NOTES, TEXT & TRANSLATIONS
Wolfgang Amadeus Mozart (1756 - 1791): 'Voi che sapete' from Le Nozze di Figaro
The aria ‘Voi che sapete ’ is sung by the girl-crazy teenager, Cherubino, who has a massive crush on the Countess. The Count finds him a burden and is about to send him off to the military. In this aria Cherubino sings to the Countess and Susanna about his intense feelings to help him understand if what he is experiencing is love.
Voi che sapete che cosa e amor, Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor.
Quello ch'io provo, vi ridiro, E per me nuovo capir nol so.
Sento un affetto pien di desir, Ch'ora e diletto, ch'ora e martir. Gelo e poi sento l'alma avvampar, E in un momento torno a gelar.
Ricerco un bene fuori di me, Non so chi il tiene, non so cos' e.
Sospiro e gemo senza voler, Palpito e tremo senza saper, Non trovo pace notte ne di, Ma pur mi piace languir cosi.
Voi, che sapete che cosa e amor Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor.
You who know what love is, Women, see whether it's in my heart, Women, see whether it's in my heart. What I am experiencing I will tell you, It is new to me and I do not understand it.
I have a feeling full of desire, That now, is both pleasure and suffering. At first frost, then I feel the soul burning, And in a moment I'm freezing again. Seek a blessing outside myself, I do not know how to hold it, I do not know what it is.
I sigh and moan without meaning to, Throb and tremble without knowing, I find no peace both night or day, But even still, I like to languish. You who know what love is, Women, see whether it's in my heart, Women, see whether it's in my heart, Women, see whether it's in my heart.
T ranslation © Aaron Green
Richard Strauss (1864 -1949): Zueignung
Zueignung was composed in 1885 and is based on a poem by the Austrian poet Hermann von Glim, originally titled “Habe Dank.” The song is a part of Strauss’s first set of published songs, Op. 10, with eight settings of Glim’s poems. The text expresses the singer's tormented feelings when her love is not with her and then shows gratitude for the joy love gives her.
Ja, du weißt es, teure Seele, Daß ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank.
Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank.
Und beschworst darin die Bösen, Bis ich, was ich nie gewesen, Heilig, heilig an’s Herz dir sank, Habe Dank!
Yes, dear soul, you know That I’m in torment far from you, Love makes hearts sick –Be thanked.
Once, revelling in freedom, I held the amethyst cup aloft And you blessed that draught –Be thanked.
And you banished the evil spirits, Till I, as never before, Holy, sank holy upon your heart –Be thanked.
Translation © Richard Stokes, author of The Book of Lieder (Faber, 2005)
Gabriel Fauré (1845-1924): Après un Rêve
Après un Rêve is a setting of a French adaption of an anonymous Italian poem by Gabriel Fauré. It was published in 1878 as a part of his Trois melodies, Op. 7. The song is about waking from a romantic dream about a lover and longing to return to the ‘mysterious night’ and its delusions. Après un Rêve is one of Fauré’s most performed songs and has been arranged for various instrumental and vocal line -ups
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage, Tes yeux étaient plus doux, ta voix pure et sonore, Tu rayonnais comme un ciel éclairé par l’aurore;
Tu m’appelais et je quittais la terre
Pour m’enfuir avec toi vers la lumière, Les cieux pour nous entr’ouvraient leurs nues, Splendeurs inconnues, lueurs divines entrevues.
Hélas! hélas, triste réveil des songes,
Je t’appelle, ô nuit, rends-moi tes mensonges; Reviens, reviens, radieuse, Reviens, ô nuit mystérieuse!
In sleep made sweet by a vision of you I dreamed of happiness, fervent illusion, Your eyes were softer, your voice pure and ringing, You shone like a sky that was lit by the dawn;
You called me and I departed the earth
To flee with you toward the light, The heavens parted their clouds for us, We glimpsed unknown splendours, celestial fires.
Alas, alas, sad awakening from dreams! I summon you, O night, give me back your delusions; Return, return in radiance, Return, O mysterious night!
