BEETHOVEN SCHUBERT - The Cleveland Orchestra
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REINBERGER CHAMBER HALL
S U N DAY, M A RC H 6 , 2O2 2
C LE V E L A N D
BEETHOVEN
SCHUBERT
M A R K PA D M O R E T E N O R
M I T S U KO U C H I DA P I A N O
I N R E C ITA L
PRESENTS
Mark Padmore, tenor Mitsuko Uchida, piano
Reinberger Chamber Hall, Severance Music Center
Sunday afternoon, March 6, 2022, at 3:00 p.m.
LUDWIG VAN BEETHOVEN An die Hoffnung (To hope), Opus 94
(1770–1827)
Resignation, WoO 149
Abendlied unterm gestirnten Himmel
(Evening hymn under a starry sky), WoO 150
An die ferne Geliebte
(To the distant beloved), Opus 98
1. Auf dem Hügel sitz’ ich, spähend
(On the hill sit I, peering)
2. Wo die Berge so blau
(Where the mountains so blue)
3. Leichte Segler in den Höhen
(Light veils in the heights)
4. Diese Wolken in den Höhen
(These clouds in the heights)
5. Es kehret der Maien, es blühet die Au
(May returns, the meadow blooms)
6. Nimm sie hin denn, diese Lieder
(Take, then, these songs)
INTERMISSION
2 Program The Cleveland Orchestra
FRANZ SCHUBERT Schwanengesang (Swan Song), D. 957
(1770–1827) 1. Liebesbotschaft (Love’s Message)
2. Kriegers Ahnung (Warrior’s Foreboding)
3. Frühlingssehnsucht (Spring Longing)
4. Ständchen (Serenade)
5. Aufenthalt (Resting Place)
6. In der Ferne (Far Away)
7. Abschied (Farewell)
8. Der Atlas (Atlas)
9. Ihr Bild (Her Portrait)
10. Das Fischermädchen (The Fishermaiden)
11. Die Stadt (The Town)
12. Am Meer (By the Sea)
13. Der Doppelgänger (The Wraith)
14. Die Taubenpost (The Pigeon Post)
This program is approximately 1 hour and 40 minutes in length.
Mark Padmore’s performance is generously sponsored by
Tony and Diane Wynshaw-Boris.
Mitsuko Uchida’s performance is generously sponsored by
Dr. and Mrs. Hiroyuki Fujita.
2021-2022 Season Sponsor: The J. M. Smucker Co.
2021–2022 Season Program 3
When Poetry Sings, and
Composer Becomes Poet By Michael Cirigliano II
IT’S OFTEN SAID THAT instrumental music holds the capacity to express
the inexpressible. The truth of that maxim is undeniable — works like Mahler’s
Ninth Symphony, Bach’s Chaconne for solo violin, and Barber’s Adagio for
Strings move listeners because they connect us to untold feelings of the
sublime, the universal. But does this logic also imply that words lessen music’s
emotional potency?
That was the debate brewing in Vienna at the dawn of the 19th century.
Critics like Ludwig Tieck and E. T. A. Hoffmann mused that while instrumental
music lifts listeners to a cosmic plane of being, music for voice — since it’s
inherently subordinate to its text — leaves us earthbound, tethered to the
mundane experience of human emotions.
That musical hierarchy was about to undergo a massive change, however,
thanks to two developments: the rapid proliferation of German poetry and the
rise of domestic music making at the end of the 18th century. With composers
running in the same social circles as poets, and the fire of artistic inspiration
and collaboration heating the cafes and salons of Vienna, a new vision for
German song emerged — one that saw the form’s distinctive ability to speak
from the heart as its superpower.
And so the tradition of the folk song, or Volkslied — settings of simple strophic
poetry in an unadorned musical style — was transformed into the German art
song, or deutsches Kunstlied — an equal marriage of music and poetry that
would ultimately attain pride of place alongside the symphony, sonata, and
string quartet.
The program Mark Padmore and Mitsuko
Uchida present this afternoon shows just
how quick that transformation was. Only
twelve years separate Beethoven composing
one of the first German song cycles, An die
ferne Geliebte, and Schubert writing what
would become the Schwanengesang, his
final statement in the artform he brought
to maturity.
