8 –– 2 3 O C T O B E R

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NATURE’SSONGBOOK

THE 20TH OXFORD LIEDER FESTIVAL

PROGRAMME

SCHUBERT: SONGS OF THE SEA

Dietrich Henschel baritoneSholto Kynoch piano

Emerging Artists Polly Leech sopranoLucy Colquhoun piano

Tuesday 12 October | 5.30pm Wednesday 13 October | 8.15pm St John the Evangelist

This concert is generously supported by Stephen & Matina Mitchell

INTERNATIONAL PARTNERS

FESTIVAL PARTNERS

OUR HEARTFELT THANKS TO:

UNIVERSITY OF OXFORD COLLEGE PARTNERS Merton College | The Queen’s College | St Stephen’s House | St Hilda’s College

Wadham College | Wolfson College

SUPPORTING OXFORD LIEDER’S ARTISTIC PROGRAMME

The Beeching Trust

The Chelsea Square 1994 Trust

The Humanities Cultural Programme (University of Oxford)

The Lord Faringdon Charitable Trust

The Martin Smith Foundation

Merton College, Oxford

The Tolkien Trust

SONG FUTURES

The Nicholas John Trust Founder Supporter

The Bishopsdown Trust

The Finzi Trust

Oxford Botanic Garden

The RVW Trust

SUPPORTING OUR YOUNG PERFORMERS' PROGRAMME & MASTERCOURSE

The Adrian Swire Charitable Trust

The Cecil King Memorial Foundation

The John S Cohen Foundation

The Derrill Allatt Foundation

The Fenton Arts Trust

The Fidelio Charitable Trust

The Jean Meikle Music Trust

The Kathleen Ferrier Memorial Scholarship Fund

The Kirby Laing Foundation

The Rainbow Dickinson Trust

The Wavendon Foundation

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

Edward Elgar (1857 - 1934) from Sea Pictures, Op. 37 1. Sea Slumber Song 2. In Haven 4. Where Corals Lie 5. The Swimmer

Roden Noel (1834 - 1894) Caroline Alice Elgar (1848 - 1920) Richard Garnett (1835 - 1906) Adam Lindsay Gordon (1833 - 1870)

***** Franz Schubert (1797 - 1828) Grenzen der Menschheit, D716 Fischerweise, D881 Gondelfahrer, D808 Der Schiffer, D694 Lied eines Schiffers an die Dioskuren, D360 Der Schiffer, D536

*****Meeres Stille, D216 Der Zwerg, D771 Auf dem Wasser zu singen, D774

***** Der Taucher, D77 / D111

Johann Wolfgang von Goethe (1749 - 1832) Franz Schlechta (1796 - 1875) Johann Mayrhofer (1787 - 1836) Friedrich von Schlegel (1772 - 1829) Johann Mayrhofer (1787 - 1836)

Johann Mayrhofer

Johann Wolfgang von Goethe Heinrich Joseph von Collin (1771 - 1811) Graf zu Stolberg-Stolberg (1750 - 1819)

Friedrich von Schiller (1759 - 1805)

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Edward Elgar

Programme notes

In July 1899, the month after he finally achieved national prominence with the premiere of his ‘Enigma’ Variations, Elgar began work on a short orchestral song cycle for the Norwich Festival, to be performed by the distinguished alto Clara Butt. These Sea Pictures grew from the kernel of an earlier setting he had made of a poem by his wife Alice, called ‘Lute Song’ – now transformed into ‘In Haven’, and from which he drew several musical ideas and accompanimental shapes that echo throughout the cycle.

We begin with Sea Slumber Song, the waves rocking the world to sleep as all rest from their worries – and Elgar takes inspiration from the line ‘Sea-sound, like violins’ to colour the gentle dips and swells of the water. In Haven follows, a love song of steadfastness despite the raging storms and seas (although the ruffled waters in the accompaniment seem mild by comparison); whilst the fourth of the offers a view beyond the end of life itself, to that ‘land where corals lie’. The Swimmer is the most salt-soaked of the cycle, the turbulent sea lovingly described in words and music with a panoramic view across the coastline. *****

In his 31 brief years of life, Franz Schubert never saw the sea. Born and raised in land-locked Austria, his rare holidays never took him far enough to witness the vast, vibrant, mysterious bodies of water that continue to fascinate and entrance us. But his voracious reading, his natural curiosity and his fertile imagination led him to conjure the movement of the waves many times across his 600 songs, and in this programme we are granted a range of brilliant and sometimes terrifying perspectives on the seas and oceans. At the head of the programme stands Grenzen der Menschheit D716, in which Goethe muses on the boundaries of humanity. Before the gods, Goethe observes, ‘many waves

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roll onwards, an eternal river’. But for us mortals, ‘the wave lifts us up, the wave swallows us and we sink.’ The profundity of Schubert’s setting, with its deep tessitura and resonant low piano chords, conjures a sense of the ancient and elemental – and the over-reaching actions of man shake the very harmonic foundations of this music, until he is dragged back to where he belongs.

We set out then across the waters with the sunny good cheer of Fischerweise D881, usually translated as ‘Fisherman’s Ditty’. The water sparkles and rocks beneath the boat as this fisherman sets off to his working day, singing as he goes among rivers and streams, and finally marking the tide in the penultimate verse, his watery horizons broadening as the song goes on. In the final few lines, he spies a shepherdess on a bridge above his domain. She too ‘is fishing’, we are told – not for good honest sea creatures, but for the fisherman himself! The song is a cheery reversal of Die Forelle, in fact, where the trout in question (as we are told unequivocally in the final verse of the poem, which Schubert omits) is intended to stand in for innocent girls deceived by sly young men.

