THU 28 APRIL - SUN 1 MAY 2022 - HOWARD ASSEMBLY ROOM OPERA NORTH - PROGRAMME: Sunday 1 May - Leeds Lieder
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THU 28 APRIL – SUN 1 MAY 2022 HOWARD ASSEMBLY ROOM OPERA NORTH PROGRAMME: Sunday 1 May Joseph Middleton Director Jane Anthony Founder
Nurturing Talent
Mastering Technique
Inspiring Excellence
“Samling is unique. There is nothing
quite like this in the world!” Sir Thomas Allen
Samling Artist Programme provides Our Samling Artists go on to appear
outstanding early-career singers and in the world’s greatest opera
pianists with life-changing opportunities. houses, concert halls, festivals
In residential masterclasses they and recordings.
refine all aspects of their craft under
Discover more about
the guidance of internationally
Samling Institute for Young Artists.
renowned singers, conductors, pianists,
actors and coaches. samling.org.uk
SamlingInstitute @Samling_Inst samling_institute
Registered Charity in England & Wales 1112032 | Scottish Charity SC051568
‘a compact TRIUMPH
of
OUTSTANDING
ART
SONG
The Sunday Times
’
leedslieder1
@LeedsLieder
@leedsliederfestival
leedslieder.org.uk
Joseph Middleton
© Gerard Collett
‘Song Illuminated’: song, the artform we all love, With multiple artistic partners and thousands of
illuminates so much of what we experience in life and individuals attending our events every year, Leeds
through its inexplicable magic also illuminates so much Lieder is a true cultural success story and it’s a particular
of ourselves, to ourselves. The great poets and composers joy to be presenting our first Festival in the glorious
we celebrate and champion at Leeds Lieder prove Howard Assembly Room. Our exciting Learning
themselves over and over to be our wisest companions and Participation programme which opens up creative
as they cast light upon much of what it means to be music–making to people of all ages, backgrounds
human. Through them, connections between mankind and abilities allows many more individuals to take
and nature are shown in radiant relief. The environment, delight in our events. Around 1,000 school children
nature, rebirth, how song illuminates our lives and the will learn songs through our education programmes
beauty of the earth are themes that run through the this year alone.
2022 Leeds Lieder Festival and it has been the biggest Ticket sales and public funding provide around half of
joy putting this Festival together for you all. Leeds Lieder’s income and the remainder comes from
The great German soprano, Dorothea Röschmann, the most generous philanthropic support, without
opens the Festival with music she has very much made which the scope of our programming and artistic vision
her own, and it would be difficult to find music more would be compromised. Our audiences prove to be our
steeped in its poetical landscape than Mahler’s Des greatest supporters and we remain immensely grateful
Knaben Wunderhorn with its panoply of characters to all our Friends. Every gift, no matter what size, really
and direct, ingenuously folklore–ish nature. Mahler does make a difference. Visit our supporters page on
features in the closing recital, given by ‘the brightest the website if you’d like more information about how
lyric soprano of the younger generation’: Louise Alder. you can help shape culture in Leeds. I hope you like
Her typically wide–ranging programme includes what is on over the next few pages and I look forward to
delights from Fauré to Rodgers and Hammerstein. welcoming you to this Festival. I feel confident it will be
Ian Bostridge and Imogen Cooper have taken their a very special few days.
place in the pantheon of all–time great recitalists and With all best wishes,
it is with such pleasure that we welcome Ian back to
Leeds Lieder and that we invite Imogen to join us for
the first time. Both are master Schubertians and have Joseph Middleton
selected songs that invite audiences’ imaginations to take Director
flight and join them journeying outdoors. Schubert’s
towering late masterpiece Schwanengesang is juxtaposed
with songs taking similar themes. Evocations of the
sparkling gold of the welcoming sun, breezes playing
in a valley, murmuring brooks, a deep blue spring sky,
a bountiful season of bud and blossom are all etched in
brilliant colour by Schubert. New Music, Young Artists,
Emerging Stars all jostle joyously next to one another in
our most thoughtfully programmed Festival to date.
4 Box Office 0113 223 3600 : leedslieder.org.uk
Elly Ameling
President, Leeds Lieder
Dear Leeds Lieder Lovers!
At a time in history in which – unexpectedly – brute
force is being exercised so near to us, I feel that we must
be utterly grateful to know of a haven where we can find
Music to comfort us.
My age prevents me from being present at this Leeds
Lieder Festival. But in my heart I shall be with you all:
the audience, the musicans and also with the students,
during these days full of art song recitals and master
classes of the highest calibre.
My warm praise goes to our Director Joseph
Middleton, a splendid pianist, who again succeeded
in programming a series of song recitals in a most
delightful combination of styles and artists.
Real Art can only exist where Harmony reigns. I hope
you find both of these in abundance during this Festival.
Elly Ameling
5 Box Office 0113 223 3600 : leedslieder.org.uk
The 2022 Festival at a Glance
Thursday 28 April
12 – 12.30pm Pre–concert Talk with composer Jonathan Dove
1 – 2pm Lunchtime Recital: Samling Institute Showcase
3 – 6pm Festival Masterclass I with Amanda Roocroft*
7 – 7.30pm Pre–concert Talk with Richard Stokes Hon RAM
8pm Gala Opening Recital: Dorothea Röschmann and Joseph Middleton
10 – 11pm Late Evening Recital: Wallis Giunta, Sean Shibe and Adam Walker
Friday 29 April
10am – 12.30pm Festival Masterclass II with Dorothea Röschmann*
1 – 2pm Lunchtime Recital: Jess Dandy and Martin Roscoe
3 – 4.30pm Young Artists Showcase
7 – 7.30pm Pre–concert Talk with composer Deborah Pritchard
8pm Evening Recital: Robin Tritschler and Christopher Glynn
10 – 11pm Late Evening Recital: Ruby Hughes and Joseph Middleton
Saturday 30 April
10am – 12.30pm Festival Masterclass III with Graham Johnson OBE*
1 – 2pm Lunchtime Recital: Helen Charlston and Ilan Kurtser
2.30pm Bring and Sing! Rehearsal**
5.30pm Bring and Sing! Concert: English Coronation Anthems**
3 – 4pm Lecture–recital with Graham Johnson OBE
7 – 7.30pm Pre–concert Talk with Dr George Kennaway
8pm Evening Recital: Ian Bostridge CBE and Dame Imogen Cooper
10 – 11pm Lieder Lounge with Leeds Lieder Young Artists***
Sunday 1 May
p. 7 10.30am – 12pm Study Event with Dr Katy Hamilton and Leeds Lieder Young Artists*
p. 8 1 – 2pm Lunchtime Recital: Ashley Riches and Joseph Middleton
p. 25 3 – 5.30pm Festival Masterclass IV with Joan Rodgers CBE*
p. 25 7 – 7.30pm Pre–concert Talk with Dr Katy Hamilton
p. 26 8pm Closing Gala Recital: Louise Alder and Joseph Middleton
Linacre Studio*
Mantle Studio**
HAR Atrium***
All other events are in the HAR
Please remember to
Click on the page numbers above to move to that event page switch off mobile phones
6 Box Office 0113 223 3600 : leedslieder.org.uk
Dr Katy Hamilton Leeds Lieder Young Artists
© Helena Cooke © Robert Piwko
SUNDAY 1 MAY
10.30AM – 12PM
Linacre Studio
Study Event
The Birds and the Bees:
Lieder and the Natural World
Dr Katy Hamilton returns to Leeds Lieder for her
popular Study Event, in which she marries academia
with fascinating musical examples from our outstanding
Young Artists. This year she’ll look at the importance
of pantheism, and images of nature in German lyric
poetry, in repertoire from the late eighteenth to the early
twentieth centuries.
