Alexander von Zemlinsky
1871-1942
Alexander von Zemlinsky was born in Vienna on the 14th of October 1871. His family tree was deeply multicultural with roots in Hungary, Bosnia, and Austria. While Alexander himself was born and raised Jewish, various members of his family also practiced Free Masonry and Roman Catholicism.
Zemlinsky began studying piano early in his youth and was admitted to the Vienna Conservatory at 13 years of age. There he studied piano under Anton Door, composition with Johann Nepomuk Fuchs and Anton Bruckner, and theory with Robert Fuchs. He began writing music during his time at the Vienna Conservatory, writing works including 'Seven Songs', dated around 1889-1890.
Throughout his life, Zemlinsky had several experiences with other prominent composers. Johannes Brahms was impressed by his work and recommended him to publishing houses. He befriended and later became a brother-in-law of Arnold Schoenberg, who he also tutored in counterpoint. Gustav Mahler conducted the premiere of his opera 'Es War Einmal'. In 1900, he became involved in a relationship with Alma Schindler. However, she was cautioned away from Zemlinsky, and would later marry Mahler. Zemlinsky would go on to have two marriages, the first being unhappy. After the death of his first wife, Ida Guttmann in 1929, he later remarried Luise Sachsel the following year. His second marriage was regarded as his happiest.
Zemlinsky enjoyed much success as a conductor and kapellmeister in Vienna. He moved to Berlin in 1924, to work and teach for the Kroll Opera. Nine years later, he was unfortunately forced to flee Berlin due to the rise of the Nazi party. He stayed in Vienna temporarily before venturing to the United States in 1938. Unfortunately Zemlinsky found little success in his new country, and eventually his health deteriorated. He suffered a series of strokes before eventually succumbing to pneumonia on March 15, 1942.
His musical style depicted influences from great Germanic composers such as Mahler, Wagner and Brahms. Zemlinsky travelled a middle ground between late Romanticism and twentieth-century modernism, however, his works were never truly atonal. He also explored neoclassicism and jazz-like elements in his late period. Zemlinsky left behind a substantial repertoire of works for singers, including eight operas. In the decades after his death, his works were virtually never performed, however, the revival of Mahler in the 1960s, led to a subsequent revival of Zemlinsky.
Zemlinsky began studying piano early in his youth and was admitted to the Vienna Conservatory at 13 years of age. There he studied piano under Anton Door, composition with Johann Nepomuk Fuchs and Anton Bruckner, and theory with Robert Fuchs. He began writing music during his time at the Vienna Conservatory, writing works including 'Seven Songs', dated around 1889-1890.
Throughout his life, Zemlinsky had several experiences with other prominent composers. Johannes Brahms was impressed by his work and recommended him to publishing houses. He befriended and later became a brother-in-law of Arnold Schoenberg, who he also tutored in counterpoint. Gustav Mahler conducted the premiere of his opera 'Es War Einmal'. In 1900, he became involved in a relationship with Alma Schindler. However, she was cautioned away from Zemlinsky, and would later marry Mahler. Zemlinsky would go on to have two marriages, the first being unhappy. After the death of his first wife, Ida Guttmann in 1929, he later remarried Luise Sachsel the following year. His second marriage was regarded as his happiest.
Zemlinsky enjoyed much success as a conductor and kapellmeister in Vienna. He moved to Berlin in 1924, to work and teach for the Kroll Opera. Nine years later, he was unfortunately forced to flee Berlin due to the rise of the Nazi party. He stayed in Vienna temporarily before venturing to the United States in 1938. Unfortunately Zemlinsky found little success in his new country, and eventually his health deteriorated. He suffered a series of strokes before eventually succumbing to pneumonia on March 15, 1942.
His musical style depicted influences from great Germanic composers such as Mahler, Wagner and Brahms. Zemlinsky travelled a middle ground between late Romanticism and twentieth-century modernism, however, his works were never truly atonal. He also explored neoclassicism and jazz-like elements in his late period. Zemlinsky left behind a substantial repertoire of works for singers, including eight operas. In the decades after his death, his works were virtually never performed, however, the revival of Mahler in the 1960s, led to a subsequent revival of Zemlinsky.
Covid - 19 Impact
Whilst the live performance of the DDSSC was delayed due to Covid-19, it did not stop our students from persevering and pushing forward with the other aspects of the competition. Instead, we aim to present our performances to a live audience in March of 2022 to ensure that our wonderful singers get to experience the performance opportunity that has been so missing during the pandemic. It is a testament to the passion and dedication of our students who have stayed focussed and looking to the future despite the lack of live performance over the past two years. Our Demant teams have worked using zoom and other platforms to overcome the absence of face to face interactions and make the most out of this opportunity.
WINNER
Eden Shifroni
Soprano
Australian Soprano Eden Shifroni is completing her Bachelor of Music (Performance) at the Sydney Conservatorium of Music and is planning on undertaking a Master of Music Studies (Opera Performance) next year under the tuition of Dr Anke Hoeppner-Ryan. As a young musician, Eden started off playing trumpet and singing jazz throughout school, leading her to many opportunities such as being a soloist at the Manly Jazz Festival and touring through Israel and America with the Moriah College International Touring Orchestra. In 2018, Eden was also featured in the cast of Moriah College’s production of Fiddler on the Roof. Throughout her time at the Conservatorium, she has enjoyed participating in masterclasses led by esteemed musicians such as Silke Marchfeld and Graham Johnson OBE. After the completion of her postgraduate study in Sydney, Eden hopes to further her study of operatic performance in Europe. Eden is honoured to perform with David Miller AM as a finalist in the Demant Dreikurs Scholarship Song Competition.