We remain with sailing folk for the rest of this opening group of the programme, travelling next to the

moonlight waters of the Venetian lagoon for Gondelfahrer D808. This song is Schubert’s final setting of a text by his friend Johann Mayrhofer, and the composer set it twice in the spring of 1824: for male-voice quartet, light-footed and merry; and again for solo voice and piano as we hear it here. This gondolier is rich-voiced and thoughtful, content on the gently lapping water of the canals. We hear the booming bells of St Mark’s tolling midnight in the piano as he views the scene, the last wakeful figure in a sleeping city. The two songs called Der Schiffer that we hear in this programme were written in different years to different texts. Friedrich von Schlegel’s Der Schiffer D694 from 1820 is another night-time song, to a text by Friedrich von Schlegel – though as with Fischerweise, we find a contented seafarer here made restless through contact with (or rather, absence of) the opposite sex. Our boatman floats blissfully on the star-kissed water, the piano’s bassline hinting at the deep stillness of the waves… until he thinks of that fair-haired girl he wishes were by his side. The waters churn beneath him as the music grows agitated at the thought of her… but at length the sailor settles again, returning his gaze to the stars as he hums to himself in his happy solitude. By contrast, Mayhofer’s Der Schiffer D536, begun a few years earlier is river-soaked and blustery, much to its protagonist’s delight.

‘Their silence is sufficient praise.’ (Terence) Please turn the page quietly. 5

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

Franz Schubert

in a spot of fairy tale drama. The scenario is as deeply compelling as it is mysterious. We are in open water and natural isolation – the sea beneath the boat, the mountains in sight – as a queen and her dwarf sit together on the water, the latter apparently betrayed by the former, though no further explanation is given. The queen’s mute acceptance of her own murder is met with the hammering rhythms of Beethoven’s Fifth Symphony in the piano’s bass, the troubled waters rippling throughout in the treble.

After such a nightmarish vision, we come to the beautifully consolatory Auf dem Wasser zu singen D774, a lilting barcarolle in which the poet is so enchanted with the glorious, watery view that they feel themselves liberated entirely from time and place. Perhaps Schubert would have been pleased to read this diary entry from around a

No thoughts of love trouble this macho mariner, who positively prefers storms, rain and hard sailing to anything comfortable. The pianist’s fingers twist and swirl around treacherous watery figurations as he sings out lustily of his joy at the play of the elements.

In between these two very different boatmen, we hear Lied eines Schiffers an die Dioskuren D360 – another Mayrhofer setting. This prayer to the twin gods Castor and Pollux, guardians of all seafarers, is a magisterial hymn, the waves rumbling beneath the petitioner’s boat as he humbly pledges his oar to the temple of the Dioscuri in return for safe passage. And safe passage was not, of course, something that could ever be guaranteed for the courageous sailor – not necessarily for reasons of storm-tossed seas, but sometimes for the very opposite. Meeres Stille D216 paints a beautiful, deadly image of a ship becalmed at sea: no breeze, not even a ripple, on that blank expanse of blue. Schubert’s score is appropriately static, a mill pond on manuscript paper (and this is the second setting he made of the text; the first, written the day before, still contains some hints of movement, which are here banished from the page).

Where Meeres Stille presents a scene of calm, lethal unreality, Der Zwerg D771 sees Schubert indulging

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from a tourist observing a group of German students one afternoon: ‘they descended into their boats, – fired a salute of about thirty shots, – rowed towards Nonnenwerth, – struck up on their instruments, to our surprise and delight, “God save the King,” all the joyous youths joining in the full chorus. A selection from Beethoven followed. The effect, amidst that most romantic part of the Rhine was enchanting.’

*****

The programme closes with Schubert’s mighty Der Taucher D77/D111, a song so vast that it seems rather more appropriate to refer to it as a cantata – or better still, an operatic scena. Schubert set to work on Schiller’s vast poem in 1813, and the joint Deutsch number of this setting refers to its incorporation of later work from 1814-15: this is a brilliant teenager’s response to a late eighteenth-century Hollywood-style epic.

First on the scene is the king, who announces his challenge in strident recitative. We hear him throw the goblet down into the abyss, and the subsequent silent cringing of the court (the pianist speaks for them) as no one dares to volunteer to go after it. When our hero steps forward, he does so to a simple and noble accompaniment and throws his cape to the floor before plunging into the deep. And from here, young Schubert makes use of all the tools

as his at his disposal to conjure those

at his disposal to conjure those seething, terrifying waves: rumbling octaves, flashing arpeggios, dramatic diminished chords and moaning chromatic scales are put to good use to show us the sea as it swallows its victim – and, later, as the youth miraculously returns to tell of what he has seen. In the midst of this foaming and churning, his reappearance and first glimpses of ‘heavenly light’ are picked out in a shining high treble in the keyboard, blessed relief after such desperate darkness below. We never learn the name of the tyrant who sends him back once more, love for the king’s daughter motivating the youth more than riches ever could. But this time, his luck does not hold. The thundering, clamouring waves subside in silence, and the boy returns no more.

© Katy Hamilton

a decade after he wrote the song, from a tourist observing a group of German students one afternoon: ‘they descended into their boats, – fired a salute of about thirty shots, – rowed towards Nonnenwerth, – struck up on their instruments, to our surprise and delight, “God save the King,” all the joyous youths joining in the full chorus. A selection from Beethoven followed. The effect, amidst that most romantic part of the Rhine was enchanting.’

*****

‘Silence is more musical than any song.’ (Christina Rossetti). Please turn the page quietly. 7

TextS & Translations

SEA SLUMBER SONG WHERE CORALS LIE

Elgar / Noel Elgar / Garnett

Sea birds are asleep,The world forgets to weep,Sea murmurs her soft slumber-songOn the shadowy sandOf this elfin land;‘I, the Mother mild,Hush thee, oh my child,Forget the voices wild!

Isles in elfin lightDream, the rocks and caves,Lulled by whispering waves,Veil their marbles bright.Foam glimmers faintly whiteUpon the shelly sandOf this elfin land;

Sea-sound, like violins,To slumber woos and wins,I murmur my soft slumber-song,Leave woes, and wails, and sins.

Ocean’s shadowy mightBreathes good night,Good night …’

IN HAVEN

Elgar / Elgar Closely let me hold thy hand,Storms are sweeping sea and land;Love alone will stand.

Closely cling, for waves beat fast,Foam-flakes cloud the hurrying blast;Love alone will last.

Kiss my lips, and softly say:‘Joy, sea-swept, may fade to-day;Love alone will stay.’