Although Beethoven isn’t often thought
of as a composer of song, he did leave his
revolutionary mark on the lied. Many of
those efforts are early songs that weren’t
blessed with an opus number, but there’s
no denying the elegant beauty of “An die
Beethoven Hoffnung” or “Abendlied unterm gestirnten
4 When Poetry Sings The Cleveland Orchestra
Himmel,” which quietly explore the same ideas of Fate and struggle he addressed in his instrumental works. But in 1816, Beethoven changed course. Instead of working with individual songs, he assembled a set of poems centered around a single narrative he could weave throughout a larger work. Thus was born An die ferne Geliebte, the first notable Liederkreis (song cycle) in German music: six songs so interwoven in musical form and poetic setting as to make it impossible to extract any one of them from their brethren. Beethoven’s conduit for that integration was the piano, whose part he Schubert made far more complex than the simple accompaniment it usually provided in a folk song. It’s those periods of connection between songs where the piano, alone, offers poignant moments of reflection. In keeping with the poetic style of the Volkslied, An die ferne Geliebte doesn’t showcase the work of Goethe or Schiller — the towering literary figures of the day, whose poems were regularly used for lieder settings (including Schubert’s legendary “Erlkönig” and “Gretchen am Spinnrade”). Beethoven instead chose to set the humble poetry of Alois Jeitteles, a Viennese physician who dabbled in writing. The words are simple and unadorned, centered on the early Romantic themes of distant longing and spiritual communion with nature. An die ferne Geliebte was a testament to the possibilities of the song cycle, and it inspired Schubert immensely. Over the next decade, he would compose two cycles on the poetry of Wilhelm Müller, Die Schöne Müllerin and Winter- reise, before embarking on the lieder that would form the Schwanengesang. Assembled by Schubert’s brother and publisher after his death in 1828, Schwanengesang isn’t one song cycle per se, but two: the first, a setting of seven poems by Ludwig Rellstab; and the second, featuring six by Heinrich Heine. One additional song with a text by Johann Gabriel Seidl, “Die Tauben- post,” was tacked on at the end to provide musical symmetry. Together they form the Frankenstein’s monster of German lieder. Like Beethoven, Schubert didn’t limit himself to the titans of German poetry. Among those lesser-known writers Schubert explored was Rellstab, whose poems Beethoven had also once considered setting. In both character and 2021–2022 Season When Poetry Sings 5
story, Schubert’s seven Rellstab songs occupy the same world of distant lovers as Beethoven’s quintessentially Romantic cycle. The six poems of Heine are far more turbulent, filled with the feverish obses- sion with loss, isolation, and love bitterly denied that would make Heine one of the most significant writers of his time. The psychological torment that runs through these poems triggered radical new musical ideas for Schubert — especially in his piano writing, in which he evokes everything from the hollow creep of a phantom figure in “Der Doppelgänger” to the heaven-storming wails of woe in “Der Atlas.” It’s in these Heine songs that we get a glimpse of where Schubert wanted to go next — paths ultimately left to future generations to travel. They look ahead to the amorphous, serpentine tonalities that would become the hallmark of late-German Romanticism at the beginning of the 20th century, a through line formed between the primal screams in “Der Atlas” and “Der Doppelgänger” and the expressionist nightmares endured by the title characters in Alban Berg’s Wozzeck and Lulu, composed nearly 100 years later. Though we’ll never know what innovations Schubert would have brought to his songs had he not died so young, we can be eternally grateful for all Schubert did to advance the German lied — merging poetry and music to manifest an altogether new art form. One that, in the words of the famed lieder singer Lotte Lehmann, “[welds] words and music with equal feeling into one whole, so that the poet sings and the composer becomes poet, and two arts are born anew as one.” And when those two arts act as one, as will happen this afternoon in Reinberger Chamber Hall, German lieder brings us closer to understanding the universal emotions of our shared human experience — not by reaching out towards the cosmos, but by looking within, to the workings of our own hearts. Michael Cirigliano II is a freelance arts journalist and copywriter. He has written for Lincoln Center for the Performing Arts, the Oregon Symphony, the Metropolitan Museum of Art, and the Whitney Museum of American Art. 6 When Poetry Sings The Cleveland Orchestra
