RIAS Kammerchor Berlin Programme

INTERNATIONAL CONCERT SERIES 2019/2020

RIAS Kammerchor Berlin Justin Doyle chief conductor Bahar & Ufuk Dördüncü piano SATURDAY 23 NOVEMBER 2019

Joseph Calleja

Joyce DiDonato

Natalie Clein

International Concert Series 2019/2020 NEXT CONCERT Mon. 9 Dec. 2019, 8pm Joseph Calleja tenor Claudia Boyle soprano RTÉ National Symphony Orchestra Proinnsías Ó Duinn conductor PROGRAMME Popular opera arias and Christmas songs including Verdi, Puccini, Massenet and Gounod.

Wed. 22 Jan. 2020, 8pm English Chamber Orchestra José Serebrier conductor Natalie Clein cello

Thurs. 20 Feb. 2020, 8pm Simon Trpčeski piano Mon. 9 Mar. 2020, 8pm Bach Collegium Japan Masaaki Suzuki conductor Sat. 4 Apr. 2020, 8pm Tenebrae Aurora Orchestra Mon. 20 Apr. 2020, 8pm Emanuel Ax piano Thurs. 30 Apr. 2020, 8pm Vienna Chamber Orchestra Paul Lewis piano

Wed. 13 May 2020, 8pm Camerata Ireland Barry Douglas piano/ conductor Lynn Harrell cello Dmitry Sitkovetsky violin Sat. 23 May 2020, 8pm Joyce DiDonato mezzo-soprano Il pomo d’oro Maxim Emelyanychev conductor/harpsichord Tue. 2 June 2020, 8pm The Hallé Sir Mark Elder conductor Benjamin Grosvenor piano

TICKETS FROM €19.50

nch.ie

Welcome You are very welcome to the fourth concert of our International Concert Series for 2019/20.

This evening we are delighted to host the world-renowned RIAS Kammerchor Berlin with chief conductor Justin Doyle and piano duo Ufuk and Bahar Dördüncü.

The RIAS Kammerchor is consistently ranked amongst the top global choral ensembles.

Founded in 1948 it has been an ongoing partner of both the Berlin Radio Symphony Orchestra and the Deutsches Symphonie-Orchester Berlin. The choir participated in the opening concert of Berliner Philharmonie and has premiered works by such contemporary composers as Paul Hindemith, Boris Blacher, Mauricio Kagel and Aribert Reimann.

Justin Doyle has been its chief conductor since 2017. His work in that role began with a critically acclaimed debut at the new Pierre Boulez Saal in Berlin. Justin has recently been appointed Gastprofessor in Choral Conducting at Berlin’s Hochschule für Musik Hanns Eisler.

Joining them this evening are Turkish piano duo Ufuk and Bahar Dördüncü who regularly perform to captive audiences in venues such as the Victoria Hall Geneva, Saal Molière Lyon, the Palace of Nations in Brazilia and more.

Tonight’s programme is built around Brahms’ two sets of Liebeslieder waltzes, interspersed with folk songs about love from around the world and Dvořák’s exhilarating Slavonic Dances in their original piano duet versions.

The International Concert Series has long been the flagship of the NCH programme, bringing the finest international classical musicians, ensembles and orchestras to Irish audiences as well as showcasing our own leading artists. Our fifth instalment of the series on December 9th will see Maltese Tenor Joseph Calleja joined by soprano Claudia Boyle, conductor Proinnsías Ó Duinn and the RTÉ National Symphony Orchestra for performances of popular opera arias and Christmas songs.

Our thanks to our media partner The Irish Times for its ongoing support of the International Concert Series and to all our Friends, Corporate Associates, Patrons, sponsors and you, our audience. We hope you enjoy tonight’s performance and we look forward to welcoming you back to many more wonderful concerts in the season.

Simon Taylor Maura McGrath Chairman CEO Board Of Directors Maura McGrath Chair • James Cavanagh • Rebecca Gageby Gerard Gillen • Eleanor McEvoy • Máire O’Connor John Reynolds • Don Thornhill Patron Michael D. Higgins President of Ireland 1

Programme Johannes Brahms Liebeslieder Op. 52 1. Rede, Mädchen, allzu liebes 2. Am Gesteine rauscht die Flut Max Reger (arr.)

Es waren zwei Königskinder Johannes Brahms Liebeslieder Op. 52 3. O die Frauen 4. Wie des Abends schöne Röte 5. Die grüne Hopfenranke 6. Ein kleiner, hübscher Vogel Max Reger (arr.)

Liebchens Bote Antonín Dvořák Slavonic Dances Op. 72 / 2 Johannes Brahms Liebeslieder Op. 52 7. Wohl schön bewandt war es 8. Wenn so lind dein Auge mir 9. Am Donaustrande Gustav Holst (arr.)

I love my love

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Antonín Dvořák Slavonic Dances Op. 46 / 4 Johannes Brahms Liebeslieder Op. 52 10. O wie sanft die Quelle 11. Nein, es ist nicht auszukommen 12. Schlosser auf, und mache Schlösser 13. Vögelein durchrauscht die Luft 14. Sieh, wie ist die Welle klar 15. Nachtigall, sie singt so schön Ralph Vaughan Williams (arr.)

The Turtle Dove Johannes Brahms Liebeslieder Op. 52 16. Ein dunkeler Schacht ist Liebe 17. Nicht wandle, mein Licht 18. Es bebet das Gesträuche INTERVAL Antonín Dvořák Slavonic Dances Op. 46 / 1 Johannes Brahms Neue Liebeslieder Op. 65 1. Verzicht, o Herz, auf Rettung 2. Finstere Schatten der Nacht

Justin Doyle (after Sibelius) Vem kan segla (trad.)

Johannes Brahms Neue Liebeslieder Op. 65 3. An jeder Hand die Finger 4. Ihr schwarzen Augen Roger Quilter Drink to me only with thine eyes Johannes Brahms Neue Liebeslieder Op. 65 5. Wahre, wahre deinen Sohn 6. Rosen steckt mir an die Mutter 7. Vom Gebirge Well auf Well 8. Weiche Gräser im Revier

Johannes Brahms Neue Liebeslieder Op. 65 9. Nagen am Herzen fühl ich 10. Ich kose süß mit der und der 11. Alles, alles in den Wind 12. Schwarzer Wald, dein Schatten 13. Nein, Geliebter, setze dich 14. Flammenauge, dunkles Haar Justin Doyle (arr.)

The Ash Grove (trad.)

