Program

33. Ein Fichtenbaum (1979)(German) Harry Mayer34. Ach wenn ich (1947)(German) Korstiaan Stougie35. Seit die Liebste mir entfernt (c1851)(German) Josephine Lang36. Aus meinen grossen Schmerzen (1878)(German) Hugo Wolf

Elise Jackendoff, piano

*37. Burghers in Sunday clothes (2006)(English) Nancy Marie Farley Rice38. Manch Bild vergess’ner Zeiten (c1870)(German) Ignaz Brüll39. Ein Jüngling liebt ein Mädchen (1982)(German) Manfred Schmitz 40. Hører jeg sangen klinge (1869-84)(Norwegian) Edvard Grieg 41. Mir träumte von einem Königskind (2002)(German) Gerald Ginsburg

Gregory Hayes, piano

42. Meerfahrt (1886)(German) Johannes Brahms 43. Aus alten Märchen winkt es (c1890)(German) Max Vogrich44. Je t’ai aimée (1958)(French) Robert Caby45. Poetischer Einfall (German) Nicola Dmitrieff46. В розкішній красі таємничій [V rozkishniĭ krasi taiemnychiĭ](Ukrainian) Mykola Lysenko47. Ahava vesin’a (1998)(Hebrew) Shimon Cohen48. ‘Tis summer in thine eyes (1901)(English) Carrie Jacobs-Bond

Elise Jackendoff and Gregory Hayes, piano;Geoffrey Burgess, oboe; David Schneider, clarinet

Intermission

49. Duett (1991)(German) Günter Bialas50. Al té (1926)(Italian) Mario Castelnuovo-Tedesco51. Que están emponzoñadas mis canciones (1920)(Spanish) Alfonso da Silva52. Treue (1948-75)(German) Andre Asriel*53. Wenn ich ein Vöglein wär (2005)(German) Detlef Cordes

Jane Hanson, mezzo-soprano; Elise Jackendoff and Gregory Hayes, piano; Geoffrey Burgess, recorder; David Schneider, clarinet

54. Mein Wagen rollet langsam (1921)(German) Julius Weismann 55. Invocation (1894) (French) Guy d'Hardelot (Helen Rhodes)56. Allnächtlich im Traume (1850)(German) Felix Mendelssohn-Bartholdy57. Das ist ein Brausen und Heulen (1903-11)(German) Charles Tomlinson Griffes58. Le Cavalier (190-?) (French) Marcel Bertrand59. Es fällt ein Stern herunter (1889)(German) Hans Pfitzner

Elise Jackendoff and Gregory Hayes, piano; Geoffrey Burgess, oboe

*60. The dream god (1956)(English) Alfred Heller61. Полночъ [Polnoch’] (1919)(Russian) Vladimir Rebikov62. Ceux qui parmi les morts d'amour (1899)(French) Joseph Guy Ropartz63. Bárhol vagyok (Hungarian) László Makray 64. Nacht lag auf meinen Augen (1986-87)(German) Hans van Zijp65. Die alten, bösen Lieder (1840)(German) Robert Schumann

Jane Hanson, mezzo-soprano; Gregory Hayes, piano; David Schneider, bass clarinet

*First public performance

Heine and Lyrisches Intermezzo

Heinrich Heine (originally named Harry) was born on December 13, 1797 in Düsseldorf, Germany, of Jewish parents. Though his family preferred that he become a businessman, Heine eventually took a degree in law. In 1825, in order to make possible a civil service career, he resentfully converted to Protestantism, but still was never able to find employment in Germany. Heine’s literary reputation grew steadily with the publication of his poems throughout the early 1820’s. Most of these were collected in 1827 into the Buch der Lieder (Book of songs), which has always been his most widely read collection, and the most popular with composers, with over 5000 musical settings made of its 245 poems. It may have been inspired by his youthful, unrequited infatuation with one, or possibly two, of his rich uncle Salomon’s daughters.

The second major group of poems in Buch der Lieder is the cycle Lyrisches Intermezzo, which consists of a long prologue and 65 short lyric poems. They are a wonderfully contradictory combination of lyrical beauty and bitter irony. Heine was at once an arch-Romantic and an anti-Romantic, trying both to satisfy his own complex and ambivalent nature and to please his audience, which demanded trite, sentimental effusions that he despised. The seeming sentimental folk-song-like simplicity of Lyrisches Intermezzo has been widely imitated, but seldom with any success. Heine deliberately pushed conventional poetic imagery to the breaking point, often ending the most sweet and tender verses with an ironic or sarcastic twist. His words have inspired an enormous variety and quantity of musical responses, and it is always interesting to see whether a particular composer "gets" Heine's irony or just stays with the beauty on the surface of the poem. Today's concert consists of one setting per poem of the second half of the cycle, in Heine's published order, poems 33 through 65. The songs have been selected to illustrate the wide variety of musical styles and many languages in which Heine's poetry has been set to music. They include two that were written or substantially revised for this program, and one that is receiving its premiere performance after its composition half a century ago.

In 1831 Heine moved to Paris, where his political and social concerns found outlet in his prolific critical and satirical prose writings. He became acquainted with many prominent figures of the age, including Karl Marx. Heine’s pro-revolutionary views were unacceptable to the German governments, and by 1835 his voluntary exile in France became an imposed one, and his works were banned throughout Germany. He continued to write poetry as well, much of it with satirical elements of social and literary commentary. After 1844 Heine suffered financial reversals and painful physical deterioration from what may have been syphilis, amyotrophic lateral sclerosis or some other neuropathy. He spent the last several years of his life in his “mattress-grave” in a Paris apartment, but his creative powers never left him; some of his finest but darkest poems date from this period. He died in Paris on February 17, 1856.

During my sophomore year in music school, when I was first discovering German lieder, I was in a joint recital with friends in which I did a set of three settings of a Heine poem. The following year I sang Schumann's great cycle Dichterliebe, also on Heine texts from Lyrisches Intermezzo, and in the years since I remained interested in the poet, reading a biography, occasionally performing other Heine settings, but not with any deliberate intent. This project started gestating when I dusted off Dichterliebe for several performances about ten years ago, which rekindled my interest in other musical settings of Heine. A year or so later, when I was due for a sabbatical, the outline of this long-term project started to take shape: the creation of a bibliographical database and the collection of music (so far over 2000 scores) to satisfy my inner librarian, the reading and recording of many songs and the performance of selected ones to satisfy my inner musician, and, to

satisfy my inner scholar, the creation of an online performer's guide with analytical critiques or reviews of the songs (www.library.umass.edu/subject/music/heine).

