Severance Music Center April 14 Recital

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Kissin and Goerne in Recital April 14, 2024

Blossom Summer Soirée



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Evgeny Kissin, piano and Matthias Goerne, baritone

Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center Sunday, April 14, 2024, at 3 PM

Dichterliebe, Op. 48

I. Im wunderschönen Monat Mai

II. Aus meinen Tränen sprießen

III. Die Rose, die Lilie, die Taube, die Sonne

IV. Wenn ich in deine Augen seh

V. Ich will meine Seele tauchen

VI. Im Rhein, im heiligen Strome

VII. Ich grolle nicht

VIII. Und wüßten’s die Blumen, die kleinen

IX. Das ist ein Flöten und Geigen

X. Hör’ ich das Liedchen klingen

XI. Ein Jüngling liebt ein Mädchen

XII. Am leuchtenden Sommermorgen

XIII. Ich hab’ im Traum geweinet

XIV. Allnächtlich im Traume

XV. Aus alten Märchen winkt es

XVI. Die alten, bösen Lieder

Evgeny Kissin, piano

Matthias Goerne, baritone



Four Ballades, Op. 10

I. Andante

II. Andante

III. Intermezzo: Allegro

IV. Andante con moto

Evgeny Kissin, piano

ROBERT SCHUMANN (1810–1856) BRAHMS (1833–1897)


Songs after Poems by Heinrich Heine

Sommerabend, Op. 85, No. 1

Mondenschein, Op. 85, No. 2

Der Tod, das ist die kühle Nacht, Op. 96, No. 1

Meerfahrt, Op. 96, No. 4


Lieder und Gesänge, Op. 32

I. Wie rafft’ ich mich auf in der Nacht

II. Nicht mehr zu dir zu gehen

III. Ich schleich umher

IV. Der Strom, der neben mir verrauschte

V. Wehe, so willst Du mich wieder

VI. Du sprichst, dass ich mich täuschte

VII. Bitteres zu sagen denkst du

VIII. So stehn wir, ich und meine Weide

IX. Wie bist du, meine Königin

Evgeny Kissin, piano

Matthias Goerne, baritone



Composed: 1840

Duration: about 30 minutes

Heinrich Heine, from whose 1827 Buch der Lieder (Book of Songs) the texts for Dichterliebe are drawn, was already acknowledged as one of the great poets of his time when Robert Schumann began to set his verse to music. Though Dichterliebe (A Poet’s Love) may not convey quite so explicit a sense of story as some of Franz Schubert’s song cycles like Die schöne Müllerin (The Fair Maid of the Mill) and Winterreise (Winter Journey), we can nonetheless approach this substantial but swift-moving song cycle with the knowledge that Schumann selected his poems and musicalized their variegated “moods” with extreme care, so as to convey a powerful sense of psychological narrative. Dichterliebe ’s brief songs are blink-and-you-miss-it sonic hallucinations, asking for an especially rapt concentration in order to track their hairpin turns of emotion.

More than any composer of the preceding generation, Schumann navigates his musical structures using then-radical strategies of musical irresolution. He doesn’t hesitate, for example, to leave his listeners hanging, white-knuckled, at the end of one song, before presenting a partial resolution (or delayed revelation) at the start of the one that follows it. We can hear an extreme example of this strategy at play right from the start, in the transition between Dichterliebe ’s first and second songs, where Schumann compels the romantically distressed singer-poet to musically walk the plank at the conclusion of “Im wunderschönen Monat Mai” (In the wondrous month of May), only providing an escape route with the start of “Aus meinen Tränen sprießen” (From my tears there will spring).

Word painting — a deliberate musicalization of poetic imagery — remains a foundational characteristic of art song, but is perhaps less overtly privileged by Schumann in this cycle. Some of the Dichterliebe songs provide a more generalized mood. For example, the lightning-swift diction and accompaniment of the third song, “Die Rose, die Lilie, die Taube, die Sonne” (Rose, Lily, Dove, Sun), doesn’t provide a lot of breathing room for word painting; the song charms because Schumann has created a single, vivid sonic fabric that can stand in for the whole of the brief poem.

At other times, the impulse to musicalize a poem’s ethos is so strong that the result can verge on parody. Consider Schumann’s aggressively imagistic response in setting the sixth song, “Im Rhein, im heiligen Strome” (In the Rhine, in the holy river). Here


we find less concern for painting specific words than for providing a strong musical analog to the poem’s central image: an imposing old stone church (which doubles as an unsettling metaphor for the singer’s mindstate).

Despite the enthralling creativity that underlies much of Schumann’s poetic interpretations, it should not be forgotten that composers also value good poetry for its rhetorical effect. Sometimes, as in “Allnächtlich im Traume” (Nightly in my dreams), much of the composer’s imagination is deployed in the service of the poet’s prosody. Here Schumann evinces marvelous sensitivity in conceiving a melodic and rhythmic shape that sounds tailor-made to Heine’s rhetoric.

The word “cycle” in song cycle implies circularity; in practice, musical cyclicity is liable to be experienced as a haunting element of recurrence — like a mysterious character that keeps popping up in the story at crucial junctures. For many listeners, the overtly cyclic moments of thematic recall will prove Dichterliebe ’s most powerful narrative and structural indicators. Consider the way that the melody first presented in “Aus meinen Tränen sprießen” recurs as an eerie counterpoint to the piano’s fragments of a funeral march in the thirteenth song, “Ich hab’ im Traum geweinet” (I wept in my dream). Still more shattering is the unexpected manner in which a part of this melody’s climax is resurrected for the last poetic line of the whole cycle, in a sighing irresolution that the pianist must try to solve in the manner of a puzzle — or, in this case, a romantic conundrum.