7 Box Office 0113 223 3600 : leedslieder.org.uk
Ashley Riches Joseph Middleton
© Debbie Scanlon © Harmonia Mundi
SUNDAY 1 MAY
1 – 2PM
Howard Assembly Room
Lunchtime Recital
Ashley Riches bass–baritone
Joseph Middleton piano
Franz Schubert (1797–1828)
Die schöne Müllerin
Das Wandern
Wohin?
Halt!
Danksagung an den Bach
Am Feierabend
Der Neugierige
Ungeduld
Morgengruß
Des Müllers Blumen
Tränenregen
Mein
Pause
Mit dem grünen Lautenbande
Der Jäger
Eifersucht und Stolz
Die liebe Farbe
Die böse Farbe
Trockne Blumen
Der Müller und der Bach
Des Baches Wiegenlied
8 Box Office 0113 223 3600 : leedslieder.org.uk
Texts and Translations
Franz Schubert
(1797–1828)
Die schöne Müllerin
Das Wandern Wandering
Das Wandern ist des Müllers Lust, Das Wandern! To wander is a miller’s delight, To wander!
Das muß ein schlechter Müller sein, Only a bad miller
Dem niemals fiel das Wandern ein, Has never felt like wandering,
Das Wandern. Wandering!
Vom Wasser haben wir’s gelernt, Vom Wasser! We’ve learnt it from the water, The water!
Das hat nicht Rast bei Tag und Nacht, It doesn’t rest by night or day,
Ist stets auf Wanderschaft bedacht, It’s always intent on wandering,
Das Wasser. The water.
Das sehn wir auch den Rädern ab, Den Rädern! We see it in the wheels too, The wheels!
Die gar nicht gerne stille stehn, They never want to stand still,
Die sich mein Tag nicht müde gehn, And never get tired the whole day long,
Die Räder. The wheels.
Die Steine selbst, so schwer sie sind, Die Steine! Even the stones, heavy as they are, The stones!
Sie tanzen mit den muntern Reihn They dance along cheerfully
Und wollen gar noch schneller sein, Wanting to move even faster,
Die Steine. The stones.
O Wandern, Wandern, meine Lust, O Wandern! Oh wandering, wandering, my delight, Oh wandering!
Herr Meister und Frau Meisterin, Master and Mistress,
Laßt mich in Frieden weiter ziehn Let me go my way in peace
Und wandern. Just wandering.
9 Box Office 0113 223 3600 : leedslieder.org.uk
Wohin? Whither?
Ich hört’ ein Bächlein rauschen I heard a little stream babbling
Wohl aus dem Felsenquell, From its rocky source,
Hinab zum Tale rauschen Babbling down to the valley,
So frisch und wunderhell. So clear and bright.
Ich weiß nicht, wie mir wurde, I don’t know what came over me,
Nicht, wer den Rat mir gab, Or who prompted me,
Ich mußte auch hinunter But I had to go down too
Mit meinem Wanderstab. With my wanderer’s staff.
Hinunter und immer weiter Further and further down,
Und immer dem Bache nach, Always following the stream,
Und immer heller rauschte, And the stream babbled ever more cheerily
Und immer heller der Bach. And ever more brightly.
Ist das denn meine Straße? Is that then the path I should take?
O Bächlein, sprich, wohin? Little stream, tell me – where does it go?
Du hast mit deinem Rauschen With your babbling
Mir ganz berauscht den Sinn. You have completely confused me.
Was sag’ ich denn vom Rauschen? Why do I speak of babbling?
Das kann kein Rauschen sein: That can’t be babbling,
Es singen wohl die Nixen It’s the water nymphs singing
Tief unten ihren Reihn. As they dance their round far below.
Lass singen, Gesell, lass rauschen, Let them sing, my friend, and let the stream babble,
Und wandre fröhlich nach! And follow it cheerfully!
Es gehn ja Mühlenräder For mill wheels turn
In jedem klaren Bach. In every clear stream.
10 Box Office 0113 223 3600 : leedslieder.org.ukHalt Halt
Eine Mühle seh’ ich blinken I see a mill gleaming
Aus den Erlen heraus, Amid the alders,
Durch Rauschen und Singen Over the babbling and singing
Bricht Rädergebraus. I hear the roar of mill–wheels.
Ei willkommen, ei willkommen, Oh welcome, welcome,
Süsser Mühlengesang! Sweet music of the mill!
Und das Haus, wie so traulich! And the house, how inviting!
Und die Fenster, wie blank! And the windows, how they sparkle!
Und die Sonne, wie helle And how brightly the sun
Vom Himmel sie scheint! Shines in the heavens!
Ei, Bächlein, liebes Bächlein, Oh stream, dear little stream,
War es also gemeint? Was this planned?
Danksagung an den Bach Thank you, stream
War es also gemeint, So was this what you meant,
Mein rauschender Freund, My dear babbling friend,
Dein Singen, dein Klingen, Your singing, your murmuring,
War es also gemeint? Was this what you meant?
‘Zur Müllerin hin!’ ‘To the maid of the mill!’
So lautet der Sinn. This is your meaning.
Gelt, hab’ ich’s verstanden? Have I understood you?
‘Zur Müllerin hin!’ ‘To the maid of the mill!’
Hat sie dich geschickt? Did she send you?
Oder hast mich berückt? Or are you teasing me?
Das möcht’ ich noch wissen, That’s what I want to know,
Ob sie dich geschickt. Did she send you?
Nun wie’s auch mag sein, Oh well, whatever!
Ich gebe mich drein: I’ll go along with it:
Was ich such’, hab’ ich funden, What I was searching for I have found,
Wie’s immer mag sein. However it has happened.
Nach Arbeit ich frug, I asked for work,
Nun hab’ ich genug, Now I have plenty,
Für die Hände, für’s Herze For my hands, for my heart,
Vollauf genug! More than enough!
11 Box Office 0113 223 3600 : leedslieder.org.ukAm Feierabend At the end of the day
Hätt’ ich tausend If I had a thousand
Arme zu rühren! Arms to wield!
Könnt’ ich brausend If only I could drive
Die Räder führen! The rushing wheels!
Könnt’ ich wehen If only I could blow like the wind
Durch alle Haine! Through every wood,
Könnt’ ich drehen And turn
Alle Steine! Every millstone!
Dass die schöne Müllerin So that the beauriful miller maid
Merkte meinen treuen Sinn! Would see my true love!
Ach, wie ist mein Arm so schwach! Oh but my arms are so weak!
Was ich hebe, was ich trage, Whatever I lift, whatever I carry,
Was ich schneide, was ich schlage, Whatever I cut, whatever I hammer,
Jeder Knappe tut mir’s nach. Every apprentice can do the same.
