Page 1

fa culty a rtis t s eri es

Peter Frankl piano

Janna Baty mezzo-soprano

morse recital hall October 9, 2011 • Sunday at 5 pm Music by Beethoven, de Falla, Fischer, Schumann, and Shostakovich

a l l a n d ea n, trumpet a ni kava f ia n, violin ol e a ka h os h i, cello

Robert Blocker, Dean


ja nna baty, soprano • p eter f rank l , piano October 9, 2011 • Sprague Memorial Hall • Faculty Artist Series

alla n d ean, trumpet ani kava f ian, violin ole a ka hoshi, cello

with

Ludwig van Beethoven 1770–1827

Selected songs from Folkslieder and Neue Folkslieder Yo no quiero embarcarme (Spain), WoO 158a, No. 11 Schöne Minka, ich muss scheiden (Ukraine), WoO 158a, No. 16 O Might I But My Patrick Love! (Ireland), WoO 153, No. 16 Ich mag di nit nehma (Tyrol), WoO158a, No. 8

Iván Fischer b. 1951

Eine Deutsch–Jiddische Kantate 1. Dreistimmiges Preludium 2. Wiegenlied 3. Deutsche Arie 4. Jiddische Arie 5. Grabschrift

Robert Schumann 1810–1856

Frauenliebe und -leben, Op. 42 1. Seit ich ihn gesehen 2. Er, der Herrlichste von allen 3. Ich kann’s nicht fassen, nicht glauben 4. Du Ring an meinem Finger 5. Helft mir, ihr Schwestern 6. Süßer Freund, du blickest 7. An meinem Herzen, an meiner Brust 8. Nun hast du mir den ersten Schmerz getan

intermission


Dmitri Shostakovich 1906–1975

Seven Romances on Poems of Alexander Blok, Op. 127 1. Pesnya Ofeliya 2. Gamayun, ptitsa veshaya 3. My byli vmesta 4. Gorod spit 5. Burya 6. Tainya znaki 7. Muzika

Manuel de Falla 1876–1946

Siete canciones populares españolas (1914) 1. El paño moruno 2. Seguidilla Murciana 3. Asturiana 4. Jota 5. Nana (Berceuse) 6. Canción 7. Polo

As a courtesy to the performers and audience, turn off cell phones and pagers. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.


About the Artists

In the United States, Peter Frankl has been a regular guest artist at festivals including Aspen, Chautauqua, Marlboro, Norfolk, Ravinia, Santa Fe, and Yellow Barn. For many years the Frankl-Pauk-Kirshbaum Trio traveled the world. His many chamber music partners have included Kyung Wha Chung, Peter Csaba, Ralph Kirshbaum, and the Tokyo, Takács, Guarneri, Bartók, Fine Arts, and Lindsay quartets. He has given master classes all over the world, including the Royal Academy and Royal College in London, the Liszt Academy in Budapest, Van Cliburn Institute in Texas, and in Beijing, Hong Kong, and Seoul. Pianist Peter Frankl made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with many of the world’s finest orchestras, including the Berlin Philharmonic, Concertgebouw, Israel Philharmonic, Orchestre de Paris, all the London orchestras, and the major American orchestras. He has collaborated with such eminent conductors as Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, Salonen, and Solti, and his world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa. He has appeared over twenty times at London’s BBC Promenade Concerts and has been a regular participant at the Edinburgh, Cheltenham, Aldeburgh, Verbier, Kumho, and Casals Festivals.

Among his recordings are the complete works for piano by Schumann and Debussy, Bartók and Chopin solo albums, a Hungarian anthology, concertos and four-hand works by Mozart, the two Brahms piano concertos, the Brahms violin and clarinet sonatas, the Brahms trios, Bartók pieces for violin and piano, and the piano quintets by Brahms, Schumann, Dvorák, Martinu, and both Dohnányis. In recognition of his artistic achievements, Mr. Frankl was awarded the Officer’s Cross by the Hungarian Republic, and on his seventieth birthday he was given one of the highest civilian awards in Hungary for his lifetime artistic achievement in the world of music. He is an honorary professor of the Liszt Academy and has been on the Yale School of Music faculty since 1987.


About the Artists

As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, including the Aldeburgh and Britten Festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood, Norfolk, Monadnock, and Coastal Carolina festivals in the United States.

Praised by the Boston Globe for “a rich, viola– like tone and a rapturous, luminous lyricism,” soprano Janna Baty enjoys an exceptionally versatile career. She has sung with Boston Symphony, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Gil Rose, David Hoose, and Shinik Hahm, among numerous others.

A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec, on performances of their music. Ms. Baty has enjoyed a long collaboration with Boston Modern Orchestra Project, and with them has recorded the critically lauded Vali:Folk Songs (sung in Persian); Lukas Foss’ opera Griffelkin; the world premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin; and John Harbison’s Mirabai Songs. An alumna of Oberlin College and the Yale School of Music, she joined the faculty of the Yale School of Music in 2008.


