CHRISTIAN GERHAHER Baritone GEROLD HUBER...Musikverein Vienna and Cité de la mu-sique in Paris....

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presents…

CHRISTIAN GERHAHER | Baritone GEROLD HUBER | PianoTuesday, October 22, 2019 | 7:30pmHerbst Theatre

MAHLER Lieder eines fahrenden Gesellen Wenn mein Schatz Hochzeit Macht Ging heut’ morgen übers Feld Ich hab’ ein glühend Messer Die zwei blauen Augen

Songs from Des Knaben Wunderhorn Wer hat dies Liedlein erdacht? Ablösung im Sommer Ich ging mit Lust durch einen grünen Wald Um schlimme Kinder artig zu machen Rheinlegendchen Der Schildwache Nachtlied

INTERMISSION

Songs from Des Knaben Wunderhorn Lied des Verfolgten im Turm Das irdische Leben Zu Straßburg auf der Schanz Wo die schönen Trompeten blasen

Kindertotenlieder Nun will die Sonn’ so hell aufgeh’n Nun seh’ ich wohl, warum so dunkle Flammen Wenn dein Mütterlein Oft denk’ ich, sie sind nur ausgegangen In diesem Wetter

This program is made possible in part by the generous support of Helen Berggruen, Five Arts Foundation

Christian Gerhaher and Gerold Huber are represented by KünstlerSekretariat am GasteigMontgelasstraße 2, 81679 München, DE ks-gasteig.de

Hamburg Steinway Model D, Pro Piano, San Francisco

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ARTIST PROFILE

San Francisco Performances presents Chris-tian Gerhaher and Gerold Huber for the third time. They made their San Francisco recital debut in 2014 and returned in 2016.

Christian Gerhaher, together with his regular piano accompanist Gerold Huber, has devoted himself to lied interpretation for more than 30 years in concerts, record-ings and in teaching, and they have been awarded major prizes. The lied duo can be heard on the stages of major international recital centers including in the concert halls of New York, the Concertgebouw Amsterdam, the Berlin Philharmonie, Musikverein Vienna and Cité de la mu-sique in Paris. They are particularly fre-quent guests at Wigmore Hall in London and at Heidelberger Frühling.

In the coming season Christian Gerha-her and Gerold Huber continue recording all Robert Schumann’s songs. Not since Di-etrich Fischer-Dieskau’s pioneering record-ing in the 1970s has there been a singer who has devoted himself so comprehensively to Schumann’s complete lieder output. Chris-tian Gerhaher launched his recording of all of Schumann’s songs with his album Frage (Question) in autumn 2018, For Ger-haher himself, this release represents the

fulfilment of a long-cherished dream and, as he himself emphasizes, is “probably the most important project of my entire life.” In November 2019 the album Myrthen will be released; in its entirety, the project will comprise 10 CDs that will be released as a set in 2020.

Other major projects in 2019–20 include concerts with Berlin Philharmonic (Dan-iel Harding) and with Concertgebouw Or-chestra Amsterdam (John Eliot Gardiner) as well as an entire lieder week together with several singer colleagues and Gerold Huber at Castle Elmau in Germany. In au-tumn 2019 he will embark on a recital tour of Europe with Gerold Huber, followed by performances of lieder by Gustav Mahler in the U.S. In November, Christian Gerha-her sings the title role of Berg’s Wozzeck at Bayerische Staatsoper in Munich in the new production of Andreas Kriegenburg. He will also return in the same role to Zu-rich Opera, where he made his Wozzeck debut in 2015 with tremendous success; the DVD production of that production re-ceived the Classical Music Award 2017. At La Scala in Milan he will appear in the star role of Wolfram in Wagner’s Tannhäuser in May 2020.

Christian Gerhaher and his wife live with their three children in Munich.

Munich-born Gerold Huber was award-ed a scholarship to study piano under Frie-demann Berger at the Musikhochschule in Munich. He also attended Dietrich Fischer-

Dieskau’s lied class in Berlin. In 1998 he was awarded the Prix International Pro Musicis in Paris/New York together with baritone Christian Gerhaher, his regular duo partner since their joint schooldays. In 2001 he was a prize-winner at the Johann Sebastian Bach International Piano Com-petition in Saarbrücken.

In the role of lied pianist he regularly appears at festivals such as Schubertiade Schwarzenberg, Schwetzingen Festival and Rheingau Music Festival and major venues including Philharmonie Cologne, Alte Oper Frankfurt, Konzerthaus and Musik–verein in Vienna; Concertgebouw Amsterdam; Wigmore Hall London; Großes Festspielhaus Salzburg; Lincoln Center, Park Avenue Armory and Carnegie Hall in New York; and Musée d’Orsay in Paris.

In high demand as an accompanist, Huber works with a multitude of inter-nationally renowned singers, amongst them Christiane Karg, Christina Land-shamer, Ruth Ziesak, Mojca Erdmann, Michael Nagy, Maximilian Schmitt and Franz-Josef Selig. Gerold Huber also per-forms chamber music with the Artemis Quartet, Henschel Quartet and with Re-inhold Friedrich.

Huber’s activities as a soloist focus on the works of Johann Sebastian Bach, Lud-wig van Beethoven, Johannes Brahms and Franz Schubert. He has given recitals in Munich, Regensburg, at the Théâtre Mu-nicipal des Romains in France, at the Kul-tursommer Kassel Festival and the New Zealand Festival in Wellington. With actor Hanns Zischler, he appeared in an evening of melodrama at the Vienna Konzerthaus.

Apart from two solo albums with works by Beethoven and Schumann, he is most renowned for his outstanding recordings with baritone Christian Gerhaher which have all received many awards.

His extensive discography also in-cludes Schubert lieder with Bernarda Fink (Schubert for harmonia mundi France), Ruth Ziesak (Liszt for Berlin classics; Haydn and Mahler/Zemlinsky for Capric-cio, Mendelssohn for AVI) and record-ings with Maximilian Schmitt (Clara and Robert Schumann/Schubert Die schöne Müllerin) and with Christina Landshamer (Robert Schumann and Viktor Ullmann) for Oehms Classics as well as with Franz-Josef Selig (songs of Schubert, Strauss and Wolf) for AVI.

Since 2013 Huber has been a professor for lied accompaniment at the Hochschule für Musik in Würzburg.

presents…

CHRISTIAN GERHAHER | Baritone GEROLD HUBER | Piano

Tuesday, October 22, 2019 | 7:30pmHerbst Theatre

Please hold your applause until the end of each set. Please turn pages quietly.

