Clara Schumann
1819–1896
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2019 marks the 200th anniversary of the birth of Clara Schumann, one of the most notable and highly regarded performer-composers of the Romantic era. Following many years and attempts by various sources to discredit her work as being secretly composed by her husband or other figures, it is an honour and privilege for the Sydney Conservatorium of Music to help recognise her accomplishments in the 200th year of her birth, and to continue upholding her musical legacy with the sincerity and respect that it deserves.
Born in Leipzig on the 13th of September 1819, Clara Schumann’s childhood was dominated by music training at the behest of her father Friedrich Wieck, a notable piano teacher and scholar who oversaw her training himself. Her reputation as a child prodigy quickly grew, and it was during a private performance in her home of Leipzig that she met her future husband, Robert Schumann. Clara began touring Europe in 1830, aged just eleven. She played from memory, one of the first pianists to do so, setting the standard for professional pianists today. Clara’s international career blossomed through her teenage years, at which time she also grew increasingly close to Robert Schumann, choosing to marry him after his proposal in 1837. However, Clara’s father was vehemently opposed to the match, refusing permission and threatening to shoot Robert should he persist. The couple were forced to sue Clara’s father for permission, eventually being married in 1840. Interestingly, while Clara and Robert were married, it was Clara’s touring career that provided the significant majority of the couple’s income, a notable deviation from the expected marital roles of the period. During their years together, Clara championed the works of her husband, as well as their contemporaries such as Frédéric Chopin, Felix Mendelssohn, and Johannes Brahms. Brahms in particular became a very close friend of the Schumann’s and had a very close professional and personal relationship with Clara following the death of her husband. It was around the time of Robert’s death that Clara chose to stop composing music. In her own words: “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—there has never yet been one able to do it. Should I expect to be the one?”[1] After Robert’s death, Clara engrossed herself in touring and performing, being at her most active between 1856 and 1873. In addition to her acclaim as a composer and performer, Clara was also a woman of remarkable fortitude. This is perhaps best demonstrated by her actions during the May Uprising in Dresden in 1849 when she put her life at risk to rescue her children from the city. Clara experienced hardship throughout her life. Her husband Robert suffered a mental breakdown, attempted suicide and requested to be incarcerated in a mental asylum until his death soon thereafter. Her eldest son would go on to suffer a similar fate. Four of her eight children died before Clara Schumann herself eventually died on the 20th of May 1896, aged 76. [1] (Bose, 2019) Excerpt from Clara Schumann’s diary. |
2019 jährt sich zum 200. Mal die Geburt von Clara Schumann, einer der bedeutendsten und angesehensten Komponisten der Romantik. Es ist eine Ehre und ein Privileg des Sydney Conservatoriums of Music, nach vielen Jahren und Versuchen verschiedener Quellen, ihre Arbeit als von ihrem Ehemann oder anderen Persönlichkeiten heimlich komponiert zu diskreditieren, ihre Leistungen im 200. Jahr ihrer Geburt anzuerkennen und zu würdigen.
Die Kindheit der am 13. September 1819 in Leipzig geborenen Clara Schumann war von der musikalischen Ausbildung ihres Vaters Friedrich Wieck, einem bemerkenswerten Klavierlehrer und Gelehrten, geprägt. Ihr Ruf als Wunderkind wuchs schnell und während eines privaten Auftritts in ihrem Leipziger Zuhause lernte sie ihren zukünftigen Ehemann Robert Schumann kennen. Clara began ihre erfolgreiche internationale Karriere als sie, mit gerade einmal elf Jahren, zum ersten Mal durch Europa tourte. Clara war einer der ersten Pianisten, die auswendig spielten und somit den Standard für das heutige Konzertverhalten setzten. Claras internationale Karriere erlebte einen Aufschwung in den Teenagerjahren, in denen sie auch Robert Schumann immer näher kam. Sie nahm seinen 1837 gemachten Heiratsantrag an. Claras Vater war vehement gegen die Ehe, verweigerte die Erlaubnis und drohte sogar, Robert zu erschießen. Das Ehepaar war gezwungen, Claras Vater um Erlaubnis zu verklagen, und heiratete schließlich 1840. Interessanterweise war es Clara, die durch ihre Konzerttouren die bedeutende Mehrheit des Einkommens des Ehepaars erwirtschaftete—eine bemerkenswerte Abweichung von der damals üblichen Rollenverteilung in der Ehe und ein Beweis ihres virtuosen Könnens. Während ihrer gemeinsamen Jahre setzte sich Clara für die Werke ihres Mannes und ihrer Zeitgenossen wie Frédéric Chopin, Felix Mendelssohn, und Johannes Brahms ein. Insbesondere Brahms wurde ein sehr enger Freund der Schumanns und hatte nach dem Tode Roberts eine sehr enge berufliche und persönliche Beziehung zu Clara. Es war ungefähr zur Zeit von Roberts Tod, als Clara beschloss, nicht mehr Musik zu komponieren. In ihren eigenen Worten: „Ich habe einmal geglaubt, kreatives Talent zu besitzen, aber ich habe diese Idee aufgegeben; Eine Frau darf nicht komponieren woollen–es gab noch nie eine, die dazu in der Lage war. Soll ich damit rechnen? “Nach Nach Roberts Tod tourte Clara vermehrt in den Jahren zwischen 1856 und 1873. Clara Schumann zeigte Mut und Standhaftigkeit auch ausserhalb ihrer künstlerischen Karriere. Während des Mai-Aufstands in Dresden im Jahre 1949, der mit anderen zu weiteren revolutionären Aufständen in Europa führte, kehrte Clara inmitten des Aufruhrs nach Dresden zurück. Clara stürmte durch die Front der Kämpfe in die Stadt, um ihre von einer Magd geschützten Kinder in Sicherheit zu bringen. Clara Schumann erlebte auch schwere Zeiten. Ihr Ehemann Robert erlitt einen Nervenzusammenbruch, versuchte Selbstmord und starb0 einem Sanatorium. Ihr ältester Sohn erleidete ein ähnliches Schicksal. Vier ihrer Kinder starben bevor sie selbst am 20. Mai 1896 im Alter von 76 Jahren aus dem Leben schied. |
WINNER
Nathan Bryon
Tenor
Nathan Bryon is a young tenor hailing from Geurie in rural NSW, and is currently completing his fourth year of study at the Sydney
Conservatorium of Music (Bachelor of Vocal Performance) under the guidance of Andrew Dalton. He has held scholarship positions as an Associate Artist with Pacific Opera, Tenor Scholar at St Stephen’s Uniting Church, and performed in the Featured Ensemble for Coast Opera Australia. This year, Nathan attended the New Zealand Singing School, where he was presented with the Beatrice Webster Award for the pursuit of excellence.