About the Artist

Allan Dean is Professor of Trumpet (Adjunct) at the Yale University School of Music and is currently performing with Summit Brass, St. Louis Brass and the Yale Brass Trio. In the early music field he was a founding member of Calliope: A Renaissance Band and the New York Cornet and Sacbut Ensemble. Dean was a member of the New York Brass Quintet for 18 years and freelanced in the New York City concert and recording field for over 20 years before joining the faculty of Indiana University in l982. Upon retirement of the New York Brass Quintet in 1984, Dean joined the St. Louis Brass. In 1989 he moved back to the Northeast to join the Yale faculty. At Yale, Dean coaches brass chamber music and directs the Yale Cornet and Sacbut Ensemble in addition to teaching trumpet.

Dean performs and teaches each summer at the Mendez Brass Institute and the Norfolk Chamber Music Festival in Norfolk, Conn. He is a frequent soloist with Keith Brion’s New Sousa Band. Dean has also appeared at the Speleto and Casals Festivals, the Banff Centre (Canada), the Orford Arts Centre (Canada), Musiki Blekinge (Sweden), the Curitiba Music Festival (Brazil), and the Morella Festival (Spain). He can be heard playing both modern trumpet and early brass on over 80 recordings on most major labels including RCA, Columbia, Nonesuch, Summit and others. On early instruments he has recorded with Calliope, the New York Cornets and Sacbuts, the Waverly Consort, the Ensemble for Early Music, and the Smithsonian Chamber Players. Dean joined the Yale faculty in 1988. He previously served on the faculties of Indiana University, the Manhattan School of Music, the Hartt School, and the Eastman School. Dean lives in the Berkshire Mountains of Western Massachusetts with his wife, Julie Shapiro, an artist, and his daughter, Eloisa, 15. He is an avid tennis player and practices hatha yoga daily.


About the Artist

Violinist Ani Kavafian’s career has been marked by great diversity with performances as soloist with major orchestras, as a chamber musician, and as a recitalist. She is also in great demand as a teacher, having taught at Mannes School of Music, Manhattan, Queens College, McGill University, and suny-Stony Brook, capped by her appointment as Professor in the Practice of Violin at the Yale School of Music in 2006. Ms. Kavafian has appeared as soloist with the New York Philharmonic, the Philadelphia and Cleveland Orchestras, and the Los Angeles and St. Paul Chamber Orchestras. Along with her sister, Ida, she has appeared around the country in recital as well as soloists with orchestras.

An artist member of the Chamber Music Society of Lincoln Center since 1979, Ani Kavafian continues to tour around the United States as well as in Canada and Asia. Her appearances at Alice Tully Hall in New York City have now numbered well over 1000. Ms. Kavafian is also a member of Trio da Salo with violist Barbara Westphal and cellist Gustav Rivinius. She is a founding member of The Triton Horn Trio with William Purvis and Mihae Lee. Ms. Kavafian has also joined with clarinetist David Shifrin and pianist Andre-Michel Schub and with them tours around the country as both violinist and violist. Along with cellist Carter Brey, she is the artistic director of the New Jersey chamber music series Mostly Music. In 1979 Ms. Kavafian was awarded the Avery Fisher Prize. She has appeared at the White House on three occasions and has been featured on many network and PBS television music specials. Recently Ms. Kavafian and Kenneth Cooper released a live recording of Bach’s Six Sonatas for violin and fortepiano on the Kleos Classics label. In 2007, a recording of Mozart piano and violin sonatas with pianist Jorge Federico Osorio was released by Artek.


About the Artists

releases include the String Quartet by Behzad Ranjbaran and the Mendelssohn Octet with Gil Shaham.

Hailed by the Los Angeles Times for his “technical solidity, perfect intonation, and large edgeless tone of buttered-rum quality,” German cellist Ole Akahoshi has concertized on four continents in recitals and as soloist with or-chestras, such as the Orchestra of St. Luke’s under Yehudi Menuhin and Symphonisches Orchester Berlin. He has won numerous competitions and is a recipient of the fellowship award from Charlotte White’s Salon de Virtuosi. Mr. Akahoshi has performed in such venues as Avery Fisher Hall, Benaroya Hall, Carnegie Hall, Kennedy Center, Suntory Hall (Tokyo), Seoul Arts Center, National Center for Performing Arts (Beijing), Shanghai Concert Hall, Wigmore Hall (London), Wiener Musikverein, and Berliner Philharmonie. His performances have been featured on CNN, NPR, WQXR, Korean Broadcasting, and all the major German stations. He has recorded for the Albany, New World, CRI, Calliope, Bridge, Sanga, and Naxos labels; his most recent

