Oxford Lieder Ashley Riches bass-baritone Sholto Kynoch piano
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Oxford Lieder Ashley Riches bass-baritone Sholto Kynoch piano
Programme
Dichterliebe, Op. 48 Robert Schumann
Im wunderschönen Monat Mai (1810 - 1856)
Aus meinen Tränen sprießen
Die Rose, die Lilie, die Taube, die Sonne
Wenn ich in deine Augen seh
Ich will meine Seele tauchen
Im Rhein, im heiligen Strome
Ich grolle nicht
Und wüßten's die Blumen, die kleinen
Das ist ein Flöten und Geigen
Hör' ich das Liedchen klingen
Ein Jüngling liebt ein Mädchen
Am leuchtenden Sommermorgen
Ich hab' im Traum geweinet
Allnächtlich im Traume
Aus alten Märchen
Die alten, bösen Lieder
Two Copus Settings Kate Whitley
In Defence of Adultery (b. 1989)
Love, Like Water
Barbara Allen
Roger Quilter
(1877 - 1953)
Four Shakespeare Songs Quilter
Who is Silvia?
When daffodils begin to peer
How should I your true love know?
Sigh no more, ladies
Text and Translations Dichterliebe, Op. 48 Text by Heinrich Heine (1797 - 1856) Im wunderschönen Monat Mai In the wondrous month of May Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Knospen sprangen, When all the buds burst into bloom, Da ist in meinem Herzen Then it was that in my heart Die Liebe aufgegangen. Love began to burgeon. Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Vögel sangen, When all the birds were singing, Da hab’ ich ihr gestanden Then it was I confessed to her Mein Sehnen und Verlangen. My longing and desire. Aus meinen Tränen sprießen From my tears there will spring Aus meinen Tränen spriessen From my tears there will spring Viel blühende Blumen hervor, Many blossoming flowers, Und meine Seufzer werden And my sighs shall become Ein Nachtigallenchor. A chorus of nightingales. Und wenn du mich lieb hast, Kindchen, And if you love me, child, Schenk’ ich dir die Blumen all’, I’ll give you all the flowers, Und vor deinem Fenster soll klingen And at your window shall sound Das Lied der Nachtigall. The nightingale’s song. Die Rose, die Lilie, die Taube, die Sonne Rose, lily, dove, sun Die Rose, die Lilie, die Taube, die Sonne, Rose, lily, dove, sun, Die liebt’ ich einst alle in Liebeswonne. I loved them all once in the bliss of love. Ich lieb’ sie nicht mehr, ich liebe alleine I love them no more, I only love Die Kleine, die Feine, die Reine, die Eine; She who is small, fine, pure, rare; Sie selber, aller Liebe Wonne, She, most blissful of all loves, Ist Rose und Lilie und Taube und Sonne. Is rose and lily and dove and sun. Wenn ich in deine Augen seh When I look into your eyes Wenn ich in deine Augen seh’, When I look into your eyes, So schwindet all’ mein Leid und Weh’; All my pain and sorrow vanish; Doch wenn ich küsse deinen Mund, But when I kiss your lips, So werd’ ich ganz und gar gesund. Then I am wholly healed. Wenn ich mich lehn’ an deine Brust, When I lay my head against your breast, Kommt’s über mich wie Himmelslust; Heavenly bliss steals over me; Doch wenn du sprichst: ich liebe dich! But when you say: I love you! So muss ich weinen bitterlich. I must weep bitter tears. Ich will meine Seele tauchen Let me bathe my soul Ich will meine Seele tauchen Let me bathe my soul In den Kelch der Lilie hinein; In the lily’s chalice; Die Lilie soll klingend hauchen The lily shall resound Ein Lied von der Liebsten mein. With a song of my beloved.