The deeps have music soft and lowWhen winds awake the airy spry,It lures me, lures me on to goAnd see the land where corals lie.The land, the land, where corals lie.

By mount and mead, by lawn and rill,When night is deep, and moon is high,That music seeks and finds me still,And tells me where the corals lie.And tells me where the corals lie.

Yes, press my eyelids close, 'tis well,Yes, press my eyelids close, 'tis well,But far the rapid fancies flyTo rolling worlds of wave and shell,And all the land where corals lie.

Thy lips are like a sunset glow,Thy smile is like a morning sky,Yet leave me, leave me, let me goAnd see the land where corals lie.The land, the land, where corals lie.

from Sea Pictures, Op. 37

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THE SWIMMER

Elgar / Gordon

With short, sharp, violent lights made vivid,To southward far as the sight can roam,Only the swirl of the surges livid,The seas that climb and the surfs that comb.Only the crag and the cliff to nor’ward,And the rocks receding, and reefs flung forward,Waifs wreck’d seaward and wasted shoreward,On shallows sheeted with flaming foam.

A grim, grey coast and a seaboard ghastly,And shores trod seldom by feet of men—Where the batter’d hull and the broken mast lie,They have lain embedded these long years ten.Love! when we wandered here together,Hand in hand through the sparkling weather,From the heights and hollows of fern and heather.God surely loved us a little then.

The skies were fairer and shores were firmer—The blue sea over the bright sand roll’d;Babble and prattle, and ripple and murmur,Sheen of silver and glamour of gold.

So, girt with tempest and wing’d with thunderAnd clad with lightning and shod with sleet,And strong winds treading the swift waves underThe flying rollers with frothy feetOne gleam like a bloodshot sword-blade swims onThe sky line, staining the green gulf crimson,A death-stroke fiercely dealt by a dim sunThat strikes through his stormy winding sheet.0 brave white horses! you gather and gallop,The storm sprite loosens the gusty reins;Now the stoutest ship were the frailest shallopIn your hollow backs, on your high-arched manes.I would ride as never a man has riddenIn your sleepy, swirling surges hidden;To gulfs foreshadow’d through strifes forbidden,Where no light wearies and no love wanes.

*****

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

Please turn the page quietly. 9

GRENZEN DER MENSCHHEIT LIMITATIONS OF MANKIND

Schubert / Goethe English Translation © Richard Stokes Wenn der uralte, Heilige VaterMit gelassener Hand Aus rollenden Wolken Segnende BlitzeÜber die Erde sä’t, Küss’ ich den letzten Saum seines Kleides, Kindliche Schauer Tief in der Brust.

Denn mit GötternSoll sich nicht messen Irgend ein Mensch.Hebt er sich aufwärtsUnd berührtMit dem Scheitel die Sterne, Nirgends haften dannDie unsichern Sohlen,Und mit ihm spielen Wolken und Winde.

Steht er mit festen, Markigen KnochenAuf der wohlgegründeten Dauernden Erde;Reicht er nicht auf, Nur mit der Eiche Oder der RebeSich zu vergleichen.

Was unterscheidet Götter von Menschen? Dass viele WellenVor jenen wandeln, Ein ewiger Strom: Uns hebt die Welle, Verschlingt die Welle, Und wir versinken.

Ein kleiner RingBegränzt unser Leben,Und viele GeschlechterReihen sich dauerndAn ihres DaseinsUnendliche Kette.

When the ancient of days,The holy fatherWith a serene handFrom rolling cloudsScatters beneficent lightningOver the earth,I kiss the extremeHem of his garment,Childlike aweDeep in my breast.

For no manShould measure himselfAgainst the gods.If he reaches upAnd touchesThe stars with his head,His uncertain feetLose their hold,And clouds and windsMake sport of him.

If he stands with firm,Sturdy limbsOn the soldEnduring earth,He cannot even reach upTo compare himselfWith the oakOr vine.

What distinguishesGods from men?Before the,Many waves roll onwards,An eternal river:We are tossed by the wave,Engulfed by the wave,And we founder.

A little ringBounds our life,And many generationsConstantly succeed each otherLike links in the endless chainOf existence.

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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.

FISCHERWEISE FISHERMAN'S DITTY

Schubert / Schlechta English Translation © Richard Wigmore Den Fischer fechten Sorgen Und Gram und Leid nicht an; Er löst am frühen Morgen Mit leichtem Sinn den Kahn.

Da lagert rings noch Friede Auf Wald und Flur und Bach, Er ruft mit seinem LiedeDie gold’ne Sonne wach.

Er singt zu seinem Werke Aus voller frischer Brust, Die Arbeit gibt ihm Stärke, Die Stärke Lebenslust.

Bald wird ein bunt’ GewimmelIn allen Tiefen lautUnd plätschert durch den Himmel, Der sich im Wasser baut.

Doch wer ein Netz will stellen, Braucht Augen klar und gut, Muss heiter gleich den Wellen Und frei sein wie die Flut.

Dort angelt auf der BrückeDie Hirtin, Schlauer Wicht,Gib auf nur deiner Tücke,Den Fisch betrügst du nicht!

GONDELFAHRER THE GONDOLIER

Schubert / Mayrhofer Es tanzen Mond und SterneDen flücht’gen Geisterreih’n:Wer wird von ErdensorgenBefangen immer sein!

Du kannst in MondesstrahlenNun, meine Barke, wallen;Und aller Schranken los,Wiegt dich des Meeres Schooss.

Vom Markusturme tönteDer Spruch der Mitternacht:Sie schlummern friedlich Alle,Und nur der Schiffer wacht.

English Translation © Richard Wigmore Moon and stars dancethe fleeting round of the spirits: who would be forever fettered by earthly cares!

Now, my boat, you can driftin the moonlight;free from all restraintsyou are rocked on the bosom of the sea.

From the tower of St Mark’s midnight’s decree tolled forth: all sleep peacefully.Only the boatman wakes.

The fisherman is not plaguedby cares, grief or sorrow.In the early morning he casts off his boat with a light heart.