The performers

Peter W. Shea has sung professionally since 1972 throughout New England and the Hudson Valley. He studied voice with Arthur Koret at the Hartt School, University of Hartford, librarianship at Southern Connecticut State University, and historical musicology at the University of Connecticut, Storrs. He is a frequent soloist with groups such as Arcadia Players, Hampshire Choral Society, Commonwealth Opera, and the Brattleboro Community Chorus, and performs regularly with vocal and instrumental chamber ensembles including the vocal sextet Cantabile and Novi Cantori. He is a member of the board of directors of Arcadia Players, and served as the baroque orchestra's co-Artistic Director for the 2003-2004 season. He is cataloger of music and foreign languages at the UMass Amherst Library. He recently completed his second Heine-related sabbatical, which, in addition to this program, included five other concerts. For an online calendar of Peter's upcoming musical performances see people.umass.edu/shea/

Geoffrey Burgess began his musical studies in Sydney Australia and with the support of a Dutch Government Scholarship studied Baroque oboe with Ku Ebbinge in Holland. In Europe he worked with numerous ensembles, notably the renowned Paris-based Les Arts Florissants. He has appeared with early-instrument orchestras across the US, as soloist with the Australian Brandenburg Orchestra, and has given recitals at the Utrecht and Boston Early Music Festivals. In 2005 he and Elaine Funaro founded Duo d’amore to play new works for Baroque oboe and harpsichord. Geoffrey also holds a PhD in musicology, and has taught at SUNY Stony Brook, Duke University, Case Western Reserve, Smith College, as well as master classes and summer institutes. He has published extensively on French Baroque opera, and on the history of the oboe, including a comprehensive study written jointly with Bruce Haynes (Yale University Press, 2004) and The Oboe on Record, 1903-1953, the first historical anthology of oboe recordings.

Jane Hanson received a Bachelor's degree in Voice from UMass Amherst and a Master's degree in Choral Conducting from the Cincinnati College-Conservatory of Music. From 1999 to 2001 she served on the faculty of the Dept. of Music and Dance at UMass Amherst. In 2001 she founded The Proficient Musician, a professional development company that provides skill-based learning opportunities to music educators and performers. She has flourishing voice studios at the Northampton Community Music Center and the Williston Northampton School, and is a sought-after clinician. Ms. Hanson studied voice with the world-renowned Dr. Oren Brown for eleven years, and has been a featured mezzo-soprano soloist with various chamber ensembles and through her concert series. She is the music director of The Pioneer Arts Center of Easthampton, and recently was named music director of the Keene N.H. Chorale.

Gregory Hayes has taught piano and occasionally  harpsichord at Dartmouth College since 1991. He is a busy chamber musician and orchestral keyboard player, and has participated regularly in the New England Bach Festival and on the Mohawk Trail Concerts series. He is longtime music director for the Unitarian Society of Northampton and Florence, and for fourteen years directed Da Camera Singers. A graduate of Amherst College and the Manhattan School of Music, he has taught for many summers at Greenwood Music Camp in Cummington.

Elise Jackendoff is a recent arrival in the Valley. She teaches piano at UMass and at her private studio in Amherst. She was a long-time faculty member of the Longy School of Music in Cambridge, and appeared frequently as guest artist with a number of Boston-area chamber groups. Her teachers include Leon Fleisher, Russell Sherman, Ruth Slenczynska, Jane Carlson and Edith Picht-Axenfeld. She has performed throughout the United States, has appeared on numerous radio broadcasts and has recorded the works of Dianne Goolkasian Rahbee on the Seda label.

David Schneider is currently chair of the music department at Amherst College where he teaches music history and theory. As a clarinetist he has been a member of the Alaria Chamber Ensemble in New York City (1986-88) and the Berkeley Symphony under Kent Nagano (1990-97). He has recorded Copland's

Clarinet Concerto for AFKA Records. His first book, Bartók, Hungary, and the Renewal of Tradition is due from the University of California Press this fall.

Texts and Translations, with Notes on the Composers

33 Ein Fichtenbaum, no. 2 of Vier liederen op gedichten van Heinrich Heine, 1979.Harry Mayer (1913-1983) was a Dutch composer, organist, conductor, teacher and writer on

music. English: James Thomson7. Other settings of this poem: 216

Ein Fichtenbaum steht einsam A pine-tree standeth lonelyIm Norden auf kahler Höh'. In the North on an upland bare;Ihn schläfert; mit weißer Decke It standeth whitely shroudedUmhüllen ihn Eis und Schnee. With snow, and sleepeth there: Er träumt von einer Palme, It dreameth of a palm-tree, Die, fern im Morgenland, Which far in the East aloneEinsam und schweigend trauert In mournful silence standeth Auf brennender Felsenwand. On its ridge of burning stone.

34 Ach, wenn ich, no. 5 of Mädchen, part 2 of Heine-liederen, op. 1 IV, composed 1947Korstiaan Stougie (1908-1988) was a Dutch organist who was primarily self-taught as a

composer. Heine settings comprise nearly half of his output of 124 songs.

English: Louis Untermeyer1. Other settings of this poem: 4

Der Kopf spricht: The head speaks: Ach, wenn ich nur der Schemel wär, Oh were I but the stool that sheWorauf der Liebsten Füße ruhn! Uses to rest her feet from pain; Und stampfte sie mich noch so sehr, Yea, tho’ she stamped and trod on me,Ich wollte doch nicht klagen tun. I would not murmur or complain.

Das Herz spricht: The heart speaks: Ach, wenn ich nur das Kißchen wär, Oh were I but the cushion tooWo sie die Nadeln steckt hinein! That holds the needle she employs; Und stäche sie mich noch so sehr, Yea, tho’ she pierced me through and through, Ich wollte mich der Stiche freun. Each stab would wake the wildest joys.

Das Lied spricht: The song speaks: Ach, wär ich nur das Stück Papier, Oh were I but the least—the mereDas sie als Papillote braucht! Paper with which she curls her hair! Ich wollte heimlich flüstern ihr Then would I whisper in her earIns Ohr, was in mir lebt und haucht. What stirs in me, and all I dare.

35 Seit die Liebste mir entfernt, no. 4 of Sechs Lieder, op. 39, published ca. 1851Josephine Lang (1815-1880), was the daughter of a famous singer and a student of

Mendelssohn’s, and had many of her 150 songs published. Her style is generally more extroverted than that of her teacher. English: Franklin Johnson3. Other settings of this poem: 10

Seit die Liebste mir entfernt, Since my love now loves me not, Hatt ich's Lachen ganz verlernt. How to laugh I have forgot;Schlechten Witz trieb mancher Wicht, Jests no more my griefs beguile, Aber lachen konnt' ich nicht. For I cannot, cannot smile.

 Seit ich sie verloren hab, Since my love now loves me not,Schafft ich auch das Weinen ab; How to weep I have forgot;Oft vor Weh das Herz mir bricht, Broken is my heart with woe,Aber weinen kann ich nicht. But my tears refuse to flow.

36 Aus meinen großen Schmerzen, no. 4 of Liederstrauß, composed 1878Hugo Wolf (1860-1903) became one of the great masters of German lieder. After dismissal

from the Vienna conservatory in 1877 he taught himself to compose songs largely by imitating Schumann’s Heine settings. English: Franklin Johnson3. Other settings of this poem: 41

Aus meinen großen Schmerzen From pain wherein I languishMach ich die kleinen Lieder; My little songs I utter, Die heben ihr klingend Gefieder And their rustling wings they flutterUnd flattern nach ihrem Herzen. And bear her my tale of anguish. Sie fanden den Weg zur Trauten, They find her heart, but stay not:Doch kommen sie wieder und klagen, They come again with sighing,Und klagen, und wollen nicht sagen, They come again with crying,Was sie im Herzen schauten. Yet what they have seen they say not.

37 Burghers in Sunday clothes strolling, composed 2006, for this concert.Nancy Rice holds degrees in piano performance, music education and composition from

Boston University and Boise State University. She teaches piano at Suffield Academy and at her home in Southampton MA. English: Hal Draper9. Other settings of this poem: 2

Philister in Sonntagsröcklein Burghers in Sunday clothes strollingSpazieren durch Wald und Flur; Through meadow and wood and lane,Sie jauchzen, sie hüpfen wie Böcklein, Like frisky young goats caracoling,Begrüßen die schöne Natur. Salute nature's beauties again.

