Lindsey Christiansen Art Song Festival 2024
Robert, Clara… and Johannes
with
Lydia Brown, piano
Max Brey, baritone
Allison Christiansen, soprano
Emma Clark, mezzo-soprano
Abigail Culkin, soprano
Christian Johnson, tenor
Eleanor Rees, soprano
Sunday, March 3, 2024 at 7:00 p.m.
Gill Memorial Chapel Rider University
2083 Lawrenceville Road
Lawrenceville, N.J.
Program Note
This program was curated and performed by pianist Graham Johnson for the Songmakers Almanac series at London’s Wigmore Hall. The November date listed was the date of the premiere. The program is slightly changed from the original but retains the majority of the content. Tonight’s program is gratefully dedicated to Graham Johnson for his enduring, inspiring and lifelong commitment to the art song genre.
Program
Robert and Clara…and Johannes
November 12, 1978
PROLOGUE: SEPTEMBER 12, 1840
Widmung (Ruckert)
Helft mir, ihr Schwestern (Chamisso)
COURTSHIP AND STRUGGLE
Waldesgespräch (Eichendorff)
Die Stille (Eichendorff)
Mondnacht (Eichendorff)
Warum willst du Andere fragen (Ruckert)
Intermezzo (Eichendorff)
Am leuchtenden Sommermorgen (Heine)
Intermezzo (Faschingsschwank aus Wien)
THE SONG YEAR
Der Nussbaum (Mosen)
Aus den östlichen Rosen (Rückert)
Ständchen (Reinick)
Fruhlingsnacht (Eichendorff)
Er, der Herrlichste von allen (Chamisso)
MAN AND WIFE
Robert Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
Clara Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
R. Schumann
Text & Translations
PROLOGUE: SEPTEMBER 12, 1840
Widmung (Ruckert)
Du meine Seele, du mein Herz, Du meine Wonn’, o du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab ich ewig meinen Kummer gab!
Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden. Dass du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein besseres Ich!
Helft mir, ihr Schwestern (Chamisso)
Helft mir, ihr Schwestern, Freundlich mich schmücken, Dient der Glücklichen heute mir, Windet geschäftig
Mir um die Stirne Noch der blühenden Myrte Zier.
Als ich befriedigt, Freudigen Herzens, Sonst dem Geliebten im Arme lag, Immer noch rief er, Sehnsucht im Herzen, Ungeduldig den heutigen Tag.
Helft mir, ihr Schwestern, Helft mir verscheuchen
Eine törichte Bangigkeit, Dass ich mit klarem Aug ihn empfange, Ihn, die Quelle der Freudigkeit.
Dedication
You my soul, you my heart, You my bliss, oh you my pain, You my world, in which I live, You my Heaven, in which I float, Oh you my grave, into which I have eternally given my sorrow!
You are rest, you are peace, You have been given to me from Heaven. Because you love me, I have self-worth, Your gaze has transfigured me before myself, You lift me lovingly above myself, My good spirit, my better self!
Help me, my sisters
Help me, you sisters, Kindly decorate me,
The happy one serves me today, Winds bustling
Around my forehead
Still the blooming myrtle ornament.
When I'm satisfied, with a joyful heart, Otherwise he would lie in his lover's arms, Still he called, longing in the heart, Impatient for today.
Help me, you sisters,
Help me scare away
A foolish anxiety
That I with clear Eye receive him, Him, the source of joy.
Bist, mein Geliebter, Du mir erschienen, Giebst du mir, Sonne, deinen Schein?
Lass mich in Andacht, Lass mich in Demut, Lass mich verneigen dem Herren mein.
Streuet ihm, Schwestern, Streuet ihm Blumen, Bringet ihm knospende Rosen dar, Aber euch, Schwestern, Grüss ich mit Wehmut, Freudig scheidend aus eurer Schar.
COURTSHIP AND STRUGGLE
Waldesgespräch (Eichendorff)
Es ist schon spät, es ist schon kalt, Was reit’st du einsam durch den Wald?
Der Wald ist lang, du bist allein, Du schöne Braut! Ich führ’ dich heim!
„Groß ist der Männer Trug und List, Vor Schmerz mein Herz gebrochen ist, Wohl irrt das Waldhorn her und hin, O flieh! Du weißt nicht, wer ich bin.“
So reich geschmückt ist Roß und Weib, So wunderschön der junge Leib, Jetzt kenn’ ich dich Gott steh’ mir bei!
