through the green field.
Ich will den Boden küssen, I shall kiss the ground,
Durchdringen Eis und Schnee Pierce ice and snow
Mit meinen heißen Tränen, With my hot tears,
Bis ich die Erde seh. Till I see the earth.
Wo find ich eine Blüte, Where shall I find a flower,
Wo find ich grünes Gras? Where shall I find green grass?
Die Blumen sind erstorben, The flowers have withered,
Der Rasen sieht so blaß. The grass looks so pale.
Soll denn kein Angedenken Is there no keepsake, then,
Ich nehmen mit von hier? For me to take from here?
Wenn meine Schmerzen schweigen, Who, when my grief is silent,
Wer sagt mir dann von ihr? Will speak to me of her?
Mein Herz ist wie erstorben, My heart seems dead,
Kalt starrt ihr Bild darin: Her cold image numb within:
Schmilzt je das Herz mir wieder, Should my heart ever thaw,
Fließt auch ihr Bild dahin. Her image too will melt.
Please turn the page quietly, and only after the music has ended.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 95. 5. Der Lindenbaum The linden tree Am Brunnen vor dem Tore By the well, before the gate, Da steht ein Lindenbaum: Stands a linden tree: Ich träumt’ in seinem Schatten I used to dream in its shade So manchen süßen Traum. So many a sweet dream. Ich schnitt in seine Rinde I used to carve in its bark So manches liebe Wort; So many a word of love; Es zog in Freud und Leide In joy and in sorrow Zu ihm mich immerfort. I felt ever drawn to it. Ich mußt’ auch heute wandern I had to pass it again today Vorbei in tiefer Nacht, At the dead of night, Da hab ich noch im Dunkel And even in the dark, Die Augen zugemacht. I closed my eyes. Und seine Zweige rauschten, And its branches rustled, Als riefen sie mir zu: As though calling to me: Komm her zu mir, Geselle, Come to me, my friend, Hier findst du deine Ruh! Here you shall find rest! Die kalten Winde bliesen The cold winds blew Mir grad ins Angesicht, Full into my face, Der Hut flog mir vom Kopfe, My hat flew from my head, Ich wendete mich nicht. I did not turn back. Nun bin ich manche Stunde Now I have journeyed Entfernt von jenem Ort, Many hours from that place, Und immer hör ich’s rauschen: Yet still I hear the rustling: Du fändest Ruhe dort! There shall you find rest! 6. 6. Wasserflut Flood Manche Trän’ aus meinen Augen Many a tear from my eyes Ist gefallen in den Schnee; Has fallen into the snow; Seine kalten Flocken saugen The cold flakes thirstily drink Durstig ein das heiße Weh. My burning anguish. Wenn die Gräser sprossen wollen, When grass is ready to grow, Weht daher ein lauer Wind, A warm wind blows, Und das Eis zerspringt in Schollen, And the ice breaks into fragments, Und der weiche Schnee zerrinnt. And the soft snow melts. Schnee, du weißt von meinem Sehnen: Snow, you know of my longing: Sag, wohin doch geht dein Lauf? Tell me where your path leads? Folge nach nur meinen Tränen, You’ve only to follow my tears Nimmt dich bald das Bächlein auf. And the stream will bear you away. Wirst mit ihm die Stadt durchziehen, It will carry you through the town Muntre Strassen ein und aus: In and out of busy streets: Fühlst du meine Tränen glühen, When you feel my tears burning, Da ist meiner Liebsten Haus. That will be my loved-one’s house. 10 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.ca
7. 7.
Auf dem Flusse On the river
Der du so lustig rauschtest, You who murmured so merrily,
Du heller, wilder Fluß, You clear, raging stream,
Wie still bist du geworden, How silent you’ve become,
Gibst keinen Scheidegruß. You bid me no farewell.
Mit harter, starrer Rinde You’ve covered yourself
Hast du dich überdeckt, With a hard stiff crust,
Liegst kalt und unbeweglich You lie cold and motionless,
Im Sande ausgestreckt. Stretched out in the sand.
In deine Decke grab ich With a sharp stone
Mit einem spitzen Stein I carve on your surface
Den Namen meiner Liebsten The name of my love,
Und Stund und Tag hinein: And the hour and the day:
Den Tag des ersten Grußes, The day of our first greeting,
Den Tag, an dem ich ging; The day I went away,
Um Nam’ und Zahlen windet Around the name and figure
Sich ein zerbrochner Ring. Is wound a broken ring.
