P R O G R A M

Auf dem Wasser zu singen, D774

Geheimes, D719

Du bist die Ruh, D776

Lachen und Weinen, D777

Rastlose Liebe, D138

FRANZ SCHUBERT (b. Vienna, Austria 1797 – d. Vienna, Austria 1828)

Rückert–Lieder: 1. Ich atmet’ einen linden Duft

2. Liebst du um Schönheit

3. Blicke mir nicht in die Lieder

4. Um Mitternacht

5. Ich bin der Welt abhanden

gekommen

GUSTAV MAHLER (b. Kaliště, Bohemia (now Czech Republic), 1860 – d. Vienna, 1911)

from Das Hollywooder Liederbuch

(The Hollywood Songbook):

3. An den kleinen Radioapparat

14. Der Kirschdieb

44. Vom Sprengen des Gartens

41. An eine Stadt

45. Die Heimkehr

HANNS EISLER (b. Leipzig, Saxony (Germany), 1898 – d. East Berlin, GDR 1962)

From Liederkreis, Op.39: 1. In der Fremde

2. Intermezzo

3. Waldesgespräch

4. Mondnacht

5. Im Walde

ROBERT SCHUMANN (b. Zwickau, Saxony (Germany), 1810 – d. Bonn, Germany, 1856)

Youkali Je ne t’aime pas

Speak Low

Alabama-Song

KURT WEILL (b. Dessau, Germany, 1900 – d. New York City, USA, 1950)

Interval: 20-minutes

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A B O U TT H E M U S I C

In the late 18th century, to purify the dialect of the tribe, poets Friedrich Schiller and Johann Wolfgang von Goethe (1749-1832) had set about classicising German verse to raise it above both the current artificial, rococo style and, by contrast, the stolid pieties of popular religious works. In 1770 Goethe had come into contact with the scholar Johann Gottfried Herder, whose extensive writings included a reappraisal of folk poetry, offering Goethe a model of clear diction, simple imagery and flexible rhythm. The renewal of interest in folk poetry also had an effect on the German Romantics, (a generation that Goethe prefigured and then outlived), who were inspired by its recurrent themes of life and love, nature, the medieval world, the supernatural and death.

The stage was therefore set for the appearance of the German ‘art’ song or Lied in the works of North German composers like Johann Rudolph Zumsteeg and Carl Friedrich Zelter. Franz Schubert acknowledged his debt to these masters, but took the Lied to an altogether different plane.

Schubert set poetry to which he could respond in music, regardless of its literary ‘quality’, so the poets he chose range from great figures like Goethe to some of the more disreputable members of his social set in Vienna. Count Leopold zu Stolberg -Stolberg (1750-1819) was a Danish-born diplomat and minor poet. He wrote ‘Auf dem Wasser zu singen’ (To be sung on the water) for his second wife in 1782; in it, a boat drifts in the fading evening light, causing the poet to reflect on his own transience. Schubert responds with rippling accompaniment and a gentle move from minor to major tonality.

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Goethe’s poetry is of a different order from Stolberg’s. ‘Geheimes’ (Secret) comes from his collection known as the West-Östliche Divan, published in 1819, in which he ventriloquises the great Persian Sufi poet Hafiz (1320-1389). Schubert makes no attempt to be exotic; a simple trochaic rhythm supports a simple vocal line that nonetheless lingers sensuously on unexpected high notes.

Friedrich Rückert (1788-1866) experienced the upheavals of Europe during the Napoleonic wars and held the position of professor of oriental languages at various German universities before retiring to the country to concentrate on poetry.

His vision of Peace, or someone who embodies peace, inspired one of Schubert’s greatest songs, ‘Du bist die Ruh’, with its constantly transforming harmony that bespeaks quiet ecstasy. The emotional extremes of ‘Lachen und Weinen’ are hardly hinted at in Schubert’s essentially chirpy setting, beyond a shadow of minor harmony

Franz Schubert (1797-1828)

Although Schubert died before his 32nd birthday, he composed over 600 songs, seven complete symphonies, sacred music, operas and a large body of chamber works. He perfected the lieder (German art song) genre, setting words with extraordinary sensitivity to their meaning, and poetically apt musical imagery. Appreciation for his work grew after his death and influenced the next generations of Romantic composers including Schumann, Brahms, and Liszt.