The piano in these songs is more than just a cushion for the singer — sometimes the pianist provides an implicit continuation of the song’s narrative in a prominent postlude, after the singer has already dropped out. In these instances, the singer isn’t simply waiting to reenter for the next song; he’s listening for how the pianist continues to develop the song cycle’s narrative in real time. Nowhere is this more apparent than in the final song’s extended postlude, which we can hear as searching, at some length and with considerable urgency, for a fitting conclusion to the cycle. (This postlude is, itself, strongly implicated in the cyclicity, elaborating pointedly upon the accompaniment of the twelfth song, “Am leuchtenden Sommermorgen.”) The sobbing plagal or “church” cadence (routinely accompanying the “Amen” in Protestant hymnody) at which the pianist finally arrives underlines the religious intensity of the singer’s romantic devotion.



Composed: 1854

Duration: about 25 minutes

The four ballades of Johannes Brahms’s Op. 10 are something of an early oddity among his piano music. Their presence here, on this program, is a helpful reminder that 19th century composers of piano music (Robert Schumann especially) were constantly preoccupied with the notion of finding a purely musical corollary to poetry. One of the reasons that the “Lieder ohne Worte” — a wordless song for piano solo — became a major genre for the Romantics is because of their fixation upon the notion of poetry as an artistic ideal to which music should continually aspire. (That the adjective “poetic” serves as among the most common terms of praise for composers during the 19th century is no accident.)

Brahms’s ballades diverge in several respects, however, from the era’s characteristic notion of the piano-piece-as-poem. Lyric poetry is typically compact and fairly unified in mood. In his “ballads,” Brahms is evoking a different, more ancient poetic tradition, where narratives can be unraveled at indefinite length by skilled storytellers-in-song. (We saw a popularization of this bardic impulse in the singer-songwriters of the ’60s folk revival, who often understood themselves as implicitly reviving a tradition of sung narrative poetry, with an acoustic guitar standing in for a Greek lyre or Celtic harp.)

Though their musical substance is perhaps not so pungent as his later piano intermezzos and capriccios, Brahms’s ballades range in their atmosphere. The First Ballade is notable for the artful way in which its secondary, hymn-like subject is casually inverted (gracefully flipping the melodic arc from a descending line to an ascending one); its climax is startlingly broad and orchestral for so brief a piece. (It’s also worth noting that for this ballade, Brahms was inspired by an actual literary work — the Scottish ballad “Edward.”) The Second Ballade begins with a tender, swaying texture suggestive of a cradle song, which is cruelly contrasted with a second section of martial force. With the Third Ballade, we’re given a premonition of the Magyar-isms that will feature so memorably in the composer’s later Hungarian Dances ; in this piece’s opening idea we can almost hear the silvery crackle of the cimbalom. The Fourth and final Ballade is incredibly spacious, explicitly recalling Schumann in his most contemplative aspect — indeed, despite its length, it is the least dramatic (and hence, the least ballad-like) of this set.



Composed: 1877–84

Duration: about 15 minutes

More than two decades Robert Schumann’s junior, Johannes Brahms was still a young boy at the time of Dichterliebe ’s composition. He therefore inherits a highly developed song tradition from Schumann, much as Schumann himself had from Franz Schubert. But Brahms had the added benefit of a close friendship with the Schumanns (and with Robert’s wife, Clara, especially, during the long years following Robert’s death). Given Heinrich Heine’s recognized standing among German Romantic poets, it is hardly surprising that Brahms mined his poetry for possible song texts — just as his mentor had done — the results of which can be heard in these four songs based on Heine’s works.

Though great song cycles, like Schumann’s Dichterliebe, tend to take pride of place in art song recitals, hearing individual songs (or songs excerpted from cycles) releases the weight of the larger works’ self-referentiality — the thrill of a narrative throughline is exchanged for a single, potent lyric excursion. In “Sommerabend” (Summer evening) Brahms evokes just the sort of sonic twilight that is intimated by its title. “Mondenschein” (Moonlight) fascinates for the way in which Brahms deliberately obscures Heine’s structural organization, musically suturing over the transition from first to second verse.

“Der Tod, das ist die kühle Nacht” (Death is cool night) is an extraordinarily imaginative exercise — musicalizing a slow transition from the “wearied” waking hours to an ecstatic dreamworld, the latter inspiring a spectacular expansion of the singer’s vocal range, as if in an exquisitely contented yawn. “Meerfahrt” (Sea voyage), on the other hand, finds Brahms opting for an interpretation that runs crosswise of the poem’s surface meaning — was there ever a less “light” boat than the one he depicts here?



Composed: 1864

Duration: about 25 minutes

Johannes Brahms’s Lieder und Gesänge is poetically diffuse, drawing its texts from two different poets — August von Platen and George Friedrich Daumer — and thus cannot be heard as musicalizing a single literary perspective (that is, it is not a consistently cohesive song cycle). It is possible, however, to make some larger inferences regarding its musical shape, such as an emphasis upon turgid minor keys in the earlier songs, which gradually give way to major keys. The overriding impression, though, is of poetic and musical seriousness.

A bardic impulse is fairly explicit in the first song, “Wie rafft’ ich mich auf in der Nacht” (How I leapt up in the night) which is notably episodic. Brahms’s evocation of a starry night in the piano for the third strophe is an especially potent example of word painting. In the Schumannesque third song, “Ich schleich umher” (I creep about) musical material repeated across strophes makes for an equally vivid representation of the “creeping” in the song’s title, and then the “withering” of the tree in the second strophe. The fourth song, “Der Strom, der neben mir verrauschte” (The river that rushed by me), is distinguished by the force of its musical and poetic rhetoric — rarely in music has a repeated question sounded so inescapable; compulsive, even.

Brahms, who is rarely thought of as a pictorial composer, provides an especially striking image for the singer’s last line in the sixth song, “Du sprichst, dass ich mich täuschte” (You tell me I was mistaken), with the pianist insistently retracing his own steps musically, as if trapped in a maze of regret. If the total effect of these songs is rather grim, the final one, “Wie bist du, meine Königin” (How blissful, my queen, you are), cuts through the gloom like a shaft of sunlight at daybreak. The singer’s awed exclamations of “wonnevoll!” (blissfully!) imply a romantic benediction for the whole set, suggesting that devotion to the beloved remains possible — the singer’s declarations will not be met with complete indifference, or so we are led to imagine.