Mein Herz, in diesem Bache My heart, do you now see
Erkennst du nun dein Bild? Your own likeness in this stream?
Ob’s unter seiner Rinde Is there such a raging torrent
Wohl auch so reißend schwillt? Beneath its surface too?
8. 8.
Rückblick A backward glance
Es brennt mir unter beiden Sohlen, The ground blazes beneath my feet,
Tret ich auch schon auf Eis und Schnee. Though I walk on ice and snow.
Ich möcht nicht wieder Atem holen, I shall not pause for breath again,
Bis ich nicht mehr die Türme seh. Till the towers are out of sight.
Hab mich an jedem Stein gestoßen, I’ve stumbled over every stone
So eilt’ ich zu der Stadt hinaus; In my haste to leave the town;
Die Krähen warfen Bäll’ und Schloßen The crows shied snow and hailstones
Auf meinen Hut von jedem Haus. Onto my hat from every roof.
Wie anders hast du mich empfangen, How differently you welcomed me,
Du Stadt der Unbeständigkeit! City of inconstancy!
An deinen blanken Fenstern sangen Lark and nightingale vied in song
Die Lerch’ und Nachtigall im Streit. At your gleaming windows.
Die runden Lindenbäume blühten, The rounded linden trees blossomed,
Die klaren Rinnen rauschten hell, The clear fountains murmured brightly,
Und ach, zwei Mädchenaugen glühten! – And ah! the girl’s fair eyes flashed fire! –
Da war’s geschehn um dich, Gesell! And your fate, my friend, was sealed!
Kömmt mir der Tag in die Gedanken, When I think of that day,
Möcht ich noch einmal rückwärts sehn, I long to look back once more,
Möcht ich zurücke wieder wanken, Long to stumble back again,
Vor ihrem Hause stille stehn. Stand silently before her house.
Please turn the page quietly, and only after the music has ended.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 119. 9. Irrlicht Will-o’-the-wisp In die tiefsten Felsengründe A will-o’-the-wisp lured me Lockte mich ein Irrlicht hin: Into the deepest rocky chasm: Wie ich einen Ausgang finde, How to find a way out Liegt nicht schwer mir in dem Sinn. Does not greatly concern me. Bin gewohnt das Irregehen, I’m used to going astray, ’s führt ja jeder Weg zum Ziel: Every path leads to one goal: Unsre Freuden, unsre Leiden, Our joys, our sorrows Alles eines Irrlichts Spiel! Are all a will-o’-the-wisp’s game! Durch des Bergstroms trockne Rinnen Through the dry bed of a mountain stream Wind’ ich ruhig mich hinab – I calmly make my way down – Jeder Strom wird’s Meer gewinnen, Every river will reach the sea, Jedes Leiden auch sein Grab. Every sorrow find its grave. 10. 10. Rast Rest Nun merk ich erst, wie müd ich bin, Only now as I lie down to rest, Da ich zur Ruh mich lege; Do I notice how tired I am; Das Wandern hielt mich munter hin Walking had kept me cheerful Auf unwirtbarem Wege. On the desolate road. Die Füße frugen nicht nach Rast, My feet demanded no rest, Es war zu kalt zum Stehen, It was too cold for standing still, Der Rücken fühlte keine Last, My back felt no burden, Der Sturm half fort mich wehen. The storm helped to drive me on. In eines Köhlers engem Haus I have found shelter Hab Obdach ich gefunden; In a charcoal-burner’s cramped hut; Doch meine Glieder ruhn nicht aus, But my limbs cannot rest So brennen ihre Wunden. With all their burning wounds. Auch du, mein Herz, in Kampf und Sturm And you too, my heart, in storm and strife So wild und so verwegen, So audacious and so wild, Fühlst in der Still erst deinen Wurm You feel stirring in this stillness Mit heißem Stich sich regen! The fierce pangs of anguish! 12 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.ca
11. 11.
Frühlingstraum Dream of Spring
Ich traümte von bunten Blumen, I dreamt of bright flowers,
So wie sie wohl blühen im Mai, Such as might bloom in May,
Ich träumte von grünen Wiesen, I dreamt of green meadows
Von lustigem Vogelgeschrei. And happy bird-calls.
Und als die Hähne krähten, And when the cocks crowed,
Da ward mein Auge wach; I opened my eyes;
Da war es kalt und finster, It was dark and cold,
Es schrien die Raben vom Dach. The ravens screamed from the roof.