Johannes Brahms Neue Liebeslieder Op. 65 15. Zum Schluß

Justin Doyle (arr.)

Uti vår hage (trad.)

Antonín Dvořák Slavonic Dances Op. 46 / 8

REMINDERS Mobile Devices Please ensure all mobile devices are switched off during the performance.

Camera, Video and Recording Equipment Camera, video and recording equipment are NOT permitted in the auditorium.

Intervals and Timings Interval will be 20 minutes. Latecomers will not be admitted until there is a suitable break in the performance.

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Š Matthias Heyde

International Concert Series 2019/2020

RIAS Kammerchor Berlin

Founded over 70 years ago, the RIAS Kammerchor Berlin today sets standards in nearly all domains of musical culture – from celebrated historically informed interpretations of the Renaissance and the Baroque through works of Romanticism, which not infrequently lead listeners to a new conception of the 19th-century sound world, up the most demanding world premieres, in which the possibilities of contemporary vocal music are sounded out and newly defined.

A forefront musical position has given rise to a sense of cultural and social responsibility which the RIAS Kammerchor assumes passionately and intensively. On concert tours through Europe and to important music centres worldwide, the choir serves as a cultural ambassador 4

of Germany and, with its guest performances, continues the valuable legacy of German choral culture into the 21st century.

In brief: The RIAS Kammerchor is one of the ten best choirs in the world (Gramophone, 2010).

Leading artistic personalities of the recent past and present have shaped and left their mark on the choir during their chief conductorships. Uwe Gronostay (1972-1986) laid the foundations for historical performance practice and developed the chamber choir sound, for which the choir is today exemplary. Marcus Creed (1987-2001) achieved the increasing internationalisation of the RIAS Kammerchor, particularly through the coupling of early and contemporary music. Daniel Reuss (2003-2006) placed an emphasis on the classical modern and strengthened connections with cooperating partners at home and abroad. Hans-Christoph Rademann (2007-2015) broadened the content and tonal range of expression, devoting particular attention to central German music history of the 17th to 19th century. Starting with the 2017-18 season, Justin Doyle is principal conductor and artistic director of the RIAS Kammerchor.

Numerous awards and prizes document the artistic journey and the choir’s high international reputation: The German Record Critics’ Award, the Gramophone Award, the Choc de l’annee and the Prix Caecilia are only a few of many honours. In 2012 the choir received the “Nachtigall” honorary prize from the Jury of the German Record Critics’ Award.

An enduring and fruitful collaboration binds the choir to the Akademie für Alte Musik Berlin, the Freiburg Baroque Orchestra, Ensemble Resonanz and Capella de la Torre. In addition, the choir works together with conductors such as Sir Simon Rattle, René Jacobs, Yannick Nézet-Séguin, Andrea Marcon, Thomas Hengelbrock, Iván Fischer, Ottavio Dantone and Rinaldo Alessandrini.

The RIAS Kammerchor is an ensemble of the Rundfunk Orchester und Chöre GmbH (ROC). Other partners are Deutschlandradio, the Federal Republic of Germany, the State of Berlin and the Rundfunk Berlin-Brandenburg broadcasting company.

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CONDUCTOR

International Concert Series 2019/2020

©Matthias Heyde

Justin Doyle

Justin Doyle is Chief Conductor and artistic director of the RIAS Kammerchor, Berlin. Born in Lancaster, England, Justin’s musical education began as a chorister at Westminster Cathedral, and a choral scholar at King’s College, Cambridge. He won second prize in the prestigious Cadaqués Orchestra Conducting Competition and was awarded the first Conductor Fellowship with the BBC Singers, with whom he continues to work. He has recently been appointed Gastprofessor in Choral Conducting at the Hochschule für Musik Hanns Eisler (Berlin). Justin is also an ‘International Visitor’ at the Sibelius Academy, Helsinki.

A regular guest conductor with Opera North, other recent engagements have included concerts with the Orchestra of Opera North, Royal Northern Sinfonia, Hallé Orchestra, Akademie für Alte Musik Berlin, Finnish Baroque Orchestra, King’s Camerata, Johannesburg Philharmonic Orchestra, New London Orchestra, Manchester Camerata, Sinfonia of Leeds, and Jersey Chamber Orchestra. Justin has conducted many choirs and this season works for the first time with the Swedish Radio Choir.

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Justin has been Artistic Director of the Ryedale Festival and Swaledale Festival, and Principal Conductor / Musical Director of ensembles such as the University of Manchester Chorus, Haffner Orchestra, Essex Symphony Orchestra and Manchester Chamber Choir. His broad musical tastes have also led him to work with period instrument ensembles, collaborate with musicians from other cultures, arrange folk music from all over the world and conduct live orchestral film scores. His previous involvement in musical education includes the directorships of the Young Sinfonia (the youth orchestra of the Royal Northern Sinfonia, Sage Gateshead) and Opera North Children’s Chorus; last season he worked with the young singers of Genesis Sixteen.

Justin is in demand as a conductor of opera, in particular the works of Mozart (‘an evening of almost unadulterated Mozartian bliss’ Così fan tutte / Opera magazine), Haydn (‘hard to imagine this fizzing piece ever being better done’ L’infedeltà delusa / The Independent) and Britten (‘Justin Doyle and the Opera North Orchestra work wonders to dispatch Britten’s mischievous and miraculous chamber score with pungency and precision’ Albert Herring / The Times). He conducted Bellini’s I Capuleti e I Montecchi at Buxton in 2016 (‘The Northern Chamber Orchestra under Justin Doyle gave the best performance I’ve heard from them at Buxton; Doyle brought out the best in them’ / Bachtrack), returning in 2017 to conduct Britten’s Albert Herring (‘…a super performance under the baton of Justin Doyle’ / Mark Ronan Theatre Reviews). He conducted Offenbach’s ‘Fantasio’ at Garsington Opera in the summer of 2019 (‘… Justin Doyle’s excellent conducting also seems as if it is getting to the very heart of the piece’ Music OMH).

His work as Chief Conductor of RIAS Kammerchor began with a critically acclaimed debut at the new Pierre Boulez Saal in Berlin (Monteverdi Vespers and Missa ‘In illo tempore’). He has directed the choir in recordings of Britten and Haydn for Harmonia Mundi, as well as released ‘Heritage – Treasures of Jewish – German Composers’ with guest artist Azi Schwartz, the Cantor of Park Avenue, New York City. Justin directs RIAS this season in concerts both in Berlin and in some of Europe’s biggest venues with diverse repertoire ranging from Schütz to Handel, Bach, Brahms and Arvo Pärt.

