THE ART OF ENGAGEMENT: CONNECTING TO AUDIENCES …

Upcoming Events

CIM applauds KeyBank Foundation for being a top corporate donor to the 2008 –2009 Annual Fund! Bravo!

Thurs. November 19, 7:00 pm, Mixon Hall THE ART OF ENGAGEMENT:

CONNECTING TO AUDIENCES OF ALL AGES Featuring commentary and dialogue

with members of CIM's Chamber Music Faculty CAVANI STRING QUARTET and PETER SALAFF

Program to feature wind , brass and string ensembles, in community

engagement demonstrations including the award -winning LINDEN STRING

QUARTET - CIM's 2009-2010 Apprentice Quartet

Fri. November 20, 8:00 pm, Kulas Hall

THE CIM ORCHESTRA

TITO MUÑOZ, guest conductor

ELIZABETH BRESLIN, viola

BERNSTEIN Candide Overture

BARTÓK Viola Concerto

SHOSTAKOVICH Symphony No. 5, D minor, Op. 47

Live broadcast on WCLV 104.9 FM by AudioTechnica and DTS/DaySequerra

Sun. November 22, 3:00 pm, Kulas Hall

COMMUNITY CONCERT EVENT

THE CLEVELAND INTERNATIONAL PIANO

COMPETITION PRESENTS

A preview of the New York debut recital by the

2009 Cleveland International Piano Competition First Prize Winner

MARTINA FILJAK

Tickets: $15;$10. Call 216. 707.5397.

Sun. November 22 4:00 pm, Mixon Hall

NEW MUSIC SERIES

CIM NEW MUSIC ENSEMBLE

KEITH FITCH, director

New works by CIM composition students

216.791.5000, ext. 411 or visit cim.edu

23 Mon. 8:00 pm, Mixon Hall

CIM PERCUSSION ENSEMBLE

PAUL YANCICH, director

J. S. BACH (1685 - 1750):

"Weichet nur " from Cantata No. 202, Wedding Cantata

"Seufzer, Tränen, Kummer, Not" from Cantata No. 21

"Ich will auf den Herren schau'n" from Cantata No. 93

Jeffrey Rathbun, oboe

FRANZ SCHUBERT (1797 - 1828)

Auf dem Wasser zu singen

Der Jüngling an der Quelle

Im Frühling

FRANZ LISZT (1811 - 1886)

S'il est un charmant gazon

“Comment,” disaient-ils

Oh! Quand je dors

Wednesday, November 18, 2009 - 8:00 pm

Mixon Hall

FACULTY RECITAL JUNG EUN OH, soprano

JEFFREY RATHBUN, oboe

JOHN SIMMONS, piano

Presented in honor of

Program

Attention Patrons: As a courtesy to others, please reduce the volume on

hearing aids and other devices that may produce noise that would detract from

the performance. Infrared Assistive Listening Devices are available

for performances in Mixon Hall.

~ INTERMISSION ~

GUSTAV MAHLER (1860 - 1911)

Frühlingsmorgen

Wer hat dies Liedlein erdacht

Liebst du um Schönheit

HUGO WOLF (1860 - 1903)

Die Spröde

Die Bekehrte

CLAUDE DEBUSSY (1862 - 1918)

Nuit d'étoiles

Paysage sentimental

En Sourdine

CIM applauds KeyBank Foundation for being a top corporate donor to the 2008 –2009 Annual Fund! Bravo!

Tues., Jan. 26

8:00 pm

ALISA WEILERSTEIN, cello

INON BARNATAN, piano

Wed., March 24

8:00 pm

YEFIM BRONFMAN, piano

JUST ANNOUNCED! Fri., April 9 - 8:00 pm

“An Evening of Jazz” ANDRÉ PREVIN, piano

DAVID FINCK, bass

Hall Mixon Masters Series

Order the entire

series now! Tickets are $50 for each recital.

Call 216.791.5000 or online at cim.edu.