Du bist die Hexe Loreley.
„Du kennst mich wohl von hohem Stein Schaut still mein Schloß tief in den Rhein. Es ist schon spät, es ist schon kalt, Kommst nimmermehr aus diesem Wald!“
Die Stille (Eichendorff)
Es weiß und rät es doch Keiner, Wie mir so wohl ist, so wohl!
Ach, wüßt’ es nur Einer, nur Einer, Kein Mensch es sonst wissen soll!
You, my lover, You appeared to me,
Do you give me, sun, your shine?
Leave me in reverence, Leave me in humility, Let me bow to my Lord.
Scatter him, sisters Scatter flowers for him, Offer him budding roses, But to you, sisters, I greet you with sadness, Retiring joyfully from your flock.
A Forest Dialogue
It is already late, already cold, Why ride lonely through the forest?
The forest is long, you are alone, You lovely bride! I’ll lead you home!
‘Great is the deceit and cunning of men, My heart is broken with grief, The hunting horn echoes here and there, O flee! You do not know who I am.’
So richly adorned are steed and lady, So wondrous fair her youthful form, Now I know you may God protect me! You are the enchantress Lorelei.
‘You know me well from its towering rock My castle looks silently into the Rhine. It is already late, already cold, You shall never leave this forest again!’
The Silence
No one knows and no one can guess
How happy I am, how happy!
If only one, just one person knew, No one else ever should!
So still ist’s nicht draußen im Schnee, So stumm und verschwiegen sind
Die Sterne nicht in der Höh’, Als meine Gedanken sind.
Ich wünscht’, ich wär’ ein Vöglein
Und zöge über das Meer, Wohl über das Meer und weiter, Bis daß ich im Himmel wär’!
Mondnacht (Eichendorff)
Es war, als hätt’ der Himmel, Die Erde still geküßt, Daß sie im Blüten schimmer
Von ihm nun träumen müßt’.
Die Luft ging durch die Felder, Die Ähren wogten sacht, Es rauschten leis die Wälder, So sternklar war die Nacht.
Und meine Seele spannte
Weit ihre Flügel aus, Flog durch die stillen Lande, Als flöge sie nach Haus.
Warum willst du Andere fragen (Ruckert)
Warum willst du and’re fragen, Die’s nicht meinen treu mit dir?
Glaube nicht, als was dir sagen
Diese beiden Augen hier!
Glaube nicht den fremden Leuten, Glaube nicht dem eignen Wahn; Nicht mein Tun auch sollst du deuten, Sondern sieh die Augen an!
Schweigt die Lippe deinen Fragen, Oder zeugt sie gegen mich?
Was auch meine Lippen sagen, Sieh, mein Aug’, ich liebe dich!
The snow outside is not so silent, Nor are the stars on high
So still and taciturn
As my own thoughts.
I wish I were a little bird, And could fly across the sea, Across the sea and further, Until I were in heaven!
Moonlit night
It was as though Heaven
Had softly kissed the Earth, So that she in a gleam of blossom
Had only to dream of him.
The breeze passed through the fields, The corn swayed gently to and fro, The forests murmured softly, The night was so clear with stars.
And my soul spread
Her wings out wide,
Flew across the silent land, As though flying home.
Why do you want to ask others
Why do you want to ask others
Are they not loyal to you?
Don't believe what they tell you
These two eyes here!
Don't believe strangers
Don't believe your own delusion; You shouldn't interpret my actions either, But look at the eyes!
If your lips are silent about your questions, Or does she bear witness against me?
Whatever my lips say
See my eyes, I love you!
Am leuchtenden Sommermorgen (Heine)
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.“
Intermezzo (Faschingsschwank aus Wien)
THE SONG YEAR
Der Nussbaum (Mosen)
Es grünet ein Nussbaum, vor demHaus, Duftig, Luftig
Breitet er blättrig die Blätter aus.
Viel liebliche Blüten stehen d’ran, Linde
Winde
Kommen, sie herzlich zu umfahn.
Es flüstern je zwei zu zwei gepaart, Neigend, Beugend
Zierlich zum Kusse die Häuptchen zart.
Sie flüstern von einem Mägdlein, das Dächte
Die Nächte
Und Tagelang, wüsste ach! Selber nicht was.
Sie flüstern wer mag verstehen so gar Leise
Weis’?