Doch an den Fensterscheiben But who painted those leaves
Wer malte die Blätter da? On the window-panes?
Ihr lacht wohl über den Träumer, Are you mocking the dreamer
Der Blumen im Winter sah? Who saw flowers in winter?
Ich träumte von Lieb um Liebe, I dreamt of love requited,
Von einer schönen Maid, Dreamt of a beautiful girl,
Von Herzen und von Küssen, Of caressing and of kissing,
Von Wonne und Seligkeit. Of rapture and of joy.
Und als die Hähne krähten, And when the cocks crowed,
Da ward mein Herze wach; I opened my eyes;
Nun sitz ich hier alleine Now I sit here alone,
Und denke dem Traume nach. And think about the dream.
Die Augen schließ ich wieder, I close my eyes again,
Noch schlägt das Herz so warm. My heart still beats so ardently.
Wann grünt ihr Blätter am Fenster? Leaves on my window, when will you turn green?
Wann halt ich mein Liebchen im Arm? When shall I hold my love in my arms?
12. 12.
Einsamkeit Loneliness
Wie eine trübe Wolke Like a dark cloud
Durch heitre Lüfte geht, Drifting across clear skies,
Wenn in der Tanne Wipfel When a faint breeze
Ein mattes Lüftchen weht: Stirs through the fir-tops:
So zieh ich meine Straße I go on my way
Dahin mit trägem Fuß, With dragging steps,
Durch helles, frohes Leben, Through life’s bright joys,
Einsam und ohne Gruß. Alone and ignored.
Alas, why is the air so calm!
Ach, daß die Luft so ruhig!
Ach, daß die Welt so licht! Alas, why is the world so bright!
Als noch die Stürme tobten, While storms were still raging,
War ich so elend nicht. I was not so wretched.
Please turn the page quietly, and only after the music has ended.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 1313. 13.
Die Post The mail-coach
Von der Straße her ein Posthorn klingt. A post-horn sounds from the road.
Was hat es, daß es so hoch aufspringt, Why do you surge so wildly,
Mein Herz? My heart?
Die Post bringt keinen Brief für dich: There will be no letter for you:
Was drängst du denn so wunderlich, Why do you throb so strangely,
Mein Herz? My heart?
Nun ja, die Post kommt aus der Stadt, Because the post comes from the town,
Wo ich ein liebes Liebchen hatt’, Where once I had a sweetheart,
Mein Herz! My heart!
Willst wohl einmal hinübersehn Would you like to look in
Und fragen, wie es dort mag gehn, And ask how things are there,
Mein Herz? My heart?
14. 14.
Der greise Kopf The hoary head
Der Reif hat einen weißen Schein The frost has sprinkled a white sheen
Mir übers Haar gestreuet. On my hair.
Da glaubt’ ich schon ein Greis zu sein, I believed I was an old man
Und hab’ mich sehr gefreuet. And was overjoyed.
Doch bald ist er hinweggetaut, But soon it melted,
Hab wieder schwarze Haare, My hair is black again,
Daß mir’s vor meiner Jugend graut – So that I shudder at my youth –
Wie weit noch bis zur Bahre! How far still to the grave!
Vom Abendrot zum Morgenlicht Between dusk and dawn,
Ward mancher Kopf zum Greise. Many a head has turned grey.
Wer glaubt’s? Und meiner ward es nicht Yet mine, would you believe it, has not,
Auf dieser ganzen Reise! Throughout this whole journey!
15. 15.
Die Krähe The crow
Eine Krähe war mit mir One crow came with me
Aus der Stadt gezogen, From the town,
Ist bis heute für und für And to this day
Um mein Haupt geflogen. Has steadily circled my head
Krähe, wunderliches Tier, O crow, strange creature,
Willst mich nicht verlassen? Will you not leave me?
Meinst wohl bald als Beute hier Do you intend soon
Meinen Leib zu fassen? To seize my body as prey?
Nun, es wird nicht weit mehr gehn Well, I’ve not much further
An dem Wanderstabe. To journey with my staff.
Krähe, laß mich endlich sehn O crow, let me at last see
Treue bis zum Grabe! Faithfulness unto death!
14 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.ca16. 16
Letzte Hoffnung Last hope
Hie und da ist an den Bäumen Here and there on the trees
Manches bunte Blatt zu sehn, Many bright leaves can still be seen,
Und ich bleibe vor den Bäumen And by those trees
Oftmals in Gedanken stehn. I often stand lost in thought.
