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Thursday 29 October 2009 7.30pm
Barbican Hall
Schumann Lieder
Dorothea Röschmann soprano
Angelika Kirchschlager mezzo-soprano
Ian Bostridge tenor
Thomas Quasthoff bass-baritone
Helmut Deutsch piano
Julius Drake piano
Schumann Spanisches Liederspiel, Op. 74
Minnespiel, Op. 101
Jim Rakete/DG
Interval
Spanische Liebeslieder, Op. 138
tonight’s programme
Robert Schumann (1810–56)
Spanisches Liederspiel, Op. 74 (1849)
Spanische Liebeslieder, Op. 138 (1849)
Poems translated from the original Spanish by
Emanuel von Geibel
Poems translated from the original Spanish by
Emanuel von Geibel
1
2
3
4
5
6
7
8
9
1 Vorspiel piano, four hands
2 Tief im Herzen trag’ ich Pein soprano
3 O wie lieblich ist das Mädchen tenor
4 Bedeckt mich mit Blumen soprano, mezzo-soprano
5 Flutenreicher Ebro baritone
6 Intermezzo – Nationaltanz piano, four hands
7 Weh, wie zornig ist das Mädchen tenor
8 Hoch, hoch sind die Berge mezzo-soprano
9 Blaue Augen hat das Mädchen tenor, baritone
10 Dunkler Lichtglanz, blinder Blick soprano,
Erste Begegnung soprano, mezzo-soprano
Intermezzo tenor, baritone
Liebesgram soprano, mezzo-soprano
In der Nacht soprano, tenor
Es ist verraten soprano, mezzo-soprano, tenor, baritone
Melancholie soprano
Geständnis tenor
Botschaft soprano, mezzo-soprano
Ich bin geliebt soprano, mezzo-soprano, tenor, baritone
Minnespiel, Op. 101 (1849)
Lieder, Duets and Quartets after lyrics by Friedrich
Rückert
1
2
3
4
5
Meine Töne still und heiter tenor
Liebster, deine Worte stehlen soprano
Ich bin dein Baum mezzo-soprano, baritone
Mein schöner Stern! tenor
Schön ist das Fest des Lenzes soprano, mezzo-soprano,
tenor, baritone
6 O Freund, mein Schirm, mein Schutz!
mezzo-soprano
7 Die tausend Grüsse, die wir senden soprano, tenor
8 So wahr die Sonne scheinet soprano, mezzo-soprano,
tenor, baritone
2
mezzo-soprano, tenor, baritone
programme note
The reinvention of song
Robert Schumann’s approach to Lieder
Something old, and something entirely new. By the time
Schumann approached the Liederspiel – literally, a songgame – it was something of an old-fashioned form. The
practise of creating little domestic narrative dramas in song
for the home entertainment of the amateur bourgeoisie had
begun as early as the days of Reichardt and Zelter,
Schubert’s most prolific song-writing predecessors. And
Wilhelm Müller’s verse for Schubert’s own song-cycle
Die schone Müllerin was born of this tradition. Schumann,
though, was to give the Liederspiel a new twist. After the
political upheavals of 1848–9, and with the work of the
revolutionary Wagner beginning to turn the musical world
upside-down, Schumann must have felt the need to find a
new way forward of his own – and one which would work
within his own far more private and intimate modes of
expression.
Schumann brought a new sense of both drama and
democracy to the Liederspiel, using several voices as though
in an operatic cast, giving each one an equal part to play,
and, in the case of the Spanische Liebeslieder, including an
extra pair of hands at the piano too. The focus shifted, for
the first time, away from the solo star performer to a shared,
collaborative act of music-making inspired, significantly, by
folk music.
The Romantic cult of ‘world music’ had long been gathering
momentum. Herder and Schlegel had, in their writings, been
championing the idea of a new international folk poetry, or
Universalpoesie, which would join writers in an imaginative
artistic utopia. And the popularity of armchair travelling,
visiting the poetry of the British Isles, Persia, India, Italy and
Spain in musical settings, was already evident in the work of
Haydn, Beethoven and in Schumann’s own 1840 collection,
Myrthen. What is more, published accounts of pioneering
travel (as in Goethe’s Italian Journey), and literary daydreaming of faery lands forlorn, also nourished the concept
of existential exile, of alienation and spiritual isolation.
Indeed, ferne (‘distant’) and Fremde (‘exile’) are two of the
most commonly found words in Lieder. They are as resonant
in Schumann’s Liederkreis, Op. 39, and in his Heine setting,
‘Abends am Strand’ (Op. 45 No. 3) as in the lone figures
within the landscapes of Caspar David Friedrich, their
turned backs looking out to distant horizons.
Schumann’s imagination was nourished as a child by the
cornucopia of travellers’ tales to be found within his father’s
bookshop. In a Germany already seduced by Schiller’s Don
Carlos, Tieck’s translation of Don Quixote and Goethe’s
theatrical productions of Calderon, the Schumann
publishing house was at the forefront of commissioning
translations of foreign literature, including pocket editions of
Calderon and Cervantes. In 1843, a small volume of Spanish
verse was published, translated by Emanuel von Geibel,
whose own poetry Robert Schumann had already admired
and set. Schumann and Geibel met four times in Dresden
during the year 1846, and it’s likely that Geibel gave the
composer a copy of his Volkslieder und Romanzen der
Spanier, with its eminently settable translations of poets such
as Gil Vicente, Luís de Camões and Cristóbal de Castillejo.
3
programme note
This collection was to be the forerunner of the great
Spanisches Liederbuch in which Geibel collaborated with
Paul Heyse, and which was later to prove such a potent
source of inspiration for the songs of Hugo Wolf.
Schumann began work on his Op. 74 Spanisches Liederspiel
in March 1849, at a time when he was pouring out music for
his male-voice and mixed-voice choirs in Dresden – and it
was a work particularly close to his heart. The first song
evokes, obliquely and enticingly, a ‘First encounter’ in the
rose-bushes, as soprano and mezzo, scarcely pausing for
breath, join the piano’s shifting major–minor harmonies, as
voices and fingers evoke a sense of delicious danger. A
tender duet for tenor and baritone leads to another soprano
and mezzo song, ‘Liebesgram’ (Castillejo), characterised by
a mesmerically recurring phrase, ‘Wirst ruhig sein’: the mood
of the song is restless, yet longing for final rest from the pains
of unrequited love.