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©Emre Basak

International Concert Series 2019/2020

Ufuk & Bahar Dördüncü PIANO

The great French pianist F.R. Duchable depicts Ufuk and Bahar Dördüncü as two committed pianists equipped with flawless technique, delivering vigorous and evocative performances. Having played together for their entire careers, Ufuk and Bahar Dördüncü complement each other perfectly, creating a distinguished synergy, coupled with exceptional technique, breathtaking virtuosity and great creativity, evidenced in every performance.

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Meeting with H. Datyner, D. N’Kaoua, E. Vercelli and V. Perlemutter has played a key role in the Duo’s affection for French music, while F.R. Duchable has closely fostered both artists’ talents with conviction since their adolescence.

The Duo’s Ankara, Geneva, Saragossa and Paris awards represent a significant aspect of their music career. Performances at the world’s most distinguished concert halls with conductors like A. Jordan, J. Hempel, A. Shwinck, P. Rophè, etc. have been elemental to this structural integrity.

The artists have performed at the Victoria Hall Geneva, Saal Molière Lyon, the Palace of Nations in Brasilia, Suntory Hall Tokyo, Berlin Philarmonie, Dvorak Hall Prague, Merkin Hall New-York, Liederhalle Sttutgart, Wittengenstein Palace in Düsseldorf and others..

Ufuk & Bahar have also been very active in contemporary music world, working and collaborating with names like Heinz Holliger, Steven Schick , Maurice Bourgue, Ivan Fedele, Stefano Gervasoni, Peter Ustinov, Michael Jarrell, Bernhard Lang, Nik Baertch, Erik Truffaz etc.

They have participated in festivals like , Biennale Venice, Istanbul , Amadeus, Schubertiade, Ars Musica Strasbourg, Archipel Genève, Royaumont Paris, Japon Akoyishidai , Shangai, Witten and Australia as well as in numerous music festivals in Istanbul, Izmir and Ankara in Turkey.

Ufuk & Bahar Dördüncü are regularly invited to perform with the Ankara, Izmir, Istanbul, State Symphony Orchestras, the Bilkent Orchestra, Berlin Chamber Orchestra , the Ensemble Contrechamps, the Geneva Chamber Orchestra and the Tokyo Symphony Orchestra amongst others.

In 2006 they earned great success with their CD with French music for 4 hands named “Rendez-Vous Avec l’Enfance”. One year later they published a CD with their quartet “Makrokosmos”, formed by two pianos and two percussions. Well known Italian composer Stephano Gervasoni’s new piece, composed specially for Makrokosmos, is also featured on this CD .

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International Concert Series 2019/2020

Following this recording Ufuk and Bahar were invited to Japan. In 2009 Hat Hut Records Basel produced their new recording including two piano pieces of Prokofiev and Shostakovich. The CD recieved a very positive response from the critics and the audience thanks to the originality of the pieces and the duo’s interpretation thereof.

Their last recording so far, “Brahms Hungarian Dances”, has been released in 2010. In May 2013, Makrokosmos’ new CD will be released at the Hat Hut record label. Early 2010 they participated in a short film project realized by famous producer Carlo Ippolito, whose music was composed by Xavier Dayer and interpreted by the Makrokosmos quartet. The world premiere of the film, together with a live music performance, took place in the legendary Globe building of CERN (European Organization for Nuclear Research) in April 2010.

Acclaimed as “Cultural Ambassadresses” of Turkey, Ufuk and Bahar represent their country all over the world, with highly acclaimed performances, enthusiasticly received by critics and audiences alike.

For their involvement in the community, Ufuk and Bahar Dördüncü have been honored to be named patrons of the Foundation of Prim’enfance and Cercle de Grange.

Throughout their original projects, such as the program “ La Scène Révoltée “combining the film, music and text , Ufuk and Bahar Dördüncü continue to impress their audience with their originality and the never-ending pursuit of the uncommon.

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Programme Notes Johannes Brahms Liebeslieder, Op. 52

International Concert Series 2019/2020

Among Brahms’s most popular works, the eighteen songs that make up the Liebeslieder (‘Love Songs’) were composed—seemingly at will—as an unordered collection of dance-songs during the summer of 1868. That year also saw the publication of his first Hungarian Dances, so it is possible that Brahms wished to turn his hand to the Viennese waltz (and its country cousin, the Ländler) as a contrast.

Musically, these songs reflect Brahms’s admiration for Franz Schubert’s various collections of Ländler as well as the waltzes of Johann Strauss II (with the ninth song, ‘Am Donaustrande’, possibly a subtle tribute to the ‘Blue Danube’ waltz). Brahms dedicated this collection to the critic Eduard Hanslick, who responded with a good-humoured review: “the earnest, taciturn Brahms… as North German, as Protestant, and unworldly as Schumann, composing waltzes? The solution to the riddle is given in one word: Vienna.”

As Hanslick suggested, these dance-songs may be an affectionate musical tribute to Brahms’s adoptive home city, though the texts that he set offer a more cosmopolitan perspective. Each of the lyrics is drawn from Polydora, a collection of poems drawn together from an exhaustive range of countries by the translator, philosopher and theologian Georg Friedrich Daumer—his idealistic attempt to inspire a future ‘world poetry’. For this collection, Brahms restricted himself to verses from Central Europe, nevertheless drawing together a wide range of perspectives on the nature and voices of love: mixing sweet and carefree innocence, caustic humour, and wistful sorrow.

Composed for piano duet and four voices ‘ad libitum’ (usually understood to suggest the option of either four soloists or a four-part ensemble), the Liebeslieder were first performed in Karlsruhe in October 1869, with the impressive combination of Clara Schumann and conductor Hermann Levi at the piano.

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1. Rede, Mädchen, allzu liebes Rede, Mädchen, allzu liebes,

Speak, maiden, whom I love all too much,

das mir in die Brust, die kühle,

who hurled into my once aloof heart,

hat geschleudert mit dem Blicke

with only one glance,

diese wilden Glutgefühle!

these wild, ardent feelings!

Willst du nicht dein Herz erweichen, Will you not soften your heart?

Willst du, eine Überfromme,

Do you wish to be chaste

Rasten ohne traute Wonne,

and remain without sweet bliss,

Oder willst du, daß ich komme?

or do you want me to come to you?

Rasten ohne traute Wonne,

To remain without sweet bliss—

Nicht so bitter will ich büßen.