Translations © Richard Stokes, from A French Song Companion (Oxford, 2000)
George Frideric Handel (1685-1759): 'Why do the nations' from Messiah
‘Why do the nations so furiously rage together’ is a bass aria from Handels oratorio Messiah, from 1741. Handel composed the entire Messiah in the span of 24 days and became one of the most wellknown choral works. ‘Why do the nations so furiously rage together’ is found in part II of the oratorio, with a text derived from psalm 2:1-2 in the Bible.
Why do the nations so furiously rage together: why do the people imagine a vain thing?
The kings of the earth rise up, and the rulers take counsel together: against the Lord, and His anointed.
Jules Massenet (1842 -1912): 'C'est vrai ma tête est folle... En fermant les yeux' from Manon
The opera Manon (1884) is Jules Massenets most popular opera and is where we find the aria ‘En fermant les yeux’. The opera is set in France during the reign of King Louis XV in 1721, based on the novel L'histoire du chevalier des Grieux et de Manon Lescaut written by Abbé Prévost in 1731.
En fermant les yeux, je vois là-bas une humble retraite,
une maisonnette toute blanche au fond des bois! Sous ses tranquilles ombrages, les clairs et joyeux ruisseaux, où se mirent les feuillages, chantent avec les oiseaux!
C'est le Paradis!
Oh! non! Tout est là triste et morose, car il y manque une chose: il y faut encor Manon!
Non! là sera notre vie, si tu le veux, ô Manon!
When I close my eyes I see far away a modest retreat, a little cottage lost in the middle of the woods!
Under the quiet shade, the clear and joyous streams, in which the leaves are reflected, sing with the birds!
It's Paradise!
Oh no, everything there is sad and melancholy, because one thing is missing: Manon ought to be present!
No, our life will be there, if you want it, oh Manon!
Wolfgang Amadeus Mozart (1756 - 1791): 'Vedrommi intorno' from Idomeneo
Vedrommi intorno’ is an aria from Mozart’s opera Idomeno, written in 1781. In this aria, Idomeno expresses his fears of being haunted by those who have suffered because of him.
Vedrommi intorno L'ombra dolente, Che notte, e giorno: Sono innocente M'accennerà.
Nel seri trafitto, Nel corpo esangue Il mio delitto, Lo sparso sangue M'additerà.
Qual spavento, Qual dolore!
Di tormento
Questo core Quante volte Morirà!
I shall see about me a lamenting shade which night and day will cry to me " I am innocent." The blood spilt from his pierced breast, his pale corpse will point out to me my crime. What horror, what grief!
How many times this heart will die of torment!
Benjamin Godard (1849-1895): 1. Allegretto from Suite de Trois Morceaux
French composer Benjamin Godard (1849 -1895) wrote a great deal of music during his lifetime, with his chamber work, Suite de Trois Morceaux, Op. 116 remaining his most popular and enduring. The salon piece was written in 1889 for French flutist Paul Taffanel, and it exhibits an elegant tunefulness while also offering virtuosic flutists the opportunity to shine.
Wolfgang Amadeus Mozart (1756 - 1791): Andante in C, K.315
The origin of Mozart’s Andante for flute and orchestra in C major, K315 has been the subject of debate. Two dates have been suggested the winter of 1777 or early spring 1779 while the motivation for its composition is unclear. After the briefest of introdu ctions, unusually scored for pizzicato strings with oboes and horns, the flute begins a lyrical, sustained arioso, which continues with the second theme in G major. In character the melodic material anticipates The Magic Flute of more than ten years later. Following a brief central quasi-development episode which passes through G minor and D minor, Mozart enhances the recapitulation with little variants in the transition and the second theme. The opening pizzicato tutti returns several times throughout as a kind of punctuating landmark. A cadenza and a brief coda conclude this gem of a piece.
Herbert Howells (1892 -1983): King David
A close friend of Gurney and a fellow pupil (first of Herbert Brewer at Gloucester Cathedral, and later of Stanford), Herbert Howells warmed to his friend’s innate sensitivity to poetry and England’s Tudor legacy, and was moved to orchestrate two of the songs Gurney composed in the trenches during the First World War. King David was completed on 7 August 1919 and dedicated to the tenor John Coates. One of many settings Howells made of poetry by his friend Walter de la Mare, it reflected the composer’s enchantment with the movement of so-called ‘Georgian’ poets, established by the editions of Edward Marsh and Harold Monro of the Poetry Bookshop between 1911 and 1922. With some justification Howells considered King David one of his finest works.