The Lieder und Gesänge unfolds more leisurely than does a cycle like Robert Schumann’s Dichterliebe and is less obviously concerned with internal contrasts. Even so, the great pleasure of this repertoire is the leaning forward in one’s seat, translation in hand, to meet the musicians halfway as they lift the veil on a colloquy in progress. Listening ferociously, we can catch echoes of an artistic dialog shared between Brahms and his poets.

— Program notes by Dane–Michael Harrison



Dichterliebe, Op. 48

I.Im wunderschönen Monat Mai

Im wunderschönen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen

Die Liebe aufgegangen.

Im wunderschönen Monat Mai, Als alle Vögel sangen, Da hab’ ich ihr gestanden

Mein Sehnen und Verlangen.

II.Aus meinen Tränen sprießen

Aus meinen Tränen sprießen

Viel blühende Blumen hervor, Und meine Seufzer werden

Ein Nachtigallenchor.

Und wenn du mich lieb hast, Kindchen, Schenk’ ich dir die Blumen all’, Und vor deinem Fenster soll klingen

Das Lied der Nachtigall.

III.Die Rose, die Lilie, die Taube, die Sonne

Die Rose, die Lilie, die Taube, die Sonne, Die liebt’ ich einst alle in Liebeswonne.

Ich lieb’ sie nicht mehr, ich liebe alleine

Die Kleine, die Feine, die Reine, die Eine; Sie selber, aller Liebe Wonne, Ist Rose und Lilie und Taube und Sonne.

I.In the wondrous month of May

In the wondrous month of May, When all the buds burst into bloom, Then it was that in my heart

Love began to burgeon.

In the wondrous month of May, When all the birds were singing, Then it was I confessed to her My longing and desire.

II.From my tears there will spring

From my tears there will spring

Many blossoming flowers, And my sighs shall become A chorus of nightingales.

And if you love me, child, I’ll give you all the flowers, And at your window shall sound The nightingale’s song.

III.Rose, lily, dove, sun

Rose, lily, dove, sun, I loved them all once in the bliss of love.

I love them no more, I only love

She who is small, fine, pure, rare; She, most blissful of all loves, Is rose and lily and dove and sun.


IV.Wenn ich in deine Augen seh

Wenn ich in deine Augen seh’, So schwindet all’ mein Leid und Weh’; Doch wenn ich küsse deinen Mund, So werd’ ich ganz und gar gesund.

Wenn ich mich lehn’ an deine Brust, Kommt’s über mich wie Himmelslust; Doch wenn du sprichst: ich liebe dich! So muss ich weinen bitterlich.

V.Ich will meine Seele tauchen

Ich will meine Seele tauchen

In den Kelch der Lilie hinein; Die Lilie soll klingend hauchen

Ein Lied von der Liebsten mein.

Das Lied soll schauern und beben, Wie der Kuss von ihrem Mund,

Den sie mir einst gegeben

In wunderbar süsser Stund’.

VI.Im Rhein, im heiligen Strome

Im Rhein, im heiligen Strome, Da spiegelt sich in den Well’n Mit seinem grossen Dome, Das grosse, heilige Köln.

Im Dom da steht ein Bildnis, Auf gold’nem Leder gemalt; In meines Lebens Wildnis

Hat’s freundlich hineingestrahlt.

Es schweben Blumen und Eng’lein

Um unsre liebe Frau;

Die Augen, die Lippen, die Wäng’lein, Die gleichen der Liebsten genau.

IV.When I look into your eyes

When I look into your eyes, All my pain and sorrow vanish; But when I kiss your lips, Then I am wholly healed.

When I lay my head against your breast, Heavenly bliss steals over me; But when you say: I love you!

I must weep bitter tears.

V.Let me bathe my soul

Let me bathe my soul

In the lily’s chalice; The lily shall resound With a song of my beloved.

The songs shall tremble and quiver Like the kiss that her lips

Once gave me

In a wondrously sweet hour.

VI.In the Rhine, in the holy river

In the Rhine, in the holy river, Mirrored in its waves, With its great cathedral, Stands great and holy Cologne.

In the cathedral hangs a picture, Painted on gilded leather; Into my life’s wilderness

It has cast its friendly rays.

Flowers and cherubs hover

Around Our beloved Lady; Her eyes, her lips, her cheeks

Are the image of my love’s.


VII.Ich grolle nicht

Ich grolle nicht, und wenn das Herz auch bricht,

Ewig verlor’nes Lieb! ich grolle nicht. Wie du auch strahlst in Diamantenpracht, Es fällt kein Strahl in deines Herzens Nacht.

Das weiss ich längst. Ich sah dich ja im Traume,

Und sah die Nacht in deines Herzens Raume,

Und sah die Schlang’, die dir am Herzen frisst,

Ich sah, mein Lieb, wie sehr du elend bist. Ich grolle nicht.

VIII.Und wüßten’s die Blumen, die kleinen

Und wüßten’s die Blumen, die kleinen, Wie tief verwundet mein Herz, Sie würden mit mir weinen, Zu heilen meinen Schmerz.

Und wüssten’s die Nachtigallen, Wie ich so traurig und krank, Sie liessen fröhlich erschallen Erquickenden Gesang.

Und wüssten sie mein Wehe, Die goldenen Sternelein, Sie kämen aus ihrer Höhe, Und sprächen Trost mir ein.

Sie alle können’s nicht wissen, Nur eine kennt meinen Schmerz: Sie hat ja selbst zerrissen, Zerrissen mir das Herz.

VII.I bear no grudge

I bear no grudge, though my heart is breaking,

O love forever lost! I bear no grudge. However you gleam in diamond splendor, No ray falls in the night of your heart.