Betrachten mit blinzelnden Augen, Their bleary owl-eyes blink inWie alles romantisch blüht; The romantically blooming spring;Mit langen Ohren saugen They cock long ears to drink inSie ein der Spatzen Lied. The song the sparrows sing.

Ich aber verhänge die Fenster But I--I am draping and gloomingDes Zimmers mit schwarzem Tuch; My windows with black like a pall:Es machen mir meine Gespenster The ghosts of the past are loomingSogar einen Tagesbesuch. To pay me a daylight call.

Die alte Liebe erscheinet, From the land of the dead where she's sleepingSie stieg aus dem Totenreich; My old love shining appears;Sie setzt sich zu mir und weinet, She sits by my side and, weeping,Und macht das Herz mir weich. She melts my heart in tears.

38 Manch bild vergess’ner Zeiten, no. 6 of Zwölf Gesänge, op. 5, Heft I, ca. 1870Ignaz Brüll (1846-1907) was an Austrian concert pianist and composer who was a close friend

of Johannes Brahms. English: Edgar Alfred Bowring2. Other settings of this poem: 5

Manch Bild vergess'ner Zeiten Many visions of times long vanish’d

Steigt auf aus seinem Grab, Arise from out of their tomb, Und zeigt, wie in deiner Nähe And show me how once in thy presenceIch einst gelebet hab. I lived in my life’s young bloom.

Am Tage schwankte ich träumend All day I mournfully totter’d Durch alle Straßen herum, Through the streets, as though in a dream;Die Leute verwundert mich ansahn, The people gazed on me with wonder, Ich war so traurig und stumm. So silent and sad did I seem.Des Nachts, da war es besser, The night time suited me better,Da waren die Straßen leer; Deserted the streets were then, Ich und mein Schatten selbander, And I and my shadow together Wir wandelten schweigend einher. We wandered in silence again.

Mit widerhallendem Fußtritt With footsteps echoing loudly Wandelt ich über die Brück'; I wander’d over the bridge; Der Mond brach aus den Wolken The moon with solemn look hail’d meUnd grüßte mit ernstem Blick. As she burst through the cloudy ridge.

Stehn blieb ich vor deinem Hause, I stood in front of thy dwelling,Und starrte in die Höh', And fondly gazed up on high; Und starrte nach deinem Fenster - I gazed up towards thy window,Das Herz tat mir so weh. My heart breathed many a sigh.

Ich weiß, du hast aus dem Fenster Well know I that thou from the windowGar oft herabgesehn, Full often hast gazed below, Und sahst mich im Mondenscheine And in the moonlight hast seen meWie eine Säule stehn. Stand fix’d, the image of woe.

39 Ein Jüngling liebt ein Mädchen, no. 80 of Chanson –Boutique, Band 2, composed 1982Manfred Schmitz (b. 1939) taught piano at the Franz Liszt Academy of Music in Weimar

from 1968 to 1984. Since then he has been very active as a freelance composer, pianist, arranger, author and teacher. English: John Todhunter6. Other settings of this poem: 31

Ein Jüngling liebt ein Mädchen, A young man loves a maiden,Die hat einen andern erwählt; Who loves another instead;Der andre liebt eine andre, That other loves another, Und hat sich mit dieser vermählt. And wins her, and so they are wed.

Das Mädchen heiratet aus Ärger The maiden is piqued, and to spite himDen ersten besten Mann, Goes promptly off to church Der ihr in den Weg gelaufen; With the first good man she falls in with;Der Jüngling ist übel dran. The young fellow's left in the lurch.

Es ist eine alte Geschichte, All this is an old, old story, Doch bleibt sie immer neu; Yet somehow always new; Und wem sie just passieret, And when you’re cast for the heroDem bricht das Herz entzwei. Your heart just breaks in two.

40 Hører jeg sangen klinge, no. 6 of Romancer (aeldre og nyere), op. 39, composed 1869-84. Edvard Grieg (1843-1907) was the foremost Norwegian composer of his generation. His

170 songs were inspired chiefly by his wife Nina, who was a very accomplished singer. Norwegian: Nordahl Rolfsen; English:

Charles G. Leland5. Other settings of this poem: 95

Hör ich das Liedchen klingen, Hører jeg sangen klinge, I hear the old song waking Das einst die Liebste sang, Der engang klang så varm. My love sang long ago,So will mir die Brust zerspringen Det er, som vilde den springe, My heart goes near to breaking,Vor wildem Schmerzendrang. min vilde stormende Barm. So fierce and wild my woe. Es treibt mich ein dunkles Sehnen Den hvælvede Skov jeg kårer, And full of yearning sadness,Hinauf zur Waldeshöh', Så dunkel og så sval, I seek the wooded knoll,Dort löst sich auf in Tränen Der leser sig i Tårer, Where tears assuage the madnessMein übergroßes Weh.   Min grændselose Kval. Of frenzied heart and soul.

41 Märchen [Romance], no. 3 of Aus Schmerzen zu Lieder, composed 2002.Gerald Ginsburg (b. 1932) calls his songs “theatre lieder,” influenced by mid-20th-century film music of classically trained European composers. His hour-long Heine cycle was composed in

response to the events of 9/11. English: John Todhunter6. Other settings of this poem: 78

Mir träumte von einem Königskind, I dreamed a dream of a Royal Maid,Mit nassen, blassen Wangen; Damp dews on her pale cheek shining;Wir saßen unter der grünen Lind', We sat beneath a green linden’s shade,Und hielten uns liebumfangen. Our arms round each other entwining. "Ich will nicht deines Vaters Thron, ‘I long not for thy father’s throne,Und nicht sein Zepter von Golde, Nor sceptre of gold, gem-laden,Ich will nicht seine demantene Kron', I do not long for his diamond crown,Ich will dich selber, du Holde." I long for thyself, sweet Maiden.’ "Das kann nicht sein", sprach sie zu mir, ‘That cannot be,’ she answered me,"Ich liege ja im Grabe, ‘For in the grave I am lying,Und nur des Nachts komm ich zu dir, But night by night will I come to thee,Weil ich so lieb dich habe." For I love thee with love undying.’

42 Meerfahrt [Sea journey], no. 4 of Vier Lieder, op. 96, published 1886.Johannes Brahms (1833-1897) was the successor to Schubert and Schumann as master of the

German lied. He is known to have written many Heine settings in his youth, but typically he destroyed all but six of them. English: James Thomson7. Other settings of this poem: 60

Mein Liebchen, wir saßen beisammen, My darling, we sat together, Traulich im leichten Kahn. We two in our frail boat;Die Nacht war still, und wir schwammen The night was calm o’er the wide seaAuf weiter Wasserbahn. Whereon we were afloat.  Die Geisterinsel, die schöne, The Spectre-Island, the lovely,Lag dämmrig im Mondenglanz; Lay dim in the moon’s mild glance;Dort klangen liebe Töne, There sounded sweetest music,Und wogte der Nebeltanz. There waved the shadowy dance.  Dort klang es lieb und lieber It sounded sweet and sweeter, Und wogt' es hin und her; It waved there to and fro; Wir aber schwammen vorüber, But we slid past forlornlyTrostlos auf weitem Meer. Upon the great sea-flow.