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Gustav Mahler (1860-1911)

Gustav Mahler was a Bohemian-born Austrian composer and conductor. He was best known during his own lifetime as one of the leading orchestral and operatic conductors of the day. He has since come to be acknowledged as among the most important late-Romantic composers, although his music was never completely accepted by the musical establishment of Vienna while he was still alive. Mahler composed primarily symphonies and songs; however, his approach to the genre often blurred the lines between orchestral Lied, symphony, and symphonic poem.

at the mention of weeping. In his setting of Goethe’s 1776 ‘Rastlose Liebe’, by contrast, Schubert provides a stormy accompaniment to depict the stormy weather that the poet fights through in his ambivalent attitude to love.

Mahler started setting poetry by Rückert in 1901, at the same time as he began work on his Fifth Symphony, and ultimately produced two sets of songs to Rückert’s verse, the Kindertotenlieder (‘Songs on the death of children’) and a further group of five Rückert poems. These do not constitute a song-cycle, in that there is no overarching narrative as in Schubert’s Winterreise, or central theme as in the Kindertotenlieder. The songs can, therefore, be sung in whatever order the soloist decides. While the Rückert-Lieder make no claims to being a cycle, the five songs each examine some aspect of three things: heaven, love and art.

In ‘Ich atmet’ einen linden Duft’ (I breathed the scent of linden); the poet describes entering a room where a sprig from a linden (or lime-tree), picked by the beloved, is filling the house with the fragrance of love. The delicacy of the accompaniment and the seemingly rhapsodic form of the song beautifully represent the subtlety of the scent and the fragility of the emotion.

In many respects the simplest and most conventional. ‘Liebst du um Schönheit’

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(If you love for beauty) offers a set of short stanzas, matched by Mahler’s strophic musical form, in which the poet admits he can’t offer beauty or treasure to the beloved but will love for love’s sake, faithfully and for ever.

The first of the songs to be composed, ‘Blicke mir nicht in die Lieder’ (Do not look into my songs) dramatises the conviction of many artists that a poem or song should not be seen until it is finished, and that the work itself should happen in secrecy, as bees make honey in the privacy of their hive. Mahler, of course, can’t resist the gentle evocation of bees in the accompaniment.

‘Um Mitternacht’ (At Midnight) dramatises the soul’s experience of existential despair in imagery of an empty universe and eternally suffering humanity. The climax of the song (and its power is such that it is frequently placed last in performance) arrives as the poet commends all things into the hand of God.

Arguably Mahler’s greatest single song, ‘Ich bin der Welt abhanden gekommen’ (I am lost to the world) is, like ‘Blicke mir nicht in die Lieder’, about the artist’s necessary withdrawal from the world in order to make art. Mahler, of course, was one of the busiest and most visible musicians of his time, making time to compose only during his precious summer vacations. But this song makes clear how single-minded

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Hanns Eisler (1898-1962)

Hanns Eisler is best known as one of Berthold Brecht’s collaborators (and an associate of Kurt Weill), and as the composer of the national anthem of the German Democratic Republic (1949-1990). In Hollywood, Eisler wrote over 40 film scores, two of which – Hangmen Also Die! And None but the Lonely Heart – were nominated for Oscars. He co-authored Composing for the Films with theorist Theodore Adorno. Folksinger Woodie Guthrie protested Eisler’s deportation with the song, ‘Eisler on the Go’

an artist must be; the reward for creation is to live alone ‘in my heaven...my love... my song’. The melody of this song is used in heavily modified form in the famous adagietto of the Fifth Symphony, and its plangent opening pages look forward to the ecstatic dissolution of Das Lied von der Erde.