Und da sitz’ ich in der grossen Runde, And here I sit in the midst of the company,
In der stillen kühlen Feierstunde, In the quiet, cool hour at work’s end,
Und der Meister sagt zu Allen: And the master says to everyone
‘Euer Werk hat mir gefallen;’ ‘I am pleased with your work,’
Und das liebe Mädchen sagt And the sweet maid wishes
Allen eine gute Nacht. Everyone a good night.
Der Neugieriger The inquisitive one
Ich frage keine Blume, I can’t ask the flowers,
Ich frage keinen Stern, I can’t ask the stars,
Sie können mir alle nicht sagen, None of them can tell me
Was ich erführ’ so gern. What I so long to know.
Ich bin ja auch kein Gärtner, I’m no gardener,
Die Sterne stehn zu hoch; And the stars are too high,
Mein Bächlein will ich fragen, I will ask my little stream
Ob mich mein Herz belog. If my heart has lied to me.
O Bächlein meiner Liebe, Oh dear little stream,
Wie bist du heut’ so stumm! Why are you so silent today?
Will ja nur Eines wissen, I want to know just one thing,
Ein Wörtchen um und um. Just say one of two words.
Ja, heisst das eine Wörtchen, One word would be yes,
Das andre heisset Nein, The other would be no,
Die beiden Wörtchen schliessen These two little words
Die ganze Welt mir ein. Enclose my whole world.
O Bächlein meiner Liebe, Oh dear lttle stream,
Was bist du wunderlich! How strange you are!.
Will’s ja nicht weiter sagen, I won’t tell anyone else,
Sag’, Bächlein, liebt sie mich? But tell me little stream, does she love me?
12 Box Office 0113 223 3600 : leedslieder.org.ukUngeduld Impatience
Ich schnitt’ es gern in alle Rinden ein, I would like to carve it on the bark of every tree,
Ich grüb’ es gern in jeden Kieselstein, I would like to inscribe it on every pebble,
Ich möcht’ es sä’n auf jedes frische Beet I want to sow it on every fresh plot,
Mit Kressensamen, der es schnell verrät, With cress seeds to quickly reveal it,
Auf jeden weissen Zettel möcht’ ich’s schreiben: I want to write it on every bit of white paper,
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Ich möcht’ mir ziehen einen jungen Star, I wish I could train a young starling
Bis dass er spräch’ die Worte rein und klar, Until it could speak words purely and clearly,
Bis er sie spräch’ mit meines Mundes Klang, Until it spoke them with the sound of my voice,
Mit meines Herzens vollem, heissem Drang; With the whole passionate desire of my heart,
Dann säng’ er hell durch ihre Fensterscheiben: Then it could sing brightly at her window,
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Den Morgenwinden möcht’ ich’s hauchen ein, I want to breathe in into the morning breeze,
Ich möcht’ es säuseln durch den regen Hain; I want to whisper it through the rustling grove,
O, leuchtet’ es aus jedem Blumenstern! If only it could shine from every flower!
Trüg’ es der Duft zu ihr von nah und fern! If only sweet fragrances could carry it to her from near and far!
Ihr Wogen, könnt ihr nichts als Räder treiben? You waves, can you drive nothing but millwheels?
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Ich meint’, es müsst’ in meinen Augen stehn, I’m sure it must shine out from my eyes,
Auf meinen Wangen müsst’ man’s brennen sehn, It must be seen burning on my cheeks,
Zu lesen wär’s auf meinem stummen Mund, You must be able to read it on my silent mouth,
Ein jeder Atemzug gäb’s laut ihr kund; Every sigh must proclaim it;
Und sie merkt nichts von all’ dem bangen Treiben: But she sees nothing of all this desperate longing.
Dein ist mein Herz, und soll es ewig bleiben! My heart is yours, and always will be.
13 Box Office 0113 223 3600 : leedslieder.org.ukMorgengruß Morning Greeting
Guten Morgen, schöne Müllerin! Good morning, fair maid of the mill!
Wo steckst du gleich das Köpfchen hin, Why do you so quickly turn head
Als wär’ dir was geschehen? As if something had happened to you?
Verdriesst dich denn mein Gruss so schwer? Does my greeting displease you so much?
Verstört dich denn mein Blick so sehr? Does my glance distress you so much?
So muss ich wieder gehen. If so, I must go away again.
O lass mich nur von ferne stehn, Oh let me stand far off
Nach deinem lieben Fenster sehn, And look at your dear window,
Von ferne, ganz von ferne! From far away, very far away!
Du blondes Köpfchen, komm hervor! Little blond head, show yourself!
Hervor aus eurem runden Tor, Come out of your round gates
Ihr blauen Morgensterne! You blue stars of morning!
Ihr schlummertrunknen Äugelein, You little eyes still drunk with sleep,
Ihr taubetrübten Blümelein, Little flowers, saddened by the dew,
Was scheuet ihr die Sonne? Why do you avoid the sun?
Hat es die Nacht so gut gemeint, Was the night so wonderful
Dass ihr euch schliesst und bückt und weint That you close them and droop and weep
Nach ihrer stillen Wonne? For its quiet bliss?
Nun schüttelt ab der Träume Flor, Now shake off the veil of dreams
Und hebt euch frisch und frei empor And rise up refreshed and free
In Gottes hellen Morgen! To God’s bright morning!
Die Lerche wirbelt in der Luft, The lark is trilling in the sky,
Und aus dem tiefen Herzen ruft And from the depths of your heart
Die Liebe Leid und Sorgen. Love draws grief and care.
Des Müllers Blumen The Miller’s flowers
Am Bach viel kleine Blumen stehn, There are many little flowers by the stream,
Aus hellen blauen Augen sehn; Gazing from clear blue eyes;
Der Bach der ist des Müllers Freund, The stream is the miller’s friend,
Und hellblau Liebchens Auge scheint; And my beloved’s eyes are bright blue;
Drum sind es meine Blumen. So they are my flowers.
Dicht unter ihrem Fensterlein Right under her little window
Da will ich pflanzen die Blumen ein, I will plant the flowers,
Da ruft ihr zu, wenn alles schweigt, Then call to her, when everything is still,
Wenn sich ihr Haupt zum Schlummer neigt, When she lays down her head to sleep,
Ihr wisst ja, was ich meine. Well, you know what I want to say.
Und wenn sie tät die Äuglein zu, And when she closes her eyes,
Und schläft in süsser, süsser Ruh’, And sleeps, oh so sweetly,
Dann lispelt als ein Traumgesicht Then whisper to her as in a dream
Ihr zu: ‘Vergiss, vergiss mein nicht!’ ‘Don’t, oh don’t forget me!’
Das ist es, was ich meine. That’s what I wan to say.
Und schliesst sie früh die Laden auf, And when she opens her shutters in the morning
Dann schaut mit Liebesblick hinauf: Gaze up at her with a look of love:
Der Tau in euren Äugelein, The dew in your little eyes
Das sollen meine Tränen sein, Will be my tears,
Die will ich auf euch weinen. Which I will shed on you.
14 Box Office 0113 223 3600 : leedslieder.org.ukTränenregen Raining tears
Wir sassen so traulich beisammen We sat comfortably together
Im kühlen Erlendach, In the shade of the alders,
Wir schauten so traulich zusammen And in harmony gazed down
Hinab in den rieselnden Bach. Into the sparkling stream.