Nur wer die Sehnsucht Kennt, D.877 - 4
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
One of Goethe’s most famous works, “None But The Lonely Heart” is one of Mignon’s songs from Wilhelm Meister's Apprenticeship, a novel about the attempt to escape from a bourgeois system and its temptations, heartbreak, failed artistic endeavours, and self realisation. There is no hope, nor happiness to be found in this poem, simply pure sorrow, morose, and self-pity. The character feels isolated, drowned in their perception that no one can understand them but others who have experienced their level of suffering.
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Nur wer die Sehnsucht kennt
Poet: Johann Wolfgang von Goethe (1749-1832) Nur wer die Sehnsucht kennt Weiss, was ich leide! Allein und abgetrennt Von aller Freude, Seh’ ich an’s Firmament Nach jener Seite. Ach! der mich liebt und kennt Ist in der Weite. Es schwindelt mir, es brennt Mein Eingeweide. Nur wer die Sehnsucht kennt Weiss, was ich leide! |
None But The Lonely Heart
Translation: Richard Wigmore None but the lonely heart knows what I suffer. Alone, cut off from all joy, I gaze at the firmament in that direction. Ah, he who loves and knows me is far away. I feel giddy, my vitals are aflame. Only he who knows longing knows what I suffer. Translation © Richard Wigmore |
Gretchen am Spinnrade, D.118; Op.2 (1814)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
The text of this Lied comes from Goethe’s play Faust and shows Gretchen at the spinning wheel; as she thinks about how wonderful Faust was, and how much Gretchen misses him. It is almost as though Gretchen has withdrawal symptoms from Faust. As she goes through just exactly what she misses about Faust the emotion of the piece intensifies, climaxing at the kiss. Then we return to where we started, and Gretchen concludes she could perish quite happily in his kisses.
The accompaniment in this piece reflects the constant spinning nature of the spinning wheel and the repetitive motion of the treadle. As the piece climaxes for the first time both of these stop, perhaps alluding to Gretchen fainting at the thought of Faust. The accompaniment resumes however just as the text does, using the same phrase and motif that the piece starts with. Schubert drives us to a second climax, by repeating the lines about being happy to die in Faust’s kisses. He then brings the song to a close by repeating the first two lines of text one more time.
The accompaniment in this piece reflects the constant spinning nature of the spinning wheel and the repetitive motion of the treadle. As the piece climaxes for the first time both of these stop, perhaps alluding to Gretchen fainting at the thought of Faust. The accompaniment resumes however just as the text does, using the same phrase and motif that the piece starts with. Schubert drives us to a second climax, by repeating the lines about being happy to die in Faust’s kisses. He then brings the song to a close by repeating the first two lines of text one more time.
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Gretchen am Spinnrade
Poet: Johann Wolfgang von Goethe (1749-1832) Meine Ruh’ ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Wo ich ihn nicht hab’ Ist mir das Grab, Die ganze Welt Ist mir vergällt. Mein armer Kopf Ist mir verrückt Mein armer Sinn Ist mir zerstückt. Meine Ruh’ ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Nach ihm nur schau’ ich Zum Fenster hinaus, Nach ihm nur geh’ ich Aus dem Haus. Sein hoher Gang, Sein’ edle Gestalt, Seines Mundes Lächeln, Seiner Augen Gewalt. Und seiner Rede Zauberfluss. Sein Händedruck, Und ach, sein Kuss! Meine Ruh’ ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Mein Busen drängt sich Nach ihm hin. Ach dürft’ ich fassen Und halten ihn. Und küssen ihn So wie ich wollt’ An seinen Küssen Vergehen sollt’! |
Gretchen at the Spinning Wheel
Translation: Richard Stokes My peace is gone My heart is heavy; I shall never Ever find peace again. When he’s not with me, Life’s like the grave; The whole world Is turned to gall. My poor head Is crazed, My poor mind Shattered. My peace is gone My heart is heavy; I shall never Ever find peace again. It’s only for him I gaze from the window, It’s only for him I leave the house. His proud bearing His noble form, The smile on his lips, The power of his eyes, And the magic flow Of his words, The touch of his hand, And ah, his kiss! My peace is gone My heart is heavy; I shall never Ever find peace again. My bosom Yearns for him. Ah! if I could clasp And hold him, And kiss him To my heart’s content, And in his kisses Perish! Translation © Richard Stokes |
Nach dem Gewitter,
from Gesänge Op.5, Book 2, No.3 (1896-1897)
Alexander von Zemlinksy (1871-1942)
from Gesänge Op.5, Book 2, No.3 (1896-1897)
Alexander von Zemlinksy (1871-1942)
“Nach Dem Gewitter" is the third song from the second book in the cycle Gesänge, Op. 5. Shortly prior to this work’s inception, Zemlinsky became close friends with Arnold Schönberg, and during Gesänge’s composition, Schönberg married Zemlinksy’s sister, becoming his brother-in-law. Within “Nach Dem Gewitter”, traces of Schönberg’s influence - (his spurn of formal musical ordinance) can be heard, as the composer experimented, very subtly, with what we now know as “jazz” chords. Fittingly, the song espouses feelings of ecstasy as the character takes in the vivid beauty of the world; invoked by someone beloved to them.