King David was a sorrowful man: No cause for his sorrow had he; And he called for the music of a hundred harps To ease his melancholy
They played till they all fell silent: Played and play sweet did they; But the sorrow that haunted the heart of King David They could not charm away
He rose; and in his garden Walked by the moon alone
A nightingale hidden in a cypress tree Jargoned on and on
King David lifted his sad eyes Into the dark-boughed tree "Tell me, thou little bird that singest Who taught my grief to thee?"
But the bird in no-wise heeded; And the king in the cool of the moon Hearkened to the nightingale's sorrowfulness Till all his own was gone
Benjamin Britten (1913 -1976): 'Cradle Song' from A Charm of Lullabies, Op. 41
A Charm of Lullabies was written in December 1947 for the mezzo-soprano Nancy Evans, who had recently taken part in the first productions of The Rape of Lucretia , in which she sang the title role, Albert Herring , in which she took the part of Nancy (appropriately enough), and who would appear again as Polly Peachum in Britten’s version of The Beggar’s Opera a year later. Keen to provide her with a work for her recital programmes, Britten was helped in the choice of texts for A Charm of Lullabies by Evans’ husband Eric Crozier, who had recently written the libretto for Albert Herring . As with the Serenade of 1943, the work brings together an anthology of diverse texts unified by the themes of night and sleep.
Sleep, sleep, beauty bright, Dreaming o'er the joys of night; Sleep, sleep, in thy sleep Little sorrows sit and weep.
Sweet babe, in thy face Soft desires I can trace, Secret joys and secret smiles, Little pretty infant wiles.
O! the cunning wiles that creep In thy little heart asleep. When thy little heart does wake Then the dreadful lightnings break,
From thy cheek and from thy eye, O'er the youthful harvests nigh. Infant wiles and infant smiles Heaven and Earth of peace beguiles.
Jules Massenet (1842 -1912): 'Va Laisse couler mes larmes' from Werther
Massenet’s opera Werther was originally completed in 1887, however was not performed until 1893 as it was originally considered too depressing. The opera is based upon a story by German author Geothe, in which Werther falls in love with the hardworking Charlotte, who looks after her siblings after the death of their mother. However, Charlotte is already engaged, and after being married to Albert for three years, Werther commits suicide and dies in Charlotte’s arms. ‘Va Laisse couler mes larmes’ is an aria from Act III which describes Charlotte’s heartbreak at not being able to marry Werther, the one she truly loves.
"Oh, I cannot hold back these tears! It will do me good to cry. They say that the ones we do not shed fall back inside us and wound the soul. And over time, as drop by drop, they batter, and burn, and so bruise it, with each new hurt the heart grows weaker. It aches and suffers, in constant pain, becomes exhausted, is overwhelmed, and finally becomes so fragile that it just breaks!"
Translation ©Kenneth Jakobs
Richard Wagner (1813 -1883): 'Schmerzen' from Wesendonck Lieder , WWV 91
While writing his opera Tristan und Isolde, Wagner set five poems by Mathilde Wesendonck to female voice and piano. The Wesendoncks were patrons of Wagner who housed him and his wife Minna on their estate. It is rumoured that Wagner and Mathilde Wesendonck had a love affair, which was then an influence in the conception of Tristan und Isolde.
Sonne, weinest jeden Abend Dir die Schönen Augen rot, Wenn im Meeresspiegel badend Dich erreicht der frühe Tod; Doch erstehst in alter Pracht, Glorie der düstren Welt, Du am Morgen, neu erwacht, Wie ein stolzer Siegesheld! Ach, wie sollte ich da klagen, Wie, mein Herz, so schwer dich sehn, Muß die Sonne selbst verzagen, Muß die Sonne untergehn?
Und gebieret Tod nur Leben,
Geben Schmerzen Wonnen nur: O wie dank'ich daß gegeben
Solche Schmerzen mir Natur.
Every evening, sun, you redden Your lovely eyes with weeping, When, bathing in the sea, You die an early death; Yet you rise in your old splendour, The glory of the dark world, When you wake in the morning
As a proud and conquering hero! Ah, why should I complain, Why should I see you, my heart, so depressed, If the sun itself must despair, If the sun itself must set?
If only death gives birth to life, If only agony brings bliss:
O how I give thanks to Nature For giving me such agony!