Jeffrey Rathbun studied oboe with John Mack at CIM from 1981 to

1983, when he received a Master of Music degree. He joined The

Cleveland Orchestra in 1990 as assistant principal oboe, and served as

principal from 2001 to 2003. Previously he had played with the Atlanta,

San Francisco, Oakland and Honolulu Symphony Orchestras. In 2003

Mr. Rathbun was awarded the Distinguished Alumni Award from CIM

in honor of his accomplishments as an oboist and as a composer. He has

had three works performed by the Cleveland Orchestra – Daredevil,

Motions for Cellos (commissioned by TCO) and Three Psalms of

Jerusalem.

John Simmons (Opera Coach & Chorus Master) has appeared in

numerous recitals in Austria, the Czech Republic, Denmark, Germany,

Italy and in the U.S. at Weill Recital Hall and Merkin Hall in New York

City. A student of Yoheved Kaplinsky, he received a Master of Music

degree in piano performance from Peabody Conservatory. He also

holds a diploma in piano performance from the Hochschule für Musik

und Darstellende Kunst in Vienna, Austria, where he studied with Paul

Badura-Skoda. Mr. Simmons has coached, taught and performed at the

American Institute of Musical Studies (AIMS) in Graz, Austria, the

Spoleto Festival USA, the Centro Studi Italiani, the Amalfi Coast

Festival, the Shaker Mountain Festival and the Lincoln Center Festival.

He was on the coaching faculty at the C.W. Post campus of Long Island

University, was appointed music director of the Elysium Festival in

Bernried, Germany in 2004, and was in residence at Rutgers University

as guest professor of collaborative piano for 2004-2005. Mr. Simmons

was music director and pianist for New York Opera Project’s produc-

tion of Samuel Barber’s Vanessa in spring 2004. He has collaborated in

recital with tenor John Aler, and has performed with the London

Symphony Chorus, the Westminster Choir, the Joffrey Ballet of Chi-

cago and was featured as a soloist with the Spoleto Festival Orchestra.

He was on the coaching faculty of Juilliard Opera Center and worked

with tenors John Aler and Jonas Kaufmann.

Text & Translations

“Weichet nur”

from Cantata No. 202

“Wedding Cantata”

Weichet nur, betrübte Schatten,

Frost und Winde, geht zur Ruh

Florens Lust will der Brust

nichts als frohes Glück verstatten,

denn sie träget Blumen zu.

Vanish now, saddened shadows,

Frost and wind, are gone to rest.

Spring’s desire of the heart,

Wants to allow nothing but

cheery fortune,

To befall on the flowers.

“Seufzer, Tränen, Kummer, Not”

from Cantata No. 21

Seufzer, Tränen, Kummer, Not

ängstlich Sehnen,

Furcht, und Tod

nagen mein beklemmtes Herz,

ich empfinde Jammer, Schmerz,

Sighs, tears, trouble, need

Anxious longings,

Terror and death

Beats at my wrenching heart,

I feel sorrow and pain.

“Ich will auf dem Herren schau’n”

from Cantata No. 93

Ich will auf den Herren schau’n,

und stets meinem Gott vertrau’n.

Er ist der rechte Wundermann

der die Reichen arm und bloß

und die Armen reich und groß

nach seinem Willen machen kann.

I will look unto the Lord,

And always trust in my God.

He is a righteous man of

wondrous things

Who makes the rich poor and low

And the poor rich and great

According to his will.

J.S. Bach (1685-1750)

Auf dem Wasser zu singen

Mitten im Schimmer der

spiegelnden Wellen

Gleitet, wie Schwäne, der

wankende Kahn:

Ach, auf der Freude sanftschim

mernden 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

Flügel

Mir auf den wiegenden Wellen

die Zeit;

Morgen entschwinde mit

schimmerndem Flügel

Wieder wie gestern und heute

die Zeit,

Bis ich auf höherem strahlendem

Flügel

Selber entschwinde der

wechselnden Zeit

In the midst of the shimmer of the

reflecting waves

glides, like swans, the wavering

boat;

Ah, on joy's soft shimmering

waves

glides the soul along like the boat;

Then from Heaven down onto the

waves

dances the glow of the sunset

around the boat.

Over the treetops of the western

grove

waves to us, friendly, the reddish

gleam;

Under the branches of the eastern

grove

murmur the reeds in the reddish

light;

Joy of heaven and the peace of

the grove,

breathes the soul in the reddening

light.