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Nach dem Gewitter
Poet: Franz Evers (1871 - 1947) Die blaue Nacht geht leuchtend übern See; Im Mondschein strahlt der weiße Bergesschnee. Durch ferne Wolken flammt ein fahles Licht, Wie vor Gewittern, doch sie zünden nicht. Die Hand in meiner Hand scheucht alle Pein... Oh, dieses tiefe, tiefe Seligsein! Nun wurde mir das goldene Verstehn: Ich darf dem Glück in beide Augen sehn. |
After the Thunderstorm
Translation: Emily Ezust The blue night shines over the sea, and the white mountain snow gleams in the moonlight. Through distant clouds a wan light burns, as before a thunderstorm, but it does not ignite. The hand in my hand drives away all pain… oh, this deep, deep ecstasy! Only now has golden comprehension dawned: I am permitted to see happiness in these two eyes. Translation copyright © by Emily Ezust |
Finalists
Aidan O'Donnell
Bass-Baritone
Bass-baritone Aidan O’Donnell is a passionate and animated performer whose love for storytelling is conveyed through his singing. Completing his fourth year of studies for classical voice at the Sydney Conservatorium of Music under the tutelage of David Greco,
Aidan has participated and performed in a range of performances and positions including his current position as a Lay Clerk at St James King Street. As well as choral singing, Aidan has been a part of many performance productions, masterclasses and competitions from a young age. Some examples include participating in musicals and eisteddfods in high school. Most notably, he attended and participated in the ‘Melbourne International Festival for Lieder and Art Song’ in 2019 conducted by Professor Graham Johnson OBE. Aidan was also honoured to feature as part of the young stars of Australian Opera in the 2020 Carols in the Domain. When it comes to roles he has had in operas, Aidan played the role of ‘The Judge’ in the Musgrove Opera show Pinocchio in 2018 and on tour in 2019 and performed in the second Musgrove Opera production, Hansel and Gretel, as the father. Most recently, Aidan played the role of ‘Snug’ in the Sydney Conservatorium of Music and NIDA’s production of A Midsummer Night’s Dream. In 2020, Aidan was awarded as a finalist in the ‘Demant Dreikurs Song Competition’, and is delighted to have the opportunity to perform in the program once again.
Aidan has participated and performed in a range of performances and positions including his current position as a Lay Clerk at St James King Street. As well as choral singing, Aidan has been a part of many performance productions, masterclasses and competitions from a young age. Some examples include participating in musicals and eisteddfods in high school. Most notably, he attended and participated in the ‘Melbourne International Festival for Lieder and Art Song’ in 2019 conducted by Professor Graham Johnson OBE. Aidan was also honoured to feature as part of the young stars of Australian Opera in the 2020 Carols in the Domain. When it comes to roles he has had in operas, Aidan played the role of ‘The Judge’ in the Musgrove Opera show Pinocchio in 2018 and on tour in 2019 and performed in the second Musgrove Opera production, Hansel and Gretel, as the father. Most recently, Aidan played the role of ‘Snug’ in the Sydney Conservatorium of Music and NIDA’s production of A Midsummer Night’s Dream. In 2020, Aidan was awarded as a finalist in the ‘Demant Dreikurs Song Competition’, and is delighted to have the opportunity to perform in the program once again.
Auf dem Flusse, from Winterreise D.911; Op89 (1827)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
In this poem, Müller examines the nature of a broken heart. The brave face that gets put on to hide the tender wounds is compared to a frozen river that looks still and at peace, but is a seething torrent under the ice. He carves the story of his love in the ice, as it is already carved on his heart, never to be forgotten as long as his heart beats.
The accompaniment reflects the true condition of his heart, from feeling disjointed, unsure, and despondent. It takes us through some fond memories, of meeting and parting. Then back to melancholy as he realises the river is now as his heart was already. Under a cold hard crust that bears witness to the pain of love.
The accompaniment reflects the true condition of his heart, from feeling disjointed, unsure, and despondent. It takes us through some fond memories, of meeting and parting. Then back to melancholy as he realises the river is now as his heart was already. Under a cold hard crust that bears witness to the pain of love.
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Auf Dem Flusse
Poet: Johann Ludwig Wilhelm Müller (1794-1826) Der du so lustig rauschtest, Du heller, wilder Fluss, Wie still bist du geworden, Gibst keinen Scheidegruss. Mit harter, starrer Rinde Hast du dich überdeckt, Liegst kalt und unbeweglich Im Sande ausgestreckt. In deine Decke grab’ ich Mit einem spitzen Stein Den Namen meiner Liebsten Und Stund’ und Tag hinein: Den Tag des ersten Grusses, Den Tag, an dem ich ging, Um Nam’ und Zahlen windet Sich ein zerbrochner Ring. Mein Herz, in diesem Bache Erkennst du nun dein Bild? Ob’s unter seiner Rinde Wohl auch so reissend schwillt? |
On the River
Translation: Richard Wigmore. You who rippled so merrily, clear, boisterous river, how still you have become; you give no parting greeting. With a hard, rigid crust you have covered yourself; you lie cold and motionless, stretched out in the sand. On your surface I carve with a sharp stone the name of my beloved, the hour and the day. The day of our first greeting, the date I departed. Around name and figures a broken ring is entwined. My heart, do you now recognise your image in this brook? Is there not beneath its crust likewise a seething torrent? English Translation © Richard Wigmore |
Frage Nicht, IHW 40 (1879)
Hugo Wolf (1860-1903)
Hugo Wolf (1860-1903)
This poem speaks of love, the vagueness and secrecy of the heart, and how unnecessary words are between romantic lovers. It also talks of the speaker’s devotion, and that they could not love another being on this earth if their better half were to die or stop loving them. Then they would devote themselves to God alone.
The descending opening motif along with some chromatic movement in the following bars suggests the bitter-sweet nature of love and sadness. The slower movements in the accompaniment at the beginning of the second stanza reflects the fear or fright, then moves into a hymn-like accompaniment whilst talking about a place dedicated to God.
The descending opening motif along with some chromatic movement in the following bars suggests the bitter-sweet nature of love and sadness. The slower movements in the accompaniment at the beginning of the second stanza reflects the fear or fright, then moves into a hymn-like accompaniment whilst talking about a place dedicated to God.
