8 –– 2 3 O C T O B E R

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NATURE’SSONGBOOK

THE 20TH OXFORD LIEDER FESTIVAL

PROGRAMME

CROSSCURRENTSBenjamin Appl baritoneSholto Kynoch piano

Emerging Artists Ellie Neate sopranoThomas Eeckhout piano

Saturday 16 October | 5.30pm & 8.15pm St John the Evangelist

This concert is generously supported by John & Gay Drysdale

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SUPPORTING OXFORD LIEDER’S ARTISTIC PROGRAMME

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SUPPORTING OUR YOUNG PERFORMERS' PROGRAMME & MASTERCOURSE

The Adrian Swire Charitable Trust

The Cecil King Memorial Foundation

The John S Cohen Foundation

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The Kathleen Ferrier Memorial Scholarship Fund

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SUPPORTING OUR SCHOOLS PROGRAMME

The D'Oyly Carte Charitable Trust

The Arnold Clark Community Fund

The Charity of Thomas Dawson

The Sarah Nowell Educational Foundation

The PF Charitable Trust

The Scops Arts Trust

The Souldern Trust

The John Thaw Foundation

Programme

Thomas Adès (b. 1971) Five Eliot Landscapes 1. New Hampshire 2. Virginia 3. Usk 4. Rannoch, by Glencoe 5. Cape Ann

***** Antonín Dvořák (1841 - 1904) Goin’ Home, 'From the New World' Walter Jurmann (1903 - 1971) Ein Lied aus meiner Heimat Erich Korngold (1897 - 1957) Der Knabe und das Veilchen Aussicht (Op. 5 no.6) Vom Berge (Op. 5 no.10) Liebesbriefchen (Op. 9 no.4) from 6 Einfache Lieder Der Friedensbote (Op. 5 no.9) Glückwunsch (Op. 38 no.1) Der innere Scharm ***** Rebecca Clarke (1886 - 1979) The Cloths of Heaven Down by the Salley Gardens

T. S. Eliot (1909-1962)

William Arms Fisher (1861-1948)

Fritz Rotter (b.1984)

Erich Korngold

Joseph von Eichendorff (1788-1957)

Joseph von Eichendorff

Elisabeth Honold

Joseph von Eichendorff

Richard Dehmel (1863-1920)

Erich Korngold

William Butler Yeats (1865 - 1939)

William Butler Yeats

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Samuel Barber (1910 - 1981) Three Songs, Op. 45 1. Now I Have Fed and Eaten Up the Rose 2. A Green Lowland of Pianos 3. O Boundless, Boundless Evening

***** Arnold Schoenberg (1874 - 1951) Gigerlette Arie aus dem Spiegel von Arcadien Hermann Leopoldi (1888 - 1956) In einem kleinen Café in Hernals Kurt Weill (1909 - 1950) September Song

George Gershwin (1898 - 1937) By Strauss

James Joyce (1882 - 1941)

Czesław Miłosz (1911 - 2004)

Christopher Middleton (1926 - 2015)

Otto Julius Bierbaum (1865 - 1910) Emanuel Schikaneder (1751 - 1812)

Peter Herz (1895 - 1987)

James Maxwell Anderson (1888 - 1959)

Ira Gershwin (1896 - 1983

Mallams1788

Wednesday 20th October 2021 OXFORD

For more information please contact Rupert Fogden on (01865) 241358 or rupert.fogden@mallams.co.uk www.mallams.co.uk

B O C A R D O H O U S E , S T M I C H A E L’ S S T R E E T, O X F O R D O X 1 2 E B

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Antonín Dvořák

Programme notes

Five Eliot Landscapes

Thomas Adès’s Five Eliot Landscapes, written in 1990 and issued as his first official opus, provide a fittingly transatlantic prelude to this evening’s programme. Of the five texts, written by T.S. Eliot in 1934–5, the first, second and fifth evoke the poet’s US origins – Cape Ann is the site of the rocks known as the Dry Salvages that also featured in the later Four Quartets – while Usk relates to the Welsh border town where Eliot toured in 1935 and Rannoch, the fourth landscape, evokes desolate moorland north of Glencoe in Scotland. The ‘children’s voices’ of the opening New Hampshire provoke a thin, eerie lullaby, ebbing and flowing like the waves. Virginia, on the other hand, triggers a violence that swings between the quietest and loudest dynamics, the piano acting as an echo chamber for the singer’s wild coloratura. After the otherworldly dirge of Usk comes a mirroring of the hard contrasts of Virginia, with fanfares ricocheting against out-of-body chorales. Finally, bar a moment of ravishing stasis, the work closes with the manic Cape Ann. *****

The spirit of a homeland has long haunted the song repertoire, from Schubert to the present day. And while many of the pleas sung about finding a home have taken on a political edge, not least when patriotism turned to nationalist thoughts and revolution in the middle of the 19th century, they were arguably nowhere near as painful as the sense of exile (often enforced) that plagued the lives of composers during the yet darker years of the 20th century.

Dvořák’s separation from his native Bohemia during the 1890s may have caused him upset, though it was due to his own commercial and professional interests when asked to become artistic director and professor of composition at the National Conservatory of Music in New York. He was charged with teaching its students how to draw on the native music of North America,

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in New York. He was charged with teaching its students how to draw on the native music of North America, much as he had done with native Czech tunes and dances in his own work in Prague. He duly led by example, even including what many deemed to be a quotation of the spiritual ‘Swing Low, Sweet Chariot’ in his Ninth Symphony. Such was the flavour of the ‘New World’ Symphony that William Arms Fisher, one of Dvořák’s students, wrote a ‘spiritual’ version of the theme from the second movement and published it as such in 1926. Since then, it has been sung at presidents’ funerals and become part of the national fabric, as underlined by Fisher’s own words.

Like Dvořák before him, the Viennese-born composer Walter Jurmann enjoyed a successful career in the USA, though his was as the result of having to flee Nazi-controlled German-speaking Europe. Having written various Schlager hits in both Vienna and Berlin, including ‘Veronika, der Lenz ist da’, made popular by the Comedian Harmonists, he went on to pen equally infectious tunes, not least the title song for the 1936 film San Francisco, immortalised by Jeanette MacDonald, Judy Garland and Rufus Wainwright in turn. ‘Ein Lied aus meiner Heimat’ was a similar triumph for tenor Richard Tauber in the early 1930s, just at the point when Jurmann realised that a return to his own homeland was becoming increasingly untenable.