Works by Beethoven An die Hoffnung (To hope) By Christoph August Tiedge Ob ein Gott sei? Ob er einst erfülle, Is there a God? Will he ever fulfill Was die Sehnsucht weinend sich verspricht? The longing expressed in tears? Ob, vor irgend einem Weltgericht, Will this mysterious being reveal himself Sich dies rätselhafte Sein enthülle? Before the final day of reckoning? Hoffen soll der Mensch! Er frage nicht! Mankind must hope! Do not ask! Die du so gern in heil’gen Nächten feierst Blessed companion of the holy night Und sanft und weich den Gram verschleierst, Whose kind and gentle touch dispels Der eine zarte Seele quält, The suffering of sensitive souls, O Hoffnung! Lass, durch dich emporgehoben, Oh hope! That by your almighty strength Den Dulder ahnen, dass dort oben The grieving soul may find Ein Engel seine Tränen zählt! An angel who acknowledges his tears! Wenn, längst verhallt, geliebte Stimmen schweigen; When the sound of beloved voices fades away; Wenn unter ausgestorbnen Zweigen When beneath dead branches Verödet die Erinnerung sitzt: Memory sits in isolation: Dann nahe dich, wo dein Verlassner trauert, Approach the bereaved one, Und, von der Mitternacht umschauert, Who, encircled by the shivering moonlight, Sich auf versunkne Urnen stützt. Stands over sunken urns. Und blickt er auf, das Schicksal anzuklagen, And as he lifts his gaze, accusing fate, Wenn scheidend über seinen Tagen As the last rays of sunshine Die letzten Strahlen untergehn: Set on his life: Dann lass ihn, um den Rand des Erdentraumes, Let him witness, through earthly dreams, Das Leuchten eines Wolkensaumes A cloud’s silver lining Von einer nahen Sonne sehn! Illuminated by the sun! Resignation By Paul von Haugwitz Lisch aus, mein Licht! Out, my light! Was dir gebricht, What you have lost Das ist nun fort, Has gone An diesem Ort and you will never find it Kannst du’s nicht wieder finden! in this place again. Du mußt nun los dich binden. The ties that hold you, you must sever. 2021–2022 Season Sung Texts 7
Sonst hast du lustig aufgebrannt, Once your flame was bright and fair, Nun hat man dir die Luft entwandt; Now your air has turned elsewhere. Wenn diese fort geweht, Without air, Die Flamme irregehet, flame flickers, goes awry, Sucht, findet nicht; Searches in vain; Lisch aus, mein Licht! so die, my light, die. Abendlied unterm gestirnten Himmel (Evening hymn under a starry sky) By Heinrich Goeble Wenn die Sonne niedersinket, When the sun goes down Und der Tag zur Ruh sich neigt, and the day draws to its peaceful close, Luna freundlich leise winket, when Luna beckons gently, kindly Und die Nacht herniedersteigt; and night falls. Wenn die Sterne prächtig schimmern, When the stars shine gloriously Tausend Sonnenstrassen flimmern: and a thousand sunbeams shimmer, Fühlt die Seele sich so gross, how great the soul then feels, Windet sich vom Staube los. shaking itself free from the dust. Schaut so gern nach jenen Sternen, How the soul loves to gaze at those stars, Wie zurück ins Vaterland, as if back to its native land, Hin nach jenen lichten Fernen, to gaze at those distant lights, Und vergisst der Erde Tand; forgetting earth’s trivial show. Will nur ringen, will nur streben, It seeks only to struggle, to strive Ihre Hülle zu entschweben: to float free of its earthly husk. Erde ist ihr eng und klein, Earth is too small and confining, Auf den Sternen möcht sie sein. it longs to be upon the stars. Ob der Erde Stürme toben, Whether earth’s storms rage Falsches Glück den Bösen lohnt: or false fortune rewards the evil, Hoffend blicket sie nach oben, in hope it gazes upwards Wo der Sternenrichter thront. to where the Starry Judge sits enthroned. Keine Furcht kann sie mehr quälen, Fear can no longer torment it, Keine Macht kann ihr befehlen; no power can command it; Mit verklärtem Angesicht, with transfigured countenance Schwingt sie sich zum Himmelslicht. it soars to the light of heaven. Eine leise Ahnung schauert A faint presentiment from those worlds Mich aus jenen Welten an; makes me shudder. Lange, lange nicht mehr dauert My earthly pilgrimage Meine Erdenpilgerbahn, will not last much longer. Bald hab ich das Ziel errungen, Soon I shall have reached the goal, Bald zu euch mich aufgeschwungen, soon I shall have soared to you, Ernte bald an Gottes Thron soon I shall reap at God’s throne Meiner Leiden schönen Lohn. the glorious reward for my sorrows. English translation © Richard Wigmore 8 Sung Texts The Cleveland Orchestra
An die ferne Geliebte (To the distant beloved) By Alois Jeitteles 1. Auf dem Hügel sitz’ ich, spähend On the hill sit I, peering Auf dem Hügel sitz’ ich, spähend On the hill sit I, peering In das blaue Nebelland, Into the blue, hazy land Nach den fernen Triften sehend, Toward the faraway pastures Wo ich dich, Geliebte, fand. Where I you, beloved, found. Weit bin ich von dir geschieden, Far am I from you parted; Trennend liegen Berg und Tal Separating us are hill and valley, Zwischen uns und unserm Frieden, Between us and our peace, Unserm Glück und unsrer Qual. Our happiness and our sorrow. Ach, den Blick kannst du nicht sehen, Ah! The look can you not see, Der zu dir so glühend eilt, That to you so ardently rushes, Und die Seufzer, sie verwehen And the sighs, they blow away In dem Raume, der uns teilt. In the space that separates us. Will denn nichts mehr zu dir dringen, Will then nothing more be able to reach you, Nichts der Liebe Bote sein? Nothing be messenger of love? Singen will ich, Lieder singen, I will sing, sing songs, Die dir klagen meine Pein! That to you speak of my pain! Denn vor Liedesklang entweichet For before the sound of love escapes Jeder Raum und jede Zeit, every space and every time, Und ein liebend Herz erreichet And a loving heart reaches, Was ein liebend Herz geweiht! What a loving heart has consecrated! 2. Wo die Berge so blau Where the mountains so blue Wo die Berge so blau Where the mountains so blue Aus dem nebligen Grau Out of the foggy grey Schauen herein, Look down, Wo die Sonne verglüht, Where the sun dies, Wo die Wolke umzieht, Where the cloud encircles, Möchte ich sein! I wish I were there! Dort im ruhigen Tal There is the restful valley Schweigen Schmerzen und Qual. Stilled are suffering and sorrow Wo im Gestein Where in the rock Still die Primel dort sinnt, Quietly the primrose meditates, Weht so leise der Wind, Blows so lightly the wind, Möchte ich sein! I wish I were there! Hin zum sinnigen Wald There to the thoughtful wood Drängt mich Liebesgewalt, The power of love pushes me, 2021–2022 Season Sung Texts 9