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Frage Nicht
Poet: Nikolaus Lenau (1802-1850) Wie sehr ich dein, soll ich dir sagen? Ich weiss es nicht und will nicht fragen; Mein Herz behalte seine Kunde, Wie tief es dein im Grunde. O still! ich möchte sonst erschrecken, Könnt’ ich die Stelle nicht entdecken, Die unzerstört für Gott verbliebe, Beim Tode deiner Liebe. |
Do Not Ask
Translation: Richard Stokes I should tell you how much I love you? I do not know and shall not ask; Let my heart keep for itself The depth of its love for you. O be silent! Else I might take fright, Were I unable to find the place in my heart, That would always live for God alone, If your own love were to die. English Translation © Richard Stokes |
Unter Blühenden Bäumen,
from Gesänge Op.5, Book 2, No.1, (1896-1897)
Alexander von Zemlinksky (1871-1942)
from Gesänge Op.5, Book 2, No.1, (1896-1897)
Alexander von Zemlinksky (1871-1942)
This poem, by Gensichen, portrays the emotion of a man separated from a dearly loved – heavenly even – woman. Perhaps a longtime friend, perhaps someone he had only seen once. He compares her to the beautiful night, and her caresses to the caress of a gentle breeze amongst the beautiful citrus blossoms of the linden tree. When he thinks of her, he hears gently floating, celestial music.
The music is in modified strophic form, first and third stanza being quite similar harmonically and melodically are varied by the use of tremolo and altering some of the rhythms in the accompaniment of the third stanza. The second stanza uses an entirely different melody and far more varied harmonies, appropriate as this is the verse that speaks of the wonderful fragrance of the citrus trees.
The music is in modified strophic form, first and third stanza being quite similar harmonically and melodically are varied by the use of tremolo and altering some of the rhythms in the accompaniment of the third stanza. The second stanza uses an entirely different melody and far more varied harmonies, appropriate as this is the verse that speaks of the wonderful fragrance of the citrus trees.
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Unter Blühenden Bäumen
Poet: Otto Franz Gensichen (1847 - 1933) Unter blühenden Bäumen Hab' bei schweigender Nacht Ich in seligen Träumen Dein, [du Holde]1, gedacht. Duftend streute die Linde Blüten nieder zu mir; Schmeichelnd kosten die Winde Wie ein Grüßen von dir. Und ein himmlisches Singen Schien vom Sternengezelt Leise hernieder zu klingen Durch die schlafende Welt. |
Beneath Blossoming Trees
Translation: Emily Ezust Beneath blossoming trees in the silent night, in blissful dreams I think of you, you lovely woman. The fragrant linden trees strewed blossoms down upon me; the winds caressed pleasantly like a greeting from you. And a heavenly singing from the starry sky seemed to float gently down to permeate the sleeping world. Translation copyright © by Emily Ezust |
Alexander Caldwell
Tenor
Alexander is currently completing his fourth and final year of undergraduate studies at the Conservatorium of Music this year. While the pandemic did halt many performance opportunities, Alexander was still able to take part in one-on-one masterclasses (albeit virtually) with world-renowned musicians Graham Johnson OBE and Gerald Finley OC, CBE, as well appear as the tenor soloist in the Conservatorium's online production of Mozart’s Requiem. Other concert soloist credits include Mathan in Handel’s "Athalia", Charpentier’s Christmas Mass, Durante’s Magnificat, Vaughan Williams’ Mass in G minor and "Bell Piece" by Percy Grainger. Performing on the musical stage as well, Alexander’s roles include Enoch Snow in Rodger’s and Hammerstein’s "Carousel", Wayne Burns in "Strictly Ballroom” and a variety of chorus roles in opera and musical theatre productions across Sydney. Alexander has recently played leading roles in "Pinocchio" and "Hansel and Gretel": two new compositions by young Sydney composer Lachlan Massey, staged by Musgrove Opera, aimed at creating family friendly productions to introduce children and young audiences to the opera scene. At the end of last year he performed his first featured role within the modern opera canon, playing the role of Snout in Britten’s “A Midsummer Night’s Dream”.
Nacht und Träume, D.827; Op.43 (1825)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
Schubert’s stand-alone “Nacht und Träume” is a reverie to the deep spiritual substance of dreams, and how the night provides a soft, safe environment for that substance to be obtained. In this way, poet Matthäus van Collin crafts the poem as a prayer to the “holy night”, as if it is a place of worship, for the dreams to “float down” to the dreamers like whisperings from the universe. The poem concludes with a yearning for more of this healing experience as the day rises. Schubert’s meditative setting - washed in reverberant, slow broken chords and grounded by the depths of the piano’s bass range - marries elements of lullabies and prayer hymns to evoke these themes of spiritual healing, and pure tranquility.
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Nacht und Traüme
Poet: Matthäus von Collin (1779 - 1824) Heil’ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, Wie dein Mondlicht durch die Räume, Durch der Menschen stille Brust. Die belauschen sie mit Lust; Rufen, wenn der Tag erwacht: Kehre wieder, heil’ge Nacht! Holde Träume, kehret wieder! |
Night and Dreams
Translation: Richard Wigmore Holy night, you sink down; dreams, too, float down, like your moonlight through space, through the silent hearts of men. They listen with delight, crying out when day awakes: come back, holy night! Fair dreams, return! Translation © Richard Wigmore |
Fischerweise, D.881; Op. 96 - 4 (1826)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
Though “Fischerweise” translates loosely to “Fisherman’s Song”, the title’s essence is more accurately described as “Fisherman’s Lifestyle”, or “Fisherman’s Nature”. Poet, Franz Xaver Schlechta, was close friends with composer, Schubert, and was one of the many friends whose poems Schubert set to music. The song describes a fisherman’s passion for the exhilarating lifestyle marked by the early morning sun, hard work, and a respect for the sea and its creatures. Toward the end of the poem, the character notices some unworthy competition vying for the fish in his area, and when considered against the rest of the poem, this calls upon themes of territory, pride, and most importantly, passion.