43 Aus alten Märchen winkt es, no. 7 of Lieder-Album I, ca. 1890

Max Vogrich (1852-1916) was born in Transylvania and died in New York. He was known chiefly as a pianist and editor. English: Theodore

Martin11. Other settings of this poem: 18

Aus alten Märchen winkt es From the realm of old-world storyHervor mit weißer Hand, There beckons a lily hand, Da singt es und da klingt es That calls up the sweetness, the glory, Von einem Zauberland: The sounds of a magic land.

Wo große Blumen schmachten Where huge flowers droop in the splendourIm goldnen Abendlicht, Of closing day’s golden red, Und zärtlich sich betrachten And cast on each other looks tender, Mit bräutlichem Gesicht; - As the looks are of lovers new wed;

Wo alle Bäume sprechen Where all the trees, too, have voices, Und singen, wie ein Chor, And all like a chorus sing,Und laute Quellen brechen And a sound as of music rejoicesWie Tanzmusik hervor; - In the babble of every spring;

Und Liebesweisen tönen, On the air songs of true love are swelling,Wie du sie nie gehört, Such as never elsewhere thou hast heard,Bis wundersüßes Sehnen Till by yearnings divine beyond tellingDich wundersüß betört! Thy soul is divinely stirred. Ach, könnt ich dorthin kommen Oh we, if I might go thither, Und dort mein Herz erfreun, And gladden my care-worn breast, Und aller Qual entnommen, Shake off all the sorrows that wither,Und frei und selig sein! Be happy and truly at rest!  Ach! jenes Land der Wonne, Ah, many a time in my dreamingDas seh ich oft im Traum; Through that region of rapture I roamDoch kommt die Morgensonne, Then the morning sun comes with its beaming,Zerfließt's wie eitel Schaum. And scatters it all like foam.

44 Je t’ai aimée, no. 3 of Au sein de ma sombre vie: cinq lieder de Henri Heine, composed 1958.Robert Caby (1905-1992) was a journalist, poet, artist, and composer, and wrote over 400

musical works. He befriended Erik Satie, and posthumously edited many of his works.

French: composer; English: Charles G. Leland5. Other settings of this poem: 36

Ich hab dich geliebt und liebe Je t’ai aimée et je t’aime I have loved thee, still love thee,dich noch! encore and evermore

Und fiele die Welt zusammen, Si fort, que si le monde croule, Amid a world’s undoing,Aus ihren Trümmern stiegen Des décombres du monde The flames of my love for thee

doch jailliront encore shall soarHervor meiner Liebe Flammen. Les flammes brûlantees de From out the shattered ruin.

mon amour!

45 Poetischer Einfall [Poetical idea], no. 2 of Herbstblätter: sechs Lieder von Heine [18--?]Nicola Dmitrieff. There seems to be no information available whatsoever on this composer.English: John Todhunter6. Other settings of this poem: 30

Am leuchtenden Sommermorgen In the glimmering summer morningGeh ich im Garten herum. I pace the garden alone;

Es flüstern und sprechen die Blumen, The flowers are whisp’ring and speaking,Ich aber, ich wandle stumm. But silently wander I on.  Es flüstern und sprechen die Blumen, The flowers are whisp’ring and speaking,Und schaun mitleidig mich an: My form with compassion they scan:"Sei unserer Schwester nicht böse, 'O pray be kind to our sister, Du trauriger, blasser Mann!" Thou mournful and pale-faced man!'

46 В розкішній красі таємничій, no. 5 of Solospivy na virshi Genrikha Geine, published 2001.Mykola Lysenko (1842-1912) was a composer, pianist, conductor and folksong collector, and

is generally considered the Ukraine’s greatest composer. He set 15 Heine texts in translation. Ukrainian: Lesia Ukrainka; English: Theodore Martin11. Other settings of this poem: 6

Es leuchtet meine Liebe, В розкішній красі таємничій My love in its shadowy gloryIn ihrer dunkeln Pracht, Сіяє кохання моє Shines out with a lurid light,Wie 'n Märchen traurig und trübe, І тихої літньої ночі Like a troubled and tragic story,Erzählt in der Sommernacht. Страшні, дивні мрії снує: That is told on a summer night.

"Im Zaubergarten wallen «В заклятім салу походжають “Lovers twain in a garden enchantedZwei Buhlen, stumm und allein; Коханці сутні, самотні; Alone and in silence stray;Es singen die Nachtigallen, Тремтить ясний місяць ромінням,By the nightingales' songs they are haunted,Es flimmert der Mondenschein. І чуть соловейка пісні. And round them the moonbeams play. Die Jungfrau steht still wie ein Bildnis,Дівчина, мов постать камінна, “Statue-like stands the maid, uncompliant,Der Ritter vor ihr kniet. Навколішках лицар стоїть. On his knees at her feet is the knight;Da kommt der Riese der Wildnis, Аж ось дикий велет надходить, When on strides a brute of a giant,Die bange Jungfrau flieht. Дівчина злякалась, біжить... And the maiden flies off in a fright. Der Ritter sinkt blutend zur Erde, В крові пада лицар додолу, “The knight drops senseless and gory,Es stolpert der Riese nach Haus" - Додому йде велет страшний...» The giant reels home to his bed—”Wenn ich begraben werde, Як буду в могилі лежати, ‘Twill not be wound up, that story,Dann ist das Märchen aus. Кінець буде казці чудній. Till the turf is laid over my head.

47 Ahava vesin’a [Love and hate], no. 6 of Shemonah shire Haineh [8 Heine songs], 1998.Shimon Cohen (b. 1937) is very well-known in Israel, where his works have become staples of the music scene. He received the 1998 'Eilam' and 'Eshkolot' Prize for life achievement.

Hebrew: Shlomo Tanny; English: Monica Peverill Turnbull8. Other settings of this poem: 25

Sie haben mich gequälet, Geärgert blau und blaß, Die einen mit ihrer Liebe, Die andern mit ihrem Haß.

Sie haben das Brot mir vergiftet, Sie gossen mir Gift ins Glas, Die einen mit ihrer Liebe, Die andern mit ihrem Haß.

 Doch sie, die mich am meisten Gequält, geärgert, betrübt, Die hat mich nie gehasset, Und hat mich nie geliebt.

They have tormented meEarly and late Some with their love, Some with their hate.

The wine I drank, The bread I ate, Some poisoned with loveSome poisoned with hate.

Yet she who has grieved me

Most of all, She never hated Nor loved me at all.

48 ‘Tis summer in thine eyes, no. 3 of Eleven small songs as unpretentious as the wild rose, 1901Carrie Jacobs-Bond (1862-1945), after numerous personal tragedies and in spite of constant ill health, started publishing her own songs in Chicago in the 1890s, earning more money from her music than any other woman of her time. English: composer. Other settings of this poem: 21

Es liegt der heiße Sommer 'Tis summer glorious summer Auf deinen Wängelein; Within thine eyes divine, Es liegt der Winter, der kalte, 'Tis winter, icy winter In deinem Herzchen klein. In that silent heart of thine,

Das wird sich bei dir ändern, 'Twill not be so forever, Du Vielgeliebte mein! Mine own true love thou art;Der Winter wird auf den Wangen, In thine eyes it may be winter, Der Sommer im Herzen sein. 'Twill be summer in thine heart;

49 Duett, from Aus der Matratzengruft: ein Liederspiel nach und mit Heinrich Heine, 1991.Günter Bialas (1907-1995) was a highly acclaimed German composer who mastered all

musical genres. The song-play from which this duet is taken surveys Heine’s life and death in exile, while posing uncomfortable questions about German reunification in the 1990s.