Innere Pein. Inward sorrow, Ach, mich zög’s nicht von hier, Ah! This moves me not from here, Könnt ich, Traute, bei dir Could I, dear, by you Ewiglich sein! Eternally be! 3. Leichte Segler in den Höhen Light veils in the heights Leichte Segler in den Höhen, Light veils in the heights, Und du, Bächlein klein und schmal, And you, little brook, small and narrow, Könnt mein Liebchen ihr erspähen, Should my love spot you, Grüsst sie mir viel tausendmal. Greet her, from me, many thousand times. Seht ihr, Wolken, sie dann gehen See you, clouds, her go then, Sinnend in dem stillen Tal, Meditating in the quiet valley, Lasst mein Bild vor ihr entstehen Let my image stand before her In dem luft’gen Himmelssaal. In the airy heavenly hall. Wird sie an den Büschen stehen, If she near the bushes stands, Die nun herbstlich falb und kahl. Now that autumn is faded and leafless, Klagt ihr, wie mir ist geschehen, Lament to her, what has happened to me, Klagt ihr, Vöglein, meine Qual! Lament to her, little birds, my suffering! Stille Weste, bringt im Wehen Quiet west, bring in the wind Hin zu meiner Herzenswahl To my heart’s chosen one Meine Seufzer, die vergehen My sighs, that pass Wie der Sonne letzter Strahl. As the last ray of the sun. Flüstr’ ihr zu mein Liebesflehen, Whisper to her of my love’s imploring, Lass sie, Bächlein, klein und schmal, Let her, little brook, small and narrow, Treu in deinen Wogen sehen Truly, in your waves see Meine Tränen ohne Zahl! My tears without number! 4. Diese Wolken in den Höhen These clouds in the heights Diese Wolken in den Höhen, These clouds in the heights, Dieser Vöglein muntrer Zug, These birds gaily passing, Werden dich, o Huldin, sehen. Will see you, my beloved. Nehmt mich mit im leichten Flug! Take me with you on your light flight! Diese Weste werden spielen These west winds will play Scherzend dir um Wang’ und Brust, Joking with you about your cheek and breast, In den seidnen Locken wühlen. In the silky curls will dig. Teilt’ ich mit euch diese Lust! I share with you this pleasure! Hin zu dir von jenen Hügeln There to you from this hill Emsig dieses Bächlein eilt. Busily, the little brook hurries. Wird ihr Bild sich in dir spiegeln, If your image is reflected in it, Fliess zurück dann unverweilt! Flow back without delay! 10 Sung Texts The Cleveland Orchestra
5. Es kehret der Maien, es blühet die Au May returns, the meadow blooms Es kehret der Maien, es blühet die Au, May returns, the meadow blooms, Die Lüfte, sie wehen so milde, so lau, The breezes they blow so softly, so mildly, Geschwätzig die Bäche nun rinnen. Chattering, the brooks now run. Die Schwalbe, die kehret zum wirtlichen Dach, The swallow, that returns to her hospitable roof, Sie baut sich so emsig ihr bräutlich Gemach, She builds, so busily, her bridal chamber, Die Liebe soll wohnen da drinnen. Love must dwell there. Sie bringt sich geschäftig von kreuz und von quer She brings, so busily, from all directions, Manch weicheres Stück zu dem Brautbett hieher, Many soft pieces for the bridal bed, Manch wärmendes Stück für die Kleinen. Many warm pieces for the little ones. Nun wohnen die Gatten beisammen so treu, Now live the couple together so faithfully, Was Winter geschieden, verband nun der Mai, What winter has separated is united by May, Was liebet, das weiss er zu einen. What loves, that he knows how to unite. Es kehret der Maien, es blühet die Au. May returns, the meadow blooms, Die Lüfte, sie wehen so milde, so lau. The breezes they blow so softly, so mildly, Nur ich kann nicht ziehen von hinnen. Only I cannot go away from here. Wenn alles, was liebet, der Frühling vereint, When all that loves, the spring unites, Nur unserer Liebe kein Frühling erscheint, Only to our love no spring appears, Und Tränen sind all ihr Gewinnen. And tears are our only consolation. 6. Nimm sie hin denn, diese Lieder Take, then, these songs Nimm sie hin denn, diese Lieder, Take, then, these songs, Die ich dir, Geliebte, sang, That I to you, beloved, sang, Singe sie dann abends wieder Sing them again in the evenings Zu der Laute süssem Klang. To the sweet sounds of the lute! Wenn das Dämmrungsrot dann zieht When the red twilight then moves Nach dem stillen blauen See, toward the calm, blue lake, Und sein letzter Strahl verglühet And the last ray dies Hinter jener Bergeshöh; behind that hilltop; Und du singst, was ich gesungen, And you sing, what I have sung, Was mir aus der vollen Brust What I, from my full heart, Ohne Kunstgepräng’ erklungen, Artlessly have sounded, Nur der Sehnsucht sich bewusst: Only aware of its longings. Dann vor diesen Liedern weichet For before these songs yields, Was geschieden uns so weit, What separates us so far, Und ein liebend Herz erreichet And a loving heart reaches Was ein liebend Herz geweiht. For what a loving heart has consecrated. 2021–2022 Season Sung Texts 11