I would never make such a bitter penance.

Komme nur, du schwarzes Auge,

So come, dark-eyes,

Komme, wenn die Sterne grüßen.

come when the stars greet you.

2. Am Gesteine rauscht die Flut Am Gesteine rauscht die Flut,

Against the stones the stream rushes,

heftig angetrieben;

powerfully driven:

wer da nicht zu seufzen weiss,

those who do not know to sigh there,

lernt es unterm Lieben.

will learn it when they fall in love.

Max Reger Es waren zwei Königskinder / Liebchens Bote Reger’s reputation as a writer of abstract and complex music for keyboard, especially organ, has perhaps obscured his deep interest in literary and folk material, as seen in his refined writing for both solo and ensemble voices. During 1898 and 1899, Reger prepared four collections of folksongs, arranged for either male or mixed choirs, which were published by the Munich firm of Joseph Aibl, Reger having been recommended to them by no less a figure than Richard Strauss.

‘Es waren zwei Königskinder’ (‘Once there was a prince and princess’) is the last of Reger’s Acht ausgewählte Volkslieder (‘Eight Selected Folksongs’) for mixed choir, which was dedicated to one of Berlin’s leading choral ensembles, the Kozoltschen Gesangverein. This song, setting part of a longer 16th-century text, probably draws on the same folklore tradition as the Grimm fairy tale ‘The Two King’s Children’, with its tale of two young lovers separated by water, as well as invoking the ancient myth of Hero and Leander.

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Max Reger Es waren zwei Königskinder Es waren zwei Königskinder,

Once there was a prince and princess

die hatten einander so lieb,

whose love was like none other,

die konnten zusammen nicht kommen, but they couldn’t be together, das Wasser war viel zu tief.

as the waters between them ran deep.

International Concert Series 2019/2020

“O Liebster, kannst du nicht schwimmen, She called, “Could you not swim, O dear one,

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so schwimme doch her zu mir!

just swim over here to my side!

Drei Kerzen will ich dir anzünden,

Three candles I’ll burn in my window,

und die sollen leuchten dir.”

they should light your way.”

Da sass eine falsche Nonne

Nearby sat a false nun

die tat als wenn sie schlief;

who, listening, pretended to sleep,

sie täte die Kerzen ausblasen,

she blew out the candles,

der Jüngling ertrank so tief.

and so the young man drowned.

Ein Fischer wohl fischte lange,

A fisherman cast his nets far,

bis er den Toten fand,

until he drew up the dead one:

“Nun sieh da, du liebliche Jungfrau,

“Look, O lovely maiden,

hast hier deinen Königssohn.”

here is your fair prince.”

Sie nahm ihn in ihre Arme

She took him in her arms,

und küsste seinen Mund:

and kissed his mouth:

“Ade nun, O Vater und Mutter,

“Farewell, O father and mother,

wir seh’n uns nimmermehr.”

never again will we see each other.”

Brahms Liebeslieder, Op. 52 3. O die Frauen, o die Frauen O die Frauen, o die Frauen,

O women, O women,

wie sie Wonne tauen!

how they melt one with bliss!

Wäre lang ein Mönch geworden,

I would have become a monk long ago

wären nicht die Frauen!

if it were not for women!

4. Wie des Abends schöne Röte Wie des Abends schöne Röte

Like the evening’s lovely red,

möcht ich arme Dirne glühn,

would I, a poor maiden, like to glow,

Einem, Einem zu gefallen,

to please one, one boy—

sonder Ende Wonne sprühn.

and then to radiate bliss forever.

5. Die grüne Hopfenranke Die grüne Hopfenranke,

The green hops vine,

sie schlängelt auf der Erde hin.

it winds along the ground.

Die junge, schöne Dirne,

The young, fair maiden—

so traurig ist ihr Sinn!

so mournful are her thoughts!

Du höre, grüne Ranke!

You—listen, green vine!

Was hebst du dich nicht

Why do you not raise yourself heaven-

himmelwärts?

wards?

Du höre, schöne Dirne!

You—listen, fair maiden!

Was ist so schwer dein Herz?

Why is your heart so heavy?

Wie höbe sich die Ranke,

How can the vine raise itself

der keine Stütze Kraft verleiht?

when no support lends its strength?

Wie wäre die Dirne fröhlich,

How can the maiden be merry

wenn ihr das Liebste weit?

when her sweetheart is far away?

6. Ein kleiner, hübscher Vogel Ein kleiner, hübscher Vogel nahm den Flug A small, pretty bird took flight zum Garten hin, da gab es Obst genug.

into the garden: there was fruit enough there.

Wenn ich ein hübscher, kleiner Vogel wär,

If I were a pretty, little bird,

ich säumte nicht, ich täte so wie der.

I would not hesitate: I would do just as he did.

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Leimruten-Arglist lauert an dem Ort;

Malicious lime-twigs lurked in that place;

der arme Vogel konnte nicht mehr fort.

the poor bird could not escape.

Wenn ich ein hübscher, kleiner Vogel wär,

If I were a pretty, little bird,

ich säumte doch,

I would have hesitated,

ich täte nicht wie der.

I would not have done that.

Der Vogel kam in eine schöne Hand,

The bird came into a pretty girl’s hand,

da tat es ihm, dem Glücklichen, nicht and. and it caused him no pain, the lucky thing.

Wenn ich ein hübscher, kleiner Vogel wär,

If I were a pretty, little bird,

ich säumte nicht, ich täte doch wie der. I would not hesitate: I would do just as he did.

International Concert Series 2019/2020

Max Reger Liebchens Bote ‘Liebchens Bote’ (‘Sweetheart’s Message’—from the ‘Six Selected Folksongs’) sets a version of the popular German song ‘Wenn ich ein Vöglein wär’ (‘Were I a little bird’). The best-known form of this text was published in the 1770s by Johann Gottfried Herder, and it is thought to have originated as a Swiss folksong. This song, with its wistful longing for an absent sweetheart, spoke very much to Romantic sensibilities and was consequently frequently reprinted and set to music in the early 19th-century, notably by Johann Friedrich Reichardt and Robert Schumann. Reger’s freshly-composed setting retains the textual and expressive clarity appropriate to a folksong, whilst hinting at the rich harmonic possibilities of late Romanticism.

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Wenn ich ein Vöglein wär,

Were I a little bird,

Und auch zwei Flüglein hätt,

and had two little wings

Flög ich zu dir.

I’d fly to you.

