&!i&sr*& l:,:::;:ii::l:i:::r;: il ,i r i-,.:,:l Arizona State University SChOOI Of M USi G FACULTY ARTIST CONCERT SERIES A GoETHE, SoNc Rncrrnl cs oF PoBvrs BY Jo Wo ( I AUNB Juov Mev Davm WannBN Jpnny DoAN, o ) o o ber 14,1999 . 2: p PROGRAM PhInomen **There will be a l}-minute intermission** Johannes Brahms Anne Kopta and Judy May Auf dem Frarlz Schubert See Warren Hoffer Charles Griffes Jerry Doan Hanns Eisler Warren Hoffer Anne Kopta ludy May and Jerry Doan Johannes Brahms Singet nicht in Trauertiinen Robert Schumann Anne Kopta Charles Ives Judy May Jan Vacl6v Tomdsek Bande Ludwig van Beethoven Die Sprtkle Hugo Wolf Die Bekehrte Wonne der Wehmut Ludwig van Beethoven Rastlose Liebe Robert Franz Jerry Doan Carl FriedrichZeller Judy May Richard Strauss David Britton Hugo Wolf Jerry Doan Blumengrufi Mit einem gemalten Felix Mendelssohn-Bartholdy Anne Kopta David Britton Dorothy Maddison Anakreons Grab schreibt Dorothy Maddison Hans Pfitzner Gefunden Die Liebende Anne Kopta Harald Genzmer Gleich und gleich Mignon und der Harfner Warren Hoffer Jerry Doan Heidenriislein Hoffer Judy May and Warren Hoffer Dfimmrung senkte sich hernieder Judy May An den Mond Liebhaber in allen Gestalten Waruen Johannes Brahms Der du von dem Himmel bist Ganymed David Britton Franz Schubert Am Flusse Ilmenau (Over AII the Treetops) David Britton Erster Verlust Judy May Gliickliche Fahrt Wasser Franz Schubert Warren Hoffer Meeres Stille Es rauschet das Willkommen und Abschied Friedrich Curschmann Anne Kopta, Dorothy Maddison, Judy May Ich denke dein Robert Schumann Heidi Yost and David Britton *****rF**>1.**rk*** 'IIis qryfiotis Deficotel to tfii gv{enory of 9{eflintstitton 7932-7999 Ma nager Paul Staff Manager Staff Baker Wood P.O. Box B7O4O5, Tempe, AZB52B7-0405 EVENTS HOTLINE CALL 965-TUNE (95s-8853) A Song Recital in Commemoration of the 250th Birth Anniversary of Johann Wolfgang von Goethe (1749-1832) "Nobody's poems can be set to music as well as Goethe's". This remark, attributed to Ludwig van Beethoven, seems indicative of the attraction that Johann Wolfgang von Goethe with his lyrical output has exerted on composers for over two hundred years. Nearly 400 of his poems have been set to music- the majority for one voice and piano, and many of them dozens, even hundreds of times. Goethe's ambivalent attitude toward music - expressed in letters, essays, conversations, and more reflective than spontaneous - had generated criticism already during his lifetime. Critical voices were aroused mainly by the poet's preference for simple, seemingly artless, and ideally strophic, song patterns. The composition merely had to emphasize ('betonen') the poem, and it was not its function to make audible and imaginable through melody and accompaniment the atmosphere and cryptic meaning that might be concealed behind the words. The great poet simply could not have, from this point of view, a real understanding of the Lied compositions of his contemporaries Beethoven and Schuberl. Goethe's remark, on the other hand, that "music ('Tonkunst') is the true element from which springs all poetry and to which it returns", appears to be like an invitation to composers to investigate the "musicality" in his poems and to garb the decidedly pictorial component in them in a musical body suit, so to speak. The speech rhythm in Goethe's poems is a true miracle with its wealth of nuances, in its flexibility and richness of inflexion. lt allows the musician the greates possible freedom for his own creativity and gives him space for "completion" ('Vervollstindigung', Goethe). With this afternoon's selection of solo and ensemble songs, we will make an attempt to give an impression of the abundant variety of Goethe settings from approximately 150 years. The songs have been loosely grouped together under four topics and are presented in five sets: I. il. ilt. lV. and V Water The Night Flowers Love We surely hope that with our selections the fascination that Goethe has exercised on composers of diverse origins will come across; so that you - dear listeners - might even get over the disappointment of not hearing this afternoon some of the well-known songs ltke Erlkonig, Gretchen am Spinnrade, or Das Veilchen. -Eckafi