Schubert’s Schwanengesang Liebesbotschaft (Love’s Message) By Ludwig Rellstab Rauschendes Bächlein, Murmuring brooklet, So silbern und hell, So silver and bright, Eilst zur Geliebten Do you hasten, So munter und schnell? So lively and swift, to my beloved? Ach, trautes Bächlein, Ah, sweet brooklet, Mein Bote sei Du; Be my messenger. Bringe die Grüße Bring her greetings Des Fernen ihr zu. From her distant lover. All’ ihre Blumen All the flowers, Im Garten gepflegt, Tended in her garden, Die sie so lieblich Which she wears Am Busen trägt, So charmingly on her breast, Und ihre Rosen And her roses In purpurner Glut, With their crimson glow: Bächlein, erquicke Refresh them, brooklet, Mit kühlender Flut. With your cooling waters. Wenn sie am Ufer, When on your banks In Träume versenkt, She inclines her head Meiner gedenkend, Lost in dreams, Das Köpfchen hängt; Thinking of me, Tröste die Süße Comfort my sweetheart Mit freundlichem Blick, With a kindly glance, Denn der Geliebte For her beloved Kehrt bald zurück. Will soon return. Neigt sich die Sonne When the sun sinks Mit rötlichem Schein, In a red flush, Wiege das Liebchen Lull my sweetheart In Schlummer ein. To sleep. Rausche sie murmelnd With soft murmurings In süße Ruh, Bring her sweet repose, Flüstre ihr Träume And whisper Der Liebe zu. Dreams of love. 12 Sung Texts The Cleveland Orchestra
Kriegers Ahnung (Warrior’s Foreboding) By Ludwig Rellstab In tiefer Ruh liegt um mich her In deep repose my comrades in arms Der Waffenbrüder Kreis; Lie in a circle around me; Mir ist das Herz so bang und schwer, My heart is so anxious and heavy, Von Sehnsucht mir so heiß. So ardent with longing. Wie hab’ ich oft so süß geträumt How often I have dreamt sweetly An ihrem Busen warm! Upon her warm breast! Wie freundlich schien des Herdes Glut, How cheerful the fireside glow seemed Lag sie in meinem Arm! When she lay in my arms. Hier, wo der Flammen düstrer Schein Here, where the sombre glimmer of the flames, Ach! nur auf Waffen spielt, Alas, plays only on weapons, Hier fühlt die Brust sich ganz allein, Here the heart feels utterly alone, Der Wehmut Träne quillt. A tear of sadness wells up. Herz! Daß der Trost Dich nicht verläßt! Heart, may comfort not forsake you! Es ruft noch manche Schlacht. Many a battle still calls. Bald ruh’ ich wohl und schlafe fest, Soon I shall rest well and sleep deeply, Herzliebste—Gute Nacht! Sweetest love—goodnight! Frühlingssehnsucht (Spring Longing) By Ludwig Rellstab Säuselnde Lüfte Whispering breezes, Wehend so mild, Blowing so gently, Blumiger Düfte Filled with the fragrant Atmend erfüllt! Breath of flowers, Wie haucht ihr mich wonnig begrüßend an! How blissful to me is your welcoming breath! Wie habt ihr dem pochenden Herzen getan? What have you done to my beating heart? Es möchte Euch folgen auf luftiger Bahn! It yearns to follow you on your airy path! Wohin? Where to? Bächlein, so munter Silver brooklets, Rauschend zumal, Babbling so merrily, Wollen hinunter Cascade down Silbern ins Tal. To the valley below. Die schwebende Welle, dort eilt sie dahin! Their ripples glide swiftly by! Tief spiegeln sich Fluren und Himmel darin. The fields and the sky are deeply mirrored there. Was ziehst Du mich, sehnend verlangender Sinn, Why yearning, craving senses, do you draw me Hinab? Downwards? Grüßender Sonne Sparkling gold Spielendes Gold, Of the welcoming sun, Hoffende Wonne You bring Bringest Du hold. The fair joy of hope. 2021–2022 Season Sung Texts 13
Wie labt mich Dein selig begrüßendes Bild! How your welcoming image refreshes me! Es lächelt am tiefblauen Himmel so mild It smiles so benignly in the deep blue sky Und hat mir das Auge mit Tränen gefüllt! And yet has filled my eyes with tears! Warum? Why? Grünend umkränzet The woods and hills Wälder und Höh’! Are wreathed in green! Schimmernd erglänzet Snowy blossom Blütenschnee! Shimmers and gleams! So dränget sich Alles zum bräutlichen Licht; All things strain towards the bridal light; Es schwellen die Keime, die Knospe bricht; Seeds swell, buds burst; Sie haben gefunden was ihnen gebricht: They have found what they lacked: Und Du? And you? Rastloses Sehnen! Restless longing, Wünschendes Herz, Yearning heart, Immer nur Tränen, Are there always only tears, Klage und Schmerz? Complaints and pain? Auch ich bin mir schwellender Triebe bewußt! I too am aware of swelling impulses! Wer stillet mir endlich die drängende Lust? Who at last will still my urgent desire? Nur Du befreist den Lenz in der Brust, Only you can free the spring in my heart, Nur Du! Only you! Ständchen (Serenade) By Ludwig Rellstab Leise flehen meine Lieder Softly my songs plead Durch die Nacht zu Dir; Through the night to you; In den stillen Hain hernieder, Down into the silent grove, Liebchen, komm’ zu mir! Beloved, come to me! Flüsternd schlanke Wipfel rauschen Slender treetops whisper and rustle In des Mondes Licht; In the moonlight; Des Verräters feindlich Lauschen My darling, do not fear Fürchte, Holde, nicht. That the hostile betrayer will overhear us. Hörst die Nachtigallen schlagen? Do you not hear the nightingales call? Ach! sie flehen Dich, Ah! they are imploring you; Mit der Töne süßen Klagen With their sweet, plaintive songs Flehen sie für mich. They are imploring for me. Sie verstehn des Busens Sehnen, They understand the heart’s yearning, Kennen Liebesschmerz, They know the pain of love; Rühren mit den Silbertönen With their silvery notes Jedes weiche Herz. They touch every tender heart. 14 Sung Texts The Cleveland Orchestra