Schaue nach dem einen Blatte, I look at the one remaining leaf,
Hänge meine Hoffnung dran; And hang my hopes on it;
Spielt der Wind mit meinem Blatte, If the wind plays with my leaf,
Zittr’ ich, was ich zittern kann. I tremble in every limb.
Ach, und fällt das Blatt zu Boden, Ah, and if the leaf falls to the ground,
Fällt mit ihm die Hoffnung ab, My hope falls with it,
Fall ich selber mit zu Boden, I too fall to the ground,
Wein’ auf meiner Hoffnung Grab. And weep on my hope’s grave.
17. 17.
Im Dorfe In the village
Es bellen die Hunde, es rasseln die Ketten, Dogs bark, chains rattle,
Es schlafen die Menschen in ihren Betten, People are asleep in bed,
Träumen sich manches, was sie nicht haben, Dreaming of much they do not possess,
Tun sich im Guten und Argen erlaben: Consoling themselves with good things and bad:
Und morgen früh ist alles zerflossen – And by morning all will have vanished. –
Je nun, sie haben ihr Teil genossen Still, they’ve enjoyed their share
Und hoffen, was sie noch übrig liessen, And hope to find in their dreams
Doch wieder zu finden auf ihren Kissen. What is still left to enjoy.
Bellt mich nur fort, ihr wachen Hunde, Bark me on my way, watchful dogs,
Laßt mich nicht ruhn in der Schlummerstunde! Give me no rest in this hour of sleep!
Ich bin zu Ende mit allen Träumen – I’m finished with all dreaming –
Was will ich unter den Schläfern säumen? Why should I linger among those who sleep?
18. 18.
Der stürmische Morgen The stormy morning
Wie hat der Sturm zerrissen How the storm has rent
Des Himmels graues Kleid! The grey garment of the sky!
Die Wolkenfetzen flattern Ragged clouds flit about
Umher in mattem Streit. In weary strife.
Und rote Feuerflammen And red streaks of lightning
Ziehn zwischen ihnen hin. Flash between them.
Das nenn ich einen Morgen That’s what I call a morning
So recht nach meinem Sinn! After my own heart!
Mein Herz sieht an dem Himmel My heart sees its own likeness
Gemalt sein eignes Bild – Painted on the sky –
Es ist nichts als der Winter, It’s nothing but winter,
Der Winter kalt und wild! Winter cold and wild!
Please turn the page quietly, and only after the music has ended.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 1519. 19.
Täuschung Delusion
Ein Licht tanzt freundlich vor mir her, A friendly light dances before me,
Ich folg ihm nach die Kreuz und Quer, I follow it this way and that,
Ich folg ihm gern, und seh’s ihm an I follow it willingly, and see
Daß es verlockt den Wandersmann. That it lures the wanderer from his path.
Ach, wer wie ich so elend ist, Ah, any man as wretched as I
Gibt gern sich hin der bunten List, Gladly yields to such garish guile,
Die hinter Eis und Nacht und Graus That shows him beyond ice and night and terror
Ihm weist ein helles, warmes Haus, A bright warm house,
Und eine liebe Seele drin – And a loving soul within –
Nur Täuschung ist für mich Gewinn! Delusion is all I profit from!
20. 20.
Der Wegweiser The signpost
Was vermeid ich denn die Wege, Why do I avoid the paths
Wo die andern Wandrer gehn, That other wanderers tread,
Suche mir versteckte Stege Seek out hidden ways
Durch verschneite Felsenhöhn? Through snow-bound rocky heights?
Habe ja doch nichts begangen, I have, after all, done no wrong,
Daß ich Menschen sollte scheun – That I should shun mankind –
Welch ein törichtes Verlangen What foolish desire
Treibt mich in die Wüsteneien? Drives me into the wilderness?
Weiser stehen auf den Wegen, Signposts stand along the way,
Weisen auf die Städte zu, Pointing to the towns,
Und ich wandre sonder Maßen, And I wander on and on
Ohne Ruh, und suche Ruh. Restlessly in search of rest.
Einen Weiser seh ich stehen One signpost I see standing,
Unverrückt vor meinem Blick; Firmly before my eyes;
Eine Straße muß ich gehen, One road I must travel
Die noch keiner ging zurück. From which no man has ever returned.
CDS
FOR SALE
IN THE LOBBY
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16 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.ca21. 21.