Translation © Richard Stokes
Pyotr Ilyich Tchaikovsky (1840 -1893): 'Ja vas lyublyu' from The Queen of Spades, Op. 68
Tchaikovsky’s opera The Queen of Spades was written in 1887, and follows the story of Hermann, an army officer who becomes obsessed with learning how to win at cards. He believes that this will help him to win the love of Lisa, who is already engaged to Prince Yeletsky. 'Ja vas lyublyu' is an aria from the second act, in which Prince Yeletsky reassures Lisa of his love after seeing her downcast at a masked ball.
Postoite na odno mgnovenye!
Ya dolzhen, dolzhen vam skazat!
Ya vas lyublyu, lyublyu bezmerno, Bez vas ne myslyu dnya prozhit, Ya podvig sily bezprimernoi
Gotov seichas dlya vas svershit, No, znaite: serdtsa vashevo svododu Nichem ya ne khochu stesnyat, Gotov skryvatsya vam v ugodu I pyl revnivykh chuvstv unyat, Na vsyo dlya vas gotov ya!
Ne tolko lyubyashchim suprugom, Slugoi poleznym inogda, Zhelal by ya byt vashim drugom I uteshitelem vsegda.
No yasno vizhu, chuvstvuyu teper ya, Kuda sebya v mechtakh zavlyok, Kak malo v vas ko mne doverya, Kak chuzhd ya vam i kak dalyok, Akh! Ya terzayus etoi dalyu, Sostrazhdu vam ya vsei dushoi, Pechalyus vashei ya pechalyu I plachu vasheyu slezoi!
Akh! Ya terzayus etoi dalyu, Sostrazhdy vam ya vsei dushoi! Ya vas lyublyu, lyublyu bezmerno... O, milaya, dovertes mne!
Wait one moment! I simply must speak to you!
I love you, love ou beyond all measure, I cannot conceive a day without you, I am ready to accomplish for our sake
A heroic task requiring matchless strength. But he assured I do not wish in any way
To restrict the liberty of your heart, I am rad to hide my feelings in order to please you
And master the heat ot jealousy, I am ready to do an thing, anything for you!
I should like to be not simply a loving husband
Or sometimes a useful servant,
But your friend and always sour consoler. Yet I see clearly and feel it now How I allowed myself to be misled by my dreams, How little trust you have in me, how alien and How remote I seem to you.
Oh! I am tormented by this remoteness, All my soul shares in your suffering, Your sadness is mine. Your tears, I weep them too!
Oh! I am tormented by this remoteness.
All my soul shares in your suffering!
Gerald Finzi (1901 -1956): 'Childhood among the Ferns' from Before and After Summer, Op. 16
British composer Gerald Finzi’s song cycle, Before and After Summer, features poems by Thomas Hardy set to music posthumously. ‘Childhood among the Ferns’ details the experiences of a child who plays in a fern-filled area during a rainstorm.
Hardy’s poem describes the joy of nature and freedom of the outdoors as a child.
I sat one sprinkling day upon the lea, Where tall-stemmed ferns spread out luxuriantly, And nothing but those tall ferns sheltered me. The rain gained strength, and damped each lopping frond,
Ran down their stalks beside me and beyond, And shaped slow-creeping rivulets as I conned, With pride, my spray-roofed house. And though anon Some drops pierced its green rafters, I sat on,
Making pretence I was not rained upon. The sun then burst, and brought forth a sweet breath
From the limp ferns as they dried underneath: I said: ‘I could live on here thus till death’; And queried in the green rays as I sate: ‘Why should I have to grow to man’s estate, And this afar-noised World perambulate?’
Henry Purcell (d. 1695): 'Music for a While' from Oedipus, Z. 583
‘Music for a While’ is a song used in the 1692 play Oedipus, based on the Ancient Greek myth of the same name. The song describes two priests that summon a suffering ghost called Alecto, whose hair is made of snakes and has eyes that drip blood. They manage to calm the ghost, teaching them the power of music and the important role it plays in freeing ghosts from eternal agony.
Music for a while
Shall all your cares beguile.
Wond'ring how your pains were eas'd And disdaining to be pleas'd Till Alecto free the dead
From their eternal bands, Till the snakes drop from her head, And the whip from out her hands.
