Haydn Die Jahreszeiten (The Seasons) Barbican Hall

Transcription

Sunday 11 March 2007, 3.30pm
Haydn Die Jahreszeiten (The Seasons)
sung in German; text and translation on pages 5-25
Part One Spring 28’
Part Two Summer 35’
interval
Part Three Autumn 31’
Part Four Winter 31’
The English Baroque Soloists and The Monteverdi Choir
Sir John Eliot Gardiner conductor
Rebecca Evans soprano Hannah
James Gilchrist tenor Lucas
Dietrich Henschel baritone Simon
This concert has been generously supported by the Friends of Monteverdi.
Barbican Hall
The Barbican Centre is provided by the
City of London Corporation as part of its
contribution to the cultural life of London
and the nation.
The Great Performers 2007-2008 season is now on sale.
For full details visit www.barbican.org.uk/greatperformers0708 where you
can listen to soundclips and watch the Barbican’s Head of Music
Robert van Leer introduce the new season.
Notes
Joseph Haydn (1732-1809)
Die Jahreszeiten (The Seasons)
Haydn
Haydn had just celebrated his 69th birthday when the
first performance of The Seasons took place in Vienna in
April 1801 in the spacious palace of Prince
Schwarzenberg. The idea of an oratorio on the timeless
subject of the procession of the seasons had been
conceived two years earlier, when Haydn’s The Creation
was given its first public performances. The enthusiasm
with which that work was greeted encouraged Baron
Gottfried van Swieten, the editor of the text, to think of a
sequel.
While The Creation had been born out of Haydn’s and
Swieten’s shared enthusiasm for the oratorios of Handel,
for the follow-up oratorio Swieten, rather than Haydn,
took the initiative, and turned once more to the English
tradition for a subject, to James Thomson’s epic poem
The Seasons. This had been issued in instalments
between 1726 and 1728, its success prompting the poet to
increasingly extravagant flights of lyrical imagination.
The final poem consisted of over 5,000 lines – far too
long for any musical setting. Out of the poem Swieten
skilfully culled a text for Haydn of some 650 lines,
concentrating on the passages of narrative and
description, and omitting the many digressions and
passages of moralising. He drew extensively on a
German translation of the poem by Barthold Heinrich
Brockes.
But Swieten rightly saw that the last part of Thomson’s
epic, ‘Winter’, with its repeated descriptions of a bleak
landscape, was incapable of providing the expected
uplifting conclusion to an oratorio. He therefore included
two items in lighter vein that drew on other sources, the
first a spinning song (poetry by Gottfried August Bürger),
the second a ‘Lied mit Chor’ (‘Song with Chorus’) on a
2
text derived from Charles Simon Favart, telling a story
about a saucy girl outwitting a dirty old nobleman. In
addition, to end the ‘Winter’ section and the entire
oratorio, Swieten provided the text for a chorus of praise
and thanks, explicit Christian sentiments largely absent
from Thomson’s original.
Apart from the easy appeal of the subject-matter – the
measureless tread of the seasons – what specifically
attracted Swieten to Thomson’s poetry were the plentiful
descriptions of natural life: weather and climate, sunrise,
bird-song, hunting, harvesting and so on. For nearly 50
years Haydn’s music had shown a penchant for
descriptive writing, and precedents for many of the
illustrative passages in The Seasons abound in his earlier
music. Though these earlier passages are always
charming, they are often gratuitous too.
In The Seasons (as in The Creation) Haydn was
presented with a context in which the pictorial was a
persistent and governing element, in turn delighting and
enthralling the listener. Indeed, Haydn remarked on more
than one occasion during the composition of The
Seasons that there was too much word-painting. In
‘Autumn’ there is a chorus extolling the work of the
peasant (‘O Fleiss, o edler Fleiss’). Haydn, in the autumn
of his days and remembering his many years of hard
work, wryly remarked that it had never occurred to him to
set the word ‘fleiss’ (‘diligence’) to music; equally wryly he
responded with a learned fugue. In the concluding
movement of ‘Summer’ Haydn, within a space of 38 bars
and always in advance of the words, evokes cattle (loud
‘moos’ in wind and low strings), a quail (oboes), a cricket
(flutes), a frog (woodwind) and the tolling of the evening
bell (horns). The composer complained about the frog,
Notes
perhaps because for once his aural imagination was not
equal to the task. Haydn’s resourcefulness, otherwise, is
remarkable, as is his ability to contain such detail within
the flow of the music.
When Haydn attended a performance of Handel’s
Messiah in London, he was overwhelmed by the power
of the choral writing but was indifferent to the arias:
‘Handel was great in choruses but mediocre in his song’
he told an early biographer. In The Creation the chorus
had played the distinctive role of offering praise and
thanks at cumulative moments in the narrative. In The
Seasons the chorus plays a more central role, the choral
writing showing more variety and demanding great
technical resource and stamina. There are moments in
the narrative, such as the ends of ‘Spring’ and ‘Winter’,
when the chorus stands back from the action, summarises
and offers praise, but the chorus members are also active
participants, peasants who respond with the full gamut
of emotions, from enthusiasm to fear, to the year’s events.
We first hear them welcoming the onset of spring, the
whole village together and then separately as womenfolk
and menfolk. Later in the oratorio they are heard in
prayer, witnessing the sunrise and a storm, resting at the
end of a hot summer’s day, singing while spinning and
reacting readily to Hannah’s saucy tale.
Two numbers in ‘Autumn’ provide a particularly
prominent role for chorus, and constitute a tour de force
in any performance. The first describes a hunt and the
second is in praise of wine: blood sport followed by
binge drinking. The hunt for the stag is recounted stage
by stage by the onlookers, their commentary punctuated
by a series of actual hunting horn calls, taking the listener
from the ‘search’ (at the very opening) to the ‘kill’; in an
extravagantly colourful score Haydn even notates forte
grace notes for trombones (effectively short glissandi) to
suggest the exhausted stag. Following the excitement of
the hunt comes the equally extensive chorus in praise of
wine. It features a recurring accented note that in any
stage presentation would no doubt be accompanied by
a clash of mugs. The middle section of the chorus is an
increasingly unruly dance, the orchestra providing
onomatopoeic representation of the fife, the drum, the
fiddle, the hurdy-gurdy and the bagpipes. More wine is
called for and the participants attempt a fugue to the
words ‘Jauchzet, lärmet’ (Be joyful and noisy) – the
perfect antidote to the earlier fugue on ‘Fleiss’!) – only to
take refuge in a 6/8 harmonic rendering of the theme;
the babble increases as triangle and tambourine join in
and the movement moves to a boisterous close. Haydn’s
‘Autumn’ is clearly not for the faint-hearted.
The oratorio has parts for three soloists, their names
allotted by Swieten rather than taken from Thomson:
Simon (a farmer, bass), his daughter Hannah (soprano)
and Lucas (a young peasant, tenor). They are not fully
rounded characters in the manner of individuals in a
Mozart opera or, indeed, in many Handel oratorios.
Rather they are representatives of their fellow peasants,
as much part of the landscape as the storm, the hunt, the
brook and even the despised frog. They are recognisably
human, however, because Haydn gives them music
strongly redolent of contemporary German opera
(Singspiel). Simon’s first aria is typical of many in the
oratorio. Set as an Allegretto in 2/4, the vocal line is
predominantly syllabic and folk-song-like, reminding
modern listeners of Papageno’s music in Mozart’s The
Magic Flute. As Simon ploughs the land and sows the
seed, he joyfully whistles a theme from Haydn’s own
‘Surprise’ Symphony. (Haydn’s self-quotation is a
perfectly just reflection of his popularity as well as being
nonchalantly amusing. Over a century later Schoenberg
was to express the forlorn hope that the ploughman
would be singing his melodies in years to come.)
There are more ambitious arias to set alongside these
homely numbers, such as the accompanied recitative and
aria for Hannah, welcoming the shade in the heat of
midsummer. In the recitative the orchestra illustrates