Round about, peace still lies over forest, meadow and stream, with his song the fishermanbids the golden sun awake.

He sings at his workfrom a full, vigorous heart. His work gives him strength, his strength exhilarates him.

Soon a bright multitudewill resound in the depths, and splashthrough the watery heavens.

But whoever wishes to set a net needs good, dear eyes,must be as cheerful as the waves, and as free as the tide.

There, on the bridge, the shepherdess is fishing. Cunning wench,leave off your tricks!You won’t deceive this fish!

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DER SCHIFFER THE BOATMAN

Schubert / Schlegel English Translation © Richard Wigmore Friedlich lieg’ ich hingegossen, Lenke hin und her das Ruder, Atme kühl im Licht des Mondes, Träume süss im stillen Mute; Gleiten lass’ ich auch den Kahn, Schaue in die blanken Fluten,Wo die Sterne lieblich schimmern, Spiele wieder mit dem Ruder.

Sässe doch das blonde Mägdlein Vor mir auf dem Bänkchen ruhend, Sänge schmachtend zarte Lieder. Himmlisch wär’ mir dann zu Mute. Liess mich necken von dem Kinde, Wieder tändelnd mit der Guten.

Friedlich lieg’ ich hingegossen, Träume süss im stillen Mute, Atme kühl im Licht des Mondes, Führe hin und her das Ruder.

LIED EINES SCHIFFERS AN DIE DIOSKUREN

BOATMAN'S SONG TO THE DIOSCURI

Schubert / Mayrhofer Dioskuren, Zwillingssterne,Die ihr leuchtet meinem Nachen, Mich beruhigt auf dem Meere Eure Milde, euer Wachen.

Wer auch fest in sich begründet, Unverzagt dem Sturm begegnet, Fühlt sich doch in euren Strahlen Doppelt mutig und gesegnet.

Dieses Ruder, das ich schwinge, Meeresfluten zu zerteilen, Hänge ich, so ich geborgen,Auf an eures Tempels Säulen.

English Translation © Richard Wigmore Dioscuri, twin stars,shining on my boat,your gentleness and vigilance comfort me on the ocean.

However firmly a man believes in himself, however fearlessly he meets the storm,he feels doubly valiant and blessedin your light.

This oar which I plyto cleave the ocean’s waves,I shall hang, once I have landed safely, on the pillars of your temple.

Peacefully I lie stretched out,turning the rudder this way and that, breathing the cool air in the moonlight, tranquil in spirit, dreaming sweetly. And I let the boat drift,gazing into the shining waterswhere the stars shimmer enchantingly; and again I play with the rudder.

If only that fair-haired girlwere reclining on the seat before me, singing tenderly soulful songs,then I should feel blissfully happy.I should let the child tease meand flirt again with the girl.

Peacefully I lie stretched out,tranquil in spirit, dreaming sweetly, breathing the cool air in the moonlight, moving the rudder this way and that.

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DER SCHIFFER THE BOATMAN

Schubert / Mayrhofer English Translation © Richard Wigmore Im Winde, im Sturme befahr’ ich den Fluss, Die Kleider durchweichet der Regen im Guss; Ich peitsche die Wellen mit mächtigem Schlag, Erhoffend mir heiteren Tag.

Die Wellen, sie jagen das ächzende Schiff, Es drohet der Strudel, es drohet der Riff, Gesteine entkollern den felsigen Höh’n, Und Tannen erseufzen wie Geistergestöh’n.

So musste es kommen, ich hab’ es gewollt,Ich hasse ein Leben behaglich entrollt;Und schlängen die Wellen den ächzenden Kahn, Ich priese doch immer die eigene Bahn.

Drum tose des Wassers ohnmächtige Zorn, Dem Herzen entquillet ein seliger Born,Die Nerven erfrischend, o himmlische Lust, Dem Sturme zu trotzen mit männlicher Brust!

*****

MEERES STILLE CALM SEA

Schubert / Goethe Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer,Und bekümmert sieht der Schiffer Glatte Fläche rings umher.Keine Luft von keiner Seite!Todesstille fürchterlich!In der ungeheueren WeiteReget keine Welle sich.

English Translation © Richard Stokes Deep silence weighs on the water,Motionless the sea rests,And the fearful boatman seesA glassy surface all around.No breeze from any quarter!Fearful, deadly silence!In all that vast expanseNot a single ripple stirs.

In wind and storm I row on the river,my clothes are soaked by the pouring rain;I lash the waves with powerful strokes, hoping for a fine day.

The waves drive the creaking boat, whirlpool and reef threaten:rocks roll down from the craggy heights, and fir trees sigh like moaning ghosts.

It had to come to this, I wished it so;I hate a life that unfolds comfortably.And if the waves devoured the creaking boat, I would still extol my chosen course.

So let the waters roar with impotent rage; a fountain of bliss gushes from my heart, refreshing my nerves. O celestial joy,to defy the storm with a manly heart!

‘‘Shallow brooks murmur most, deep silent slide away.’ (Philip Sidney). Please turn the page quietly. 13

DER ZWERG THE DWARF

Schubert / Collin English Translation © Richard Wigmore Im trüben Licht verschwinden schon die Berge,Es schwebt das Schiff auf glatten Meereswogen,Worauf die Königin mit ihrem Zwerge.

Sie schaut empor zum hochgewölbten Bogen,Hinauf zur lichtdurchwirkten blauen Ferne;Die mit der Milch des Himmels blass durchzogen.

„Nie, nie habt ihr mir gelogen noch, ihr Sterne,“ So ruft sie aus, „bald werd’ ich nun entschwinden,Ihr sagt es mir, doch sterb’ ich wahrlich gerne.“

Da tritt der Zwerg zur Königin, mag bindenUm ihren Hals die Schnur von roter Seide,Und weint, als wollt’ er schnell vor Gram erblinden.

Er spricht: „Du selbst bist schuld an diesem Leide,Weil um den König du mich hast verlassen,Jetzt weckt dein Sterben einzig mir noch Freude.