Sellheim TRANSLATIONS Phdnomen, Op. 61 Johannes Brahms (1 Glrickliche Fahrt (ca. 1942) ,3 (1874) (Happy Journey) 833-1 897) Hanns Eisler When Phoebus mates with the wall of rain, a colorJul arch evolves. I see a similar circle in the mist; though this arch is white it is yet the vault of heaven. Thus you, cheedul old man, should not be distressed; you will love, even when your hair is white. (1 BgB-1 962) The fog breaks up. The sky is bright, and Aolus undoes the anxious bond. The winds murmur, the sailor moves. Swiftly! The waves are parting, the distance is wearing, I see already the land. Auf dem See, D. 543 (1817) Am Flusse, D. 160 (1815) (On the Lake) Franz Schubert (1 797 -1828) I draw fresh nourishment, new blood from this wide world. How gracious and good is Nature, who holds me to her breast. Our boat is cradled on the waves, and the cloud-capped mountains come to meet us as we mcve to the rhythm of the oars. Why should my eyes be cast down? Golden dreams, willyou ever return? Dreams, begone, golden as you are; here too is love, and life. (By the Stream) Franz Schubert FIow far away, songs I loved so well, into the ocean of oblivion. No enraptured youth will ever sing you now, or maiden in the springtime of her life. You were the songs that told my tale of love, but now they hold my faithfulness to scorn. Since you were written on the water, flow far away, even as the waters f low. Es rauschet das Wasser, Op. 28,3 (1862) (The Water Rushes) Johannes Brahms A thousand swaying stars twinkle in the waves; faint mists engulf the looming distances; the morning breeze takes wing across the shadowed bay, and the ripening fruit is mirrored in the surface of the lake. She The water rushes and does not halt; the stars merrily cross the sky; the clouds merrily pass across the sky thus love rushes and travels. He The waters rush, the clouds vanish; but the stars remain; they travel and stroll. Thus it happens with true love; it moves, it stirs up, and does not change. Meeres Stille (ca. 1906) (Calm Sea) Charles Griffes (1 BB4-1 920) Deep silence rules the waters; the sea rests motioniess, and the boatman gazes anxiously round him at the glassy surface of the ocean. No wind from any quarter: the silence of death--fearful! ln the whole vast expanse of water no wave rises. DSmmrung senkte sich von oben (Twilight Has Lowered f rom Above) Op. 5e,1 (1874) Johannes Brahms Twilight has lowered from above; now everything nearby is distant, but the evening star has just been raised aloft with lovely light. Everything wavers and becomes indistinct; mists creep up the heights; the lake, reflecting dark areas with accents of deeper blackness, is at rest Now in the region of the east I have a presentiment of moonlight and glow; the hairlike branches of slender willows play on the surface of the nearby stream, Through the sporting of the agitated shadows, Luna's magical rays tremble, and through the eyes, coolness soothingly steals into the heart. Singet nicht in Trauertcinen (Do Not Sing in MournfulTones) Op. 98a,7 (1849) Robert Schumann (1 81 0-1 856) Do not sing in mournful tones of the loneliness of night; no, fair ladies, it is made for companionship. As woman was given to man for his better half, so is night half of life, and the better half by far Can you rejoice in the daytime, which only interrupts our pleasures? It may be useful as a distraction, but for nothing else. Yet when at night-time the lamp's sweet half-light flows, and laughter and love pour out from lip to nearby lip; when the wanton fleet-foot boy, who at other times f lashes past like wildf ire, will often, in return for some small gift, tarry awhile and join in the games; when the nightingale sings its song for lovers, which to captives and mourners conveys only pain and lament; then, wrtn how irght a heartbeat do you not near the bell that with twelve solemn strokes announces rest and seculty? Therefore, during the long daytime remember thjs, dear heart; every day brings its troubles, and the night has its pleasures. llmenau (1902) (Over All the Treetops) Charles lves (1 87 4-1 954) Over every summit is peace, in every tree-top you feel scarce a breath; the birds in the wood are hushed