Nathan has performed Mozart’s Requiem (Penrith Symphony Orchestra), J.S. Bach’s St Matthew Passion (Operantics), Stainer’s Crucifixion, (St Stephen’s Uniting Church), Durante’s Missa in C, Vivaldi’s Magnificat (Central Coast Chorale), Maunder’s Olivet to Calvary (St Stephen’s Uniting Church), Handel’s Messiah and Haydn’s Nelson Mass (Manly-Warringah Choral Society), as well as with Moorambilla Voices, of which he is a proud alumnus.
Nathan’s operatic roles include Odoardo in Handel's Ariodante (Apollo Opera Collective), and Il Po-destà di Lagerona in Mozart’s La Finta Giardiniera (Operantics), and he has toured regionally with Voci Stupende bringing opera to regional and rural areas. Nathan has performed with the Sydney Conservatorium of Music and Opera Carnivale as ‘Captain John Woolcot’ in a Spiegeltent adaptation of Seven Little Australians. Nathan has recently co-founded Ensemble Polyphème – a baroque orchestral and opera company based in Sydney for emerging artists.
In July 2018, Nathan was privileged to attend the Melbourne International Festival of Lieder and Art-song, where he took part in masterclasses with world renowned artists Dr Graham Johnson OBE and Dr Stephen Varcoe. Later in that same year, Nathan toured Tasmania as a part of an operatic tour with Simon Kenway and stars of Australian Opera, Peter Coleman-Wright AO and Cheryl Barker AO; and through his scholarship with Pacific Opera travelled to Germany as one of four young Australian artists to participate in an intensive networking and performance program facilitated by the Australain German Embassy.
Conservatorium of Music (Bachelor of Vocal Performance) under the guidance of Andrew Dalton. He has held scholarship positions as an Associate Artist with Pacific Opera, Tenor Scholar at St Stephen’s Uniting Church, and performed in the Featured Ensemble for Coast Opera Australia. This year, Nathan attended the New Zealand Singing School, where he was presented with the Beatrice Webster Award for the pursuit of excellence.
Nathan has performed Mozart’s Requiem (Penrith Symphony Orchestra), J.S. Bach’s St Matthew Passion (Operantics), Stainer’s Crucifixion, (St Stephen’s Uniting Church), Durante’s Missa in C, Vivaldi’s Magnificat (Central Coast Chorale), Maunder’s Olivet to Calvary (St Stephen’s Uniting Church), Handel’s Messiah and Haydn’s Nelson Mass (Manly-Warringah Choral Society), as well as with Moorambilla Voices, of which he is a proud alumnus.
Nathan’s operatic roles include Odoardo in Handel's Ariodante (Apollo Opera Collective), and Il Po-destà di Lagerona in Mozart’s La Finta Giardiniera (Operantics), and he has toured regionally with Voci Stupende bringing opera to regional and rural areas. Nathan has performed with the Sydney Conservatorium of Music and Opera Carnivale as ‘Captain John Woolcot’ in a Spiegeltent adaptation of Seven Little Australians. Nathan has recently co-founded Ensemble Polyphème – a baroque orchestral and opera company based in Sydney for emerging artists.
In July 2018, Nathan was privileged to attend the Melbourne International Festival of Lieder and Art-song, where he took part in masterclasses with world renowned artists Dr Graham Johnson OBE and Dr Stephen Varcoe. Later in that same year, Nathan toured Tasmania as a part of an operatic tour with Simon Kenway and stars of Australian Opera, Peter Coleman-Wright AO and Cheryl Barker AO; and through his scholarship with Pacific Opera travelled to Germany as one of four young Australian artists to participate in an intensive networking and performance program facilitated by the Australain German Embassy.
Lied eines Schiffers an die Dioskuren, Op. 65 No.1; D. 360 (1826)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
This piece written by Johann Mayrhofer was one of 4 belonging his song cycle that Schubert set to music. Mayrhofer’s cycle of twenty poems, entitled Heliopolis, is less a narrative cycle and more a philosophic one, exploring the relationships between art and nature. Heliopolis—the Greek land of the Sun—represented an idyllic artistic paradise to Mayrhofer, free from worldly torment.
The text is based on the Greek myth of the Dioscuri, the twin brothers Castor and Polydeuces - twin stars of the constellation Gemini who were said to be heavenly guardians of sailors. This piece is an example of a modified strophic Schubertian lied, leaving a touching impression to all who hear it.
The text is based on the Greek myth of the Dioscuri, the twin brothers Castor and Polydeuces - twin stars of the constellation Gemini who were said to be heavenly guardians of sailors. This piece is an example of a modified strophic Schubertian lied, leaving a touching impression to all who hear it.
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Lied eines Schiffers an die Dioskuren
Poet: Johann Mayrhofer Dioskuren, Zwillingsterne, Die ihr leuchtet meinem Nachen, Mich beruhigt auf dem Meere Eure Milde, euer Wachen. Wer auch, fest in sich begründet, Unverzagt dem Sturm begegnet; Fühlt sich doch in euren Strahlen Doppelt muthig und gesegnet. Dieses Ruder, das ich schwinge, Meeresfluthen zu zertheilen; Hänge ich, so ich geborgen, Auf an eures Tempels Säulen. Dioskuren, Zwillingsterne! |
Song of shipper to the Dioscuri
Translation: Emily Ezust Dioscuri, twin stars Who shine on my boat, I am reassured, when out at sea, By your gentleness and watchfulness. Even he who, firm and self-confident, Faces the storm undaunted, Still feels, in your beams, Doubly courageous and blessed. This oar that I ply To part the sea’s waves, I will hang, once I am safely back home, On the pillars of your temple. Dioscuri, twin stars! Translation copyright © by Emily Ezust, from the LiederNet Archive |
Auflösung, D. 807 (1842)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
Auflösung marks the end of a creative and personal companionship between Schubert and Johann Mayrhofer after having worked together on forty-seven songs and two operas. Translated, ‘Auflösung’ means dissolution, which reflects not only the end of the relationship between poet and composer, but also between the narrator and life itself. A turbulent accompaniment paired with a passionate vocal line make for a magnificent musical battle between grandeur and solemnity - a true representation of Nineteenth Century Lied and one of Schubert’s finest works.[1]
[1] "Auflösung, D807 - Hyperion Records". Hyperion-Records.Co.Uk, 2019. https://www.hyperion-records.co.uk/tw.asp?w=W2200&fbclid=IwAR3oBODEdT3I-I0Yp-2upVOTYAkwlPnJjcd2d1fTn14SEkJAObAVRVr9wQc.