Laß auch Dir die Brust bewegen, Let your heart, too, be moved, Liebchen, höre mich! Beloved, hear me! Bebend harr’ ich Dir entgegen! Trembling, I await you! Komm’, beglücke mich! Come, make me happy! Aufenthalt (Resting Place) By Ludwig Rellstab Rauschender Strom, Surging river, Brausender Wald, Roaring forest, Starrender Fels Immovable rock, Mein Aufenthalt. My resting place. Wie sich die Welle As wave An Welle reiht, Follows wave, Fließen die Tränen So my tears flow, Mir ewig erneut. Ever renewed. Hoch in den Kronen As the high treetops Wogend sich’s regt, Stir and heave, So unaufhörlich So my heart Mein Herze schlägt. Beats incessantly. Und wie des Felsen Like the rock’s Uraltes Erz Age-old ore Ewig derselbe My sorrow remains Bleibet mein Schmerz. Forever the same. In der Ferne (Far Away) By Ludwig Rellstab Wehe dem Fliehenden Woe to those who flee, Welt hinaus ziehenden!— Who journey forth into the world!— Fremde durchmessenden, Who travel through strange lands, Heimat vergessenden, Forgetting their native land, Mutterhaus hassenden, Spurning their mother’s home, Freunde verlassenden Forsaking their friends: Folget kein Segen, ach! Alas, no blessing follows them Auf ihren Wegen nach! On their way! Herze, das sehnende, The yearning heart, Auge, das tränende, The tearful eye, Sehnsucht, nie endende, Endless longing Heimwärts sich wendende! Turning homewards! 2021–2022 Season Sung Texts 15
Busen, der wallende, The surging breast, Klage, verhallende, The dying lament, Abendstern, blinkender, The evening star, twinkling Hoffnungslos sinkender! And sinking without hope! Lüfte, ihr säuselnden, Whispering breezes, Wellen sanft kräuselnden, Gently ruffled waves, Sonnenstrahl, eilender, Darting sunbeams, Nirgend verweilender: Lingering nowhere: Die mir mit Schmerze, ach! Send her, who broke Dies treue Herze brach,— My faithful heart with pain— Grüßt von dem Fliehenden Greetings from one who is fleeing Welt hinaus ziehenden! And journeying forth into the world! Abschied (Farewell) By Ludwig Rellstab Ade, Du muntre, Du fröhliche Stadt, Ade! Farewell, lively, cheerful town, farewell! Schon scharret mein Rösslein mit lustigem Fuß; Already my horse is happily pawing the ground. Jetzt nimm noch den letzten, den scheidenden Gruß. Take now my final, parting greeting. Du hast mich wohl niemals noch traurig gesehn, I know you have never seen me sad; So kann es auch jetzt nicht beim Abschied geschehn. Nor will you now as I depart. Ade … Farewell … Ade, ihr Bäume, ihr Gärten so grün, Ade! Farewell, trees and gardens so green, farewell! Nun reit’ ich am silbernen Strome entlang, Now I ride along the silver stream; Weit schallend ertönet mein Abschiedsgesang; My song of farewell echoes far and wide. Nie habt ihr ein trauriges Lied gehört, You have never heard a sad song; So wird euch auch keines beim Scheiden beschert. Nor shall you do so at parting. Ade … Farewell … Ade, ihr freundlichen Mägdlein dort, Ade! Farewell, charming maidens, farewell! Was schaut ihr aus blumenumduftetem Haus Why do you look out with roguish, enticing eyes Mit schelmischen, lockenden Blicken heraus? From houses fragrant with flowers? Wie sonst, so grüß’ ich und schaue mich um, I greet you as before, and look back; Doch nimmer wend’ ich mein Rösslein um. But never will I turn my horse back. Ade … Farewell … Ade, liebe Sonne, so gehst Du zur Ruh’, Ade! Farewell, dear sun, as you go to rest, farewell! Nun schimmert der blinkenden Sterne Gold. Now the stars twinkle with shimmering gold. Wie bin ich euch Sternlein am Himmel so hold; How fond I am of you, little stars in the sky; Durchziehn wir die Welt auch weit und breit, Though we travel the whole world, far and wide, Ihr gebt überall uns das treue Geleit. Everywhere you faithfully escort us. Ade … Farewell … 16 Sung Texts The Cleveland Orchestra
Ade, Du schimmerndes Fensterlein hell, Ade! Farewell, little window gleaming brightly, farewell! Du glänzest so traulich mit dämmerndem Schein You shine so cosily with your soft light, Und ladest so freundlich ins Hüttchen uns ein. And invite us so kindly into the cottage. Vorüber, ach, ritt ich so manches Mal Ah, I have ridden past you so often, Und wär’ es denn heute zum letzten Mal? And yet today might be the last time. Ade … Farewell … Ade, ihr Sterne, verhüllet Euch grau! Ade! Farewell, stars, veil yourselves in grey! Farewell! Des Fensterlein trübes, verschimmerndes Licht You numberless stars cannot replace for us Ersetzt ihr unzähligen Sterne mir nicht; The little window’s dim, fading light; Darf ich hier nicht weilen, muß hier vorbei, If I cannot linger here, if I must ride on, Was hilft es, folgt ihr mir noch so treu! How can you help me, if you follow me faithfully? Ade, ihr Sterne, verhüllet Euch grau! Ade! Farewell, stars, veil