successively a brook, swarming bees and a shepherd’s
pipe. This pipe, in the form of a solo oboe, then provides
an intermittent obbligato in the following aria, an
appropriate response to the burgeoning coloratura of
the soprano line. The final aria in the oratorio introduces
a rare moment of melancholy and introspection as it
compares the progress of the seasons with the course of
human life. In two parts, a 3/4 Largo and a 2/4 Allegro
molto, it is a moving portrayal of resignation tinged with
resentment at the passing of time, a virtual self-portrait of
Haydn in his old age. There is also a reference to the
untimely death 10 years earlier, in 1791, of Mozart, as the
3
Notes
music quotes the distinctive descending phrase from the
slow movement of the G minor symphony (No. 40) and,
less obviously, in bass instruments, the beginning of the
main theme of the first movement of the E flat symphony
(No.39).
That Haydn thought of his soloists as archetypes rather
than individuals is further suggested by the ready
interaction that occurs between them and the chorus.
Each season contains one example, sometimes more, of
a trio with chorus in which the three peasants first
represent their community and then withdraw into it. The
concluding number of ‘Summer’ begins as another 2/4
Allegretto, with the three soloists commenting on the
appearance of the countryside after the storm. Following
the sound of the evening bell, they lead the singing of a
hymn to the evening – the simple measured style, the key
of E flat and, not least, the prominence of the clarinet in
the orchestral accompaniment provide another aural
reminiscence of The Magic Flute.
The orchestral forces required by Haydn for the oratorio
are the largest in his output: one piccolo, two flutes, two
oboes, two clarinets, two bassoons, contrabassoon, four
horns, three trumpets, three trombones, timpani,
tambourine, triangle, strings and continuo (fortepiano).
Many felicities of scoring have already been mentioned
and certainly few oratorios since Haydn have managed
to demonstrate a massiveness of sonority as well as local
individual, sometimes idiosyncratic colouring. Each
season opens with an orchestral introduction, a
miniature tone poem in effect. In today’s performance
the original versions of these introductions will be given:
violas rather than violins evoking the half-light that
precedes dawn in ‘Summer’, and the lengthier
evocations of Simon’s contentment at harvest time that
begins ‘Autumn’ and of the thick, cold fog that heralds
‘Winter’.
That Haydn was able to indulge his creative imagination
to the full, knowing that the project would be realised in
performance, is also due to Gottfried van Swieten. For
15 years he had been the driving force behind an
informal committee of aristocrats, the Gesellschaft der
Assoziierten, who shared his enthusiasm for oratorio,
principally the works of Handel and latterly of his
4
modern counterpart, as they saw it, Haydn himself. The
first performance was to have taken place on 21 April in
the Schwarzenberg Palace, but a death in the aristocratic
family meant that it had to be postponed until 24 April. It
was to be the last oratorio performance sponsored by
the Gesellschaft. There were rumours that Haydn was
working on a further oratorio, The Last Judgement, but
nothing came of the idea. Swieten himself died in 1803,
the Gesellschaft disbanded, and Haydn – after the
exertions of composing two large-scale oratorios in five
years – had suddenly become an old man.
The Seasons draws on a rich variety of artistic stimuli: the
English tradition of the Sublime and the Beautiful,
Handelian oratorio, Austrian Catholicism and German
opera. This balance of intuition and reason was very
much a product of the 18th century and was replicated in
many areas of intellectual activity. Here these elements
are fused together by the intellectual control of Europe’s
leading composer, one who had unrivalled experience
of composition but who – crucially in this work – still saw
himself as a gifted peasant.
David Wyn Jones © 2007
Find out first Why not download your Great Performers
programme before the concert? Each programme is now available
online five days in advance of each concert. For details visit
www.barbican.org.uk/greatperformers.
Due to the possibility of last minute changes, the online programme
content may differ slightly from that of the final printed version.
Text and translation
PART ONE: SPRING
1 Introduction and Recitative
The Introduction paints the passage of Winter to Spring.
Simon
Seht, wie der strenge Winter flieht!
Zum fernen Pole zieht er hin.
Ihm folgt auf seinen Ruf
Der wilden Stürme brausend Heer,
Mit grässlichem Geheul.
Lucas
Seht, wie vom schroffen Fels der Schnee
In trüben Strömen sich ergiesst!
Hannah
Seht, wie von Süden her,
Durch laue Winde sanft gelockt,
Der Frühlingsbote streicht!
2 Chorus of Country People
Komm, holder Lenz! Des Himmels Gabe, komm!
Aus ihrem Todesschlaf erwecke die Natur!
Komm! Komm, holder Lenz!, etc.
Girls and Women
Es nahet sich der holde Lenz,
Schon fühlen wir den linden Hauch,
Bald lebet alles wieder auf.
Men
Frohlocket ja nicht allzu früh;
Oft schleicht in Nebel eingehüllt
Der Winter wohl zurück,
Und streut auf Blüt’ und Keim sein starres Gift.
All
Komm, holder Lenz, des Himmels Gabe, komm!
Komm! Auf uns’re Fluren senke dich!
O komm, holder Lenz, o komm
Und weile länger nicht!
3 Recitative
Simon
Vom Widder strahlet jetzt
Die helle Sonn’ auf uns herab.
Nun weichen Frost und Dampf
Und schweben laue Dünst’ umher;
Der Erde Busen ist gelöst,
Erheitert ist die Luft.
See how stern Winter takes to flight!
He is retreating to the distant poles.
Responding to his command,
the blustering hordes of tempests follow,
howling dismally.
See how the snow, in muddy streams,
runs off the craggy cliffs!
See how the heralds of the Spring,
enticed by warm, soft breezes,
begin to arrive from the south!
Come, fair Spring, thou gift of Heaven, come!
Awaken nature from her deathlike sleep!
Come, come, fair Spring!, etc.
Fair Spring is drawing nigh,
we can feel its gentle breath already,
soon shall everything return to life.
Do not celebrate too soon;
for often, mist-enshrouded,
the Winter can creep back,
and spew his poison over bud and shoot.
Come, fair Spring, thou gift of Heaven, come!
Come! Upon our meadows set thy foot!
Oh come, fair Spring, oh come
and tarry no longer!
In Aries now, the sun
streams brightly down upon us.
Frost and fog are in retreat,
mild vapours hover all around;
softness returns to the earth
and gladness to the air.
please turn page quietly
5
4 Aria
Simon
Schon eilet froh der Ackersmann
Zur Arbeit auf das Feld,
In langen Furchen schreitet er
Dem Pfluge flötend nach.
The ploughman is already hastening
merrily to the field;
he strides down the long furrows,
whistling behind the plough.
In abgemessnem Gange dann
Wirft er den Samen aus,
Den birgt der Acker treu und reift
Ihn bald zur gold’nen Frucht.
Measuring his paces,
he strews the seed
which, hidden in the trusty soil,
will soon a golden harvest yield.
5 Recitative
Lucas
Der Landmann hat sein Werk vollbracht
Und weder Müh’ noch Fleiss gespart.
Den Lohn erwartet er aus Händen der Natur,
Und fleht darum den Himmel an.
The labourer has fulfilled his task,
sparing himself no pains or toil.
He looks to nature’s hand for his reward
and prays that heaven may grant it.
6 Trio and Chorus – The Farmer’s Prayer
Lucas
Sei nun gnädig, milder Himmel!
Öffne dich und träufe Segen
Über unser Land herab.
Chorus
Sei nun gnädig, milder Himmel!, etc.
Lucas
Lass deinen Tau die Erde wässern!
Simon
Lass Regenguss die Furchen tränken!
Hannah
Lass deine Lüfte wehen sanft,
Lass deine Sonne scheinen hell!
Hannah, Lucas and Simon
Uns spriesset Überfluss alsdann
Und deiner Güte Dank und Ruhm.
Be gracious now, O gentle heaven,
open up and shower blessings
down upon our land.
Be gracious now, O gentle heaven, etc.
Send thy dew to refresh the earth!
Send rain to water the furrows!
Let thy breezes softly blow,
let thy sun shine bright and clear!
Then shall we in abundance thrive
and praise thee for thy goodness.
Sei nun gnädig, milder Himmel!, etc.
Be gracious now, O gentle heaven, etc.
7 Recitative
Hannah
Erhört ist unser Fleh’n, der laue West erwärmt
Und füllt die Luft mit feuchten Dünsten an.
Sie häufen sich; nun fallen sie,
Und giessen in der Erde Schoss
Den Schmuck und Reichtum der Natur.
Our prayer is heard, the mild west wind
warms and fills the air with moisture.
Rainclouds form; and now they open,
showering upon the earth