Hanns Eisler, like Mahler, knew about existential despair: born in Leipzig, he grew up in Vienna where he was one of Schoenberg’s first pupils, but fell out with his teacher when he embraced Marxism and decided that music must be practical and accessible. As a communist, Eisler’s politics and music were deemed suspect by the rising Nazi movement in Germany, where he had moved in 1925. His music was banned in 1933, and he soon began a life of exile, living in various cities in North America, Britain and France before settling, like so many of the European intelligentsia, in Hollywood in 1942. With the rise of anti- communist witch-hunts, Eisler was deported from the USA in 1948, and after brief periods in Prague and Vienna settled in East Berlin where he lived and worked for the 12 years until his death.

Eisler began collaborating with the great Marxist poet and dramatist, Bertolt Brecht (1898-1956) in the 1930s, and, in the 1940s in Hollywood, set a large number of Brecht’s poems in The Hollywood Songbook.

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Many of these, not surprisingly, are directly about the experience of exile. ‘An den kleinen Radioapparat’ (To the Little Radio) is a whispered and ambivalent address to the small radio through which the exile’s enemies still speak to him. Knowing the worst is better than knowing nothing.

The accompaniment of ‘Der Kirschdieb’ (The Cherry Thief ) is highly onomatopoeic , making us wonder if the thief is a young man or, in fact, a bird. Still in the garden, ‘Vom Sprengen des Gartens’ (Sprinkling the Garden) is a moral exhortation to nourish and feed even the exhausted shrubs and weeds and the naked earth itself. While The Hollywood Songbook consists largely of Brecht settings, Eisler also uses text by canonical German poets like Goethe, Eichendorff and one of the greatest Romantics, Friedrich Hölderlin (1770-1843). ‘An eine Stadt’ (Ode to a City) sets the poet’s loving paean to the university town of Heidelberg; Eisler’s music is full of yearning for a lost Germany. In setting Brecht’s poem ‘Rückkehr’ (Return) as ‘Die Heimkehr’ (Homecoming), Eisler makes clear just what has been lost: the ‘native town’ has been laid waste by bombers. The music is bleak and without hope.

Schumann’s ‘year of song’, 1840, produced several masterpieces. Unlike Schubert, Schumann showed a preference for canonical

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poets such as Goethe, Byron and Rückert. That year he composed two song-cycles to poetry by Heinrich Heine: the self-titled Liederkreis (Song Cycle), Op.24, and, written in a week in May that year, the Dichterliebe (A Poet’s Love). Later that year he composed his second Liederkreis, this time to poetry by the Silesian nobleman Joseph von Eichendorff (1788-1857). Eichendorff’s poetry was a staple of Romantic Lieder, also set by 20th century composers like Eisler and Richard Strauss.

The Eichendorff Liederkreis, Op.39, is not a cycle as such, and Eichendorff’s poems, though Schumann knew them from a ‘collected works’, were in many cases lyrics that first appeared in various novels. The poem here entitled ‘In der Fremde’ (In foreign lands), for instance, occurs in the novel Viel Lärmen zu nichts (Much Ado about Nothing) where it is sung by a young girl, to guitar accompaniment, in a lonely castle during a storm, just before her friends arrive to cheer her up.

In Schumann’s setting, this gentle lament for lost home and imminent dissolution sets the scene for songs that often explore love and loss in the quintessential Romantic setting of the forest. In ‘Intermezzo’, and again in ‘Mondnacht’ (Moonlit Night) the poet’s yearning for the absent lover is expressed in the imagery of a bird flying home. The forest is a dangerous place, though: in the deceptively

Robert Schumann (1810-1856)

A key figure of the Romantic movement, Schumann was an innovative composer and incisive cultural critic. After a hand injury hindered his chances of a career as a concert pianist he turned to composition, almost exclusively for the piano to start, although his legacy includes chamber music, lieder and symphonies that are cornerstones of the repertoire. Schumann’s idiosyncratic music is populated by a cast of recurring characters and fantastical extra-musical themes, and evoke extreme states of mind from melancholia, to ecstasy and ‘madness’. Schumann perhaps suffered from bipolar disorder, contrasting unproductive depressive episodes with times of fevered creation, such as the ‘Year of Song’ (1840) when he composed over 140 songs including Liederkreis. Schumann attempted suicide in 1854 by jumping into the Rhine, he entered a sanatorium in Bonn and died two years later.