Der Mond war auch gekommen, The moon had also joined us,
Die Sternlein hinterdrein, Followed by the stars,
Und schauten so traulich zusammen And they gazed down in harmony
In den silbernen Spiegel hinein. Into the silver mirror.
Ich sah nach keinem Monde, I didn’t look at the moon,
Nach keinem Sternenschein, Nor at the stars,
Ich schaute nach ihrem Bilde, I gazed only looked at her reflection,
Nach ihren Augen allein. Only at her eyes.
Und sahe sie nicken und blicken And I saw them nod and gaze up
Herauf aus dem seligen Bach, From the blissful stream,
Die Blümlein am Ufer, die blauen, The little blue flowers on the bank,
Sie nickten und blickten ihr nach. They nodded and looked at her.
Und in den Bach versunken It seemed that the whole sky
Der ganze Himmel schien, Was immersed in the stream,
Und wollte mich mit hinunter And wanted to draw me
In seine Tiefe ziehn. With it into its depths.
Und über den Wolken und Sternen And over the clouds and stars
Da rieselte munter der Bach, The stream rippled merrily,
Und rief mit Singen und Klingen: And called and sang
‘Geselle, Geselle, mir nach!’ ‘Come on friend, follow me!’
Da gingen die Augen mir über, Then my eyes fuilled with tears,
Da ward es im Spiegel so kraus; And the mirror crumpled;
Sie sprach: ‘Es kommt ein Regen, She said: ‘It’s going to rain,
Ade, ich geh’ nach Haus.’ Goodbye, I’m going home.’
15 Box Office 0113 223 3600 : leedslieder.org.ukMein! Mine!
Bächlein, lass dein Rauschen sein! Little stream stop your babbling!
Räder, stellt eur Brausen ein! Wheels, stop your roaring!
All’ ihr muntern Waldvögelein, All you cheerful woodbirds,
Gross und klein, Large and small,
Endet eure Melodein! Stop your warbling!
Durch den Hain Through the wood
Aus und ein Within it and beyond,
Schalle heut’ ein Reim allein: Just let one shout resound today:
Die geliebte Müllerin ist mein! My beloved, the maid of the mill is mine!
Mein! Mine!
Frühling, sind das alle deine Blümelein? Spring, are those all your flowers?
Sonne, hast du keinen hellern Schein? Sun, can you not shine more brightly?
Ach, so muss ich ganz allein, Ah, then I have to be alone
Mit dem seligen Worte mein, With this blissful word of mine,
Unverstanden in der weiten Schöpfung sein. With no–one in creation to understand.
Pause Pause
Meine Laute hab’ ich gehängt an die Wand, I have hung my lute up on the wall,
Hab’ sie umschlungen mit einem grünen Band – I have tied a green ribbon around it –
Ich kann nicht mehr singen, mein Herz ist zu voll, I can’t sing any more, my heart is too full,
Weiss nicht, wie ich’s in Reime zwingen soll. I don’t know how I can fashion it into rhyme.
Meiner Sehnsucht allerheissesten Schmerz The most burning pangs of my longing
Durft’ ich aushauchen in Liederscherz, I could express in playful song,
Und wie ich klagte so süss und fein, And as I lamented so sweetly and tenderly
Glaubt’ ich doch, mein Leiden wär’ nicht klein. I thought my suffering was not trifling,
Ei, wie gross ist wohl meines Glückes Last, Oh, how great is the burden of my joy,
Dass kein Klang auf Erden es in sich fasst? That no sound on earth can contain it?
Nun, liebe Laute, ruh’ an dem Nagel hier! So, dear lute, rest on this nail!
Und weht ein Lüftchen über die Saiten dir, And if a breeze wafts over your strings,
Und streift eine Biene mit ihren Flügeln dich, Or of a bee grazes you with its wings,
Da wird mir so bange und es durchschauert mich. I shall be afraidand shudder
Warum liess ich das Band auch hängen so lang’? Why did I allow the ribbon to hang down so far?
Oft fliegt’s um die Saiten mit seufzendem Klang. If often flutters by the strings making them sigh.
Ist es der Nachklang meiner Liebespein? Is it the echo of the pain of my love?
Soll es das Vorspiel neuer Lieder sein? Or is it the prelude to new songs?
Mit dem grünen Lautenbande To accompany the lute’s green ribbon.
16 Box Office 0113 223 3600 : leedslieder.org.ukMit dem grünen Lautenband With the green lute ribbon
‘Schad’ um das schöne grüne Band, ‘Shame about the pretty green ribbon,
Dass es verbleicht hier an der Wand, It’s faded here on the wall,
Ich hab’ das Grün so gern!’ And I like green so much!’
So sprachst du, Liebchen, heut’ zu mir; That’s what you, my darling, said to me today,
Gleich knüpf’ ich’s ab und send’ es dir: I untied it straight away and sent it to you:
Nun hab’ das Grüne gern! So enjoy the green!
Ist auch dein ganzer Liebster weiss, Though your sweetheart is all in white
Soll Grün doch haben seinen Preis, Green will have its reward,
Und ich auch hab’ es gern. And I like it too!
Weil unsre Lieb’ ist immergrün, Because our love is evergreen,
Weil grün der Hoffnung Fernen blühn, Because distant hopes blossom green,
Drum haben wir es gern. That’s why we love it.
Nun schlinge in die Locken dein Now wind this green ribbon
Das grüne Band gefällig ein, Prettily in your hair,
Du hast ja’s Grün so gern. You like green so much.
Dann weiss ich, wo die Hoffnung grünt, Then I will know where hope dwells,
Dann weiss ich, wo die Liebe tront, Then I will know where love rules,
Dann hab’ ich’s Grün erst gern. Only then will I really love green!
Der Jäger The Huntsman
Was sucht denn der Jäger am Mühlbach hier? What is this huntsman doing here by the millstream?
Bleib’, trotziger Jäger, in deinem Revier! Stay, defiant huntsman, in your own territory.
Hier gibt es kein Wild zu jagen für dich, There is no game for you to hunt here,
Hier wohnt nur ein Rehlein, ein zahmes, für mich. There is only one little fawn here, a tame one, for me.
Und willst du das zärtliche Rehlein sehn, And if you want to see than gentle fawn,
So lass deine Büchsen im Walde stehn, Then leave your guns in the forest,
Und lass deine klaffenden Hunde zu Haus, And leave your baying hounds at home,
Und lass auf dem Horne den Saus und Braus, And stop making all that noise on your horn,
Und scheere vom Kinne das struppige Haar, And shave that coarse hair off your chin,
Sonst scheut sich im Garten das Rehlein fürwahr. Or you will really frighten the fawn in the garden.
Doch besser, du bliebest im Walde dazu, But it would be much better if you stayed in the forest,
Und liessest die Mühlen und Müller in Ruh’. And leave the mills and millers in peace.
Was taugen die Fischlein im grünen Gezweig? How can fish thrive among green branches?
Was will denn das Eichhorn im bläulichen Teich? What can a squirrel want in the blue pond?
Drum bleibe, du trotziger Jäger, im Hain, So, defiant huntsman, stay in the woods,
Und lass mich mit meinen drei Rädern allein; And leave me alone with my three millwheels;
Und willst meinem Schätzchen dich machen beliebt And it you want to please my sweetheart
So wisse, mein Freund, was ihr Herzchen betrüht: Take note, my friend, what distresses her heart:
Die Eber, die kommen zur Nacht aus dem Hain, Wild boars come out of the forest at night
Und brechen in ihren Kohlgarten ein, And break into her cabbafe patch,
Und treten und wühlen herum in dem Feld: Rooting and trampling around in the field.