[1] "Auflösung, D807 - Hyperion Records". Hyperion-Records.Co.Uk, 2019. https://www.hyperion-records.co.uk/tw.asp?w=W2200&fbclid=IwAR3oBODEdT3I-I0Yp-2upVOTYAkwlPnJjcd2d1fTn14SEkJAObAVRVr9wQc.
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Auflösung
Poet: Johann Mayrhofer Verbirg dich, Sonne, Denn die Gluten der Wonne Versengen mein Gebein; Verstummet, Töne, Frühlings Schöne Flüchte dich und lass mich allein! Quillen doch aus allen Falten Meiner Seele liebliche Gewalten, Die mich umschlingen, Himmlisch singen. Geh unter, Welt, und störe Nimmer die süssen, ätherischen Chöre. |
Disintegration
Translation: Richard Wigmore Hide yourself, sun, For the fires of rapture Burn through my whole being. Be silent, sounds; Spring beauty, Flee, and let me be alone! From every recess of my soul Gentle powers well up And envelop me With celestial song. Dissolve, world, and never more Disturb the sweet ethereal choirs. Translations by Richard Wigmore first published by Gollancz and reprinted in the Hyperion Schubert Song Edition |
2. Intermezzo from Liederkreis, Op. 39 (1840)
Robert Schumann (1810-1856)
Robert Schumann (1810-1856)
Schumann’s ‘Intermezzo’ is from his song cycle Liederkreis, Opus 39 which literally translates ‘song cycle’. This is not to be confused with Schumann’s Liederkreis, Opus 24, which was written three months prior and based on poems by Heinrich Heine. ’Intermezzo’ is the second of twelve songs in the later cycle which showcased texts by Joseph von Eichendorff. The song cycle was composed in 1840, Schumann’s “Liederjahr” (year of song), of which he was finally permitted to marry Clara Wieck and proceeded to write more than 100 songs in the six months leading up to their marriage. Prior to this year, he had declared; “All my life I have regarded vocal music as inferior to instrumental music, and have never considered it great art” however not long before Clara and his wedding, he wrote a letter to her declaring “Oh Clara, what a bliss it is to write songs. I can’t tell you how easy it has become for me.[1]
[1] Moore, R. A. (2014, Jan). Guide to records: Thomas E. bauer and uta hielscher - "schumann: 'liederkreis,' op. 39". American Record Guide, 77, 174-175. Retrieved from http://ezproxy.library.usyd.edu.au/login?url=https://search-proquest-com.ezproxy1.library.usyd.edu.au/docview/1507270018?accountid=14757
[1] Moore, R. A. (2014, Jan). Guide to records: Thomas E. bauer and uta hielscher - "schumann: 'liederkreis,' op. 39". American Record Guide, 77, 174-175. Retrieved from http://ezproxy.library.usyd.edu.au/login?url=https://search-proquest-com.ezproxy1.library.usyd.edu.au/docview/1507270018?accountid=14757
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Intermezzo
Poet: Joseph von Eichendorff Dein Bildnis wunderselig Hab’ ich im Herzensgrund, Das sieht so frisch und fröhlich Mich an zu jeder Stund’. Mein Herz still in sich singet Ein altes, schönes Lied, Das in die Luft sich schwinget Und zu dir eilig zieht. |
Intermezzo
Translation: Richard Stokes I bear your beautiful likeness Deep within my heart, It gazes at me every hour So freshly and happily. My heart sings softly to itself An old and beautiful song That soars into the sky And swiftly wings its way to you. Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005) |
Finalists
2019
Winner of Audience Choice Prize
Meredith Cheng
Soprano
Meredith is in her final year of a Bachelor of Music (Performance) degree, studying with Maree Ryan AM. She began performing in 2013, when she was cast as Kim in her high school’s production of Miss Saigon, and her love for the theatre has since expanded to opera. Recently, she covered Susanna in ‘Le nozze di Figaro’ at the Berlin Opera Academy, supported by the Vice Chancellor’s Global Mobility Scholarship. She has also performed in the ensemble for the Conservatorium Opera Studio’s ‘Don Giovanni’, ‘Die Zauberflöte’ and ‘La Calisto’. Meredith still keeps a keen interest in musical theatre and performed Esther in Opera Carnivale’s production of ‘Seven Little Australians’ in May, a role which she will reprise at Bathurst in October this year. Meredith is honoured to have been nominated as a finalist for this exciting competition and is looking forward to a wonderful afternoon of Lieder.
6. Röselein, Röselein from 6 Gesänge, Op.89 (1850)
Robert Schumann (1810-1856)
Robert Schumann (1810-1856)
This song is part of a song cycle composed by Robert Schumann – Sechs Gesänge (op.89) – based on a poem by Wilfred von der Neun. The narrator describes a pleasant dream in which they are surrounded by roses, all of whom have no thorns. Upon waking, he cannot find any thornless roses. The brooklet he slept beside then warns him that all “little roses must have thorns”. All throughout German Romantic poetry, the rose is used as an allegory for a female being pursued by a male; consider also the poem Heidenröselein by Goethe.This song is part of a song cycle composed by Robert Schumann – Sechs Gesänge (op.89) – based on a poem by Wilfred von der Neun. The narrator describes a pleasant dream in which they are surrounded by roses, all of whom have no thorns. Upon waking, he cannot find any thornless roses. The brooklet he slept beside then warns him that all “little roses must have thorns”. All throughout German Romantic poetry, the rose is used as an allegory for a female being pursued by a male; consider also the poem Heidenröselein by Goethe.
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Röselein, Röselein!
Text - Wilfred Von Der Neun Röselein, Röselein, Müssen denn Dornen sein? Schlief am schatt'gen Bächelein Einst zu süssem Träumen ein, Sah in goldner Sonne Schein Dornenlos ein Röselein, Pflückt' es auch und küsst' es fein, "Dornloses Röselein!" Ich erwacht' und schaute drein: "Hatt' ich's doch! Wo mag es sein?" Rings im weiten Sonnenschein Standen nur Dornröslein! Und das Bächlein lachte mein: "Lass du nur dein Träumen sein! Merk' dir's fein, merk' dir's fein, Dornröslein müssen sein!"[1] [1]"Röselein, Röselein (Schöpff, Set By Alfred Kleinpaul, Robert Schumann) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=12069. |
Little Rose, Little Rose!