‘Botschaft’, for soprano and mezzo, the longest and most
complex song here, is another bolero, with dotted rhythms
and pianistic trills that also seem to evoke a vignette of the
two girls plaiting a garland of flowers. Finally, the quartet of
voices provides a virtuoso finale in ‘Ich bin geliebt’, with male
and female voices antiphonally chatting and conspiring, in
the company of a Carmenesque solo character who
triumphs in being loved.
In between the Liederspiel and the Liebeslieder, Op. 138,
which closes this evening’s concert, Schumann returned to the
poetry of his native land, and specifically to that of Friedrich
Rückert. The poet’s Liebesfrühling anthology was the
inspiration for the eight songs of Schumann’s Op. 101
Minnespiel, written in the wake of a particularly disturbing
spring. Revolution came to the streets of Dresden in May,
when the Saxon King Friedrich August II refused to accept the
‘In der Nacht’ is a nocturne dark with something of the
German constitution. Although the insurrection was shorttorment of Spanish Baroque religious poetry – a mood and lived, the city’s streets were littered with dead bodies.
colour that perhaps nudged Schumann into a characteristic Schumann, although a staunch republican, felt
moment of Bach-homage in the piano prelude and postlude. temperamentally unable to make even a token appearance
Schumann’s first vocal quartet setting here, ‘Es ist verraten’,
with Wagner on the barricades, and fled the city with his
feels like a bolero crossed with a German waltz – until the
family on 5 May. ’The desire to work’, wrote Schumann to
words ‘Das sind Zeichen’, where the piano’s roulades of
Liszt, ‘even though the great events of the world demand
semiquavers and strong bass line give a distinct frisson of
one’s attention, increases rather than diminishes.’ Within the
erotic exotica. Two solos follow, one for soprano and one for first five days of June, Schumann had completed the
Minnespiel.
tenor: the former a solemn sarabande, the latter an
impassioned moto perpetuo.
4
programme note
The tenor solo, ‘Mein schöner Stern!’, at the centre of the
cycle, is its masterpiece, a song that can stand, and is
frequently performed, on its own. It seems to be a heartfelt
invocation to Clara’s love, which sustained and lifted her
husband from both outer and inner darkness. Just three days
after completing the Minnespiel, Schumann confided to his
diary that his 39th birthday was a day dominated by ‘die
gute Clara, und meine Melancholie’. Darker days still were
to come.
INTERVAL
There were three rejects from Schumann’s original
Spanisches Liederspiel: two of them turn up in the Spanische
Liebeslieder he wrote eight months later, in November 1849.
Now with four hands as well as four singers, this innovative
domestic delight was to be a powerful influence on Brahms
when he came to write his Liebeslieder Walzer. Schumann’s
garland of still more exotic blooms from Geibel’s Volkslieder
und Romanzen begins with a ‘Vorspiel’ for piano duet ‘Im
Bolerostempo’: the little sighing motif, seven bars in, preechoes a figure from the accompaniment to the first song,
‘Tief im Herzen’, in which the soprano seems to be dragging
her voice along, world-weary and listless, with ’the spark of
life hidden in the flint’ – a mood that Schumann knew all
too well.
‘O wie lieblich’, the first of a pair of tenor solos, is from a
Vicente cantiga, its staccato notes, offbeat accents and
chattering semiquavers offering immediate light relief. Just
before the third line of each stanza, the piano writing seems
delightfully to prefigure in turn a hornpipe, a trotting horse
and gambolling lambs. Evocative scents from the
Liederspiel’s ‘Botschaft’ rise up from the soprano and mezzo
duet ‘Bedeckt mich mit Blumen’, a serenade of a dance in
which the vocal and piano parts intertwine with jasmine and
lilies. The baritone Romanze, ‘Flutenreicher Ebro’, is a
touchingly Schubertian centrepiece, with a purling
accompaniment in which sound-images of plucking guitar
and rippling water become fused as the undertow to a
wonderfully free-flowing vocal melody.
Part 2 begins with an Intermezzo, an all-purpose
‘Nationaltanz’ of indeterminate provenance. The second
tenor solo, ‘Weh, wie zornig ist das Mädchen’ is a characterminiature, playfully mock-tragic in its repetitions of ‘Weh,
wie!’, and its long, teasing trill – or patronisingly chauvinistic,
however you care to hear it. After the mezzo’s ‘Hoch, hoch
sind die Berge’, another Liederspiel reject, and the
tenor/baritone duet, ‘Blaue Augen’, a quartet once again
provides the grand finale, juxtaposing the joy and pain,
laughter and lamentation of love. As voice contrapuntally
entangles with voice to salute Love itself, textures slow and
fade into dream, and the sighing semiquavers of the piano
rise up into thin air.
Programme note © Hilary Finch
5
text and translation
Spanisches Liederspiel, Op. 74
1 Erste Begegnung
Von dem Rosenbusch, o Mutter,
Von den Rosen komm ich;
First encounter
I come from the rose-bush, O mother,
I come from the roses;
An den Ufern jenes Wassers
Sah ich Rosen stehn und Knospen;
Von den Rosen komm ich.
On the banks of those waters
I saw roses and buds;
I come from the roses.
An den Ufern jenes Flusses
Sah ich Rosen stehn in Blüte;
Von den Rosen komm ich,
On the banks of that river
I saw roses in blossom;
I come from the roses,
Sah ich Rosen stehn in Blüte,
Brach mit Seufzen mir die Rosen
I saw roses in blossom,
Sighing I picked the roses
From the rose-bush, O mother;
Und am Rosenbusch, o Mutter,
Einen Jüngling sah ich;
And by the rose-bush, O mother,
I saw a young man;
An den Ufern jenes Wassers
Einen schlanken Jüngling sah ich.
Einen Jüngling sah ich.
On the banks of those waters
I saw a slim young man,
I saw a young man.
An den Ufern jenes Flusses
Sucht’ nach Rosen auch der Jüngling,
Viele Rosen pflückt’ er, viele Rosen,
On the banks of that river
The young man also looked for roses,
Many roses he picked, many roses,
Und mit Lächeln brach die schönste er,
Gab mit Seufzen mir die Rose.
And smiling he picked the loveliest,
And sighing gave me the rose.
I come from the rose-bush, O mother,
2 Intermezzo
Und schläfst du, mein Mädchen,
Auf, öffne du mir,
Denn die Stund’ ist gekommen,
Da wir wandern von hier.
Intermezzo
Though you sleep, my girl,
Rise, and let me in;
For the hour has come
When we must leave here.
6
Und bist ohne Sohlen,
Leg’ keine dir an,
Durch reissende Wasser
Geht unsere Bahn.
And if you are shoeless,
Put no shoes on;
Through torrential waters
Our way shall lie.