Korngold, born in Brno though forever associated with Vienna, likewise had to flee Europe, though he had the good luck to be in Hollywood by the time the Anschluss came. A prodigious talent, he had wowed Mahler, Strauss and Puccini in turn, before taking the opera houses of Europe by storm with Die tote Stadt. Finally, adapting a series of operettas in the 1920s, he gained the favour of Max Reinhardt, leading to an introduction to the studio system. We hear a selection of songs from both the European and American chapters of Korngold’s life.

The conversational salon-style of Der Knabe und das Veilchen dates from 1905, when Korngold was just eight years old. Taking a Goethean trope, he turns it into a lilting Wienerlied. The composer’s Zwölf Lieder Op. 5 were written for his father, the lawyer turned music critic Julius Korngold, on his 51st birthday in December 1911 – Erich was now 14. Based on the poetry of Josef von Eichendorff, the cycle was never published during Korngold’s lifetime, though three of its songs provided the opening trio of his Sechs einfache Lieder Op. 9, from which we hear a setting of words by Elisabeth Honold.

The text for Glückwunsch, from the op. 38 songs that Korngold dedicated to star soprano Maria Jeritza, is by Richard Dehmel, whose poetry

‘Their silence is sufficient praise.’ (Terence) Please turn the page quietly. 7

almanacs, the poems were never published in book form, and Beethoven was probably delighted to have found a virtually unknown collaborator who was not only musical and cultured but almost certainly willing to be directed. Each of the six poems is dominated by the image of the distant beloved. Auf dem Hügel sitz ich spähend tells us of their first meeting (‘in the distant meadows’) and their subsequent separation which, we are told, is a torment (‘Qual’) to both of them. Wo die Berge so blau expresses the poet’s obsessive wish (the ‘wo’ is mentioned four times) to be by her side. His reverie is banished in the next song, Leichte Segler in den Höhen, in which he begs the scudding clouds, rippling brook and gusting breeze to convey to her his longing. The same idea (and the same key) is continued in Diese Wolken in den Höhen which contains the only sensuous phrase in the cycle that describes the breeze frolicking about her cheeks and breast and burrowing in her silken locks. All these fond imaginings, however, vanish in the fifth song, Es kehret der Maien, es blühet die Au, as the poet comes down to earth with a bump, and the joy of all nature (especially the conjugal bliss of the swallow) is contrasted with the barrenness of his own love, which leads him to conclude in Nimm sie hin denn diese Lieder – with a mixture of reverence and stoicism – that only through his

and m

Robert Schumann

unquestionably Romantic sensibility certainly derived from his travels across the Continent, including a period of study in Vienna in 1934. Towards the end of his life, he even decided to split his time between Santa Cristina in Italy and Manhattan, the result of the negative response to his 1966 opera Antony and Cleopatra at the new Metropolitan Opera. Depression and alcoholism followed in this last period of Barber’s life and brought an end, in 1970, to his relationship with Gian Carlo Menotti. Two years later, Barber penned his final three songs.

Now I Have Fed and Eaten Up the Rose, James Joyce’s translation of Gottfried Keller’s original, is a jaded prayer, clinging to hope. Czesław Miłosz’s A Green Lowland of Pianos, adapted from Jerzy Harsymowicz’s original Polish, strikes a blither note, though the underlying sense of pain returns in Christopher Middleton’s O Boundless, Boundless Evening. In this translation of words by Georg Heym, something of the spirit of Strauss’s ‘Im Abendrot’ from the same sense of regret. Commissioned by the Chamber Music Society of Lincoln Center, the three songs had their premiere on 29 April 1974, when they were performed by Dietrich Fischer-Dieskau and pianist Charles Wadsworth.

The year after that performance, a collection of early compositions by Arnold Schoenberg appeared from the archives. Entitled Brettl-Lieder,

had famously inspired Schoenberg’s passionate string sextet Verklärte Nacht in 1899. Here, however, Dehmel’s words prompt a melody that Korngold subsequently used in his score for the lives of the Brontë family in the 1946 film Devotion. The posthumously published Der innere Scharm, on the other hand, returns us to the Korngold family home in Vienna in 1914, when the young Erich wrote both text and music for his mother’s 42nd birthday.

Rebecca Clarke had a similarly intercontinental identity. Born and raised in England, her mother was German, her father American. Although she spent the majority of her adulthood in the States, she claimed both English and US nationality and her work was, at least initially, feted on both sides of the Atlantic. Support, however, proved sporadic and over the course of the 1930s, and particularly after her marriage in 1944, Clarke’s lust for composition waned. One of her very last projects was a song entitled ‘God Made Me a Tree’, effectively repurposing music for Yeats’s famous Down by the Salley Gardens from 1919, the same year as Clarke composed her justly celebrated Viola Sonata. We also hear the slightly earlier The Cloths of Heaven, thought to have been written in 1912.

It would be hard to claim that Samuel Barber had, like Clarke, a dual identity, though the Pennsylvanian-born composer felt a strong affinity for Europe – Italy in particular. His

8

from a tourist observing a group of German stu

his sometime collaborator Ira Gershwin and brother George. September Song was penned in 1938 for Weill’s first US musical comedy, Knickerbocker Holiday. Having had an out-of-town try-out in Connecticut, the musical opened at the Ethel Barrymore Theatre on 19 October 1938 and ran for 168 performances. It has since largely faded from view, though ‘September Song’, for all its claims of not having ‘time for the waiting game’, has proved evergreen. So too has By Strauss, composed two years earlier as a party piece by the Gershwin brothers, in which they bid their audience throw off the music of Broadway – even mocking themselves as ‘drivel’– and instead embrace a world ‘swinging in three-quarter time’. The words are not entirely ironic, however, given Gershwin’s long-held admiration for European musical culture: in the form of signed scores from Berg; a sincere – and sincerely expressed – wish to study with Ravel; and, of course, his tennis matches with Schoenberg. Like many of the composers on tonight’s programme, Gershwin refused to be pigeon-holed. © Gavin Plumley

they derived from a Berlin-based cabaret, the Überbrettl, that had toured to Vienna in 1901. Working at the time as Oskar Straus’s assistant at the Carltheater, the venue for those Viennese performances, Schoenberg was introduced to the cabaret’s founder, Ernst von Wolzogen, and secured himself a job as its music director in Berlin, thanks to his Brettl-Lieder.