I’ve known that long. For I saw you in my dreams,

And saw the night within your heart, And saw the serpent gnawing at your heart;

I saw, my love, how pitiful you are. I bear no grudge.

VII.If the little flowers knew

If the little flowers knew How deeply my heart is hurt, They would weep with me To heal my pain.

If the nightingales knew How sad I am and sick, They would joyfully make the air Ring with refreshing song.

And if they knew of my grief, Those little golden stars, They would come down from the sky And console me with their words.

But none of them can know;

My pain is known to one alone; For she it was who broke, Broke my heart in two.


IX.Das ist ein Flöten und Geigen

Das ist ein Flöten und Geigen, Trompeten schmettern darein; Da tanzt wohl den Hochzeitsreigen Die Herzallerliebste mein.

Das ist ein Klingen und Dröhnen, Ein Pauken und ein Schalmei’n; Dazwischen schluchzen und stöhnen

Die lieblichen Engelein.

X.Hör’ ich das Liedchen klingen

Hör’ ich das Liedchen klingen, Das einst die Liebste sang, So will mir die Brust zerspringen Von wildem Schmerzendrang.

Es treibt mich ein dunkles Sehnen Hinauf zur Waldeshöh’, Dort löst sich auf in Tränen

Mein übergrosses Weh’.

XI.Ein Jüngling liebt ein Mädchen

Ein Jüngling liebt ein Mädchen, Die hat einen andern erwählt; Der andre liebt eine andre, Und hat sich mit dieser vermählt.

Das Mädchen nimmt aus Ärger

Den ersten besten Mann, Der ihr in den Weg gelaufen; Der Jüngling ist übel dran.

Es ist eine alte Geschichte, Doch bleibt sie immer neu; Und wem sie just passieret, Dem bricht das Herz entzwei.

IX.What a fluting, what a scraping

What a fluting, what a scraping, With trumpets blaring in; That must be my dearest love Dancing at her wedding feast.

What a clashing, what a clanging, What a drumming, what a piping; And the lovely little angels Sobbing and groaning in between.

X.When I hear the little song

When I hear the little song That my love once sang, My heart almost bursts With the wild rush of pain.

A dark longing drives me Out to the wooded heights, Where my overwhelming grief Dissolves in tears.

XI.A boy loves a girl

A boy loves a girl Who chooses another; He in turn loves another And marries her.

The girl, out of pique, Takes the very first man To come her way; The boy is badly hurt.

It is an old story, Yet remains ever new; And he to whom it happens, It breaks his heart in two.


XII. Am leuchtenden Sommermorgen

Am leuchtenden Sommermorgen

Geh’ ich im Garten herum.

Es flüstern und sprechen die Blumen, Ich aber wandle stumm.

Es flüstern und sprechen die Blumen, Und schau’n mitleidig mich an:

‘Sei unsrer Schwester nicht böse, Du trauriger, blasser Mann.’

XIII. Ich hab’ im Traum geweinet

Ich hab’ im Traum geweinet, Mir träumte, du lägest im Grab. Ich wachte auf, und die Träne Floss noch von der Wange herab.

Ich hab’ im Traum geweinet, Mir träumt’, du verliessest mich.

Ich wachte auf, und ich weinte Noch lange bitterlich.

Ich hab’ im Traum geweinet, Mir träumte, du wär’st mir noch gut. Ich wachte auf, und noch immer Strömt meine Tränenflut.

XIV. Allnächtlich im Traume

Allnächtlich im Traume seh’ ich dich Und sehe dich freundlich grüssen, Und laut aufweinend stürz’ ich mich Zu deinen süssen Füssen.

Du siehest mich an wehmütiglich Und schüttelst das blonde Köpfchen; Aus deinen Augen schleichen sich Die Perlentränentröpfchen.

Du sagst mir heimlich ein leises Wort Und gibst mir den Strauss von Zypressen. Ich wache auf, und der Strauss ist fort, Und’s Wort hab’ ich vergessen.

XII. One bright summer morning

One bright summer morning

I walk around the garden. The flowers whisper and talk, But I walk silently.

The flowers whisper and talk, And look at me in pity:

‘Be not angry with our sister, You sad, pale man.’

XIII. I wept in my dream

I wept in my dream; I dreamt you lay in your grave. I woke, and tears Still flowed down my cheeks.

I wept in my dream; I dreamt that you were leaving me.

I woke, and wept on Long and bitterly.

I wept in my dream; I dreamt you loved me still.

I woke, and still My tears stream.

XIV. Nightly in my dreams

Nightly in my dreams I see you, And see your friendly greeting, And weeping loud, I hurl myself Down at your sweet feet.

Wistfully you look at me, Shaking your fair little head; Stealing from your eyes

Flow little tears of pearl.

You whisper me a soft word And hand me a wreath of cypress.

I wake, the wreath is gone, And I cannot remember the word.

1069325_Kissin & Goerne Recital program v05_single_sw

XV.Aus alten Märchen winkt es

Aus alten Märchen winkt es

Hervor mit weisser Hand, Da singt es und da klingt es

Von einem Zauberland;

Wo bunte Blumen blühen

Im gold’nen Abendlicht, Und lieblich duftend glühen, Mit bräutlichem Gesicht;

Und grüne Bäume singen

Uralte Melodei’n, Die Lüfte heimlich klingen, Und Vögel schmettern drein;

Und Nebelbilder steigen

Wohl aus der Erd’ hervor, Und tanzen luft’gen Reigen

Im wunderlichen Chor;

Und blaue Funken brennen

An jedem Blatt und Reis, Und rote Lichter rennen

Im irren, wirren Kreis;

Und laute Quellen brechen

Aus wildem Marmorstein.

Und seltsam in den Bächen Strahlt fort der Widerschein.