Ole Akahoshi has collaborated with the Tokyo, Michelangelo, and Keller quartets and with Shmuel Ashkenasy, Sarah Chang, Chee-Yun, Lawrence Dutton, Myung Wha Chung, Edgar Meyer, Jian Wang, Leon Fleisher, and Garrick Ohlsson, among many others. He has performed and served as faculty at the Banff Centre, Norfolk Chamber Music Festival, Appalachian Summer Festival, Aspen Music Festival, Festival des Artes Brazil, and Korea’s Great Mountains Music Festival. He has given numerous master classes across the globe and has served as a judge for the Juilliard Concerto Competition and the Eastern Connecticut Symphony Competition, among others. At age eleven, Ole Akahoshi was the youngest student to be accepted by Pierre Fournier. He received a bachelor’s degree from Juilliard and a master’s degree from Yale, where he studied with Aldo Parisot, as well as an artist diploma from Indiana University under János Starker. Mr. Akahoshi has served as teaching assistant for both Aldo Parisot and János Starker. He is the principal cellist of the Sejong Soloists and a member of the Saito Kinen Orchestra. He has been teaching at the Manhattan School of Music since 2004 and is an assistant professor of cello at the Yale School of Music.


Texts and Translations

beethoven: Selections from Folkslieder and Neue Folkslieder Yo no quiero embarcarme, Pues es muy cierto Que no cuantos návegan Llegan al puerto.

I don’t want to sail away Since it’s certain That not every sailor Comes back to shore.

Amor que tiene juicio Poco amor tiene, Que el amor al más cuerdo Loco le vuelve.

Love that is burdened with trials Is a miserable love, And crazy love Comes to him who is more judicious.

Siempre rabio por verte Y si te veo Nunca puedo decirte Lo que te quiero.

I’m always mad to see you, And if I see you I could never tell you Everything I wanted to.

Schöne Minka, ich muß scheiden! Ach, du fühltest nicht das Leiden, Fern auf freudenlosen Heiden Fern zu sein von dir!

Lovely Minka, I must tear myself from your side! Ah, you don’t feel the pain, Far off upon joyless plains, Of being far from you!

Finster wird der Tag mir scheinen, Einsam wird’ ich gehen und weinen; Auf den Bergen, in den Hainen Ruf ’ ich, Minka, dir!

The days seem so dark to me, Alone I must go, weeping; Through the hills, in the groves I call, Minka, for you!

Tief verstummen meine Lieder, Meine Augen schlag’ ich nieder, Aber seh’ ich einst dich wieder, Dann wird’ s anders sein!

My songs fall deeply silent, My eyes stare at the ground, But if I were to see you once more, It would be a different matter!

Ob auch all die frischen Farben Deiner Jugendblüte starben: Ja, mit Wunden und mit Narben Bist du, Süßer, mein!

Even if all the fresh colors Of your blossoming youth died: Yes, even with wounds and scars You are mine, Sweetest!


Texts and Translations

O Might I But My Patrick Love! Text by William Smyth O might I but my Patrick love! My mother scolds severely, And tells me I shall wretched prove Because I love him dearly.

What bliss, to me my Patrick cries, In splendor and in riches? He says, we love too little prize, That gold too much bewitches!

In vain she rates me o’er and o’er With lessons cold and endless; It only makes me love him more, to find him cold and friendless.

More blest the lark, tho’ hand its doom Whene’er the winter rages, Than birds, he says, of finer plume That mope in gilded cages.

O Patrick, fly from me Or I am lost forever Oh! Fortune kinder be, Nor thus two Lovers sever!

O Patrick, fly from me Or I am lost forever Oh! Fortune kinder be, Nor thus two Lovers sever!

Ich mag di nit nehma, Du töppeter Hecht, Du darfst mir nit komma, Du warst mir viel z’schlecht; Und du willst mei Mann sein, Du städtishcer Aff, Was fallt dir nit no ein, Du törischer Laff.

I don’t like you, You rotten jerk. You’d better not come around here, After you treated me so badly; And you want to be my husband, You, the town ape? What on earth are you thinking, You ridiculous ninny?

Der Tölpel von Passau Ist dein Contrase, Du kierst wie ein Spansau, Jetzt heb di und geh, Hör auf mit dein Raunzen, Das sag ich dir frue, I steck dir a Faunzen, Du talketer Bue.

The town idiot of Passau Is better than you. You turn like a pig on a spit, Now get up and get lost! Quit your bellyaching, I’m not going to ask you twice! I’ll box your ears, You big sissy!


Texts and Translations

iván fischer Eine Deutsch-Jiddische Kantate

A German-Yiddish Cantata

Dreistimmiges Preludium

Prelude in Three Voices

Wiegenlied Traditional Yiddish text

Lullaby

Shlof main fëgele, Mach tzu dain ëgele, Ai lu lu lu…

Sleep, my little bird, Close your eyes, Ai lu lu lu…

Shlof un zai gezind, Shlof geshmak main kind! Ai lu lu lu…

Sleep and be healthy, Sleep deliciously, my child! Ai lu lu lu;

Shlof un cholem zis, Fun der velt genis, Ai lu lu lu…

Sleep and dream sweetly, Savor the world! Ai lu lu lu…

Deutsche Arie from Rainer Maria Rilke, Ich Weiss es im Traum und der Traum Hat Recht

German Aria from Rainer Maria Rilke, I know it from my dream and the dream is right

Mich hat nicht eine Mutter geboren. Tausend Mütter haben An den kränklichen Knaben Die tausend Leben verloren, Die sie ihm gaben.