Das Wirtshaus The inn
Auf einen Totenacker My journey has brought me
Hat mich mein Weg gebracht. To a graveyard.
Allhier will ich einkehren: Here, I thought, is where
Hab ich bei mir gedacht. I shall rest for the night.
Ihr grünen Totenkränze You green funeral wreaths
Könnt wohl die Zeichen sein, Must be the inn-signs
Die müde Wandrer laden That invite weary travellers
Ins kühle Wirtshaus ein. Inside the cool inn.
Sind denn in diesem Hause Are all the rooms, then,
Die Kammern all besetzt? Taken in this house?
Bin matt zum Niedersinken, I am weary, ready to sink,
Bin tödlich schwer verletzt. Wounded unto death.
O unbarmherzge Schenke, O pitiless inn,
Doch weisest du mich ab? Yet you turn me away?
Nun weiter denn, nur weiter, On, then, ever onwards,
Mein treuer Wanderstab! My trusty staff!
22. 22.
Mut Courage!
Fliegt der Schnee mir ins Gesicht, If snow drives into my face,
Schüttl’ ich ihn herunter. I shake it off,
Wenn mein Herz im Busen spricht, If my heart speaks in my breast,
Sing ich hell und munter. I sing loud and merrily.
Höre nicht, was es mir sagt, I don’t hear what it tells me,
Habe keine Ohren; I have no ears;
Fühle nicht, was es mir klagt, I don’t feel what it laments,
Klagen ist für Toren. Lamenting is for fools.
Lustig in die Welt hinein Cheerfully out into the world
Gegen Wind und Wetter! Against the wind and weather!
Will kein Gott auf Erden sein, If there’s no god on earth,
Sind wir selber Götter. Then we ourselves are gods.
23. 23.
Die Nebensonnen Phantom suns
Drei Sonnen sah ich am Himmel stehn, I saw three suns in the sky,
Hab lang und fest sie angesehn, Long and intently I looked at them,
Und sie auch standen da so stier, And they too stood there so fixedly,
Als wollten sie nicht weg von mir. As though they’d never leave me.
Ach, meine Sonnen seid ihr nicht! Alas, you are not my suns!
Schaut andern doch ins Angesicht! You gaze into other faces!
Ja, neulich hatt’ ich auch wohl drei: Lately, yes, I did have three:
Nun sind hinab die besten zwei. But the best two now are down.
Ging nur die dritt erst hinterdrein! If only the third would follow!
Im Dunkeln wird mir wohler sein. I’d fare better in the dark.
Please turn the page quietly, and only after the music has ended.
earlymusic.bc.ca Schubert – Winterreise EMV Cathedral Series 2018/19 | 1724. 24.
Der Leiermann The organ-grinder
Drüben hinterm Dorfe There, beyond the village,
Steht ein Leiermann, An organ-grinder stands,
Und mit starren Fingern And with numb fingers
Dreht er, was er kann. Plays as best he can.
Barfuß auf dem Eise Barefoot on the ice
Wankt er hin und her, He staggers to and fro,
Und sein kleiner Teller And his little plate
Bleibt ihm immer leer. Is always empty.
Keiner mag ihn hören, No one cares to listen,
Keiner sieht ihn an, No one looks at him,
Und die Hunde knurren And the dogs snarl
Um den alten Mann. Around the old man.
Und er läßt es gehen, And he lets it all happen,
Alles, wie es will, Happen as it will,
Dreht, und seine Leier He turns the handle,
Steht ihm nimmer still. His hurdy-gurdy’s never still.
Wunderlicher Alter, Strange old man!
Soll ich mit dir gehn? Shall I go with you?
Willst zu meinen Liedern Will you grind your music
Deine Leier drehn? To the songs I sing?
Interested in becoming our Treasurer?
EMV: For more than 45 years EMV has helped bring Vancouver audiences outstanding world-class performances
and education toward a deeper understanding and appreciation of musical roots and the art of composition.
WHY? EMV is embarking upon another exciting phase in its development. It will provide the right volunteer a rewar-
ding opportunity as part of a talented and engaged board of highly qualified directors.
WHEN? Our directors serve two-year terms meeting once a month at Hodson Manor (7th and Birch) in Vancouver, for
nine months out of the year. The Treasurer is also required to lead monthly Finance Committee meetings and
make an annual presentation at the Annual General Meeting.