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Kurt Weill (1900-1950)

Best known for his acidulous satirical stage works created in collaboration with poet/playwright Berthold Brecht, Kurt Weill is a key figure in the modernist interwar period in German art. Weill studied composition with Ferruccio Busoni, and composed a number of concert works, sadly rarely performed these days. He joined the Novembergruppe, a collective of artists including composers Hanns Eisler and Stefan Wolpe, and in 1924 met singer Lotte Lenya, his muse and wife (twice – they divorced and remarried). Lenya’s distinctive voice and stage presence became a defining feature of the music theatre pieces, the most famous of which is Die Dreigroschenoper (The Threepenny Opera), source of the evergreen jazz standard, ‘Mack the Knife’ (‘Die Moritat von Mackie Messer’). Weill fled Germany in 1933 – as a prominent Jewish figure and leftist he was subject to Nazi persecution. He moved to New York in 1935 and continued working, this time on Broadway, winning the inaugural Best Original Score Tony for Street Scene.

cheerful ‘Waldesgespräch’ (Conversation in a Forest) the poet meets the mythical Lorelei who will entice him to his death. In ‘Im Walde’ (In the Forest), the penultimate song of the Liederkreis, the poet sees a lively wedding party cantering (as Schumann’s music tells us) through a mountain forest and hears birds singing, but knows that behind what he apprehends is cosmic emptiness.

The composer most commonly associated with Bertolt Brecht these days is Kurt Weill. In fact, their collaboration in Germany took place over a few short years between 1927 and 1930, though they worked together on the Seven Deadly Sins in 1933, and Weill set individual poems in later years. Like Eisler, Weill’s leftist politics and Jewish heritage led to his exile from Germany in 1933. After a year or so in Paris he travelled to the USA to work with the legendary Max Reinhardt, and spent the rest of his life there.

In 1934 Weill wrote incidental music and songs for Marie Galante by Jacques Deval about a woman, kidnapped in Panama, who is forced into prostitution and is caught up in espionage. Part of Weill’s incidental music included a ‘Tango habanera’ to which Roger Fernay (1905-1983) added the lyrics about the magic island Youkali, ‘the land of our desires’. A recent revival of Marie Galante in New York included several inserted songs, including ‘Je ne t’aime pas’ (I do not love you), Weill’s Latin-cabaret

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setting of a poem by Maurice Magre (1877-1941) from 1934, in which a woman lies that she does not love the man to whom she is singing.

After eight years in New York, Weill collaborated with poet Ogden Nash (1902-1971) and writer S J Perelman on One Touch of Venus, a comic take on the Pygmalion myth in which a statue of the goddess Venus is brought to life and falls for a New York barber, Rodney. The show launched Mary Martin, as Venus, on her Broadway career. Now a standard, ‘Speak Low’ plays with a line from Shakespeare’s Much Ado about Nothing, and expresses the fear of life passing too quickly.

Weill’s breakthrough work, though was his major collaboration with Brecht between 1927 and 1929, Aufstieg und Fall der Stadt Mahagonny a satirical fable about the founding of a ‘city of gold’ by three reprobates. The ‘Alabama Song’ is sung in Act I, Scene ii by Jenny Smith, ‘a whore’, and six young women yearning for whisky and love. Perhaps, then, Brecht and Weill’s knockabout work embodies something like those unfulfilled longings that suffuse art song from Schubert until now.

© Gordon Kerry 2016 Composer and author Gordon Kerry lives on a hill in northeastern Victoria.

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A B O U T T H E A R T I S T S

‘ Charming, mischievous… changing between the long vocal lines of bel canto and simple folk-style virtuosity.’