A single mother did not give birth to me. A thousand mothers Have given birth To the thousand lost lives, To these sickly boys.


Texts and Translations

Jiddische Arie from Avrom Sutzkever, Mayn Mame

Yiddish Aria from Avrom Sutzkever, My Mother

Tsimblt, ir tsimblen, Derfreyt a gelekhter, fartoybt a geshrey. Durkh felder Itst yogt men mayn naketer mamen, Ir layb iz a shtral in di shpiglen fun shney.

Crash, cymbals! Turn into laughter, muffle outcry! Through fields They are chasing after my naked mother, Her body a ray of light in the mirrors of snow.

Kh’gefin anshtot dikh a tserisns dayn hemd, Nem ikh tsum hartsn un drik es farshemt. Es vern di likher fun hemd mayne teg Un der zoym funem hemd vert in harts mir a zeg.

Instead of you, I find your torn shirt, I clutch it to my heart in shame. The holes in the shirt become my days And the seam of the shirt is like a saw in my heart.

Tserays ikh fun layb mayne kleyder un krikh In dayn ofenem naketn hemd vi in zikh. S’iz mer nit keyn hemd, s’iz dayn likhtike hoyt, S’iz dayn kalter, dayn ibergeblibener toyt.

I tear my clothes from my body and crawl Into your naked shirt as into my own skin. It is no longer a shirt, but your bright skin, It is cold, everlasting death.

Redstu tsu mir Azoy vorhaftik ekht: Nite, mayn kind, S’iz a zind, s’iz a zind,

You speak to me So genuinely and truthfully: “Don’t, my child, It’s a sin, it’s a sin!

Un undzer tseteylung Nem on far gerekht.

And our separation; Accept it as just.

Az du bist farn, Bin ikh do say–vi–say, Vi der yoder in floym Farmogt shoyn dem boym Un di nest un dem foygl Un alts vos derbay.

So long as you exist, I am here, too, As the stone in the plum Has within it the tree And the nest and the bird And everything that surrounds it.”

Grabschift from Goethe, Symbolum

Epitaph from Goethe, Creed

Stille ruhn oben die Sterne Und unten die Gräber.

They rest silently beneath the stars And within the grave.


Texts and Translations

Dich rufen von drüben Die Stimmen der Geister, Die Stimmen der Meister: Versäumt nicht, zu üben Die Kräfte des Guten.

They call you from afar, The voices of the spirits, The voices of the masters: “Do not fail to practice The power of Good.

Hier winden sich Kronen In ewiger Stille, Die sollen mit Fülle Die Tätigen lohnen! Wir heißen euch hoffen.

Here crowns entwine In endless quiet, May they, in abundance, Receive their rewards! We wish you hope.”

schumann: Frauenliebe und -leben Poems by Adelbert von Chamisso Seit ich ihn gesehen, Glaub ich blind zu sein Wo ich hin nur blicke Seh’ ich ihn allein Wie im wachend Traume Schwebt sein Bild mir vor Taucht aus tiefstem Dunkel Heller nur empor.

Ever since I saw him I believe myself to be blind. Wherever I look I see only him. As if in a waking dream, His image floats before me Plunging out of deepest darkness Growing only brighter in ascent.

Sonst ist licht und farblos Alles um mich her, Nach der Schwestern Spiele Nicht begehr ich mehr Möchte lieber weinen Still im Kämmerlein Seit ich ihn gesen, Glaub ich blind zu sein.

Everything is lightless and colorless All around me I no longer wish to play My sisters’ games. I would much prefer to weep Softly in my little room Ever since I saw him I believe myself to be blind.


Texts and Translations

Er, der Herrlichste von allen, Wie so milde, wie so gut! Holde Lippen, klares Auge, Heller Sinn und fester Mut.

He, the most magnificent of all How gentle, how good! Beautiful lips, clear eyes, Bright mind and unswerving courage.

So wie dort in blauer Tiefe, Hell und herrlich, jener Stern, Also er an meinem Himmel, Hell und herrlich, hehr und fern.

As far off in the deep blue Each star is bright and brilliant, So is he in my own firmament Bright and brilliant, noble and distant.

Wandle, wandle deine Bahnen, Nur betrachten deinen Schein, Nur in Demut ihn betrachten, Selig nur und traurig sein!

Go your way upon your life’s path, I only wish to gaze upon your radiance, To look upon it with humility, Simply to be blissful and sad!