WHAT? Serving as EMV’s Treasurer provides not-for-profit board experience with the satisfaction that comes with
learning about the performing arts and musical education. Board members gain from a collegial and well
rounded network that includes quality staff. As an added bonus there is the opportunity to meet, mix and
mingle with famous instrument builders, musicians and teachers.
WHO? No previous knowledge of music or arts boards is required. We are looking for a CA, CGA, or CMA willing to
expand the boundaries of expertise to the benefit of the musical arts, while applying prudence and a pragmatic
sense to managing a business with a million-dollar annual budget.
HOW? If you recognise that being EMV’s Treasurer would enrich your life, please send a note telling us about yourself
to our Business Manager, Nathan Lorch, at nathan@earlymusic.bc.ca. We want to know about you and tell
you more about us. Please make your email subject line: “Thinking about Becoming EMV’s Treasurer”.
MORE… There is a whole lot more information about Early Music Vancouver at: www.earlymusic.bc.ca
18 | EMV Cathedral Series 2018/19 Schubert – Winterreise staff@earlymusic.bc.caearly music vancouver | donors and supporters
Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!
Benefactors ($50,000+): The Drance Family *.
Presenters ($10,000+): Elaine Adair * | Gail & Bryan Atkins * | Vic & Joan Baker * | The Mary & Gordon Christopher Foundation * | Helen & Frank Elfert * | Sharon Kahn * | Janette McMillan
& Douglas Graves | Ralph Spitzer & Hisako Kurotaki * | José Verstappen *.
Sponsors ($5,000 - $9,999): RPC Family Foundation | Chris Guzy & Mari Csemi * | Agnes Hohn * | Dorothy Jantzen * | Tony & Margie Knox * | In Memory of Peter Wood * | The Lloyd
Carr-Harris Foundation * | David W McMurtry * | The Nemetz Foundation * | Dr Katherine E Paton * | Zelie & Vincent Tan * | Birgit Westergaard & Norman Gladstone * | Bruce Munro
Wright *.
Co-Sponsors ($2,500 - $4,999): The Brennan-Spano Family Foundation | The Estate of Gunnar Brosamler | Meredith & Pat Cashion | Mark De Silva | Ernst & Young LLP | Marianne Gibson
* | The Hamber Foundation * | The John & Leni Honsaker Fund * | J Evan & Janice Kreider * | The McLean Foundation | Yvonne McLean * | Jo & Bob Tharalson * | Bruno Wall & Jane
Macdonald * | Eric Wyness | ONE Anonymous Co-Sponsor..
Supporters ($1,000 - $2,499): Hugh Anton | Colleen & Martin Barlow | Marti Barregar * | Spencer Corrigal | Charles & Lucile Flavelle Family Fund * | Heather Franklyn * | Dr Val Geddes * |
Ursula Graf * | The Hamber Foundation * | Delma Hemming * | Elsie & Audrey Jang Fund * | Brian Jones | Melody Mason * | Lucie McNeill * | Margaret O’Brien * | Dr Robert S Rothwell * |
Ingrid Söchting * | Anona Thorne & Takao Tanabe * | Mark Tindle & Leslie Cliff | Dr Carol Tsuyuki * | Fran Watters | Lorna Yeates | Gordon W. Young * | Three Anonymous Supporters.
Patrons ($500 - $999):|Alan & Elizabeth Bell * | Andrea Bertram | Buntain Insurance * | Christina Burridge | Andrew J A Campbell * | Lorene De Silva | Lorea DeClercq & Michael Winters |
Virginia Evans * | Martin Ferera | Jane Flick & Robert Heidbreder * | Nancy & David Fraser | Michael Fuhrmann | Andrew Fyson | Andrew Gay | Patrick Gilligan-Hackett * | In memory
of Barbara Godard | Sherrill Grace | Ronald Hagler * | Winifred Hall | Martha Hazevoet * | Diana Herbst | Heather & Bill Holmes | Joseph & Jeanette Jones | Harold Knutson * | Michael
Kobald * | Paula Kremer | David Layton & Zoe Druick | Evelyn Leaf * | John C. Leighton * | Ursula Litzcke | Susanne Lloyd * | Graeme & Paddy Macleod * | Marta & Nicolas Maftei * | Bill
Markvoort | Barbara Moon | Geoffrey Newman | Hans-Karl & Irene Piltz * | Pam Ratner & Joy Johnson * | Tim & Janet Rendell | Peter & Kay Richards | Peter & Elfriede Rohloff | Elaine
Sawyer, in memory of John, a true Handelfreak * | John Schreiner * | Johanna Shapira | Karen Shuster * | James & Jean Simpson * | Fumiko Suzuki | Tom & Margaret Taylor | Gwyneth &
Roy Westwick * | Michael Stevenson & Jan Whitford | Dr. James Whittaker * | Karen Wilson * | Jane & Michael Woolnough * | In Memory of Rosemary Wright | Two Anonymous Patrons.