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Fischerweise
Poet:Franz Schlechta (1796 - 1875) Den Fischer fechten Sorgen Und Gram und Leid nicht an; Er löst am frühen Morgen Mit leichtem Sinn den Kahn. Da lagert rings noch Friede Auf Wald und Flur und Bach, Er ruft mit seinem Liede Die gold’ne Sonne wach. Er singt zu seinem Werke Aus voller frischer Brust, Die Arbeit gibt ihm Stärke, Die Stärke Lebenslust. Bald wird ein bunt’ Gewimmel In allen Tiefen laut Und plätschert durch den Himmel, Der sich im Wasser baut. Doch wer ein Netz will stellen, Braucht Augen klar und gut, Muss heiter gleich den Wellen Und frei sein wie die Flut. Dort angelt auf der Brücke Die Hirtin, Schlauer Wicht, Gib auf nur deiner Tücke, Den Fisch betrügst du nicht! |
Fisherman’s Ditty
Translation:Richard Wigmore The fisherman is not plagued by cares, grief or sorrow. In the early morning he casts off his boat with a light heart. Round about, peace still lies over forest, meadow and stream, with his song the fisherman bids the golden sun awake. He sings at his work from a full, vigorous heart. His work gives him strength, his strength exhilarates him. Soon a bright multitude will resound in the depths, and splash through the watery heavens. But whoever wishes to set a net needs good, dear eyes, must be as cheerful as the waves, and as free as the tide. There, on the bridge, the shepherdess is fishing. Cunning wench, leave off your tricks! You won’t deceive this fish! Translation © Richard Wigmore |
Unter Blühenden Bäumen,
from Gesänge Op.5, Book 2, No.1, (1896-1897)
Alexander von Zemlinksky (1871-1942)
from Gesänge Op.5, Book 2, No.1, (1896-1897)
Alexander von Zemlinksky (1871-1942)
This poem, by Gensichen, portrays the emotion of a man separated from a dearly loved – heavenly even – woman. Perhaps a longtime friend, perhaps someone he had only seen once. He compares her to the beautiful night, and her caresses to the caress of a gentle breeze amongst the beautiful citrus blossoms of the linden tree. When he thinks of her, he hears gently floating, celestial music.
The music is in modified strophic form, first and third stanza being quite similar harmonically and melodically are varied by the use of tremolo and altering some of the rhythms in the accompaniment of the third stanza. The second stanza uses an entirely different melody and far more varied harmonies, appropriate as this is the verse that speaks of the wonderful fragrance of the citrus trees.
The music is in modified strophic form, first and third stanza being quite similar harmonically and melodically are varied by the use of tremolo and altering some of the rhythms in the accompaniment of the third stanza. The second stanza uses an entirely different melody and far more varied harmonies, appropriate as this is the verse that speaks of the wonderful fragrance of the citrus trees.
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Unter Blühenden Bäumen
Poet: Otto Franz Gensichen (1847 - 1933) Unter blühenden Bäumen Hab' bei schweigender Nacht Ich in seligen Träumen Dein, [du Holde]1, gedacht. Duftend streute die Linde Blüten nieder zu mir; Schmeichelnd kosten die Winde Wie ein Grüßen von dir. Und ein himmlisches Singen Schien vom Sternengezelt Leise hernieder zu klingen Durch die schlafende Welt. |
Beneath Blossoming Trees
Translation: Emily Ezust Beneath blossoming trees in the silent night, in blissful dreams I think of you, you lovely woman. The fragrant linden trees strewed blossoms down upon me; the winds caressed pleasantly like a greeting from you. And a heavenly singing from the starry sky seemed to float gently down to permeate the sleeping world. Translation copyright © by Emily Ezust |
Natasha Gesto
Soprano
Natasha Isabella Gesto is a fourth-year classical voice student at the Sydney Conservatorium of Music studying under Dr. Rowena Cowley and is a recipient of the Helen Myers Scholarship. Natasha has been involved in a variety of ensembles and productions during her time at the Conservatorium. Most recently Natasha was the soprano soloist for the Sydney Conservatorium’s production of Poulenc’s Gloria conducted by Elizabeth Scott, and Britten’s Rejoice in the Lamb conducted by Paul Stanhope (2021). Natasha also performed as the soprano soloist for St. Stephens’ Uniting Church’s performance of Haydn’s Missa Brevis Sancti Joannis de Deo (2021), and recently had the pleasure of performing the title role in Handel’s Athalia with Concordia Ensemble (2021). In 2020 Natasha was a soprano soloist in the Sydney Conservatorium’s performance of Mozart’s Requiem in D minor conducted by Elizabeth Scott, and she is currently a Soprano Scholar at St. Stephen’s Uniting Church, conducted by Huw Belling. Natasha also had the opportunity to perform as a Semi-Finalist for the Sydney Conservatorium’s Demant Dreikurs Competition (2020) and is currently awaiting to perform in the 2021 Demant Dreikurs finals. At the Sydney Eisteddfod in 2019, Natasha placed 1st in the coveted ‘Operatic Aria’ category and 2nd in ‘French Song’. Natasha has been involved in various opera productions during her time at the Conservatorium. She debuted the role of ‘Francesca the Fox’ in the premiere season of the recent Australian opera Pinocchio, appearing on the ABC nationally televised breakfast show to promote the performance, and more recently touring rural NSW with the operatic production. She has also performed the role of ‘Une Chouette’ in the Sydney Conservatorium’s production of Ravel’s L'enfant et les sortilèges directed by Dr. Stephen Mould, Barry Ryan OAM and Dr. Anke Hoeppner-Ryan.
Natasha has enjoyed participating as a soprano soloist for masterclasses including Musica Viva’s masterclass with esteemed pianist Amira Farid, and soon will be performing in the Sydney Conservatorium masterclass with Dr. Graham Johnson OBE. Natasha hopes to further her academic studies of operatic performance overseas and travel the world performing.
Natasha has enjoyed participating as a soprano soloist for masterclasses including Musica Viva’s masterclass with esteemed pianist Amira Farid, and soon will be performing in the Sydney Conservatorium masterclass with Dr. Graham Johnson OBE. Natasha hopes to further her academic studies of operatic performance overseas and travel the world performing.