Little rose, little rose. Must you have thorns? I fell asleep once by a shady brooklet, And had such a sweet dream, I saw in the golden sunshine A rose without thorns. I picked it and delicately kissed it "Thornless rose"! I woke up and looked around, "If it were only here. Where can it be?" All around in the sunlight There were only roses with thorns! And the brooklet laughed at me; "Leave off with your dreaming, Mark this well, mark this well, Roses will always have thorns."[1] [1]"Little Rose, Little Rose (Schöpff, Set By Alfred Kleinpaul, Robert Schumann) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=12070. |
3. Verschwiegene Liebe from Eichendorff-Lieder, (1886)
Hugo Wolf (1860-1903)
Hugo Wolf (1860-1903)
Based on a poem by Josef Karl Benedict von Eichendorff, this song by Hugo Wolf describes the narrator in a state of reverie at night, thinking of their love.
Wolf uses a gently swaying and lulling piano accompaniment to illustrate the narrator’s peaceful state of mind and the quiet night.
Wolf uses a gently swaying and lulling piano accompaniment to illustrate the narrator’s peaceful state of mind and the quiet night.
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Verschwiegene Liebe
Text - J. K. B Eichendorff Über Wipfel und Saaten In den Glanz hinein - Wer mag sie erraten, Wer holte sie ein? Gedanken sich wiegen, Die Nacht ist verschwiegen, Gedanken sind frei. Errät' es nur eine, Wer an sie gedacht Beim Rauschen der Haine, Wenn niemand mehr wacht Als die Wolken, die fliegen - Mein Lieb ist verschwiegen Und schön wie die Nacht.[1] [1] "Verschwiegene Liebe (Eichendorff, Set By Wilhelm Freudenberg, Alexis Holländer, Eduard Lassen, John Moeller, Hugo Wolf) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=5166. |
Silent Love
Over treetops and crops And into the splendour - Who may guess them, Who may catch up with them? Thoughts sway, The night is mute; Thoughts run free. If only she would guess Who was thinking of her By the rustling of the grove, When no one was watching any longer Except the clouds that flew by - [but] my love is silent And as fair as the night.[1] [1] "Silent Love (Eichendorff, Set By Wilhelm Freudenberg, Alexis Holländer, Eduard Lassen, John Moeller, Hugo Wolf) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=5167. |
Willkommen und Abscheid, Op.56 No.1; D. 767 (1822)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
“Willkommen und Abschied” is based upon a poem by Goethe. The text describes a clandestine night-time meeting between two lovers. The narrator is blind to the darkness and the fears of night-time by his infatuation with his love. Schubert demonstrates his skill at word painting and manipulates the listener’s emotions with the piano accompaniment of this piece, shifting character with the narrator’s trail of thought, beginning frenzied and excited, and twisting into something more sinister when depicting the night. It shifts into a sorrowful nature at the lover-s parting, and finally returns to the narrators triumph words to about love.
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Willkommen und Abschied
Text - J. W. Goethe Es schlug mein Herz; geschwind zu Pferde! Es war gethan fast eh' gedacht; Der Abend wiegte schon die Erde Und an den Bergen hing die Nacht: Schon stand im Nebelkleid die Eiche Ein aufgetürmter Riese da, Wo Finsternis aus dem Gesträuche Mit hundert schwarzen Augen sah. Der Mond von einem Wolkenhügel Sah kläglich aus dem Duft hervor, Die Winde schwangen leise Flügel, Umsaus'ten schauerlich mein Ohr; Die Nacht schuf tausend Ungeheuer; Doch frisch und fröhlich war mein Muth: In meinen Adern welches Feuer! In meinem Herzen welche Glut! Dich sah ich, und die milde Freude Floß von dem süßen Blick auf mich; Ganz war mein Herz an deiner Seite Und jeder Atemzug für dich. Ein rosenfarbnes Frühlingswetter Umgab das liebliche Gesicht, Und Zärtlichkeit für mich - Ihr Götter! Ich hofft' es, ich verdient' es nicht! Doch ach schon mit der Morgensonne Verengt der Abschied mir das Herz: In deinen Küssen, welche Wonne! In deinem Auge, welcher Schmerz! Ich ging, du standst und sahst zur Erden, Und sahst mir nach mit nassem Blick: Und doch, welch Glück geliebt zu werden! Und lieben, Götter, welch ein Glück![1] [1] "Willkommen Und Abschied (Goethe, Set By Peter Grønland, Oscar Meyer, Hans Erich Pfitzner, Johann Friedrich Reichardt, Franz Peter Schubert, Winfried Zillig) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=6669&RF=1. |
Welcome and Parting
My heart pounded; quick! To the horse! It was done before I could think; Evening was already cradling the earth And night hung upon the mountains: Already the oak stood clothed in mist, A towering giant there, Where darkness from the bushes Peered with a hundred dark eyes! The moon from a hill of cloud Looked pitifully down through the haze, The wind stirred with gentle wings Murmuring eerily into my ear; Night created a thousand horrors; But fresh and cheery was my mood: In my veins, what fire! In my heart, what passion! You I saw and gentle joy Flowed from your sweet gaze to mine, My heart was entirely at your side, And every breath was for you. Rose-coloured spring Surrounded your lovely face, And tenderness for me - oh you Gods! I had hoped for this, but I do not deserve it! But alas, already with the morning sun, Parting strangles my heart: In your kisses, what bliss! In your eyes, what pain! I left, and you stood and looked down at the Ground, And then gazed after me with wet eyes: And yet, what happiness to be loved! And to love, Gods, what good fortune![1] [1] "Welcome And Parting (Goethe, Set By Peter Grønland, Oscar Meyer, Hans Erich Pfitzner, Johann Friedrich Reichardt, Franz Peter Schubert, Winfried Zillig) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=6670. |
Katherine Allen
Soprano
Currently in her final undergraduate year at the Con, soprano Katherine Allen’s engagements at university have seen her perform in productions of Die Zauberflöte, Don Giovanni, La Calisto and as a soloist in Mozart’s Mass in C minor. Katherine is an Associate Young Artist with Pacific Opera where she has been seen performing as a featured soloist on some of Sydney’s finest stages. In 2018 she made her operatic debut singing the role of Paquette in Bernstien’s Candide at the Sydney Opera House and, most recently, performed the role of Adele in Strauss’s Die Fledermaus at the Lyric Opera Studio in Weimar, Germany. Later in the year, Katherine will be performing the role of Josephine in Gilbert and Sulilvan’s HMS Pinafore at the Hayes Theatre Company. Upon completing her degree, Katherine hopes to continue pursuing bigger and better goals in the performing world and looks forward to what prospects lay ahead. Katherine is looking forward to sharing the stage with her talented colleagues and presenting some thrilling music.