nature’s jewels and riches.
6
8 Song of Joy
Hannah
O wie lieblich ist der Anblick der Gefilde jetzt!
Kommt, ihr Mädchen, lasst uns wallen
Auf der bunten Flur!
Lucas
Kommt, ihr Bursche, lasst uns wallen
Zu dem grünen Hain!
Hannah and Lucas
O wie lieblich ist der Anblick, etc.
Hannah
Seht die Lilie, seht die Rose,
Seht die Blumen all’!
Lucas
Seht die Auen, seht die Wiesen,
Seht die Felder all’!
Lads and Lasses
Lasst uns wallen auf der bunten Flur!
Hannah
Seht die Erde, seht die Wasser,
Seht die helle Luft!
Lucas
Alles lebet, alles schwebet,
Alles reget sich.
Hannah
Seht die Lämmer, wie sie springen!
Lucas
Seht die Fische, welch Gewimmel!
Hannah
Seht die Bienen, wie sie schwärmen!
Lucas
Seht die Vögel, welch Geflatter!
Lads and Lasses
Alles lebet, alles schwebet,
Alles reget sich.
Welche Freude, welche Wonne
Schwellet unser Herz!
Süsse Triebe, sanfte Reize
Heben uns’re Brust!
Simon
Was ihr fühlet, was euch reizet,
Ist des Schöpfers Hauch.
How lovely the countryside looks now!
Come, lasses, let us wander
through the flowery meadows!
Come, lads, let us wander
to the leafy grove!
How lovely the countryside, etc.
Look at the lilies, look at the roses,
look at all the flowers!
Look at the meadows, the grassland,
look at all the fields!
Let’s wander through the flowery meadows!
Look at the earth, at the lakes and rivers,
look at the bright sky!
All is alive, all is expectant,
all nature bestirs itself.
See how the lambs are leaping!
Look at the fish: what a milling around!
See how the bees are swarming!
Look at the birds: what a fluttering!
All is alive, all is expectant,
all nature bestirs itself.
How our hearts are swelling
with happiness and delight!
Tender feelings, soft sensations
awake within our breasts.
The source of your emotion, your delight,
is the breath of the Creator.
7
Lads and Lasses
Lasst uns ehren, lasst uns loben,
Lasst uns preisen ihn!
Men
Lasst erschallen, ihm zu danken,
Eure Stimmen hoch!
Lads and Lasses
Es erschallen, ihm zu danken,
Unsre Stimmen hoch!
Ewiger, mächtiger, gütiger Gott!
Von deinem Segensmahle
Hast du gelabest uns.
Chorus
Mächtiger Gott!
Vom Strome deiner Freuden
Hast du getränket uns.
Gütiger Gott!
Chorus
Chorus
Ehre, Lob und Preis sei dir,
Ewiger, gütiger, mächtiger Gott!
Let us glorify, praise
and worship him!
Raise your voices in a song
of thanksgiving to him!
Let us raise our voices in a song
of thanksgiving to him!
The eternal, the almighty, the bounteous God!
From thy blessed table
hast thou provided for us.
Almighty God!
With the rivers of thy joy
hast thou quenched our thirst.
Merciful God!
Eternal, almighty, bounteous God!
Eternal, almighty, bounteous God!
Honour, praise and glory
to the eternal, almighty, bounteous God!
PART TWO: SUMMER
The Introduction paints the dawn of day.
Lucas
In grauem Schleier rückt heran
Das sanfte Morgenlicht,
Mit lahmen Schritten weicht vor ihm
Die träge Nacht zurück.
Veiled in misty grey,
dawn’s soft light returns,
while sluggish night, at her approach,
hobbles away once more.
Zu düst’ren Höhlen flieht
Der Leichen Vögel blinde Schar;
Ihr dumpfer Klageton
Beklemmt das bange Herz nicht mehr.
Back to their dark crannies
fly shadowy hordes of owls;
their hollow voices no longer
strike fear into our hearts.
Simon
Des Tages Herold meldet sich,
Mit scharfem Laute rufet er
Day’s harbinger reveals himself;
with a loud voice he summons
8
Zu neuer Tätigkeit
Den ausgeruhten Landmann auf.
the farmer, newly-arisen,
to the day’s work.
10 Aria and Recitative
Simon
Der munt’re Hirt versammelt nun
Die frohen Herden um sich her;
Zur fetten Weid’ auf grünen Höh’n
Treibet er sie langsam fort.
The merry shepherd gathers
his happy flocks around him;
and slowly ushers them away
towards lush grazing in the verdant hills.
Nach Osten blickend steht er dann
Auf seinem Stabe hingelehnt,
Zu seh’n den ersten Sonnenstrahl,
Welchem er entgegen harrt.
Hannah
Die Morgenröte bricht hervor,
Wie Rauch verflieget das leichte Gewolk,
Der Himmel pranget im hellen Azur,
Der Berge Gipfel in feurigem Gold.
11 Trio and Chorus
Sie steigt herauf, die Sonne,
Sie steigt, sie naht, sie kommt,
Sie strahlt, sie scheint.
Chorus
Sie scheint in herrlicher Pracht,
In flammender Majestät!
Song of Praise to the Sun
Heil, o Sonne, Heil!
Des Lichts und Lebens Quelle, Heil!
O du des Weltalls Seel’ und Aug’,
Der Gottheit schönstes Bild!
Dich grüssen dankbar wir!
Wer spricht sie aus, die Freuden alle,
Die deine Huld in uns erweckt?
Wer zählet sie, die Segen alle,
Die deine Mild’ auf uns ergiesst?
Chorus
Die Freuden, o wer spricht sie aus?
Die Segen, o wer zählet sie?
Gazing eastward then he stands
leaning on his staff,
watching for the sun’s first ray
for which he waits impatiently.
Rosy dawn has now arrived,
light clouds dissipate like smoke,
the sky is resplendent in bright blue,
the peaks in fiery gold.
The sun is rising in the sky,
rising, coming closer,
beaming, shining.
It shines in wondrous glory,
in flaming majesty!
Hail to thee, O sun!
Thou fount of light and life, all hail!
O thou, the soul, the eye of all the world,
fairest likeness of God!
We greet thee thankfully!
Who could express the joy
thy beauty awakes within us?
Who could number the blessings
thy goodness showers upon us?
The joy, oh, who could express it?
The blessings, oh, who could count them?
9
Dir danken wir, was uns ergötzt.
Dir danken wir, was uns belebt.
Dir danken wir, was uns erhält.
Dem Schöpfer aber danken wir,
Was deine Kraft vermag!
Chorus
Des Lichts und Lebens Quelle, Heil!
Dir jauchzen alle Stimmen,
Dir jauchzet die Natur.
All
Dir jauchzet die Natur, etc.
We thank thee, bringer of delight.
We thank thee, cheerer of the heart.
We thank thee, giver of support.
And we thank the Creator too
who endowed thee with such power.
Thou fount of light and life, all hail!
Every voice exalts thee,
all nature shouts with joy.
All nature shouts with joy, etc.
12 Recitative
Simon
Nun regt und bewegt sich alles umher,
Ein buntes Gewühl bedecket die Flur.
Dem braunen Schnitter neiget sich
Der Saaten wallende Flut,
Die Sense blitzt, da sinkt das Korn;
Doch steht es bald und aufgehäuft
In festen Garben wieder da.
Lucas
Die Mittagssonne brennet jetzt in voller Glut,
Und giesst durch die entwölkte Luft
Ihr mächtiges Feu’r in Strömen hinab.
Ob den gesengten Flächen schwebt
In nieder’n Qualm, ein blendend Meer
Von Licht und Widerschein.
The midday sun now blazes at full strength,
beating down through the unclouded sky
in mighty waves of heat.
Over the parched meadows lies
a gauzy veil, a dazzling sea
of sunlight and reflections.
13 Cavatina
Lucas
Dem Druck erlieget die Natur;
Welke Blumen, dürre Wiesen,
Trock’ne Quellen, alles zeigt
Der Hitze Wut,
Und kraftlos schmachten Mensch und Tier
Am Boden hingestreckt.
Nature bows before the onslaught;
wilted flowers, arid fields,
dried-up springs, all demonstrate
the heat’s ferocity,
and man and beast lie languishing,
stretched upon the ground.
14 Recitative
Hannah
Willkommen jetzt, o dunkler Hain,
Wo der bejahrten Eiche Dach
Welcome art thou now, O shady wood,
where a roof of ancient oaks
10
Now all the folk bestir themselves,
a colourful crowd bedecks the fields.
Waves of golden corn bow down
before the sunburnt reaper,
the scythe flashes, the corn falls;
but soon it stands again, now bound
into sturdy stooks.
Den kühlenden Schirm gewährt,
Und wo der schlanken Espe Laub
Mit leisem Gelispel rauscht!
Am weichen Moose rieselt da
In heller Flut der Bach,
Und fröhlich summend irrt und wirrt
Die bunte Sonnenbrut.
Der Kräuter reinen Balsamduft
Verbreitet Zephirs Hauch,
Und aus dem nahen Busche tönt
Des jungen Schäfers Rohr.
provides a cool umbrella,
and where the slender aspen’s leaves
softly rustle and whisper!
Babbling between soft, mossy banks
runs the crystal brook,
and swarms of buzzing insects
dance gaily in the air.
The pure and balmy scent of herbs
is wafted on the breeze,
while from the nearby thicket sounds
the shepherd-boy’s reed-pipe.
15 Aria
Hannah
Welche Labung für die Sinne,
Welch’ Erholung für das Herz!
Jeden Aderzweig durchströmet,
Und in jeder Nerve bebt
Erquickendes Gefühl.
How refreshing to the senses,
how reviving for the heart!
Through every vein
and every nerve there runs
a reviving thrill.
Die Seele wachet auf
Zum reizenden Genuss,
Und neue Kraft erhebt
Durch milden Drang die Brust.
The soul awakes
to pleasure and delight,
and hearts are gently lifted
to new strength, new desires.
16 Recitative
Simon
O seht! Es steiget in der schwülen Luft,
Am hohen Saume des Gebirgs
Von Dampf und Dunst ein fahler Nebel auf.
Empor gedrängt, dehnt er sich aus
Und hüllet bald den Himmelsraum