English: John Todhunter6. Other settings of this poem: 57

Wenn zwei voneinander scheiden, When comes the hour of parting,So gehen sie sich die Händ', Then tears stream from the eyes;Und fangen an zu weinen, Then hands grasp one anotherUnd seufzen ohne End'. With endless sobs and sighs. Wir haben nicht geweinet, We two wept not at parting;Wir seufzten nicht Weh und Ach! We made no sigh, no moan!Die Tränen und die Seufzer, Our sighs and tears, my darling,Die kamen hintennach. They came when all was done.

50 Al té [At tea], no. 3 of Tre poésie di Heine, op. 40, composed 1926.Mario Castelnuovo-Tedesco (1895-1968) was an extremely prolific Italian-Jewish composer

most famous for his film music. This song is from the first of his three brief Heine song cycles. Italian: unknown; English: Louis Untermeyer1. Other settings of this poem: 8

Sie saßen und tranken am Teetisch, Al tavol da tèse ne stavano ‘Twas teatime—the mildly estheticUnd sprachen von Liebe viel. E molto parlavan d’amor, Ensemble took 'Love' as their theme;Die Herren, die waren ästhetisch, “Estetici“ eran gli uomini, The mood of the guests was ‘poetic’;

Die Damen von zartem Gefühl. Le dame di tenero cuor. They gushed like a lyrical stream. "Die Liebe muß sein platonisch", “L’amore vuol esser platonico“ “True love must be always platonic,”Der dürre Hofrat sprach. Un secco giurista osservò, A hardened old councilor cried.Die Hofrätin lächelt ironisch, La moglie ha un sorisetto ironico With a laugh that was almost ironicUnd dennoch seufzet sie: "Ach!" E pure sospira un: “oh!” His wife looked upward and sighed. Der Domherr öffnet den Mund weit: La bocca spalanca il canonico: A canon spoke, “We must resist ‘em,"Die Liebe sei nicht zu roh, “L’amore non sia brutal! These pleasures that rouse and harass,Sie schadet sonst der Gesundheit." Ché allor rovina le fibre” Or else they will ruin the system.”Das Fräulein lispelt: "Wieso?" La vergin sospira: “Fa mal?” And a pretty young thing lisped, “Alas.” Die Gräfin spricht wehmütig: Ed una contessa dolente: The countess, drooping and yearning,"Die Liebe ist eine Passion!" “L’amore è vera passion!” Said, “Love must sweep on like the sea!”Und präsentieret gütig, E porge teneramente As, elegantly turning,Die Tasse dem Herren Baron. La tazza al vicino baron. She handed the baron his tea.

Am Tische war noch ein Plätzchen, Restava un cantuccio a quel tavolo, Still, it was not quite complete, dear—

Mein Liebchen, da hast du gefehlt. Tu sola mancavi o tesor; Your place stood empty above.Du hättest so hübsch, mein Avresti sì bene, o mia piccola, And oh, it would have been sweet, dear,

Schätzchen,Von deiner Liebe erzählt. Narrato anche tu del tuo amor. To hear you prattle of love.

51 Que están emponzoñadas mis canciones, no. 8 of Lieder: 10 canciones, composed 1920.Alfonso de Silva (1903-1937) was a Peruvian composer who was mainly self-taught. He had

no success in either Europe or Peru, became deeply discouraged and quickly succumbed to alcoholism. Spanish: E.F. Sanz; English: James Thomson7. Other settings of this poem: 34

Vergiftet sind meine Lieder; - ¡Que están emponzoñadas mis canciones...! My songs are full of poison—Wie könnt es anders sein? ¿Y no han de estarlo, di? How else, then, could it be?Du hast mir ja Gift gegossen Tú de veneno henchiste, de veneno, Thou hast poured a deadlier poisonIns blühende Leben hinein. Mi vida juvenil. O’er life’s fresh flowers for me.

Vergiftet sind meine Lieder; - ¡Que están emponzoñadas mis canciones...! My songs are full of poison—Wie könnt es anders sein? ¿Y no han de estarlo, di? How else, then, could it be?Ich trage im Herzen viel Schlangen, Dentro del corazón llevo serpientes, I carry snakes in my bosom, Und dich, Geliebte mein. y a más, te llevo a ti. And thee, my Belov’d One—thee.

  52 Treue [Constancy], composed between 1948 and 1975.Andre Asriel (b. 1922) is an Austrian-born German composer who, after spending World War II in Britain, became enamoured with left-wing musical ideals, and moved to East Germany,

where he wrote film scores, incidental music for the theater, a textbook on jazz, and numerous songs in popular styles. English: James Thomson7. Other settings of this poem: 3

Mir träumte wieder der alte Traum: The old dream comes again to me: Es war eine Nacht im Maie, With May-night stars above,Wir saßen unter dem Lindenbaum, We two sat under the linden treeUnd schwuren uns ewige Treue, And swore eternal Love. Das war ein Schwören und Schwören aufs neu', Again and again we plighted troth,

Ein Kichern, ein Kosen, ein Küssen; We chattered, and laughed, and kissed; Daß ich gedenk des Schwures sei, To make me well remember my oathHast du in die Hand mich gebissen. You gave me a bite in the wrist. O Liebchen mit den Äuglein klar! O darling with the eyes serene,O Liebchen schön und bissig! And with the teeth so white! Das Schwören in der Ordnung war, The vows were proper to the scene,Das Beißen war überflüssig. Superfluous was the bite.

53 Wenn ich ein Vöglein wär [If I were a bird], composed 2005.Detlef Cordes is a German singer and composer who sets to music poems by Heine, Rilke and

other Romantic writers. When approached about a score for this song, Detlef completely rewrote it. You can hear his original version at www.kulturumsonst.com, where he publishes his works. English: Charles G. Leland5. Other settings of this poem: 1

Ich steh auf des Berges Spitze, I stood on the mountain-summit, -Und werde sentimental. Grew sentimental there,"Wenn ich ein Vöglein wäre!" And sighed a thousand times over:Seufz ich vieltausendmal. ‘Would that a bird I were!’ Wenn ich eine Schwalbe wäre, Oh were I but a swallow, So flög ich zu dir, mein Kind, My Love, I’d fly to thee,Und baute mir mein Nestchen, And build above thy window Wo deine Fenster sind. A little nest for me.

Wenn ich eine Nachtigall wäre, And were I a nightingale, swiftly,So flög ich zu dir, mein Kind, My Love, I’d fly to thee,Und sänge dir nachts meine And sing my songs at thy window,Lieder Herab von der grünen Lind'. All night from the green lime-tree.

Wenn ich ein Gimpel* wäre, And if I were a booby,So flög ich gleich an dein Herz; I’d seek in thy heart repose;Du bist ja hold den Gimpeln, For thou art sweet on boobies,Und heilest Gimpelschmerz. And healest booby woes.

*In German "Gimpel" means both "fool" and "bullfinch," making the pun untranslatable without changing species.

54 Mein Wagen rollet langsam, composed 1921, unpublished.Julius Weismann (1879-1950), like his colleague Richard Strauss, whose music his own

resembles, supported and was supported by the Nazi regime, a dark stain on an otherwise illustrious career. His earlier songs have been undergoing a revival in recent years.