„Zwar werd’ ich ewiglich mich selber hassen,Der dir mit dieser Hand den Tod gegeben,Doch musst zum frühen Grab du nun erblassen.“

Sie legt die Hand aufs Herz voll jungem Leben,Und aus dem Aug’ die schweren Tränen rinnen,Das sie zum Himmel betend will erheben.

„Mögst du nicht Schmerz durch meinen Tod gewinnen!“Sie sagt’s, da küsst der Zwerg die bleichen Wangen,D’rauf alsobald vergehen ihr die Sinnen.

Der Zwerg schaut an die Frau, von Tod befangen,Er senkt sie tief ins Meer mit eig’nen Handen.Ihm brennt nach ihr das Herz so voll Verlangen,An keiner Küste wird er je mehr landen.

In the dim light the mountains already fade; the ship drifts on the sea’s smooth swell, with the queen and her dwarf on board.

She gazes up at the high arching vault, at the blue distance, interwoven with light, streaked with the pale milky way.

‘Stars, never yet have you lied to me’, she cries out. ‘Soon now I shall be no more. You tell me so; yet in truth I shall die gladly.’

Then the dwarf comes up to the queen, begins to tie the cord of red silk about her neck, and weeps, as if he would soon go blind with grief.

He speaks: ‘You are yourself to blame for this suffering, because you have forsaken me for the king; now your death alone can revive joy within me.

‘Though I shall forever hate myself for having brought you death by this hand, yet now you must grow pale for an early grave.’

She lays her hand on her heart, so full of youthful life, and heavy tears flow from her eyes which she would raise to heaven in prayer.

‘May you reap no sorrow from my death!’ she says; then the dwarf kisses her pale cheeks, whereupon her senses fade.

The dwarf looks upon the lady in the grip of death; he lowers her with his own hands deep into the sea. His heart burns with such longing for her, he will never again land on any shore.

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

AUF DEM WASSER ZU SINGEN TO BE SUNG ON THE WATER

Schubert / zu Stolberg-Stolberg English Translation © Richard Wigmore Mitten im Schimmer der spiegelnden Wellen Gleitet, wie Schwäne, der wankende Kahn;Ach, auf der Freude sanft schimmernden Wellen Gleitet die Seele dahin wie der Kahn;Denn von dem Himmel herab auf die Wellen Tanzet das Abendrot rund um den Kahn.

Über den Wipfeln des westlichen Haines Winket uns freundlich der rötliche Schein; Unter den Zweigen des östlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himmels und Ruhe des Haines Atmet die Seel’ im errötenden Schein.

Ach, es entschwindet mit tauigem FlügelMir auf den wiegenden Wellen die Zeit.Morgen entschwinde mit schimmerndem FlügelWieder wie gestern und heute die Zeit,Bis ich auf höherem strahlendem FlügelSelber entschwinde der wechselnden Zeit.

*****

Amid the shimmer of the mirroring waves the rocking boat glides, swan-like,on gently shimmering waves of joy.The soul, too, glides like a boat.For from the sky the setting sundances upon the waves around the boat.

Above the tree-tops of the western grove the red glow beckons kindly to us; beneath the branches of the eastern grove the reeds whisper in the red glow.The soul breathes the joy of heaven,the peace of the grove, in the reddening glow.

Alas, with dewy wingstime vanishes from me on the rocking waves.Tomorrow let time again vanish with shimmering wings, as it did yesterday and today,until, on higher, more radiant wings,I myself vanish from the flux of time.

15

DER TAUCHER THE DIVER

Schubert / Schiller English Translation © Richard Wigmore „Wer wagt es, Rittersmann oder Knapp,Zu tauchen in diesen Schlund?Einen goldnen Becher werf’ ich hinab.Verschlungen schon hat ihn der schwarze Mund.Wer mir den Becher kann wieder zeigen,Er mag ihn behalten, er ist sein eigen.“

Der König spricht es und wirft von der Höh’Der Klippe, die schroff und steilHinaushängt in die unendliche See,Den Becher in der Charybde Geheul.„Wer ist der Beherzte, ich frage wieder,Zu tauchen in diese Tiefe nieder?“

Und die Ritter und Knappen um ihn herVernehmen’s und schweigen still,Sehen hinab in das wilde Meer,Und keiner den Becher gewinnen will.Und der König zum drittenmal wieder fraget:„Ist keiner, der sich hinunter waget?“

Doch alles noch stumm bleibt wie zuvor,Und ein Edelknecht, sanft und keck,Tritt aus der Knappen zagendem Chor,Und den Gürtel wirft er, den Mantel weg,Und alle die Männer umher und FrauenAuf den herrlichen Jüngling verwundert schauen.

Und wie er tritt an des Felsen HangUnd blickt in den Schlund hinabDie Wasser, die sie hinunterschlang,Die Charybde jetzt brüllend wiedergab,Und wie mit des Donners fernen GetoseEntstürzen sie schäumend dem finstern Schosse.

Und es wallet und siedet und brauset und zischt,Wie wenn Wasser mit Feuer sich mengt,Bis zum Himmel spritzet der dampfende GischtUnd Flut auf Flut sich ohn’ Ende drängt,Und will sich nimmer erschöpfen und leeren,Als wollte das Meer noch ein Meer gebären.

Doch endlich, da legt sich die wilde Gewalt,Und schwarz aus dem weissen SchaumKlaft hinunter ein gähender Spalt,Grundlos, als ging’s in den Höllenraum,Und reissend sieht man die brandenden WogenHinab in den strudelnden Trichter gezogen.

‘Who will dare, knight or squire,to dive into this abyss?I hurl this golden goblet down,the black mouth has already devoured it.He who can show me the goblet againmay keep it, it is his.’

Thus the king speaks, and from the topof the cliff, which juts abruptly and steeplyinto the infinite sea,he hurls the goblet into the howling Charybdis.‘Who is there brave enough, I ask once more,to dive down into the depths?’

And the knights and squires around himlisten, and keep silent,looking down into the turbulent sea,and none desires to win the goblet.And the king asks a third time:‘Is there no one who will dare the depths?’

But all remain silent as before;then a young squire, gentle and bold,steps from the hesitant throng,throws off his belt and his cloak,and all the men and women around himgaze in astonishment at the fine youth.