Ah, for me, time vanishes on

dewy wing

on these rocking waves;

Tomorrow, time will vanish with

shimmering wings,

again, as yesterday and today,

Until I, on higher more radiant

wing,

myself vanish with the changing

time.

Franz Schubert (1797-1828) About the Performers

Jung Eun Oh, voice, has appeared as a soloist at the Kennedy Center,

with Red {an orchestra} as Der Engl in Heinrich Schutz's A Christmas

Story and with the CIM Orchestra in performances of Mahler's Fourth

Symphony and Robert Beaser's The Heavenly Feast. She has also been

featured in compositions of CIM composers at the Cleveland Museum

of Natural History and has been a guest artist as Susanna in Le nozze di

Figaro in Music, Modern and Moving, presented by ideastrem and PBS.

Ms. Oh has performed as a guest artist in recitals with members of The

Cleveland Orchestra. She has performed as the Sandman and the Dew

Fairy in Humperdink's Hansel and Gretel with Duke University

Symphony, as Pamina in Mozart's Die Zauberflöte, as Mademoiselle

Silverpeal in Der Schauspieldirector and in the title roles of Igor Stra-

vinsky's Le Rossignol and Mozart's La finta giardiniera. She was

praised by The Plain Dealer for portraying Stravinsky's Nightingale

with "silvery-timbre, crystal-clear sense of pitch, and vocal agility." For

La finta giardiniera, The Plain Dealer lauded her "expressive enchant-

ment" and "exceptional accuracy and taste." Ms. Oh holds a master's

degree from CIM, as well as an Artist Diploma in vocal performance.

At CIM, she has been the recipient of the Irvin Bushman Prize, the

Boris Goldovsky Prize in Opera, the Pauline Thesmacher Award, the

2006-2007 Scholarship of The Music and Drama Club of Cleveland and

the Helen Curtis Webster Award, among others. In 2006, she won first

place in the Leopoldskron vocal competition in Salzburg, Austria and

subsequently performed in Schloss Leopoldskron and Schloss Mirabell.

Ms. Oh has also sung in master classes of Martin Katz, Frederica von

Stade, Helen Donath, Thomas Hampson, Warren Jones, Elly Ameling

and José van Dam. Before coming to Cleveland, she appeared in Har-

vard University productions of The Magic Flute and Purcell's Dido and

Aeneas, while completing the Bachelor of Arts degree program in

economics. Formerly trained as a pianist, Ms. Oh premiered two origi-

nal compositions while at Harvard. In addition, she won numerous

vocal competitions while in the Boston area. Ms. Oh was appointed to

the CIM faculty in 2008.

La mort de tout sinon de toi que

j'aime tant.

Et sinon du bonheur dont mon âme

est comblée,

Bonheur qui dort au fond de cette

âme isolée,

Mystérieux, paisible et frais comme

l'étang

Qui pâlissait au fond de la pâle

vallée.

The death of all, except you, whom

I love

and except for happiness which fills

my heart,

happiness which lies at the bottom

of this lonely soul,

mysterious, peaceful, and cool as

the pond

which fades in the depths of the pale

valley.

En Sourdine

Calmes dans le demi-jour

Que les branches hautes font,

Pénétrons bien notre amour

De ce silence profond.

Fondons nos âmes, nos coeurs

Et nos sens extasiés,

Parmi les vagues langueurs

Des pins et des arbousiers.

Ferme tes yeux à demi,

Croise tes bras sur ton sein,

Et de ton coeur endormi

Chasse à jamais tout dessein.

Laissons-nous persuader

Au souffle berceur et doux

Qui vient, à tes pieds, rider

Les ondes des gazons roux.

Et quand, solennel, le soir

Des chênes noirs tombera

Voix de notre désespoir,

Le rossignol chantera.

Calm in the half light

That the high branches make,

Let us penetrate our love

With this profound silence.

Let us melt our souls together,

our hearts and our ecstatic senses,

Among the vague languors

Of the pine and strawberry trees.