Flüstern von Bräut’gam und nächstem Jahr.
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.’
The Walnut Tree
There blossoms a walnut tree outside the house fluffy light
It spreads leaf from leaf
Much delight when it blooms Gentle Winds
Come to caress them tenderly.
It whispers every two to two paired bow bend
Delicately their two heads kiss.
They whisper of a maiden who Tought
The night
And days of, alas, she knew not what.
They whisper– who can understand softly
A song?
Whisper of a bride groom and next year
Das Mägdlien horchet, es rauscht im Baum;
Sehnend, Wähnend
Sinkt es lächelnd in Schlaf und Traum.
Aus den östlichen Rosen (Rückert)
Ich sende einen Gruss wie Duft der Rosen, Ich send’ ihn an ein Rosenangesicht.
Ich sende einen Gruss wie Frühlingskosen, Ich send’ ihn an ein Aug’ voll Frühlingslicht. Aus Schmerzensstürmen, die mein Herz durchtosen, Send’ ich den Hauch, dich unsanft rühr’ er nicht!
Wenn du gedenkst an den Freudelosen, So wird der Himmel meiner Nächte licht.
Ständchen (Reinick)
Komm’ in die stille Nacht!
Liebchen, was zögerst du?
Sonne ging längst zur Ruh’, Welt schloß die Augen zu, Rings nur einzig die Liebe wacht!
Liebchen, was zögerst du?
Schon sind die Sterne hell, Schon ist der Mond zur Stell’, Eilen so schnell, so schnell!
Liebchen, mein Liebchen, drum eil’ auch du!
Einzig die Liebe wacht, Ruft dich allüberall.
Höre die Nachtigall, Hör meiner Stimme Schall, Liebchen, o komm in die stille Nacht!
The maiden listens, and it rustles in the tree longing delusion
Sinks a smile in sleep and dream
From “eastern roses”
I send a greeting like the scent of roses, I send it to a rosy face.
I send a greeting like Spring’s caresses, I send it to an eye full of Spring’s light. From painful storms that rage through my heart,
I send a breath, so that it won't harm you!
When you think about the joyless one, The heaven of my nights becomes light
Serenade
Come into the silent night!
Why delay, my dearest?
The sun has set long ago, The world has closed its eyes.
Love alone keeps watch around us!
Why delay, my dearest?
Already the stars are bright, Already the moon’s at her post, They make such haste, such haste! Dearest, my dearest, so make haste too!
Love alone keeps watch, Calling for you everywhere; Listen to the nightingale, Listen to my voice ring out, Dearest, O come into the silent night!
Fruhlingsnacht (Eichendorff)
Über'm Garten durch die Lüfte Hört’ ich Wandervögel zieh’n, Das bedeutet Frühlingsdüfte, Unten fängt’s schon an zu blühn.
Jauchzen möcht’ ich, möchte weinen,
Ist mir’s doch, als könnt’s nicht sein!
Alte Wunder wieder scheinen
Mit dem Mondesglanz herein.
Und der Mond, die Sterne sagen’s, Und im Traume rauscht’s der Hain Und die Nachtigallen schlagen’s:
Sie ist Deine, sie ist Dein!
Er, der Herrlichste von allen (Chamisso)
Er, der Herrlichste von allen, Wie so milde, wie so gut!
Holde Lippen, klares Auge, Heller Sinn und fester Mut.
So wie dort in blauer Tiefe, Hell und herrlich, jener Stern, Also er an meinem Himmel, Hell und herrlich, hehr und fern.
Wandle, wandle deine Bahnen; Nur betrachten deinen Schein, Nur in Demut ihn betrachten, Selig nur und traurig sein!
Höre nicht mein stilles Beten, Deinem Glücke nur geweiht; Darfst mich niedre Magd nicht kennen, Hoher Stern der Herrlichkeit!
Nur die Würdigste von allen Darf beglücken deine Wahl, Und ich will die Hohe segnen, Viele tausendmal.
Spring Night
Over the garden, through the air I heard birds of passage fly, A sign that spring is in the air, Flowers already bloom below.
I could shout for joy, could weep, For it seems to me it cannot be!
All the old wonders come flooding back, Gleaming in the moonlight.
And the moon and stars say it, And the dreaming forest whispers it, And the nightingales sing it:
‘She is yours, is yours!’