Lieder eines fahrenden GesellenGUSTAV MAHLER1860–1911

In 1883 Gustav Mahler was named second conductor and choirmaster of the opera in Kassel, and during his first season there he and one of the sopranos in the company, Johanna Richter, fell in love. By the following autumn the affair had come to a painful end, and the 24-year-old Mahler transformed his experience into music: in December 1884–January 1885 he composed a set of songs about an unhappy young man setting out to find himself in the aftermath of a shattered affair. That cycle initially consisted of six songs, and to a friend Mahler described their subject: “The songs are a sequence in which a wayfaring craftsman, who has had a great sorrow, goes out into the world and wanders aimlessly.” Mahler titled the cycle Lieder eines fahrenden Gesellen: Songs of a Wayfarer. The completed version, which consists of only four songs, was at first composed for voice and piano and was performed in this version—Mahler apparently did not make the orchestral version until about 1892–3. Each of these songs concludes in a different key from its opening, and such progressive tonality serves to underline the notion of progress by the wayfarer across each of these songs.

The Wayfarer songs are more focused than Mahler’s early description might make them seem—rather than wandering “aim-lessly,” the young man eventually achieves some measure of peace in these songs, and so the progress of the cycle is from pain to acceptance. Mahler himself wrote the texts for the four songs, though he adapted the first from a poem in Des Knaben Wunderhorn, a collection of German folk poems. In Wenn mein Schatz Hochzeit macht, the young man imagines his beloved’s wedding day and his own grief on that occasion. Mahler builds the two parts of the song on the same musical phrase, which is presented at two quite different speeds. In the course of the song the young man moves out—the beginning of his wayfar-ing—and encounters the happy sound of trilling birds, yet he cannot partake of that sunshine and the song collapses in gloom.

The second song, Ging heut’ morgen übers Feld, extends the pattern of the first: it begins happily with the young man stroll-ing through shining morning fields and hearing the invitation of the birds to partake of their cheer, but gloom penetrates this sunny world, and the end of the song finds him marooned outside hope. The main theme of this song is also the princi-pal subject of the first movement of Mahler’s First Symphony, begun at exactly this same time and itself inspired by the same failed love affair.

The third song, Ich hab’ ein glühend Messer, is a more conventional song of lost love. It explodes to life—Mahler marks the beginning Stormy, wild—and the text seems a Sturm und Drang stereotype: the lover’s pain is a burning dagger in his heart, and the only possible relief will come with death. Mahler’s exciting setting does much to rescue this song from the conven-tionality of its text.

The concluding Die zwei blauen Augen, which incorporates two themes from the third movement of the First Symphony, brings a measure of tentative solace. Once again the young man, haunted by the blue eyes of his love, is on the lonely road, but he finds peace in the shade of a linden tree, a traditional symbol of domestic happiness in German folklore. The ending, which trails off into ambiguous silence musically, brings no triumph. Covered with the snowy blossoms of the linden tree, the wayfarer at last finds a measure of peace and acceptance.


Wenn mein Schatz Hochzeit macht

Wenn mein Schatz Hochzeit macht,Fröhliche Hochzeit macht,Hab’ ich meinen traurigen Tag!Geh’ ich in mein Kämmerlein,Dunkles Kämmerlein,Weine, wein’ um meinen Schatz,Um meinen lieben Schatz!

Blümlein blau! Verdorre nicht!Vöglein süß! Du singst auf grüner Heide.Ach, wie ist die Welt so schön!Ziküth! Ziküth!Singet nicht! Blühet nicht!Lenz ist ja vorbei!Alles Singen ist nun aus.Des Abends, wenn ich schlafen geh’,Denk’ ich an mein Leide.An mein Leide!

Ging heut morgen übers Feld

Ging heut morgen übers Feld,Tau noch auf den Gräsern hing;Sprach zu mir der lust’ge Fink:“Ei du! Gelt? Guten Morgen! Ei gelt?Du! Wird’s nicht eine schöne Welt?Zink! Zink! Schön und flink!Wie mir doch die Welt gefällt!”

Auch die Glockenblum’ am FeldHat mir lustig, guter Ding’,Mit den Glöckchen, klinge, kling,Ihren Morgengruß geschellt:“Wird’s nicht eine schöne Welt?Kling, kling! Schönes Ding!Wie mir doch die Welt gefällt! Heia!”

Und da fing im Sonnenschein Gleich die Welt zu funkeln an;Alles Ton und Farbe gewannIm Sonnenschein!Blum’ und Vogel, groß und klein!“Guten Tag, ist’s nicht eine schöne Welt?Ei du, gelt? Schöne Welt?”

Nun fängt auch mein Glück wohl an?Nein, nein, das ich mein’,Mir nimmer blühen kann!

When my darling has her wedding-day

When my darling has her wedding-day,her joyous wedding-day,I will have my day of mourning!I will go to my little room,my dark little room,and weep, weep for my darling,for my dear darling!

Blue flower! Do not wither!Sweet little bird - you sing on the green heath!Alas, how can the world be so fair?Chirp! Chirp!Do not sing; do not bloom!Spring is over.All singing must now be done.At night when I go to sleep,I think of my sorrow,of my sorrow!

I walked across the fields this morning

I walked across the fields this morning;dew still hung on every blade of grass.The merry finch spoke to me:“Hey! Isn’t it? Good morning! Isn’t it?You! Isn’t it becoming a fine world?Chirp! Chirp! Fair and sharp!How the world delights me!” Also, the bluebells in the fieldmerrily with good spiritstolled out to me with bells (ding, ding)their morning greeting:“Isn’t it becoming a fine world?Ding, ding! Fair thing!How the world delights me!” And then, in the sunshine,the world suddenly began to glitter;everything gained sound and colorin the sunshine!Flower and bird, great and small!“Good day, is it not a fine world?Hey, isn’t it? A fair world?” Now will my happiness also begin?No, no - the happiness I meancan never bloom!


Ich hab’ ein glühend Messer

Ich hab’ ein glühend Messer,Ein Messer in meiner Brust,O weh! Das schneid’t so tiefIn jede Freud’ und jede Lust.Ach, was ist das für ein böser Gast!Nimmer hält er Ruh’, nimmer hält er Rast,Nicht bei Tag, noch bei Nacht, wenn ich schlief.O Weh!

Wenn ich in dem Himmel seh’,Seh’ ich zwei blaue Augen stehn.O Weh! Wenn ich im gelben Felde geh’,Seh’ ich von fern das blonde HaarIm Winde wehn.O Weh!