Durch die tief, tiefen Wasser
Des Guadalquivir;
Denn die Stund’ ist gekommen,
Da wir wandern von hier.
Through the deep, deep waters
Of the Guadalquivir;
For the hour has come
When we must leave here.
3 Liebesgram
Dereinst, dereinst
Gedanke mein,
Wirst ruhig sein.
Love’s sorrow
One day, one day,
O my thoughts,
You shall be at rest.
Lässt Liebesglut
Dich still nicht werden,
In kühler Erden,
Da schläfst du gut
Und ohne Pein
Wirst ruhig sein.
Though love’s ardour
Allows you no peace,
In cool earth
You shall sleep well,
And without pain
Was du im Leben
Nicht hast gefunden,
Wenn es entschwunden,
Wird’s dir gegeben;
Dann ohne Wunden
Wirst ruhig sein.
What in life
You have not found,
When life is vanished
Shall be given you,
Then without wounds
4 In der Nacht
Alle gingen, Herz, zur Ruh,
Alle schlafen, nur nicht du.
At night
All have gone to their rest, O heart,
All are sleeping, all but you.
Denn der hoffnungslose Kummer
Scheucht von deinem Bett den Schlummer,
Und dein Sinnen schweift in stummer
Sorge seiner Liebe zu.
For hopeless grief
Frightens slumber away from your bed,
And your thoughts wander in silent
Sorrow to their love.
Please turn page quietly
7
5 Es ist verraten
Dass ihr steht in Liebesglut,
Schlaue, lässt sich leicht gewahren,
Denn die Wangen offenbaren,
Was geheim im Herzen ruht.
It cannot be concealed
That you are glowing with passion,
O sly one, can easily be seen,
For your cheeks reveal
The secret of your heart.
Stets an Seufzern sich zu weiden,
Stets zu weinen, statt zu singen,
Wach die Nächte hinzubringen
Und den süssen Schlaf zu meiden;
Das sind Zeichen jener Glut,
Die dein Antlitz lässt gewahren,
Und die Wangen offenbaren,
Ever revelling in sighs,
Ever weeping instead of singing,
Spending wakeful nights
And avoiding sweet sleep –
These are the signs of that passion
Your countenance reveals,
And your cheeks reveal
Dass ihr steht in Liebesglut,
Schlaue, lässt sich leicht gewahren,
Denn die Wangen offenbaren,
That you are glowing with passion,
O sly one, can easily be seen,
For your cheeks reveal
Liebe, Geld und Kummer halt ich
Für am schwersten zu verhehlen,
Denn auch bei den strengsten Seelen
Drängen sie sich vor gewaltig.
Jener unruhvolle Mut
Lässt zu deutlich sie gewahren,
Und die Wangen offenbaren,
Love, money and grief are to me
The hardest to conceal,
For even with the sternest souls
They force themselves to the surface.
Your restless mood
Betrays them too clearly,
And your cheeks reveal
6 Melancholie
Wann erscheint der Morgen,
Wann denn, wann denn!
Der mein Leben löst
Aus diesen Banden?
Melancholy
When will the morning come,
When, O when!
That will free my life
From these bonds?
Ihr Augen, vom Leide,
So trübe, so trübe!
Saht nur Qual für Liebe,
Saht nicht eine Freude;
Saht nur Wunde auf Wunde,
Schmerz auf Schmerz mir geben,
You my eyes,
So clouded by sorrow,
Saw only torment instead of love,
Saw no joy;
Saw only wound on wound,
Agony on agony inflicted on me,
8
Und im langen Leben
Keine frohe Stunde.
Wenn es endlich doch,
Endlich doch, geschähe
Dass ich säh’ die Stunde,
Wo ich nimmer sähe!
And in my long life
Not a single cheerful hour.
If only the hour
Would finally,
Finally arrive,
When I could no longer see!
7 Geständnis
Also lieb’ ich Euch, Geliebte,
Dass mein Herz es nicht mag wagen,
Irgend einen Wunsch zu tragen.
Also lieb’ ich Euch!
Denn wenn ich zu wünschen wagte,
Hoffen würd’ ich auch zugleich,
Wenn ich nicht zu hoffen zagte,
Weiss ich wohl, erzürnt’ ich Euch.
Darum ruf’ ich ganz alleine
Nur dem Tod, dass er erscheine,
Weil mein Herz es nicht mag wagen,
Einen andern Wunsch zu tragen,
Also lieb’ ich Euch!
Confession
This is how I love you, beloved:
My heart does not dare
To express a single wish –
That is how I love you!
For if I dared to wish,
I would immediately hope;
Were I brash in my hope,
I know I would anger you.
And so I summon death alone
To appear,
For my heart does not dare
To express another wish;
That is how I love you!
8 Botschaft
Nelken wind’ ich und Jasmin,
Und es denkt mein Herz an ihn.
A message
I gather carnations and jasmine,
And my heart thinks of him.
Nelken all’, ihr flammenroten,
Die der Morgen mir beschert,
Zu ihm send ich euch als Boten
Jener Glut, die mich verzehrt.
Und ihr weissen Blüten wert,
Sanft mit Düften grüsset ihn,
Sagt ihm, dass ich bleich vor Sehnen,
Dass auf ihn ich harr in Tränen.
All you flame-red carnations
Which the morning presented me,
I send you to him as messengers
Of that passion which devours me.
And you dear white blooms –
Greet him gently with your fragrance.
Tell him I am pale with longing,
That I wait for him in tears.
Tausend Blumen, tauumflossen,
Find ich neu im Tal erwacht;
Alle sind erst heut entsprossen,
A thousand flowers, drenched in dew,
I find in the valley, newly awakened;
Though all blossomed but today,
9
Aber hin ist ihre Pracht,
Wenn der nächste Morgen lacht.
Sprich, du duftiger Jasmin,
Sprecht, ihr flammenroten Nelken:
Kann so schnell auch Liebe welken?
Ach, es denkt mein Herz an ihn!
Their splendour will be gone
When the next smiling morning dawns.
Speak, O fragrant jasmine,
Speak, O flame-red carnations,
Can love too wither so quickly?
Ah, my heart thinks of him!
9 Ich bin geliebt
Mögen alle bösen Zungen
Immer sprechen, was beliebt;
Wer mich liebt, den lieb ich wieder,
Und ich weiss, ich bin geliebt.
I am loved
Let all the spiteful tongues
Keep on saying what they please;
He who loves me, I love back,
And I love and am loved.
Schlimme, schlimme Reden flüstern
Eure Zungen schonungslos,
Doch ich weiss es, sie sind lüstern
Nach unschuldgem Blute blos.