yourselves in grey! Farewell! Der Atlas (Atlas) By Heinrich Heine Ich unglücksel’ger Atlas! eine Welt, I, unhappy Atlas, must bear a world, Die ganze Welt der Schmerzen muß ich tragen, The whole world of sorrows, Ich trage Unerträgliches, und brechen I bear the unbearable, and my heart Will mir das Herz im Leibe. Would break within my body. Du stolzes Herz! du hast es ja gewollt! Proud heart! you wished it so! Du wolltest glücklich sein, unendlich glücklich, You wished to be happy, endlessly happy, Oder unendlich elend, stolzes Herz, Or endlessly wretched, proud heart! Und jetzo bist du elend. And now you are wretched! Ihr Bild (Her Portrait) By Heinrich Heine Ich stand in dunkeln Träumen, I stood in dark dreams, Und starrt’ ihr Bildnis an, Gazing at her picture, Und das geliebte Antlitz And that beloved face Heimlich zu leben begann. Began mysteriously to come alive. Um ihre Lippen zog sich Around her lips played Ein Lächeln wunderbar, A wondrous smile, Und wie von Wehmutstränen And her eyes glistened, Erglänzte ihr Augenpaar. As though with melancholy tears. Auch meine Tränen flossen My tears, too, Mir von den Wangen herab— Flowed down my cheeks— Und ach, ich kann es nicht glauben, And oh, I cannot believe Daß ich dich verloren hab’! That I have lost you! 2021–2022 Season Sung Texts 17
Das Fischermädchen (The Fishermaiden) By Heinrich Heine Du schönes Fischermädchen, Lovely fisher maiden, Treibe den Kahn ans Land; Guide your boat to the shore; Komm zu mir und setze dich nieder, Come and sit beside me, Wir kosen Hand in Hand. And hand in hand we shall talk of love. Leg’ an mein Herz dein Köpfchen, Lay your little head on my heart Und fürchte dich nicht zu sehr; And do not be too afraid; Vertraust du dich doch sorglos For each day you trust yourself Täglich dem wilden Meer. Without fear to the turbulent sea. Mein Herz gleicht ganz dem Meere, My heart is just like the sea, Hat Sturm und Ebb’ und Flut, It has its storms, its ebbs and its flows; Und manche schöne Perle And many a lovely pearl In seiner Tiefe ruht. Rests in its depths. Die Stadt (The Town) By Heinrich Heine Am fernen Horizonte On the distant horizon Erscheint, wie ein Nebelbild, Appears, like a misty vision, Die Stadt mit ihren Türmen The town with its turrets, In Abenddämmrung gehüllt. Shrouded in dusk. Ein feuchter Windzug kräuselt A damp wind ruffles Die graue Wasserbahn; The grey stretch of water; Mit traurigem Takte rudert With mournful strokes Der Schiffer in meinem Kahn. The boatman rows my boat. Die Sonne hebt sich noch einmal Radiant, the sun rises once more Leuchtend vom Boden empor, From the earth, Und zeigt mir jene Stelle, And shows me that place Wo ich das Liebste verlor. Where I lost my beloved. 18 Sung Texts The Cleveland Orchestra
Am Meer (By the Sea) By Heinrich Heine Das Meer erglänzte weit hinaus The sea glittered far and wide Im letzten Abendscheine; In the sun’s dying rays; Wir saßen am einsamen Fischerhaus, We sat by the fisherman’s lonely house; Wir saßen stumm und alleine. We sat silent and alone. Der Nebel stieg, das Wasser schwoll, The mist rose, the waters swelled, Die Möwe flog hin und wieder; A seagull flew to and fro. Aus deinen Augen liebevoll From your loving eyes Fielen die Tränen nieder. The tears fell. Ich sah sie fallen auf deine Hand, I saw them fall on your hand. Und bin aufs Knie gesunken; I sank upon my knee; Ich hab’ von deiner weißen Hand From your white hand Die Tränen fortgetrunken. I drank away the tears. Seit jener Stunde verzehrt sich mein Leib, Since that hour my body is consumed Die Seele stirbt vor Sehnen;— And my soul dies of longing. Mich hat das unglücksel’ge Weib That unhappy woman Vergiftet mit ihren Tränen. Has poisoned me with her tears. Der Doppelgänger (The Wraith) By Heinrich Heine Still ist die Nacht, es ruhen die Gassen, The night is still, the streets are at rest; In diesem Hause wohnte mein Schatz; In this house lived my sweetheart. Sie hat schon längst die Stadt verlassen, She has long since left the town, Doch steht noch das Haus auf demselben Platz. But the house still stands on the selfsame spot. Da steht auch ein Mensch und starrt in die Höhe, A man stands there too, staring up, Und ringt die Hände, vor Schmerzensgewalt; And wringing his hands in anguish; Mir graust es, wenn ich sein Antlitz sehe— I shudder when I see his face— Der Mond zeigt mir meine eigne Gestalt. The moon shows me my own form! Du Doppelgänger! du bleicher Geselle! You wraith! You pallid companion! Was äffst du nach mein Liebesleid, Why do you ape the pain of my love Das mich gequält auf dieser Stelle, Which tormented me on this very spot, So manche Nacht, in alter Zeit? So many a night, in days long past? 2021–2022 Season Sung Texts 19