Wenn ich aus dem Traum auffahr’Und höre klingen ihr silbern’ Lachen,O Weh!Ich wollt’, ich läg auf der schwarzen Bahr’,Könnt’ nimmer die Augen aufmachen!

Die zwei blauen Augen von meinem Schatz

Die zwei blauen Augen von meinem Schatz,Die haben mich in die weite Welt geschickt.Da mußt ich Abschied nehmen vom allerliebsten Platz!O Augen blau, warum habt ihr mich angeblickt?Nun hab’ ich ewig Leid und Grämen.

Ich bin ausgegangen in stiller NachtWohl über die dunkle Heide.Hat mir niemand Ade gesagt.Ade! Mein Gesell’ war Lieb’ und Leide!

Auf der Straße steht ein Lindenbaum,Da hab’ ich zum ersten Mal im Schlaf geruht!Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit,Da wußt’ ich nicht, wie das Leben tut,War alles, alles wieder gut!Alles! Alles, Lieb und LeidUnd Welt und Traum!

—Texts by Gustav Mahler

I have a red-hot knife

I have a red-hot knife,a knife in my breast.O woe! It cuts so deeplyinto every joy and delight.Alas, what an evil guest it is!Never does it rest or relax,not by day or by night, when I would sleep.O woe!

When I gaze up into the skyI see two blue eyes there.O woe! When I walk in the yellow field,I see from afar her blond hairwaving in the wind.O woe!

When I start from a dreamand hear the tinkle of her silvery laugh,O woe!Would that I lay on my black bier -Would that I could never again open my eyes!

The two blue eyes of my darling

The two blue eyes of my darling -they have sent me into the wide world.I had to take my leave of this well-beloved place!O blue eyes, why did you gaze on me?Now I will have eternal sorrow and grief. I went out into the quiet nightwell across the dark heath.To me no one bade farewell.Farewell! My companions are love and sorrow!

On the road there stands a linden tree,and there for the first time I found rest in sleep!Under the linden tree that snowed its blossoms onto me -I did not know how life went on,and all was well again!All! All, love and sorrowand world and dream!

—Translations copyright by Emily Ezust (LiederNet Archive)

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Songs from Des Knaben Wunderhorn

In 1805–8 the German poets (and brothers-in-law) Clemens Brentano and Achim von Arnim published a three-volume collection of German folk-poetry that they called Des Knaben Wunderhorn: “The Youth’s Magic Horn.” Mahler discovered these poems about 1886, when he was in his mid-twenties, and their tales of love, mystery, horror, magic, humor, and many other topics took hold of his imagination. In the years 1888–91 Mahler composed nine songs on texts from Des Knaben Wun-derhorn and published them in 1892 as Books II and III of his Lieder und Gesänge aus der Jugendzeit. But his passion for these poems remained strong, and between 1892 and 1895, while he was at work on his Second Symphony, Mahler set 12 more of them. Like the first Wunderhorn songs, these were for voice and piano, but Mahler orchestrated these 12 and published them in 1899 under the title Des Knaben Wunderhorn. On this recital Mr. Gerhaher offers ten songs on Wunderhorn texts drawn from all three of these collections.

Wer hat dies Liedlein erdacht? (“Who Made Up this Little Song?”) swirls giddily along its quick 3/8 pulse and manages to be both slightly bizarre and incredibly beautiful at the same time. The text seems at first to be full of romantic longing, then veers suddenly into the question of authorship among three geese. Mahler marks the song Mit heiteren Behagen (“With a pleasing cheerfulness”), and it soars and dances along its happy way.

Many listeners will discover that they already know Ablösung im Sommer (“The New Order in Summer”) because Mahler used this music as the opening section of the third movement of his Third Symphony. In this droll little song, a cuckoo has flown into a tree and been killed, and the content nightingale waits her turn to take over duties as the mistress of song in the forest.

Ich ging mit Lust durch einen grünen Wald (“I Go with Joy through a Green Wood”) is a nicely ironic song about a nightingale sent to summon a lover, but then the young woman sleeps through the scheduled tryst as the bird sings in the moonlit night. Mahler gives this cautionary tale a gentle setting, complete with the song of the nightingale in the piano—his marking is Träumerisch, durchaus zart: “Dreamily, tender throughout.” Those interested in Mahler should know that in 1905 he made a pi-ano roll of the accompaniment to this song, so it is possible to hear Mahler perform his own interpretation of Ich ging mit Lust.

The light mood continues with Um schlimme Kinder artig zu machen (“To Teach Naughty Children to Be Good”), a comic song about parenting; Mahler apparently wrote it during the summer of 1887 for the children of Hauptmann and Marion von Weber. The is a fun song—and a noisy one, complete with the cries of a cuckoo.

Rheinlegendchen (“Little Rhine Legend”) tells a tale that is part love-song, part folk-song, part humor, and part magic. It swings along comfortably and finally comes to a sparkling (and charming) close.

Der Schildwache Nachtlied (“The Sentry’s Nightsong”) is both a military song and a dialogue song: the sentry on watch at night converses with a mysterious girl, who may or may not be real and who questions what he is doing. His music is mar-tial, full of the sound of military fanfares and swagger. Hers is soft and seductive.

Lied des Verfolgten im Turm (“Song of the Prisoner in the Tower”) seems at first to be a dialogue song, but the two voices in this song remain separate rather than conversing. The song of the prisoner is powerful and defiant—his thoughts will remain free even if he is confined. The girl outside the tower sings of freedom and escape to nature, but finally both conclude that that will never be, and the song ends in defiance.

Das irdische Leben (“Life on Earth”) is another dialogue song, but a grim one. It is built on the conversation between a mother and her starving child, who finally have enough to eat when the child is laid out in a casket at the funeral. Mahler’s marking is Unheimliche bewegt: “With sinister [or uncanny] motion.”

This collection of Wunderhorn settings concludes with two military songs. Zu Strassburg auf der Schanz (“On the Ramparts of Strassburg”) has been called the first of Mahler’s great military songs—it is a slow march that tells of a recruit who aban-doned his post and now faces execution; the song echoes the sound of drums and fanfares.

Wo die schönen Trompeten blasen (“Where the Shining Trumpets Sound”) is one of the oldest types of song—a lovers’ fare-well—but here it has a sharper edge: the young man is a soldier about to go off to war, and a distant fanfare functions as a grim refrain here, punctuating the lovers’ conversation. The song is written for one voice, but it offers parts for both the man and woman and is sometimes sung as a duet. The shining trumpets may ring out distantly, but Mahler maneuvers us very carefully to the dark final line.