He, the most glorious of all He, the most glorious of all, How so mild, how so good! Fair lips, clear eyes, Bright mind and firm courage.
Just like there in the blue depths, Bright and glorious, that star, So he in my sky, Bright and wonderful, noble and distant.
Change, change your paths; Just look at your glow, Just look at him with humility, Only be happy and sad!
Don't hear my silent prayer, Only consecrated to your happiness; You may not know me, lowly maid, High star of glory!
Only the worthiest of all
May your choice make you happy, And I will bless the high one, Many thousands of times.
Will mich freuen dann und weinen, Selig, selig bin ich dann; Sollte mir das Herz auch brechen, Brich, o Herz, was liegt daran?
MAN AND WIFE
Mondnacht (Eichendorff)
Es war, als hätt’ der Himmel, Die Erde still geküßt, Daß sie im Blüten schimmer
Von ihm nun träumen müßt’.
Die Luft ging durch die Felder, Die Ähren wogten sacht, Es rauschten leis die Wälder, So sternklar war die Nacht.
Und meine Seele spannte
Weit ihre Flügel aus, Flog durch die stillen Lande, Als flöge sie nach Haus.
Mein schöner Stern (Rückert)
Mein schöner Stern!
Ich bitte dich, O lasse du Dein heitres Licht Nicht trüben durch
Den Dampf in mir, Vielmehr den Dampf
In mir zu Licht, Mein schöner Stern, Verklären hilf!
Mein schöner Stern!
Ich bitte dich, Nicht senk’ herab
Zur Erde dich, Weil du mich noch Hier unten siehst, Heb’ auf vielmehr
I want to rejoice and then cry, Blessed, blessed am I then; Even if my heart breaks, Break, oh heart, what does it matter?
Moonlit night
It was as though Heaven
Had softly kissed the Earth,
So that she in a gleam of blossom
Had only to dream of him.
The breeze passed through the fields, The corn swayed gently to and fro, The forests murmured softly, The night was so clear with stars.
And my soul spread
Her wings out wide, Flew across the silent land, As though flying home.
My lovely star!
My lovely star
I beg of you, O do not let Your serene radiance
Be dimmed by Dark clouds in me, Rather help, My lovely star, To transfigure the dark Into light!
My lovely star!
I beg of you
Not to descend
To earth,
Because you still
See me down here, Rather lift me
Diese Quelle besucht! Entpflückt sie lächelnd
Dich dem Rasen, die Brust mit dir zu schmücken.
O dann schmiege dich ihr ans Herz, und sag ihr,
Daß die Tropfen in deinem blauen Kelche
Aus der Seele des treu'sten Jünglings flossen, Der sein Leben verweinet, und den Tod wünscht.
Nachtigallen schwingen (Fallersleben)
Nachtigallen schwingen Lustig ihr Gefieder, Nachtigallen singen Ihre alten Lieder.
Und die Blumen alle, Sie erwachen wieder
Bei dem Klang und Schalle
Aller dieser Lieder.
Und meine Sehnsucht wird zur Nachtigall
Und fliegt in die blühende Welt hinein, Und fragt bei den Blumen überall, Wo mag doch mein, mein Blümchen sein?
Und die Nachtigallen
Schwingen ihren Reigen Unter Laubeshallen
Zwischen Blütenzweigen, Von den Blumen allen
Aber ich muß schweigen. Unter ihnen steh ich
Traurig sinnend still:
Eine Blume seh ich, Die nicht blühen will.
In Waldeinsamkeit (Lemcke)
Ich saß zu deinen Füßen
In Waldeseinsamkeit; Windesatmen, Sehnen Ging durch die Wipfel breit.
Visits this spring! If she smilingly picks
You from the grass to adorn her bosom with you,
Oh then nestle yourself to her heart, and tell her
That those drops in your blue calyx
Flowed from the soul of the truest youth, Who is weeping away his life and wishes for death.
Nightingales swing
Nightingales swing their feathers merrily, Nightingales sing their old songs.
And all of the flowers, They awaken again
To the ring and sound Of all these songs.
And my longing becomes a nightingale, And flies into the blooming world, And asks the flowers everywhere, Where is mine, my little flower?
And the nightingales swing their dances
Under the leafy-halls between the flowery-branches
Among all of the flowers, But I must be silent. Under them I stay, Silent with my sad thoughts: I see a flower, That doesn't want to bloom.