Friends ($100 - $499): Jill Bain | Patricia & Robert Baird * | Sarah Ballantyne * | Janet Becker | In Memory of Becky | Richard Beecher | Jeremy Berkman & Sheila McDonald * | Richard
Bevis | Patricia Birch | Joost Blom | Janine Bond * | Valerie Boser & Patrick Tivy | Norma Boutillier | Gary & Natalie Boychuk | Jane Bracken & Fred Stockholder | Donna Brendon | Nonie
Brennan | Gordon Briggs | Mary Brown * | Karl Brunner * | Pille Bunnell | Lawrence & Maggie Burr | Jessica Campbell | David Chercover * | In Memory of Chloe | Marylin Clark * | Peter &
Hilde Colenbrander | Gillian & Mike Collins * | Michael Collins * | Tama Copithorne * | Ron Costanzo * | Cull Family Fund * | Tony Dawson | Dr Gaelan de Wolf * | Marc Destrubé & Anna
Goren * | Beatrice Donald | Carolyn Eckel * | Josine Eikelenboom * | Patricia Evans | David Fallis & Alison Mackay * | Keith Farquhar & Koji Ito * | In memory of Eve Farson * | Marguerite
Fauquenoy & Bernard Saint-Jacques * | Alex Fisher & Lisa Slouffman * | Irene Fritschi-Nelin | Hannah & Ian Gay | Arlene Gladstone * | Paul Gravett & Mark Hand * | Gordon & Kathleen
Gray * | Dr Beverley Green * | Elizabeth Guilbride * | Penelope & Lyman Gurney * | Mark Halpern | Elizabeth & Keith Hamel * | Dr. Evelyn J. Harden * | Don Harder * | Norbert & Jutta
Haunerland | William M Hay * | Beth & Robert Helsley | The Henkelman Family * | Sally Hermansen | William Herzer * | Ada Ho & Doug Vance * | Barry Honda & Valerie Weeks * | Ralph
Huenemann & Deirdre Roberts * | Ron Jobe | France-Emmanuelle Joly | Valerie Jones | Patrick Jordan * | Dr. Stanislava Jurenka * | Lars & Anne Kaario * | Lynn Kagan * | Hanna & Anne
Kassis * | Susan Kessler * | Judy Killam * | Dalton Kremer | Peter Kwok * | Nicholas Lamm * | M. C. Lansdorp | Janet & Derwyn Lea | David Lemon * | Cindy Leung * | Audrey Lieberman |
Leslie Loving * | Janet Lowcock | E. J. Makortoff * | Catherine Manning * | Emil Marek | Glenys McDonald * | James McDowell | Ray McGinnis | William McKellin | Peter Mercer | Bill
Meyerhoff | Christi Meyers | Michael Millard | Jocelyn Morlock, In Memory of Nikolai Korndorf | Alfred & Jennifer Muma * | Sarah Munro | Peter & Roma Nemetz | Sharon Newman |
Christine Nicolas | Julie Ovenell | Stephen Partridge * | Elizabeth Paterson * | JoAnn Perry | Randall Peterman & Judith Anderson | David Phillips & Margo Metcalfe * | Anne Piternick * |
Jocelyn Pritchard * | Dr Patricia Rebbeck | Rhona Rosen * | Selma Savage * | Allan Sawchuk | Erna Schaefer | Iris Schindel | Verna Semotuk * | in honour of Verna Semotuk | Shirley
Sexsmith | Leah Skretkowicz | Colleen Smith | Alison Stockbrocks | David & Eileen Tamblin * | Takeshi & Izumi Tanahara | Lynne Taylor * | Kathy Thomas | Douglas Todd * | Ron Toews * |
Grant Tomlinson * | Trevor & Rebecca Tunnacliffe * | Vancouver Viols * | Urban Impact Recycling * | Rika Uto | David & Susan Van Blarcom | Elinor & Theodora Vassar | Nicholas Voss * |
Barbara M Walker * | James Walsh * | Heddi & Tony Walter | Norma Wasty | Jim Wearing * | Joella Werlin | C & H Williams * | Elizabeth Wilson & Lauri Burgess | Audrey Winch * | Martha
Wintemute | Fred Withers | Elizabeth Wolrige | Nancy Wong * | Dale & Ted Wormeli * | William J Worrall * | Reece Wrightman * | Elizabeth H. Yip | Colin Young | Beth Young | Jennifer
& Kenneth Yule | Twenty-one Anonymous Friends.