The texts for all but one of the songs are taken from a collection called Deutsche-Chansons -(Brettl-lieder) of 1900, where ‘brettl’ (plank) is akin to the English theatrical phrase ‘the boards’. Gigerlette sets words by cabaret habitué Otto Julius Bierbaum, while the last of the songs, Arie aus dem Spiegel von Arcadien, employs a text by Magic Flute librettist Emanuel Schikaneder. Although composing with an eye to Berlin, Schoenberg’s heart was clearly still in Vienna, as echoed in the Wienerlieder of his near contemporary Hermann Leopoldi. Celebrating the 17th district of his and Schoenberg’s hometown, In einem kleinen Café in Hernals was part of an extensive repertoire that Leopoldi would perform far and wide, including for fellow prisoners in the dark confines of Buchenwald and, after the Second World War, at a successful Viennese cabaret in New York.

Fittingly, then, this recital closes with a complementary pair of ‘American’ songs: from Kurt Weill; and from

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TextS & Translations

NEW HAMPSHIRE USK

Children's voices in the orchard Between the blossom- and the fruit-time: Golden head, crimson head,Between the green tip and the root. Black wing, brown wing, hover over; Twenty years and the spring is over;To-day grieves, to-morrow fgrieves,Cover me over, light-in-leaves;Golden head, black wing, Cling, swing, Spring, sing,Swing up into the apple-tree.

VIRGINIA

Red river, red river, Slow flow heat is silenceNo will is still as a riverStill. Will heat move Only through the mocking-birdHeard once? Still hills Wait. Gates wait. Purple trees,White trees, wait, wait.Delay, decay. Living, living, Never moving. Ever movingIron thoughts came with meAnd go with me:Red river, river river.

Do not suddenly break the brance, orHope to find The white hart behind the well.Glance aside, not for lance, do not spell Old enchantments. Let them sleep. 'Gently dig, but not too deep'.Lift your eyesWhere the roads dip and where the roads rise Seek only there Where the grey light meets the green air The hermit's chapel, the pilgrim's prayer.

RANNOCH, BY GLENCOE Here the crow starves, here the patient stagBreeds for the rifle. Between the soft moor And the soft sky, scarcely room To leap or soar. Substance crumbles, in the thin air Moon cold or moon hot. The road winds in Listlessness of ancient war,Languor of broken steel,Clamur of confused wrong, aptIn silence. Memory is strongBeyond the bone. Pride snapped,Shado of pride is long, in the long pass No concurrence of bone.

Five Eliot Landscapes Adès / Eliot

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‘The last note isn’t the end of the music: the silence completes the music.’ (Jonathan Lennie).

Please turn the page quietly.

CAPE ANN

O quick quick quick, hear the song-sparrow,Swap-sparrow, fox-sparrow, vesper-sparrowAt dawn and dusk. Follow the dance Of the goldfinch at noon. Leave to chanceThe Blackburnian warbler, the shy one. Hail With shrill whistle the note of the quail, the bob-white Dodgin by bay-bush. Follow the feetOf the walker, the water-thrush. Follow the flight Of the dancing arrow, the purple martin. Greet In silence the bullbat. All are delectable. Sweet sweet sweetBut resign this land at the end, resign itTo its true ower, the tough one, the sea-gull.

The palaver is finished.

Landscapes from Collected Poems 1909-1962 - T S Eliot © the Estate of T S Eliot - reprinted by permission of Faber and Faber Ltd.

*****

GOIN' HOME

Dvorak / Fisher

Goin’ home, goin’ home, I'm a goin’ home;Quiet like, some still day,I'm jus’ goin’ home. It's not far, jus’ close by,Through an open door;Work all done, care laid by,going to fear no more. Mother's there expecting me,Father's waiting too;Lots o'folk gather'd there, All the friends I knew. Home, home, I'm goin’ home!

Goin' home, goin' home, I'm just goin' home.It's not far, just close by,Through an open door; I'm just goin' home.Goin' home.

******

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EIN LIED AUS MEINER HEIMAT A SONG FROM MY HOMELAND

Jurrmann / Rotter English Translation © Richard Stokes

Drüben in den Sternen liegt die Heimat, Liegt die nie vergess’ne HeimatUnd das Elternhaus am See.Einsam träum’ ich von den fernen Tagen,Meiner nie vergess’nen Jugend, Die ich nie mehr wieder seh’!

Ein Lied aus meiner Heimat kann ich nie vergessen,das mir einst die Mutter sang.Ein Lied aus meiner Heimat kann ich nie vergessen,das mir wie ein Märchen klang.

Mein Herz sehnt sich zurück nach meiner Heimat,dort, wo ich als Kind gespielt und nichts vom Schmerz der Welt gefühlt.

Ein Lied aus meiner Heimat kann ich nie vergessen, das mir einst die Mutter sang.

DER KNABE UND DAS VEILCHEN THE BOY AND THE VIOLET

Korngold / Korngold English Translation © Richard Stokes

KnabeEi Veilchen, ei Veilchen,warum kommst du grad im Mai?Ein Weilchen, ein Weilchen,ehe er vorbei?

VeilchenWeil gar zu klein bin ich.Du könntest gar nicht sehn mich.Drum komm ich grad im Maieh' er vorbei!

KnabeEi Veilchen, ei Veilchen,warum sollt ich dich nicht sehn?Wenn ein Weilchen, wenn ein Weilchenich in der Wies' bleib' stehn?

VeilchenWeil unter Kameradenwürd ich versteckt und g'schlagen.Drum kam ich grad im Mai,weil kein Blum' sei.

My homeland, my never-forgotten homelandAnd my parents’ lakeside houseLie up there in the stars.Lonely, I dream of those distant daysAnd my never-forgotten youthThat I shall never see again.

I shall never forget a song from my homelandThat my mother once sang to me.I shall never forget a song from my homelandThat sounded to me like a fairy-tale.

My heart longs to return to my homeland,There, where I played as a childAnd felt nothing of the world’s pain.

I shall never forget a song from my homelandThat my mother once sang to me.

BoyAh violet, ah violet,Why come in May of all months?Why linger a while,Before May is over?

VioletBecause I am so small.You wouldn’t be able to see me at all –That’s why I come in May,Before the month is over.

BoyAh violet, ah violet,Why wouldn’t I see you?If I stood for a little whileIn the meadow?

VioletBecause I’d be hidden Among my comrades, and beaten.That’s why I came in May,Because no flowers are there.

******

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‘The last note isn’t the end of the music: the silence completes the music.’ (Jonathan Lennie).

Please turn the page quietly.

AUSSICHT A PROSPECT

Korngold / Eichendorff English Translation © Richard Stokes

Komm zum Garten denn, Du Holde!In den warmen, schönen TagenSollst Du Blumenkränze tragen,Und vom kühl krystall'nen GoldeMit den frischen, roten Lippen,Eh' ich trinke, lächelnd nippen.Ohne Maß dann, ohne Richter,Küssend, trinkend singt der DichterLieder, die von selbst entschweben:Wunderschön ist doch das Leben!