B R A U N S C H W E I G E R Z E I T U N G

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Christiane OelzeSoprano

Christiane Oelze´s wonderful soprano voice and sophisticated technique guarantees her success with both audience and critics in roles as different as the Countess in Mozartʼs The Marriage of Figaro and Mélisande from Debussyʼs Pelléas et Mélisande. Her repertoire includes more leading parts by Mozart, Strauss, Smetana, Pfitzner, Britten and Debussy. In concert Christiane Oelze performs in the important concert halls and festivals worldwide with today´s most eminent conductors including Claudio Abbado, Pierre Boulez, Herbert Blomstedt, Riccardo Chailly, Christoph von Dohnányi, Sir John Eliot Gardiner, Michael Gielen, Carlo Maria Giulini, Nikolaus Harnoncourt, Christopher Hogwood, Marek Janowski, Fabio Luisi, Kurt Masur, Kent Nagano, Sir Simon Rattle and Christoph Eschenbach. There are not many prestigious orchestras who have not invited her regularly to perform in concert.

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Orchestral concert appearances include the inauguration of the new Lugano concert hall with Beethoven’s Ninth Symphony conducted by Vladimir Ashkenazy and the Orchestra della Svizzera Italiana in 2015, and the Mahler Chamber Orchestra conducted by Daniele Gatti. In addition to this Melbourne Recital Centre performance with pianist Eric Schneider, Oelze performs in Beethoven’s Ninth Symphony with the Sydney Symphony Orchestra and conductor Vladimir Ashkenazy.

In parallel with her opera and concert activities, she also constructed a varied and sophisticated repertoire of songs with her associate artists Eric Schneider, Pierre-Laurent Aimard (Mozartwoche Salzburg, Aldeburgh Festival), Julius Drake, Rudolf Jansen, Graham Johnson, Malcolm Martineau, Anthony Spiri and Roger Vignoles.

Her discography reflects both her wide opera and concert repertoire, with particular emphasis on Mozart and 20th century music including cantatas by Anton Webern with Pierre Boulez for Deutsche Grammophon. Her recital CDs include ‘Forbidden Songsʼ by German composers in exile (Ullmann, Korngold, Eisler and Weill), and most recently Strauss lieder (Solo Musica). Her recording of the Mahler’s Fourth Symphony in the arrangement by Erwin Stein, with the Thomas Christian Ensemble received the German Record Critics’ Award. Oelze’s discography includes more than seventy CDs and DVDs of concert music, operas, and lieder, including critically-acclaimed recordings of Mozart’s The Magic Flute with John Eliot Gardiner and Webern with Pierre Boulez.

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Her song and chamber music program is mostly composed of a guitar recital with songs of the Spanish and English renaissance till the current time, a piano lieder recital with poems of Heine, Eichendorff, Rilke and Brecht, a Romantic organ lieder recital with songs of Dvorak, Mahler, Louis Vierne and Wolf, and Reimann’s transcriptions of Schumann, Brahms and Mendelssohn songs.

Christiane Oelze has also established an international reputation as a teacher. From 2003 to 2008 she held a professorship in singing at the Robert Schumann School of Music and Media in Düsseldorf. She also offers master classes regularly, for example at the Masterclass Apeldoorn in the Netherlands (2010), at IRCAM in Paris (2012), in performing lieder at the Karlsruhe University of Music (2013), the Vienna Master Courses (2014), at the Arosa Music Academy in Switzerland (since 2011) and in Bad Urach (2016). Christiane Oelze has also served as a member of the jury for various international music competitions. Born in Cologne, Christiane Oelze studied with Klesie Kelly-Moog at the Cologne College of Music, with Erna Westenberger in Frankfurt, and with Elisabeth Schwarzkopf in private masterclasses.

www.christianeoelze.de

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Eric Schneider

Eric SchneiderPiano

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Eric Schneider studied the piano and mathematics. At the age of 22 he passed his solo diploma with distinction at the Hochschule für Musik in Cologne, and then decided to take a postgraduate course in lied interpretation with Hartmut Höll. He received important guidance for his career from the pianists Paul Badura-Skoda and Alfred Brendel and the singers Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. As a complement to his training as a pianist, he also studied conducting with Rolf Reuter in Berlin.