Close your eyes half-way;

Fold your arms across your breast,

And from your sleepy heart

Drive away all cares forever.

Let us be persuaded

By the gentle, rocking wind,

That comes to your feet to ripple

The waves of russet grass.

And when solemnly the evening

Shall fall from the dark oaks,

Voice of our despair,

The nightingale will sing.

Der Jüngling an der Quelle

Leise rieselnder Quell!

Ihr wallenden flispernden

Pappeln!

Euer Schlummergeräusch

Wecket die Liebe nur auf.

Linderung sucht' ich bei euch

Und sie zu vergessen, die Spröde.

Ach, und Blätter und Bach

Seufzen, Luise, dir nach!

Softly, trickling spring!

The churning, rustling poplars!

Your sounds of slumber

will only awaken my love.

Balm I sought from you

And to forget her indifference.

Ah, the brook and each tree

Sigh for Luise, for thee.

Im Frühling

Still sitz' ich an des Hügels Hang,

Der Himmel ist so klar,

Das Lüftchen spielt im grünen Tal.

Wo ich beim ersten Frühlingsstrahl

Einst, ach so glücklich war.

Wo ich an ihrer Seite ging

So traulich und so nah,

Und tief im dunklen Felsenquell

Den schönen Himmel blau und hell

Und sie im Himmel sah.

Sieh, wie der bunte Frühling schon

Aus Knosp' und Blüte blickt!

Nicht alle Blüten sind mir gleich,

Am liebsten pflückt ich von dem

Zweig,

Von welchem sie gepflückt!

Denn alles ist wie damals noch,

Die Blumen, das Gefild;

Die Sonne scheint nicht minder hell,

nicht minder freundlich schwimmt im

Quell

Das blaue Himmelsbild.

Quietly I sit at the hill's slope,

The sky is so clear;

A breeze plays in the green valley.

Where I was at Spring's first sunbeam

once - ah, I was so happy!

When I was walking at her side,

So intimate and so close,

and deep in the dark rocky spring

was the beautiful sky, blue and bright;

and I saw her in the sky.

Look how colorful Spring already

looks out from bud and blossom!

Not every blossom is the same to me:

I like best to pick from the branch

from which she picked hers!

For all is as it was:

the flowers, the field;

the sun does not shine less brightly

nor seem less friendly, as reflected in

the spring,

the blue image of the sky.

(continued next page)

Es wandeln nur sich Will und Wahn,

Es wechseln Lust und Streit,

Vorüber flieht der Liebe Glück,

Und nur die Liebe bleibt zurück,

Die Lieb und ach, das Leid.

O wär ich doch ein Vöglein nur

Dort an dem Wiesenhang

Dann blieb ich auf den Zweigen hier,

Und säng ein süßes Lied von ihr,

Den ganzen Sommer lang.

Will and delusion only change:

Joys and quarrels alternate,

the happiness of love flies past,

and only the love remains -

The love and, alas, the sorrow.

Oh, if only I were a little bird,

there, on the meadow's slope,

then I would remain here on these

branches,

and sing a sweet song about her

the whole summer long.

S’il est un charmant gazon

S'il est un charmant gazon

Que le ciel arrose,

Où brille en toute saison

Quelque fleur éclose,

Où l'on cueille à pleine main

Lys, chèvre-feuille et jasmin,

J'en veux faire le chemin

Où ton pied se pose!

S'il est un rêve d'amour,

Parfumé de rose,

Où l'on trouve chaque jour

Quelque douce chose,

Un rêve que Dieu bénit,

Où l'âme à l'âme s'unit,

Oh! j'en veux faire le nid

Où ton coeur se pose!

If there's a lovely grass

watered by the sky

where in every season shines

some blossoming flower,

where one can freely gather

lilies, woodbines and jasmines,

I wish to make it the path

on which you place your feet.

If there is a dream of love

scented with roses,

where one finds each day

something gentle,

a dream blessed by God

where soul is joined to soul...

oh, I wish to make it the nest

in which you rest your heart.

Franz Liszt (1811-1886)

Nuit d’étoiles

Nuit d'étoiles, sous tes voiles,

sous ta brise et tes parfums,

Triste lyre qui soupire,

je rêve aux amours défunts.