Höre nicht mein stilles Beten, Deinem Glücke nur geweiht; Darfst mich niedre Magd nicht kenen, Hoher Stern der Herrlichkeit!

Pay no heed to my silent prayer, That consecrates your happiness alone; You needn’t know of me, a lowly maiden, You, bright star of glory!

Nur die Würdigste von allen Darf beglücken deine Wahl, Und ich will die Hohe segnen, Viele tausendmal.

Only the most worthy woman of all Will be made happy by your favor, And I will bless that most exalted one, Many thousand times over.

Will mich freuen dann und weinen, Selig, selig bin ich dann; Sollte mir das Herz auch brechen, Brich, o Herz, was liegt daran?

I will rejoice then, and weep, And be blissful, so blissful then; If my heart should also break, Then break, my heart, what does it matter?

Er, der Herrlichste von allen…

He, the most magnificent of all…

Ich kann’s nicht fassen, nicht glauben Es hat ein Traum mich berückt; Wie hätt er doch unter allen Mich Arme erhöht und beglückt?

I can’t comprehend it, or believe it A dream has enchanted me; How could he have, then, above all others, Exalted poor me and made me happy?


Texts and Translations

Mir war’s, er habe gesprochen: “Ich bin auf ewig dein,” Mir war’s – ich träume noch immer, Es kann ja nimmer so sein.

It seemed to me that he said: “I am yours forever,” It seemed to me I was dreaming all the while, It could truly never be!

O laß im Traume mich sterben, Gewieget an seiner Brust, Den seligen Tod mich schlürfen In Tränen unendlicher Lust.

Oh let me die in this dream Cradled upon his breast, Let blissful death drink me in In tears of unending joy.

Ich kann’s nicht fassen, nicht glauben…

I can’t comprehend it, or believe it…

Du Ring an meinem Finger Mein goldenes Ringelein, Ich drücke dich fromm an die Lippen, Dich fromm an das Herze mein.

You, ring upon my finger, My little golden ring I press you reverently to my lips And to my heart.

Ich hatt ihn ausgeträumet, Der Kindheit friedlich schönen Traum, Ich fand allein mich, verloren Im öden, unendlichen Raum.

I was done dreaming The lovely, peaceful dream of childhood. I found myself alone and lost In an empty, infinite place.

Du Ring an meinem Finger Da hast du mich erst belehrt, Hast meinem Blick erschlossen Des Lebens unendlichen, tiefen Wert.

You, ring upon my finger, Have shown me for the first time, Have opened my eyes, To life’s deep, immeasurable value.

Ich will ihm dienen, ihm leben, Ihm angehören ganz, Hin selber mich geben und finden Verklärt mich in seinem Glanz.

I want to serve him, to live for him, To belong to him utterly, To give my entire being to him, And find myself transfigured in his gaze.

Du Ring an meinem Finger, Mein goldenes Ringelein, Ich drücke dich fromm an die Lippen, Dich fromm an das Herze mein.

You, ring upon my finger, My little golden ring I press you reverently to my lips And to my heart.


Texts and Translations

Helft mir, ihr Schwestern, Freundlich mich schmücken, Dient der Glücklichen heute mir, Windet geschäftig mir um die Stirne Noch der blühenden Myrte Zier.

Help me, my sisters, Be kind and help me adorn myself, Serve me, the happiest one on earth today, Gaily entwine about my brow A coronet of blossoming myrtle.

Als ich befriedigt, Freudigen Herzens, Sonst dem Geliebten im Arme lag, Immer noch rief er, sehnsucht im Herzen, Ungeduldig den heutigen Tag.

As I lay gratified, With a joyful heart, In the arms of my beloved, He kept calling out, with longing in his heart, Impatient for this day.

Helft mir, ihr Schwestern, Helft mir verscheuchen Eine törichte Bangigkeit, Daß ich mit klarem aug ihn empfange, Ihn, die Quelle der Freudigkeit.

Help me, my sisters, Help me chase away My childish bashfulness, That I may behold him with a clear eye, He, the wellspring 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.

Is it you, my beloved, Who appears before me? Do you bestow your radiance upon me, O Sun? Let me reverently, let me humbly Kneel down before my lord.

Streuet ihm, Schwestern, Streuet ihm Blumen, Bringet ihm knospende Rosen dar, Aber euch, Schwestern, grüß ich mit Wehmut Freudig scheidend aus eurer Schar.

Scatter, my sisters, Scatter flowers before him, Bring him budding roses. But I greet you, sisters, with melancholy As I joyfully depart from your midst.

Süßer Freund, du blickest Mich verwundert an, Kannst es nicht begreifen, Wie ich weinen kann; Laß der feuchten Perlen, Ungewohnte Zier Freudig hell erzittern in dem Auge mir.

My dearest friend, you gaze at me In wonderment You cannot fathom How I could weep; Let these moist pearls— Such extraordinary jewels!— Tremble bright and joyful in my eyes.