Der Genesende an die Hoffnung,
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
Wolf spent most of his life in Vienna and subsequently his music is influenced by the “New German” movement. The “New German” movement followed on from Wagner and put expression and dramatisation above the rules of counterpoint that had been so closely followed in previous eras. The opening of the lied uses heavy and crowded chord progressions, creating a depressive mood that the voice emerges from, desperate and hopeless. In the middle section of the lied the character processes their actions towards their love and begins begging for forgiveness. Wolf shows this through the quickened movement before the character is forced to confront their emotional reality and eternal guilt.
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Der Genesende an die Hoffnung
Poet: Eduard Mörike (1804 - 1875) Tödlich graute mir der Morgen: Doch schon lag mein Haupt, wie süss! Hoffnung, dir im Schoss verborgen, Bis der Sieg gewonnen hiess. Opfer bracht ich allen Göttern, Doch vergessen warest du; Seitwärts von den ewgen Rettern Sahest du dem Feste zu. O vergib, du Vielgetreue! Tritt aus deinem Dämmerlicht, Dass ich dir ins ewig neue, Mondenhelle Angesicht Einmal schaue, recht von Herzen, Wie ein Kind und sonder Harm; Ach, nur einmal ohne Schmerzen Schliesse mich in deinen Arm! |
He who Has Recovered Addresses Hope
Translation: Richard Stokes Day dawned deathly grey: Yet my head lay, how sweetly! O Hope, hidden in your lap, Till victory was reckoned won. I had made sacrifices to all the gods, But you I had forgotten; Aside from the eternal saviours You gazed on at the feast. Oh forgive, most true one! Step forth from your twilight That I, just once, might gaze From my very heart At your eternally new and moonbright face, Like a child and without sorrow; Ah, just once, without pain, Enfold me in your arms! Translation © Richard Stokes |
Lied vom Winde,
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
“Lied vom Winde” is a character piece that depicts a conversation between a person and the wind. The person is naive and is asking the wind about love and home, however, the wind is free-spirited and never completes a thought enough to provide clarity. The whole interaction is a whirlwind of ideas and the quick and chromatic piano runs set the scene for the listening from the very first beat.
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Lied vom Winde
Poet: Eduard Mörike (1804 - 1875) Sausewind, Brausewind, Dort und hier! Deine Heimat sage mir! „Kindlein, wir fahren Seit viel vielen Jahren Durch die weit weite Welt, Und möchtens erfragen, Die Antwort erjagen Bei den Bergen, den Meeren, Bei des Himmels klingenden Heeren: Die wissen es nie. Bist du klüger als sie, Magst du es sagen. – Fort, wohlauf! Halt uns nicht auf! Kommen andre nach, unsre Brüder, Da frag wieder!“ Halt an! Gemach, Eine kleine Frist! Sagt, wo der Liebe Heimat ist, Ihr Anfang, ihr Ende? „Wers nennen könnte! Schelmisches Kind, Lieb ist wie Wind, Rasch und lebendig, Ruhet nie, Ewig ist sie, Aber nicht immer beständig. – Fort, wohlauf! Halt uns nicht auf! Fort über Stoppel und Wälder und Wiesen! Wenn ich dein Schätzchen seh, Will ich es grüssen. Kindlein, ade! |
Song of the Wind
Translation: Richard Stokes Storming wind, roaring wind, Now here, now there! Tell me where your homeland is! “Child, we’ve travelled For many many years Through the wide wide world, We too want to know, Seek out the answer From the mountains, the seas, The resounding hosts of heaven: They never know. If you’re smarter than they, you can tell us. – Off, away! Don’t delay us! Others follow, our brothers, Ask them!” Stop! Stay A little while! Say where love’s home is, Where does it begin and end? “Who could say! Impish child, Love’s like the wind, Swift and brisk, Never resting, Everlasting, But not always constant. – Off, away! Don’t delay us! Away over stubble and woods and fields! If I see your sweetheart, I’ll blow her a kiss. Child, farewell!” Translation © Richard Stokes |
Briefchen schreib ich,
from Op.6 - 6 (1898)
Alexander von Zemlinksy (1871-1942)
from Op.6 - 6 (1898)
Alexander von Zemlinksy (1871-1942)
“Briefchen schreib ich” is the dramatic finish to Zemlinsky’s Opus 6. Zemlinsky studied under teachers who were heavily influenced by the “Brahmsian fog”, hence encouraged him to write in a Brahmsian style. Out of the six songs in opus six this is the one which best shows off the Brahmsian style. It requires the singer to soar above the thick piano texture whilst still fitting into the intricate harmonies. The poem is from a set of Tuscan Folk Lyrics by Ferdinand Gregorovious.
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Briefchen schrieb und warf in den Wind…
Poet: Ferdinand Gregorovius (1821 - 1891) Briefchen schrieb und warf in den Wind ich, Sie fielen ins Meer, und sie fielen auf Sand. Ketten von Schnee und von Eise, die bind' ich, Die Sonne zerschmilzt sie in meiner Hand. Maria, Maria, du sollst es dir merken: Am Ende gewinnt, wer dauert im Streit, Maria, Maria, das sollst du bedenken: Es siegt, wer dauert in Ewigkeit. |
I wrote little letters
Translation: Emily Ezust I wrote little letters and threw them into the wind; they fell into the sea, and they fell onto the sand. Into chains of snow and ice, I wind them, and the sun melts them in my hands. Maria, Maria, you must notice: he who endures the struggle wins in the end; Maria, Maria, you must understand: he who endures in eternity is victorious. Translation copyright © by Emily Ezust |
Sophie Mohler
Soprano
Tasmanian Soprano, Sophie Mohler holds a Bachelor of Music (performance) from the Sydney Conservatorium of Music. She is currently in her first year of a Master of Music Studies (Opera Performance) also at the Sydney Conservatorium under the tuition of Dr Rowena Cowley. In 2021 Sophie received the Rob Valentine Award and the title in the Open Sacred Solo section. She also featured in a masterclass with Graham Johnson OBE. In 2020 Sophie was the recipient of a PATIM fund Scholarship. In 2018 Sophie was awarded the Helen Myers Scholarship and a Sydney Scholars Scholarship by the University of Sydney. Sophie has featured as a soloist in many concerts, some highlights of which include a collaboration with esteemed Australian composer Elena Katz-Chernin and a performance of Charpentier’s Messe de Minuit with the Argyle Orchestra. Whilst under the tuition of Jane Edwards in Tasmania, Sophie was a member of the Tasmanian Symphony Orchestra Chorus, gaining valuable experience in a variety of choral repertoire. Sophie is delighted to perform as a finalist with David Miller AM in this years’ Demant Dreikurs Scholarship Song Competition.