Wer hat dies Liedlein erdacht?

Dort oben am Berg in dem hohen Haus,Da guckt ein fein’s lieb’s Mädel heraus,Es ist nicht dort daheime,Es ist des Wirts sein Töchterlein,Es wohnt auf grüner Heide.

“Mein Herze ist wund,komm Schätzel mach’s gesund!Dein schwarzbraune Äuglein, Die haben mich vertwundt!

Dein rosiger MundMacht Herzen gesund.Macht Jugend verständig,Macht Tote lebendig,Macht Kranke gesund.”

Wer hat denn das schöne Liedlein erdacht?Es haben’s drei Gäns übers Wasser gebracht,Zwei graue und eine weiße;Und wer das Liedlein nicht singen kann,Dem wollen sie es pfeifen.

Ablösung im Sommer

Kuckuck hat sich zu Tode gefallenAn einer grünen Weiden,Kuckuck ist tot! Kuckuck ist tot!Wer soll uns jetzt den Sommer langDie Zeit und Weil vertreiben?

Ei, das soll tun Frau Nachtigall,Die sitzt auf grünem Zweige;[Die kleine, feine Nachtigall,Die liebe, süße Nachtigall!]Sie singt und springt, ist allzeit froh,Wenn andre Vögel schweigen.

Wir warten auf Frau Nachtigall,Die wohnt im grünen Hage,Und wenn der Kukuk zu Ende ist,Dann fängt sie an zu schlagen!

Who thought up this little song?

Up there on the mountain, in a high-up house,a lovely, darling girl looks out of the window.She does not live there:she is the daughter of the innkeeper,and she lives on the green meadow.

“My heart is sore!Come, my treasure, make it well again!Your dark brown eyeshave wounded me.

Your rosy mouthmakes hearts healthy.It makes youth wise,brings the dead to life,gives health to the ill.”

Who has thought up this pretty little song then?It was brought over the water by three geese - two grey and one white -and if you cannot sing the little song,they will whistle it for you!

Change in summer

The cuckoo has fallen to its deathOn a green willow,The cuckoo is dead! The cuckoo is dead!Who should then the summer longHelp us pass the time?

Oh, that should be Mrs. Nightingale!She sits on a green branch!The small, fine nightingale,The lovely, sweet nightingale!She sings and springs, is always joyous,When other birds are silent!

We await Mrs. Nightingale,Who lives in a green glen,And when the cuckoo call is at its end,Then does she begin to sing!


Ich ging mit Lust durch einen grünen Wald

Ich ging mit Lust durch einen grünen Wald,Ich hört’ die Vöglein singen;Sie sangen so jung, sie sangen so alt,Die kleinen Waldvögelein im grünen Wald!Wie gern hört’ ich sie singen!

Nun sing, nun sing, Frau Nachtigall!Sing du’s bei meinem Feinsliebchen:Komm schier, wenn’s finster ist,Wenn niemand auf der Gasse ist,Dann komm zu mir!Herein will ich dich lassen!

Der Tag verging, die Nacht brach an,Er kam zu Feinsliebchen gegangen.Er klopft so leis’ wohl an den Ring:“Ei schläfst du oder wachst mein Kind?Ich hab so lang gestanden!”

Es schaut der Mond durchs Fensterlein zum holden, süßen Lieben,Die Nachtigall sang die ganze Nacht.Du schlafselig Mägdelein, nimm dich in Acht!Wo ist dein Herzliebster geblieben?

Um schlimme Kinder artig zu machen

Es kam ein Herr zum SchlösseliAuf einem schönen Röss’li,Ku-ku-kuk, ku-ku-kuk!Da lugt die Frau zum Fenster ausUnd sagt: “Der Mann ist nicht zu Haus,Und niemand heim als meine Kind’,Und’s Mädchen ist auf der Wäschewind!”

Der Herr auf seinem RösseliSagt zu der Frau im Schlösseli:Ku-ku-kuk, ku-ku-kuk!“Sind’s gute Kind’, sind’s böse Kind’?Ach, liebe Frau, ach sagt geschwind,”Ku-ku-kuk, ku-ku-kuk!

“In meiner Tasch’ für folgsam Kind’,Da hab’ ich manche Angebind,”Ku-ku-kuk, ku-ku-kuk!Die Frau die sagt: “Sehr böse Kind’!Sie folgen Mutter nicht geschwind,Sind böse, sind böse!”

Da sagt der Herr: “So reit’ ich heim,Dergleichen Kinder brauch’ ich kein’!”Ku-ku-kuk, ku-ku-kuk!Und reit’ auf seinem RösseliWeit, weit entweg vom Schlösseli!Ku-ku-kuk, ku-ku-kuk!

I walked with joy through a green wood

I walked with joy through a green wood;I heard the birds singing.they sang so youthfully, they sang so maturely,those small birds in the green wood!How gladly I listened to their singing! Now sing, now sing, Lady Nightingale!sing by my sweetheart’s house:just come when it’s dark,when no one is on the street -then come to me!I will let you in. The day was gone, night fell;he went to his sweetheart.He knocks so softly on the ring:“Eh, are you sleeping or are you awake, my dear?I have been standing here so long!”

The moon gazes through the little window,at this tender, sweet love;the nightingale sang the whole night.You sleeply maiden, stay alert!Where was your beloved staying?

How to make naughty children well-behaved

There came a gentleman up to the castle,riding on a handsome horse,(Cuckoo, cuckoo!)The woman peeps out of the windowand says, “My husband is not home,and no one is here but my children,and the maid is at her washing!”

The gentleman on his horsesays to the woman in the castle:(Cuckoo, cuckoo!)“Are they good children, or are they naughty children?Ah, dear woman, tell me quickly!”(Cuckoo, cuckoo!)

“In my pocket, for obedient children,I have there many presents.”(Cuckoo, cuckoo!)The woman says: “Very naughty children!They don’t obey their mother quickly;they’re naughty, they’re naughty!”

Then the gentleman says: “Then I will ride home,for I have nothing to give these children!”(Cuckoo, cuckoo!)And he rides his horsefar, far away from the castle!(Cuckoo, cuckoo!)


Rheinlegendchen

Bald gras ich am Neckar, bald gras ich am Rhein;Bald hab’ ich ein Schätzel, bald bin ich allein!Was hilft mir das Grasen, wenn d’ Sichel nicht schneid’t!Was hilft mir ein Schätzel, wenn’s bei mir nicht bleibt.