In woodland solitude
I sat at your feet in woodland solitude; a breath of wind, a yearning, moved through the broad treetops.
In stummen Ringen senkt’ ich
Das Haupt in deinen Schoß, Und meine bebenden Hände Um deine Knie ich schloß.
Die Sonne ging hinunter, Der Tag verglühte all, Ferne, ferne, ferne Sang eine Nachtigall.
A LOVING FRIENDSHIP
Unbewegte, laue Luft (Daumer)
Unbewegte laue Luft, Tiefe Ruhe der Natur; Durch die stille Gartennacht Plätschert die Fontäne nur; Aber im Gemüte schwillt
Heißere Begierde mir;
Aber in der Ader quillt
Leben und verlangt nach Leben.
Sollten nicht auch deine Brust
Sehnlichere Wünsche heben?
Sollte meiner Seele Ruf
Nicht die deine tief durchbeben?
Leise mit dem Ätherfuß
Säume nicht, daher zu schweben!
Komm, o komm, damit wir uns Himmlische Genüge geben!
Ein Sonett (13th century)
Ach, könnt' ich, könnte vergessen Sie!
Ihr schönes, liebes, liebliches Wesen, Den Blick, die freundliche Lippe, die!
Vielleicht ich möchte genesen!
Doch ach! mein Herz, mein Herz kann es nie!
Und doch ist's Wahnsinn, zu hoffen Sie!
Und um sie schweben, Gibt Muth und Leben, Zu weichen nie!
Und denn, wie kann ich vergessen Sie, Ihr schönes, liebes, liebliches Wesen, Den Blick, die freundliche Lippe, die!
Viel lieber nimmer genesen!
I lowered in silent struggle my head into your lap, and clasped my trembling hands around your knees.
The sun went down, all the daylight faded, far, far, far away a nightingale sang.
Still, warm air
Still, warm air, Deep tranquility of nature; Through the quiet garden night
The fountain just splashes;
But the mind swells
Hotter desire for me;
But there is swelling in the vein
Life and demands life.
Shouldn't your chest too
Raise more ardent desires?
Should call to my soul
Don't yours shake deeply?
Quietly with the ether foot
Do not hesitate to float!
Come, oh come, so that we can meet
Give heavenly satisfaction!
A Sonnet (13th century)
Oh, could I only forget her, Her fair, lovely, charming nature, Her glance, her friendly lips!
Perhaps then I might be well!
But oh, my heart, my heart can never do so!
And yet it is madness to hope for her!
Yet to hover near her, Gives me Life and Courage
Never to weaken.
And how then can I forget her, her fair, lovely, charming nature, Her glance, her friendly lips!
Much rather would I never be well again
Blinde Kuh (Tr. Kopisch)
Im Finstern geh' ich suchen, Mein Kind, wo steckst du wohl?
Ach, sie versteckt sich immer, Daß ich verschmachten soll!
Im Finstern geh' ich suchen, Mein Kind, wo steckst du wohl?
Ich, der den Ort nicht finde, Ich irr' im Kreis umher!
Wer um dich stirbt, Der hat keine Ruh'!
Kindchen erbarm dich, Und komm herzu!
Ja, komm herzu, Herzu, herzu!
Wir wandelten (Daumer)
Wir wandelten, wir zwei zusammen;
Ich war so still und du so stille; Ich gäbe viel, um zu erfahren, Was du gedacht in jenem Fall.
Was ich gedacht unausgesprochen
Verbleibe das! Nur Eines sag’ ich:
So schön war Alles, was ich dachte, So himmlisch heiter war es all.
In meinem Haupte die Gedanken
Sie läuteten, wie goldne Glöckchen;
So wundersüß, so wunderlieblich
Ist in der Welt kein andrer Hall.
Meine Liebe ist grun (Felix Schumann)
Meine Liebe ist grün wie der Flieder busch
Und mein Lieb ist schön wie die Sonne; Die glänzt wohl herab auf den Fliederbusch Und füllt ihn mit Duft und mit Wonne.
Blind man’s bluff
In darkness I go searching, My child, where are you?
Ah, she always hides herself, So that I should die of thirst!
In darkness I go searching, My child, where are you?
I, who can’t find the hiding place, I wander around in circles!
Whoever dies for you, Will have no peace!
Little child, have pity, And come here!
Yes, come here, Come here!