La sereine mélancolie vient éclore

au fond de mon coeur,

Et j'entends l'âme de ma mie

Tressaillir dans le bois rêveur.

Je revois à notre fontaine

tes regards bleus comme les cieux;

Cettes rose, c'est ton haleine,

Et ces étoiles sont tes yeux.

Starry night, beneath your canopy,

beneath your breeze, your perfume,

and sigh of the sad lyre,

I dream of a love long past.

The serene melancholy fills

the depths of my heart.

And I hear your dear soul,

my darling,

Quivering in the dreamy wood.

I see again, at our fountain,

your blue eyes like the heavens;

This rose, it is my dear hope,

And these fair stars are your eyes.

Paysage sentimental

Le ciel d'hiver, si doux, si triste,

si dormant,

Où le soleil errait parmi des vapeurs

blanches,

Etait pareil au doux, au profond

sentiment

Qui nous rendait heureux mélan-

coliquement

Par cet après-midi de baisers sous les

branches.

Branches mortes qu'aucun souffle ne

remuait,

Branches noires avec quelque feuille

fanée.

Ah! que ta bouche s'est à ma bouche

donée

Plus tendrement encore dans ce

grand bois muet,

Et dans cette langueur de la mort de

l'année,

The winter sky, so sweet, so sad, so

still

where the sun wanders through the

white vapors

it appeared so sweet, of deep sentiment

which gave back to us happiness,

wistfully

in this afternoon of kisses under the

branches.

Lifeless branches, which no breath

could stir,

dark branches with some withered

leaves.

Ah! that your lips gave themselves to

mine

so tenderly again, in this great, silent

woods,

and in this languor of the year’s death.

(continued next page)

Claude Debussy (1862-1918)

Die Spröde

An dem reinsten Frühlingsmorgen

Ging die Schäferin und sang,

Jung und schön und ohne Sorgen,

Daß es durch die Felder [klang]2,

So lala! Lerallala!

Thyrsis bot ihr für ein Mäulchen

Zwei, drei Schäfchen gleich am

Ort,

Schalkhaft blickte sie ein Weil-

chen;

Doch sie sang und lachte fort:

So lala! Lerallala!

Und ein Andrer bot ihr Bänder,

Und der Dritte bot sein Herz;

Doch sie trieb mit Herz und

Bändern

So wie mit den Lämmern Scherz,

Nur lala! Lrallala!

On the clearest of spring mornings

the shepherdess went walking and

singing,

young and fair and carefree,

so that it resounded through the

fields -

So lala! Lerallala!

Thyrsis offered her, just for one

kiss,

two lambkins, three, on the spot.

She looked at him roguishly for a

while,

but then went on singing and

laughing:

So lala! Lerallala!

And another offered her ribbons,

and the third his heart;

but she jested with heart and

ribbons

as with the lambs:

Die Bekehrte

Bei dem Glanz der Abendröte

Ging ich still den Wald entlang,

Damon saß und blies die Flöte,

Daß es von den Felsen klang,

So la la! . . .

Und er zog mich an sich nieder,

Küßte mich so hold und süß.

Und ich sagte: Blase wieder!

Und der gute Junge blies,

So la la! . . .

Meine Ruhe ist nun verloren,

Meine Freude floh davon,

Und ich höre vor meinen Ohren

Immer nur den alten Ton,

In the red glow of sunset

I walked quietly through the wood.

Damon sat and blew his flute

so that the rocks resounded:

So la la! . . .

And he drew me down to him

and kissed me so gently, so sweetly,

and I said "play again"

and the good-hearted lad piped:

So la la! . . .

My peace has now been lost,

my joy has flown away,

and I hear in my ears

only ever those old tones,

So la la, le ralla! . . .

Hugo Wolf (1860-1903)

“Comment” disaient-ils…

Comment, disaient-ils,

Avec nos nacelles,

Fuir les alguazils?

Ramez, disaient-elles.


Oublier querelles,

Misère et périls?

Dormez, disaient-elles.


Enchanter les belles

Sans philtres subtils?

Aimez, disaient-elles.