Die Taubenpost (The Pigeon Post) By Johann Gabriel Seidl Ich hab’ eine Brieftaub in meinem Sold, I have a carrier pigeon in my pay, Die ist gar ergeben und treu, devoted and true; Sie nimmt mir nie das Ziel zu kurz, she never stops short of her goal Und fliegt auch nie vorbei. and never flies too far. Ich sende sie vieltausendmal Each day I send her out Auf Kundschaft täglich hinaus, a thousand times on reconnaissance, Vorbei an manchem lieben Ort, past many a beloved spot, Bis zu der Liebsten Haus. to my sweetheart’s house. Dort schaut sie zum Fenster heimlich hinein, There she peeps furtively in at the window, Belauscht ihren Blick und Schritt, observing her every look and step, Gibt meine Grüsse scherzend ab conveys my greeting breezily, Und nimmt die ihren mit. and brings hers back to me. Kein Briefchen brauch’ ich zu schreiben mehr, I no longer need to write a note, Die Träne selbst geb’ ich ihr: I can give her my very tears; O sie verträgt sie sicher nicht, she will certainly not deliver them wrongly, Gar eifrig dient sie mir. so eagerly does she serve me. Bei Tag, bei Nacht, im Wachen, im Traum, Day or night, awake or dreaming, Ihr gilt das alles gleich: it is all the same to her; Wenn sie nur wandern, wandern kann, as long as she can roam Dann ist sie überreich! she is richly contented. Sie wird nicht müd’, sie wird nicht matt, She never grows tired or faint, Der Weg ist stets ihr neu; the route is always fresh to her; Sie braucht nicht Lockung, braucht nicht Lohn, she needs no enticement or reward, Die Taub’ ist so mir treu! so true is this pigeon to me. Drum heg’ ich sie auch so treu an der Brust, I cherish her as truly in my heart, Versichert des schönsten Gewinns; certain of the fairest prize; Sie heisst – die Sehnsucht! Kennt ihr sie? her name is – Longing! Do you know her? Die Botin treuen Sinns. The messenger of constancy. English translations for Schwanengesang © Richard Wigmore 20 Sung Texts The Cleveland Orchestra
Mark Padmore Tenor Mark Padmore was born in London and studied at King’s College, Cambridge. He has established an international career in opera, concert, and recital. His appearances in Bach’s Passions have gained particular notice, especially his renowned performances as Evangelist in Peter Sellars’s stagings of the St. Matthew and St. John Passions with the Berlin Philharmonic Orchestra and Simon Rattle. Highlights of Mr. Padmore’s 2021–22 season include a residency at Wigmore Hall where he celebrates his relationships with pianists Till Fellner, Imogen Cooper, Mitsuko Uchida, and Paul Lewis, as well as a staged production of Britten’s War Requiem at the Liceu Opera Barcelona. He also appears in recital in Brussels with Simon Lepper, in London with Jonathan Biss, and in New York with Ethan Iverson. Mr. Padmore recently appeared in a new Royal Opera House production of Britten’s Death in Venice, where his performance was described as a “tour de force.” Other opera roles have included the leading roles in Harrison Birtwistle’s The Corridor and The Cure at the Aldeburgh Festival, Captain Vere in Britten’s Billy Budd, Evangelist in a staging of St. Matthew Passion for Glyndebourne Festival Opera, and the Man in a world premiere of Tansy Davies’s Cave with the London Sinfonietta. Mr. Padmore has performed with the world’s leading orchestras. He was artist-in-residence for the 2017–18 season with the Berlin Philharmonic Orchestra and held a similar position with the Bavarian Radio Symphony Orchestra in 2016–17. In addition, his work with the Orchestra of the Age of Enlightenment has involved projects exploring both Bach’s St. John and St. Matthew Passions. Musical America’s 2016 Vocalist of the Year, he was awarded an honorary doctorate by University of Kent (U.K.) in 2014. He was appointed CBE in the 2019 Queen’s birthday honors list. Mr. Padmore serves as artistic director of the St Endellion Summer Music Festival in Cornwall. 2021–2022 Season About the Artists 21
Mitsuko Uchida Piano Mitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her peerless interpre- tations of the works of Mozart, Beethoven, Schumann, and Schubert, both in the concert hall and on recordings, and has also illuminat- ed the music of Alban Berg, Arnold Schoen- berg, Anton Webern, and György Kurtág for new generations of listeners. Ms. Uchida made her Cleveland Orchestra debut in February 1990, and since that time, she has performed frequently with the Orchestra at Severance, Blossom, and on tour in Europe and Japan. She made her Cleveland Orchestra conducting debut in 1998 and subsequently led performances from the key- board of all of Mozart’s piano concertos as artist-in-residence for five seasons (2002–07). She celebrated her 100th performance with the Orchestra in 2019. She also has enjoyed close relationships many other renowned orchestras across the world, including the Berlin Philharmonic, Royal Concertgebouw Orchestra, Bavarian Radio Symphony, London Symphony Orchestra, London Philharmonic Orchestra, and the Chicago Symphony. In 2016, she was appointed an artistic partner to the Mahler Chamber Orchestra and began a five-year series of concerts directing Mozart concertos from the keyboard with the ensemble, which included tours of major venues in Europe and Japan. Mitsuko Uchida records exclusively for Decca, and her extensive discography includes the complete Mozart and Schubert piano sonatas. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. She is the recipient of two Grammy® Awards — for her recording of Mozart’s Piano Concertos No. 23 & 24 with The Cleveland Orchestra and for an album of lieder with Dorothea Röschmann. Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also artistic director of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire. 22 About the Artists The Cleveland Orchestra
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