Die Eber die schiesse, du Jägerheld! Shoot the wild boars huntsman!
17 Box Office 0113 223 3600 : leedslieder.org.ukEifersucht und Stolz Jealousy and Pride
Wohin so schnell, so kraus und wild, mein lieber Bach? Where are you rushing to, dear stream, so ruffled and wild?
Eilst du voll Zorn dem frechen Bruder Jäger nach? Are you dashing after our insolent huntsman friend in anger?
Kehr’ um, kehr’ um, und schilt erst deine Müllerin Turn back, turn back, and first scold your miller maid
Für ihren leichten, losen, kleinen Flattersinn. For her frivolous, wanton ficklemess.
Sahst du sie gestern abend nicht am Tore stehn, Didn’t you see her yesterday evening standing at the gate,
Mit langem Halse nach der grossen Strasse sehn? Craning her neck as she peered down the high road?
Wenn von dem Fang der Jäger lustig zieht nach Haus, When a huntsman comes back merrily after the kill
Da steckt kein sittsam Kind den Kopf zum Fenster ’naus. No nice girl sits with her head out of the window.
Geh’, Bächlein, hin und sag’ ihr das, doch sag’ ihr nicht, Go, little stream, and tell her that, but don’t say a word,
Hörst du, kein Wort, von meinem traurigen Gesicht; Do you hear? – about my mournful face.
Sag’ ihr: Er schnitzt bei mir sich eine Pfeif’ aus Rohr, Tell her, he is on my banks carving a reed pipe
Und bläst den Kindern schöne Tänz’ und Lieder vor. And is playing pretty songs and dances for the children.
Die liebe Farbe The lovely colour
In Grün will ich mich kleiden, I will dress myself in green,
In grüne Tränenweiden, In green weeping willows,
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Will suchen einen Zypressenhain, I will search out a cypress grove,
Eine Heide von grünem Rosmarein, A heath full of green rosemary,
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Wohlauf zum fröhlichen Jagen! Up and away to the merry hunt!
Wohlauf durch Heid’ und Hagen! Away over heath and hedge!
Mein Schatz hat’s Jagen so gern. My love is so fond of the hunt.
Das Wild, das ich jage, das ist der Tod, The game that I pursue, is death,
Die Heide, die heiss ich die Liebesnot, The heath, I call the torment of love.
Mein Schatz hat’s Jagen so gern. My love is so fond of the hunt.
Grabt mir ein Grab im Wasen, Dig me a grave in the grass,
Deckt mich mit grünem Rasen, Cover me with green turf,
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Kein Kreuzlein schwarz, kein Blümlein bunt, No little black cross, no colourful flowers,
Grün, alles grün so rings und rund! Green, just everything green all around!
Mein Schatz hat’s Grün so gern. My love is so fond of green.
18 Box Office 0113 223 3600 : leedslieder.org.ukDie böse Farbe The hateful colour
Ich möchte ziehn in die Welt hinaus, I want to set off out into the world,
Hinaus in die weite Welt, Out into the wide world,
Wenn’s nur so grün, so grün nicht wär’ If only it wasn’t so green, so green,
Da draußen in Wald und Feld! Out there in the woods and fields.
Ich möchte die grünen Blätter all’ I want to pick all the green leaves
Pflücken von jedem Zweig, From every twig,
Ich möchte die grünen Gräser all’ I want to weep all the grass
Weinen ganz totenbleich. White with my tears.
Ach Grün, du böse Farbe du, Oh green, you hateful colour,
Was siehst mich immer an, Why do you constantly look at me,
So stolz, so keck, so schadenfroh, So proud, so insolent, so gloating,
Mich armen, armen weißen Mann? At poor me, at this poor white miller?
Ich möchte liegen vor ihrer Tür, I want to lie at her door,
Im Sturm und Regen und Schnee, In storm and rain and snow,
Und singen ganz leise bei Tag und Nacht And sing softly night and day
Das eine Wörtchen Ade! The one little word – farewell!
Horch, wenn im Wald ein Jagdhorn schallt, Listen, when a horn sounds in the forest
Da klingt ihr Fensterlein, There’s the sound of her window opening,
Und schaut sie auch nach mir nicht aus, And even thought she isn’t looking out for me,
Darf ich doch schauen hinein. I can look in at her.
O binde von der Stirn dir ab Oh unbind that ribbon from your brow,
Das grüne, grüne Band, That green, green ribbon,
Ade, Ade! und reiche mir Farewell, farewell, and
Zum Abschied deine Hand! Give me your hand in parting.
19 Box Office 0113 223 3600 : leedslieder.org.ukTrockne Blumen Dried flowers
Ihr Blümlein alle, All you flowers,
Die sie mir gab, Which she gave me,
Euch soll man legen They should place you
Mit mir ins Grab. With me in my grave.
Wie seht ihr alle Why do you look at me
Mich an so weh, So sorrowfully,
Als ob ihr wüßtet, As if you knew
Wie mir gescheh’? What has befallen me?
Ihr Blümlein alle, All you flowers,
Wie welk, wie blaß? So faded, so pale,
Ihr Blümlein alle All you flowers
Wovon so naß? Why are you so moist?
Ach, Tränen machen Alas, tears don’t create
Nicht maiengrün, The green of May,
Machen tote Liebe They don’t make dead love
Nicht wieder blühn. Blossom again.
Und Lenz wird kommen And Spring will come,
Und Winter wird gehn, And Winter will go,
Und Blümlein werden And there will be flowers
Im Grase stehn. In the grass.
Und Blümlein liegen And flowers willl lie
In meinem Grab, In my grave,
Die Blümlein alle, All the flowers
Die sie mir gab. That she gave me.
Und wenn sie wandelt And when she walks
Am Hügel vorbei, Past the mound,
Und denkt im Herzen: And thinks in her heart
‘Der meint’ es treu!’ ‘His love was true!’
Dann Blümlein alle, Then little flowers,
Heraus, heraus! Come forth, come forth!
Der Mai ist kommen, May has arrived,
Der Winter ist aus. Winter is over.
20 Box Office 0113 223 3600 : leedslieder.org.ukDer Müller und der Bach The miller and the stream
Der Müller: Wo ein treues Herze The miller: When a faithful heart
In Liebe vergeht, Dies of love,
Da welken die Lilien The lilies wilt
Auf jedem Beet. In their beds.
Da muss in die Wolken The full moon
Der Vollmond gehn, Must hide bhind the clouds,
Damit seine Tränen So that no–one
Die Menschen nicht sehn. Can see its tears.
Da halten die Englein And the angels
Die Augen sich zu, Close their eyes,
Und schluchzen und singen And sob and sing
Die Seele zu Ruh’. The soul to its rest.
Der Bach: Und wenn sich die Liebe The stream: And when love
Dem Schmerz entringt, Struggles free from sorrow,
Ein Sternlein, ein neues A new little star
Am Himmel erblinkt. Appears in the heavens.
Da springen drei Rosen, Three roses spring up,
Halb rot und halb weiss, Half red and half white,
Die welken nicht wieder They will not fade again,
Aus Dornenreis. From their thorny stems.