In schwarzes Dunkel ein.
Lucas
Hört wie vom Tal ein dumpf Gebrüll
Den wilden Sturm verkünd’t!
Seht, wie vom Unheil schwer
Die finst’re Wolke langsam zieht,
Und drohend auf die Eb’ne sinkt!
Hannah
In banger Ahnung stockt das Leben der Natur:
Kein Tier, kein Blatt beweget sich,
Und Todesstille herrscht umher.
Behold! There rises in the sultry air,
from the high rim of the mountain-range,
a livid cloud of mist and vapours.
Forced upwards, it expands
and soon the vault of heaven
is veiled in darkness.
A hollow rumble from the valley
heralds the heavy storm.
Laden with disaster, see
the dark clouds slowly muster
and, full of menace, sink towards the plain.
In fearful apprehension life stands still:
no beast, no leaf is moving,
a deathly silence reigns.
11
17 Chorus
Chorus
Ach, das Ungewitter naht!
Hilf uns, Himmel!
O wie der Donner rollt!
O wie die Winde toben!
Wo flieh’n wir hin?
Flammende Blitze durchwühlen die Luft,
Den zackigen Keilen berstet die Wolke
Und Güsse stürzen herab.
Wo ist Rettung?
Wütend rast der Sturm,
Der weite Himmel entbrennt.
Weh uns Armen!
Schmetternd krachen, Schlag auf Schlag
Die schweren Donner fürchterlich.
Weh uns! Weh uns!
Erschüttert wankt die Erde
Bis in des Meeres Grund.
Schmetternd krachen Schlag auf Schlag, etc.
18 Trio and Chorus
Lucas
Die düst’ren Wolken trennen sich,
Gestillet ist der Stürme Wut.
Hannah
Vor ihrem Untergange
Blickt noch die Sonn’ empor,
Und von dem letzten Strahle glänzt
Mit Perlenschmuck geziert die Flur.
Simon
Zum langgewohnten Stalle
Kehrt gesättigt und erfrischt
Das fette Rind zurück.
Lucas
Dem Gatten ruft die Wachtel schon.
Hannah
Im Grase zirpt die Grille froh.
Simon
Und aus dem Sumpfe quakt der Frosch.
Die Abendglocke tönt.
Von oben winkt der helle Stern,
Und ladet uns zur sanften Ruh.
12
Ah! The tempest is upon us!
Heaven protect us!
Oh, how the thunder booms!
Oh, how the winds do rage!
Where can we shelter?
Flashes of lightning rend the air,
they crack the clouds with jagged spears
and water gushes down.
Where can we seek safety?
The storm in fury rages,
the whole sky is aflame.
Alas! Alas!
Banging, crashing, one upon the other
come the terrifying thunderclaps.
Alas! Alas!
The reeling world is shaken
to the ocean floor.
Banging, crashing, one upon the other, etc.
The dark clouds are dispersing,
the anger of the storm is stilled.
Before it sets,
the sun peeps out again,
and in its last ray the meadows
shine, bedecked with pearls.
To their long-accustomed stalls,
satisfied and refreshed,
the fattened cattle return.
The quail is already calling to her mate.
In the grass the merry crickets chirp.
And frogs croak from the marshes.
The vesper-bell rings out;
on high, Venus, like a messenger, appears
inviting us to sweet repose.
Chorus
Mädchen, Bursche, Weiber kommt!
Unser wartet süsser Schlaf,
Wie reines Herz, gesunder Leib
Und Tagesarbeit ihn gewährt.
Women
Wir geh’n, wir geh’n, wir folgen euch.
All
Die Abendglocke hat getönt,
Von oben winkt der helle Stern
Und ladet uns zur sanften Ruh.
Lasses, lads and women, come!
Golden slumbers now await us,
for a pure heart, a healthy body
and a day’s labour vouch for that.
We’re coming, we’re coming, we’ll follow you.
The vesper-bell has rung;
on high, Venus, like a messenger, appears
inviting us to sweet repose.
Interval
PART THREE: AUTUMN
The Introduction indicates the husbandman’s satisfaction at the abundant harvest.
Hannah
Was durch seine Blüte
That which Spring first promised
Der Lenz zuerst versprach,
with its blossoms,
Was durch seine Wärme
that which Summer ripened
Der Sommer reifen hiess,
with its warmth,
Zeigt der Herbst in Fülle
Autumn presents in abundance
Dem frohen Landmann jetzt.
to the joyful farmer now.
Lucas
Den reichen Vorrat fährt er nun
The golden store he now transports
Auf hochbelad’nen Wagen ein.
in heavy-laden wagons.
Kaum fasst der weiten Scheune Raum,
The spacious barn can hardly hold
Was ihm sein Feld hervorgebracht.
all that his fields have yielded.
Simon
Sein heit’res Auge blickt umher,
Happily he looks around him,
Es misst den aufgetürmten Segen ab,
measuring the piled-up grain,
Und Freude strömt in seine Brust.
and happiness fills his heart.
20 Trio with Chorus
Simon
So lohnet die Natur den Fleiss,
Ihn ruft, ihn lacht sie an;
Ihn muntert sie durch Hoffnung auf,
Ihm steht sie willig bei,
Ihm wirket sie mit voller Kraft.
Hannah and Lucas
Von dir, o Fleiss, kommt alles Heil.
Die Hütte, die uns schirmt,
Die Wolle, die uns deckt,
So nature honest toil rewards,
she invokes it, smiles upon it,
gladdens it with hope,
lends it a willing hand,
and guides it with all her might.
All benefits come from thee, O toil.
The cottage that shelters us,
the wool that clothes us,
13
Die Speise, die uns nährt
Ist deine Gab’, ist dein Geschenk.
O Fleiss, o edler Fleiss,
Von dir kommt alles Heil.
Hannah
Du flössest Tugend ein,
Und rohe Sitten milderst du.
Lucas
Du wehrest Laster ab,
Und reinigest der Menschen Herz.
Simon
Du stärkest Mut und Sinn
Zum Guten und zu jeder Pflicht.
O Fleiss, o edler Fleiss, von dir
Kommt alles, alles Heil.
Chorus
O Fleiss, o edler Fleiss, von dir
Kommt alles, alles Heil.
Die Hütte, die uns schirmt, etc.
All
O Fleiss, o edler Fleiss, von dir, etc.
21 Recitative
Hannah
Seht, wie zum Haselbusche dort
Die rasche Jugend eilt!
An jedem Aste schwinget sich
Der Kleinen lose Schar,
Und der bewegten Staud’ entstürzt
Gleich Hagelschau’r die lock’re Frucht.
Simon
Hier klimmt der junge Bau’r
Den hohen Stamm entlang
Die Leiter flink hinauf.
Vom Wipfel, der ihn deckt,
Sieht er sein Liebchen nah’n,
Und ihrem Tritt entgegen
Fliegt dann im trauten Scherze
Die runde Nuss herab.
Lucas
Im Garten steh’n um jeden Baum
Die Mädchen gross und klein,
Dem Obste, das sie klauben,
An frischer Farbe gleich.
14
the food that sustains us,
all come from thee, they are thy gifts.
O toil, O noble toil,
all benefits come from thee.
Thou dost virtue instil,
and makest rough-hewn manners gentle.
Thou dost ward off vice,
and purify the heart of man.
Thou dost give us the courage and inclination
to strive for goodness and perform our duty.
O toil, O noble toil, from thee
comes every benefit.
O toil, O noble toil, from thee
comes every benefit.
The cottage that shelters us, etc.
O toil, O noble toil, etc.
See how impatiently the youngsters
rush to the hazel-bush!
Small boys swing
on every single branch,
and from the swaying bush
the ripe fruit rains like hail.
The farmer’s son is climbing
nimbly up a ladder
to the top of the tree.
Hidden in the topmost branches,
he sees his sweetheart drawing nigh,
and, with a lover’s sense of fun,
throws the fat nuts down
into her path.
Around every tree in the garden
girls of all ages are gathered,
their colour as fresh and rosy
as the ripe fruit they pick.
22 Duet
Lucas
Ihr Schönen aus der Stadt, kommt her!
Blickt an die Töchter der Natur,
Die weder Putz noch Schminke ziert.
Da seht, mein Hannchen, seht!
You town-bred beauties, come and look!
Look at these daughters of nature,
unadorned by finery or paint.
Just look at my Hannah!
Ihr blüht Gesundheit auf den Wangen;
Im Auge lacht Zufriedenheit,
Und aus dem Munde spricht das Herz,
Wenn sie mir Liebe schwört.
Hannah
Ihr Herrchen, süss und fein, bleibt weg!
Hier schwinden eure Künste ganz,
Und glatte Worte wirken nicht,
Man gibt euch kein Gehör.
The bloom of health is on her cheeks;
joy sparkles in her eyes,
and her heart speaks through her lips
when she swears she loves me.
Nicht Gold, nicht Pracht kann uns verblenden,
Ein redlich Herz ist, was uns rührt;
Und meine Wünsche sind erfüllt,
Wenn treu mir Lucas ist.
Lucas
Blätter fallen ab, Früchte welken hin,
Tag und Jahr vergeh’n,
Nur meine Liebe nicht.
Hannah
Schöner grünt das Blatt,
Süsser schmeckt die Frucht,
Heller glänzt der Tag,
Wenn deine Liebe spricht.
Hannah and Lucas
Welch ein Glück ist treue Liebe!
Uns’re Herzen sind vereinet,
Trennen kann sie Tod allein.
Lucas
Liebstes Hannchen!
Hannah
Bester Lucas!
Hannah and Lucas
Lieben und geliebet werden
Ist der Freuden höchster Gipfel,
Ist des Lebens Wonn’ und Glück!
Hannah
Bester Lucas!
No gold, no gorgeousness can blind us,
we are moved by an honest heart alone;
and all my hopes will be fulfilled
if Lucas is true to me.
You mincing dandies, stay away!
Here your airs and graces count for nothing,
and smooth talk does no good:
no-one will listen to you.
Leaves can fall, fruit can decay,
days and years can pass away,
my love alone is changeless.
A leaf appears more lovely,
fruit has a sweeter taste,
the day is brighter than before
when you speak of your love.
What happiness is true love!
Our hearts are united,