Weil’s aber nicht kann sein,

But since that cannot be,

Bleib ich allhier.

I stay right here.

Bin ich gleich weit von dir,

But though I’m far from you,

Bin ich doch im Traum bei dir

even so, in dream I’m with you

Und kos’ mit dir.

and caress you.

Wenn ich erwachen tu,

When I wake up

Bin ich allein.

I am alone.

Keine Stund’ in der Nacht,

No hour of night goes by,

In der mein Herz nicht wacht

in which my heart does not waken

Und dein gedenkt,

and think on how

Dass du mir Tausend mal,

a thousand times

Dein Herz geschenkt.

you gave me your heart.

Antonín Dvořák Slavonic Dances Op. 72/2 in E minor; Op. 46/4 in F Major; Op. 46/1 in C major; Op. 46/8 in G minor Dvořák’s two collections of Slavonic Dances, published as his Op. 46 (1878) and Op. 72 (1886) respectively, reflected the popularity of national folk dances for both domestic and public music-making during this period, especially following the success of Brahms’s Hungarian Dances. Both sets were commissioned by the Berlin publisher, Fritz Simrock, who had agreed to take on Dvořák on Brahms’s recommendation, and these works proved very successful for composer and publisher alike, bringing Dvořák’s fresh melodic voice to new audiences across Europe. Originally composed for piano duet, and later orchestrated, the two sets each consist of eight freely-composed dances, drawing on the folk traditions of Dvořák’s native Bohemia (now the Czech Republic) as well as those of other Slavic nations, including Serbia, Ukraine and Poland.

The Dance in E minor (Op. 72 no. 2) is a slow and graceful lament, mixing elements of the Ukrainian dumka in its minor-key sections with the sousedská, a waltz-like Czech dance, in the livelier sections. The second dance played, is from Op. 46/4 in F Major. The Dance No. 1 in C major vibrantly evokes the Czech furiant, with its brilliant tone and rapid tempo. The furiant is also central to the final dance, the Dance No. 8 in G minor, with its shifts between major and minor tonality, and between duple and triple metre, creating a bright and vivid texture.

Brahms Liebeslieder, Op. 52 7. Wohl schön bewandt Wohl schön bewandt

Quite fair and contented

War es vorehe

was I previously

Mit meinem Leben,

with my life

Mit meiner Liebe;

and with my sweetheart;

Durch eine Wand,

through a wall,

Ja durch zehn Wände,

yes, through ten walls,

Erkannte mich

did my friend’s gaze

Des Freundes Sehe;

recognise me;

Doch jetzo, wehe,

But now, oh woe,

Wenn ich dem Kalten

if I am with that cold boy,

Auch noch so dicht

no matter how close 17

Vor’m Auge stehe,

I stand before his eyes,

Es merkt’s sein Auge,

neither his eyes

Sein Herze nicht.

nor his heart notices.

8. Wenn so lind dein Auge mir Wenn so lind dein Auge mir

When your eyes look at me

und so lieblich schauet,

so gently and lovingly,

jede letze Trübe flieht

you chase away every last anxiety

welche mich umgrauet.

that troubles my life.

Dieser Liebe schöne Glut,

The lovely glow of this love—

lass sie nicht verstieben!

do not let it disappear!

Nimmer wird, wie ich, so true

No one else will ever love you

dich ein andrer lieben.

as faithfully as I.

International Concert Series 2019/2020

9. Am Donaustrande Am Donaustrande,

On the banks of the Danube,

da steht ein Haus,

there stands a house,

da schaut ein rosiges

and looking out of it is a

Mädchen aus.

pink-cheeked maiden.

Das Mädchen, es ist wohl gut gehegt,

The maiden, is very well-protected:

zehn eiserne Riegel sind vor die Türe gelegt.

ten iron bolts have been placed on the door.

Zehn eiserne Riegel das ist ein Spass;

But ten iron bolts are but a joke;

die spreng ich als wären sie nur von Glas.

I will snap them as if they were only glass.

Gustav Holst I love my love The recovery and transcription of traditional English folk songs played an important role in the work of early 20 th-century English composers.

Gustav Holst was inspired by the rediscovery of folk music—by such collectors as Ralph Vaughan Williams, Cecil Sharp, and Percy Grainger—to simplify his own style, freeing it from the weighty legacy of academic tradition. By analysing folk songs, Holst found new flexibilities in both metre and tonality, allowing for an idiom more appropriate to setting English texts. In 1916, his friend W.G. Whitaker asked him for some new pieces for Whitaker’s Newcastle choir to perform. Holst turned to tunes from the English west country (mostly collected by George Gardiner) to adapt, and out of these produced his Six Choral Folk Songs. These include the beautifully expressive 18

arrangement of ‘I love my love’, which Holst later dedicated to choral conductor Charles Kennedy Scott and the Oriana Madrigal Society.

Abroad as I was walking, one evening in the spring I heard a maid in Bedlam so sweetly for to sing; Her chain she rattled with her hands, and thus replied she: I love my love because I know my love loves me.

Oh cruel were his parents, who sent my love to sea And cruel was the ship, that bore my love from me: Yet I love his parents since they’re his, although they’ve ruined me: I love my love because I know my love loves me.

With straw I’ll weave a garland, I’ll weave it very fine; With roses, lilies, daisies, I’ll mix the eglantine; And I’ll present it to my love when he returns from sea.

For I love my love because I know my love loves me.

Just as she there sat weeping, her love he came on land Then, hearing she was in Bedlam he ran straight out of hand; He flew into her snow-white arms and thus replied he: I love my love because I know my love loves me.

She said: “My love don’t frighten me, are you my love or no?”

“O yes, my dearest Nancy, I am your love, also I am returned to make amends for all your injury.”

I love my love because I know my love loves me So now these two are married, and happy may they be Like turtle doves together, in love and unity.

All pretty maids with patience wait, that have got loves at sea; I love my love because I know my love loves me.

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International Concert Series 2019/2020

Brahms Liebeslieder, Op. 52 10. O wie sanft die Quelle O wie sanft die Quelle sich durch die Wiese windet!

O wie schön, wenn Liebe sich zu der Liebe findet!

O how gently the stream winds through the meadow!

O how lovely it is when Love finds Love!

11. Nein, es ist nicht auszukommen mit den Leuten Nein, es ist nicht auszukommen mit den Leuten; Alles wissen sie so giftig auszudeuten.

Bin ich heiter, hegen soll ich lose Triebe; bin ich still, so heissts, ich wäre irr aus Liebe.