Und die Engelein schneiden And the angels
Die Flügel sich ab, Cut off their wings,
Und gehn alle Morgen And every morning
Zur Erde herab. All descend to the earth.
Der Müller: Ach, Bächlein, liebes Bächlein, The miller: Oh stream, dear stream,
Du meinst es so gut: You mean so well,
Ach, Bächlein, aber weisst du, But, little stream, do you know
Wie Liebe tut? What love can do?
Ach, unten, da unten, Down below, down below,
Die kühle Ruh’! There is cool rest!
Ach, Bächlein, liebes Bächlein, Oh stream, dear little stream,
So singe nur zu. Carry on singing.
21 Box Office 0113 223 3600 : leedslieder.org.ukDes Baches Wiegenlied The stream’s lullaby
Gute Ruh’, gute Ruh’, Sleep well, sleep well,
Tu’ die Augen zu! Close your eyes!
Wandrer, du müder, du bist zu Haus. Tired wanderer, you are at home!
Die Treu’ ist hier, Here is constancy;
Sollst liegen bei mir, You will lie with me,
Bis das Meer will trinken die Bächlein aus. Until the sea swallows all the little streams.
Will betten dich kühl, I shall prepare you a cool bed,
Auf weichen Pfühl, On soft pillows,
In dem blauen krystallenen Kämmerlein. In the little blue crystal chamber.
Heran, heran, Come on, come on,
Was wiegen kann, All you who can lull,
Woget und wieget den Knaben mir ein. Rock and lull this lad for me.
Wenn ein Jagdhorn schallt If a hunting horn sounds
Aus dem grünen Wald, From the gree forest
Will ich sausen und brausen wohl um dich her. I will rush and surge around you!
Blickt nicht herein, Don’t look in,
Blaue Blümelein, Little blue flowers,
Ihr macht meinem Schläfer die Träume so schwer. You will give my sleeper bad dreams.
Hinweg, hinweg Away, away
Von dem Mühlensteg, From the mill path,
Böses Mägdelein, dass ihn dein Schatten nicht weckt! Wicked girl, lest your shadow wake him!
Wirf mir herein Throw me
Dein Tüchlein fein, Your delicate shawl
Dass ich die Augen ihm halte bedeckt. So that I can keep his eyes covered.
Gute Nacht, gute Nacht!! Good night, good night,
Bis alles wacht,! Till everything awakes.
Schlaf’ aus deine Freude, schlaf’ aus dein Leid!! Sleep away your joy, sleep away your sorrow!
Der Vollmond steigt, The full moon is rising,
Der Nebel weicht, The mist is dispersing,
Und der Himmel da droben, wie ist er so weit! And the heavens above are so wide!
Wilhem Müller (1794–1827)
22 Box Office 0113 223 3600 : leedslieder.org.ukProgramme Notes
The background to Die schöne Müllerin. The theme chosen for the Stägemann soirées was that
In the winter of 1816/17 Privy Councillor Friedrich of a miller maid wooed by a number of suitors, and the
August von Stägemann and his wife Elisabeth, both literary genre in which they wrote was the Liederspiel, a
of whom were published poets, organized evenings of narrative play in verse and song. The theme was already
literary charades in their Berlin home to entertain their popular in both literature and music: Paisiello’s opera La
adolescent children, August and 16 year–old Hedwig. molinara (we know the evergreen ‘Nel cor più non mi
Among the guests were Clemens von Brentano, the sento’) was enjoying great success on the contemporary
22 year–old Wilhelm Hensel, soon to marry Fanny German stage, and Goethe’s mill romances, such as Der
Mendelssohn, his 18 year–old sister Luise Hensel and Edelknabe und die Müllerin and Der Junggesell und der
of course Wilhelm Müller, then aged 23. The charades Mühlbach anticipate the Müller cycle in many of their
must have been emotionally fraught, since both phrases and cadences, especially the first verse of the
Brentano and Müller were in love with Luise. Brentano former:
actually proposed marriage to her (unsuccessfully, as Wohin? Wohin?
it turned out), but the younger Müller, shy like Die Schöne Müllerin!
schöne Müllerin’s hero, confided his own passion to his
Each player in the Stägemann soirées assumed a
diary, a little known document that sheds fascinating
different role, wrote their own part in verse and then
autobiographical light on two poems from Schubert’s
declaimed it – not without a certain ironic detachment.
cycle. ‘Der Neugierige’ echoes the passage in the Diary
Hedwig von Stägemann played the eponymous
when he wrote on pieces of paper: ‘Luise, liebst du
Müllerin, Wilhelm Hensel the hunter, his sister Luise
mich?’ and the single words ‘Ja’ and ‘Nein’; while ‘Pause’,
the gardener and Wilhelm Müller – appropriately – the
with its famous couplet:
miller. Someone from this circle of friends suggested
Ich kann nicht mehr singen, mein Herz ist zu voll, that the poetic contributions of each individual should
Weiß nicht, wie ichs in Reime zwingen soll be expanded into a play about the miller’s daughter (who
clearly reflects the entry for 8 November 1815 when, was to be called Rose) and her rival suitors. Ludwig
having confessed his clandestine love to a fresh page, Berger (1777–1839) was persuaded to write the music
he re–reads the amorphous effusion and refuses to and it is to him that posterity owes a debt of gratitude.
re–phrase his undisciplined outpouring, since it is too His resultant song cycle of ten songs was published in
great to shape in artistic form. Müller’s obsession with 1818 as Gesänge aus einem gesellschaftlichen Liederspiele
Luise Hensel is apparent throughout the diary from ‘Die schöne Müllerin’ and included five poems that
October 1815 to December 1816: he is tortured by the were subsequently set by Schubert: ‘Des Müllers
thought that she might not return his love, he expresses Wanderlied’ (‘Wohin?’), ‘Müllers Blumen’ (‘Des Müllers
his delight at Luise’s gift of a songbook, he shows her Blumen’), ‘Der Müller’ (‘Die böse Farbe’), ‘Müllers
his own poetry and favourite pieces by other writers, he trockne Blumen’ (‘Trockne Blumen’) and ‘Des Baches
worries about her health, and often ends an entry with Lied’ (‘Des Baches Wiegenlied’). All five have been
the words ‘Gute Nacht, Luise!’ – a phrase that was to recorded by Graham Johnson on Hyperion with Mark
provide the title to the opening poem of Die Winterreise. Padmore and Ann Murray. Müller, inspired by the
older composer’s cycle, collected and expanded his own
contributions to these soirées and published them finally
in 1821 as Die schöne Müllerin, part of a larger collection
called Sieben und siebzig Gedichte aus den hinterlassenen
Papieren eines reisenden Waldhornisten.