English: Theodore Martin11. Other settings of this poem: 4

Mein Wagen rollet langsam My carriage rumbles slowlyDurch lustiges Waldesgrün, Through woodlands green and gay,Durch blumige Täler, die zaubrisch Through flowery dells, that in sunlightIm Sonnenglanze blühn. Are blossoming, fresh with May. Ich sitze und sinne und träume, I sit, and I muse, and dream of

Und denk an die Liebste mein; The lady I long to win,Da grüßen drei Schattengestalten When at the carriage-windowKopfnickend zum Wagen herein. Three phantom shapes look in. Sie hüpfen und schneiden Gesichter, They caper and make grimaces,So spöttisch und doch so scheu, So elf-like, and yet so shy;Und quirlen wie Nebel zusammen, And swirl, as mists do, together,Und kichern und huschen vorbei. And grin, and go whisking by.

55 Invocation, published 1894.Helen Rhodes (1858-1936) was the daughter of an English sea captain and the French singer

Helen Guy. She became a singing teacher and pianist, accompanying many famous singers. After marrying an Englishman she settled in London, where under her nom de plume Guy d'Hardelot, wrote around 300 parlor songs notable for their easy melody and typical dramatic climax. French: Jules Barbier; English: John Todhunter6. Other settings of this poem: 147

Ich hab im Traum geweinet, Mes yeux pleuraient en rêve! I wept as I lay dreaming,Mir träumte, du lägest im Grab. Ton âme avait fui dans la mort! I dreamed thou wert laid in thy grave.Ich wachte auf, und die Träne Voici le jour qui se lève I woke, and my cheeks o’erstreaming,Floß noch von der Wange herab. Et mes larmes coulent encor! My tears flowed wave on wave. Ich hab im Traum geweinet, Mes yeux pleuraient en rêve! I wept as I lay sleeping,Mir träumt', du verließest mich. Ton cœur avait trahi sa foi! I dreamed thou wert false to me.Ich wachte auf, und ich weinte Rêve cruel! Il s’achève! I woke, and I was weeping, Noch lange bitterlich. Je pleure encor sur toi! And long wept bitterly. Ich hab im Traum geweinet, Mes yeux pleuraient en rêve! I wept as I lay dreaming,Mir träumte, du bliebest mir gut. Le ciel me rendait mes amours! I dreamed thou wert mine again.Ich wachte auf, und noch immer Le rêve fuit, et sans trève I woke, and my tears were streaming,Strömt meine Tränenflut. Je pleure, hélas! toujours! And ever they stream in vain.

56 Allnächtlich im Traume, no. 4 of Sechs Gesänge, op. 86, published 1850.Felix Mendelssohn-Bartholdy (1809-1847), one of the most preocious and accomplished of

Romantic composers, was well acquainted with Heine before the poet moved to Paris in 1831. The poet was a frequent visitor at the Mendelssohn household, and both Felix and his sister Fanny set several of his texts to music. At one time Heine also had his eye on another of Mendelssohn's sisters. English: Charles G. Leland5. Other settings of this poem: 28

Allnächtlich im Traume seh ich dich, Love, whom in dreams I nightly greet,Und sehe dich freundlich grüßen, Whose answering smile I see;Und lautaufweinend stürz ich mich Weeping I fall at thy dear feet,Zu deinen süßen Füßen. And tell my woe to thee. Du siehst mich an wehmütiglich, Thou look’st on me with sad surmise,Und schüttelst das Blonde Köpfchen; Thy fair head gently shaking;Aus deinen Augen schleichen sich The tear-drop pearls within thine eyesDie Perlentränentröpfchen. Are gathering slow, and breaking. Du sagst mir heimlich ein leises Wort, Thou giv’st a spray of cypress-tree,Und gibst mir den Strauß von Zypressen Thou whisperest one word lowly.Ich wache auf, und der Strauß ist fort, I wake, and the cypress no more I see,Und das Wort hab ich vergessen. And the word is forgotten wholly.

57 Das ist ein Brausen und Heulen, composed between 1903 and 1911, first published 1986.Charles Tomlinson Griffes (1884-1920) was one of the most gifted and independent-minded

American composers of the early 20th century. During and after his studies in Berlin he wrote a number of very effective German lieder, including eight Heine settings, but he quickly abandoned German Romanticism for French impressionism for the remainder of his short but brilliant career. English: Edgar Alfred Bowring2. Other settings of this poem: 22

Das ist ein Brausen und Heulen, ‘Tis autumn, the night’s dark and gloomy,Herbstnacht und Regen und Wind; With rain and tempest above;Wo mag wohl jetzo weilen Where tarries,—O tell it unto me,—Mein armes, banges Kind? My poor and sorrowing love? Ich seh sie am Fenster lehnen By the window I see her reclining,Im einsamen Kämmerlein; In her chamber lonely and drear,Das Auge gefüllt mit Tränen, And out in the night, sadly pining,Starrt sie in die Nacht hinein. She looks with many a tear.

Woman in the window (1841), Vasily Tropinin58 Le Cavalier [The horseman], no. 5 of Chansons à la bien-aimée, published 190-?.

Marcel Bertrand (1883-1945) wrote in a variety of genres, but seems to have concentrated on theatrical works. A number of his operas were

produced in Paris in the first half of the twentieth century. French: unknown; English: Louis Untermeyer1. Other settings of this poem: 13

Der Herbstwind rüttelt die Bäume, Le vent d'automne secoue les arbres, Wild Autumn shakes the branches,Die Nacht ist feucht und kalt; La nuit est humide et froide, The night is damp and cold;Gehüllt im grauen Mantel, Enveloppé d’un manteau gris, I ride through a lonely forest,Reite ich einsam im Wald. Je traverse à cheval le bois. Wrapped in my cloak’s gray fold. Und wie ich reite, so reiten Et tandis que je chevauche, And, as I ride, my fanciesMir die Gedanken voraus; Mes pensées gallopent devant moi; Fly faster along the road;Sie tragen mich leicht und luftig Elles m'emportent léger joyeux They bear me, light and eager,Nach meiner Liebsten Haus. À la maison de ma bien aimée. To her beloved abode. Die Hunde bellen, die Diener Les chiens aboient, les valets The dogs awake; the torchesErscheinen mit Kerzengeflirr; Paraissent avec des flambeaux; Flare, and the whole house stirs;Die Wendeltreppe stürm ich Je gravis l'escalier de marbre en faisant I storm the spiral staircaseHinauf mit Sporengeklirr. Retentir mes éperons sonores. And mount, with a clatter of spurs.

Im leuchtenden Teppichgemache, Dans une chambre brillamment éclairée Lo, in her own soft chamber,

Da ist es so duftig und warm, Remplie de roses et de lilas, au milieu Warm with its fragrant charms,D’une atmosphère tiède et parfumèe

Da harret meiner die Holde - Ma bien aimée m’attend. My love awaits me, smiling—Ich fliege in ihren Arm. Je me précipite dans ses bras! I fly to her open arms. Es säuselt der Wind in den Blättern, Le vent murmure dans les feuilles, I hear the oak-tree speaking;Es spricht der Eichenbaum: Le chêne chuchote dans ses rameux: The wind, in the branches, screams:"Was willst du, törichter Reiter, "Que veux-tu cavalier fou "What wouldst thou, wild riderMit deinem törichten Traum?" Avec ton rêves insensé!" Thou, and thy wilder dreams!”