Donors ($25 - $99): Dr Frank Anderson | Yvonne Bachmann | Denise Ball | G. Pat Blunden * | Janet Brynjolfsson * | Norma Chatwin * | Vivien & Patrick Clarke | Abe Cohen |
Bette Cosar * | In memory of Daniel Craig | Greg Cross * | Shelagh Davies * | Judith Davis * | Jacqueline Day | Jan-Steyn de Beer | Maureen Douglas | In Memory of Henry
Elder | Ruth Enns * | Missy Follwell | Judith Forst | Kenneth Friedman * | Nancy Garrett * | Jolle Greenleaf | Ian Hampton & Susan Round * | Elizabeth Hunter * | Susan Jung
Kemeny * | Robyn Kruger | Yolande LaFleur * | A donation in memory of Edgar Latimer | In memory of Irene Leviton | Susan Lomax | Ketty & Alex Magil | Reva Malkin * |
A donation in honour of the Markova Family | Anne Mathisen | Ulrike McCrum * | Colleen Midmore | Colin Miles * | Marie Nagy | Henry Numan | Celia O’Neill | Danielle
Papineau | Anna Pappalardo | Hannelore Pinder * | Thomas Querner * | S. Reuter * | Martha Roth | Carole Ruth * | David Ryeburn * | Valerie Shackleton * | Juliet H. Simon
* | Kathryn Simonsen | Cheryl Steinhauer * | The Stenberg Family * | Nicki Stieda | Mr. Ronald Sutherland * | Teresa Vandertuin | Eva Wilson | Nine Anonymous Donors.
These listings include donations received prior to October 25, 2018
* A Special Thank-You to our Loyal Long-Time Donors
The names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and
ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you!
early music vancouver | endowment fund donors
We also gratefully acknowledhe the select group of donors that, in addition to their annual donations, has generously contributed to Early Music Vancouver’s Endowment Fund – which is
administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.
($100,000+): The Drance Family Early Music Vancouver Fund.
($20,000+): Vic & Joan Baker | Ralph Spitzer & Hisako Kurotaki | José Verstappen | 2 Anonymous Donors.
($5,000+): A donation in memory of Tom Blom | Frank & Helen Elfert | The Nemetz Foundation | Dr Katherine E Paton | Marcia Sipes | A donation in memory of Peter Wood.
($2,500+): The RPC Family Foundation | Maurice & Tama Copithorne | Tony & Margie Knox | James C. & Wendy Russell | Anona Thorne & Takao Tanabe.
($1,000+): A donation in memory of Mrs Betty Drance | Heather Franklyn | Marianne Gibson | Patrick Gilligan-Hackett | Martha Hazevoet | Dorothy Jantzen |
Ottie Lockey & Eve Zaremba | Susanne Lloyd | Greg Louis | Glenys McDonald | Dr Robert S Rothwell | Karen Shuster | Zelie & Vincent Tan | Lorna Weir | Four
Anonymous Donors.
(up to $1,000): Evelyn Anderson | Alan & Elizabeth Bell | Meo Beo | Jeffrey Black & Mary Chapman | L & C Bosman | A donation in memory of C Y Chiu | Mary
Christopher | Gillian & Mike Collins | A donation in memory of Basil Stuart-Stubbs | Judith Davis | Jane Flick & Robert Heidbreder | Dr Val Geddes | Margot
Guthrie | Mark Halpern | Linda Johnston | Peter Kwok | Elizabeth Lamberton | Rob Mayhew | Janette McMillan & Douglas Graves | Benjamin Milne | Alberto
Mondani | Alfred & Jennifer Muma | Barbara Murray | Judith & Greg Phanidis | Connie Piper | Pam Ratner & Joy Johnson | Joan Rike | Elfriede & Peter Rohloff |
David Ryeburn | Jo & Bob Tharalson | John Tulip | James Walsh | Fran Watters | Glenys Webster & Paul Luchkow | Five Anonymous Donors.
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