only death can divide us.
Dearest Hannah!
Peerless Lucas!
To love and to be loved
is the peak of happiness,
the pride and joy of life!
Peerless Lucas!
15
Lucas
Liebstes Hannchen!
Hannah, Lucas
Lieben und geliebet werden, etc.
To love and to be loved, etc.
23 Recitative
Simon
Nun zeiget das entblösste Feld
Der ungebet’nen Gäste Zahl,
Die an den Halmen Nahrung fand
Und irrend jetzt sie weiter sucht.
Des kleinen Raubes klaget nicht
Der Landmann, der ihn kaum bemerkt;
Dem Übermasse wünscht er doch
Nicht ausgestellt zu sein.
Was ihn dagegen sichern mag,
Sieht er als Wohltat an,
Und willig fröhnt er dann zur Jagd,
Die seinen guten Herrn ergötzt.
Now in the denuded fields
uninvited guests are seen;
they found food in the standing corn
and still they forage for it.
The labourer does not begrudge
such pilfering, which he scarcely notices,
but he does not want to show
excessive laxity.
Any means of protection
he regards as beneficial,
and happily sets off for the hunt,
which pleases his good landlord.
24 Aria
Simon
Seht auf die breiten Wiesen hin!
Seht, wie der Hund im Grase streift!
Am Boden suchet er die Spur
Und geht ihr unablässig nach.
Look at yonder open field!
See how the dog is prowling in the grass!
He seeks the scent upon the ground,
then follows it relentlessly.
Jetzt aber reisst Begierd’ ihn fort,
Er horcht auf Ruf und Stimme nicht mehr.
Er eilet zu haschen ... da stockt sein Lauf,
Und steht er unbewegt wie Stein.
Dem nahen Feinde zu entgeh’n,
Erhebt der scheue Vogel sich,
Doch rettet ihn nicht schneller Flug.
Es blitzt, es knallt, ihn erreichet das Blei,
Und wirft ihn tot aus der Luft herab.
Now, maddened by excitement,
he is deaf to all commands.
He races towards his prey ... then stops
and stands as motionless as a stone.
To escape his approaching foe,
the timid bird flies up into the air,
but swift flight cannot save him.
A flash, a bang, the bullet reaches him,
and hurls him, dead, to the ground.
25 Recitative
Lucas
Hier treibt ein dichter Kreis
Die Hasen aus dem Lager auf.
Von allen Seiten hingedrängt
Hilft ihnen keine Flucht.
Schon fallen sie, und liegen bald,
In Reihen freudig hingezählt.
Here the main body of the hunt
chases the hares from their formes.
Driven from all directions,
they have no escape.
They fall, and soon are laid
in rows and gleefully counted.
16
Dearest Hannah!
26 Chorus
Farmers and Hunters
Hört! hört das laute Getön,
Das dort im Walde klinget!
Welch’ ein lautes Getön
Durchklingt den ganzen Wald!
Es ist der gellenden Hörner Schall,
Der gierigen Hunde Gebelle.
Hear, O hear the clamour
that echoes through yonder woods!
What a clamour that is
that echoes throughout the woods!
It is the shrill cry of the horn,
the baying of eager hounds.
Schon flieht der aufgesprengte Hirsch,
Ihm rennen die Doggen und Reiter nach.
Er flieht, er flieht! O wie er sich streckt!
Ihm rennen die Doggen und Reiter nach.
O wie er springt! O wie er springt!
O wie er sich streckt!
Now the stag leaps up and runs,
followed by hounds and riders.
He flees, he flees! O how he flies along!
Hounds and riders follow him.
Oh, how he leaps and bounds!
Oh, how he runs for his life!
Da bricht er aus den Gesträuchen hervor
Und läuft über Feld in das Dickicht hinein.
Jetzt hat er die Hunde getäuscht,
Zerstreuet schwärmen sie umher.
Die Hunde sind zerstreut,
Sie schwärmen hin und her.
Tajo, tajo, tajo!
Now he bursts out of cover
and races across the fields and into the thicket.
Now he’s outwitted the hounds;
they scatter, run hither and thither.
The hounds have scattered
and are running hither and thither.
Tally-ho, tally-ho, tally-ho!
Der Jäger Ruf, der Hörner Klang
Versammelt aufs neue sie.
Ho, ho, ho! Tajo! Ho, ho!
Mit doppeltem Eifer stürzet nun
Der Haufe vereint auf die Fährte los.
Tajo, tajo, tajo!
The huntsman’s voice and the horn
rally the pack anew.
Ho, ho, ho! Tally-ho! Ho, ho!
With redoubled zeal
the reunited pack sets off again.
Tally-ho, tally-ho, tally-ho!
Von seinen Feinden eingeholt,
An Mut und Kräften ganz erschöpft,
Erlieget nun das schnelle Tier.
Sein nahes Ende kündigt an
Des tönenden Erzes Jubellied,
Der freudigen Jäger Siegeslaut:
Ha-la-li, ha-la-li, ha-la-li.
Den Tod des Hirsches kündigt an
Des tönenden Erzes Jubellied, etc.
Surrounded by his enemies,
his courage and his powers quite exhausted,
the fleet-footed beast now sinks.
His approaching death is heralded
by the victory-call of the horn
and the cries of the happy hunters:
halloo, halloo, halloo!
The death of the stag is heralded
by the victory-call of the horn, etc.
17
27 Recitative
Hannah
Am Rebenstocke blinket jetzt
Die helle Traub’ im vollen Safte,
Und ruft dem Winzer freundlich zu,
Dass er zu lesen sie nicht weile.
Simon
Schon werden Kuf’ und Fass
Zum Hügel hingebracht,
Und aus den Hütten strömet
Zum frohen Tagewerke
Das munt’re Volk herbei.
Hannah
Seht, wie den Berg hinan
Von Menschen alles wimmelt!
Hört, wie der Freudenton
Von jeder Seit’ erschallet!
Lucas
Die Arbeit fördert lachender Scherz,
Vom Morgen bis zum Abend hin,
Und dann erhebt der brausende Most
Die Fröhlichkeit zum Lustgeschrei.
The work is helped along by jokes
from daybreak to sunset,
and then the foaming grape-juice turns
merriment to cries of joy.
28 Chorus
Chorus
Juh-he, juh-he! Der Wein ist da,
Die Tonnen sind gefüllt,
Nun lasst uns fröhlich sein,
Und juh-he, juh-he juh!
Aus vollem Halse schrei’n!
Lasst uns trinken! Trinket Brüder,
Lasst uns fröhlich sein!
Lasst uns singen! Singet alle,
Lasst uns fröhlich sein!
Hurrah, hurrah! The wine is safe,
the barrels have been filled,
now let us be merry,
and shout hurrah, hurrah
with might and main!
Let us drink! Brothers, drink up,
let us all be merry!
Let us sing! Everyone sing,
and be merry!
Juh-he, juh-he juh! Es lebe der Wein!
Es lebe das Land, wo er uns reift!
Juh-he, juh! Es lebe der Wein!
Es lebe das Fass, das ihn verwahrt!
Juh-he, juh! Es lebe der Wein!
Es lebe der Krug, woraus er fliesst!
Juh-he, juh! Es lebe der Wein!, etc.
Hurrah, hurrah, hurrah for wine!
Hurrah for the land that produces it!
Hurrah for the barrel that holds it!
Hurrah for the jug from which it flows!
Hurrah, hurrah, hurrah for wine!, etc.
Kommt, ihr Brüder! Füllt die Kannen,
Leert die Becher, lasst uns fröhlich sein!
Come, my friends, fill your jugs,
empty your beakers, let’s be merry!
18
Upon the vine the grapes now glisten,
bright and full of juice,
inviting the grower pleasantly
to pick them and tarry not.
Now are tub and barrel
carried to the slopes,
and from their shacks the pickers
are trooping merrily
to their agreeable day’s work.
See, how the slopes up yonder
are all alive with people!
Harken to the merry voices
ringing on all sides!
Hei-da, hei-da! Lasst uns fröhlich sein,
Und juh-he, juh-he, juh!
Juh-he, juh-he! Es lebe der Wein!
Heigh-ho, heigh-ho! Let’s be merry.
and sing hurrah, hurrah
Nun tönen die Pfeifen
Und wirbelt die Trommel.
Hier kreischet die Fiedel,
Da schnarret die Leier,
Und dudelt der Bock.
Schon hüpfen die Kleinen
Und springen die Knaben;
Dort fliegen die Mädchen
Im Arme der Bursche
Den ländlichen Reih’n!
Hei-sa! Hop-sa! Lasst uns hüpfen!
Now pipes are piping,
drums are beating.
The fiddle is scraping,
the hurdy-gurdy twanging,
the bagpipes droning.
The little children are skipping,
the boys are jumping;
the lasses fly round,
arm in arm with the lads,
dancing a country reel!
One-two, one-two! Everyone hop!
Ihr Brüder kommt!
Hei-sa! Hop-sa! Lasst uns springen!
Die Kannen füllt, die Kannen füllt!
Hei-sa! Hop-sa! Lasst uns tanzen!
Die Becher leert, die Becher leert!
Hei-da! Hei-da! Lasst uns fröhlich sein!
Hei-da! Und juh-he, juh-he, juh!
Come on, my friends!
One-two, one-two! Everyone jump!
Fill your jugs, fill your jugs!
One-two, one-two! Everyone dance!
Drain your beakers, drain your beakers!
Heigh-ho, heigh-ho! Let’s be merry!
Shout heigh-ho and shout hurrah,
shout with might and main!
Jauchzet, lärmet! Juh-he, juh-he, juh!
Juh-he, juh! Springet, tanzet!
Hei-sa, hop-sa! Lachet, singet,
Jauchzet, singet! Hei-sa, hei-sa, hei!
Nun fassen wir den letzten Krug,
Hei-sa, hop-sa, hei-sa!
Und singen dann im vollen Chor
Dem freudenreichen Rebensaft!
Hei-sa, hei! Juh-he, juh!
Cheer, yell! Hurrah, hurrah!
Hurrah, hurrah! Leap and dance!
One-two, one-two! Laugh, sing,
cheer and sing! Hip-hip-hip-hurray!
Now let’s claim our final jug,
hip-hip-hip-hurray!
And then sing all together
of the grape that makes us merry!
Hip-hip-hurrah! Hurray!
Es lebe der Wein, der edle Wein,
Der Grillen und Harm verscheucht!
Sein Lob ertöne laut und hoch
In tausendfachen Jubelschall!
Hei-da, lasst uns fröhlich sein,
Und juh-he, juh-he, juh!