Suleika I, Op.14, No 1; D. 720 (1821)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
Brahms was quoted to say that Schubert’s ‘Suleika 1’ is the “loveliest song ever written”, [1] and it is hard to disagree with that sentiment. The text published under Goethe’s name was actually written by his lover Marianne von Willemer, whom he saw in person only three times. With so many layers of romantic context surrounding the text, the plot of Suleika awaiting her lover Hatem, is a parallel of Goethe and Von Willemer’s own correspondence and sharing of creative outpouring.
Schubert’s setting captures the idea of the ‘east-wind’ perfectly, often using the unusual flattened fifth scale degree so often associated with the western-romanticised idea of the ‘East’. The work is neither strophic or through composed, but is in itself a mini-opera full of passion and longing, awaiting the reuniting of two separated lovers.
[1] "Suleika I, D. 720 | Ju Hyeon Han | Soprano | Free Classical Music Online". 2019. Classicalconnect.Com. https://www.classicalconnect.com/Soprano/Schubert/Suleika/8621.
Schubert’s setting captures the idea of the ‘east-wind’ perfectly, often using the unusual flattened fifth scale degree so often associated with the western-romanticised idea of the ‘East’. The work is neither strophic or through composed, but is in itself a mini-opera full of passion and longing, awaiting the reuniting of two separated lovers.
[1] "Suleika I, D. 720 | Ju Hyeon Han | Soprano | Free Classical Music Online". 2019. Classicalconnect.Com. https://www.classicalconnect.com/Soprano/Schubert/Suleika/8621.
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Suleika I
Text - J. W. Goethe und Marianne Von Willmer Was bedeutet die Bewegung? Bringt der Ost mir frohe Kunde? Seiner Schwingen frische Regung Kühlt des Herzens tiefe Wunde. Kosend spielt er mit dem Staube, Jagt ihn auf in leichten Wölkchen, Treibt zur sichern Rebenlaube Der Insecten frohes Völkchen. Lindert sanft der Sonne Glühen, Kühlt auch mir die heißen Wangen, Küßt die Reben noch im Fliehen, Die auf Feld und Hügel prangen. Und mir bringt sein leises Flüstern Von dem Freunde tausend Grüße; Eh noch diese Hügel düstern Grüßen mich wohl tausend Küsse. Und so kannst du weiter ziehen! Diene Freunden und Betrübten. Dort wo hohe Mauern glühen, Find' ich bald den Vielgeliebten. Ach, die wahre Herzens kunde, Liebeshauch, erfrischtes Leben Wird mir nur aus seinem Munde, Kann mir nur sein Athem geben.[1] [1] "Was Bedeutet Die Bewegung? (Goethe, Set By Bettina Von Arnim, Née Brentano, Heinrich Bellermann, Felix Mendelssohn Bartholdy, Franz Peter Schubert, Artur Seemann) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=17471&RF=1. |
Suleika I
What does this stirring mean? Does the East wind bring glad tidings? The refreshing movement of its wings Chills the heart's deep wound. It plays gently with the dust, Chasing it into light clouds. And drives the happy insect people To the security of the vine-leaves. It softly tempers the sun's incandescence, And chills my hot cheeks, As it flees it kisses the vines Which are prominent on the fields and hills And its soft whispering brings me A thousand greetings from my friend Before these hills dim, I will be greeted by a thousand kisses. So as you go on your way! Serve friends and those who are sad. There where high walls glow, I shall soon find my dearly beloved. Oh, the true message of his heart, Loves-breath, refreshing life Comes only from his mouth, Can be given to me only by his breath.[1] [1] "Suleika (Goethe, Set By Bettina Von Arnim, Née Brentano, Heinrich Bellermann, Felix Mendelssohn Bartholdy, Franz Peter Schubert, Artur Seemann) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=17472. |
6. Er Ist's from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
Hugo Wolf (1860-1903)
With a light and purposeful introduction, Wolf’s “Er Ists!” sets the text of Mörike beautifully. With the poetry written as free-verse (with no rhyme or form), Wolf’s composition has not the usual strophic form of his era. The short and delightful lied gains momentum through a multitude of modulations, creating tension and excitement as the imagery of spring is depicted. The piece does not return to its home key until the second last page when “Frühling, ja du bist’s!” (Spring, yes you are it!) is declaimed. In true Wolf fashion, the piano goes on to finish the work with a page long solo that affirms the collaborative nature of his compositional style; the vocalist and pianists as equals. While there are many theories surrounding the true meaning of the Mörike’s text, it is really up to the interpretation of the musicians and listeners whether a literal or metaphorical understanding of spring is to be realised in this work.
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Er Ists!
Text - Eduard Mörike Frühling lässt sein blaues Band Wieder flattern durch die Lüfte; Süße, wohlbekannte Düfte Streifen ahnungsvoll das Land. Veilchen träumen schon, Wollen balde kommen. Horch, ein Harfenton! Frühling, ja du bist’s! Dich hab ich vernommen! |
He is!
Spring is floating its blue banner On the breezes again; Sweet, well-remembered scents Drift portentously across the land. Violets, already dreaming, Will soon begin to bloom. Listen, the sound of a harp! Spring, it must be you! It’s you I’ve heard![1] [1] Stokes, R. (2019). Er ist’s. [online] Oxford Lieder. Available at: https://www.oxfordlieder.co.uk/song/597 [Accessed 26 Aug. 2019]. |
6. Ein Traum from 6 Lieder Op. 48 (1889)
Edvard Greig (1843-1907)
Edvard Greig (1843-1907)
Unlike his romantic contemporaries who focussed on the ever-evolving larger form works, Grieg spent a large proportion of his life composing smaller form pieces such as Lied and Norwegian folk songs. Ein Traum, the last of his Sechs Lieder, was composed in August 1889. It uses Friedrich Bodenstedt’s poem “Ein Traum” (The Dream). The poetry depicts a young man who dreams of falling in love with “a fair-haired young woman”. The rippling triplet accompaniment supports the lush and romantic vocal line as Bodenstedt’s dream turns to reality. A sharp accompaniment change from arpeggiation to triplet block chords (similar to Schubert’s composition ‘Erlkönig’) awakes the young dreamer as he finds his dream come true. Grieg continues to build compositional tension with chromatic modulation and an acceleration to the climax of the vocal line, a glorious top A, in which the realisation of true love comes to light for the character.