Only wait, soon you too will be at peace. Der du von dem Himmel bist (ca. 1950) (You Who Are f rom Heaven) Harald Genzmer (b. 1909) You who are from heaven, who eases all pain and sorrow, and the doubly wretched, doubly with f resh vigour f ill, ah, l'm tired of restless life! For what is all this pain and joy? Sweet peace, come, ah come into my breast! An den Mond, Op. 1B (1906) Heidenroslein, Op.53,1 (ca. 1821) (To the [,4oon) Hans Pf itzner (1869-19a9) lWild Fose; Jan Vacldv Tomdsek (1774-1850) Wood and vale again you fili silently with gleam of mist, and at last set free my soul entirely; you spread over my domain soothingly your gaze, gently as a friend's eye upon my fate. My heart feels every echo of glad and troubled times, I walk between joy and pain in loneliness. Fiow on, dear river! Never shall I be glad, love and laughter have rolled away --and faithfulness-- just so. Once I did possess that which is so precious! That which, to one's torment, is forgotten never. Murmur on, river, through the vale, on without cease, on. whispering melodies A boy saw a wild rose growing, wild rose on the heath, was so young and morning-fair, fast he ran to see it near, saw it with great joy. Wild rose, wild rose, wild rose red, wild rose on the heath. Said the boy: You will I pick, wild rose on the heath! Said the wild rose: You will I prick, that you'll forever think of me, and suffer it I will not. Wild rose, wild rose, wild rose red, wild rose on the heath. And that unruly boy did pick the wild rose on the heath; the rose fought back and pricked, oh-ing and ah-ing helped not at all, he had just to suffer. Wild rose, wild rose, wild rose red, wild rose on the heath. Gleich und Gleich (1819) (Like with Like) Carl Friedrich Zelter (1758-1832) for my song, A little flower-bell had burgeoned early when, on winter nights, you rage and flood; or you lap the spring-time glory of young buds Happy he, who, without hate, shuts himself from the world holding to his heart one friend, and with hi..n enjoys that which, unknown to men, or not pondered, through the labyrinth of the heaft wanders in the night. up from the ground in lovely blossom. There came a bee and sipped daintily. They must surely be made for each other Gefunden, Op. 56,1 (1903) (Found) Richard Strauss (1 864-1 949) I was strolling along in the woods, and to seek nothing was my aim. I saw a little flower in the shadow, glowing like a star, beautiful like an eye. I wanted to break it, when it said: "Should I be born only to wilt?" I dug it up with all its roots and carried it to the garden at the pretty house And planted it again at a quite place; now it has branches and continues to blossom Anakreons Grab (1888) (The Grave of Anacreon) Hugo Wolf (1860-1903) Here, where the rose blooms, where vine and laurel entwine. where the turlle-dove calls its mate, where the cicada sings for joY, whose grarre is this, so beautifully pianted and adorned with life by all the gods? It is Anacreon's resting Place. Spring, summer and autumn were enjoyed by the happy poet; and at last this mound has sheltered him from the winter. my hearl was wnolly at your side and every breath was for you. Rose-hued spring weather f ramed your lovely face, and tenderness for me--ye godsl This I hoped, but did not deservei But ah, with the morning sun, parting wrings my heart: in your kisses what blissl ln your eyes what pain! I went, you stood, gaze downcast, and looked, wet-eyed after me: and yet, what happiness to be loved! And what happiness, gods, to love! Erster Verlust, D.226 (1815) BlumengruB, OP. 22 (ca. 1839) (Flower Greeting) Friedrich Curschmann (1805-1841 ) May the bouquet I have Plucked greet you manY thousands of times! I have bent often--ah, at least a thousand times, and pressed it to mY heaft something like a hundred thousandl Wilkommen und Abschied, D.767 (1822) (Welcome and DeParture) Franz Schubert My heart surged, quick, to horse! It was done before I knew. Evening cradled the ear1h, and to the mountains clung the night; clothed in mist the oak stood, an upreared giant there, where darkness from the bushes peered as a hundred dark eYes. The moon from a hill of cloud gazed wretchedlY through the haze, the breezes, gentlY