Ach, könnt’ ich dorthin kommen, Und dort mein Herz erfreu’n, Und aller Qual entnommen, Und frei und selig sein!

Ach! jenes Land der Wonne, Das seh’ ich oft im Traum, Doch kommt die Morgensonne, Zerfliesst’s wie eitel Schaum.

XV.From fairy tales of old

A white hand beckons

From fairy tales of old, Where there are sounds and songs

Of a magic land;

Where brightly colored flowers

Bloom in the golden twilight, And glow sweet and fragrant

With a bride-like face;

And green trees

Sing primeval melodies, Mysterious breezes murmur, And birds too join in warbling;

And misty shapes rise up

From the very ground, And dance airy dances

In a strange throng;

And blue sparks blaze

On every leaf and twig, And red fires race

Madly round and round;

And loud springs gush

From wild marble cliffs. And strangely in the streams

Reflections shine on and on.

Ah, could I but reach that land, And there make glad my heart, And be relieved of all pain, And be blissful and free!

Ah, that land of delight,

I see it often in my dreams, But with the morning sun

It melts away like mere foam .


XVI.Die alten, bösen Lieder

Die alten, bösen Lieder, Die Träume bös’ und arg, Die lasst uns jetzt begraben, Holt einen grossen Sarg.

Hinein leg’ ich gar manches, Doch sag’ ich noch nicht was; Der Sarg muss sein noch grösser, Wie’s Heidelberger Fass.

Und holt eine Totenbahre

Und Bretter fest und dick; Auch muss sie sein noch länger, Als wie zu Mainz die Brück’.

Und holt mir auch zwölf Riesen, Die müssen noch stärker sein

Als wie der starke Christoph Im Dom zu Köln am Rhein.

Die sollen den Sarg forttragen, Und senken ins Meer hinab; Denn solchem grossen Sarge Gebührt ein grosses Grab.

Wisst ihr, warum der Sarg wohl

So gross und schwer mag sein?

Ich senkt’ auch meine Liebe Und meinen Schmerz hinein.

— Heinrich Heine

XVI.The bad old songs

The bad old songs, The bad and bitter dreams, Let us now bury them. Fetch me a large coffin.

I have much to put in it, Though what, I won’t yet say; The coffin must be even larger Than the vat at Heidelberg.

And fetch a bier

Made of firm thick timber: And it must be even longer Than the bridge at Mainz.

And fetch for me twelve giants; They must be even stronger

Than Saint Christopher the Strong In Cologne Cathedral on the Rhine.

They shall bear the coffin away, And sink it deep into the sea; For such a large coffin

Deserves a large grave.

Do you know why the coffin Must be so large and heavy?

I’d like to bury there my love And my sorrow too.


Songs after Poems by Heinrich Heine


Dämmernd liegt der Sommerabend

Über Wald und grünen Wiesen; Goldner Mond, im blauen Himmel Strahlt herunter, duftig labend.

An dem Bache zirpt die Grille, Und es regt sich in dem Wasser, Und der Wandrer hört ein Plätschern Und ein Athmen in der Stille.

Dorten, an dem Bach alleine, Badet sich die schöne Elfe; Arm und Nacken, weiß und lieblich, Schimmern in dem Mondenscheine.


Nacht liegt auf den fremden Wegen, Krankes Herz und müde Glieder, — Ach, da fließt, wie stiller Segen, Süßer Mond, dein Licht hernieder;

Süßer Mond, mit deinen Strahlen Scheuchest du das nächtge Grauen; Es zerrinnen meine Qualen, Und die Augen übertauen.

Der Tod, das ist die kühle Nacht

Der Tod, das ist die kühle Nacht, Das Leben ist der schwüle Tag. Es dunkelt schon, mich schläfert, Der Tag hat mich müd gemacht.

Summer evening

Summer evening twilight lies Over forest and green meadows; A golden moon in the blue sky Shines down in a soothing haze.

By the brook the cricket chirps And the waters stir, And the traveler hears a splashing And a breathing in the stillness.

Over there by the brook, alone, A lovely water-nymph is bathing; Arms and neck, white and comely, Shimmer in the moonlight.


Night lies over unknown pathways, Sick heart and tired limbs, — Then, sweet moon, like a silent blessing, Your radiance streams down;

With your beams, sweet moon, You dispel nocturnal terrors; All my torments melt away And my eyes brim over.

Death is cool night

Death is cool night, Life is sultry day.

Dusk falls now, I feel drowsy, The day has wearied me.


Über mein Bett erhebt sich ein Baum, Drin singt die junge Nachtigall; Sie singt von lauter Liebe, Ich hör es sogar im Traum.


Mein Liebchen, wir saßen beisammen Traulich im leichten Kahn.

Die Nacht war still und wir schwammen Auf weiter Wasserbahn.

Die Geisterinsel, die schöne, Lag dämmrig im Mondenglanz; Dort klangen liebe Töne Und wogte der Nebeltanz.

Dort klang es lieb und lieber Und wogt es hin und her; Wir aber schwammen vorüber Trostlos auf weitem Meer.

— Heinrich Heine

Over my bed rises a tree, In which the young nightingale sings; She sings of nothing but love, I hear it even in my dreams.

Sea voyage

My sweetest, we sat together, Lovingly in our light boat. The night was still, and we drifted Along a wide waterway.

The beautiful haunted island Lay dimly in the moon’s light; Sweet music was sounding there, And dancing mists were swirling.

The sounds grew sweeter and sweeter, The mists swirled this way and that; We, however, drifted past, Desolate on the wide sea.


Lieder und Gesänge, Op. 32

I. Wie rafft’ ich mich auf in der Nacht

Wie rafft’ ich mich auf in der Nacht, in der Nacht, Und fühlte mich fürder gezogen, Die Gassen verließ ich vom Wächter bewacht,

Durchwandelte sacht

In der Nacht, in der Nacht, Das Tor mit dem gotischen Bogen.