59 Es fällt ein Stern herunter, no. 3 of Vier Lieder nach Texten von H. Heine, op. 4, 1889.Hans Pfitzner (1869-1949) was an eminent German conductor and composer, who, like his

colleague Richard Strauss, straddled the gap between traditionalism and ultra-modernism.

English: Theodore Martin11. Other settings of this poem: 70

Es fällt ein Stern herunter A star is falling, falling,Aus seiner funkelnden Höh'! From the radiant heights above;Das ist der Stern der Liebe, That star, I see it falling,Den ich dort fallen seh. It is the star of love. Es fallen vom Apfelbaume Blossoms and leaves without numberDer Blüten und Blätter viel! Fall from the apple-tree;Es kommen die neckenden Lüfte The tricksy breezes seize them,Und treiben damit ihr Spiel. And toy with them fast and free. Es singt der Schwan im Weiher, The swan on the mere is singing,Und rudert auf und ab, And to and fro he steers;Und immer leiser singend, Faint grows his song and fainter,—Taucht er ins Flutengrab. He sinks and he disappears. Es ist so still und dunkel! And now ‘tis so still and dreary;Verweht ist Blatt und Blüt', Nor leaves nor blossoms remain,Der Stern ist knisternd zerstoben, The star into atoms is shivered,Verklungen das Schwanenlied. And hushed is the swan’s sad strain.

60 The dream god, composed 1956.Alfred Heller (b. 1931) Born and raised in New York City, Alfred Heller is a composer,

conductor, pianist, and was a protégé of Heitor Villa-Lobos. He also runs Alkamar Music, a publishing company. The dream god was written in 1956 and dedicated to Metropolitan Opera tenor Thomas Hayward. It receives its first performance today.

English: John Todhunter6. Other settings of this poem: 0

Der Traumgott bracht mich in ein Riesenschloß, The dream god led me to a castle grim,Wo schwüler Zauberduft und Lichterschimmer, Full of strange lights, strange scents, and stranger

glamor;Und bunte Menschenwoge sich ergoß And through great labyrinths there seemed to swimDurch labyrinthisch vielverschlungne Zimmer. Wild multitudes which nothing could enamor.Die Ausgangspforte sucht der bleiche Troß, Onward they swept through halls and portals dim,Mit Händeringen und mit Angstgewimmer. Wringing pale hands with an incessant clamorJungfraun und Ritter ragen aus der Menge, Maidens and knights I saw among the throng,Ich selbst bin fortgezogen im Gedränge. And with the torrent I was borne along. Doch plötzlich steh ich ganz allein, und seh, When suddenly I am alone, and lo!

Und staun, wie schnell die Menge konnt I cannot find a single face whatever. verschwinden, Und wandre fort allein, und eil, und geh Through frowning aisles and winding rooms I go;Durch die Gemächer, die sich seltsam winden. Fiercely impelled by one intense endeavor.Mein Fuß wird Blei, im Herzen Angst und Weh, But oh, my feet are lead, my footsteps slowVerzweifl' ich fast, den Ausgang je zu finden. To find the gate and leave this place forever!Da komm ich endlich an das letzte Tor; At last I gain the portals with a prayer,Ich will hinaus - o Gott, wer steht davor! Fling wide the door and leap - oh God, who is there! Es war die Liebste, die am Tore stand, My love, beside that door I saw her stand,Schmerz um die Lippen, Sorge auf der Stirne. Pain on her lips and sorrow’s crown above her.Ich soll zurückgehn, winkt sie mit der Hand; Then back she turned me with a waving hand,Ich weiß nicht, ob sie warne oder zürne. Threatening or warning I could not discover.Doch aus den Augen brich' ein süßer Brand, Yet from her eyes sprang, like a sweet command,Der mir durchzuckt das Herz und das Gehirne. A fire that made me once again her lover.Wie sie mich ansah, streng und wunderlich, Tender and strong, her very glances spokeUnd doch so liebevoll, erwachte ich. The flaming speech of love, and I awoke.

61 Полночъ [Polnoch’] [Midnight], no. 2 of Мелодекламаціи [Melodeklamatsii], op. 32, 1919.Vladimir Ivanovich Rebikov (1866-1920) was one of the most audacious and experimentally-

inclined composers of his day. After composing in Romantic style for many years, in 1900 he wrote a manifesto on "musical psychography", began to experiment with less tonal harmonic vocabularies, and invented new forms, including "melomimics," "meloplastics," and

"rhythmodeclamations," of which this work is an example. He is best known for his bizarre Expressionist chamber operas labelled "musico-psychological dramas."Russian: unknown; English: Theodore Martin11. Other settings of this poem: 13.

Die Mitternacht war kalt und stumm; Полночъ нeмая была холодна, The midnight was cold, and still, and sad,

Ich irrte klagend im Wald herum. Громко вълeсу мои вонли I roamed through the wood, and my эвучали. heart was mad;

Ich habe die Bäum' aus dem Schlaf Темныя сосны очнулись отъсна, I scared from slumber tree after gerüttelt; tree,

Sie haben mitleidig die Köpfe geschüttelt. Н съсожаленьемъ главами And in pity they shook their headsкачали. at me.

62 Ceux qui parmi les morts d'amour, no. 3, Quatre poèmes d'après l'Intermezzo de Heine, 1899Joseph Guy Ropartz (1864-1955) was a prominent French composer and conductor. He

forged a strongly personal style out of elements of German romanticism and French impressionism, while avoiding both ultra-modernism and academicism.

French: composer/P.R. Hirsch; English: Christopher Goldsack10. Other settings of this poem: 37

Am Kreuzweg wird begraben, Ceux qui, parmi les morts d'amour, Those, among those who have died of love,Wer selber sich brachte um; Ont péri par le suicide Who have died by suicide

Sont enterrés au carrefour Are buried at the cross-roads.Là s'épanouit et réside There resides and blossoms

Dort wächst eine blaue Blume, Une fleur bleue étrange fleur A blue flower, a strange flowerAussi rare que sa couleur As unusual as is its colour.Aucun nom ne l'a désignée No name has ever been given to it.

Die Armesünderblum'. C'est la fleur de l'âme damnée! It is the flower of the damned soul!

Am Kreuzweg stand ich und Pendant la nuit au carrefour At night at the cross-roads seufzte;

Die Nacht war kalt und stumm. Je soupire dans le silence I sigh through the silence.Im Mondschein bewegte sich Au clair de lune se balance In the moonlight the flower langsamDie Armesünderblum'. La fleur des damnés de l'amour! Of those damned by love sways!

63 Bárhol vagyok, no. 9 of Collezione delle canzoni.László Makray (1854-1915) was a Hungarian songwriter who composed settings of Goethe,

Heine, Musset, Petrarch, Pushkin, and Hungarian authors. Some of his songs became quite popular. Hungarian: Barabás Ábel; English: Charles G. Leland5. Other settings of this poem: 25

Wo ich bin, mich rings umdunkelt Bárhol vagyok mély sötétség, Darkness dead and dense broods on me;Finsternis, so dumpf und dicht, Lebeg körül engemet, Everywhere the darkness lies,Seit mir nicht mehr leuchtend A mióta nem tekint rám Since there beams no more upon me

funkelt, Liebste, deiner Augen Licht. Büvös bájos szép sze med. Light, my dearest, from thine eyes. Mir erloschen ist der süßen Kialudt már mindörökre Those sweet love-stars that shone o’er meLiebessterne goldne Pracht, Mámor és szerelmi kéj, Now have quenched their glorious light,Abgrund gähnt zu meinen Füßen - Mély örvény tátong elötem, Earth is gaping wide before me,Nimm mich auf, uralte Nacht! Végy oh végy magadba örök éj! Hide me, oh primeval night!