Wie so bang mein Busen, Wie so wonnevoll! Wüßt ich nur mit Worten, Wie ich’s sagen soll;

How restless my heart is, How filled with wonder! If only I knew How to put it in words;


Texts and Translations

Komm und birg dein Antlitz Hier an meiner Brust, Will in’s Ohr dir flüstern alle meine Lust.

Come and nestle your face Here on my bosom, And I’ll whisper all my joy in your ear.

Weißt du nun die Tränen, Die ich weinen kann? Sollst du nicht sie sehen, Du geliebter Mann? Bleib an meinem Herzen, Fühle dessen Schlag, Daß ich fest und fester nur dich drücken mag.

Now do you understand these tears That I weep? Should I hide them from your sight, You beloved man? Linger on my heart, Feel its beat, That I may clasp you to me More and more fervently.

Hier an meinem Bette Hat die Wiege Raum, Wo sie still verberge Meinen holden Traum; Kommen wird der Morgen, Wo der Traum erwacht, Und daraus dein Bildnis Mir entgegen lacht.

Here by my bed There will be room for the cradle, That will quietly embrace My precious dream; The morning will come When that dream will awaken, And from within your image Will smile up at me.

An meinem Herzen, an meiner Brust Du meine Wonne, du meine Lust! Das Glück ist die Liebe, die Lieb ist das Glück, Ich hab’s gesagt und nehm’s nicht zurück. Hab überschwenglich mich geschätzt Bin überglücklich aber jetzt. Nur die da säugt, Nur die da liebt das Kind, dem sie die Nahrung giebt;

Upon my heart, upon my bosom You my bliss, you my joy! Happiness is love, love is happiness, So say I, and I won’t take it back! I believed myself to be overjoyed, But now I am enraptured. Only she who nurses, Only she who loves the child To whom she gives nourishment;

Nur eine Mutter weiß allein Was lieben heißt und glücklich sein. O, wie bedaur’ ich doch den Mann, Der Mutterglück nicht fühlen kann!

Only a mother knows What love means, And what it is to be happy. Oh, how I pity men, Who cannot feel a mother’s love!

Du lieber, lieber Engel, du Du schauest mich an und lächelst dazu! An meinem Herzen, an meiner Brust Du meine Wonne, du meine Lust!

You beloved, beloved angel, You gaze at me and smile! Upon my heart, upon my bosom, You my bliss, you my joy!


Texts and Translations

Nun hast du mir den ersten Schmerz getan Der aber traf. Du schläfst, du harter, Unbarmherz’ger Mann, Den Todesschlaf.

Now you have given me my first pain And it has struck me like a blow. You are sleeping, you hard, Merciless man, The sleep of death.

Es blicket die Verlaßne vor sich hin, Die Welt is leer. Geliebet hab ich und gelebt, Ich bin nicht lebend mehr.

The abandoned one Stares out, The world is empty. I have loved and lived, I live no longer.

Ich zieh mich in mein Innres still zurück, Der Schleier fällt, Da hab ich dich und mein verlornes Glück, Du meine Welt!

I withdraw Silently into myself, The veil falls, There I have you And my lost happiness, You, my world!

shostakovich: Seven Romances on Poems of Aleksandr Blok Pesnya Ofeliya Razluchajas s d’evoi miloi, drug, Ti kl’alsa mne l’ubit’! Uyezhaja v krai postyly, Kl’atvu dannuyu khranit’!..

Ophelia’s Song When you left this maiden, my dear friend, You pledged your love for me! Embarking for notorious shores, You swore to keep your promise.

Tam, za Daniei schastlivoi, Byeraga tvoi vo mgl’e… Val s’erdityj, govorlivyj Mo’et sl’ozy na skal’e…

There, beyond happy Denmark, The coasts are enshrouded in gloom... The angry, garrulous waves Splash like my tears upon the rocks...

Mylyj voin ne vern’otca, Ves’ od’etyj v serebro… V grobe t’azhko vskolykhn’otca Bant I chornoe pero…

My beloved warrior shall not return, All dressed in silver... His vestments and black plume will Restlessly lie in the grave.


Texts and Translations

Gamayun, ptitsa veshaya Na glad’akh beskon’echnikh vod, Zakatom v purpur obl’echonnykh, Ona veschajet i pojot, Ne v silakh kryl podn’at’ sm’at’onnykh

Gamayun the Prophet Bird Upon the serene, infinite waters Enveloped in purple twilight She prophesies and sings, Frustrated, unable to unfurl her wings.

V’eshchaet igo zlykh tatar, V’eschaet kazn’ej r’ad krovavykh, I trus, i golod, i pozhar, Zlodejev silu, gibel’ pravykh…

She foretells the evil yoke of the Tartars, Predicts scores of bloody murders, And cowardice, and famine, and fire, Powerful villains, and the death of all righteousness.