VOM BERGE FROM THE MOUNTAIN

Korngold / Eichendorff

Da unten wohnte sonst mein Lieb,Die ist jetzt schon begraben,Der Baum noch vor der Türe blieb,Wo wir gesessen haben.

Stets muß ich nach dem Hause sehnUnd seh doch nichts vor WeinenUnd wollt' ich auch hinuntergehn,Ich stürb' dort so alleine!

English Translation © Richard Stokes

My beloved once lived in the valley,She now lies in her grave,The tree still stands before her door,Where we used to sit.

I keep gazing at her houseBut can see nothing through my tears,And even if I wished to go down to the valley,I should die there so alone!

Come into the garden, O my beauty!In these fine, warm daysYou shall wear garlands of flowersAnd smiling, sip with fresh red lips,Before I drink,From the cool clear gold.Without moderation then, and without judges,Kissing and drinking the poet will singSongs that float away of their own accord:For life is so beautiful!

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LIEBESBRIEFCHEN BILLET-DOUX

Korngold / Honold English Translation © Richard Stokes

Fern von dir Denk' ich dein, Kindelein,

Einsam bin ich, Doch mir blieb Treue Lieb'.

Was ich denk', Bist nur, Herzensruh.

Sehe stets Hold und licht Dein Gesicht.

Und in mir Immerzu Tönest du.

Bist's allein, Die Welt Mir erhellt.

Ich bin dein, Liebchen fein, Denke mein!

DER FRIEDENSBOTE THE MESSENGER OF PEACE

Korngold / Eichendorff English Translation © Richard Stokes

Schlaf ein, mein Liebchen, schlaf ein,Leis durch die Blumen am GitterSäuselt des Laubes Gezitter,Rauschen die Quellen herein;Gesenkt auf den schneeweißen Arm,Schlaf ein, mein Liebchen, schlaf ein,Wie atmest du lieblich und warm!

Aus dem Kriege kommen wir heim;In stürmischer Nacht und Regen,Wenn ich auf der Lauer gelegen,Wie dachte ich dorten dein!Gott stand in der Not uns bei,Nun droben bei Mondenschein,Schlaf ruhig, das Land ist ja frei!

Sleep, my darling, sleep,Softly through the trellised flowersThe trembling leaves rustle,The fountains murmur;Leaning on your snow-white arm,Sleep, my darling, sleep.Your breath is so warm and sweet!

We come home from the war;On stormy, rain-swept nights,When I stood watch,How I thought of you!God stood by us in our need,Sleep now in the moonlight,Sleep in peace, for our country is free!

Far from youI think of you, Dear child.

I am lonely,But my loveHas stayed true.

I thinkOnly of you,O peace of my heart.

I always see,Fair and bright,Your face.

And you soundWithin meAlways.

It is you aloneWho brightensFor me the world.

I am yours,My sweetest,Think of me!

14 14

GLÜCKWUNSCH CONGRATULATION

Korngold / Dehmel English Translation © Richard Stokes Ich wünsche dir Glück.Ich bring dir die Sonne in meinem Blick.Ich fühle dein Herz in meiner Brust;es wünscht dir mehr als eitel Lust.Es fühlt und wünscht: die Sonne scheint,auch wenn dein Blick zu brechen meint.Es wünscht dir Blicke so sehnsuchtslos,als trügest du die Welt im Schoß.Es wünscht dir Blicke so voll Begehren,als sei die Erde neu zu gebären.Es wünscht dir Blicke voll der Kraft,die aus Winter sich Frühling schafft.Und täglich leuchte durch dein Hausaller Liebe Blumenstrauß!

DER INNERE SCHARM INNER CHARM

Korngold / Korngold English Translation © Richard Stokes Zweiundvierzig Jahr wirst du heut altdir's von jedem Mund entgegenschallt.Doch wer sich so jung wie du erhält,dem wird dadurch das Leben nicht vergällt.Du bist noch jung und frisch als wie'ne Wanz'nund möch'st am liebsten Tango tanz'n.Freilich schwinden deine Reize sehr,g'ring bist du zum Anschau'n kaum noch mehr.Abends wenn du dich begibst ins Bett,da rufen alle: "Gott, o Gott, wie fett."

Du weißt, warum du dich nicht drum musst kümmern,du hast ja diesen Scharm im Innern.Und dieser innere Scharm:Dieser innere Scharm, der entschwindet nicht mehr,liebe Mutter, das kannst du mir glauben.Und kommt mit der Spritz' auch die Feuerwehr,so kann sie dir den noch nicht rauben.Dieser Scharm, der ist angeboren,der geht dir nicht mehr verloren,den gibst du niemals her,dieser Scharm, nein, der schwindet nicht mehr!

*****

You turn forty-two today,Everyone cries.But for those like you, who are well preserved,Life will not be a burden.You are young and fresh as a bugAnd would love best of all to tango.Your fascination’s fading fast And you’re hardly anything to look at now.Each evening when you go to bed,Everyone cries out: ‘God, how fat!’

You know – this shouldn’t worry you,For you have this inner charmAnd this inner charm:This inner charm, Mother, will never fade,Mark my words.And even if the fire-brigade were to come with hoses,They could never douse your charm.This charm is innate,You will never lose it,You will never part with it,No, this charm will never fade!

I wish you happiness.I bring you the sun in my gaze.I feel your heart beat in my breast;it wishes you more than mere pleasure.It feels and hopes; the sun shines, even when your eyes think to close in death.It wishes your eyes to be as free of yearning,as if you carried the world in your womb.It wishes your eyes to be as full of desire,as if the earth were to be born again.It wishes your eyes to be full of the strengththat fashions spring from winter.And may your home be daily litby the gleaming bouquet of love!

15‘‘Shallow brooks murmur most, deep silent slide away.’

(Philip Sidney). Please turn the page quietly. 15

THE CLOTHS OF HEAVEN

Clarke / Yeats

Had I the heavens' embroidered clothsEnwrought with golden and silver lightThe blue and the dim and the dark clothsOf night and light and the half-light,

I would spread the cloths under your feet:But I, being poor, have only my dreams;I have spread my dreams under your feet;Tread softly because you tread on my dreams.

DOWN BY THE SALLEY GARDENS

Clarke / Yeats Down by the Salley Gardens my love and I did meet;She passed the Salley Gardens with little snow-white feet.She bid me take love easy, as the leaves grow on the tree;But I, being young and foolish, with her did not agree.