64 Nacht lag auf meinen Augen, no. 1 of De slaapliederen = Les berceuses, composed 1986-87.Hans van Zijp (b. 1957) is a Dutch composer who has written many song cycles as well as

music-theater and chamber works. English: Edgar A. Bowring2. Other settings of this poem: 5

Nacht lag auf meinen Augen, Night lay upon mine eyelids,Blei lag auf meinem Mund, Upon my mouth lay lead;Mit starrem Hirn und Herzen I in my grave was lying,Lag ich im Grabesgrund. With frozen heart and head. Wie lang, kann ich nicht sagen, How long it was I know notDaß ich geschlafen hab; That I in slumber lay;Ich wachte auf und hörte, I woke and heard a knockingWie's pochte an mein Grab. Upon my grave one day.

"Willst du nicht aufstehn, Heinrich? “Wilt thou not rise up, Henry?Der ew'ge Tag bricht an, “The Judgment Day is this,

Die Toten sind erstanden, “The dead have all arisen,Die ew'ge Lust begann." “To taste of endless bliss.”

Mein Lieb, ich kann nicht aufstehn, I cannot rise, my darling,Bin ja noch immer blind; For I have lost my sight;Durch Weinen meine Augen Mine eyes, through very weeping,Gänzlich erloschen sind. Are veil’d in darkest night.  "Ich will dir küssen, Heinrich, “I’ll kiss away the darkness,Vom Auge fort die Nacht; “My Henry, from thine eyes;Die Engel sollst du schauen, “The angels shalt thou see then,Und auch des Himmels Pracht." “The glory of the skies.” Mein Lieb, ich kann nicht aufstehn, I cannot rise, my darling,Noch blutet's immerfort, The wound is bleeding yet,Wo du ins Herz mich stachest Made by thee in my bosomMit einem spitz'gen Wort. With one sharp word and threat.

"Ganz leise leg ich, Heinrich, “My hand all gently, Henry,Dir meine Hand aufs Herz; “I’ll lay upon thy heart;Dann wird es nicht mehr bluten, “It then will bleed no longer,Geheilt ist all sein Schmerz." “And heal’d will be the smart.” Mein Lieb, ich kann nicht aufstehn, I cannot rise, my darling, Es blutet auch mein Haupt; My head still bleeds amain!Hab ja hineingeschossen, ‘Twas there the bullet enter’d,Als du mir wurdest geraubt. When thou wert from me ta’en. "Mit meinen Locken, Heinrich, “With my long tresses, Henry, Stopf ich des Hauptes Wund', “I’ll staunch the bleeding wound, Und dräng zurück den Blutstrom “And drive the blood-stream backwards,Und mache dein Haupt gesund." “And make thy head thus sound.”

Es bat so sanft, so lieblich, So gently, sweetly pray’d she, Ich konnt nicht widerstehn; I could not spurn her prayer; Ich wollte mich erheben I sought to rise and hastenUnd zu der Liebsten gehn. To join my mistress fair. Da brachen auf die Wunden, Then all my wounds ‘gan bleeding,Da stürzt' mit wilder Macht Then, wildly rushing, broke Aus Kopf und Brust der Blutstrom, From head and breast the bloodstream,Und sieh! - ich bin erwacht. And lo ! — from sleep I woke.64 Die alten, bösen Lieder, no. 16 of Dichterliebe, op. 48, composed 1840.

Robert Schumann (1810-1856) is the acknowledged master of German Romantic lieder. Heine’s poetry served as a major inspiration during his “song year” of 1840, providing the texts to nearly 50 songs. It seems fitting to conclude with the final song and incomparable postlude of Dichterliebe,

the greatest of all Heine cycles. English: Louis Untermeyer1. Other settings of this poem: 7

Die alten, bösen Lieder, The songs, so old and bitter,Die Träume schlimm und arg, The dreams so wild and drear,Die laßt uns jetzt begraben, Let’s bury them together—Holt einen großen Sarg. What ho! A coffin here! Hinein leg ich gar manches, I have so much to buryDoch sag ich noch nicht was; It never will be done,Der Sarg muß sein noch größer Unless the coffin’s largerWie 's Heidelberger Faß. Than Heidelberg’s great Tun.

 Und holt eine Totenbahre, And bring a bier to match itVon Brettern fest und dick; Of stoutest oaks and pines;Auch muß sie sein noch länger, It must be even longerAls wie zu Mainz die Brück'. Than the long bridge at Mainz. Und holt mir auch zwölf Riesen, And also bring twelve giantsDie müssen noch stärker sein Of mightier brawn and boneAls wie der heil'ge Christoph Than Christopher, the sainted,Im Dom zu Köln am Rhein. Whose shrine is in Cologne. Die sollen den Sarg forttragen And in the great sea sink itUnd senken ins Meer hinab, Beneath the proudest wave;Denn solchem großen Sarge For such a mighty coffinGebührt ein großes Grab. Should have a mighty grave Wißt ihr, warum der Sarg wohl You know what makes my coffinSo groß und schwer mag sein? So great, so hard to bear?Ich legt auch meine Liebe It holds my love within it,Und meinen Schmerz hinein. And my too heavy care.

Peace: Burial at Sea (1842), J.M.W. TurnerSources of English translations

1. Louis Untermeyer, Poems of Heinrich Heine (New York, 1917)

2. Edgar Alfred Bowring, The poems of Heine complete (London, 1861)

3. Franklin Johnson, A romance in song, Heine’s lyrical interlude (Boston, 1884)

4. Ernest Rhys, Prose and poetry, Heinrich Heine (London, 1934)

5. Charles G. Leland, The works of Heinrich Heine (New York, 1900)

6. John Todhunter, Heine's Book of songs (Oxford,1907)

7. James Thomson, The poetical works (London, 1895)

8. Monica Peverill Turnbull, A short day’s work (London, 1902)

9. Hal Draper, The complete poems of Heinrich Heine : a modern English translation (Cambridge, 1982)

10. http://welcome.to/frenchsong

11. Theodore Martin, Poems and ballads by Heinrich Heine, 3rd ed. (Edinburgh, 1894)

Many thanks to:

The pianists who read through and recorded over 400 settings of Lyrisches Intermezzo poems with me during the past six months: Gregory Hayes, Elise Jackendoff, Monica Jakuc, Brenda Moore Miller, Clifton J. Noble, Jr., Nancy Rice, and Gretchen Saathoff.

The composers who wrote, revised and/or computer-typeset their songs especially for this performance: Nancy Rice, Detlef Cordes, and Alfred Heller.

My wife Suzan Smith for helping me select the 33 songs on this program from among nearly 300 possibilities.

Brit Albritton for his help with publicity for my entire Heine concert series.

Jack Tozzi for recording both Lyrical Intermezzo concerts.

The National Yiddish Book Center for hosting both Lyrical Intermezzo concerts, especially Nora Gerard, Meghan Fahey and Ashley Keady.

The Unitarian Society of Northampton and Florence and the Northampton Community Music Center for providing rehearsal space.

Those who helped me with the pronunciation of various languages: Maryana Kolinchak (Ukrainian), Kayla Werlin (Hebrew), Robert Rothstein (Russian), Klara Moricz (Hungarian).

Aaron Bousel for piano tuning.