Predv’echnym uzhasom objat, Pr’ekrasnyj lik gorit l’ubovju, No v’eschej pravdoju zvuchat Usta, zap’vekshi’esa krovju!

Enveloped in an eternal nightmare Her beautiful face burns with love. Yet the truth rings out From parched, bloody lips.

My byli vmesta My byl’i vm’est’e, pomn’u ja… Noch volnovalas’, skripka p’ela… Ty vehti dn’i byla — maja, Ty skazhdym chasom khoroshela…

We were together We were together, I remember... That awkward evening, the violin sang. You were mine in those days. You grew more beautiful with each passing hour...

Skvoz’ tikho’e zhurchan’e struj, Skvoz’tajnu zhenstvennoj ulybki Kustam prosilsa potseluj, Prosilis’ vserdtse zvuki skripki…

Through the quiet murmur of splashing water, Through the mysterious feminine smile, To lips begging to be kissed, The sounds of the violin were the yearning in my heart.

Gorod spit Gorod spit, okutan mgloju, Chut’ m’ertsajut fonari… Tam dal’oko za Nevoju Vizhu otbl’eski zar’i.

The City Sleeps The city sleeps, enveloped in mist, A few flickering lights… There, far away across the Neva, I see reflections of the rising sun.

Vetom daln’em otrazhen’i, Vetikh otbleskekh ognya Pritailos’ probuzhden’e An’ej, tosklivykh dl’a m’en’a…

In this far-off refraction, In that gleam of fire Lurks the awakening Of lonely days ahead…


Texts and Translations

Burya O kak bezumno za konom Rev’ot byshu’et bur’a zlaja Nesuts’a tuchi, l’ut dozhd’om, I v’et’er vo’et, zamiraja!

Storm Oh, how madly against my window Roars and rages this wicked storm, The clouds rush, pouring rain And the wind is howling, plummeting!

Uzhasna noch! Vtakuyu noch Mn’e zhal’ l’ud’ei l’ish’onnykh krova, Sozhal’enie gon’it proch – Vobjatja kholoda syrovo!

A terrifying night! On such a night I feel compassion for the destitute, the homeless: Pity drives me out of doors To embrace of the raw cold!

Borot’sa smrakom I dozhd’om, Stradaltsev uchast’ razd’el’aja. O, kak bezumno za oknom Byshu’et v’et’er iznyvaja!

I fight against the darkness and rain, To share the fate of these outcasts. Oh, how madly against my window Rages the wind, fulminating in fury.

Tainya znaki Razgorajutsa tainye znaki Na glukhoi neprobudnoi sten’e. Zolotye I krasnye maki Nado mnoi t’agot’ejut vo sn’e.

Secret Signs Secret signs begin to illuminate Upon a deaf and infinitely slumbering wall. Gold and crimson poppies Incessantly gravitate to me as I sleep.

Ukryvajus’ vnochnye p’eshcheriy I n’e pomn’u surovykh chud’es. Na zar’e golubye khim’ery Smotr’at vz’erkal’e jarkikh n’ebes. Ub’egaju vproshedshie migi, Zakryvaju ot strakha glaza, Na l’istakh kholod’ejushchei knigi, Zolotaja d’evichja kosa.

I harbor myself in the caves of night And I do not remember these severe wonderlands. At the dawn, the blue chimera Is reflected in the mirror-bright skies. I flee at the last moment, Closing my eyes to fearThe fair maiden with the golden hair In the pages of antiquated books.

Nado mnoy nebosvod yzhe nizok, Chornyj son t’agot’eet v grudi. Moy konets prednachertannyi blizok I vojna, i pozhar – vpered.

Heaven must be close at hand, Black sleep penetrates my breast. My fate is sealed, predestined, with the war and fire that lie before me.

Muzika V nochi, kogda usn’ot tr’evoga I gorod skro’etsa vo mgl’e – O, skol’ko muzyki u boga, Kakie zvuki na zeml’e!

Music At night, when anxiety is quieted by sleep And the city vanishes in the mist – It is like God’s music on earth, Such sounds!


Texts and Translations

Chto bur’a zhizn’i, jesl’i rozyTvoi tsvetut mn’e i gor’at! Chto chelov’echeskie sl’ozy, Kogda rum’an’itsa zakat!

What do life’s storms matter, If your roses bloom and glow? What do human tears matter, When you see the radiant sunset?

Pr’im’i, vladychitsa vs’el’ennoj, Skvoz’krov’, skvoz’ muki, skvoz’ groba – Posl’edn’ei strasti kubok p’ennyi Ot n’edostoinovo raba!

Accept, Mistress of the Universe, By suffering, by blood, by death – This cup, filled to the brim With the last passions of your unworthy slave!

de falla Siete canciones populares españolas Folk texts except where otherwise noted El paño moruno Text by Gregorio Martínez Sierra

The Moorish Cloth

Al paño fino en la tienda, Una mancha le cayó; Por menos precio se vende, Porque perdió su valor.