Das Lied soll schauern und beben, The songs shall tremble and quiver Wie der Kuss von ihrem Mund, Like the kiss that her lips Den sie mir einst gegeben Once gave me In wunderbar süsser Stund’. In a wondrously sweet hour. Im Rhein, im heiligen Strome In the Rhine, in the holy river Im Rhein, im heiligen Strome, In the Rhine, in the holy river, Da spiegelt sich in den Well’n Mirrored in its waves, Mit seinem grossen Dome, With its great cathedral, Das grosse, heilige Köln. Stands great and holy Cologne. Im Dom da steht ein Bildnis, In the cathedral hangs a picture, Auf gold’nem Leder gemalt; Painted on gilded leather; In meines Lebens Wildnis Into my life’s wilderness Hat’s freundlich hineingestrahlt. It has cast its friendly rays. Es schweben Blumen und Eng’lein Flowers and cherubs hover Um unsre liebe Frau; Around Our beloved Lady; Die Augen, die Lippen, die Wäng’lein, Her eyes, her lips, her cheeks Die gleichen der Liebsten genau. Are the image of my love’s. Ich grolle nicht I bear no grudge Ich grolle nicht, und wenn das Herz I bear no grudge, though my heart is auch bricht, breaking, Ewig verlor’nes Lieb! ich grolle nicht. O love forever lost! I bear no grudge. Wie du auch strahlst in Diamantenpracht, However you gleam in diamond splendour, Es fällt kein Strahl in deines Herzens Nacht. No ray falls in the night of your heart. Das weiss ich längst. Ich sah dich I’ve known that long. For I saw you ja im Traume, in my dreams, Und sah die Nacht in deines Herzens Raume, And saw the night within your heart, Und sah die Schlang’, die dir am And saw the serpent gnawing at your heart; Herzen frisst, I saw, my love, how pitiful you are. Ich sah, mein Lieb, wie sehr du elend bist. I bear no grudge. Ich grolle nicht. Und wüßten's die Blumen, die kleinen If the little flowers knew Und wüssten’s die Blumen, die kleinen, If the little flowers knew Wie tief verwundet mein Herz, How deeply my heart is hurt, Sie würden mit mir weinen, They would weep with me Zu heilen meinen Schmerz. To heal my pain. Und wüssten’s die Nachtigallen, If the nightingales knew Wie ich so traurig und krank, How sad I am and sick, Sie liessen fröhlich erschallen They would joyfully make the air Erquickenden Gesang. Ring with refreshing song. Und wüssten sie mein Wehe, And if they knew of my grief, Die goldenen Sternelein, Those little golden stars, Sie kämen aus ihrer Höhe, They would come down from the sky Und sprächen Trost mir ein.
Sie alle können’s nicht wissen, But none of them can know; Nur eine kennt meinen Schmerz: My pain is known to one alone; Sie hat ja selbst zerrissen, For she it was who broke, Zerrissen mir das Herz. Broke my heart in two. Das ist ein Flöten und Geigen What a fluting, what a scraping Das ist ein Flöten und Geigen, What a fluting, what a scraping, Trompeten schmettern darein; With trumpets blaring in; Da tanzt wohl den Hochzeitsreigen That must be my dearest love Die Herzallerliebste mein. Dancing at her wedding feast. Das ist ein Klingen und Dröhnen, What a clashing, what a clanging, Ein Pauken und ein Schalmei’n; What a drumming, what a piping; Dazwischen schluchzen und stöhnen And the lovely little angels Die lieblichen Engelein. Sobbing and groaning in between. Hör' ich das Liedchen klingen When I hear the little song Hör’ ich das Liedchen klingen, When I hear the little song Das einst die Liebste sang, That my love once sang, So will mir die Brust zerspringen My heart almost bursts Von wildem Schmerzendrang. With the wild rush of pain. Es treibt mich ein dunkles Sehnen A dark longing drives me Hinauf zur Waldeshöh’, Out to the wooded heights, Dort löst sich auf in Tränen Where my overwhelming grief Mein übergrosses Weh’. Dissolves in tears. Ein Jüngling liebt ein Mädchen A boy loves a girl Ein Jüngling liebt ein Mädchen, A boy loves a girl Die hat einen andern erwählt; Who chooses another; Der andre liebt eine andre, He in turn loves another Und hat sich mit dieser vermählt. And marries her. Das Mädchen nimmt aus Ärger The girl, out of pique, Den ersten besten Mann, Takes the very first man Der ihr in den Weg gelaufen; To come her way; Der Jüngling ist übel dran. The boy is badly hurt. Es ist eine alte Geschichte, It is an old story, Doch bleibt sie immer neu; Yet remains ever new; Und wem sie just passieret, And he to whom it happens, Dem bricht das Herz entzwei. It breaks his heart in two. Am leuchtenden Sommermorgen One bright summer morning Am leuchtenden Sommermorgen One bright summer morning Geh’ ich im Garten herum. I walk around the garden. Es flüstern und sprechen die Blumen, The flowers whisper and talk, Ich aber wandle stumm. But I walk silently.