23 Box Office 0113 223 3600 : leedslieder.org.ukThe cycle bore the sub–title ‘Im Winter zu lesen’ Schubert ignored the irony entirely. He omitted both
(‘To be read in Winter’) and was framed by a Prologue Prologue and Epilogue and approached the poems with
and Epilogue in rhyming couplets, which gently a deadly seriousness. Instead of attempting, for example,
satirized the fashion of rustic balladry. to express the bathos of the final stanza of ‘Tränenregen’,
The Prologue begins: he enriches the harmony with major/minor variations,
veers off into the remote key of C major and lingers
Ich lad euch, schöne Damen, kluge Herrn,
in the postlude on the miller’s despair. It is a magical
Und die ihr hört und schaut was Gutes gern,
moment, but hardly what Müller intended. Time and
Zu einem funkelnagelneuen Spiel
again Schubert elevates the simple text into a statement
Im allerfunkelnagelneusten Stil...
of profound emotional significance, like Mozart did at
I invite you, fair ladies and wise gentlemen, the end of Le nozze di Figaro, where da Ponte’s lapidary
Who like a good theatrical occasion, ‘Contessa, perdono’ is transmuted into a poignancy
To a brand–new play that mere words cannot describe. Let three examples
Written in the brandest–newest way... suffice: the anguished repetition of ‘allen eine gute
This mocking tone is intensified in the Epilogue, where Nacht’ in ‘Am Feierabend’, which turns Müller’s factual
the poet dissociates himself from the tragic events, jokes statement into a cry of searing pain, as the miller realizes
with his audience and bids them all go quietly home: that the girl’s greeting was not for him alone; verse
4 of ‘Der Neugierige’ where the brook’s semiquavers
Wir blasen unsere Sonn’ und Sternlein aus – cease, the accompaniment shifts to G major and the
Nun findet euch im Dunkel gut nach Haus. miller communes with himself in a reverie of aria and
We’ll blow out our tiny stars and sun – recitative; and ‘Die liebe Farbe’, which in Schubert’s
Home in the dark with you, everyone. setting becomes an unremitting threnody, as the F sharp
is struck a foreboding 532 times.
The Stimmungsbrechung, with its deflating diminutive,
is worthy of Heinrich Heine, and it reminds us that the Any performance of Schubert’s Die schöne Müllerin
poet of Schumann’s Dichterliebe not only sent Müller a will fail to do justice to the tone and design of Müller’s
dedicated copy of his Lyrisches Intermezzo and set him poem, and it is unfair to judge his achievement as
above Uhland in his Romantische Schule but also wrote a poet by listening to Schubert’s settings, though
him a glowing letter in which we read: Müller himself never claimed to have written anything
substantial. Indeed, shortly before his death he penned
(...) aber ich glaube in Ihren Liedern den reinen
that famous and prophetic disclaimer, which has
Klang und die wahre Einfachheit, wonach ich
perhaps also hindered a true appreciation of his poems:
immer strebte, gefunden zu haben. Wie rein,
wie klar sind Ihre Lieder, und sämmtlich sind es Ich kann weder spielen noch singen, und wenn ich
Volkslieder. dichte, so singe ich doch und spiele auch.
Wenn nur ich die Weisen von mir geben könnte,
(...) but I think that it was in your songs that I first
so würden meine Lieder besser gefallen als jetzt.
discovered the pure tone and the true simplicity for
Aber getrost, es kann sich ja eine gleichgesinte
which I was always striving. How pure and clear
Seele finden, die die Weisen aus den Worten
your songs are – folksongs every one of them.
heraushorcht und sie mir zurückgibt.
Heine not only admired the simplicity of Müller’s
I can neither play nor sing, but when I write poetry,
writing, his ability to tell a story directly without the
I am also singing and playing. If I could only
archaic trappings of folksong, he also relished the
make up the tunes myself, my songs would give
Romantic irony evident in both Prologue and Epilogue
greater pleasure than they now do. But no matter!
and within the cycle itself.
A like–minded soul might appear who will hear
the tunes in the words and give them back to me.
Like–minded? No. But modest Wilhelm Müller – like
the rest of us – would have been eternally grateful to
Schubert for truncating and freely adapting his poem.
Richard Stokes © 2022
24 Box Office 0113 223 3600 : leedslieder.org.ukJoan Rodgers Masterclass Dr Katy Hamilton
© Groves Artists © Tom Arber © Helena Cooke
SUNDAY 1 MAY SUNDAY 1 MAY
3 – 5.30PM 7 – 7.30PM
Linacre Studio Howard Assembly Room
Festival Masterclass IV Pre–concert talk
and presentation of the Leeds Lieder/Schubert
Institute UK Song Prize with Dr Katy Hamilton
with Joan Rodgers CBE Dr Katy Hamilton introduces tonight’s closing recital to
be given by Louise Alder and Joseph Middleton.
Joan Rodgers’s many accolades include receiving the
Royal Philharmonic Society Award, Evening Standard
Award for outstanding performance in opera for her
performance as The Governess in the Royal Opera’s
production of The Turn of the Screw and an Honorary
Doctorate of Music from Liverpool University. She was
awarded the CBE in the 2001 New Year’s Honours List.
Her winning personality and innate musicality make her
one of the most in demand masterclass leaders. Today
she will end her class with a presentation to the Young
Artist duo who have shown most promise over the
course of the Festival. They will win the Leeds Lieder/
Schubert Institute UK Song Prize.
For Young Artist biographies, please see our website
leedslieder.org.uk
25 Box Office 0113 223 3600 : leedslieder.org.ukLouise Alder Joseph Middleton Howard Assembly Room
© Gerard Collett © Harmonia Mundi © Gerard Collett
SUNDAY 1 MAY Aaron Copland (1900–1990)
12 Poems of Emily Dickinson
8PM Nature, the gentlest mother
Howard Assembly Room There came a wind like a bugle
Closing Recital Why do they shut me out of Heaven?
The world feels dusty
Hello Young Lovers Heart, we will forget him!
Dear March, come in!
Generously Supported by Elizabeth and Olav Arnold Sleep is supposed to be
When they come back
Louise Alder soprano I felt a funeral in my brain
Joseph Middleton piano I’ve heard an organ talk sometimes
Gabriel Fauré (1887–1979) Going to Heaven!
Le papillon et la fleur The chariot
Chanson d’amour Ned Rorem (b. 1923)
Rêve d’amour Early in the morning
Notre amour
Richard Rodgers (1902–1979)
Nadia Boulanger (1887–1979) He was too good to me
and Raoul Pugno (1852–1914) Dancing on the ceiling
Les heures claire
Hello, young lovers
C’était en juin
Que tes yeux claires, tes yeux d’été
S’il arrive jamais
Gustav Mahler (1860–1911)
Frühlingsmorgen
Erinnerung
Urlicht
Das himmlische Leben (Des Knaben Wunderhorn)
Interval
26 Box Office 0113 223 3600 : leedslieder.org.ukTexts and Translations
Gabriel Fauré
(1845–1924)
Le papillon et la fleur The butterfly and the flower
La pauvre fleur disait au papillon céleste: The little flower said to the heavenly butterfly
Ne fuis pas! Don’t fly away!
Vois comme nos destins sont différents. Je reste, Look how different our destinies are, I stay here
Tu t’en vas! And you fly away!
Pourtant nous nous aimons, nous vivons sans les hommes Yet we love each other, we live without people
Et loin d’eux, And far away from them,
Et nous nous ressemblons, et l’on dit que nous sommes And we look alike, and people say that
Fleurs tous deux! We are both flowers!
Mais, hélas! l’air t’emporte et la terre m’enchaîne. But alas, the breeze carries you away and the earth
holds me fast
Sort cruel! Cruel fate!
Je voudrais embaumer ton vol de mon haleine I would like to perfume your flight with my breath
Dans le ciel! In the sky.