stirring, roared awesomely about mY ears; night brought forth a thousand monsters but bright and cheerful was mY mood: in my veins what fire! ln my heart what a glow! You I saw, and gentle joY flowed from your sweet gaze upon me; (First Loss) Franz Schubert Oh, who will bring the fair days back, those days of first love, oh, who will bring but one hour of that sweet time backl Lonely, I feed my wound, and with ever-renewed lament mourn the happiness I lost. Oh, who will bring the fair days. that sweet time back! Ganymed, D. 544 (1817) (Ganymede) Franz Schubert that I were wodhy to you I wish I were gold, ever at your call; How in the morning radiance you glow upon me from all sides, Spring, beloved! With love's thousand{old bliss to my heart thrusts itself your eternal ardour's sacred feeling, beauty rrnending! and should you buy something, I'd come running once more. I wish I were gold, ever at your call. But lam, as lam, and take me for that! lf better you want, then get better made Might I clasp you in these armsl lam, as lam, so take me for that. Ah, at your breast I lie, languish, and your f lowers, your grass thrust themselves to mY heaft. You cool the burning thirst of my bosom, sweet morning wind! The nightingale calls me lovingly f rom the misty vale. lcome, I come! Whither? Ah, whither? Upwards! Upwards the striving The clouds float down, the clouds bow down to yearning love. To me! To me! ln your lap upwards! Embracing embraced! Upwards to your bosom, All-loving Father! Liebhaber in allen Gestalten, D. 588 (1817) (Lover in all Guises) Franz Schubert I wish I were a fish, so nimble and brisk; and if you came to angle, I would be there. I wish I were a fish, so nimble and brisk. lwish lwere a horse, that I were worthy to You. Oh--if I only were a carriage To carry you comfoftablY. lwish lwere a horse, Mignon und der Harfner, D. 87711 (1826) (Mignon and the HarpeQ Franz Schubefi Only those who know yearning can fathom grief like mine. Alone and sundered from alljoy I scan the skies to the south. Ahl he who loves and knows me is far away My senses reel, my inmost being burns. Only those who know yearning can fathom grief like mine. Die Liebende schreibt, Op. 86,3 (1831) (The Beloved Writes) Felix Mendelssohn-Baftholdy (1 809-1 847) A look from your eyes into mine, a kiss from your mouth upon my mouth, who, like me, is assured of these, can aught else delight her? Far f rom you, a stranger to my own, constantly I let my thoughts range round, and always to that hour do they return, that only hour; then I begin to weep. Abruptly those tears dry uP again: his love, I think, he sends into this silence should you not reach into the distance? Hark to the whisper of this wafting love; your will is my sole happiness on earth, your loving will towards me; give me a sign! Mit einem gemalten Band, Op. 83,3 (1810) (To Accompany a Painted Ribbon) young and fair and carefree, so that it resounded through the fields-so ia la i le ralla Thyrsis offered her, just for one kiss, two lambkins, three on the spot. She looked at him roguishly for a while, but then went on singing and laughing: I sola Ial lerallai And another offered her ribbons, and the third his heart; but she jested with head and ribbons as with the lambs: just la la ! Ie ral la I Die Bekehrte (1889) (The Repentant Shepherdess) Hugo Wolf ln the red glow o{ sunset I walked silently through the wood. Damon sat and blew his flute so that the rocks resounded; so la la ! And he drew me down to him and kissed me so gently, so sweetly, and I said "blow again' and the good-hearted lad blew. So la la I Ludwig van Beethoven (1770'1827) My peace of mine is now lost, Small flowers. small leaves are strewn for me with light hand my joy has flown away, and I hear in my ears only the old tones of so la la ! ralla! by good young spring gods playfully on airy ribbon. Zephyr, bear it on your wings, twine it round my loved one's dress; then before her glass she'll steP in all her gaiety. Rose-encircled she will see herself, fresh as any rose. One look, beloved! And rewarded well enough l'll be Feel what this heaft feels, freely give me your hand, and let the bond binding us be no frail ribbon of roses! Die Spr