Elfenlied,
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
from Mörike-Lieder, IHW 22 (1888)
Hugo Wolf (1860-1903)
"Elfenlied" (Elf Song) is a poem written by Eduard Mörike at some point between 1826 and early 1828, first published in 1832. It was adapted into a Lied by Wolf between February and November 1888, as one of 53 songs in the Mörike-Lieder collection. The poem tells the story of an elf who wanders into a village late at night. Curious about the people living in the village, he goes to get a closer look at their houses and ultimately hits his head, leaving him dazed on the ground. The poem utilises a German pun right at the beginning. The word "Elf" is used to represent the number 11, but "Elfe" is used to refer to an elf. The pronunciation of the two are similar, hence causing the elf to believe those in the village are calling for him.
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Elfenlied
Poet: Eduard Mörike (1804-1875) Bei Nacht im Dorf der Wächter rief: "Elfe!" Ein ganz kleines Elfchen im Walde schlief – Wohl um die Elfe – Und meint, es rief ihm aus dem Tal Bei seinem Namen die Nachtigall, Oder Silpelit hätt ihm gerufen. Reibt sich der Elf die Augen aus, Begibt sich vor sein Schneckenhaus, Und ist als wie ein trunken Mann, Sein Schläflein war nicht voll getan, Und humpelt also tippe tapp Durchs Haselholz ins Tal hinab, Schlupft an der Mauer hin so dicht, Da sitzt der Glühwurm, Licht an Licht. „Was sind das helle Fensterlein? Da drin wird eine Hochzeit sein: Die Kleinen sitzen beim Mahle, Und treibens in dem Saale; Da guck ich wohl ein wenig ’nein!“ – Pfui, stösst den Kopf an harten Stein! Elfe, gelt, du hast genug? Gukuk! Gukuk! |
Elf Song
Translation: Richard Stokes The village watch cried out at night: “Eleven!” An elfin elf was asleep in the wood – Just at eleven – And thinks the nightingale was calling Him by name from the valley, Or Silpelit had sent for him. The elf rubs his eyes, Steps from his snail-shell home, Looking like a drunken man, Not having slept his fill, And hobbles down, tippety tap, Through the hazels to the valley, Slips right up against the wall, Where the glow-worm sits, shining bright. “What bright windows are these? There must be a wedding inside: The little folk are sitting at the feast And skipping round the ballroom; I’ll take a little peek inside!” Shame! he hits his head on hard stone! Elf, don’t you think you’ve had enough? Cuckoo! Cuckoo! Translation © Richard Stokes |
Die junge Nonne, D.828; Op.43 (1825)
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
Composed early 1825 and first published in July of that year, Schubert’s “Die junge Nonne” paints Jacob Nicolaus Craigher de Jachelutta’s poem in a dramatic light. The story is told through the perspective of a nun as she escapes the anguish of the world by finding refuge in God. The music depicts her turmoil with thunderous chords as the storm rages on, but transitions to the major key as she finds salvation, the piece ending with the nun’s final cry of ‘Alleluia!’
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Die Junge Nonne
Poet: Jacob Nicolaus Craigher de Jachelutta (1797 - 1855) Wie braust durch die Wipfel der heulende Sturm! Es klirren die Balken, es zittert das Haus! Es rollet der Donner, es leuchtet der Blitz, Und finster die Nacht, wie das Grab! Immerhin, immerhin, so tobt’ es auch jüngst noch in mir! Es brauste das Leben, wie jetzo der Sturm, Es bebten die Glieder, wie jetzo das Haus, Es flammte die Liebe, wie jetzo der Blitz, Und finster die Brust, wie das Grab. Nun tobe, du wilder, gewalt’ger Sturm, Im Herzen ist Friede, im Herzen ist Ruh, Des Bräutigams harret die liebende Braut, Gereinigt in prüfender Glut, Der ewigen Liebe getraut. Ich harre, mein Heiland, mit sehnendem Blick! Komm, himmlischer Bräutigam, hole die Braut, Erlöse die Seele von irdischer Haft. Horch, friedlich ertönet das Glöcklein vom Turm! Es lockt mich das süsse Getön Allmächtig zu ewigen Höh’n. Alleluia! |
The Young Nun
Translation: Richard Wigmore How the raging storm roars through the treetops! The rafters rattle, the house shudders! The thunder rolls, the lightning flashes, and the night is as dark as the grave. So be it, not long ago a storm still raged in me. My life roared like the storm now, my limbs trembled like the house now, love flashed like the lightning now, and my heart was as dark as the grave. Now rage, wild, mighty storm; in my heart is peace, in my heart is calm. The loving bride awaits the bridegroom, purified in the testing flames, betrothed to eternal love. I wait, my Saviour, with longing gaze! Come, heavenly bridegroom, take your bride. Free the soul from earthly bonds. Listen, the bell sounds peacefully from the tower! Its sweet pealing invites me all-powerfully to eternal heights. Alleluia! Translation © Richard Wigmore |
Vöglein Schwermut, Op.10 - 3
Alexander von Zemlinsky (1871-1942)
Alexander von Zemlinsky (1871-1942)
Although the exact date is unknown, it is assumed Zemlinksy composed Vöglein Schwermut, and the other pieces of opus 10, around 1901. During this period, he was madly in love -- with Alma Schindler -- choosing themes of love, marriage, death, and melancholy for his compositions. The idea of melancholy is especially true for Vöglein Schwermut. With text by Christian Morgenstern, the piece personifies death through the use of a black bird, whose song is so sorrowful, its victims die from just hearing it. Each night, the bird comes to rest on Death’s fingers before taking off again to repeat its mournful journey.