We were walking
We were walking, we two together; I so silent and you so silent; I would give much to know What you were thinking then.
What was I thinking let it remain
Unspoken! One thing only I shall say: All my thoughts were so beautiful, So heavenly and serene.
The thoughts in my mind
Chimed like golden bells:
So wondrously sweet and lovely Is no other sound on earth.
My love is green
My love is as green as the lilac bush, And my love is as fair as the sun, which gleams down on the lilacbush and fills it with fragrance and bliss.
Meine Seele hat Schwingen der Nachtigall
Und wiegt sich in blühendem Flieder, Und jauchzet und singet vom Duft berauscht
Viel liebestrunkene Lieder
EPILOGUE: LIFELONG DEVOTION
Wer machte dich so krank? (Kerner)
Dass du so krank geworden, Wer hat es denn gemacht?
Kein kühler Hauch aus Norden Und keine Sternennacht.
Kein Schatten unter Bäumen, Nicht Glut des Sonnenstrahls, Kein Schlummern und kein Träumen Im Blütenbett des Tals.
Dass ich trag’ Todeswunden, Das ist der Menschen Tun; Natur liess mich gesunden, Sie lassen mich nicht ruhn.
Alte Laute (Kerner)
Hörst du den Vogel singen?
Siehst du den Blütenbaum?
Herz! kann dich das nicht bringen Aus deinem bangen Traum?
Was hör’ ich? alte Laute Wehmüt’ger Jünglingsbrust, Der Zeit, als ich vertraute Der Welt und ihrer Lust.
Die Tage sind vergangen, Mich heilt kein Kraut der Flur; Und aus dem Traum, dem bangen, Weckt mich ein Engel nur.
My soul has the wings of a nightingale and rocks itself in blooming lilac, and, intoxicated by the fragrance, cheers and sings a good many love-drunk songs.
Who made you so ill?
That you are so ill, Who is then the cause?
No cool north wind, No starry night.
No shade of trees, No sunbeam’s glow, No slumbering, no dreaming In the valley’s blossom bed.
That I bear mortal wounds, That is the work of men; Nature let me recover, They do not let me rest.
Sounds from the past
Do you hear the bird singing?
Do you see the blossoming tree? Heart, can that not bring you
Out of your fearful dream?
What do I hear? Old sounds
Of a melancholy youthful breast, From that time when I trusted The world and its joy.
Those days have gone, No meadow herb will heal me; And from the fearful dream, Only an angel will wake me.
Dem Schutzengel (Zuccamaglio)
O Engel, mein Schutzengel mein, du Gottes Edelknabe, laß mich dir anbefohlen sein, so lang ich Odem habe.
Der Tag schleicht hin, die Nacht geht an, dein Licht in mir laß scheinen, zum Guten mich allzeit ermahn, mein Herz zieh nach dem deinen.
Weck mich aus meiner Trägheit auf, zur Tugend an mich treibe; gelt, vor dem kurzen Lebenslauf, den Tod ins Herz mir schreibe.
Beschütz mich in dem letzten Streit, wenn Leib und Seel sich scheiden, begleit mich in die Ewigkeit, wo Freud ist sonder Leiden.
Das bitt ich durch die Lieb zu mir, laß dieser mich genießen, zur Lieb bin ich verpflichtet dir, in Lieb will ich beschließen.
Der Tod, das ist die kuhle Nacht (Heine) Der Tod, das ist die kühle Nacht, Das Leben ist der schwüle Tag. Es dunkelt schon, mich schläfert, Der Tag hat mich müd gemacht.
Über mein Bett erhebt sich ein Baum, Drin singt die junge Nachtigall; Sie singt von lauter Liebe, Ich hör es sogar im Traum
The Guardian Angel O angel, my guardian angel, you God's noble boy, let me be entrusted to you, as long as I have breath.
The day creeps away, the night comes on, let your light shine in me, always admonish me for good, my heart follows yours.
Wake me up from my lethargy, drive me to virtue; gelt, before the short CV, write death in my heart.
Protect me in the final battle, when body and soul part, accompany me into eternity, where there is joy there is suffering.
I ask this through love for myself, let this one enjoy me, I am obliged to love you, I want to decide with love.
Death is a cool night Death is cool night, Life is sultry day. Dusk falls now, I feel drowsy, The day has wearied me.
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.