Nimmer soll es mich bekümmern,
Schwatzt so viel es euch beliebt.
Und ich weiss, ich bin geliebt!
Your tongues whisper relentlessly
Wicked, wicked slanders;
But I know, they merely thirst
For innocent blood.
It will never bother me,
You may gossip to your heart’s content;
Zur Verleumdung sich verstehet nur,
Wem Lieb’ und Gunst gebrach,
Weil’s ihm selber elend gehet
Und ihn niemand minnt und mag.
Darum denk’ ich, dass die Liebe,
Drum sie schmähn mir Ehre giebt,
Wer mich liebt, den lieb’ ich wieder,
Und ich weiss, ich bin geliebt!
Only those enjoy slander
Who lack affection and kindness,
Because they fare so wretchedly
And no one loves or wants them.
Therefore I think that the love
They revile is to my honour;
10
Wenn ich wär’ aus Stein und Eisen,
Möchtet ich darauf bestehn,
Dass ich sollte von mir weisen
Liebesgruss und Liebesflehn.
Doch mein Herzlein ist nun leider
Weich, wie’s Gott uns Menschen giebt,
Und ich weiss, ich bin geliebt.
If I were made of stone and iron,
You might well insist
That I should reject
Love’s greetings, love’s entreaties.
But my little heart is, I fear, soft,
As God has fashioned it for us girls;
Minnespiel, Op. 101
1 Meine Töne, still und heiter
Meine Töne, still und heiter,
Zu der Liebsten steigt hinan!
O dass ich auf eurer Leiter
Zu ihr auf nicht steigen kann.
Leget, o ihr süssen Töne,
An die Brust ihr meinen Schmerz,
Weil nicht will die strenge Schöne,
Dass ich ihr mich leg’ ans Herz.
My soft joyous singing
My soft joyous singing
Soars up to my love’s window!
If only I could on your ladder
Follow it there!
O sweet songs,
Lay my sorrows on her breast,
Since my stern and beautiful love
Will not let me rest on her heart.
Die Liebste hat mit Schweigen
Das Fenster aufgetan,
Sich lächelnd vorzuneigen,
Dass meine Blick’ es sahn,
Wie mit dem wolkenlosen
Blick einen Gruss sie beut,
Da hat sie lauter Rosen
Auf mich herab gestreut.
My beloved has silently
Opened her window,
And leant smilingly
Out for me to see her
Greet me
With her serene gaze,
Strewing nothing but roses
Onto me below.
Sie lächelt mit dem Munde
Und mit den Wangen auch;
Da blüht die Welt zur Stunde
Mir wie ein Rosenstrauch;
Sie lächelt Rosen nieder,
Sie lächelt über mich
Und schliesst das Fenster wieder,
Und lächelt still in sich.
She smiles with her lips
And she smiles with her cheeks;
And the world blossoms at once
Like a flowering rosebush;
She smiles down roses on me,
She smiles at me
And closes the window again,
And smiles secretly to herself.
11
Sie lächelt in die Kammer
Mit ihrem Rosenschein;
Ich aber darf, o Jammer,
Darin bei ihr nicht sein;
O dürft’ ich mit ihr kosen
Im Kämmerchen ein Jahr!
Sie hat es wohl voll Rosen
Gelächelt ganz und gar.
She smiles in her room
With her rose-like gleam;
But I, alas, may
Not be with her;
If only I could nestle up to her
For a year in her little room!
She must surely
Have smiled it full of roses.
2 Liebster, deine Worte stehlen
Liebster, deine Worte stehlen
Aus dem Busen mir das Herz.
O wie kann ich dir verhehlen
Meine Wonne, meinen Schmerz!
Dearest, your words are stealing
Dearest, your words are stealing
My heart from my breast.
Ah! how can I conceal from you
My rapture and my pain!
Liebster, deine Töne ziehen
Aus mir selber mich empor.
Lass uns von der Erde fliehen
Zu der selgen Geister Chor!
Dearest, your voice draws me aloft
From out of myself.
Let us flee the earth
To join the choir of blessed spirits!
Liebster, deine Saiten tragen
Durch die Himmel mich im Tanz,
Lass um dich den Arm mich schlagen,
Dass ich nicht versink’ im Glanz!
Dearest, your lute strings
Bear me dancing into the skies,
Let me put my arm around you
That I don’t faint in such radiance!
Liebster, deine Lieder wanken
Mir ein’ Strahlenkranz ums Haupt.
O wie kann ich dir es danken,
Wie du mich so reich umlaubt.
Dearest, your songs twine
A halo around my head.
Oh! how can I thank you
For such a glorious garland.
3 Ich bin dein Baum
Ich bin dein Baum, o Gärtner, dessen Treue
Mich hält in Liebespfleg’ und süsser Zucht,
Komm, dass ich in den Schoss dir dankbar streue
Die reife, dir allein gewachs’ne Frucht.
I am your tree
I am your tree: O gardener, whose loyalty
Treats me affectionately and tenderly,
Come, let me with thanks shower into your lap
The ripe fruit I grew for you alone.
Ich bin dein Gärtner, o du Baum der Treue!
Auf and’res Glück fühl ich nicht Eifersucht,
Die holden Äste find ich stets aufs Neue
Geschmückt mit Frucht, wo ich gepflückt die Frucht.
I am your gardener, O tree of loyalty!
I am not jealous of others’ happiness:
I always find your dear branches decked anew
With fruit, where I once picked the fruit.
12
4 Mein schöner Stern!
Mein schöner Stern!
Ich bitte dich,
O lasse du
Dein heitres Licht
Nicht trüben durch
Den Dampf in mir,
Vielmehr den Dampf
In mir zu Licht,
Mein schöner Stern,
Verklären hilf!
My lovely star!
My lovely star!
I beg of you,
O do not let
Your serene radiance
Be dimmed by
Dark clouds in me,
Rather help,
My lovely star,
To transfigure the dark
Into light!
Mein schöner Stern!
Ich bitte dich,
Nicht senk’ herab
Zur Erde dich,
Weil du mich noch
Hier unten siehst,
Heb’ auf vielmehr
Zum Himmel mich,
Mein schöner Stern,
Wo du schon bist.
My lovely star!
I beg of you
Not to descend
To earth,
Because you still
See me down here,
Rather lift me
Up to heaven,
My lovely star,
Where you already are!
5 Schön ist das Fest des Lenzes
Schön ist das Fest des Lenzes.
Doch währt es nur der Tage drei!
Hast du ein Lieb, bekränz es
Mit Rosen, eh’ sie gehn vorbei!