And as he steps to the cliff’s edgeand looks down into the abyss,the waters which Charybdis devouredshe now regurgitates, roaring,and, as if with the rumbling of distant thunder,they rush foaming from the black womb.

The waters seethe and boil, rage and hissas if they were mixed with fire,the steaming spray gushes up to the heavens,and flood piles on flood, ceaselessly,never exhausting itself, never emptying,as if the sea would beget another sea.

But at length the turbulent force abates,and black from the white foama yawning rift gapes deep down,bottomless, as if it led to hell’s domain,and you see the tumultuous foaming waves,sucked down into the seething crater.

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

Jetzt schnell, eh’ die Brandung wiederkehrt,Der Jüngling sich Gott befiehlt,Und – ein Schrei des Entsetzens wird rings gehört,Und schon hat ihn der Wirbel hinweggespült.Und geheimnisvoll über dem kühnen SchwimmerSchliesst sich der Rachen, er zeigt sich nimmer.

Und stille wird’s über dem Wasserschlund.In der Tiefe nur brauset es hohl,Und bebend hört man von Mund zu Mund:„Hochherziger Jüngling, fahre wohl!“Und hohler und hohler hört man’s heulen,Und es harrt noch mit bangem,mit schrecklichem Weilen.

Und wärfst du die Krone selbe hineinUnd sprächst: wer mir bringet die Kron’,Er soll sie tragen und König sein –Mich gelüstete nicht nach dem teuren Lohn.Was die heulende Tiefe da unten verhehle,Das erzählt keine lebende glückliche Seele.

Wohl manches Fahrzeug, vom Strudel gefasst,Schoss gäh in die Tiefe hinab,Doch zerschmettert nur rangen sich Kiel und MastHervor aus dem alles verschlingenden Grab –Und heller und heller, wie Sturmes Sausen,Hört man’s näher und immer näher brausen.

Und es wallet und siedet und brauset und zischt,Wie wenn Wasser mit Feuer sich mengt,Bis zum Himmel spritzet der dampfende Gischt,Und Well’ auf Well’ sich ohn’ Ende drängt,Und wie mit des fernen Donners GetoseEntstürzt es brüllend dem finstern Schosse.

Und sieh! aus dem finster flutenden SchossDa hebet sich’s schwanenweiss,Und ein Arm und ein glänzender Nacken wird bloss,Und es rudert mit Kraft und mit emsigem Fleiss,Und er ist’s, und hoch in seiner LinkenSchwingt er den Becher mit freudigem Winken.

Now swiftly, before the surge returns,the youth commends himself to God,and – a cry of horror is heard all around –the whirlpool has already borne him away.And over the bold swimmer mysteriouslythe gaping abyss closes; he will never be seen again.

Calm descends over the watery abyss.Only in the depths is there a hollow roar,and the words falter from mouth to mouth.‘Valiant youth, farewell!’The roar grows ever more hollow,and they wait,anxious and fearful.

Even if you threw in the crown itself,and said: ‘Whoever brings me this crownshall wear it and be king’ –I would not covet the precious reward.What the howling depths may concealno living soul will me tell.

Many a vessel, caught by the whirlpool,has plunged sheer into the depths,yet only wrecked keels and mastshave struggled out of the all-consuming grave –like the rushing of a storm,the roaring grows ever closer and more vivid.

The waters seethe and boil, rage and hiss,as if they were mixed with fire,the steaming spray gushes up to the heavensand flood piles on flood, ceaselessly,and, as if with the rumbling of distant thunder,the waters rush foaming from the black womb.

But look! From the black watery womba form rises, as white as a swan,an arm and a glistening neck are revealed,rowing powerfully, and with energetic zeal,it is he! And high in his left handhe joyfully waves the goblet.

17

Und atmete lang’ und atmete tiefUnd begrüsste das himmlische Licht.Mit Frohlocken es einer dem andern rief:„Er lebt! Er ist da! Es behielt ihn nicht!Aus dem Grab, aus der strudelnden WasserhöhleHat der Brave gerettet die lebende Seele.“

Und er kommt, es umringt ihn die jubelnde Schar,Zu des Königs Füssen er sinkt,Den Becher reicht er ihm knieend dar,Und der König der lieblichen Tochter winkt,Die füllt ihn mit funkelndem Wein bis zum Rande,Und der Jüngling sich also zum König wandte:

„Lange lebe der König! Es freue sich,Wer da atmet im rosigten Licht!Aber da unten ist’s fürchterlich,Und der Mensch versuche die Götter nichtUnd begehre nimmer und nimmer zu schauen,Was sie gnädig bedecken mit Nacht und Grauen.

„Es riss mich hinunter blitzesschnell –Da stürzt’ mir aus felsigtem SchachtEntgegen ein reissender Quell:Mich packte des Doppelstroms wütende Macht,Und wie einen Kreisel mit schwindelndem DrehenTrieb’s mich um, ich konnte nicht widerstehen.

„Da zeigt mir Gott, zu dem ich riefIn der höchste schrecklichen Not,Aus der Tiefe ragend ein Felsenriff,Das erfasst’ ich behend und entrann dem Tod –Und da hing auch der Becher an spitzen Korallen,Sonst wär’er ins Bodenlose gefallen.

„Denn unter mir lag’s noch, bergetief,In purpurner Finsternis da,Und ob’s hier dem Ohre gleich ewig schlief,Das Auge mit Schaudern hinuntersah,Wie’s von Salamandern und Molchen, DrachenSich regte in dem furchtbaren Höllenrachen.

He breathes long, he breathes deeply,and greets the heavenly light.Rejoicing they call to each other:‘He’s alive! He’s here! The abyss did not keep him!From the grave, the swirling watery cavern,the brave man has saved his living soul.’

He approaches, the joyous throng surrounds him,and he falls down at the king’s feet;kneeling, he hands him the goblet,and the king signals to his charming daughter,who fills it to the brim with sparkling wine;then the youth turns to the king:

Long live the king! Rejoice,whoever breathes this rosy light!But down below it is terrible,and man should never tempt the gods nor ever desire to seewhat they graciously conceal in night and horror.