Es flüstern und sprechen die Blumen, The flowers whisper and talk, Und schau’n mitleidig mich an: And look at me in pity: „Sei unsrer Schwester nicht böse, ‘Be not angry with our sister, Du trauriger, blasser Mann.“ You sad, pale man.’ Ich hab' im Traum geweinet I wept in my dream Ich hab’ im Traum geweinet, I wept in my dream; Mir träumte, du lägest im Grab. I dreamt you lay in your grave. Ich wachte auf, und die Träne I woke, and tears Floss noch von der Wange herab. Still flowed down my cheeks. Ich hab’ im Traum geweinet, I wept in my dream; Mir träumt’, du verliessest mich. I dreamt that you were leaving me. Ich wachte auf, und ich weinte I woke, and wept on Noch lange bitterlich. Long and bitterly. Ich hab’ im Traum geweinet, I wept in my dream; Mir träumte, du wär’st mir noch gut. I dreamt you loved me still. Ich wachte auf, und noch immer I woke, and still Strömt meine Tränenflut. My tears stream. Allnächtlich im Traume Nightly in my dreams Allnächtlich im Traume seh’ ich dich Nightly in my dreams I see you, Und sehe dich freundlich grüssen, And see your friendly greeting, Und laut aufweinend stürz’ ich mich And weeping loud, I hurl myself Zu deinen süssen Füssen. Down at your sweet feet. Du siehest mich an wehmütiglich Wistfully you look at me, Und schüttelst das blonde Köpfchen; Shaking your fair little head; Aus deinen Augen schleichen sich Stealing from your eyes Die Perlentränentröpfchen. Flow little tears of pearl. Du sagst mir heimlich ein leises Wort You whisper me a soft word Und gibst mir den Strauss von Zypressen. And hand me a wreath of cypress. Ich wache auf, und der Strauss ist fort, I wake, the wreath is gone, Und’s Wort hab’ ich vergessen. And I cannot remember the word. Aus alten Märchen A white hand beckons Aus alten Märchen winkt es A white hand beckons Hervor mit weisser Hand, From fairy tales of old, Da singt es und da klingt es Where there are sounds and songs Von einem Zauberland; Of a magic land; Wo bunte Blumen blühen Where brightly coloured flowers Im gold’nen Abendlicht, Bloom in the golden twilight, Und lieblich duftend glühen, And glow sweet and fragrant Mit bräutlichem Gesicht; With a bride-like face; Und grüne Bäume singen And green trees Uralte Melodei’n, Sing primeval melodies, Die Lüfte heimlich klingen, Mysterious breezes murmur,
Und Vögel schmettern drein; And birds too join in warbling; Und Nebelbilder steigen And misty shapes rise up Wohl aus der Erd’ hervor, From the very ground, Und tanzen luft’gen Reigen And dance airy dances Im wunderlichen Chor; In a strange throng; Und blaue Funken brennen And blue sparks blaze An jedem Blatt und Reis, On every leaf and twig, Und rote Lichter rennen And red fires race Im irren, wirren Kreis; Madly round and round; Und laute Quellen brechen And loud springs gush Aus wildem Marmorstein. From wild marble cliffs. Und seltsam in den Bächen And strangely in the streams Strahlt fort der Widerschein. Reflections shine on and on. Ach, könnt’ ich dorthin kommen, Ah, could I but reach that land, Und dort mein Herz erfreu’n, And there make glad my heart, Und aller Qual entnommen, And be relieved of all pain, Und frei und selig sein! And be blissful and free! Ach! jenes Land der Wonne, Ah, that land of delight, Das seh’ ich oft im Traum, I see it often in my dreams, Doch kommt die Morgensonne, But with the morning sun Zerfliesst’s wie eitel Schaum. It melts away like mere foam. Die alten, bösen Lieder The bad old songs Die alten, bösen Lieder, The bad old songs, Die Träume bös’ und arg, The bad and bitter dreams, Die lasst uns jetzt begraben, Let us now bury them. Holt einen grossen Sarg. Fetch me a large coffin. Hinein leg’ ich gar manches, I have much to put in it, Doch sag’ ich noch nicht was; Though what, I won’t yet say; Der Sarg muss sein noch grösser, The coffin must be even larger Wie’s Heidelberger Fass. Than the vat at Heidelberg. Und holt eine Totenbahre And fetch a bier Und Bretter fest und dick; Made of firm thick timber: Auch muss sie sein noch länger, And it must be even longer Als wie zu Mainz die Brück’. Than the bridge at Mainz. Und holt mir auch zwölf Riesen, And fetch for me twelve giants; Die müssen noch stärker sein They must be even stronger Als wie der starke Christoph Than Saint Christopher the Strong Im Dom zu Köln am Rhein. In Cologne Cathedral on the Rhine. Die sollen den Sarg forttragen, They shall bear the coffin away, Und senken ins Meer hinab; And sink it deep into the sea; Denn solchem grossen Sarge For such a large coffin Gebührt ein grosses Grab. Deserves a large grave.