In a field by the river my love and I did stand,And on my leaning shoulder she laid her snow-white hand.She bid me take life easy, as the grass grows on the weirs;But I was young and foolish, and now am full of tears.

NOW I HAVE FED AND EATEN UP THE ROSE

Barber / Joyce

Now I have I fed and eaten up the roseWhich then she laid within my stiffcold hand.That I should ever feed upon a roseI never had believed in liveman’s land.

Only I wonder was it white or redThe flower that in the darkness my food has been.Give us, and if Thou give, thy daily bread,Deliver us from evil, Lord, Amen.

Text - original German -Gottfried Keller (1819-1890),trans. James Joyce (1882-1941)

Three Songs, Op. 45

16

‘Silence is also conversation.’ (Ramana Maharshi) Please turn the page quietly.

THE CLOTHS OF HEAVEN

Clarke / Yeats

Had I the heavens' embroidered clothsEnwrought with golden and silver lightThe blue and the dim and the dark clothsOf night and light and the half-light,

I would spread the cloths under your feet:But I, being poor, have only my dreams;I have spread my dreams under your feet;Tread softly because you tread on my dreams.

DOWN BY THE SALLEY GARDENS

Clarke / Yeats Down by the Salley Gardens my love and I did meet;She passed the Salley Gardens with little snow-white feet.She bid me take love easy, as the leaves grow on the tree;But I, being young and foolish, with her did not agree.

In a field by the river my love and I did stand,And on my leaning shoulder she laid her snow-white hand.She bid me take life easy, as the grass grows on the weirs;But I was young and foolish, and now am full of tears.

NOW I HAVE FED AND EATEN UP THE ROSE

Barber / Joyce

Now I have I fed and eaten up the roseWhich then she laid within my stiffcold hand.That I should ever feed upon a roseI never had believed in liveman’s land.

Only I wonder was it white or redThe flower that in the darkness my food has been.Give us, and if Thou give, thy daily bread,Deliver us from evil, Lord, Amen.

Text - original German -Gottfried Keller (1819-1890),trans. James Joyce (1882-1941)

A GREEN LOWLAND OF PIANOS

Barber / Milosz

in the eveningas far as the eye can seeherdsof black pianos

up to their kneesin the mirethey listen to the frogs

they gurgle in waterwith chords of rapture

they are entrancedby froggish, moonish spontaneity

after the vacationthey cause scandalsin a concert hallduring the artistic milkingsuddenly they lie downlike cows

looking with indifferenceat the white flowersof the audience

at the gesticulatingof the ushers

Text - original Polish - Jerzy Harsymowicz (1933-1999), trans. Czesław Miłosz (1911-2004)

O BOUNDLESS, BOUNDLESS EVENING

Barber / Middleton

O boundless, boundless evening. Soon the glowOf long hills on the skyline will be gone,Like clear dream country now, rich-hued by sun.O boundless evening where the cornfields throwThe scattered daylight back in an aureole.Swallows high up are singing, very small.On every meadow glitters their swift flight,In woods of rushes and where tall masts standIn brilliant bays.Yet in ravines beyondBetween the hills already nests the night.

Text - original German -Georg Heym (1887-1912),trans. Christopher Middleton (1926 - 2015)

*****

17

GIGERLETTE GIGERLETTE

Schoenberg / Bierbaum English Translation © Richard Stokes Fräulein GigerletteLud mich ein zum Tee.Ihre ToiletteWar gestimmt auf Schnee;Ganz wie PierretteWar sie angetan.Selbst ein Mönch, ich wette,Sähe GigerletteWohlgefällig an.

War ein rotes Zimmer,Drin sie mich empfing,Gelber KerzenschimmerIn dem Raume hing.Und sie war wie immerLeben und Esprit.Nie vergess ichs, nimmer:Weinrot war das Zimmer,Blütenweiß war sie.

Und im Trab mit VierenFuhren wir zu zweitIn das Land spazieren,Das heißt Heiterkeit.Daß wir nicht verlierenZügel, Ziel und Lauf,Saß bei dem KutschierenMit den heißen VierenAmor hinten auf.

ARIE AUS DEM SPIEGEL VON ARCADIEN ARIA FROM THE MIRROR OF ARCADIA

Schoenberg / Schikaneder Seit ich so viele Weiber sah,Schlägt mir mein Herz so warm,Es summt und brummt mir hier und da,Als wie ein Bienenschwarm.

Und ist ihr Feuer meinem gleich,Ihr Auge schön und klar,So schlaget wie der Hammerstreich,Mein Herzchen immer dar.Bum, bum, bum, usw.

Ich wünschte tausend Weiber mir,Wenn’s recht den Göttern wär’,Da tanzt’ ich wie ein Murmeltier,In’s Kreuz und in die Quer.

English Translation © Richard Stokes Since seeing so many women,My heart beats so ardently,It hums and buzzes here and there,Just like a swarm of bees.

And if her ardour resembles mine,And her eyes are lovely and limpid,Then my heart, like a hammer,Beats on and on.Boom, boom, boom, etc.

I wish I could have a thousand women,If it so pleased the gods,I’d dance like a marmotIn every direction.

Fräulein GigerletteInvited me to tea.Her attireHarmonized with snow;She was dressedJust like Pierrette.Even a monk, I bet,Would gaze on GigerletteWith pleasure.

She received meIn a red room,Yellow candlelightFlickered in the air.And she was, as ever,Full of life and wit.I’ll not forget it, never,The room was wine-red,She was blossom-white.

And both of us rode off In a carriage-and-fourOut into the LandOf Mirth.In order to reach our goalAnd not stray without reins,Cupid sat atopAt the backOf our carriage-and-four.

18

‘Their silence is sufficient praise.’ (Terence). Please turn the page quietly.

Das wär’ ein Leben auf der Welt,Da wollt’ ich lustig sein,Ich hüpfte wie ein Has’ durch’s Feld,Und’s Herz schlüg immer drein.Bum, bum, bum, usw.

Wer Weiber nicht zu schätzen weiß,Ist weder kalt noch warm,Und liegt als wie ein Brocken Eis,In eines Mädchens Arm.

Da bin ich schon ein andrer Mann,Ich spring’ um sie herum;Mein Herz klopft froh an ihrem anUnd machet bum, bum, bum, usw.