'It tore me down as fast as lightning –then, from a rocky shafta torrential flood poured towards me:I was seized by the double current’s raging force,and, like the giddy whirling of a top,it hurled me round; I could not resist.

Then God, to whom I cried,showed me, at the height of my dire distress,a rocky reef, rising from the depths;I swiftly gripped it and escaped death –and there, too, the goblet hung on coral lips, or elseit would have fallen into the bottomless ocean.

‘For below me still it lay, fathomlessly deep,there in purple darkness.And even if, for the ear, there was eternal calm here, the eye looked down with dread,at the salamanders and dragonsinhabiting the terrifying caverns of hell.

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„Schwarz wimmelten da, im grausen Gemisch,Zu scheusslichen Klumpen geballt,Der stachligte Roche, der Klippenfisch,Des Hammers greuliche Ungestalt,Und dräuend wies mir die grimmigen ZähneDer entsetzliche Hai, des Meeres Hyäne.

„Und da hing ich und war’s mir mit Grausen bewusstVon der menschlichen Hilfe so weit,Unter Larven die einzige fühlende Brust,Allein in der grässlichen Einsamkeit,Tief unter dem Schall der menschlichen RedeBei den Ungeheuern der traurigen Öde.

„Und schaudernd dacht’ ich’s, da kroch’s heran,Regte hundert Gelenke zugleich,Will schnappen nach mir – in des Schreckens WahnLass’ ich los der Koralle umklammerten Zweig:Gleich fasst mich der Strudel mit rasendem Toben,Doch es war mir zum Heil, er riss mich nach oben.“

Der König darob sich verwundert schierUnd spricht: Der Becher ist dein,Und diesen Ring noch bestimm' ich dir,Geschmückt mit dem köstlichsten Edelgestein,Versuchst du's noch einmal und bringst mir Kunde,Was du sahst auf des Meers tief unterstem Grunde.

Das hörte die Tochter mit weichem Gefühl,Und mit schmeichelndem Munde sie fleht:Laßt Vater genug seyn das grausame Spiel,Er hat euch bestanden, was keiner besteht,Und könnt ihr des Herzens Gelüsten nicht zähmen,So mögen die Ritter den Knappen beschämen.

‘Black, in a ghastly melee,massed in horrifying clumps,teemed the stinging roach, the fish of the cliff,the hammer-head, hideously misshapen,and, threatening me with his wrathful teeth,the gruesome shark, the hyena of the sea.

‘And there I hung, terrifyingly conscioushow far I was from human help,among larvae the only living heart,alone in terrible solitude,deep beneath the sound of human speechwith the monsters of that dismal wilderness.

‘And, with a shudder, I thought it was creeping along,moving hundreds of limbs at once,it wanted to grab me – in a terrifying frenzyI let go of the coral’s clinging branch:at once the whirlpool seized me with raging force,but it was my salvation, pulling me upwards.’

At this the king is greately amazed,and says: 'The goblet is yours,and the ring, too, I will give you,adorned with the most precious stones,if you try once more, and bring me news of whatyou have seen on the deepest sea's deepest bed.'

His daughter hears this with tenderness, and implores with coaxing words:'Father, let the cruel game cease!He has endure for you what no other can endure,and if you cannot tame the desire of your heart,then let the knights shame the squire.'

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

(Philip Sidney). Please turn the page quietly. 19

Drauf der König greift nach dem Becher schnell,In den Strudel ihn schleudert hinein,Und schaffst du den Becher mir wieder zur Stell,So sollst du der treflichste Ritter mir seyn,Und sollst sie als Ehgemahl heut noch umarmen,Die jetzt für dich bittet mit zartem Erbarmen.

Da ergreift's ihm die Seele mit Himmelsgewalt,Und es blitzt aus den Augen ihm kühn,Und er siehet erröthen die schöne Gestalt,Und sieht sie erbleichen und sinken hin,Da treibt's ihn, den köstlichen Preis zu erwerben,Und stürzt hinunter auf Leben und Sterben.

Wohl hört man die Brandung, wohl kehrt sie zurück,Sie verkündigt der donnernde Schall,Da bückt sich's hinunter mit liebendem Blick,Es kommen, es kommen die Wasser all,Sie rauschen herauf, sie rauschen nieder,Doch den Jüngling bringt keines wieder.

Thereupon the king quickly seizes the goblet,and hurls it into the whirlpool:‘If you return the goblet to this spot,you shall be my noblest knight,and you shall embrace as a bride this very daythe one who now pleads for you with tender pity.’

Now his soul is seized with heavenly power,and his eyes flash boldly,and he sees the fair creature blush,then grow pale and swoon –this impels him to gain the precious prize,and he plunges down, to life or death.

The foaming waves are heard, they return,heralded by the thunderous roar –she leans over with loving gaze:the waves keep on returning,surging, they rise and fall,yet not one will bring back the youth.

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TRANSLATIONS

Richard Wigmore is an eminent lecturer, writer and broadcaster who has

given many talks for the Oxford Lieder Festival. His books includeSchubert: the Complete Song Texts and The Faber Pocket Guide to Haydn.

See www.wigmoresworld.co.uk for details of his popular musical discovery tours.

Richard Stokes is the author of The Book of Lieder, The Penguin Book of English Song and Jules Renard's complete Histoires naturelles in a

bilingual edition. His latest book, The Complete Songs of Hugo Wolf. Life, Letters, Lieder has just been published by Faber. Richard was awarded

the Order of Merit of the Federal Republic of Germany in 2012.