About the Artists
Lydia Brown, Artistic Programming Director, Musical Coaching, & Pianist
Pianist Lydia Brown has achieved and enjoys a diverse career in recital, opera and chamber music. She has appeared in recital at the Salle Cortot, Théâtre des Champs-Élysées, Isabella Stewart Gardner Museum, Alice Tully Hall, Weill Hall, Philadelphia Chamber Music Society, Coolidge auditorium at the Library of Congress and the Phillips Gallery, and has toured with many prominent artists from the rosters of the Pro Musicis Foundation, Young Concert Artists, the Piatigorsky Foundation, Musicians from Marlboro and Concert Artists Guild. After completing the Metropolitan Opera Lindemann Young Artist Program, Lydia Brown became an assistant conductor at The Metropolitan Opera and has maintained a position there since 2005. She joined the music staff of the San Francisco Opera in 2011. In addition, Miss Brown has enjoyed long working relationships with Spoleto Festival USA, SongFest and Gotham Chamber Opera.
Among her primary interests is the preparation and performance of new music which includes world premieres of song cycles by John Harbison, Libby Larsen, Richard Hundley, Paola Prestini, Daniel Sonenberg and Renee FavandSee and the musical preparation of operatic premieres including “Èmilie” by Kaija Saariaho, “Faustus the Last Night” by Pascal Dusapin, the NYC premiere of Elliott Carter’s “What Next?” and “Dolores Claiborne” by Tobias Picker. She is honored to have served on the jury of the Naumburg International Vocal Competition, as well as on the mentoring panel of the Duffy Institute of New Opera.
Miss Brown is the current Chair of the Collaborative Piano Department at The Juilliard School. Other teaching appointments include positions at the Yale School of Music and the Cincinnati College-Conservatory of Music Opera faculty. Since 2006 she has been the coordinator and pianist of the Vocal Program at the Marlboro Music Festival and School.
Her special interests include Music For Food, of which she founded the Cincinnati chapter, and Sing For Hope in which she performed on the inaugural concert.
Barbara Bonney, Musical Coaching
Barbara Bonney is widely recognized as a superlative recital and concert artist, and as one of the great Mozart and Strauss singers of her generation. She has made over 100 recordings with Decca, DGG, EMI, and Teldec, with the most important conductors and orchestras in the world today.
Ms. Bonney has appeared at the major opera houses and the most prestigious concert halls the world over. Her wide-ranging discography comprises sacred music, oratorio, opera, art song and chamber music. She has recorded in total 15 solo discs of art songs including songs by Schubert, Mozart, Strauss, Wolf and Mendelssohn, accompanied by the late pianist Geoffrey Parsons. Her recordings from London/Decca include a selection of American songs with André Previn at the piano, including Mr. Previn's Vocalise and Miss Sallie Chisum Remembers Billy the Kid, which was written for Ms. Bonney, Copland's Emily Dickinson Songs, Samuel Barber's Hermit Songs, and Six Elizabethan Songs by Dominick Argento; Lieder by Robert and Clara Schumann, including Frauenliebe und -leben, with pianist Vladimir Ashkenazy; a Philips recording of Poulenc's comic opera, Les mamelles de Tirésias, with Seiji Ozawa and the Saito Kinen Orchestra; and a London/Decca disc of Richard Strauss Lieder with pianist Malcolm Martineau including the Vier Letzte Lieder. The Scandinavian disc, Diamonds in the Snow with Antonio Pappano, won the Grammophone Award for best solo vocal recording. Ms. Bonney has also recorded a disc of early Elizabethan songs with Christopher Hogwood, the Academy of Ancient Music.
Bonney received several honorary Doctorate degrees - from her Alma Mater, the University of New Hampshire, Bowdoin College in Maine, the Royal Academy of Music in London, and the Brucknerhaus in Linz, Austria. She is a member of the prestigious Swedish Academy of Music, and an honorary citizen of the Mozarteum, Salzburg, Austria. Ms. Bonney recently finished her appointment as Professor at the University Mozarteum and is teaching privately, both online and in person, in Salzburg, Austria.
Christopher Arneson, artistic advisor
Victoria Browers, producer & coordinator
Julia Hanna, musical preparation
The Singers
Max Brey, baritone, is a graduate student studying choral conducting. Previous performances include the Count in Le nozze di Figaro (Westminster Opera Theatre), Path of Miracles (Spoleto Festival USA), and Bruckner’s Te Deum (Philadelphia Symphonic Choir). He holds a BM in Music Education from WCC. He studies with Christopher Arneson.