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Vöglein Schwermut
Poet: Christian Morgenstern (1871 - 1914) Ein schwarzes Vöglein fliegt über die Welt, das singt so todestraurig Wer es hört, der hört nichts anderes mehr, wer es hört, der tut sich ein Leides an, der mag keine Sonne mehr schauen. Allmitternacht ruht es sich aus auf den Fingern des Tods. Der streichelt's leis und spricht ihm zu: "Flieg, mein Vögelchen, flieg, mein Vögelchen" Und wieder fliegt's flötend über die Welt. |
Melancholy Bird
Translation: John H. Campbell A black-bird flies across the world, singing so sorrowfully of death . . . Whoever hears it, hears nothing else, whoever hears it, hears such sadness, they fear the sun may shine no more. All thru' the night it rests on the finger of death. He caresses the bird solemnly and urges it: Fly, my little bird! Fly, little bird! And again it flies soaring over the world. Translation © John H. Campbell |
Reserve Finalists
Ella Coddington
Mezzo-Soprano
Mezzo-Soprano Ella Orehek-Coddington is currently in her third year at the Sydney Conservatorium, studying a Bachelor of Music (Classical Voice Performance) under the tutelage of Barry Ryan OAM. This year she is also undertaking a Diploma of Language Studies (Germanic Studies) at the University of Sydney. While at the Conservatorium, she has been an awardee of the Patricia Lucas Music Achievement Award and the Costa Rosa Harsas Award Scholarship. Ella is also the current awardee of The Quinquin Foundation scholarship. In February of this year, Ella participated in a masterclass with Gerald Finley as a part of the Fourth Fresno State Art Song Festival. In 2020 she sang the role of Susie in a workshop performance of David Reeves’ Ever the Best of Friends, as well as appearing in the roles of Night and Juno in Concordia Ensemble’s inaugural production; Purcell’s The Fairy Queen. Ella was chosen as a reserve finalist for the 2020 and now 2021 Demant Dreikurs German Scholarship Competition. Ella has also appeared in concerts for the Sydney Conservatorium, Con Lieder Series and Concordia Ensemble, the latter of which she is founder and director.
In Concordia Ensemble's 2021 season Ella sang as Joas in Handel’s Athalia, and the title role in Mascagni’s Zanetto. Next year she will appear in Concordia Ensemble's productions as Dido in Dido and Aeneas, as well as La Fée in Pauline Viardot’s Cendrillon. Ella also made her debut with The Cooperative in 2021, singing in Gluck’s Orfeo ed Euridice, and performing the roles of A Priestess and Spoletta in Gluck’s Iphégenie en Tauride and Puccini’s Tosca respectively. She was also slated to appear in the Verdi Requiem performed by Ensemble Apex and directed by Constantine Costi.
In Concordia Ensemble's 2021 season Ella sang as Joas in Handel’s Athalia, and the title role in Mascagni’s Zanetto. Next year she will appear in Concordia Ensemble's productions as Dido in Dido and Aeneas, as well as La Fée in Pauline Viardot’s Cendrillon. Ella also made her debut with The Cooperative in 2021, singing in Gluck’s Orfeo ed Euridice, and performing the roles of A Priestess and Spoletta in Gluck’s Iphégenie en Tauride and Puccini’s Tosca respectively. She was also slated to appear in the Verdi Requiem performed by Ensemble Apex and directed by Constantine Costi.
Nina Coombes
Soprano
Nina Coombes (Soprano) is in her fourth year of Bachelor of Music (Performance) in Classical Voice at the Sydney Conservatorium of Music. She studies under Maree Ryan and is currently preparing for her Senior Recital. Nina placed first in the 2018 Sydney Eisteddfod ‘French Song’ category and was a finalist in the Intermediate Vocal Scholarship. In 2017, Nina was awarded 3rd place in the Operatic Aria category. She achieved her AMusA in Singing in her final year of school at Pymble Ladies’ College. She received Honours for her Certificate of Performance in 2016. She also performed in Willoughby Theatre Company’s production of Fiddler on the Roof (2019) and played the role of Consuela and ‘Somewhere Girl’ in West Side Story with The Sydney Church of England Grammar School in 2017. She began voice lessons at a young age, winning her first eisteddfod at 8 years old, not realising it was a competition. Since then, she has pursued her love for classical singing and opera. Nina’s other interests include sewing dresses (sometimes performing in them) and studying Italian.
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Watch the 2021 Competition Below
Acknowledgements
Many thanks to our:
Pianist
David Miller AM
Guests of Honour
German Consul General Axel Zeidler
Sonja Schweizer, President of the Australian German Welfare Society Sydney
Head Adjudicator
Barry Ryan OAM
Associated Adjudicators
Maree Ryan AM
Stephen Yalouris
Dr Anke Hoeppner-Ryan
Pianist
David Miller AM
Guests of Honour
German Consul General Axel Zeidler
Sonja Schweizer, President of the Australian German Welfare Society Sydney
Head Adjudicator
Barry Ryan OAM
Associated Adjudicators
Maree Ryan AM
Stephen Yalouris
Dr Anke Hoeppner-Ryan