No, there’s just no getting along with people; They always make such poisonous interpretations of everything.

If I’m merry, they say I cherish loose urges; if I’m quiet, they say I’m crazed with love.

12. Schlosser auf, und mache Schlösser Schlosser auf, und mache Schlösser, Locksmith—get up and make your locks, Schlösser ohne Zahl; locks without number; denn die bösen Mäuler will ich for I want to lock up schliessen allzumal. all the evil mouths.

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13. Vögelein durchrauscht die Luft Vögelein durchrauscht die Luft, sucht nach einem Aste; und das Herz, ein Herz begehrt’s, wo es selig raste.

The little bird rushes through the air, searching for a branch; and my heart desires a heart, a heart on which it can blessedly rest.

14. Sieh, wie ist die Welle klar Sieh, wie ist die Welle klar, blickt der Mond hernieder!

Die du meine Liebe bist, liebe du mich wieder!

See how clear the waves are when the moon gazes down!

You who are my love, you love me back!

15. Nachtigall, sie singt so schön Nachtigall, sie singt so schön, wenn die Sterne funkeln.

Liebe mich, geliebtes Herz, küsse mich im Dunkeln!

The nightingale, it sings so beautifully, when the stars are twinkling.

Love me, my beloved heart, kiss me in the dark!

Ralph Vaughan Williams The Turtle Dove Ralph Vaughan Williams was deeply engaged in the collection, editing, and publication of authentic folk songs from the very beginning of his career, as well as adapting folk material in his own compositions. He heard and collected the song ‘The Turtle Dove’ twice during a field trip to Sussex in 1904. Its combination of an elegant, curvaceous melody with the theme of constancy in love (symbolised in the figure of the turtle dove itself) clearly moved the composer, who made several subsequent arrangements of it, producing this version for solo baritone and unaccompanied choir in 1924.

Fare you well, my dear, I must be gone, And leave you for a while; If I roam away I’ll come back again, Though I roam ten thousand miles, my dear, Though I roam ten thousand miles.

So fair thou art, my bonny lass, So deep in love am I; But I never will prove false to the bonny lass I love, Till the stars fall from the sky, my dear, Till the stars fall from the sky.

The sea will never run dry, my dear, Nor the rocks melt with the sun, But I never will prove false to the bonny lass I love, Till all these things be done, my dear, Till all these things be done.

O yonder doth sit that little turtle dove, He doth sit on yonder high tree, A-making a moan for the loss of his love, As I will do for thee, my dear, As I will do for thee.

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International Concert Series 2019/2020

Brahms Liebeslieder, Op. 52 16. Ein dunkeler Schacht ist Liebe Ein dunkeler Schacht ist Liebe, ein gar zu gefährlicher Bronnen; da fiel ich hinein, ich Armer, kann weder hören noch sehn, nur denken an meine Wonnen, nur stöhnen in meinen Wehn.

Love is a dark shaft, a very dangerous well; I, poor man, fell in.

I can neither hear nor see, I can only think about my bliss, I can only moan in my woe.

17. Nicht wandle, mein Licht, dort aussen Nicht wandle, mein Licht, dort aussen im Flurbereich!

Die Füsse würden dir, die zarten, zu nass, zu weich.

Do not wander, my light, out there in the field!

Your feet, your tender feet, would get too wet, too soft.

All überströmt sind dort die Wege, die Stege dir; so überreichlich tränte dorten das Auge mir.

All flooded are the paths there, and the bridges, so amply there did my eyes weep.

18. Es bebet das Gesträuche Es bebet das Gesträuche, gestreift hat es im Fluge ein Vögelein.

In gleicher Art erbebet die Seele mir, erschüttert von Liebe, Lust und Leide, gedenkt sie dein.

The bushes are trembling; they were brushed by a little bird in flight.

In the same way, my soul trembles, overcome by love, pleasure and sorrow, as it thinks of you.

INTERVAL

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Johannes Brahms Neue Liebeslieder, Op. 65 The publication of the Liebeslieder, Op. 52, in 1870, proved a popular success, and so Brahms returned to this form to compile a further set of fifteen love songs for four voices and piano duet. Unlike the previous collection, however, only seven of these involve all four voices, while seven songs are for one voice only (four soprano, and one each for the other voices), and one song is a duet.

Brahms set more verses from Daumer’s Polydora, this time widening the cultural frame to include poetry from the Middle East and Eastern Europe. The only exception to this is the final song, ‘Zum Schluss’, which is instead a setting of the closing lines of Goethe’s elegy Alexis und Dora, invoking a prayer to the poetic muses as a means of healing for those afflicted with heartbreak. The songs in this set present as ingenious a mixture of musical invention as in the previous collection, though the mood now is more reflective, while the breadth of poetic voices adds a richer vein of symbolism. The influence of gypsy music, present in both collections, is notably stronger here, adding an edge which reflects the darker emotions, such as dread, jealousy, vengeance, and despair, that haunt these texts.

In 1960, the choreographer George Balanchine created a two-part ballet for the combined Liebeslieder, referring to the two sets (Op. 52 and 65) respectively as Acts One and Two. As Balanchine described them, “In the first act, it is the real people who are dancing. In the second act, it is their souls.”

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International Concert Series 2019/2020

Brahms Neue Liebeslieder, Op. 65 1. Verzicht, o Herz, auf Rettung Verzicht, o Herz, auf Rettung, dich wagend in der Liebe Meer!

Denn tausend Nachen schwimmen zertrümmert am Gestad umher!

Relinquish, o heart, the hope of rescue as you venture out into the sea of love!

For a thousand boats afloat wrecked about its shores!

2. Finstere Schatten der Nacht Finstere Schatten der Nacht, Wogen- und Wirbelgefahr!

Sind wohl, die da gelind rasten auf sicherem Lande, euch zu begreifen im Stande?

Das ist der nur allein, welcher auf wilder See stürmischer Öde treibt, Meilen entfernt vom Strande.

Dark shades of night, dangers of waves and whirlpools!

Are those who rest there so mildly on firm ground capable of comprehending you?

No: only one who is tossed about on the wild sea’s stormy desolation, miles from the shore.

Justin Doyle (after Sibelius) Vem kan segla (trad.)

The folksong ‘Vem kan segla’ (‘Who can sail without wind?’) has its origins in the Swedish-speaking Åland Islands, located in the Baltic Sea between Finland and Sweden. First published in 1909, the song dates back to at least the 18th century, and continues the theme of love and separation. In this arrangement, the accompaniment is inspired by Sibelius’ 3rd Symphony.