Der Mühlbach rauschte durch felsigen Schacht, Ich lehnte mich über die Brücke, Tief unter mir nahm ich der Wogen in Acht, Die wallten so sacht

In der Nacht, in der Nacht, Doch wallte nicht eine zurücke.

Es drehte sich oben, unzählig entfacht

Melodischer Wandel der Sterne, Mit ihnen der Mond in beruhigter Pracht, Sie funkelten sacht

In der Nacht, in der Nacht, Durch täuschend entlegene Ferne.

Ich blickte hinauf in der Nacht, in der Nacht, Und blickte hinunter aufs neue; O wehe, wie hast du die Tage verbracht, Nun stille du sacht,

In der Nacht, in der Nacht, Im pochenden Herzen die Reue!

— August von Platen

II. Nicht mehr zu dir zu gehen

Nicht mehr zu dir zu gehen, Beschloß ich und beschwor ich, Und gehe jeden Abend, Denn jede Kraft und jeden Halt verlor ich.

I. How I leapt up in the night

How I leapt up in the night, in the night, And felt myself drawn onward, I left the streets, patrolled by the watch, Quietly walked on In the night, in the night, Through the gate with the Gothic arch.

The millstream rushed through the rocky gorge, I leaned over the bridge, Far below me I watched the waves That flowed so quietly

In the night, in the night, But not a single wave ever flowed back.

The countless, kindled stars above Went on their melodious way, With them the moon in tranquil splendor — They glittered quietly

In the night, in the night, Through deceptively distant space.

I gazed aloft in the night, in the night, And gazed down again once more; Oh how have you spent your days, alas, Now quietly silence

In the night, in the night, The remorse that pounds in your heart!

II. Never to go to you again

Never to go to you again, So I decided and so I vowed, And go each evening, For I’ve lost all strength and all resolve.

1069325_Kissin & Goerne Recital program v05_single_sw 19

Ich möchte nicht mehr leben, Möcht’ augenblicks verderben, Und möchte doch auch leben

Für dich, mit dir, und nimmer, nimmer sterben.

Ach, rede, sprich ein Wort nur, Ein einziges, ein klares; Gib Leben oder Tod mir, Nur dein Gefühl enthülle mir, dein wahres!

— Georg Friedrich Daumer

III.Ich schleich umher

Ich schleich umher

Betrübt und stumm, Du fragst, o frage

Mich nicht, warum?

Das Herz erschüttert

So manche Pein!

Und könnt ich je Zu düster sein?

Der Baum verdorrt, Der Duft vergeht, Die Blätter liegen

So gelb im Beet, Es stürmt ein Schauer

Mit Macht herein, Und könnt ich je Zu düster sein?

— August von Platen

IV. Der Strom, der neben mir verrauschte

Der Strom, der neben mir verrauschte, Wo ist er nun?

Der Vogel, dessen Lied ich lauschte, Wo ist er nun?

Wo ist die Rose, die die Freundin am Herzen trug, Und jener Kuß, der mich berauschte, Wo ist er nun?

I wish to live no more, Would sooner die at once, And yet would sooner live For you, with you, and never, never die.

Ah! speak, say but a word, A single one, a clear one; Give me life or death, But show me how you really feel!

III.I creep about

I creep about, Troubled and silent, You ask me — oh, ask

Me not — why?

My heart is shaken

By so much pain!

And could I ever Be too gloomy?

The tree withers, Fragrance fades, Leaves lie so yellow

In the flowerbed. A heavy shower

Comes storming up, And could I ever Be too gloomy?

IV.The river that rushed by me

The river that rushed by me, Where is it now?

The bird whose song I listened to, Where is it now?

Where is the rose my love wore on Her heart,

And that kiss which entranced me, Where is it now?


Und jener Mensch, der ich gewesen, Und den ich längst Mit einem andern ich vertauschte, Wo ist er nun?

— August von Platen

V.Wehe, so willst Du mich wieder

Wehe, so willst du mich wieder, Hemmende Fessel, umfangen?

Auf, und hinaus in die Luft!

Ströme der Seele Verlangen, Ström es in brausende Lieder, Saugend ätherischen Duft!

Strebe dem Wind nur entgegen, Daß er die Wange dir kühle, Grüße den Himmel mit Lust!

Werden sich bange Gefühle Im Unermesslichen regen?

Atme den Feind aus der Brust!

— August von Platen

VI.Du sprichst, dass ich mich täuschte

Du sprichst, dass ich mich täuschte, Beschworst es hoch und hehr,

Ich weiß ja doch, du liebtest, Allein du liebst nicht mehr!

Dein schönes Auge brannte, Die Küsse brannten sehr, Du liebtest mich, bekenn es, Allein du liebst nicht mehr!

Ich zähle nicht auf neue, Getreue Wiederkehr;

Gesteh nur, daß du liebtest, Und liebe mich nicht mehr!

And that man I used to be, And whom I long ago Exchanged for another self, Where is he now?

— August von Platen

V.Alas, would you once again

Alas, would you once again Enchain me, restraining fetters?

Up and out into the open!

Pour out the soul’s longing, Pour it into impassioned songs, Absorbing ethereal fragrance!

Struggle into the teeth of the wind, That it may cool your cheeks, Greet the heavens with joy!

Can you feel anxiety, When confronted by the infinite universe?

Breathe out the foe from your breast!

VI.You tell me I was mistaken

You tell me I was mistaken, You swore it by all you hold dear, Yet I know you loved me once, But no longer love me now!

Your beautiful eyes smoldered, Your kisses even more, You loved me once, confess it, But no longer love me now!

I do not ever expect you

To love me faithfully again; Just confess you loved me once And no longer love me now!


VII. Bitteres zu sagen denkst du

Bitteres zu sagen denkst du; Aber nun und nimmer kränkst du, Ob du noch so böse bist.

Deine herben Redetaten

Scheitern an korallner Klippe, Werden all zu reinen Gnaden, Denn sie müssen, um zu schaden, Schiffen über eine Lippe, Die die Süße selber ist.