Mais non, tu vas trop loin! – Parmi des fleurs sans nombre But no, you fly too far away amongst countless flowers
Vous fuyez, You fly away.
Et moi je reste seule à voir tourner mon ombre As for me, I stay here alone only to watch my shadow
À mes pieds. Circle round my feet.
Tu fuis, puis tu reviens; puis tu t’en vas encore You fly away, then you return, then you fly away again
Luire ailleurs. To shimmer somewhere else.
Aussi me trouves–tu toujours à chaque aurore And also you always find me at dawn
Toute en pleurs! Bathed in tears.
Oh! pour que notre amour coule des jours fidèles, Oh that our love might flow through faithful days,
Ô mon roi, Oh my king,
Prends comme moi racine, ou donne–moi des ailes Take root like me, or giveme a pais of wings
Comme à toi! Like yours!
Victor Hugo (1802–1885)
27 Box Office 0113 223 3600 : leedslieder.org.ukChanson d’amour Love Song
J’aime tes yeux, j’aime ton front, I love your eyes, I love your brow,
Ô ma rebelle, ô ma farouche, Oh my rebel, oh my wild one,
J’aime tes yeux, j’aime ta bouche I love your eyes, I love your mouth
Où mes baisers s’épuiseront. Where my kisses shall melt.
J’aime ta voix, j’aime l’étrange I love your voice, I love the strange
Grâce de tout ce que tu dis, Charm of everything you say,
Ô ma rebelle, ô mon cher ange, Oh my rebel, Oh my beloved angel,
Mon enfer et mon paradis! My inferno and my paradise!
J’aime tout ce qui te fait belle, I love everything that makes you beautiful,
De tes pieds jusqu’à tes cheveux, From your feet right to your hair,
Ô toi vers qui montent mes vœux, Oh you, to whom all my vows are directed,
Ô ma farouche, ô ma rebelle! Oh my wild one, oh my rebel!
Armand Silvestre (1837–1901)
Rève d’amour Dream of love
S’il est un charmant gazon If there is a lovely lawn
Que le ciel arrose, Watered from the sky,
Où naisse en toute saison Where every new season
Quelque fleur éclose, Blossoming flowers grow,
Où l’on cueille à pleine main Where one can gather bouquets
Lys, chèvrefeuille et jasmin, Of lilies, woodbine and jasmine,
J’en veux faire le chemin I would like to make them the path
Où ton pied se pose! Where you feet would tread.
S’il est un sein bien aimant If there is a loving heart
Dont l’honneur dispose, Where honour dwells,
Dont le tendre dévouement Whose devoted tenderness
N’ait rien de morose, Holds nothing morose,
Si toujours ce noble sein If this noble heart would always
Bat pour un digne dessein, Beat with noble intent,
J’en veux faire le coussin I would make of it a cushion
Où ton front se pose! Where your head could rest.
S’il est un rêve d’amour If there is a dream of love
Parfumé de rose, Perfumed with roses,
Où l’on trouve chaque jour Where every day you would find
Quelque douce chose, Some sweet delight,
Un rêve que Dieu bénit, A dream which God would bless.
Où l’âme à l’âme s’unit, Where souls is united to soul,
Oh! j’en veux faire le nid Oh I would make it the nest
Où ton cœur se pose! Where you heart would rest.
Victor Hugo
28 Box Office 0113 223 3600 : leedslieder.org.ukNotre amour Our love
Notre amour est chose légère, Our love is gentle,
Comme les parfums que le vent Like the fragrance the breeze
Prend aux cimes de la fougère Carries from the lips of ferns
Pour qu’on les respire en rêvant.– For us to breathe while we dream.
Notre amour est chose légère. Our love is gentle.
Notre amour est chose charmante, Our love is full of charm,
Comme les chansons du matin Like morning songs
Où nul regret ne se lamente, Where no regret is voiced,
Où vibre un espoir incertain.– Where uncertain hopes tremble.
Notre amour est chose charmante. Our love is full of charm.
Notre amour est chose sacrée, Our love is sacred,
Comme le mystère des bois Like the mystery of the woods
Où tressaille une âme ignorée, Where an unknown soul shivers,
Où les silences ont des voix.– Where silences hava a voice.
Notre amour est chose sacrée. Ourlove is sacred.
Notre amour est chose infinie, Our love is infinite,
Comme les chemins des couchants Like paths at sunset
Où la mer, aux cieux réunie, Where the sea, united with the skies,
S’endort sous les soleils penchants. Goes to sleep under setting suns.
Notre amour est chose éternelle, Our love is eternal,
Comme tout ce qu’un Dieu vainqueur Like all that a victorious God
A touché du feu de son aile, Has touched with his fiery wing,
Comme tout ce qui vient du cœur,– Like everything that comes from the heat.
Notre amour est chose éternelle. Our love is eternal.
Armand Silvestre
29 Box Office 0113 223 3600 : leedslieder.org.ukNadia Boulanger
(1887–1979)
C’était en juin It was in June
C’était en juin, dans le jardin, It was in June in the garden,
C’était notre heure et notre jour; It was our hour and our day.
Et nos yeux regardaient, avec un tel amour, And our eyes looked at things
Les choses, With such love,
Qu’il nous semblait que doucement s’ouvraient That it seemed to us that the roses
Et nous voyaient et nous aimaient Gently opened and gazed on us
Les roses. And loved us.
Le ciel était plus pur qu’il ne le fut jamais: The sky was purer than ever before;
Les insectes et les oiseaux The insects and the birds
Volaient dans l’or et dans la joie Flew in gold and in joy,
D’un air frêle comme la soie; As fragile as silk;
Et nos baisers étaient si beaux And our kisses were so beautiful
Qu’ils exaltaient et la lumière et les oiseaux. That they exhaled light and birds.
On eût dit un bonheur qui tout à coup s’azure As though happiness had suddenly been tinged with blue,
Et veut le ciel entier pour resplendir; Wanting all Heaven to glitter;
Toute la vie entrait, par de douces brisures, All life entered, through sweet chinks,
Dans notre être, pour le grandir. Our being, and magnified it.
Et ce n’étaient que cris invocatoires, Nothing but invocatory cries
Et fous élans et prières et vœux, And crazed impulses and prayers and vows
Et le besoin, soudain, de recréer des dieux, And the sudden need to recreate gods,
Afin de croire. In order to believe.
Que yes yeux claires, May your bright eyes,
tes yeux d’été your eyes of summer
Que tes yeux clairs, tes yeux d’été, May your bright eyes, your eyes of summer
Me soient, sur terre, Be for me on earth
Les images de la bonté. Images of kindness.
Laissons nos âmes embrasées May our glowing souls
Revêtir d’or chaque flamme de nos pensées. Clothe with gold every flame of our thoughts.
Que mes deux mains contre ton coeur May my two hands against your heart
Te soient, sur terre, Be on earth
Les emblèmes de la douceur. Emblems of sweetness.
Vivons pareils à deux prières éperdues May we live like two ecstatic prayers,
L’une vers l’autre, à toute heure, tendues. Always sensitive to each other.
Que nos baisers sur nos bouches ravies May our kisses on our enraptured lips
Nous soient sur terre Be for us on earth
Les symboles de notre vie. The symbols of our life.
30 Box Office 0113 223 3600 : leedslieder.org.ukYou can also read