So soll ich denn grasen am Neckar, am Rhein,So werf ich mein goldenes Ringlein hinein.Es fließet im Neckar und fließet im Rhein,Soll schwimmen hinunter ins Meer tief hinein.

Und schwimmt es, das Ringlein, so frißt es ein Fisch!Das Fischlein tät kommen auf’s König sein Tisch!Der König tät fragen, wem’s Ringlein sollt sein?Da tät mein Schatz sagen: das Ringlein g’hört mein.

Mein Schätzlein tät springen bergauf und bergein,Tät mir wiedrum bringen das Goldringlein mein!Kannst grasen am Neckar, kannst grasen am Rhein,Wirf du mir nur immer dein Ringlein hinein!

Der Schildwache Nachtlied

“Ich kann und mag nicht fröhlich sein;Wenn alle Leute schlafen, So muß ich wachen,Muß traurig sein.”

“Ach Knabe, du sollst nicht traurig sein,Will deiner warten,Im Rosengarten,Im grünen Klee.”

“Zum grünen Klee, da komm ich nicht,zum WaffengartenVoll HellepartenBin ich gestellt.”

“Stehst du im Feld, so helf dir Gott,An Gottes Segen Ist alles gelegen,Wer’s glauben tut.”

“Wer’s glauben tut, ist weit davon,Er ist ein König,Er ist ein Kaiser,Er führt den Krieg.”

Halt! Wer da? Rund! Bleib’ mir vom Leib!Wer sang es hier? Wer sang zur Stund’?Verlorne Feldwacht Sang es um Mitternacht.Mitternacht! Feldwacht!

Rhine legend

Now I reap by the Neckar, now I reap by the Rhine; Now I have a sweetheart, now I am alone!What use is my reaping if the sickle doesn’t cut?What use is a sweetheart if she won’t stay?

So if I am to reap by the Neckar and by the Rhine,then I’ll throw in my golden ring.It will flow with the Neckar and the Rhine,And float right down into the deep sea.

And as it floats, the little ring, a fish will eat it!The fish will eventually come to the King’s table!The king will ask whose ring it is,and my sweetheart will say: “The ring belongs to me.”

My sweetheart will hurry up hill and down hill,and bring me back my ring!“You can reap by the Neckar, and reap by the Rhineif you will always throw your ring in for me!”

The sentinel’s nightsong

“I cannot and may not be merry;when everyone is asleep,I must keep watch,and be mournful.”

“Ah, lad, you shouldn’t be sad,for I will wait for youin the rosegarden,in the green clover.”

“To the green clover, I do not come;to the weapons garden,full of halberds,I have been posted.”

“If you are in the battlefield, may God help you!On God’s blessingis everything dependent,he who believes it.”

“He who believes it is far away.He is a king,he is an emperor,and he makes war.”

Halt! Who’s there? Turn around! Stand back!Who sang here? Who was singing this hour?A solitary field sentinelwas singing at midnight.Midnight! Field sentinel!

INTERMISSION


Lied des Verfolgten im Turm

Der Gefangene:Die Gedanken sind frei,Wer kann sie erraten?Sie rauschen vorbeiWie nächtliche Schatten.Kein Mensch kann sie wissen,Kein Jäger sie schießen;Es bleibet dabei,Die Gedanken sind frei.

Das Mädchen:Im Sommer ist gut lustig sein Auf hohen wilden Heiden,Dort findet man grün Plätzelein,Mein herzverliebtes Schätzelein,Von dir mag ich nit scheiden.

Der Gefangene:Und sperrt man mich einIm finstern Kerker,Dies alles sind nurVergebliche Werke;Denn meine GedankenZerreißen die SchrankenUnd Mauern entzwei,Die Gedanken sind frei.

Das Mädchen:Im Sommer ist gut lustig seinAuf hohen wilden Bergen;Man ist da ewig ganz allein,Man hört da gar kein Kindergeschrei,Die Luft mag einem da werden.

Der Gefangene:So sei es, wie es will,Und wenn es sich schicket,Nur all’s in der Still’;Und was mich erquicket,Mein Wunsch und BegehrenNiemand kann’s wehren;Es bleibet dabei,Die Gedanken sind frei.

Das Mädchen:Mein Schatz, du singst so fröhlich hierWie’s Vögelein in dem Grase;Ich steh so traurig bei Kerkertür,Wär ich doch tot, wär ich bei dir,Ach, muß ich denn immer klagen?

Der Gefangene:Und weil du so klagst,Der Lieb ich entsage,Und ist es gewagt,So kann mich nicht plagen!So kann ich im HerzenStets lachen, bald scherzen; Es bleibet dabei, Die Gedanken sind frei.

Song of the persecuted man in the tower

The prisoner:Thoughts are free,who can guess them?They rush pastlike nocturnal shadows.No man can know them,no hunter can shoot them;for it remains thus:thoughts are free.

The maiden:In summer it is good to be merryon high, wild meadows,where one finds a green little place;my heart’s beloved treasure,I do not wish to part from you!

The prisoner:And if they lock me upin a dark dungeon,it is all onlyin vain that they try,for my thoughtsrip apart the barriersand break the walls in two:thoughts are free!

The maiden:In summer it is good to be merryon high, wild mountains;one is always alone there;one hears no children shrieking,and the air is so inviting.

The prisoner:So may it be, just as it is;and if it is proper,may it be in silence;And what gladdens my heart,my wish and desire,no one can restrain;for it remains thus:thoughts are free.

The maiden:My darling, you sing so cheerfully here,as if you were a bird in the grass;and I stand so sadly by the dungeon door.If only I were dead, or if only I were with you!Alas! must I always lament?

The prisoner:And because you lament so,I will renounce love,and if I dare,then nothing will torment me.So in my heartI can always laugh and joke,for it remains thus:thoughts are free!


Das irdische Leben

“Mutter, ach Mutter! es hungert mich,Gib mir Brot, sonst sterbe ich.”“Warte nur, mein liebes Kind,Morgen wollen wir ernten geschwind!”

Und als das Korn geerntet war,Rief das Kind noch immerdar:“Mutter, ach Mutter! es hungert mich,Gib mir Brot, sonst sterbe ich.”“Warte nur, mein liebes Kind,Morgen wollen wir dreschen geschwind.”

Und als das Korn gedroschen war,Rief das Kind noch immerdar:“Mutter, ach Mutter! es hungert mich,Gib mir Brot, sonst sterbe ich.” “Warte nur, mein liebes Kind,Morgen wollen wir backen geschwind.”

Und als das Brot gebacken war,Lag das Kind auf der Totenbahr.