Fair is the festival of Spring
Fair is the festival of Spring,
But it only lasts for three days!
If you've a sweetheart, garland
Her with roses, before they fade!
Hast du ein Glas, kredenz es,
O Schenk, und singe mir dabei:
Schön ist das Fest des Lenzes,
Doch währt es nur der Tage drei!
If you've a glass, offer it,
O innkeeper, and sing, as you give it me:
Fair is the festival of Spring,
But it only lasts for three days!
6 O Freund, mein Schirm, mein Schutz!
O Freund, mein Schirm, mein Schutz!
O Freund, mein Schmuck, mein Putz!
Mein Stolz, mein Trost, mein Trutz!
O friend, my shelter, my protection!
O friend, my shelter, my protection!
O friend, my jewel, my ornament!
My pride, my comfort, my courage!
13
Mein Bollwerk, o mein Schild!
Wo’s einen Kampf mir gilt,
Flücht’ ich mich zu deinem Bild.
My bastion, O my shield!
When battle calls me,
I take refuge with you.
Wenn mich in Jammerschlucht
Die Welt zu drängen sucht,
Nehm’ ich zu dir die Flucht.
When the world seeks to hem
Me in with deep grief,
I fly to you.
Ob sie mir Bittres bot,
Mit Bittrerem mir droht,
So klag ich dir die Not.
Though it offers me bitterness,
Threatens me with bitterness,
I cry to you my need.
Du schickest ohn’ ein Wort
Des Trostes mich nicht fort,
Du bist und bleibst mein Hort.
You do not send me away
Without a word of comfort,
You are and shall remain my haven.
Der Erde Weh ist Scherz,
Hier leg’ ich an dein Herz
Mich selbst und meinen Schmerz.
The earth’s woes are mere jest,
Here upon your heart I lay
Myself and my pain.
O Welt, was du mir tust,
Ich ruh, in stiller Lust
An meines Freundes Brust.
O world, whatever you do to me,
I shall rest in silent joy
On my friend’s heart.
7 Die tausend Grüsse, die wir senden
Die tausend Grüsse,
Die wir dir senden,
Ostwind dir müsse
Keinen entwenden!
The thousand greetings that we send you
The thousand greetings
That we send you,
O East Wind, you must
Steal none of them!
Zu dir im Schwarme
Ziehn die Gedanken.
Könnten die Arme
Auch dich umranken!
Thoughts
Throng to you.
Could arms
Also entwine you!
Du in die Lüfte
Hauche dein Sehnen!
Lass deine Düfte
Küsse mich wähnen.
Oh! breathe into the air
Your longing!
Let me take your fragrance
For kisses.
14
Schwör’ es! Ich hör’ es:
Dass du mir gut bist,
Hör’ es! Ich schwör’ es:
Dass du mein Blut bist.
Swear! I shall hear it:
That you love me,
Listen! I swear it:
That you are my very blood.
Dein war und blieb ich,
Dein bin und bleib ich,
Schon vielmal sang ich’s,
Noch vielmal sing ich’s:
Dein war und blieb ich,
Dein bin und bleib ich.
I was yours and remained yours,
I am yours and remain yours;
Many times I’ve sung it,
Still many times I’ll sing it:
I was yours and remained yours,
I am yours and remain yours.
8 So wahr die Sonne scheinet
So wahr die Sonne scheinet,
So wahr die Wolke weinet,
So wahr die Flamme sprüht,
So wahr der Frühling blüht,
So wahr hab ich empfunden,
Wie ich dich halt umwunden;
Du liebst mich, wie ich dich,
Dich lieb ich wie du mich.
Truly as the sun shines
Truly as the sun shines,
Truly as the cloud weeps,
Truly as the flame flashes,
Truly as Spring blossoms,
As truly did I feel
Holding you in my embrace:
You love me, as I love you,
I love you, as you love me.
Die Sonne mag verscheinen,
Die Wolke nicht mehr weinen,
Die Flamme mag versprühn,
Der Frühling nicht mehr blühn;
Wir wollen uns umwinden,
Und immer so empfinden:
Du liebst mich, wie ich dich,
Dich lieb ich wie du mich.
The sun may cease to shine,
The cloud may weep no more,
The flame may flash and fade,
The Spring may blossom no more!
But we shall embrace
And always feel:
You love me, as I love you,
I love you, as you love me.
Friedrich Rückert (1788–1866)
INTERVAL
15
Spanische Liebeslieder, Op. 138
1 Vorspiel piano, four hands
Introduction
2 Tief im Herzen trag’ ich Pein
Tief im Herzen trag’ ich Pein,
Muss nach aussen stille sein.
Deep in my heart I bear my grief
Deep in my heart I bear my grief
Outwardly I must be calm.
Den geliebten Schmerz verhehle
Tief ich vor der Welt Gesicht;
Und es fühlt ihn nur die Seele,
Denn der Leib verdient ihn nicht.
Wie der Funke, frei und licht,
Sich verbirgt im Kieselstein,
Trag’ ich innen tief die Pein.
I conceal this sweet agony
Far from the world’s gaze;
It is felt only by my soul,
For the body does not deserve it.
As sparks, free and bright,
Lie hidden in flint,
So I bear my grief deep within.
3 O wie lieblich ist das Mädchen
O wie lieblich ist das Mädchen,
Wie so schön und voll Anmut.
Oh, how lovely is the girl
Oh, how lovely is the girl,
How beautiful and full of grace.
Sag’ mir an, du wackrer Seemann,
Der du lebst auf deinem Schiffe,
Ob das Schiff und seine Segel,
Ob die Sterne wohl so schön sind!
Tell me, gallant sailor,
You who live on board your ship,
If the ship and her sails,
If the stars are so beautiful!
Sag’ mir an, du stolzer Ritter,
Der du gehst im blanken Harnisch,
Ob das Ross und ob die Rüstung,
Ob die Schlachten wohl so schön sind!
Tell me, proud knight,
Clad in shining armour,
If your horse and your arms,
If your battles are so beautiful!
Sag’ mir an, du Hirtenknabe,
Der du deine Herde weidest,
Ob die Lämmer, ob die Matten,
Ob die Berge wohl so schön sind!
Tell me, shepherd,
You who tend your flock,
If lambs and pastures,
If mountains are so beautiful!
4 Bedeckt mich mit Blumen
Bedeckt mich mit Blumen,
Ich sterbe vor Liebe.
Cover me with flowers
Cover me with flowers,
I die for love.
16
Dass die Luft mit leisem Wehen
Nicht den süssen Duft mir entführe!