IN EINEM KLEINEN CAFÉ IN HERNALS IN A SMALL CAFÉ IN HERNALS

Leopoldi / Herz

Ein kleines, gemütliches VorstadtlokalDas hab ich da neulich entdecktFauteuils habn kan Samt und's Klavier kein PedalUnd Kracherl, so heißt dort der SektIm Grandhotel ist es mondänerDoch da ist es tausendmol schöner! In einem kleinen Café in HernalsSpielt's GrammophonMit leisem TonAn English-WaltzDort genügen zwei Mokka alleinUm ein paar Stunden so glücklich zu seiIn einem kleinen Café in HernalsKlopft manches Herzerl hinauf bis zum HalsUnd gebn zwei Verliebte sich dort RendezvousDrückt der Herr Ober ganz diskret ein Auge zu. Die Tassen, die sind dort aus dickem PorzllanZerbrechlich so leicht sind sie nichtDie Herzen hingegen sind sehr filigranUnd oft kommt es vor, dass eins brichtAn Zeitungen hams keine SpesenDort wird in den Augen gelesen. In einem kleinen Café in HernalsSpielt's GrammophonMit leisem TonAn English-WaltzDort genügen zwei Mokka alleinUm ein paar Stunden so glücklich zu seinIn einem kleinen Café in HernalsKlopft manches Herzerl hinauf bis zum HalsUnd gebn zwei Verliebte sich dort RendezvousDrückt der Herr Ober alle beide Augen zu.

English Translation © Richard Stokes I have recently discoveredA small, cosy suburban dive –The armchairs have no velvet and the piano has no pedal,And their sekt is called fizz.The Grand Hotel’s more fashionableBut here it’s a thousand times more fun!

In a small café in HernalsThe gramophone’sPlaying quietlyAn English waltz.Two strong black coffees is all you need.To spend a few happy hours there.In a small café in HernalsMany a heart beats wildly,And if two lovers rendezvous there,The head waiter discreetly looks away.

The cups there are of thick porcelainAnd are not exactly fragile.Hearts, on the other hand, are filigree,And it often happens that one breaks.There are no newspapers to look at there,You look into each other’s eyes.

In a small café in HernalsThe gramophone’sPlaying quietlyAn English waltz.Two strong black coffees is all you need. To spend a few happy hours there.In a small café in HernalsMany a heart beats wildly,And if two lovers rendezvous there,The head waiter discreetly looks away.

That would be a life worth living,Then I’d have joy and fun,I’d hop like a hare through the field,And my heart would skip along.Boom, boom, boom, etc.

A man who does not value womenIs neither cold nor warm,And lies like a block of iceIn a young girl’s arms.

I’m a different sort of man,I circle women in a dance;My heart beats happily against hers,Going boom, boom, boom, etc.

19

SEPTEMBER SONG

Weill / Anderson When I was a young man courting the girlsI played me a waiting gameIf a maid refused me with tossing curlsI'd let the old Earth take a couple of whirlsWhile I plied her with tears in place of pearlsAnd as time came around she came my wayAs time came around she cameBut it's a long, long while from May to DecemberAnd the days grow short when you reach SeptemberAnd the autumn weather turns the leaves to flameAnd I haven't got time for waiting gameFor the days dwindle down to a precious fewSeptember, November,And these few precious days I'd spend with youThese golden I'd spend with you.

BY STRAUSS

Gershwin / Gershwin Away with the music of Broadway!Be off with your Irving BerlinOh, I'd give no quarterTo Kern or Cole PorterAnd Gershwin keeps pounding on tinHow can one be civilWhen hearing such drivel?It's only for nightclubbing sousesOh, give me the free and easyWaltz that is Viennese-yAndGo tell the bandIf they want a handThe waltz must be Strauss'Ja, ja, jaGive me oom-pah-pah

When I want a melodyLilting through the houseThen I want a melodyBy StraussIt laughs! It sings! The world is in rhymeSwinging in three-quarter timeLet the Danube flow alongAnd Die FledermausKeep the wine and give me songBy StraussBy jo, by jing!By Strauss is the thing!So I say to ha-cha-chaHeraus!Just give me an oom-pah-pahBy Strauss!

20 20

SEPTEMBER SONG

Weill / Anderson When I was a young man courting the girlsI played me a waiting gameIf a maid refused me with tossing curlsI'd let the old Earth take a couple of whirlsWhile I plied her with tears in place of pearlsAnd as time came around she came my wayAs time came around she cameBut it's a long, long while from May to DecemberAnd the days grow short when you reach SeptemberAnd the autumn weather turns the leaves to flameAnd I haven't got time for waiting gameFor the days dwindle down to a precious fewSeptember, November,And these few precious days I'd spend with youThese golden I'd spend with you.

BY STRAUSS

Gershwin / Gershwin Away with the music of Broadway!Be off with your Irving BerlinOh, I'd give no quarterTo Kern or Cole PorterAnd Gershwin keeps pounding on tinHow can one be civilWhen hearing such drivel?It's only for nightclubbing sousesOh, give me the free and easyWaltz that is Viennese-yAndGo tell the bandIf they want a handThe waltz must be Strauss'Ja, ja, jaGive me oom-pah-pah

When I want a melodyLilting through the houseThen I want a melodyBy StraussIt laughs! It sings! The world is in rhymeSwinging in three-quarter timeLet the Danube flow alongAnd Die FledermausKeep the wine and give me songBy StraussBy jo, by jing!By Strauss is the thing!So I say to ha-cha-chaHeraus!Just give me an oom-pah-pahBy Strauss!

‘They will tell you it is very down to earth – we thought it was

FLYING HIGH’

the good schools guide

www.stedwardsoxford.org

St Edward’s offers Academic and Music Scholarships, and Awards in Sport, Art, Dance, Drama and

Design Technology.

All pupils applying to St Edward’s in Years 9 and 12 are eligible to apply for means-tested Bursaries.

WEEKLY & FULL BOARDING | DAY | A LEVEL & IB | CO-EDUCATIONAL | 13 – 18

STO

ARTIST BIOGRAPHIES

BENJAMIN APPL

Hailed as “the most promising of today’s up-and-coming song recitalists” (Financial Times), baritone Benjamin Appl is celebrated by audiences and critics alike for a voice that “belongs to the last of the old great masters

of song” with “an almost infinite range of colours” (Suddeutsche Zeitung), “exacting attention to text” (The New York Times), and artistry that is described as “unbearably moving” (The Times). Named Gramophone Award Young Artist of the Year in 2016, Appl was a member of the BBC New Generation Artist scheme from 2014-16. Appl will be taking part in an exciting new realisation of Schubert’s great song cycle Winterreise filmed in the Swiss Alps this November. Commissioned by the BBC and SRF, and directed by John Bridcut, this film promises a beautiful and insightful interpretation. It will be broadcasted around Christmas 2021. Appl has also recently been offered the prestigious position of “Musician in Residence” at I Tatti, The Harvard University Center for Italian Renaissance Studies, during the fall semester of the academic year 2021/22.