Zu Straßburg auf der Schanz’

Zu Straßburg auf der Schanz,Da ging mein Trauern an,Das Alphorn hört’ ich drüben wohl anstimmen,Ins Vaterland mußt ich hinüber schwimmen,Das ging ja nicht an.

Ein Stund’ in der NachtSie haben mich gebracht;Sie führten mich gleich vor des Hauptmanns Haus,Ach Gott, sie fischten mich im Strome auf,Mit mir ist es aus.

Früh Morgens um zehn UhrStellt man mich vor’s Regiment;Ich soll da bitten um Pardon,Und ich bekomm doch meinen Lohn,Das weiß ich schon.

Ihr Brüder allzumal,Heut’ seht ihr mich zum letztenmal;Der Hirtenbub ist nur Schuld daran,Das Alphorn hat mir’s angetan,Das klag ich an.

The earthly life

“Mother, oh Mother! I’m hungry;Give me bread, or I shall die!”“Wait a little, my darling child;Tomorrow we shall harvest quickly.”

And when the corn had been harvested,The child wailed again:“Mother, oh Mother! I’m hungry;Give me bread, or I shall die!” “Wait a little, my darling child;Tomorrow we shall thresh quickly.”

And when the corn had been threshed,The child wailed again:“Mother, oh Mother! I’m hungry;Give me bread, or I shall die!”“Wait a little, my darling child; Tomorrow we shall bake quickly.”

And when the bread had been baked,The child was lying on the funeral bier.

In Strassburg on the rampart

In Strassburg on the rampart,there began my troubles:I heard the the alp-horn calling from afar,and decided to swim to my fatherland.That was unacceptable.

One hour in the nightthey captured me;they led me straight to Captain’s house,ah God, they’d fished me right out of the river,and everything’s over for me.

The next morning at tenthey’ll place me before the regiment;I am supposed to beg for my pardon,and I will receive what’s coming to me,that I know well.

You, my brothers all,today you’ll see me for the last time;the shepherd boy is alone to blame.The alp-horn did this to me -thus I accuse it.



Wo die schönen Trompeten blasen

Wer ist denn draußen und wer klopfet an,Der mich so leise, so leise wecken kann?Das ist der Herzallerliebste dein,Steh auf und laß mich zu dir ein!

Was soll ich hier nun länger stehn?Ich seh die Morgenröt aufgehn,Die Morgenröt, zwei helle Stern,Bei meinem Schatz, da wär ich gern,bei meiner Herzallerliebsten.

Das Mädchen stand auf und ließ ihn ein;Sie heißt ihn auch wilkommen sein.Willkommen, lieber Knabe mein,So lang hast du gestanden!

Sie reicht ihm auch die schneeweiße Hand.Von ferne sang die NachtigallDas Mädchen fing zu weinen an.

Ach weine nicht, du Liebste mein,Aufs Jahr sollst du mein eigen sein.Mein Eigen sollst du werden gewiß,Wie’s keine sonst auf Erden ist.O Lieb auf grüner Erden.

Ich zieh in Krieg auf grüner Heid,Die grüne Heide, die ist so weit.Allwo dort die schönen Trompeten blasen,Da ist mein Haus, von grünem Rasen.

— Texts from folk poetry

Where the beautiful trumpets blow

Who is then outside, and who is knocking,Who can so softly, softly waken me?It is your darling,Arise and let me come in to you!

Why should I stand here any longer?I see the dawn arrive,The dawn, two bright stars,With my darling would I gladly be,With my heart’s most beloved!

The maiden arose and let him in;She welcomed him as well:Welcome, my beloved boy,You have stood outside so long!

She reached to him her snow-white hand.From afar a nightingale sang;The maiden began to weep.

Oh, do not cry, my darling,Next year you shall be my own!My own shall you certainly be,As no one else on earth is.O Love on the green earth!

I go to war on the green heath,The green heath that is so broad!It is there where the beautiful trumpets blow,There is my house of green grass!



Kindertotenlieder

Gustav Mahler spent the summer of 1901 at his newly-built retreat at Maiernigg on the Wörthersee in southern Austria. Music seemed to pour out of him that summer: he began his Fifth Symphony and also composed songs for voice and orches-tra, setting poems of Friedrich Rückert. Five of these songs were gathered as the Rückert-Lieder, but Mahler also set three poems from Rückert’s Kindertotenlieder before laying that project aside. He returned to it three years later during the sum-mer of 1904, also spent at Maiernigg—that summer he finished his Sixth Symphony and made two more Kindertotenlieder settings to complete that cycle. Mahler conducted the first performance of the Kindertotenlieder, with Friedrich Weidemann as baritone soloist, in Vienna on January 29, 1905.

Friedrich Rückert (1788–1866) was a German poet and professor of Oriental languages who made a number of transla-tions from Chinese, Persian, and Arabic. Rückert lost two children to scarlet fever, and he tried to come to terms with that loss by writing a collection of 448 poems that he titled Kindertotenlieder (“Songs on the Death of Children”); this collection was published posthumously in 1872. The poems clearly had autobiographical significance for the poet, and many have sug-gested that they did for Mahler as well: the 41-year-old bachelor composer may have been drawn to these poems in response to the most traumatic event of his childhood, the death of his brother Ernst at 13 (Gustav had been 14 at the time).

When Mahler returned to Maiernigg in the summer of 1904 to complete the cycle, much had changed in his own life. Since composing the first three Kindertotenlieder songs, he had married and now had two daughters: Maria, born in Novem-ber 1902, and Anna, born in June 1904 and so just an infant that summer. Mahler’s wife was horrified that he would write songs on such a subject at this moment in his life. Many years later she wrote: “I could understand setting such frightful words to music if one had no children, or had lost those one had…What I could not understand was bewailing the deaths of children who were in the best of health and spirits, hardly an hour after having kissed and fondled them. I exclaimed at the time—‘for heaven’s sake, don’t tempt providence!’” That warning proved prophetic—three years later their daughter Maria died of scarlet fever.

Though the Kindertotenlieder are often sung by a contralto, Mahler preferred a male voice in these songs, which speak from the point of view of the father. Mahler’s settings are marked by unusual restraint, both emotionally and musically—these songs do not agonize but speak with a controlled grief. Textures are lean, tempos are generally slow, and the dynamic level is restrained—all five songs end very quietly.

All five of the Rückert poems Mahler chose to set rest on the opposition of light and dark: symbols of disaster (night, dark-ness, and a storm) are countered by the hopeful symbols of daylight, warmth, and bright stars. The dark tone of Rückert’s poems is frequently penetrated by this redeeming light, and Mahler’s music—both bittersweet and painfully expressive—mirrors that opposition perfectly.