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Ein Traum
Text - Friedrich Bodenstedt Mir träumte einst ein schöner Traum: Mich liebte eine blonde Maid; Es war am grünen Waldesraum, Es war zur warmen Frühlingszeit: Die Knospe sprang, der Waldbach schwoll, Fern aus dem Dorfe scholl Geläut - Wir waren ganzer Wonne voll, Versunken ganz in Seligkeit. Und schöner noch als einst im Traum Begab es sich in Wirklichkeit -- Es war am grünen Waldesraum, Es war zur warmen Frühlingszeit: Der Waldbach schwoll, die Knospe sprang, Geläut erscholl vom Dorfe her– Ich hielt dich fest, ich hielt dich lang – Und lasse dich nun nimmermehr! O, frühlingsgrüner Waldesraum! Du lebst in mir durch alle Zeit -- Dort ward die Wirklichkeit zum Traum, Dort ward der Traum zur Wirklichkeit![1] [1] Lieder.net. (2019). Mir träumte einst ein schöner Traum (Bodenstedt, set by Ingeborg Bronsart von Schellendorf, ? Caemmerer, Franz Dannehl, Edvard Grieg, Wilhelm Hill, Anton Koller, Ludwig Liebe, Alban Lipp, John Moeller, Josef Reiter, Leopold Rosenfeld, Louis Samson, Franz Otto Sturm, Gustav Tyson Wolff) (The LiederNet Archive: Texts and Translations to Lieder, mélodies, canzoni, and other classical vocal music). [online] Available at: http://www.lieder.net/lieder/get_text.html?TextId=2824&RF=1 [Accessed 26 Aug. 2019]. |
A Dream
I once had a beautiful dream: I was in love with a fair-haired young woman, We were in a green forest glade, It was warm spring weather, The buds were sprouting, the brook was running Strong, The sounds of the distant village could be heard, We were full of joy, immersed in bliss. And even more beautiful than the dream Was what occurred in reality: It was in a green forest glade It was warm spring weather, The buds were sprouting, the brook was running Strong, The sounds of the distant village reached our ears -- I held you tight, I held you long, And now will never again let you go! Oh the spring-green glade Is alive in me for all time!0 That is where reality became a dream And the dream became [a] reality![1] [1] Lieder.net. (2019). I once had a beautiful dream (Bodenstedt, set by Ingeborg Bronsart von Schellendorf, ? Caemmerer, Franz Dannehl, Edvard Grieg, Wilhelm Hill, Anton Koller, Ludwig Liebe, Alban Lipp, John Moeller, Josef Reiter, Leopold Rosenfeld, Louis Samson, Franz Otto Sturm, Gustav Tyson Wolff) (The LiederNet Archive: Texts and Translations to Lieder, mélodies, canzoni, and other classical vocal music). [online] Available at: http://www.lieder.net/lieder/get_text.html?TextId=2825 [Accessed 26 Aug. 2019]. |
Brendan Zlatkis
Baritone
Brendan Zlatkis is a Sydney-based baritone who is currently completing a Bachelor of Music in Vocal Performance at the Sydney Conservatorium of Music, under the guidance of Andrew Dalton. Prior to his training in classical voice, Brendan spent time at the Actors Centre where he took classes from some well-known Australian masters of stagecraft. It is his final semester at the Conservatorium and Brendan is keeping busy with a variety of performances in addition to preparing for his final recital.
He recently co-founded a duo with Heath Auchinachie on classical guitar and sang with Avant Trio while touring the great southern coast. Brendan was invited to take a lieder masterclass from David Greco last month and has just sung in the latest installment of the Russian Song Series.
Brendan is thrilled to have been selected a finalist in the Demant Dreikurs Scholarship Competition and is excited to perform among his friends and colleagues this Saturday. After his degree, Brendan is looking to pursue performance in Australia and abroad.
He recently co-founded a duo with Heath Auchinachie on classical guitar and sang with Avant Trio while touring the great southern coast. Brendan was invited to take a lieder masterclass from David Greco last month and has just sung in the latest installment of the Russian Song Series.
Brendan is thrilled to have been selected a finalist in the Demant Dreikurs Scholarship Competition and is excited to perform among his friends and colleagues this Saturday. After his degree, Brendan is looking to pursue performance in Australia and abroad.
2. Wohin from Die Schöne Müllerin, Op. 25; D. 795 (1824)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
“Wohin?” is the second song in Franz Schubert’s first song cycle “Die schöne Müllerin” (The Beautiful miller’s daughter) set to poetry of Wilhelm Müller. The song cycle describes the journey about a young miller who falls in love with a beautiful miller’s Daughter, who in turn falls in love with a Hunter, driving the young miller to despair, and ultimately committing suicide in a nearby brook. The song introduces the character of “The Brook”, who will be the miller’s faithful companion throughout the rest of the cycle (demonstrated by motifs in the piano) and describes the miller’s discovery of the brook and enraptured following of it down into a lush valley.
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Wohin?
Text - Wilhelm Müller Ich hört’ ein Bächlein rauschen Wohl aus dem Felsenquell, Hinab zum Tale rauschen So frisch und wundervoll. Ich weiss nicht, wie mir wurde, Nicht, wer den Rat mir gab, Ich musste auch hinunter Mit meinem Wanderstab. Hinunter und immer weiter Und immer dem Bache nach, Und immer heller rauschte, Und immer heller der Bach. Ist das denn meine Strasse? O Bächlein, sprich, wohin? Du hast mit deinem Rauschen Mir ganz berauscht den Sinn. Was sag’ ich denn vom Rauschen? Das kann kein Rauschen sein: Es singen wohl die Nixen Tief unten ihren Reihn. Lass singen, Gesell, lass rauschen, Und wandre fröhlich nach! Es gehn ja Mühlenräder In jedem klaren Bach. |
Where?
I heard a little brook babbling From its rocky source, Babbling down to the valley, So bright, so wondrously clear. I know not what came over me, Nor who prompted me, But I too had to go down With my wanderer’s staff. Down and ever onwards, Always following the brook As it babbled ever brighter And ever clearer. Is this, then, my path? O brook, say where it leads. With your babbling You have quite befuddled my mind. Why do I speak of babbling? That is no babbling. It is the water nymphs singing As they dance their round far below. Let them sing, my friend; let the brook babble And follow it cheerfully. For mill-wheels turn In every clear brook.[1] [1] Wigmore, Richard, and Wilhelm Müller. 2019. "Wohin?". Oxford Lieder. https://www.oxfordlieder.co.uk/song/4. |
24. Der Leiermann from Winterreise, Op. 89; D. 911 (1828)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
“Der Leiermann” is one song from Schubert’s Song Cycle Winterreise (Winter Journey), comprising of 24 settings of poems by Wilhelm Müller. In this song, it tells a story of a ‘hurdy-gurdy’ man who is standing at the back of the village, cranking his instrument with frozen fingers. He never stops playing although there is no audience and his begging bowl is always empty.