The 2021-22 season will open with Appl making his operatic debut at the Liceu, Barcelona as Harlequin Ariadne auf Naxos. This is followed by a full schedule of concerts across Europe and the USA, including recitals and concerts at Salle Gaveau Paris, Berlin Konzerthaus, Berlin Philharmonie, Hamburg Elbphilharmonie, Wigmore Hall, Boston Celebrity Series and Dallas Opera; concerts with the Sofia Philharmonic, NDR Radiophilharmonie, and the Berlin Barock Solisten and ongoing residencies with the Jenaer Philharmonie and Hamburg Ballet. Recent highlights include his role debut as Guglielmo Così fan tutte with Classical Opera Company; Aeneas Dido and Aeneas in concert with the London Philharmonic Orchestra and Sir Roger Norrington, as well as three recitals at New York City’s Park Avenue Armory featuring all three Schubert song cycles.

SHOLTO KYNOCH

Sholto Kynoch is a sought-after pianist who specialises in song and chamber music. He is the founder and Artistic Director of the Oxford Lieder Festival, which won a prestigious Royal Philharmonic Society Award in 2015, cited for its ‘breadth, depth and

audacity’ of programming. In July 2018, Sholto was elected a Fellow of the Royal Academy of Music in the RAM Honours. Recent recitals have taken him to Wigmore Hall, Heidelberger Frühling in Germany, the Zeist International Lied Festival in Holland, the LIFE Victoria festival and Palau de la Música in Barcelona, the Opéra de Lille, Kings Place in London, Opernhaus Zürich, Maison Symphonique de Montréal, and many other leading venues and festivals nationally and internationally. He has performed with singers including Louise Alder, Benjamin Appl, Tara Erraught, Robert Holl, James Gilchrist, Dietrich Henschel, Daniel Norman, Christoph Prégardien, and Roderick Williams, amongst many others. Together with violinist Jonathan Stone and cellist Christian Elliott, Sholto is the pianist of the Phoenix Piano Trio. The Trio’s recent CD, ‘The Leipzig Circle’, was described as ‘splendidly vibrant’ (BBC Music Magazine) and having ‘unaffected freshness and charm’ (Gramophone). They have commissioned a number of new works, and recorded Cheryl Frances-Hoad’s The Forgiveness Machine for Champs Hill and Philip Venables’ Klaviertrio im Geiste for NMC. He has recorded, live at the Oxford Lieder Festival, the first complete edition of the songs of Hugo Wolf. Other recent and forthcoming recordings include discs of Schubert and Schumann Lieder, the complete songs of John Ireland and Havergal Brian with baritone Mark Stone, recital discs with Martin Hässler and Anna Stéphany, and several CDs with the Phoenix Piano Trio.

2222 22

STO

ELLIE NEATE

Gloucestershire born soprano Ellie Neate is a scholarship student studying on the opera course at the Guildhall School of Music and Drama, where she learns with Sarah Pring. Ellie has been generously supported by the

Guildhall School, the Fishmongers’ Company, and Help Musicians UK as a Sybil Tutton Opera Award holder. Ellie has performed at Wigmore Hall with Julius Drake and Nicky Spence in a BBC Radio 3 live broadcast of Janáček’s Diary of One Who Disappeared and Moravian folk songs, Carmina Burana with the LSC conducted by Simon Halsey in the Barbican Hall, and John Adams’ Grand Pianola Music with the UBU ensemble. She has also performed Gretel in Silent Opera/ British Youth Opera’s co-production of Humperdinck’s Hänsel und Gretel on the stage at Opera Holland Park, and sang with artistic director Adrian Kelly at the Buxton International Festival Gala as a young artist, where she was cast as cover Galatea in the main Opera Festival/Early Opera Company’s cancelled co-production of Acis and Galatea. Ellie recorded the Nightingale from home for the Guildhall’s virtual production of La bella dormente nel bosco by Respighi, and created the role of Denise in TEXT, a new chamber opera by Michael Bascom and Clare Best for the 2020 GSMD Opera Makers project. Ellie is looking forward to performing Laurette in Bizet’s Le docteur Miracle, La Fée in Viardot’s Cendrillon (Autumn 2021), and Lucy England in Menotti’s The Telephone (Spring 2022) at the Guildhall School, as well as performances in her home town of Cheltenham, including Chants d’Auvergne with Gloucestershire Symphony Orchestra.

THOMAS EECKHOUT

Thomas Eeckhout started studying piano at the age of eight at the music academy in Gent with Rolande Spanoghe. From the age of sixteen until eighteen he was taught by Hilde Geiregat, followed by Levente Kende, Nikolaas Kende and Heidi Hendrickx

at the Royal Conservatory of Antwerp, where he also took courses in pianoforte with Piet Kuijken and vocal accompaniment with Lucienne Van Deyck and Jozef De Beenhouwer. He participated in masterclasses with - amongst others - Till Fellner, Christopher Elton, Christianne Stotijn, Stephen Hough, Anne Sofie von Otter and Olaf Bär. In 2015, he accompanied the choir of the Royal Conservatory of Antwerp, performing Ein Deutsches Requiem by Johannes Brahms. In 2016, he graduated magna cum laude. In 2017, he performed Beethoven’s second piano concerto with ‘Entente Cordiale’ and performed a Lied recital with soprano Lisa Willems in the Antwerp museum of historical instruments ‘Museum Vleeshuis’. Since graduating, he has worked with music theatre and opera companies such as Muziektheater Transparant, La Monnaie and Opera Ballet Vlaanderen and performed at festivals such as Operadagen Rotterdam, United Music of Brussels and Big Bang Festival. In 2018 - 2019, he participated in a collaboration between La Monnaie and Les Karyatides for the creation of the musical theatre piece (Victor) Frankenstein, which premiered in La Monnaie and currently tours in Belgium and France. In October 2019, Lisa Willems and he were finalists in the Paola Salomon-Lindbergcompetition ‘Das Lied’ in Berlin. Thomas studies on the postgraduate course in piano accompaniment at the Guildhall School of Music and Drama, where he has recently won the Piano Accompaniment Prize. He is also active as a teacher at the music academy in Gent and other academies in Belgium.