Bedeckt mich!
Lest the soft breezes
Rob me of their sweet scent,
Cover me!
Von Jasmin und weissen Lilien
Sollt ihr hier mein Grab bereiten.
Ich sterbe.
With jasmine and white lilies
You shall here prepare my grave,
I am dying.
Und befragt ihr mich: Woran?
Sag’ ich: Unter süssen Qualen
Der Liebe.
And if you ask me: Of what?
I’ll say: From sweet torments
Of love.
5 Flutenreicher Ebro
Flutenreicher Ebro,
Blühendes Ufer,
All’ ihr grünen Matten,
Schatten des Waldes,
Fraget die Geliebte,
Die unter euch ruhet,
Ob in ihrem Glücke
Sie meiner gedenket.
Surging River Ebro
Surging River Ebro,
Blossoming banks,
All you green pastures
And forest shadows –
Ask my beloved
Who dwells among you
If in her happiness
She thinks of me.
Und ihr tauigen Perlen,
Die ihr im Frührot
Den grünenden Rasen
Bunt mit Farben schmückt,
Wenn sie Kühlung atmet,
Ob in ihrem Glücke
And you dewy pearls,
Who in the rosy dawn
Adorn the green grass
With many bright colours –
Ask my beloved,
When she breathes the cool air,
If in her happiness
She thinks of me.
Ihr laubigen Pappeln,
Schimmernde Pfade,
Wo leichten Fusses,
Mein Mädchen wandelt,
Wenn sie euch begegnet,
Fragt sie, fragt sie,
Ob in ihrem Glücke
You leafy poplars,
Shimmering paths,
Where with light tread
My girl roams –
When she meets you,
Ask her, ask her
If in her happiness
She thinks of me.
17
Ihr schwärmenden Vögel,
Die den Sonnenaufgang
Singend ihr begrüsset
Mit Flötenstimmen,
Dieses Ufers Blume,
Ob in ihrem Glücke
You swarming birds,
Who greet the sunrise
With flute-like
Songs –
Ask my beloved,
The flower of this shore,
If in her happiness
She thinks of me.
6 Intermezzo – Nationaltanz piano, four hands
Intermezzo – National dance
7 Weh, wie zornig ist das Mädchen
Weh, wie zornig ist das Mädchen,
Weh, wie zornig, weh, weh!
Alas, how angry the girl is
Alas, how angry the girl is,
Alas, how angry, alas!
Im Gebirge geht das Mädchen
Ihrer Herde hinterher,
Ist so schön wie die Blumen,
Ist so zornig wie das Meer.
In the mountains
The girl follows her herd –
She’s as fair as the flowers,
As angry as the sea.
Weh, wie zornig ist das Mädchen,
Weh, wie zornig, weh, weh!
Alas, how angry the girl is,
Alas, how angry, alas!
8 Hoch, hoch sind die Berge
Hoch, hoch sind die Berge,
Und steil ist ihr Pfad;
Die Brunnen sprüh’n Wasser
Und rieseln ins Kraut.
The mountains are high
The mountains are high,
Its paths are sheer;
The fountains spray water
Which flows into the undergrowth.
O Mutter, o Mutter,
Lieb’ Mütterlein du,
Dort, dort in die Berge
Mit den Gipfeln so stolz,
Da ging eines Morgens
Mein süssester Freund.
Wohl rief ich zurück ihn
Mit Zeichen und Wort,
Wohl winkt’ ich mit allen
Fünf Fingern zurück,
O mother, O mother,
O dearest mother;
Up into those mountains
With their proud peaks
My sweetest friend
Departed one morning.
I called him back
With signs and words,
I waved him back
With every finger of my hand –
18
Wohl rief ich zurück ihn
Mit Zeichen und Wort!
I called him back
With signs and words!
9 Blaue Augen hat das Mädchen
Blaue Augen hat das Mädchen,
Wer verliebte sich nicht drein!
The girl has blue eyes
The girl has blue eyes,
Who would not fall in love with them!
Sind so reizend zum Entzücken,
Dass sie jedes Herz bestricken,
Wissen doch so stolz zu blicken,
Dass sie schaffen eitel Pein.
They charm so much that they delight
And captivate each heart,
For they can gaze with such pride
That they wantonly cause pain.
Machen Ruh’ und Wohlbefinden,
Sinnen und Erinn’rung schwinden,
Wissen stets zu überwinden
Mit dem spielend süssen Schein.
They cause peace and happiness,
Thoughts and memories to disappear,
And always know how to triumph
With their sweet and faithful glow.
Keiner, der geschaut ihr Prangen,
Ist noch ihrem Netz entgangen,
Alle Welt begehrt zu hangen
Tag und Nacht an ihrem Schein.
None who has known their splendour
Has never escaped their thrall,
Everyone desires to hang
Night and day upon their glow.
Blaue Augen hat das Mädchen
Wer verliebte sich nicht drein!
The girl has blue eyes,
Who would not fall in love with them!
10 Dunkler Lichtglanz, blinder Blick
Dunkler Lichtglanz, blinder Blick,
Totes Leben, Lust voll Plage,
Glück erfüllt von Missgeschick,
Trübes Lachen, frohe Klage,
Süsse Galle, holde Pein,
Fried’ und Krieg in einem Herzen,
Das kannst, Liebe, du nur sein,
Mit der Lust erkauft durch Schmerzen.
Dark light, blind gaze
Dark light, blind gaze,
Dead life, joy and pain,
Fortune full of misfortune,
Dull laughter, happy lament,
Sweet bitterness, blessed pain,
Peace and war in a single heart –
Only you, Love, can be all that,
With happiness paid for with pain.
With thanks to Hyperion Records for German texts
Translations © Richard Stokes
19
about the performers
About tonight’s performers
Born in Flensburg, Germany, Dorothea
Röschmann made a critically
acclaimed debut at the 1995 Salzburg
Festival as Susanna (The Marriage of
Figaro) with Nikolaus Harnoncourt
and has since returned to there
many times with conductors including
Claudio Abbado, Daniel Harding,
Sir Charles Mackerras and Christoph
von Dohnányi.
Mozart roles have also taken her to the
Metropolitan Opera, New York
(Susanna, Pamina, Ilia, Donna Elvira),
the Royal Opera House, Covent
Garden (Pamina, Fiordiligi, Countess
Almaviva), and the Vienna State
Opera (Susanna). She has sung
Zerlina, Susanna, Ännchen, Drusilla,
Almirena, Marzelline, Anne Trulove
and Rodelinda at the Bavarian State
Opera, Munich, and is also closely
20
Her appearances this season include
the Vienna Philharmonic Orchestra
with Harnoncourt and Barenboim, the
Vienna Symphony Orchestra with
Georges Prêtre, the Orchestra
Filarmonica della Scala with Pinchas
Steinberg, the Rotterdam Philharmonic
with Yannick Nézet-Séguin and the
Bavarian Radio Symphony Orchestra
with Daniel Harding.