Music for a while
Shall all your cares beguile.
Roger Quilter (1877-1953): 'Go, lovely rose' from 5 English Love Lyrics, Op. 24
Roger Quilter’s song ‘Go, lovely rose’ gets its lyrics from poet Edmund Waller, who wrote “Song ("Go, lovely rose!”) in 1645. This mostly iambic poem describes the pining of a male speaker, who sends a rose to a woman in an effort to woo her. As he complim ents her beauty and compares her to the flower, there is a subtle warning that is brought forth; enjoy your youthful beauty, as it will not last. While she is fair and graceful, none of these qualities will last past her youth, much like the rose, which will eventually wilt and die.
Go, lovely Rose! Tell her, that wastes her time and me, That now she knows, When I resemble her to thee, How sweet and fair she seems to be. Tell her that's young, And shuns to have her graces spied That hadst thou sprung In deserts, where no men abide, Thou must have uncommended died.
Small is the worth Of beauty from the light retir'd; Bid her come forth, Suffer herself to be desir'd, And not blush so to be admir'd.
Then die! that she The common fate of all things rare May read in thee: How small a part of time they share That are so wondrous sweet and fair!
Giuseppe Verdi (1813 -1901): ‘6. Deh, pietoso, oh Addolorata’ from Seste Romanze I
Italian Romantic composer Giuseppe Verdi composed the Seste Romanze I in 1836. The songs revolve around the themes of loss and death, with a common theme of romance. ‘Deh, pietoso, oh Addolorata’ translates to ‘Oh, merciful one, oh Sorrowful Mother’, and is based on a poem by German writer Goethe titled Faust, in which the character Gretchen desperately prays to the Virgin Mary. ‘Addolorata’ is the Italian term for ‘Our Lady of Sorrows’, which represents Mary’s grief over the suffering of Jesus.
Deh, pietoso, oh Addolorata, China il guardo al mio dolore; Tu, una spada fitta in core, Volgi gl'occhi desolata
Al morente tuo figliuol.
Quelle occhiate, i sospir vanno
Lassù al padre e son preghiera
Che il suo tempri ed il tuo affanno.
Come a me squarcin le viscere
Gli insoffribili miei guai
E dell'ansio petto i palpiti
Chi comprendere può mai?
Di che trema il cor? Che vuol?
Ah! tu sola il sai, tu sol!
Sempre, ovunque il passo io giro,
Qual martiro, qual martiro
Qui nel sen porto con me!
Solitaria appena, oh, quanto
Verso allora, oh, quanto pianto
E di dentro scoppia il cor.
Sul vasel del finestrino
La mia lacrima scendea
Quando all'alba del mattino
Questi fior per te cogliea,
Ché del sole il primo raggio
La mia stanza rischiarava
E dal letto mi cacciava
Agitandomi il dolor.
Ah, per te dal disonore,
Dalla morte io sia salvata.
Deh, pietoso al mio dolore
China il guardo, oh Addolorata!
Ah, in pity, Mother of Sorrows, Look down upon my pain;
You, your heart pierced as by a sword, Turn your desolate eyes
To your dying Son.
Those glances, those sighs
Rise to the Father and become prayers
That comfort your suffering and His.
How my body is lacerated
By my unbearable suffering, The pounding of my anxious heartWho can comprehend it?
What makes my heart tremble, what it wants?
You, you alone can know.
Always, wherever I turn my steps, What martyrdom, what martyrdom I carry with me here in my breast!
No sooner am I alone,
How many tears I shed!
And my heart breaks within me.
On the sill of my little window,
My tears fell
When at the dawn of day I gathered these flowers for you, For the first ray of sun Lit my chamber... And drove me from my bed, Agitating my despair. Ah, may you save me From death and shame!
I pray, in pity for my grief, Incline to me, Mother of Sorrows!
Toivo Kuula (1883 -1918): Syystunnelma , Op. 2 No. 1
Toivo Kuula was a Finnish composer who studied violin and music theory at the Helsinki Music Institute, and later became Sibelius’ first student in composition. In 1914 he married the singer Alma Silventoinen, for whom many of his songs were written. The composer tragically died in the final stages of the Finnish Civil War in 1918.
You were right to leave me, My only friend, Your young and warm heart would have frozen next to mine.