Eric Schneider has appeared in Europe, America and Asia, notably with the singers Christine Schäfer, Matthias Goerne, Christiane Oelze, and Stephan Genz. He is a regular guest with these partners at the Schwarzenberg Schubertiade, the Salzburg Festival, and the Tanglewood Summer Music Festival. In addition to his recordings with Christiane Oelze and Matthias Goerne, he has had two highly praised recent releases on ONYX with the soprano Christine Schäfer: Schubert’s Winterreise in 2006, followed by a recital of songs by Henry Purcell and George Crumb.

Eric Schneider also devotes an increasing amount of time to solo literature and to chamber music. Alongside his concert career, he teaches pianists and singers both privately and at various conservatories.

Eric Schneider has appeared at Melbourne Recital Centre previously with Matthias Goerne in a performance of Schubert’s Winterreise for the Great Performers series.

I N S P I R E D G I V I N G

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($1000+)Helen BrackThe Leo & Mina Fink FundJenny & Peter Hordon Prof John Langford am & The Late Christina McCallum Cathy LowyProf David Penington ac & Dr Sonay PeningtonRobert PiaggioSandra RobertsonLeonard Vary & Dr Matt Collins qc

Angela Wood The Ullmer Family Foundation

($500+)Richard and Susan BuntingBarbara Burge The Hon Alex Chernov ac qc & Mrs Elizabeth ChernovJim Cousins ao & Libby CousinsDr Garry Joslin & Prof Dimity Reed am Greg NoonanHelen L Perlen Susan RenoufLyn Williams am SHARE THE MUSIC PROGRAM This program enables disadvantaged children and adults to attend concerts by providing tickets and transport free of charge. Over 500 of these visits take place each year through the generosity of our donors.

($4000+)Krystyna Campbell-Pretty Wendy & David O‘Callaghan & Alan Kozica Helen & Michael Gannon

($2500) Anne Burgi & Kerin Carr Dorothy Karpin

($1000+) Keith & Debby Badger John & Mary BarlowKeith & Debby BadgerCaroline & Robert ClementeMaria HansenDennis & Fairlie NassauGreg Shalit & Miriam FaineProf Richard Smallwood & Carol SmallwoodSirius Foundation

($500+)Anonymous (1) Shulan Guo & Morris Waters Vivien & Jacob FajgenbaumSue Hamilton & Stuart Hamilton ao

Dr Robert Hetzel Dr Kingsley GeeGeorge & Grace Kass Maria McCarthyMaria Mercurio Ann MillerVivien Wertkin

List of patrons correct at 12 October 2016

*Ensemble Giovane: Donors in support of master classes

°Amplify: Young Donors in support of Artist Development

T H A N K Y O U

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

Melbourne Recital Centre acknowledges the generous support of its business, philanthropic partners and patrons

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter Joseph Corponi

The Hon Mary Delahunty Paul Donnelly Margaret Farren-Price Eda Ritchie am

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family

Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Principal Government Partner

International Airline Partner Presenting Partner Learning Partner

Business Partners

Foundations

THE HUGH WILLIAMSON FOUNDATION

THE MARIAN & E.H. FLACK TRUST

THE SENTINEL FOUNDATION

THE VIZARD FOUNDATION

THE MERLYN MYER FUND

Great Performers Program Partners

Great Performers Series Partner

Encore Bequest ProgramProviding sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (2)Betty Amsden ao

Jenny Anderson

Barbara BlackmanJennifer BruknerJim Cousins ao & Libby CousinsDr Garry Joslin

Ken BullenElizabeth O’KeefeThe Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

THE MARGARET LAWRENCE BEQUEST

THE URSULA HOFF INSTITUTE