The first song, Nun will die Sonn’ so hell aufgeh’n, establishes the dark mood and lean sound of the entire cycle. Mahler marks this beginning klagend (“grieving”), and the lonely sound of solo oboe and solo horn draw us into this bleak landscape (though these songs are sung with piano accompaniment at this recital, references to the orchestral version will help evoke the sound-world Mahler creates here). The scene is at daybreak, and the returning sunlight reminds the poet of the light he has lost. The restrained mood is set off delicately by the soft ring of the glockenspiel; that silvery, bell-like sound rings throughout the darkness of this song, and finally it brings this song to a muted close. Mahler moves from D minor in the first song to C minor in the equally dark Nun seh’ ich woll, warum so dunkle Flammen, where shining stars in the night sky remind the poet of the bright eyes of his children. The sound-world changes completely in the third song, Wenn dein Mütterlein: violins do not play at all in the orchestral version of this song, and Mahler instead emphasizes the sound of solo woodwinds, led by the long opening English horn solo. Mahler marks this song Schwer, dumpf (“Heavy, gloomy”), and the absence of the high violin sound underlines the loss of the poet’s “light of joy.”

The fourth song, Oft denk’ ich, sie sind nur ausgegangen moves to E-flat Major, and the mood almost relaxes as the poet can deceive himself that his children are absent only momentarily. He imagines them out walking and about to appear on a sunny hillside before him, and the music’s comfortable swing seems to participate in this self-deception, rising to a fortis-simo climax on the song’s final words. This bright world vanishes at the start of In diesem Wetter as Mahler goes back to D minor to depict the storm. Marked Agitato, this is the only (relatively) fast music in the entire cycle, and the poet looks out on the storm and notes how he would never have allowed his children out in such dark weather. And finally, consolation arrives: Mahler slows the tempo and moves to D Major as the poet realizes that his children are now in God’s hands, beyond any danger. A long postlude draws this final song to its quiet conclusion on an untroubled D-Major chord.

Those who know Mahler’s symphonies will hear many echoes of them in these songs: themes from the Fifth Symphony appear in the first two movements, the music that sets the consoling final line of the third song reappears on the last page of the Ninth Symphony, and there are premonitions of Das Lied von der Erde in the final song. These five songs would exert a strong influence on their creator across the remainder of his brief life.

—Program notes by Eric Bromberger


Nun will die Sonn’ so hell aufgehn

Nun will die Sonn’ so hell aufgehn,Als sei kein Unglück die Nacht geschehn!Das Unglück geschah nur mir allein!Die Sonne, sie scheinet allgemein!

Du mußt nicht die Nacht in dir verschränken,Mußt sie ins ew’ge Licht versenken!Ein Lämplein verlosch in meinem Zelt!Heil sei dem Freudenlicht der Welt!

Nun seh’ ich wohl, warum so dunkle Flammen

Nun seh’ ich wohl, warum so dunkle FlammenIhr sprühtet mir in manchem Augenblicke.O Augen, gleichsam, um voll in einem BlickeZu drängen eure ganze Macht zusammen.

Doch ahnt’ ich nicht, weil Nebel mich umschwammen,Gewoben vom verblendenden Geschicke,Daß sich der Strahl bereits zur Heimkehr schicke,Dorthin, von wannen alle Strahlen stammen.

Ihr wolltet mir mit eurem Leuchten sagen:Wir möchten nah dir bleiben gerne!Doch ist uns das vom Schicksal abgeschlagen.

Sieh’ uns nur an, denn bald sind wir dir ferne!Was dir nur Augen sind in diesen Tagen:In künft’gen Nächten sind es dir nur Sterne.

Wenn dein Mütterlein

Wenn dein Mütterlein tritt zur Tür herein,Und den Kopf ich drehe, ihr entgegen sehe,Fällt auf ihr Gesicht erst der Blick mir nicht,Sondern auf die Stelle, näher nach der Schwelle,Dort, wo würde dein lieb Gesichten sein,Wenn du freudenhelleträtest mit herein,Wie sonst, mein Töchterlein.

Wenn dein Mütterlein tritt zur Tür herein,Mit der Kerze Schimmer,ist es mir, als immerKämst du mit herein,huschtest hinterdrein,Als wie sonst ins Zimmer!O du, des Vaters Zelle,Ach, zu schnellerloschner Freudenschein!

Now the sun will rise as brightly

Now the sun will rise as brightlyas if no misfortune had occurred in the night.The misfortune has fallen on me alone.The sun - it shines for everyone.

You must not keep the night inside you;you must immerse it in eternal light.A little light has been extinguished in my household;Light of joy in the world, be welcome.

Now I see well why with such dark flames

Now I see well why with such dark flamesyour eyes sparkled so often.O eyes, it was as if in one full glanceyou could concentrate your entire power.

Yet I did not realize - because mists floated about me,woven by blinding fate -that this beam of light was ready to be sent hometo that place whence all beams come.

You would have told me with your brilliance:we would gladly have stayed near you!But it is refused by Fate.

Just look at us, for soon we will be far!What to you are only eyes in these days -in future nights shall be stars to us.

When your mother

When your mothersteps into the doorwayand I turn my headto see her,my gaze does not alightfirst on her face,but on the placenearer to the threshhold;there, where your dear face would bewhen you would step inwith bright joy,as you used to, my little daughter. When your mother stepsinto the doorwaywith the gleam of a candle,it always seems to me as ifyou came in as well,slipping in behind her,just as you used to come into the room!O you, a father’s cell,alas! too quickly you extinguish the gleam of joy!


Oft denk’ ich, sie sind nur ausgegangen

Oft denk’ ich, sie sind nur ausgegangen,Bald werden sie wieder nach Hause gelangen,Der Tag ist schön, o sei nicht bang,Sie machen nur einen weiten Gang.

Ja wohl, sie sind nur ausgegangen,Und werden jetzt nach Haus gelangen,O, sei nicht bang, der Tag is schön,Sie machen nur den Gang zu jenen Höh’n.

Sie sind uns nur voraus gegangen,Und werden nicht wieder nach Hause verlangen,Wir holen sie ein auf jenen Höh’nIm Sonnenschein, der Tag is schön auf jenen Höh’n.

In diesem Wetter, in diesem Braus

In diesem Wetter, in diesem Braus,Nie hätt’ ich gesendet die Kinder hinaus;Man hat sie getragen hinaus,Ich durfte nichts dazu sagen!