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Der Leiermann
Text - Wilhelm Müller Drüben hinter'm Dorfe Steht ein Leiermann, Und mit starren Fingern Dreht er was er kann. Barfuß auf dem Eise Schwankt er hin und her; Und sein kleiner Teller Bleibt ihm immer leer. Keiner mag ihn hören, Keiner sieht ihn an; Und die Hunde brummen Um den alten Mann. Und er läßt es gehen Alles, wie es will, Dreht, und seine Leier Steht ihm nimmer still. Wunderlicher Alter, Soll ich mit dir gehn? Willst zu meinen Liedern Deine Leier drehn?[1] [1] "Der Leiermann (Müller, Set By Carl Banck, Reiner Bredemeyer, Theodor Heinrich Gerlach, Wilhelm Kienzl, Cyrill Kistler, Franz Peter Schubert, Johannes Wolfgang Zender) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=11847&RF=1. |
The Hurdy-Gurdy Man
There, behind the village, Stands a hurdy-gurdy-man, And with numb fingers He plays the best he can. Barefoot on the ice, He staggers back and forth, And his little plate Remains ever empty. No one wants to hear him, No one looks at him, And the hounds snarl At the old man. And he lets it all go by, Everything as it will, He plays, and his hurdy-gurdy Is never still. Strange old man, Shall I go with you? Will you play your hurdy-gurdy To my songs?[1] [1] "The Hurdy-Gurdy-Man (Müller, Set By Carl Banck, Reiner Bredemeyer, Theodor Heinrich Gerlach, Wilhelm Kienzl, Cyrill Kistler, Franz Peter Schubert, Johannes Wolfgang Zender) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=11848. |
4. Ständcen from Schwanengesang, D. 957 (1829)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
“Ständchen” is the fourth work in Franz Schubert’s song cycle Schwangesang (Swan Song) – a posthumously published collection of Schubert’s final songs. “Ständchen” is set to poetry by Ludwig Rellstab, depicting the serenade of a young man to his lover, whom he wishes to meet in secret during the night.
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Ständchen
Text - Ludwig Rellstab Leise flehen meine Lieder Durch die Nacht zu Dir; In den stillen Hain hernieder, Liebchen, komm’ zu mir! Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräter feindlich Lauschen Fürchte, Holde, nicht. Hörst die Nachtigallen schlagen? Ach! sie flehen Dich, Mit der Töne süßen Klagen Flehen sie für mich. Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Rühren mit den Silbertönung Jedes weiche Herz. Laß auch dir die Brust bewegen, Liebchen, höre mich! Bebend harr' ich Dir entgegen; Komm', beglücke mich! |
Serenade
My songs beckon softly Through the night to you; Below in the quiet grove, Come to me, beloved! The rustle of slender leaf tips whispers In the moonlight; Do not fear the evil spying Of the betrayer, my dear. Do you hear the nightingales call? Ah, they beckon to you, With the sweet sound of their singing They beckon to you for me. They understand the heart's longing, Know the pain of love, They calm each tender heart With their silver tones. Let them also stir within your breast, Beloved, hear me! Trembling I wait for you, Come, please me![1] [1] "Serenade (Rellstab, Set By C. Arnold, Rudolf Gritzner, Rudolf Von Hertzberg, Franz Paul Lachner, Franz Peter Schubert, Judith Weir) (The Liedernet Archive: Texts And Translations To Lieder, Mélodies, Canzoni, And Other Classical Vocal Music)". 2019. Lieder.Net. http://www.lieder.net/lieder/get_text.html?TextId=13393. |
Lana Kains
Soprano
Lana Kains is a Tasmanian soprano studying her third year of a Bachelor of Music Performance with Maree Ryan at the Sydney Conservatorium of Music. This year she has performed as a soloist with the Derwent Symphony Orchestra in their young artist concert and with the Sydney Conservatorium Choir in their performance of Handel's Dixit Dominus. At Mosman Art Gallery she performed in recital for Impressions du Ciel and more recently she gave a concert in Yass at Linton Manor. In previous years she has performed as a soloist with the Tasmanian Symphony Orchestra in performances conducted by Elena Schwarz and Marko Letonja. She has also worked with groups such as Pinchgut Opera, Van Diemen's Band, Gondwana Choirs and Tasmania's Festival of Voices as a soloist and part of an ensemble.
45. Nixe Binsefuss from Mörike-Lieder, IHW22 (1888)
Hugo Wolf (1860-1903)
Hugo Wolf (1860-1903)
Nixies, or the Nixe, are part of German folklore mentioned in the ‘Deutsche Mythologie Treatise’ by Jacob Grimm. The poem and song are symptoms of the romantic tendency to humanize nature and a cultural movement reconnecting with the fantastic and folklore to form a stronger identity. Hugo Wolf’s setting of this poem successfully marries the playful accompaniment with the agile vocal line to reflect the mystical behaviors of the Nixe who come out to play at night.