Her many recital appearances include
Antwerp, Lisbon, Madrid, Cologne,
Brussels, New York, London, Vienna,
the Amsterdam Concertgebouw and
the Edinburgh, Munich and
Schwarzenberg festivals.
Future engagements include a return
to the Salzburg Festival, the Opéra de
Paris and the Vienna State Opera.
Nikolaus Karlinsky
Dorothea Röschmann soprano
Dorothea Röschmann’s recordings
include The Marriage of Figaro with
Harnoncourt, The Magic Flute with
Abbado, and Falstaff and Suor
Angelica with Antonio Pappano,
Brahms’s Requiem with Rattle (winner
of a Grammy and a Gramophone
Award), Mahler’s Fourth Symphony
with Harding and a disc of Schumann
songs with Ian Bostridge and Graham
Johnson.
associated with the Deutsche
Staatsoper, Berlin, where, in addition
to several Mozart roles and the roles of
Eva, Elsa and Micaëla with Daniel
Barenboim, she has appeared as
Ännchen with Zubin Mehta, Nannetta
with Claudio Abbado, and Elmira in
Keiser’s Croesus and in the title-role in
Alessandro Scarlatti’s Griselda, both
with René Jacobs. She has also
appeared as Norina at La Monnaie,
Brussels, and as Pamina at the Bastille,
Paris.
Angelika Kirchschlager
mezzo-soprano
Born in Salzburg, Angelika
Kirchschlager studied at the
Mozarteum and at the Vienna
Music Academy where her teachers
included Professor Gerhard Kahry
and Walter Berry.
Angelika Kirchschlager’s concert
highlights this season include recitals
throughout Europe and North America
with Helmut Deutsch, Graham
Johnson and Roger Vignoles, the
current Schumann tour to Paris,
Vienna, London and Hamburg, a solo
recital at Alice Tully Hall in New York,
plus two duo recitals at the Wigmore
Hall, with Dame Felicity Lott and Simon
Keenlyside.
She has a wide-ranging discography,
and her recordings have received
many awards, including a Grammy.
Her latest releases include a disc of
Hugo Wolf Lieder with Helmut
Deutsch, a CD of operetta arias and
duets, My Heart Alone, with Simon
Keenlyside, and Handel arias with the
Basle Chamber Orchestra and
Laurence Cummings.
Her operatic appearances this season
include Weill’s Seven Deadly Sins and
the Mahagonny Songs at the Théâtre
des Champs-Élysées , Metropolitan
Opera (Hänsel), Bavarian State Opera
(Prince Orlofsky, Octavian and
Clairon) and at the Vienna State
Opera (Octavian and Clairon).
In 2007 Angelika Kirchschlager was
made a Kammersängerin of the
Vienna State Opera by the Austrian
Government. She is a professor at the
Mozarteum in Salzburg.
Shiela Rock
She enjoys an international career as
one of the leading vocal artists of
today, dividing her time between
recitals and opera in Europe, North
America and the Far East. She is
acclaimed as one of the foremost
interpreters of the operas of Richard
Strauss and Mozart. For the Vienna
State Opera her roles have included
Dorabella, Octavian and Clairon
(Capriccio). For the Royal Opera
House her roles have included
Mélisande (Pelléas et Mélisande),
Sophie (Nicholas Maw’s Sophie’s
Choice), Hänsel (Hänsel und Gretel)
and Octavian.
Ian Bostridge tenor
Ian Bostridge was a post-doctoral
fellow in history at Corpus Christi
College, Oxford, before embarking on
a full-time career as a singer. His recital
appearances include the world’s
major concert halls and the Salzburg,
Edinburgh, Munich, Vienna,
Aldeburgh and Schubertiade festivals.
In 1999 he premiered a song-cycle
written for him by Hans Werner Henze.
In 2003/4 he held artistic residencies at
the Vienna Konzerthaus and the
Schubertiade Schwarzenberg; in
2004/5 he shared a Carte-Blanche
series with Thomas Quasthoff at the
Amsterdam Concertgebouw; in
2005/6 he had his own ‘Perspectives’
series at Carnegie Hall and in 2008 a
residency at the Barbican.
He made his operatic debut in 1994 as
Lysander in Britten’s A Midsummer
21
Ian Bostridge regularly works with
leading orchestras including the Berlin,
London, Los Angeles, New York,
Rotterdam and Vienna Philharmonic
orchestras, the BBC, Boston, Chicago
and London Symphony orchestras and
the Royal Concertgebouw Orchestra,
and such conductors as Daniel
Barenboim, Sir Andrew Davis, Sir
Colin Davis, Daniel Harding, James
Levine, Riccardo Muti, Seiji Ozawa,
22
Antonio Pappano, Sir Simon Rattle and
Donald Runnicles.
His discography, which has won a
Grammy and several Gramophone
Awards, ranges from Bach to Noel
Coward, including Lieder by Schubert,
Schumann, Wolf and Henze, vocal
works by Thomas Adès, Britten and
Janáček, operas by Mozart, Britten
and Stravinsky and Bach cantatas.
He was awarded a CBE in 2004.
such renowned conductors as Claudio
Abbado, Daniel Barenboim, Bernard
Haitink, Mariss Jansons, Kurt Masur,
Seiji Ozawa, Sir Simon Rattle, Helmuth
Rilling, Christian Thielemann and
Franz Welser-Möst.
Thomas Quasthoff’s debut in 1995 at
the Oregon Bach Festival laid the basis
for his highly successful career in the
USA, since which time he has returned
many times. He made his recital debut
at Carnegie Hall, singing Winterreise,
in 1999.
Thomas Quasthoff made his operatic
debut in 2003, as Don Fernando
(Fidelio) under Sir Simon Rattle at the
Salzburg Easter Festival. This was
followed by his debut at the Vienna
Staatsoper in the role of Amfortas
(Parsifal) under Donald Runnicles, a
role he reprised under Rattle in 2005.