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Vem kan segla Vem kan segla förutan vind?

Vem kan ro utan åror?

Vem kan skiljas från vännen sin Utan att fälla tårar?

Who can sail without wind?

Who can row without oars?

Who can part from his friend Without shedding tears?

Jag kan segla förutan vind, Jag kan ro utan åror.

Men ej skiljas från vännen min Utan att fälla tårar.

I can sail without wind I can row without oars.

But I cannot part from my friend Without shedding tears.

Brahms Neue Liebeslieder, Op. 65 3. An jeder Hand die Finger An jeder Hand die Finger hatt’ ich bedeckt mit Ringen, die mir geschenkt mein Bruder in seinem Liebessinn.

Und einen nach dem andern gab ich dem schönen, aber unwürdigen Jüngling hin.

On each hand were my fingers bedecked with rings that my brother had bestowed on me with love.

And one after another did I give to that handsome but unworthy lad.

4. Ihr schwarzen Augen, ihr dürft nur winken; Ihr schwarzen Augen, ihr dürft nur winken; Paläste fallen und Städte sinken.

Wie sollte steh’n in solchem Strauss mein Herz, von Karten das schwache Haus?

You black eyes, you need only beckon, and palaces fall and cities sink.

How should then my heart withstand such strife, inside its weak house of cards?

Roger Quilter Drink to me only with thine eyes First published in 1616 as ‘Song. To Celia’ by the poet Ben Jonson, the expressive lyrics of ‘Drink to me only with thine eyes’ have attracted a variety of settings. The text was printed with its now-familiar melody as a three-part glee in 1790, in a collection by John Wall Callcott, and this was subsequently arranged as a solo song by Colonel Mellish. The composer Roger Quilter initially made an instrumental arrangement of this air in 1917 for violin (or violin and cello) and piano, and published it as one of his Two Old English Tunes. Quilter re-adapted this arrangement as an accompanied song (for baritone Arthur Frith) in 1921, and again, six years later, for piano solo, with the song version later reproduced in the Arnold Book of Old Songs (1950).

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Drink to me only with thine eyes, And I will pledge with mine; Or leave a kiss but in the cup, And I’ll not look for wine.

The thirst that from the soul doth rise Doth ask a drink divine; But might I of Jove’s nectar sup, I would not change for thine.

International Concert Series 2019/2020

I sent thee late a rosy wreath, Not so much honouring thee As giving it a hope, that there It could not withered be.

But thou thereon didst only breathe, And sent’st it back to me; Since when it grows, and smells, I swear, Not of itself, but thee.

Brahms Neue Liebeslieder, Op. 65

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5. Wahre, wahre deinen Sohn Wahre, wahre deinen Sohn, Nachbarin, vor Wehe, weil ich ihn mit schwarzem Aug’ zu bezaubern gehe.

O wie brennt das Auge mir, das zu Zünden fordert!

Flammet ihm die Seele nicht— deine Hütte lodert.

Protect, protect your son, my neighbour, from woe; for I go with my black eyes to enchant him.

O how my eyes burn to inflame his passion!

If his soul will not ignite, your hut will catch fire.

6. Rosen steckt mir an die Mutter Rosen steckt mir an die Mutter, weil ich gar so trübe bin.

Sie hat recht, die Rose sinket, so wie ich, entblättert hin.

Mother gave me roses because I am so troubled.

She is right: roses droop just as I do, wilting away.

7. Vom Gebirge Well auf Well Vom Gebirge Well auf Well kommen Regengüsse, und ich gäbe dir so gern hunderttausend Küsse.

From the mountains, wave upon wave, come gushing rain; and I would gladly give you a hundred thousand kisses.

8. Weiche Gräser im Revier Weiche Gräser im Revier, schöne, stille Plätzchen!

O, wie linde ruht es hier sich mit einem Schätzchen!

Soft grass in my favourite haunts, fair, quiet spots!

O how pleasant it is to linger here with one’s darling!

Justin Doyle (arr.)

Uti vår hage (trad.)

‘Uti vår hage’ (‘Out in our pasture’) is a traditional Swedish folk song.

Its origins possibly go back as far as the 17th century, and it was first published on the Swedish island of Gotland during the 1880s. Following its publication, the song enjoyed renewed interest, with many subsequent reprintings. It remains a popular part of a traditional upbringing in Sweden, taught to schoolchildren and frequently performed. This popularity is also partly due to Hugo Alfvén’s affectionate arrangement (published in 1923).

Uti vår hage där växa blå bär.

Kom hjärtans fröjd!

Vill du mig något, så träffas vi där.

Kom liljor och akvileja, kom rosor och salivia!

Kom ljuva krusmynta, kom hjärtans fröjd!

Out in our pasture grow blueberries fine.

Come, my heart’s delight!

If you want me, we’ll meet there!

Come lilies and columbine, come roses and sage!

Come sweet crisp-leafed mint, come joy from the heart!

Fagra små blommor där bjuda till dans. Out in our pasture grow blueberries fine.

Come, my heart’s delight!

Kom hjärtans fröjd!

Vill du, så binder jag åt dig en krans. If you want me, we’ll meet there!

Come lilies and columbine, come Kom liljor och akvileja, roses and sage! kom rosor och salivia!

Come sweet crisp-leafed mint, come Kom ljuva krusmynta, joy from the heart! kom hjärtans fröjd!

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Uti vår hage finns blommor och bär.

Kom hjärtans fröjd!

Men utav alla du kärast mig är.

Kom liljor och akvileja, kom rosor och salivia!

Kom ljuva krusmynta, kom hjärtans fröjd!

Out in our pasture are flowers and berries.

Come, my heart’s delight!

Of all that I know, I love you the most.

Come lilies and columbine, come roses and sage!

Come sweet crisp-leafed mint, come joy from the heart!

International Concert Series 2019/2020

Brahms Neue Liebeslieder, Op. 65

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9. Nagen am Herzen fühl ich ein Gift mir Nagen am Herzen fühl ich ein Gift mir.

Kann sich ein Mädchen, ohne zu fröhnen zärtlichem Hang, fassen ein ganzes wonneberaubtes Leben entlang?

I feel a poison gnawing at my heart.

Is it possible for a maiden not to give in to her tender inclinations and live her entire life robbed of bliss?

10. Ich kose süss mit der und der Ich kose süss mit der und der und werde still und kranke, denn ewig, ewig kehrt zu dir, o Nonna, mein Gedanke!