Juh, juh!
Hurrah for wine, for the noble wine
in which we drown our sorrows!
May its praises be sung far and wide
in thousandfold rejoicing!
Heigh-ho, let’s be merry,
and shout hurrah, hip-hip-hurrah
Hurrah!
19
PART FOUR: WINTER
The Introduction paints the thick fogs at the beginning of Winter.
Simon
Nun senket sich das blasse Jahr,
Now the outworn year is dying
Und fallen Dünste kalt herab.
and chilly fogs descend.
Die Berg’ umhüllt ein grauer Dampf,
The mountains are shrouded in grey mist
Der endlich auch die Flächen drückt,
that reaches at last into the vales
Und am Mittage selbst
and, even at midday,
Der Sonne matten Strahl verschlingt.
hides the sun’s pale beams.
Hannah
Aus Lapplands Höhlen schreitet her
From Lapland’s caverns stalks
Der stürmisch düst’re Winter jetzt.
the sombre, stormy Winter now.
Vor seinem Tritt erstarrt
Before his tread all nature stands
In banger Stille die Natur.
in frozen, frightened silence.
30 Cavatina
Hannah
Licht und Leben sind geschwächet,
Wärm’ und Freude sind verschwunden.
Unmutsvollen Tagen folget
Schwarzer Nächte lange Dauer.
Light and life are now enfeebled,
warmth and joy have disappeared.
Ill-humoured days are followed
by long dark nights.
31 Recitative
Lucas
Gefesselt steht der breite See,
Gehemmt in seinem Laufe der Strom.
Im Sturze vom türmenden Felsen hängt
Gestockt und stumm der Wasserfall.
Im dürren Haine tönt kein Laut.
Die Felder deckt, die Täler füllt
Ein’ ungeheure Flockenlast.
Der Erde Bild ist nun ein Grab,
Wo Kraft und Reiz erstorben liegt,
Wo Leichenfarbe traurig herrscht,
Und wo dem Blicke weit umher
Nur öde Wüstenei sich zeigt.
The lake’s expanse is gripped in ice,
the current of the stream is stemmed.
Suspended from the towering cliffs,
the waterfall hangs motionless and silent.
In the leafless woods no sound is heard.
A monstrous covering of snow
blankets the fields and fills the vales.
Earth’s aspect is that of a tomb,
where strength and grace lie dead,
where sad corpse-colours predominate,
and where, on every side, the gaze
falls only upon barren wasteland.
32 Aria
Lucas
Hier steht der Wand’rer nun,
Verwirrt uns zweifelhaft,
Wohin den Schritt er lenken soll.
Vergebens suchet er den Weg,
Ihn leitet weder Pfad noch Spur.
Here stands a traveller now
bewildered and perplexed,
not knowing which way to turn.
In vain he seeks the road,
but finds neither path nor track.
20
Vergebens strenget er sich an,
Und watet durch den tiefen Schnee;
Er find’t sich immer mehr verirrt.
Vainly he tries to struggle,
and wades through the deep snow;
only to find himself more lost than ever.
Jetzt sinket ihm der Mut,
Und Angst beklemmt sein Herz,
Da er den Tag sich neigen sieht,
Und Müdigkeit und Frost
Ihm alle Glieder lähmt.
Jetzt sinket ihm der Mut,
Und Angst beklemmt sein Herz,
Doch plötzlich trifft sein spähend Aug
Der Schimmer eines nahen Lichts.
Now his courage ebbs away,
his heart is gripped by the fear
of seeing daylight disappear
and being paralysed
by weariness and cold.
Now his courage ebbs away,
his heart is gripped by fear,
but suddenly his eye is caught
by the glimmer of a light nearby.
Da lebt er wieder auf,
Vor Freuden pocht sein Herz.
Er geht, er eilt der Hütte zu,
Wo starr und matt er Labung hofft.
Now he breathes again,
his heart throbs with joy.
He runs towards the cottage where,
cold and tired, he hopes to find refreshment.
33 Recitative
Lucas
Sowie er naht, schallt in sein Ohr,
Durch heulende Winde nur erst gestreckt,
Heller Stimmen lauter Klang.
Hannah
Die warme Stube zeigt ihm dann
Des Dörfchens Nachbarschaft,
Vereint im trauten Kreise,
Den Abend zu verkürzen
Mit leichter Arbeit und Gespräch.
Simon
Am Ofen schwätzen hier
Von ihrer Jugendzeit die Väter,
Zu Körb’ und Reusen flicht die Weidengert’,
Und Netze strickt der Söhne
Munt’rer Haufe dort.
Am Rocken spinnen die Mütter,
Am laufenden Rade die Töchter;
Und ihren Fleiss belebt
Ein ungekünstelt frohes Lied.
34 Solo Song and Chorus - The Spinning Song
Women
Knurre, schnurre, Rädchen, schnurre!
Hannah
Drille, Rädchen, lang und fein,
As he draws nigh, he catches,
borne on the howling wind,
the sound of voices bright and clear.
The warm room soon reveals
the village’s inhabitants
gathered sociably
to while away the evening
with light tasks and chatter.
Fathers, sitting by the stove,
natter about their youth
while willow twigs are plaited into baskets,
and their sons, in a jolly group,
are making nets.
Mothers are spinning with distaffs,
their daughters with the spinning wheel;
and their toil is enlivened
by an artless, happy song.
Purring, whirring, work, my little wheel!
Twist long and fine, my little wheel,
21
Drille fein ein Fädelein,
Mir zum Busenschleier.
Women
Hannah
Weber, webe zart und fein,
Webe fein das Schleierlein
Mir zur Kirmessfeier.
Women
Hannah
Aussen blank und innen rein
Muss des Mädchens Busen sein,
Wohl deckt ihn der Schleier.
Women
Hannah
Aussen blank und innen rein,
Fleissig, fromm und sittsam sein,
Locket wack’re Freier.
Chorus
Aussen blank und innen rein, etc.
Fair without and pure within, etc.
35 Recitative
Lucas
Abgesponnen ist der Flachs,
Nun steh’n die Räder still.
Da wird der Kreis verengt,
Und von dem Männervolk umringt,
Zu horchen auf die neue Mär,
Die Hannah jetzt erzählen wird.
The flax has all been spun,
and now the wheel stands silent.
The circle has drawn closer
and the menfolk gather round it
to listen to the latest story
Hannah has to tell.
36 Solo Song with Chorus
Hannah
Ein Mädchen, das auf Ehre hielt,
Liebt’ einst ein Edelmann,
Da er schon längst nach ihr gezielt,
Traf er allein sie an.
Er stieg sogleich vom Pferd und sprach:
Komm, küsse deinen Herrn!
Sie rief vor Angst und Schrecken: Ach!
Ach ja, von Herzen gern.
Chorus
Ei, ei, warum nicht nein?
22
twist a fine, neat thread
to make a kerchief for my breast.
Shuttle, weave both soft and fine,
finely weave the kerchief
I shall wear at Easter.
Outwardly bright and inwardly pure
will the breast of a maiden be
when her kerchief is becoming.
Fair without and pure within
industrious, pious and modest be,
to attract a worthy suitor.
A nobleman that once did love
a maid who held her honour dear,
on finding her alone at last
set about wooing her.
Dismounting from his horse, he said:
Come, kiss your lord, my dear!
Alarmed and frightened, she cried out: Oh!
Oh yes, with all my heart!
Oh, why did she not say no?
Hannah
Sei ruhig, sprach er, liebes Kind,
Und schenke mir dein Herz!
Denn meine Lieb’ ist treu gesinnt,
Nicht Leichtsinn oder Scherz.
Dich mach’ ich glücklich, nimm dies Geld,
Den Ring, die gold’ne Uhr,
Und hab ich sonst, was dir gefällt,
O sag’s und fod’re nur.
Chorus
Ei, ei das klingt recht fein.
Hannah
Nein, sagt sie, das wär’ viel gewagt,
Mein Bruder möcht’ es sehn,
Un wenn er’s meinem Vater sagt,
Wie wird mir’s dann ergehn!
Er ackert uns hier allzunah,
Sonst könnt’ es wohl geschehn.
Schaut nur, von jenem Hügel da,
Könnt’ Ihr ihn ackern sehn.
Chorus
Ho, ho, was soll das sein?
Hannah
Indem der Junker geht und sieht,
Schwingt sich das lose Kind
Auf seinen Rappen und entflieht
Geschwinder als der Wind.
Lebt wohl, rief sie, mein gnäd’ger Herr,
So räch’ ich meine Schmach!
Ganz eingewurzelt stehet er
Und gafft ihr staunend nach.
Chorus
Ha, ha, ha, ha, das war recht fein,
Das war recht fein, ha, ha, etc.
37 Recitative
Simon
Vom dürren Osten
Dringt ein scharfer Eishauch jetzt hervor.
Schneidend fährt er durch die Luft,
Verzehret jeden Dunst
Und hascht des Tieres Odem selbst.
Des grimmigen Tyranns,
Des Winters Sieg ist nun vollbracht,
Und stummer Schrecken drückt
Den ganzen Umfang der Natur.
Be not alarmed, dear child, he said,
but give your heart to me,
for my love is sincerely meant,
I do not trifle or jest.
I’ll make you happy, take this gold,
this ring, this golden watch,
and if there is anything else you’d like
you only have to tell me.
Aha, that sounds too smooth!
Oh no, she said, you are too bold,
my brother might have seen us,
and if he tells my father,
I don’t know what would happen!
He’s ploughing in a nearby field,
he could be watching us.
Just go and look, from yonder hill
you might see him ploughing.
Ho ho, now what will happen?
While the squire went off to look,
the clever girl did leap
upon his black horse, and flew off
as swiftly as the wind.
Farewell, she cried, my gracious lord,
so I avenge my shame!
Quite rooted to the spot,
he stood gaping after her.
Ha, ha, ha, ha, she did do well,
she did do well, ha, ha, etc
Now from the arid east
a biting, icy breath is blowing.
It slices through the air
consuming the very mists
and even catching at the cattle’s breath.
The dominance of Winter,