— Georg Friedrich Daumer

VIII. So stehn wir, ich und meine Weide

So stehn wir, ich und meine Weide, So leider mit einander beide:

Nie kann ich ihr was tun zu Liebe, Nie kann sie mir was tun zu Leide.

Sie kränket es, wenn ich die Stirn ihr Mit einem Diadem bekleide;

Ich danke selbst, wie für ein Lächeln

Der Huld, für ihre Zornbescheide.

— Georg Friedrich Daumer

IX. Wie bist du, meine Königin

Wie bist du, meine Königin, Durch sanfte Güte wonnevoll!

Du lächle nur —

Lenzdüfte wehn

Durch mein Gemüte wonnevoll!

Frisch aufgeblühter Rosen Glanz

Vergleich ich ihn dem deinigen?

Ach, über alles was da blüht, Ist deine Blüte, wonnevoll!

VII. You mean to say bitter things

You mean to say bitter things; But neither now nor ever do you hurt me, However angry you may be.

Your bitter recriminations

Founder on a coral reef, Become pure graciousness, For, in order to inflict damage, They must sail over lips

That are sweetness itself.

VIII. So here we stand, I and my heart’s desire

So here we stand, I and my heart’s desire, At loggerheads with each other:

I can never please her, She can never hurt me.

It offends her, when I set a diadem

On her brow;

I even thank her, as I would for a gracious Smile, for her outbursts of anger.

IX. How blissful, my queen, you are

How blissful, my queen, you are, By reason of your gentle kindness! You merely smile, and springtime fragrance

Wafts through my soul blissfully!

Shall I compare the radiance

Of freshly blown roses to yours?

Ah! more blissful than all that blooms

Is your blissful bloom!


Durch tote Wüsten wandle hin, Und grüne Schatten breiten sich, Ob fürchterliche Schwüle dort Ohn Ende brüte, wonnevoll.

Laß mich vergehn in deinem Arm!

Es ist in ihm ja selbst der Tod, Ob auch die herbste Todesqual

Die Brust durchwüte, wonnevoll.

— Georg Friedrich Daumer

Roam through desert wastes, And green shade will spring up — Though fearful sultriness broods Endlessly there — blissfully.

Let me perish in your arms! Death in your embrace will be — Though bitterest mortal agony rage Through my breast — blissful.

— English translations © Richard Stokes, author of:

The Book of Lieder (Faber); The Complete Songs of Hugo Wolf (Faber), provided via Oxford International Song Festival (



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Contemporary Youth Orchestra ROB ER T MULLE R I F YO U’ RE LO OK ING TO create
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Evgeny Kissin’s musicality, the depth and poetic quality of his interpretations, and extraordinary virtuosity have earned him the veneration and admiration deserved only by the most gifted classical pianists. He first came to international attention in March 1984 when, at age 12, he performed Chopin’s two piano concertos with the Moscow State Philharmonic under Dmitri Kitayenko. Today, Kissin is in demand worldwide and has appeared with many of the world’s great conductors and orchestras.

This season, Kissin tours the United States with a recital program of works by Chopin, Beethoven, Brahms, and Prokofiev. He also collaborates, for the first time, with baritone Matthias Goerne, touring both Europe and the US with a program of Brahms songs and piano pieces alongside Robert Schumann’s song cycle Dichterliebe. In addition, Kissin appears in concert with major European orchestras including the Berlin Philharmonic, Gewandhaus Orchestra, and the Orchestra dell’Accademia Nazionale di Santa Cecilia, among others.

Kissin has received numerous awards and tributes from around the world. In 1986, he was awarded the Crystal Prize of the Osaka Symphony Hall for Best Performance of the Year. He was a special guest at the 1992 Grammy Awards and, three years later, became Musical America’s youngest Instrumentalist of the Year. Kissin also holds honorary doctorates from the Manhattan School of Music and Hong Kong University, Russia’s Shostakovich Award, and honorary membership in London’s Royal Academy of Music.

Kissin’s newest album release features Beethoven sonatas on the Deutsche Grammophon label. His previous recordings have received numerous awards and accolades, including the Diapason d’Or and Echo Klassik’s Soloist of the Year. Kissin’s recording of works by Scriabin, Medtner, and Stravinsky (RCA Red Seal) won him a Grammy in 2006 for Best Instrumental Soloist. He also received a Grammy for Best Instrumental Soloist Performance (with orchestra) in 2010 for his recording of Prokofiev’s Piano Concertos Nos. 2 and 3 with the Philharmonia Orchestra and Vladimir Ashkenazy (EMI Classics). Kissin’s extraordinary talent inspired Christopher Nupen’s documentary film Evgeny Kissin: The Gift of Music, which was released in 2000 on video and DVD by RCA Red Seal.




Celebrated around the globe for his opera and concert performances, German baritone

Matthias Goerne is a frequent guest with leading orchestras and renowned festivals and concert halls. Among his musical partners are conductors such as Claudio Abbado, Herbert Blomstedt, Riccardo Chailly, Christoph von Dohnányi, Gustavo Dudamel, Christoph Eschenbach, Daniele Gatti, Bernard Haitink, Manfred Honeck, Mariss Jansons, Neeme Järvi, Paavo Järvi, Vladimir Jurowski, Yannick Nézet-Séguin, Seiji Ozawa, Antonio Pappano, Kirill Petrenko, Simon Rattle, Esa-Pekka Salonen, and Franz Welser-Möst. His carefully chosen roles range from Amfortas, Marke, Wolfram, Wotan, Orest, and Jochanaan to the title roles in Bartók’s Bluebeard’s Castle and Berg’s Wozzeck .