Soprano Ally Christiansen is a graduate student in Voice Performance and Pedagogy at Westminster Choir College. Her undergraduate degree was in Voice Performance at Brigham Young University, with an award-winning recital and published accompanying essay. Recent roles include La Zelatrice from Puccini’s Suor Angelica and Léontyne from Bologne’s L’amant anonyme.
Emma Clark is a first-year graduate student studying vocal performance and pedagogy. In 2022, she earned a bachelor’s degree in music education from Kutztown University. At Westminster, she has been involved in Westminster Opera Theater, Westminster Choir, Jubilee Singers, Symphonic Choir, and the CoOPERAtive program.
Abigail Culkin, is a junior Voice Performance major with a minor in Arts and Entertainment Industries Management. At Westminster, she has performed Prima Sorella Cercatrice in Suor Angelica, Katherine of Aragon in Try Me Good King. She will soon sing Hannah in Enemies, a Love Story. She sings with Westminster Choir and Symphonic Choir and won 1st place in her division of the Westminster Choir College 2023 Voice Award Competition.
Christian Johnson, a tenor from the Atlanta area, has performed a variety of works for voice, from Mozart’s arias to the 20th century works of Samuel Barber. He holds a B.A. in Music from Truett-McConnell University. He is pursuing a M.M. in Choral Conducting at Westminster Choir College.
Eleanor Rees is a senior Voice Performance major. She studies with Dr. Christopher Arneson. Past engagements: Suor Genovieffa in Puccini’s Suor Angelica, Maguelonne, in Viardot’s Cendrillon, Jane Seymour in LAST WORDS This Spring, she will appear as Yadwiga in Westminster Opera Theatre’s Production of Enemies, A Love Story by Ben Moore.
The Lindsey Christ ia nsen
Art Song Festival Endowment Fund
For decades Westminster Choir College has been a center for the study of Art Song, which has included an annual Art Song Festival. After she passed away in 2017, the Festival was named for Lindsey Christiansen to honor her life and legacy. Professor of Voice at Westminster Choir College for 40 years, from 1977 to 2017, and Chair of the Voice Department for 18 years, Professor Christiansen specialized in German Lieder and was a life-long student and lover of the music of Franz Schubert. She was an exceptional voice teacher and a demanding professor of song literature classes, where she instilled in countless students a love for song.
Established to honor the life and legacy of Professor Lindsey Christiansen, this fund sustains the study and performance of art song at Westminster Choir College. Contributions may be made online at rider.edu/supportartsong or sent to:
Westminster Choir College of Rider University
Attn: Art Song Festival
2083 Lawrenceville Road Lawrenceville, NJ 08648
2024 LINDSEY CHRISTIANSEN
ART SONG FESTIVAL COMMITTEE
Christopher Arneson, artistic advisor
Victoria Browers, producer and coordinator
Lydia Brown, artistic programming director
Barbara Bonney, musical coaching
Julia Hanna, musical preparation
About Rider University & Westminster Choir College
Located in Lawrenceville, New Jersey, Rider University is a private co-educational, student-centered university that emphasizes purposeful connections between academic study and real-world learning experience. Rider prepares graduates to thrive professionally, to be lifelong independent learners, and to be responsible citizens who embrace diversity, support the common good, and contribute meaningfully to the changing world in which they live and work.
The College of Arts and Sciences is dedicated to educating students for engaged citizenship, career success, and personal growth in a diverse and complex world. The college cultivates intellectual reflection, artistic creativity, and academic maturity by promoting both broad academic inquiry and in-depth disciplinary study, while nurturing effective and ethical applications of transferable critical skills. The College consists of four schools: the School of Humanities and Social Sciences, the School of Communication, Media, and Performing Arts, the School of Science, Technology, and Mathematics, and Westminster Choir College.
Culturally vibrant and historically rich, Westminster Choir College has a legacy of preparing students for thriving careers as well-rounded performers and musical leaders on concert stages, in schools, universities, and churches, and in professional and community organizations worldwide. Renowned for its tradition of choral excellence, the college is home to internationally recognized ensembles, including the Westminster Symphonic Choir, which has performed and recorded with virtually all of the major orchestras and conductors of our time. In addition to its choral legacy, Westminster is known as a center for excellence in musical pedagogy and performance.