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STO

ARTIST BIOGRAPHIES

DIETRICH HENSCHEL

Baritone Dietrich Henschel captivates audiences as a regular guest at major opera houses, as an esteemed interpreter of lieder and oratorios and with his varied multimedia projects. His

repertoire stretches from Monteverdi to the avant-garde. His international career began with an outstanding lead performance in Busoni’s Doktor Faust at the Opéra de Lyon and the Théâtre du Châtelet in Paris. The singer’s major roles include Rossini’s Figaro, Wolfram in Wagner’s Tannhäuser, Monteverdi’s Ulisse and Orfeo, Mozart’s Don Giovanni, Alban Berg’s Wozzeck, and Nick Shadow in Stravinsky’s The Rake’s Progress. Most recently he appeared as Frank in Korngold’s Die Tote Stadt at La Monnaie in Brussels. In addition to his operatic work, Dietrich Henschel is committed to the performance of lieder and concert works for voice. He has worked with conductors such as Riccardo Chailly, Kent Nagano and Sir Simon Rattle. His collaborations with John Eliot Gardiner, Philippe Herreweghe, and Sir Colin Davis are documented on numerous oratorio recordings. He has performed staged versions of Schubert lieder cycles at La Monnaie, Theater an der Wien, Norske Opera Oslo, and the Komische Oper Berlin, among others. In the project IRRSAL – Triptychon einer verbotenen Liebe, featuring the orchestral songs of Hugo Wolf and conceived together with director Clara Pons, he combined film and live music. In 2021/22 he will premiere Francesco Filidei's The Red Death for the 100th anniversary of the Donaueschinger Musiktage with Sylvain Cambreling and the SWR Symphony Orchestra, followed by concerts at the Elbphilharmonie and the Kölner Philharmonie. Other highlights include Bach's St. Matthew Passion with the Rotterdam Philharmonic, and Britten's War Requiem with the Royal Philharmonic Orchestra and Vasily Petrenko at the Royal Albert Hall.

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

STO

POLLY LEECH

Polly Leech is a mezzo-soprano from Wiltshire, England. She recently finished two years of training at the Dutch National Opera Studio in Amsterdam, after studying at the National Opera Studio in London

as a 2017/18 Young Artist. Previously, she trained at the Royal College of Music, gaining a postgraduate Masters in Vocal Performance (Distinction). Polly is a Britten-Pears Young Artist and an Opera Awards Foundation Bursary Recipient. After having completed her training at the DNO Studio, she returned as an alumna for four productions in the past two seasons: Cherubino Le nozze di Figaro; Romaine Brookes Ritratto (Jeths, world premiere); Mezzo-soloist Missa in tempore belli; and Mezzo-Soloist Faust (working title). She finished last season by covering the role of Octavian in Strauss’ Der Rosenkavalier for Garsington Opera. Later this year, Polly will return to the Opéra National Montpellier to perform the role of Tisbe La Cenerentola. She makes a very exciting Mozartian role debut for Garsington Opera in Summer 2021. In the 2022/23 season, she will perform the role of Zweite Dame Die Zauberflöte for the Nederlandse Reisopera. In the 2019/20 season Polly sang the role of Tisbe La Cenerentola in a new production for DNO by Laurent Pelly. Her 2018/19 season at DNO included Pastuchyňa in Katie Mitchell’s acclaimed production of Jenůfa, Une femme thébaine Oedipe (Enescu), and Abra Juditha Triumphans (Vivaldi). She also performed the role of Hippolyta A Midsummer Night's Dream at the Opéra Comédie with the Opéra Orchestre National Montpellier Occitanie. In recital, Polly has performed Elgar’s Sea Pictures, Debussy’s Chansons de Bilitis, Berlioz’ Les Nuits d’été, Mahler’s Rückert Lieder, Schumann’s Frauenliebe und Leben, Britten’s Cabaret Songs and A Charm of Lullabies, and Lady Macbeth: A Scena by Joseph Horowitz. She recently sang Sea Pictures at the Lichfield Festival with the BBC National Orchestra of Wales, a concert which was broadcast on BBC Radio 3.

LUCY COLQUHOUN

Lucy graduated from the RCM, studying with Roger Vignoles winning all the major prizes for accompaniment, including the Alisdair Graham Prize for Piano Accompaniment, Joan Chissel Schumann Prize and Titanic

Memoriam Prize. Lucy was also recipient of the Douglas and Hilda Simmonds Award, the Kendall Taylor Award, and Knights of the Round Table Award. She won the Ronald Tickner Trust Award (Somerset Song Prize). She has broadcast on BBC Radio 3’s “In Tune”and is a Samling Artist. While studying at the RNCM she was the winner of the RJ Forbes Prize for Accompaniment supported by the Walter Deakin Bursary for Young Musicians.

Recent and forthcoming performances include Durham University with Sir Thomas Allen, Purcell Room, Royal Opera House, St. John’s Smith Square, Royal Philharmonic Society, Red House Aldeburgh, St. James’s, Piccadilly, St. Martin in the Fields, Brighton Festival, Kings Lynn Festival,Fidelio Orchestra Cafe, Middle Temple Hall, Fishmongers Hall, Austrian Cultural Forum, National Gallery, Derby Concert Society, Chichester Cathedral, Cheltenham Town Hall, Chelsea Arts Club, Schubert Society of Great Britain, Grieg Society of Great Britain, Delius Society, British Music Society, Concordia Foundation, Pushkin House, and Royal Albert Hall's Elgar Room.

Lucy has an interest in contemporary music premiering works by Gary Carpenter, John Casken, Adam Gorb, Larry Goves and Andy Scott and worked closely with Joseph Horovitz and Paul Paterson. Lucy is a Britten Pears Artist, Park Lane Group Artist and a Making Music artist. Lucy was a scholar (2016/2019) at the Franz Schubert Institute and a staff pianist in the vocal department at the RCM.She played for two singers in the final of the Kathleen Ferrier Awards 2019 and 2020 at London’s Wigmore Hall including with the winner, baritone Benson Wilson. 23

THANK YOU

THE FRIENDS OF OXFORD LIEDER

NIGHTINGALESWilliam BoyceDavid CairnsJohn & Jan CampbellSusan CooperJosephine CrossClare DrummondAlan GrafenRichard JenkynsPeter & Juliet Johnson Ludmilla JordanovaJoëlle Mann 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 Sir 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 MelvinBrian MidgleySylvia 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 Warren

Colin 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.

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

THE ART & MUSIC SALE

Circle of Caspar Netscher (1639-1684) Lady at a clavier with a man singing £2000-3000