Goerne’s artistry has been documented on numerous recordings, which have garnered five Grammy nominations, an ICMA award, a Gramophone Award, the 2017 BBC Music Magazine Vocal Award, Diapason d’Or Arte, and a 2017 ECHO Klassik Award in the category “Singer of the Year.” He has released four albums with Deutsche Grammophon: Beethoven songs with Jan Lisiecki; a collection of Wagner, Richard Strauss, and Pfitzner songs with Seong-Jin Cho; and Robert Schumann and Brahms songs with Daniil Trifonov. His latest album for Deutsche Grammophon, Schubert Revisited , was released in January 2023.

In the 2023–24 season, Goerne embarks on an extensive recital and orchestral tour of China and will perform a series of recitals with Evgeny Kissin in Europe and the United States. He premiered Jörg Widmann’s Schumannliebe at Porto’s Casa da Música and the Cologne Philharmonie. Furthermore, he will appear with the NDR Elbphilharmonie Orchestra and return to the Salzburg Festival in the summer.


Now in its second century, The Cleveland Orchestra, under the leadership of Music Director Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming broadcast platform Adella, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2023–24 season marks Franz Welser-Möst’s 22nd year as music director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz WelserMöst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.






KOLESNIKOV in recital

SEP 24 | TUE 7:30 PM

Pavel Kolesnikov, piano Reinberger Chamber Hall

J.S. BACH Goldberg Variations

GERSTEIN in recital

DEC 4 | WED 7:30 PM

Kirill Gerstein, piano

Mandel Concert Hall

R. SCHUMANN Carnaval

FRANCISCO COLL Waltzes Toward Civilization

RAVEL La valse (trans. for piano)

LISZT Bénédiction de Dieu dans la solitude

LISZT Piano Sonata in B minor

ÓLAFSSON & WANG in recital

FEB 23 | SUN 3 PM

Víkingur Ólafsson, piano

Yuja Wang, piano

Mandel Concert Hall

BERIO Wasserklavier

SCHUBERT Fantasie in F minor

LIGETI Bewegung from Three Pieces for Two Pianos

BRUBECK Fugue from Points on Jazz

NANCARROW Study No. 6 (arr. Adès)

JOHN ADAMS Hallelujah Junction

ARVO PÄRT Hymn to a Great City

RACHMANINOFF Symphonic Dances

ANDSNES in recital

MAR 27 | THU 7:30 PM

Leif Ove Andsnes, piano

Mandel Concert Hall

GRIEG Piano Sonata

TVEITT Piano Sonata No. 29, “Sonata Etere”

CHOPIN 24 Preludes

KISSIN in recital

MAY 7 | WED 7:30 PM

Evgeny Kissin, piano

Mandel Concert Hall

BEETHOVEN Piano Sonata No. 7

CHOPIN  Nocturne in G minor, Op. 15, No. 3

CHOPIN  Nocturne in E-flat major, Op. 55, No. 2

CHOPIN  Nocturne in E minor, Op. posth. 72, No. 1

CHOPIN  Polonaise in A major, Op. 40, No. 1, “Military”

SHOSTAKOVICH Piano Sonata No. 2

SHOSTAKOVICH Prelude and Fugue in F-sharp minor

SHOSTAKOVICH Prelude and Fugue in D-flat major

SHOSTAKOVICH Prelude and Fugue in D minor 216-231-1111

SEVERANCE in Recital


As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.


Please silence any alarms or ringers on pagers, cell phones, or wristwatches prior to the start of the concert.


Audio recording, photography, and videography are prohibited during performances at Severance. Photographs of the hall and selfies can be taken when the performance is not in progress. As a courtesy to others, please turn off any phone/ device that makes noise or emits light.


Get instant access to your tickets for Cleveland Orchestra concerts at Blossom Music Center and Severance by using the Ticket Wallet App. More information is at


Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.


For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. Infrared Assistive-Listening Devices are available. Please see the House Manager or Head Usher for more details.


Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical Season subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

Copyright © 2024 by The Cleveland Orchestra and Musical Arts Association

Kevin McBrien, Publications Manager (

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

THE 2023/2024 SEASON


Pre-concert lectures are held in Reinberger Chamber Hall one hour prior to the performance.


APR 14

RECITAL Schumann & Brahms

Evgeny Kissin, piano

Matthias Goerne, baritone

R. SCHUMANN Dichterliebe

BRAHMS Four Ballades, Op. 10

BRAHMS Selected Songs

APR 18 – 20


Klaus Mäkelä, conductor

Jean-Yves Thibaudet, piano

MILHAUD Le Bœuf sur le toit

GERSHWIN Concerto in F

STRAVINSKY The Rite of Spring

Pre-concert lecture by Caroline Oltmanns

APR 26 – 28



David Afkham, conductor

Beatrice Rana, piano

UNSUK CHIN subito con forza

RACHMANINOFF Piano Concerto No. 2

BARTÓK Concerto for Orchestra

Pre-concert lecture by James O’Leary

MAY 2 – 4



Franz Welser-Möst, conductor

Lang Lang, piano *

SAINT-SAËNS Piano Concerto No. 2 *

BERLIOZ Symphonie fantastique

Pre-concert lecture by Caroline Oltmanns

* Not performed on the Friday matinee concert

MAY 15–26


For more information on festival events visit:

MAY 16, 18, 24 & 26


Franz Welser-Möst, conductor

Nikolaus Habjan, director

Julian Prégardien, tenor

Ludwig Mittelhammer, baritone

Christina Landshamer, soprano

The Cleveland Orchestra Chorus

MOZART The Magic Flute

Staged production sung in German with projected supertitles

MAY 17


Conrad Tao, piano

Dane Johansen, cello

MAY 21


Terence Blanchard, trumpet

Featuring the E-Collective and Turtle Island Quartet

MAY 23 & 25


Franz Welser-Möst, conductor

Leila Josefowicz, violin

WAGNER Prelude and Liebestod from Tristan und Isolde

BERG Violin Concerto

MOZART Serenade No. 10, “Gran Partita”

Pre-concert lecture by Michael Strasser

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