A pale flower along the roadside reaches its head out of the snow, What are you waiting for, my flower, it's time to bow your head.
My soul felt a thousand things, and that's all I can remember. So, as I passed a wilted flower, I covered it with snow.
Giacomo Puccini (1858 -1924): 'Che gelida manina' from La bohème
‘Che gelida manina’ is a tenor aria from Puccini’s opera La bohème. The opera tells the story of a love affair between Mimì, a seamstress, and Rodolfo, a poet, in 19th-century Paris. Main themes within La bohème are poverty, young love and illness. The characters persevere through the hardships of life with only fleeting moments of happiness to support them. ‘Che gelida manina’ is sung when Rodolfo and Mimì first meet. In the aria, Rodolfo describes his life as a poet, and then goes on to ask Mimì about herself.
Che gelida manina, se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna é una notte di luna, e qui la luna labbiamo vicina. Aspetti, signorina, le dirò con due parole chi son, e che faccio, come vivo. Vuole?
Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In povertà mia lieta scialo da gran signore rime ed inni damore. Per sogni e per chimere e per castelli in aria, lanima ho milionaria. Talor dal mio forziere ruban tutti i gioelli due ladri, gli occhi belli. Ventrar con voi pur ora, ed i miei sogni usati e i bei sogni miei, tosto si dileguar!
Ma il furto non maccora, poiché, poiché vha preso stanza la speranza!
Or che mi conoscete, parlate voi, deh! Parlate. Chi siete? Vi piaccia dir!
What a frozen little hand, let me warm it for you. What's the use of looking?
We won't find it in the dark. But luckily it's a moonlit night, and the moon is near us here.
Wait, mademoiselle, I will tell you in two words, who I am, what I do, and how I live. May I?
Who am I? I am a poet. What do I do? I write. And how do I live? I live. In my carefree poverty I squander rhymes and love songs like a lord.
When it comes to dreams and visions and castles in the air, I've the soul of a millionaire. From time to time two thieves steal all the jewels out of my safe, two pretty eyes. They came in with you just now, and my customary dreams my lovely dreams, melted at once into thin air! But the theft doesn't anger me, for their place has been taken by hope!
Now that you know all about me, you tell me who you are. Please do!
Franz Lehár (1870 -1948): 'Dein ist mein
Ganzes Herz' from Das Land des Lächelns
Das Land des Lächelns is a three -act romantic operetta by Franz Lehár. The play is set in Vienna and Beijing in 1912, and follows the story of Lisa, the spoiled daughter of Count Lichtenfels, and her star-crossed love with the Chinese Prince SouChong. Aft er the two fall in love, Lisa follows SouChong back to China. However, when SouChong’s strict uncle commands him to marry four Manchu girls, as is customary, they realise that they are unable to happily live together due to the social and cultural differences between Vienna and Beijing. Lisa plans to escape with her former admirer Count Gustav von Pottenstein, and although Sou -Chong attempts to thwart her plan, he comes to realise that he cannot keep Lisa in a place where she is unhappy, and he bids her farewell with a sad smile.
Dein ist mein ganzes Herz!
Wo du nicht bist, kann ich nicht sein, so wie die Blume welkt, wenn sie nicht küßt der Sonnenschein.
Dein ist mein schönstes Lied, weil es allein aus der Liebe erblüht.
Sag’ mir noch einmal, mein einzig Lieb, 0, sag’ noch einmal mir: Ich hab’ dich lieb!
Wohin ich immer gehe, ich fühle deine Nähe.
Ich möchte deinen Atem trinken und betend dir zu Füßen sinken, dir, dir ailein!
Wie wunderbar ist dein leuchtendes Haar! Traumschön und sehnsuchtsbang ist dein strahlender Blick.
Hor’ ich der Stimme Klang, ist es so wie Musik.
Yours is my heart alone! I cannot exist where you are not, just as the bloom wilts, if the sun does not shine on it. My loveliest song is yours, because it only comes from love. Tell me once more, my only true love, 0, tell me once more: I love you! Wherever I go, I feel you close by. I would love to drink in your breath and sink longingly at your feet, you, you alone!
How wonderful is your glowing hair!
Dreamily beautiful and anxious with longing is your radiant countenance.
When I hear your voice, it is just like music.