that dread tyrant, is complete,
and all the natural world
is mute with terror.
23
38 Aria and Recitative
Simon
Erblicke hier, betörter Mensch,
Erblicke deines Lebens Bild!
Verblühet ist dein kurzer Lenz,
Erschöpfet deines Sommers Kraft.
Schon welkt dein Herbst dem Alter zu,
Schon naht der bleiche Winter sich
Und zeiget dir das off’ne Grab.
Look on this, deluded Man,
see here an image of your life!
The blooms of your brief Spring are over,
the power of your Summer is exhausted.
Your Autumn soon fades into old age,
soon comes the pallid Winter,
pointing to an open grave.
Wo sind sie nun, die hoh’n Entwürfe,
Die Hoffnungen von Glück,
Die Sucht nach eitlem Ruhme,
Der Sorgen schwere Last?
Wo sind sie nun, die Wonnetage,
Verschwelgt in Üppigkeit?
Where are they now, your lofty plans,
your hopes of happiness,
your search for empty fame,
the cares that burdened you?
Where are they now, the golden days
squandered in self-indulgence?
Und wo die frohen Nächte,
Im Taumel durchgewacht?
Wo sind sie nun? Wo?
Verschwunden sind sie, wie ein Traum.
Nur Tugend bleibt.
And where are the merry nights
of drunken revelry?
Where are they now? Where?
All have vanished like a dream.
Virtue alone remains.
Sie bleibt allein
Und leitet uns unwandelbar
Durch Zeit und Jahreswechsel,
Durch Jammer oder Freude
Bis zu dem höchsten Ziele hin.
It survives alone
and leads us, undeviatingly,
through time and the rolling years,
through sorrow and joy
to the highest goal.
39 Trio and Double Chorus
Simon
Dann bricht der grosse Morgen an,
Der Allmacht zweites Wort erweckt
Zum neuen Dasein uns,
Von Pein und Tod auf immer frei.
Lucas and Simon
Die Himmelspforten öffnen sich,
Der heil’ge Berg erscheint.
Ihn krönt des Herren Zelt,
Wo Ruh’ und Friede thront.
Chorus 1
Wer darf durch diese Pforten geh’n?
Der Arges mied und Gutes tat.
Chorus 2
Wer darf besteigen diesen Berg?
24
Then the greatest dawn doth break,
and the Almighty’s second word
awakes us to new life,
freed forever from pain and death.
The gates of heaven open wide,
the holy mount appears,
crowned by the tabernacle of the Lord,
where peace and joy reign supreme.
Who may enter these portals?
He who shunned evil and did good.
Who may ascend this mount?
Von dessen Lippen Wahrheit floss.
Chorus 1
Wer darf in diesem Zelte wohnen?
Der Armen und Bedrängten half.
Chorus 2
Wer wird den Frieden dort geniessen?
Der Schutz und Recht der Unschuld gab.
Chorus 1
O seht! Der grosse Morgen naht!
Chorus 2
O seht! Er leuchtet schon!
Chorus 1 and 2
Die Himmelspforten öffnen sich,
Der heil’ge Berg erscheint.
Vorüber sind, verbrauset sind
Die leidenvollen Tage,
Des Lebens Winterstürme.
Ein ew’ger Frühling herrscht,
Und grenzenlose Seligkeit
Wird der Gerechten Lohn.
Auch uns werd’ einst ein solcher Lohn!
Lasst uns wirken, lasst uns streben!
Chorus 1 and 2
Lasst uns kämpfen! Lasst uns harren,
Zu erringen diesen Preis!
Uns leite deine Hand, o Gott!
Verleih uns Stärk’ und Mut.
Dann singen wir, dann geh’n wir ein
In deines Reiches Herrlichkeit.
Amen.
Text after ‘The Seasons’ by James Thomson (1700-48),
arranged by Gottfried van Swieten (1733-1803)
He who has spoken the truth.
Who may dwell in this tabernacle?
He who helped the poor and needy.
Who shall taste of these joys?
He who protected the innocent.
Oh see, the great dawn approaches!
Oh see, it gleams already!
Heaven’s portals open,
the holy mount appears.
Finished, their racket silenced,
are the sorrow-laden days,
the Winter-storms of life.
An eternal Spring now reigns,
and infinite blessedness
rewards the righteous.
May such a reward one day be ours!
Let us work and strive for it!
Let’s fight the good fight, hoping
that this prize will be ours!
Thy hand, O God, shall guide us.
Give us strength and courage.
Then shall we sing, then shall we enter
the kingdom of thy glory.
Amen.
Translation © Avril Bardoni
25
About the performers
Sir John Eliot Gardiner
conductor
John Eliot Gardiner is one of the
most versatile conductors of our
time and is acknowledged as a key
figure in the early music revival.
Founder and artistic director of the
Monteverdi Choir, the English
Baroque Soloists and the Orchestre Révolutionnaire et
Romantique, John Eliot Gardiner enjoys acclaim for a
repertoire ranging from Monteverdi to Verdi and
beyond. He appears regularly as guest conductor with
the world’s leading orchestras, including the Vienna and
Berlin Philharmonic, the Boston and Cleveland and the
London Symphony orchestras.
He has made over 250 recordings, many of which have
received numerous international awards, winning more
Gramophone awards for Gardiner than any other artist.
Recordings include the six late masses by Haydn as well
as Santiago a Cappella, released to coincide with his
2004 Santiago Pilgrimage tour. His set of recordings of
the Bach cantatas from the Bach Cantata Pilgrimage
tour of 2000 is currently being released on his own
record label Soli Deo Gloria. The first release won the
Gramophone Record of the Year Award, 2005. The
label’s first non-Bach, independently produced
recording, Pilgrimage to Santiago, has been chosen by
The Sunday Times as its ‘Record of the Year’.
Recent opera engagements have included his La Scala
debut with Kat’a Kabanova and a return visit to the
Royal Opera House, Covent Garden, for La finta
giardiniera, with Simon Boccanegra planned for his next
appearance there. During 2006 Gardiner conducted
several Mozart anniversary programmes, detailed
below under English Baroque Soloists and The
Monteverdi Choir. He has recently conducted music by
Rameau and his contemporaries in Paris and, in addition
to performances of Haydn’s The Seasons in Lisbon,
Valladolid, Madrid and Vitoria, future engagements
include concerts of Brahms’s orchestral music with the
Orchestre Révolutionnaire et Romantique, and a focus
on music by the Bach family.
In 1987 John Eliot Gardiner received an Honorary
Doctorate from the University of Lyon, and in 1996 he
26
was created Commandeur dans l’Ordre des Arts et des
Lettres. In 1992 he became an Honorary Fellow of both
King’s College, London, and the Royal Academy of
Music. He received a knighthood in 1998 and in 2006 he
was awarded a Doctorate Honoris Causa in Musicology
by the University of Cremona, the birthplace of Claudio
Monteverdi.
Rebecca Evans soprano Hannah
Rebecca Evans was born in South
Wales and studied at the Guildhall
School of Music & Drama. On the
operatic stage she has sung
Susanna/Le nozze di Figaro and
Zerlina/Don Giovanni at the
Metropolitan Opera, New York;
Pamina/Die Zauberflöte, Zerlina, Nannetta/Falstaff and
Johanna/Sweeney Todd at the Royal Opera House,
Covent Garden; Despina/Così fan tutte at the
Staatsoper, Berlin; Romilda/Xerxes and
Ginevra/Ariodante at English National Opera; Pamina
and Adèle/Die Fledermaus for the Lyric Opera of
Chicago; and Zerlina, Anne Trulove/The Rake’s Progress
and Adina/L’elisir d’amore for San Francisco Opera.
She is a regular guest at the Bavarian State Opera,
Munich, where her roles have included Susanna,
Ilia/Idomeneo, Nannetta, Sophie/Der Rosenkavalier,
Zdenka/Arabella and Servilia/La clemenza di Tito. At
Welsh National Opera she has sung Mimí/La bohème,
Susanna, Ilia, Marzelline/Fidelio, Norina/Don Pasquale
and Héro/Béatrice et Bénédict. Future engagements
include Despina at Covent Garden; Governess/The Turn
of the Screw at ENO; Pamina at WNO, and in San
Francisco; and Ginevra in Munich. Her concert
appearances include the BBC Proms and the Salzburg,
Edinburgh, Tanglewood, Ravinia, Melbourne and
Munich festivals. In recital, she has appeared at the
Barcelona, Ravinia, Buxton, Belfast and Beaulieu-surMer festivals as well as the Wigmore Hall. Her extensive
discography includes the roles of Pamina, Ilia and
Nannetta; a series of Gilbert and Sullivan recordings
with Sir Charles Mackerras; and a solo recording of
Italian songs.
James Gilchrist tenor Lucas
After studying at King’s College,
Cambridge, where he was a choral
scholar, James Gilchrist began his
working life as a doctor, turning to a
full-time career in music in 1996.
Recent highlights include
Frederic/The Pirates of Penzance
and Ralph/HMS Pinafore, Septimius/Theodora, Elgar’s
The Dream of Gerontius, Israel in Egypt, Bach’s B minor
Mass and Christmas Oratorio, as well as Mozart’s
Requiem (Seattle Symphony Orchestra), Tippett’s The
Knot Garden (BBC SO/Sir Andrew Davis), Alexander’s
Feast in Salzburg and Judas Maccabeus (Danish Radio
Orchestra). Engagements last season include Messiah
with the San Francisco and Detroit Symphony orchestras,
Mozart’s C minor Mass with the Tonhalle Orchestra, Bach