23

THANK YOU

THE FRIENDS OF OXFORD LIEDER

NIGHTINGALESWilliam BoyceDavid CairnsJohn & Jan CampbellSusan CooperJosephine CrossClare DrummondAlan GrafenRichard JenkynsPeter & Juliet Johnson Ludmilla JordanovaJoëlle MannBrian Midgley Wilma Minty Josephine RadoGina Thomas Georgina Paul & Judith Unwin Sarah VerneyCarmen Wheatley

WANDERERSPauline AdamsMary AlexanderPaul AllattRichard BakerAndrew & Geraldine Baxter Sheila de BellaigueAnne BeltonSteven & Stephanie BlissOlga Bowey-CockburnMargo BriessinckPaul CannonJose CatalanNick Chadwick & Alex KerrAlan B. CookSallie CoolidgeJeffrey & Jane DandySusanne DellHugh & Kirstine DunthorneJohn & Pia Eekelaar

Julia EngelhardtClaire EvansJeremy & Alison EvansRosemary FennellMorag FindlayPeter & Gaby Firth Rosemary & Jill GillettBrian HardyDavid HarmanSue & Jim HastingsBarry & Patricia HedgesMalcolm HerringRodney HillTim HorderSusan IlesMartin & Gill Ingram Austen & Alison Issard-DaviesCharles Kingsley-Evans Mary Kinnear David & Kaye Lillycrop Janet Lincé

THE ARTISTIC DIRECTOR’S CIRCLE

Charles Alexander & Kasia Starega Andrew & Celia Curran John & Gay Drysdale Julian Hall & Ingrid Lunt Nigel & Griselda Hamway Nick & Elaine Harbinson David & Sarah Kowitz Ian & Caroline Laing Stephen Page & Anthea Morland Sir Martin & Lady Elise Smith Bernard & Sarah Taylor and several anonymous donors

Oxford Lieder gratefully acknowledges the vital contributions of members of The Artistic Director’s Circle, The Schubert Circle and The Friends of Oxford Lieder to the success of this year’s Festival.

24

THE FRIENDS OF OXFORD LIEDER

THE SCHUBERT CIRCLE

GOETHE MEMBERSPenny ClarkNicola ColdstreamTerry & Elizabeth CudbirdRoger and Caroline Dix*Adrian & Sarah Dixon*James DooleyDavid EmmersonHilary ForsythBernard Silverman & Rowena Fowler Ray & Pauline HartmanEdward Knighton Robert & Sarah Kynoch Rose & Dudley LeighLord & Lady Marks of Henley-on-Thames*Stephen & Matina MitchellCharles & Rachel Naylor Nadine Majaro & Roger Pilgrim* Tom & Sonya UlrichTom Weisselberg

Jonathan RéeBob & Elisabeth BoasAlan & Jackie BowmanJohn De'Ath & Sonia BroughAnthony & Judith Du VivierNicholas & Anne-Marie EdgellProf. Graham Falconer Jane Goddard Charles & Rachel HendersonDeborah Henderson & Anthony Cohen Chris & Fiona HodgesMichael Humphries & Susanna Blackshaw Robert & Philippa John Carol Jones & Eileen North Lord John Krebs Josannette Loutsch Mark & Liza LovedayCharlie Millar Betty Mizek & Loren Schulze Peter Mothersole Christopher Mott

Barnaby Newbolt The Oxford CollectionSir Adam & Lady Biddy Ridley Monica Schofield Tess Silkstone Jonathan Steinberg Christa TonneckerWilliam Wakeling & October IvinsMichael WaringDavid & Katy WestonJohn White & Carolyn Walton Helen Whitehouse Charles Young and several anonymous donors

* kindly supporting Oxford Lieder's Emerging Artist performances

Brian MaceJan Maulden & David KewleyMoray McConnachieJohn & Julia MelvinSylvia MillsJane MooreIvan & Mary MoseleyMalcolm NattrassHelena NobleAnna O’ConnorJane & Mike O’ReganChisholm & Gay OggEleanor & Hugh Paget Nicole PanizzaIan & Ann PartridgeMark A PedrozTony Phelan & Liz DowlerLeonora PittMichael PrettyPat PrettyMari Prichard

Beatrice Pryce Morris ReaganColin RidlerNancy-Jane Rucker & Benjamin ThompsonHugh & Sue SavillAngela SchillerSir Michael & Lady Angela ScholarJos SchoutenBrian ShineGraham & Dorothea SmallboneAlan SmithDiana SmithMary & Philip SmithKevin TalbotClare Taylor Robert Thomas Jennifer ThompsonLindsay & Jeremy TyndallGiampietro Ventresca Gerry WakelinFrances Walsh

John D.A. & Helen WarrenColin Webster Adrian & Norma Williams Glyn WilliamsIan WilliamsElisabeth Wingfield and several anonymous donors

With thanks also to our many SONGSTERS and all our Festival volunteers and hosts.

25‘Silence is also conversation.’ (Ramana Maharshi) Please turn the page quietly.

SUPPORT SONG

We need your help to make Oxford Lieder’s work possible. Even with full houses, ticket sales generate just 40% of our annual income, and it is the generosity of individuals, charitable trusts and our corporate partners that sustains our activity year on year. We would not be where we are today without the continued generosity of our wonderful family of supporters, to whom we are hugely grateful.

2021 is a milestone year for Oxford Lieder, as we celebrate our twentieth anniversary. We are also looking forward to bright and exciting times ahead, and we need your help more than ever to ensure that our inspirational programme of performance, creation, training and learning continues to thrive for many more years to come.

If you would like to find out more, or if you are interested in making a larger gift to join the Artistic Director’s Circle and support our work further, please contact: Ellen Parkes (Membership & Development Director) | ellen@oxfordlieder.co.uk | 07751 286 625 Visit our website at www.oxfordlieder.co.uk/support.

YOU CAN SUPPORT OXFORD LIEDER BY:

Joining the Schubert Circle (from £50 per month)

or the Friends of Oxford Lieder

(from £5 per month), supporting us with a regular gift

monthly or annually

Making a one-off donation to Oxford Lieder

Pledging to leave a gift to Oxford Lieder in your will

26

Celebrate song, music and poetry,

and be a vital part of a

thriving, inspirational

Festival

Ensure world-class music-making

in the heart of Oxford

Encourage the bright stars of

the next generation and

help inspire young people

around Oxfordshire

Enjoy a priority booking

period and

guarantee tickets

to the most popular

concerts

Meet Festival artists and

like-minded song lovers

at supporters’ events

and receptions

throughout the year

27‘‘Listen to the sound of silence.’ (Paul Simon)

Please turn the page quietly.

Music at MCS

Scholarships available at 13+ and 16+

Find out more at

mcsoxford.org/admissions

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