I sweetly fondle this girl and that, and grow quiet and sick at heart, for always, always, toward you my thoughts turn, o Nonna!

11. Alles, alles in den Wind Alles, alles in den Wind sagst du mir, du Schmeichler!

Alle samt verloren sind deine Müh’n, du Heuchler!

All, all is lost to the wind of what you say to me, you flatterer!

Altogether, all your efforts are lost, you pretender!

Einem andern Fang’ zu lieb stelle deine Falle!

Denn du bist ein loser Dieb, denn du buhlst um alle!

Be so good as to set your trap for another!

For you are a loose thief, for you have wooed them all!

12. Schwarzer Wald, dein Schatten ist so düster!

Schwarzer Wald, dein Schatten ist so düster!

Armes Herz, dein Leiden ist so drückend!

Was dir einzig wert, es steht vor Augen; ewig untersagt ist Huldvereinung.

Dark forest, your shade is so gloomy!

Poor heart, your sorrow presses so heavily!

The only thing valuable to you is standing before your eyes; eternally forbidden is that union with love.

13. Nein, Geliebter, setze dich Nein, Geliebter, setze dich mir so nahe nicht!

Starre nicht so brünstiglich mir ins Angesicht!

No, my love, don’t sit so near me!

Do not stare so ardently at my face!

Wie es auch im Busen brennt, dämpfe deinen Trieb, dass es nicht die Welt erkennt, wie wir uns so lieb.

However much your heart may burn, suppress your urges, so that the world will not see how much we love each other.

14. Flammenauge, dunkles Haar Flammenauge, dunkles Haar, Knabe wonnig und verwogen, Kummer ist durch dich hinein in mein armes Herz gezogen!

Flaming eyes, dark hair, sweet and audacious boy, because of you my poor heart toils with sorrow!

Kann in Eis der Sonne Brand, sich in Nacht der Tag verkehren Kann die heisse Menschenbrust atmen ohne Glutbegehren?

Can the sun’s fire make ice, or turn day into night?

Can the ardent breast of a man breathe without glowing desire?

Ist die Flur so voller Licht, dass die Blum’ im Dunkel stehe?

Ist die Welt so voller Lust, dass das Herz in Qual vergehe?

Is the field so full of light that the flowers stand in darkness?

Is the world so full of joy that the heart is abandoned to torment?

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Justin Doyle (arr.)

The Ash Grove (trad.)

International Concert Series 2019/2020

Named ‘Llwyn Onn’ in Welsh, the tune now known as ‘The Ash Grove’ was first seen in print in its present form in 1802, when it was included in The Bardic Museum, a collection compiled by the Welsh harper Edward Jones. Its history stretches back much further, however, being played in different forms (and to different words) over many years, and it may well have been in the repertoire of the 18th-century Irish harper Turlough O’Carolan. A similar air, entitled ‘Cease your Funning’ appears in The Beggar’s Opera (1728), while the tune (this time as ‘Sir Watkyn’s Dream’) was also one of several folk melodies arranged by Joseph Haydn and commissioned by George Thomson for his Select Collection of Original Welsh Airs. ‘The Ash Grove’ could also be an adaptation of the English tune ‘Charming Billy’ in John Playford’s Dancing Master (1665). In other guises, the tune has been used for church hymns, as well as both patriotic and drinking songs.

The lyrics of ‘The Ash Grove’ themselves exist in different versions, though generally, as here, focus on an ash grove as a symbol of quiet remembrance.

The ash grove, how graceful, how plainly ’tis speaking, The wind through it playing has language for me.

Whenever the light through its branches is breaking, A host of kind faces is gazing on me.

The friends of my childhood again are before me, Each step wakes a mem’ry as freely I roam.

With soft whispers laden its leaves rustle o’er me, The ash grove, the ash grove alone is my home.

My laughter is over, my step loses lightness, Old countryside measures steal soft on my ear; I only remember the past and its brightness, The dear ones I long for again gather here.

From out of the shadows their loving looks greet me and wistfully searching the leafy green dome, I see other faces look downwards towards me, The ash grove, the ash grove alone is my home.

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Brahms Neue Liebeslieder, Op. 65 15. Zum Schluss Nun, ihr Musen, genug!

Vergebens strebt ihr zu schildern, Wie sich Jammer und Glück wechseln in liebender Brust.

Now, you Muses, enough!

In vain you strive to describe how misery and happiness alternate in a loving breast.

Heilen könnet die Wunden ihr nicht, die Amor geschlagen; Aber Linderung kommt einzig, ihr Guten, von euch.

You cannot heal the wounds that Love has caused But solace can come only from you, Kindly Ones.

Translations of Brahms, Liebeslieder, Op. 52, and Neue Liebeslieder, Op. 65, © Emily Ezust, from the LiederNet Archive, https://www.lieder.net/ Programme notes © Michael Lee, 2019

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RIAS Kammerchor Berlin Conductor: Justin Doyle Soloists: Ufuk & Bahar Dördüncü

International Concert Series 2019/2020

Soprano Iris-Anna Deckert Eva Friedrich Katharina Hohlfeld-Redmond solo Brahms op. 65 No 9 “Nagen am Herzen fühl ich” solo Brahms op. 65 No 11“Alles, alles in den Wind” Mi-Young Kim Sarah Krispin Anette Lösch Anja Petersen solo Brahms op. 65 No 3 “An jeder Hand die Finger” Stephanie Petitlaurent Inés Villanueva Dagmar Wietschorke Viktoria Wilson solo Brahms op. 65 No 6 “Rosen steckt mir an die Mutter” Alto Ulrike Bartsch Andrea Effmert Waltraud Heinrich solo Brahms op. 65 No 5 “Wahre, wahre deinen Sohn” Anna Kunze Sibylla Maria Löbbert Hildegard Rützel Claudia Türpe Marie-Luise Wilke

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Tenor Volker Arndt Joachim Buhrmann Jörg Genslein Minsub Hong solo Brahms op. 65 No. 10 “Ich kose süß mit der und der” Christian Mücke Volker Nietzke Tobias Pöche Kai Roterberg Basso Stefan Drexlmeier Ingolf Horenburg solo Brahms op. 65 No 4 “Ihr schwarzen Augen” Matthias Lutze Paul Mayr Rudolf Preckwinkel Andrew Redmond solo Vaughan Williams “The Turtle Dove” Johannes Schendel Jonathan E. de la Paz Zaens

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