cantatas with the Bach Collegium Japan in Tokyo, St.
Matthew Passion with North Carolina Symphony
Orchestra, St. John Passion with the Royal Concertgebouw
Orchestra, Britten’s Serenade for Tenor, Horn and
Strings at The Sage, Gateshead, and Purcell’s King
Arthur for Mark Morris at English National Opera. He
recently sang in Britten’s War Requiem in Westminster
Cathedral, Stravinsky’s Pulcinella with the Ensemble
Orchestral de Paris at the Théâtre des Champs-Elysées,
Haydn’s ‘Nelson’ Mass in Granada, and Handel’s
Belshazzar with San Francisco’s Philharmonia Baroque
Orchestra and Mark Morris, while future engagements
include Bach’s St. Matthew Passion at the Concertgebouw,
Amsterdam. As a recitalist he has performed many varied
programmes with piano, lute and harp, and among his
many recordings are a disc of Finzi song-cycles, Oh Fair
to See (with Anna Tilbrook), and When Laura Smiles,
Elizabethan lute songs (with Matthew Wadsworth).
Dietrich Henschel baritone
Simon
Dietrich Henschel began his
international career with the titleroles in Henze’s Der Prinz von
Homburg at the Deutsche Oper,
Berlin and Busoni’s Dr Faust at the
Opéra National de Lyon. Other
operatic roles include, among others, Monteverdi’s
Orfeo and Ulisse; Mozart’s Count and Don Giovanni;
and Rossini’s Barber and Dandini; as well as more
contemporary roles such as Berg’s Wozzeck. He
regularly appears at the opera houses in Berlin,
Cologne, Brussels, Geneva, Zurich, Lyon and Paris, as
well as at international festivals including Salzburg, Aixen-Provence and the Maggio Musicale in Florence. His
extensive discography includes, among many others,
Schubert’s Winterreise and the complete recording of
Busoni’s Dr Faust (Opéra de Lyon/Nagano), which was
awarded a Grammy in 2000. He recently sang the titlerole in Wozzeck in Lisbon, the Brahms/Glanert Vier
ernste Gesänge in Cologne, Kurwenal/Tristan und
Isolde in Montréal and, following this short tour of The
Seasons, will take part in Bach’s St. John Passion in Paris,
Brahms’s Ein Deutsches Requiem in Santiago and
Madrid, Bach’s St. Matthew Passion in Berlin and a
newly commissioned opera El viaje a Simorgh in
Madrid, as well as creating the role of the Mad Hatter in
Unsuk Chin’s Alice in Wonderland in Munich.
The English Baroque Soloists and
The Monteverdi Choir
The English Baroque Soloists was formed in 1978 by Sir
John Eliot Gardiner and has since established itself as
one of the great chamber orchestras of the world
playing on period instruments. The ensemble has
performed at many venues around the world, including
Teatro alla Scala, Milan; the out-door amphitheatre in
Pompeii; the Philharmonie, Berlin; Théâtre du Châtelet,
Paris; New York’s Lincoln Center; Sydney Opera House;
Amsterdam’s Concertgebouw, and St Mark’s, Venice. In
1990 the English Baroque Soloists made its Salzburg
Festival debut and has since returned to Salzburg, along
with Vienna and Innsbruck, on many occasions. In 1990
a six-year European project was launched to perform
and record Mozart’s seven mature operas. Other
recordings include Mozart’s major symphonies, the
Requiem and Mass in C minor as well as the first
complete, period-instrument piano concerto cycle with
Malcolm Bilson. In celebration of the 250th anniversary
of J.S. Bach’s death in 2000, Gardiner and the
Monteverdi Choir and English Baroque Soloists
27
undertook the Bach Cantata Pilgrimage – performing all
198 of Bach’s sacred cantatas in over 60 churches
throughout Europe on the Sundays and feast days for
which they were intended. Over the last few years the
English Baroque Soloists has toured extensively
throughout Europe, the Far East and the USA. During
2006 the English Baroque Soloists and the Monteverdi
Choir celebrated the Mozart anniversary, touring the
East and West coasts of North America, presenting Il re
pastore and La finta giardiniera at the Royal Opera
House, Covent Garden, and visiting several major
European summer festivals including Salzburg; toured a
programme of Bach cantatas around Europe; and gave
a series of opera galas in London, Paris, Madrid and
Pisa. The Soloists and Choir gave concerts of Rameau
and his contemporaries in Paris in February and, in
addition to touring, will be performing music by the Bach
family in future concerts.
THE ENGLISH BAROQUE SOLOISTS
First Violin
Alison Bury leader
Kati Debretzeni
Matthew Truscott
Sophie Barber
Ken Aiso
Ann Schumann
Sarah Bealby-Wright
Geoffroy Schied
May Kustovny
Hidburg Williams
KathrynTempleman
Second Violin
Roy Mowatt
Jayne Spencer
Jean Paterson
Jane Gille
Iona Davies
Håkan Wikstrom
Cello
Philipp von Steinaecker
Catherine Rimer
Olaf Reimers
Christopher Poffley
Gabriel Amherst
Viola
Annette Isserlis
Tom Dunn
Lisa Cochrane
Alfonso Leal Del Ojo
Stefanie Heichelheim
Oliver Wilson
Double Bass
Valerie Botwright
Cecelia Bruggemeyer
Markus van Horn
Flute
Rachel Beckett
Christine Garratt
Oboe
Michael Niesemann
Molly Marsh
Bassoon/
Contrabassoon
Jane Gower
Györgyi Farkas
David Chatterton
Horn
Gavin Edwards
Anneke Scott
Joe Walters
Martin Lawrence
Trombone
Adam Woolf
Abigail Newman
Stephen Saunders
Timpani
Robert Kendell
Percussion
Robert Davies
Charlotte Mobbs
Clarinet
Timothy Lines
Guy Cowley
Trumpet
Michael Harrison
Robert Vanryne
Paul Sharp
Fortepiano
Roger Hamilton
Alto
Margaret Cameron
Jacqueline Connell
Peter Crawford
Carol Hall
Frances Jellard
Andrew Radley
Richard Wyn Roberts
Tenor
Ben Alden
Andrew Busher
Simon Davies
Andrew Hewitt
Tom Raskin
Paul Tindall
Will Unwin
Bass
Richard Bannan
Paul Charrier
Julian Clarkson
Robert Davies
Samuel Evans
James Oldfield
Lawrence Wallington
THE MONTEVERDI CHOIR
Soprano
Isabelle Adams
Miriam Allan
Elenor Bowers-Jolley
Donna Deam
Juliet Fraser
Alison Hill
Kirsty Hopkins
28
Angela Kazimierczuk
Charlotte Mobbs
Katie Pringle
Rachel Wheatley
Belinda Yates
Barbican Committee
Chairman
John Barker OBE
Barbican Music Department
Head of Music
Robert van Leer
Deputy Chairman
Barbara Newman CBE
Concert Hall Manager
Vicky Atkinson
Mary Lou Carrington
Stuart Fraser
Christine Cohen OBE
Jeremy Mayhew
Maureen Kellett
Joyce Nash OBE
John Owen-Ward
John Robins
Patrick Roney CBE
Lesley King-Lewis
Music Programmers
Gijs Elsen
Bryn Ormrod
Barbican Directorate
Managing Director
Sir John Tusa
Concerts Planning Manager
Frances Bryant
Artistic Director
Graham Sheffield
Programming Consultant
Angela Dixon
Programming Assistants
Andrea Jung
Gersende Giorgio
Katy Morrison
Music Administrator
Thomas Hardy
Production Managers
Katy Arnander
Jessica Buchanan-Barrow
Alison Cooper
Event Managers
Kate Packham
Kirsten Siddle
Fiona Todd
Production Assistant
Corinna Woolmer
Technical Manager
Eamonn Byrne
Deputy Technical Manager
Ingo Reinhardt
Technical Supervisors
Mark Bloxsidge
Steve Mace
Head of Marketing
Chris Denton
Technicians
Maurice Adamson
Jasja van Andel
Robert Jennings
Jason Kew
Martin Shaw
Projects and Building
Services Director
Michael Hoch
Music Marketing Manager
Jacqueline Barsoux
Stage Manager
Elizabeth Burgess
Finance Director
Sandeep Dwesar
Marketing Executives
Naomi Engler
Bethan Sheppard
Deputy Stage Manager
Julie-Anne Bolton
Commercial and
Venue Services Director
Mark Taylor
HR Director
Diane Lennan
Executive Assistant
to Sir John Tusa
Leah Nicholls
Concerts Assistant
Catherine Langston
Performing Arts Marketing
Assistant
Sarah Hemingway
Stage Supervisors
Christopher Alderton
Paul Harcourt
Media Relations Assistant
(Classical Music)
Hannah Kendall
Stage Assistants
Ademola Akisanya
Michael Casey
Andy Clarke
Trevor Davison
Heloise Donnelly-Jackson
Hannah Wye
Acting Senior Production Manager
Eddie Shelter
Technical & Stage Coordinator
Colette Chilton
Media Relations Manager
Nicky Thomas
Programme edited by Edge-Wise, artwork by Jane Denton; printed by Vitesse London;
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. No smoking, eating or drinking is allowed in the auditorium.
No cameras, tape recorders or any other recording equipment may be taken into the hall.
Barbican Centre
Silk Street
London EC2Y 8DS
Administration 020 7638 4141
Box Office 020 7638 8891
www.barbican.org.uk
29

Haydn Die Jahreszeiten (The Seasons) Barbican Hall

Transcription

Similar documents

Ariel: Atlantik Rund vollendet! - Deutsche Folkeboot Vereinigung

Clemens Brentano - Goethehaus Frankfurt

Lyrikauswahl, Seite 54

pagliacci - Despre Opera

Die 38 Bachblüten für Hunde Eine Faustregel bei Tieren könnte so

Im Vorhof der Heiden

Fußball Handball - MTV Herrenhausen

Deutsch - Langenscheidt

View Extract - Cambridge Scholars Publishing

Jephtas Gelüdbe - Cambridge Scholars Publishing