In diesem Wetter, in diesem Saus,Nie hätt’ ich gelassen die Kinder hinaus,Ich fürchtete sie erkranken;Das sind nun eitle Gedanken.

In diesem Wetter, in diesem Graus,Nie hätt’ ich gelassen die Kinder hinaus;Ich sorgte, sie stürben morgen,Das ist nun nicht zu besorgen.

In diesem Wetter, in diesem Graus!Nie hätt’ ich gesendet die Kinder hinaus!Man hat sie hinaus getragen,ich durfte nichts dazu sagen!

In diesem Wetter, in diesem Saus, in diesem Braus,Sie ruh’n als wie in der Mutter Haus,Von keinem Sturm erschrecket,Von Gottes Hand bedecket.

—Texts by Friedrich Rückert

Often I think that they have only stepped out

Often I think that they have only stepped out—and that soon they will reach home again.The day is fair - O don’t be afraid -They are only taking a long walk.

Yes: they have only stepped outand will now return home.O don’t be anxious - the day is fair.They are only taking a walk to those hills.

They have simply gone on ahead:they will not wish to return home again.We’ll catch up to them on those hills.In the sunshine the day is fair upon those hills.

In this weather, in this windy storm

In this weather, in this windy storm,I would never have sent the children out;They were carried outside -I could say nothing about it! In this weather, in this roaring storm,I would never have let the children out.I was afraid they had falllen ill,but these thoughts are now idle. In this weather, in this cruel storm,I would never have let the children out;I was worried they would die the next day -but this is now no concern. In this weather, in this cruel storm,I would never have sent the children out;They were carried outside -I could say nothing about it! In this weather, in this roaring, cruel storm,they rest as they did in their mother’s house:they are frightened by no storm,and are covered by the hand of God.



September 2019Fri 27 7:30pm Natasha Paremski, piano H

Alfredo Rodríguez, piano

October 2019Sun 13 7:00pm Manuel Barrueco, guitar* H

Fri 18 7:30pm Z.E.N. Trio H Sat 19 10:00am Alexander String Quartet with H

Robert GreenbergMon 21 7:30pm Calidore String Quartet H

Tue 22 7:30pm Christian Gerhaher, baritone H

Gerold Huber, pianoSat 26 7:30pm Jason Vieaux, guitar* H

Tue 29 6:00pm 40th Anniversary Season Gala W

Tue 29 7:00pm Richard Goode, piano H

(40th Anniversary Gala Performance)

November 2019Wed 6 7:30pm Bomsori Kim, violin H

Juho Pohjonen, piano Annual Gift ConcertSat 9 10:00am Alexander String Quartet with H

Robert GreenbergSat 23 7:30pm Los Angeles Guitar Quartet* H

December 2019Wed 4 7:30pm Brentano String Quartet H

Dawn Upshaw, sopranoSat 7 7:30pm Xuefei Yang, guitar* M

Wed 11 7:30pm Jamie Barton, mezzo-soprano H

Kathleen Kelly, piano

January 2020Wed 15 6:30pm Salon: Artist TBA E Thu 23 7:30pm Mahan Esfahani, harpsichord H

Stefan Jackiw, violinFri 24 7:30pm Jennifer Koh, violin H

Vijay Iyer, piano Tyshawn Sorey, percussionSat 25 10:00am Alexander String Quartet with H Robert GreenbergSat 25 7:30pm Theo Bleckmann, vocalist H

Uri Caine, piano Telegraph QuartetSun 26 5:00pm Patricia Kopatchinskaja, violin H

Jay Campbell, cello

February 2020Tue 4 7:30pm Garrick Ohlsson, piano H

Wed 5 6:30pm Salon: Artist TBA E

Sat 8 10:00am Dashon Burton, bass-baritone H

with Robert GreenbergSat 8 7:30pm Isabelle Faust, violin H

Alexander Melnikov, piano Jean-Guihen Queyras, celloWed 19 7:30pm Paul Taylor Dance Company Y

Thu 20 7:30pm Paul Taylor Dance Company Y

Fri 21 7:30pm Paul Taylor Dance Company Y

Sat 22 10:00am Alexander String Quartet with H Robert GreenbergSat 22 2:00pm Paul Taylor Dance Company Y

Family MatineeSat 22 7:30pm Paul Taylor Dance Company Y

Sun 23 2:00pm Paul Taylor Dance Company Y

Wed 26 6:30pm Salon: Artist TBA E

Thu 27 7:30pm The Day H

(Wendy Whelan & Maya Beiser)Fri 28 7:30pm The Day H

(Wendy Whelan & Maya Beiser)Sat 29 10:00am Alexander String Quartet with H

Robert Greenberg

March 2020Sat 7 7:30pm Alexander String Quartet H

Bill Kanengiser, guitar*Tue 10 7:30pm Pavel Haas Quartet H

Boris Giltburg, pianoSat 21 10:00am Alexander String Quartet with H

Robert GreenbergSat 21 7:30pm David Russell, guitar* H

Thu 26 7:30pm Sir András Schiff, piano H

Fri 27 7:30pm Tabea Zimmermann, viola H

Javier Perianes, pianoSat 28 7:30pm Jerusalem Quartet H Thu 31 11:00am Garrick Ohlsson, piano H

April 2020Wed 15 6:30pm Salon: Artist TBA E

Thu 23 7:30pm Marc-André Hamelin, piano H

Sun 26 1–5pm 40th Anniversary W

Family Day of PerformancesSun 26 7:00pm 40th Anniversary Concert H

Marc-André Hamelin, piano Nicholas Phan, tenor Gabriel Kahane, composer/pianist Alexander String QuartetMon 27 7:30pm Mark Padmore, tenor H

Marc-André Hamelin, pianoWed 29 7:30pm Mark Padmore, tenor H

May 2020Wed 6 7:30pm Benjamin Appl, baritone H

James Baillieu, pianoSat 16 10:00am Alexander String Quartet with H

Robert Greenberg

Programs, Artists, Dates and Times Subject to Change

* Presented in association with OMNI Foundation for the Performing Arts

VenuesH Herbst TheatreM St. Mark’s Lutheran ChurchY The Blue Shield of California Theater at YBCAE Education StudioW War Memorial Veterans Building

2019–20 Season Calendar

CHRISTIAN GERHAHER Baritone GEROLD HUBER...Musikverein Vienna and Cité de la mu-sique in Paris....

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Transcript of CHRISTIAN GERHAHER Baritone GEROLD HUBER...Musikverein Vienna and Cité de la mu-sique in Paris....