Wisst ihr, warum der Sarg wohl Do you know why the coffin So gross und schwer mag sein? Must be so large and heavy? Ich senkt’ auch meine Liebe I’d like to bury there my love Und meinen Schmerz hinein. And my sorrow too. English Translations © Richard Stokes Two Copus Settings Text by Julia Copus (b. 1969) In Defence of Adultery Love, Like Water We don’t fall in love: it rises through us Tumbling from some far-flung cloud the way that certain music does – into your bathroom alone, to sleeve whether a symphony or ballad – a toe, five toes, a metatarsal arch, and it is sepia-coloured, it does its best to feign indifference like spilt tea that inches up to the body, but will go on creeping the tiny tube-like gaps inside up to the neck till it’s reading the skin a cube of sugar lying by a cup. like Braille, though you’re certain it sees Yes, love’s like that: just when we least under the surface of things and knows needed or expected it the routes your nerves take as they branch a part of us dips into it from the mind, which lately has been curling by chance or mishap and it seeps in on itself like the spine of a dog through our capillaries, it clings as it circles a patch of ground to sleep. inside the chambers of the heart. Now through the dappled window, We’re victims, we say: mere vessels, propped open slightly for the heat, drinking the vanilla scent a light rain in composing of the one’s skin, the lustre the lake it falls into, the way a lover’s hand of another’s eyes so skilfully composes the body it touches – Love, darkened with bistre. And whatever like water! How it gives and gives, damage might result we’re not Wearing the deepest of grooves in our sides to blame for it: love is an autocrat And filing them up again, ever so gently and won’t be disobeyed. wounding us, making us whole. Sometimes we manage to convince ourselves of that. © Julia Copus, 2003 from In Defence of Adultery Publisher: Bloodaxe, Newcastle, 2003 Barbara Allen Text by Anon. In Scarlet Town, where I was born, There was a fair maid dwellin', Made ev'ry youth cry "Well-a-day!" Her name was Barb'ra Allen. All in the merry month of May When green buds they were swellin', Young Jemmy Grove on his death-bed lay For love of Barb'ra Allen.
Then slowly, slowly she came up,
And slowly she came nigh him,
And all she said when there she came
"Young man, I think you're dying".
As she was walking o'er the fields
She heard the dead-bell knellin',
And ev'ry stroke the dead-bell gave
Cried "Woe to Barb'ra Allen!"
When he was dead and laid in grave
Her heart was struck with sorrow.
"O mother, mother, make my bed,
For I shall die tomorrow."
"Farewell," she said, "ye virgins all,
And shun the fault I fell in;
Henceforth take warning by the fall
Of cruel Barb'ra Allen."
Four Shakespeare Songs
Text by William Shakespeare (1564 - 1616)
Who is Silvia? When daffodils begin to peer
Who is Silvia? what is she, When daffodils begin to peer, —
That all our swains commend her? With, hey! the doxy over the dale, —
Holy, fair, and wise is she, Why, then comes in the sweet o’ the year;
The heavens such grace did lend her, For the red blood reigns in the winter’s pale.
That she might admired be.
The white sheet bleaching on the hedge, —
Is she kind as she is fair? With, hey! the sweet birds, how they sing! —
For beauty lives with kindness: Doth set my pugging tooth on edge;
Love doth to her eyes repair, For a quart of ale is a dish for a king.
To help him of his blindness;
And, being helped, inhabits there. The lark, that tirra-lirra chants, —
Then to Silvia, let us sing, With, hey! with, hey! the thrush and the jay, —
Are summer songs for me and my aunts,
That Silvia is excelling; While we lie tumbling in the hay.
She excels each mortal thing
Upon the dull earth dwelling. The Winter’s Tale IV.iii
To her let us garlands bring.
The Two Gentlemen of Verona IV.ii
How should I your true love know? Sigh no more, ladies
How should I your true love know Sigh no more, ladies, sigh no more;
From another one? Men were deceivers ever;
By his cockle hat and staff, One foot in sea and one on shore,
And his sandal shoon. To one thing constant never:
Then sigh not so,
He is dead and gone, lady, But let them go,
He is dead and gone; And be you blithe and bonny;
At his head a grass green turf, Converting all your sounds of woe
At his heels a stone. Into Hey nonny, nonny.