Upon the fine cloth in a shop There fell a stain. Now it sells for a lower price Because it has lost its value.

Seguidilla Murciana

Seguidilla in the Style of Murcia

Cualquiera que el tejado Tenga de vidrio, No debe tirar piedras Al del vecino. Arrieros semos; ¡Puede que en el camino Nos encontremos!

He who has a roof Made of glass Shouldn’t throw rocks At the neighbors. Let’s be muleteers; Perhaps on the road We’ll run into one another!

Por tu mucha inconstancia Yo te comparo Con peseta que corre De mano en mano; Que al fin se borra, Y créyendola falsa ¡Nadie la toma!

Because of your fickleness I compare you To a coin that is passed From hand to hand; That is eventually worn down, And, believing it to be counterfeit, Nobody will take it!


Texts and Translations

Asturiana

Asturian Woman

Por ver si me consolaba, Arrime a un pino verde, Por verme llorar, lloraba. Y el pino como era verde.

To see if I could console myself, I leaned against a green pine tree. Seeing me weep, it wept. And the pine tree, how green it was.

Jota Dicen que no nos queremos Porque no nos ven hablar; A tu corazón y al mio Se lo pueden preguntar.

Jota [A Spanish style of music and dance]

Ya me despido de tí, De tu casa y tu ventana, Y aunque no quiera tu madre, Adiós, niña, hasta mañana.

I take my leave from you, From your house and your window, And even your mother doesn’t like it, Farewell, my girl, until tomorrow.

Nana

Lullabye

Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito de la mañana.

Sleep, baby, sleep, Sleep, my soul, Sleep, my little light of the morning.

Naninta, nana, Naninta, nana. Duérmete, lucerito de la mañana.

Lullay Lullay Sleep, my little light of the morning.

They say we don’t care for each other Because they don’t see us speaking; They should ask Your heart and mine!


Texts and Translations

Cancíon

Song

Por traidores, tus ojos, voy a enterrarlos; No sabes lo que cuesta, “Del aire” Niña, el mirarlos, “Madre a la orilla.”

Since your eyes betray, I’m going to bury them in the ground. You don’t know what it costs me, “Miss Fly-by-night,” To look at them, “Miss Shilly-shally.”

Dicen que no me quieres, Ya me has querido... Váyase lo ganado, “Del aire” Por lo perdido, “Madre a la orilla”.

They say you don’t love me, But you once did… To the winner, “Miss Fly-by-night,” Go the spoils, “Miss Shilly-shally.”

Polo

Polo [A traditional Spanish dance of Gypsy origin]

¡Ay! Guarda una pena en mi pecho, Que nadie se la dire… ¡Malhaya, el amor, Y quien me lo dió a entender!

Ah! I have a pain in my heart That I can tell to no one. Cursed be love, And he who led me to understand it!


Upcoming Events

Lucas Wong, piano

Brentano String Quartet

october 13

october 18

Sprague Hall | Thu | 8 pm Doctor of Musical Arts Recital Hector Berlioz: Symphonie fantastique, transcribed by Franz Liszt; George Crumb: Makrokosmos, Volume II: Twelve fantasy pieces after the Zodiac. Free Admission.

Sprague Hall | Tue | 8 pm Oneppo Chamber Music Series With Ignat Solzhenitsyn, piano. Haydn: String Quartet in D major, Op. 103; Beethoven: String Quartet in F major, Op. 135; Schubert: Quartettsatz in C minor, Op. Post., D. 703; Ginastera: Piano Quintet. Tickets $20–30; Students $10

Emma Kirkby, soprano Mikhail Rudy, piano

october 17 Sprague Hall | Mon | 8 pm Presented by the Yale Institute of Sacred Music Emma Kirkby performs with lutenist Jakob Lindberg. Love Songs, Lute Solos, and Laments: Music from 17 th-Century Europe. Music of Bacheler, Danyel, D’India, Johnson, Kapsperger, Lawes, Monteverdi, Morley, and Strozzi. Free Admission.

october 19 Sprague Hall | Wed | 8 pm Music of Scriabin and Stravinsky, and a multimedia performance of Mussorgky’s Pictures at an Exhibition featuring projected animations of Kandinsky’s sketches and watercolors from his original 1928 staging. Tickets $12–22; Students $6

Concerts & Public Relations: Dana Astmann, Danielle Heller, Dashon Burton New Media: Monica Ong Reed, Austin Kase Operations: Tara Deming, Chris Melillo Piano Curators: Brian Daley, William Harold Recording Studio: Eugene Kimball P.O. Box 208236, New Haven, CT · 203 432-4158

Robert Blocker, Dean

music.yale.edu

Peter Frankl and Janna Baty  

The Yale School of Music presents Faculty Artist Series performers Peter Frankl and Janna Baty. Pianist Peter Frankl and soprano Janna Baty...

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