Jim Rakete/DG
Night’s Dream with Opera Australia at
the Edinburgh Festival. In 1996 he
made his debut for English National
Opera as Tamino, returning for Jupiter
in Semele. In 1997 he sang Quint in
Britten’s The Turn of the Screw for the
Royal Opera, Covent Garden, and has
since returned for Caliban in Thomas
Adès’s The Tempest, Don Ottavio in
Don Giovanni and Vašek in The
Bartered Bride. He sang Janáček’s
Diary of One who Disappeared in a
new translation by Seamus Heaney,
staged in London, Paris, Munich,
Amsterdam and New York. Most
recently he sang Don Ottavio for the
Vienna State Opera and Aschenbach
in Death in Venice for English National
Opera, also seen at La Monnaie,
Brussels, and in Luxembourg. He will
sing Aschenbach in his debut for
La Scala, Milan.
Thomas Quasthoff bass-baritone
The German bass-baritone Thomas
Quasthoff is acclaimed as one of the
most remarkable singers of his
generation. A frequent guest of both
the Berlin and the Vienna Philharmonic
orchestras, he appears regularly with
the world’s leading ensembles under
This season includes residencies in
Baden-Baden, Hamburg and here at
the Barbican. Highlights include
Haydn’s The Seasons under Sir Simon
Rattle, Bach’s St Matthew Passion with
the Berlin Philharmonic Orchestra,
Elgar’s The Dream of Gerontius with
the Vienna Philharmonic Orchestra,
Kindertotenlieder with the
Staatskapelle Dresden and Brahms’s
Vier Ernste Gesänge under Simone
Young in Hamburg. He will also give a
jazz tour (which will be recorded) and
appear widely as a recitalist.
Thomas Quasthoff’s discography
ranges from Bach to jazz and includes
Lieder by Brahms, Liszt, Mahler and
Schubert, German opera arias and a
CD for children. His most recent disc is
of Bach cantatas with Dorothea
Röschmann and the Berlin Baroque
Soloists. Among his many accolades
are Grammy and Gramophone
awards and ECHO prizes.
From 1996, he was a professor in the
vocal department of the Music
Academy in Detmold, before
accepting a new position at the Hanns
Eisler Music University in Berlin in 2004.
Earlier this year, his new Lieder
Competition was launched in Berlin.
In 2005 Thomas Quasthoff received
the Order of Merit from the President
of the German Republic. The following
year he was awarded the European
Culture Price for Music at the Dresden
Frauenkirche and earlier this year he
received the Royal Philharmonic
Society’s Gold Medal.
Thomas Moser, Christiane Oelze,
Christoph Pregardien, Thomas
Quasthoff, Andreas Schmidt, Bo
Skovhus, Rita Streich, Michael Volle,
Bernd Weikl and Ruth Ziesak, among
many others. Helmut Deutsch was also
the regular partner of Hermann Prey
for 12 years.
Helmut Deutsch piano
Helmut Deutsch studied piano,
composition and musicology in
his home city of Vienna and was
awarded the Vienna Composition
Prize. From the time he was a student,
he specialised in chamber music and
Lied accompaniment, and has since
played for many world-renowned
instrumentalists, involving himself in all
forms of chamber music.
He is a frequent guest at major music
centres and festivals throughout the
world and appears on many prizewinning recordings. From 1967 to 1979
he taught at the Vienna University of
Music. Currently he is a professor at the
Hochschule für Musik in Munich and
regularly gives masterclasses in Europe
and Japan.
His career as a Lied accompanist was
launched when he performed with the
legendary soprano Irmgard Seefried,
and he has since played for such
renowned singers as Juliane Banse,
Olaf Bär, Barbara Bonney, Grace
Bumbry, Ileana Cotrubas, Diana
Damrau, Brigitte Fassbaender,
Matthias Goerne, Dietrich Henschel,
Jonas Kaufmann, Angelika
Kirchschlager, Genia Kühmeier,
23
and the Liceu in Barcelona, the
Musikverein and Konzerthaus in
Vienna; and London’s Wigmore Hall
and at the BBC Proms.
Marco Borggreve
He was director of Perth International
Chamber Music Festival in Australia
(2000–03), and is artistic director of
Leeds Lieder 2009 and the
Machynlleth Festival in Wales
(2009–11).
Julius Drake piano
The pianist Julius Drake specialises in
chamber music, working with many of
the world’s leading artists, both in
recital and on disc.
He appears at all the major music
centres: in recent seasons he has given
concerts at the Aldeburgh, Edinburgh,
Munich, Schubertiade and Salzburg
festivals; at Carnegie Hall and Lincoln
Center, New York, the Amsterdam
Concertgebouw, Cologne
Philharmonie, the Châtelet and Musée
du Louvre in Paris, La Scala, Milan,
Julius Drake has devised song series
for the Wigmore Hall, the BBC and the
Concertgebouw, and Middle Temple
Hall in London, and he regularly
collaborates with artists such as
Thomas Allen, Olaf Bär, Ian Bostridge,
Angelika Kirchschlager, Sergei
Leiferkus, Dame Felicity Lott,
Katarina Karneus, Christopher
Maltman, Mark Padmore, Christoph
Pregardien, Amanda Roocroft and
Willard White.
As well as performing at international
chamber music festivals, he also has
Programme produced by Harriet Smith; printed by Sharp Print Limited; advertising by
Cabbell (tel. 020 8971 8450)
Please make sure that all digital watch alarms and mobile phones are switched off during the
performance. In accordance with the requirements of the licensing authority, sitting or standing
in any gangway is not permitted. Smoking is not permitted anywhere on the Barbican premises.
No eating or drinking is allowed in the auditorium. No cameras, tape recorders or any other
recording equipment may be taken into the hall.
24
an instrumental duo with oboist
Nicholas Daniel.
His many recordings include Sibelius
and Grieg songs with Katarina
Karneus, French oboe sonatas with
Nicholas Daniel, Spanish songs with
Joyce DiDonato, Mahler and
Tchaikovsky songs with Christianne
Stotijn and Schumann Lieder with
Alice Coote. He has made an awardwinning series of recordings with Ian
Bostridge and his CDs with Gerald
Finley have won two Gramophone
awards.
Highlights this season include a 50th
birthday concert hosted for Julius
Drake at the Wigmore Hall, recitals
with Gerald Finley, Bejun Mehta and
Alice Coote, a tour of Wolf’s
Spanisches Liederbuch with Ian
Bostridge and Angelika Kirchschlager,
as well as the current Schumann tour,
plus a recording of Liszt songs with
Matthew Polenzani.
Barbican Centre
Silk Street, London EC2Y 8DS
Administration 020 7638 4141
Box Office 020 7638 8891
Great Performers Last-Minute Concert
Information Hotline 0845 120 7505
www.barbican.org.uk

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