White his shroud as the mountain snow, Sing no more ditties, sing no mo
Larded with sweet flowers; Of dumps so dull and heavy;
Which bewept to the grave did go The fraud of men was ever so
With true-love showers. Since summer first was leavy.
Then sigh not so,
Hamlet IV.v But let them go,
And be you blithe and bonny;
Converting all your sounds of woe
Into Hey nonny, nonny.
Much Ado About Nothing II.iiBiographies Ashley Riches studied English at King’s College, Cambridge where he sang in the Chapel Choir under Stephen Cleobury. From 2012-14 he was a member of the Jette Parker Young Artist Programme at the Royal Opera House, where he made his debut in a duet with Robert Alagna and represented the house at a gala cel- ebrating Young Artist Programmes at the Bolshoi Theatre. He is currently a BBC New Generation Artist. Highlights of this season include Creon in Stravinsky Oedipus Rex with Sir John Eliot Gardiner and the Berlin Philharmonic, Purcell The Fairy Queen with Richard Egarr and the Academy of Ancient Music, a European tour of Bach Christmas Oratorio with Masaki Suzuki and the Orchestra of the Age of Enlightenment, Ferryman in Britten Curlew River with the Britten Sinfonia at the new Elbphilharmonie in Hamburg, the Pirate King in Mike Leigh’s production of The Pirates of Penzance at English National Opera and the title role in Mozart Don Gio- vanni for Opera Holland Park, along with song recitals and recordings with Simon Lepper, Sholto Kynoch, Anna Tilbrook and Joseph Middleton. His song discography includes Poulenc Chansons Gaillardes with Graham Johnson (Hyperion), the songs of Arthur Sullivan with David Owen Norris (Chandos) and a world premier recording of the Shakespeare Sonnets of Mario Castelnuovo-Tedesco with Emma Abbate(Resonus). He has also recorded Handel L'Allegro, il Pensi- eroso ed il Moderato with the Gabrieli Consort, Paul McCreesh (Gabrieli)Bach St Matthew Passion (Bass arias, Pilate) with the Monteverdi Choir (Soli Deo Gloria) and Bach St John Passion (Jesus) with Crouch End Festival Chorus, the first recording in English for over fifty years. Sholto Kynoch is a sought-after pianist who specialises in song and chamber music. He is the founder and Ar- tistic Director of the Oxford Lieder Festival, which won a prestigious Royal Philharmonic Society Award in 2015, cited for its ‘breadth, depth and audacity’ of programming. Recent recitals have taken him to Wigmore Hall, Heidelberger Frühling in Germany, the Zeist International Lied Festival in Holland, the LIFE Victoria festival and Palau de la Música in Barcelona, the Opéra de Lille, Kings Place in London, Opernhaus Zürich, Maison Symphonique de Montréal, and many other leading venues and festivals nationally and internationally. He has performed with singers including Louise Alder, Benjamin Appl, Sophie Daneman, Tara Erraught, Robert Holl, James Gilchrist, Dietrich Henschel, Katarina Karnéus, Wolfgang Holzmair, Jonathan Lemalu, Stephan Loges, Daniel Norman, Christoph Prégardien, Joan Rodgers, Birgid Steinberger and Roderick Williams, amongst many others. Together with violinist Jonathan Stone and cellist Christian Elliott, Sholto is the pianist of the Phoenix Piano Trio. The Trio’s recent CD, ‘The Leipzig Circle’, was described as ‘splendidly vibrant’ (BBC Music Magazine) and having ‘unaffected freshness and charm’ (Gramophone). They have commissioned a number of new works, and recorded Cheryl Frances-Hoad’s The Forgiveness Machine for Champs Hill and Philip Venables’ Klaviertrio im Geiste for NMC. In recent years, he has curated several series of recitals around exhibitions at the National Gallery, including their ‘Monet and Architecture’ exhibition in 2018, and a series for the British Museum. He has recorded, live at the Oxford Lieder Festival, the first complete edition of the songs of Hugo Wolf. Other recent and forthcoming recordings include discs of Schubert and Schumann lieder, the complete songs of John Ireland and Havergal Brian with baritone Mark Stone, recital discs with Martin Hässler and Anna Stéphany, and several CDs with the Phoenix Piano Trio. In July 2018, Sholto was elected a Fellow of the Royal Academy of Music in the RAM Honours.
Virtual Lunchtime Concerts coming up:
Friday 21 May, 1pm Friday 28 May, 1pm
Oxford Lieder Ben Goldscheider
horn
barber.org.uk/concertsSie können auch lesen