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Nixe Binsefuss
Text - Eduard Mörike Des Wassermanns sein Töchterlein Tanzt auf dem Eis im Vollmondschein, Sie singt und lachet sonder Scheu Wohl an des Fischers Haus vorbei, „Ich bin die Jungfer Binsefuss, Und meine Fisch wohl hüten muss; Meine Fisch, die sind im Kasten, Sie haben kalte Fasten; Von Böhmerglas mein Kasten ist, Da zähl ich sie zu jeder Frist. Gelt, Fischer-Matz? gelt, alter Tropf, Dir will der Winter nicht in Kopf? Komm mir mit deinen Netzen! Die will ich schön zerfetzen! Dein Mägdlein zwar ist fromm und gut, Ihr Schatz ein braves Jägerblut. Drum häng ich ihr, zum Hochzeitsstrauss, Ein schilfen Kränzlein vor das Haus, Und einen Hecht, von Silber schwer, Er stammt von König Artus her, Ein Zwergen-Goldschmieds-Meisterstück, Wers hat, dem bringt es eitel Glück: Er lässt sich schuppen Jahr für Jahr, Da sinds fünfhundert Gröschlein bar. Ade, mein Kind! Ade für heut! Der Morgenhahn im Dorfe schreit.“ |
The water spirit’s little daughter Dances on the ice in the full moon, Singing and laughing without fear Past the fisherman's house. “I am the maiden Reedfoot, And I must look after my fish; My fish are in this casket, Having a cold Lent; My casket’s made of Bohemian glass, And I count them whenever I can. Not so, Matt? Not so, foolish old fisherman, You cannot understand it’s winter? If you come near me with your nets, I'll tear them all to shreds! But your little girl is good and devout, And her sweetheart’s an honest huntsman. That’s why I’ll hang a wedding bouquet, A wreath of rushes outside her house, And a pike of solid silver, From King Arthur’s time, The masterwork of a dwarf goldsmith, Which brings its owner the best of luck: Each year it sheds its scales, Worth five hundred groschen in cash. Farewell, child! Farewell for today! The cock in the village cried morning.” |
Ganymed, Op. 19, No 3; D. 544 (1817)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
The text was published in Goethe’s early editions of the Collected Works in Volume II in a section entitled “Vermischte Gedicthe” (assorted poems). Schubert’s setting of Johann Wolfgang von Goethe’s poem of 1774 moves through various rhythmic and melodic motives throughout the piece. The composer sets these motives in the context of constantly shifting tonalites to express the journey and transfiguration of the youth in the context of the Greek myth of Ganymede.[1] Homer describes Ganymede as the most beautiful of all mortals who is adored and, in one version of the myth, is abducted by Zeus.
[1] Woods, Kristina Baron. "Music Index." Schubert’s Ganymed and the Transfiguration of Self in Poem and Music6 (2005).
[1] Woods, Kristina Baron. "Music Index." Schubert’s Ganymed and the Transfiguration of Self in Poem and Music6 (2005).
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Ganymed
Text - Johann Wolfgang von Goethe Wie im Morgenglanze Du rings mich anglühst, Frühling, Geliebter! Mit tausendfacher Liebeswonne Sich an mein Herz drängt Deiner ewigen Wärme Heilig Gefühl, Unendliche Schöne! Dass ich dich fassen möcht’ In diesen Arm! Ach, an deinem Busen Lieg’ ich, schmachte, Und deine Blumen, dein Gras Drängen sich an mein Herz. Du kühlst den brennenden Durst meines Busens, Lieblicher Morgenwind! Ruft drein die Nachtigall Liebend mach mir aus dem Nebeltal. Ich komm’, ich komme! Wohin? Ach wohin? Hinauf! Hinauf strebt’s. Es schweben die Wolken Abwärts, die Wolken Neigen sich der sehnenden Liebe. Mir! Mir! In euerm Schosse Aufwärts! Umfangend umfangen! Aufwärts an deinen Busen, Allliebender Vater! |
Ganymede
How your glow envelops me In the morning radiance, Spring, my beloved! With love’s thousandfold joy The hallowed sensation Of your eternal warmth Floods my heart, Infinite beauty! O that I might clasp you In my arms! Ah, on your breast I lie languishing, And your flowers, your grass Press close to my heart. You cool the burning Thirst within my breast, Sweet morning breeze, As the nightingale calls Tenderly to me from the misty valley. I come, I come! But whither? Ah, whither? Upwards! Strive upwards! The clouds drift Down, yielding To yearning love, To me, to me! In your lap, Upwards, Embracing and embraced! Upwards to your bosom, All-loving Father! |
Die Lorelei (1843)
Clara Schumann (1896-96)
Clara Schumann (1896-96)
Die Lorelei is one of Heinrich Heine’s most famous poems and comes from his first book of travel memoirs called “Reisebilder” in 1826. The text has been set by other numerous composers, including Franz Lizst. Die Lorelei is based on a German legend of a seductive mermaid who lures seamen to their death. The composer sets a frantic mood with single quavers in the left hand of the piano part as the persona recalls the disturbing legend of Die Lorelai. Gradually, it builds in intensity with doublings at the octave, with this rhythmic motif evolving throughout the piece. A section then recommences arpeggios underscoring the memory of the beautiful young woman sitting and brushing her golden hair. As the seamen are lured into their death, the chords grow in texture and intensity until the coda brings the episode to an eerie close.
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Die Lorelei
Text - Heinrich Heine Ich weiß nicht, was soll es bedeuten, Daß ich so traurig bin; Ein Märchen aus alten Zeiten, Das kommt mir nicht aus dem Sinn. Die Luft ist kühl und es dunkelt, Und ruhig fließt der Rhein; Der Gipfel der Berge funkelt Im Abendsonnenschein. Die schönste Jungfrau sitzet Dort oben wunderbar, Ihr goldnes Geschmeide blitzet, Sie kämmt ihr goldenes Haar. Sie kämmt es mit goldenem Kamme Und singt ein Lied dabei, Das hat eine wundersame, Gewalt’ge Melodei. Den Schiffer im kleinen Schiffe Ergreift es mit wildem Weh; Er schaut nicht die Felsenriffe, Er schaut nur hinauf in die Höh’. Ich glaube, die Wellen verschlingen Am Ende Schiffer und Kahn; Und das hat mit ihrem Singen Die Loreley getan. |
I do not know what it means That I should feel so sad; There is a tale from olden times I cannot get out of my mind. The air is cool, and twilight falls, And the Rhine flows quietly by; The summit of the mountain glitters In the evening sun. The fairest maiden is sitting In wondrous beauty up there, Her golden jewels are sparkling, She combs her golden hair. She combs it with a golden comb And sings a song the while; It has an awe-inspiring, Powerful melody. It seizes the boatman in his skiff With wildly aching pain; He does not see the rocky reefs, He only looks up to the heights. I think at last the waves swallow The boatman and his boat; And that, with her singing, The Loreley has done. |
Reserve Finalists
Leon Vitogiannis
Baritone
Stella Hannock
Mezzo-Soprano
Acknowledgements
Many thanks to our:
Pianist
David Miller AM
Guests of Honour
German Consul General Peter Silberberg
Sonja Schweizer, President of the Australian German Welfare Society Sydney
Head Adjudicator
Barry Ryan OAM
Associated Adjudicators
Maree Ryan AM
Andrew Dalton
Dr. Anke Hoeppner-Ryan
Presenters
Rebecca O'Hanlon
Dominic Liu
Pianist
David Miller AM
Guests of Honour
German Consul General Peter Silberberg
Sonja Schweizer, President of the Australian German Welfare Society Sydney
Head Adjudicator
Barry Ryan OAM
Associated Adjudicators
Maree Ryan AM
Andrew Dalton
Dr. Anke Hoeppner-Ryan
Presenters
Rebecca O'Hanlon
Dominic Liu