"How then," asked he

"with our boat

flee the Alguazils?"

"Row," she replied.

"How then," asked he,

"forget the quarrels,

strife, misery?"

"Sleep," she replied.

"How then," asked he,

"charm the beautiful ones

without disguised potions?"

"Love," she replied.

Oh! Quand je dors

Oh! quand je dors,

viens auprès de ma couche,

comme à Pétrarque apparaissait

Laura,

Et qu'en passant ton haleine me

touche...

Soudain ma bouche s'entrouvrira!

Sur mon front morne où peutêtre

s'achève

Un songe noir qui trop longtemps

dura,

Que ton regard comme un aster

se lève...

Soudain mon rêve rayonnera!

Puis sur ma lèvre où voltige une

flamme,

Éclair d'amour que Dieu même épura,

Pose un baiser, et d'ange deviens

femme...

Soudain mon âme s'éveillera!

Oh, when I sleep,

Come, approach my bed,

as Laura appeared to Petrach;

And as you pass, touch me with

your breath...

Suddenly my lips will part!

On my gloomy face, where

perhaps

a dark dream remained for too

long a time,

let your gaze lift it like a star...

at once my dream will be radiant!

Then on my lips, where brilliance

shines

a flash of love that God has kept

pure,

place a kiss, and transform from

angel into woman... Suddenly my

soul will awaken!

Frühlingsmorgen

Es klopft an das Fenster der

Lindenbaum.

Mit Zweigen blütenbehangen:

Steh' auf! Steh' auf!

Was liegst du im Traum?

Die Sonn' ist aufgegangen!


Die Lerche ist wach, die Büsche

weh'n!

Die Bienen summen und Käfer!


Und dein munteres Lieb' hab ich

auch schon geseh'n.

Steh' auf, Langschläfer!

Langschläfer, steh' auf!


The lindentree taps at the window

With blossom-heavy branches;

Get up! Get up!

Why do you lie dreaming?

The sun has come up!

Get up! Get up!

The lark is up, the bushes blow!

The bees buzz, and the beetles!

Get up! Get up!

And your happy lover, I have al-

ready seen!

Get up, sleepyhead!

Sleepyhead, get up!

Get up! Get up!

Wer hat das Liedlein erdacht?

Dort oben am Berg, in dem hohen Haus,

Da gucket ein fein's lieb's Mädel heraus,

Es ist nicht dort daheime,

Es ist des Wirts sein Töchterlein,

Es wohnet auf grüner Heide.

"Mein Herze ist wund,

komm Schätzle mach's gesund!

Dein schwarzbraune Äuglein,

Die hab mich vertwundt!

Dein rosiger Mund

Macht Herzen gesund.

Macht Jugend verständig,

Macht Tote lebendig,

Macht Kranke gesund."

Up there on the mountain, in a high-

up house,

a lovely, darling girl looks out of

the window.

She does not live there:

she is the little daughter of the inn

keeper,

and she lives on the green meadow.

"My heart is sore!

Come, my treasure, make it well

again!

Your dark brown eyes

have wounded me.

Your rosy mouth

makes the soul healthy.

It makes youth wise,

brings the dead to life,

gives health to the ill." (continued next page)

Gustav Mahler (1860-1911)

Wer hat denn das schöne Liedlein

erdacht?

Es haben's drei Gäns übers Wasser

gebracht,

Zwei graue und eine weiße;

Und wer das Liedlein nicht singen

kann,

Dem wollen sie es pfeifen.

Ja!

Who has thought up this pretty little

song then?

It was brought over the water by three

geese -

two greys and one white -

and if you cannot sing the little song,

they will whistle it for you!

Ja!

Liebst du um Schönheit

Liebst du um Schönheit,

O nicht mich liebe!

Liebe die Sonne,

Sie trägt ein gold'nes Haar!

Liebst du um Jugend,

O nicht mich liebe!

Liebe den Frühling,

Der jung ist jedes Jahr!

Liebst du um Schätze,

O nicht mich liebe.

Liebe die Meerfrau,

Sie hat viel Perlen klar.

Liebst du um Liebe,

O ja, mich liebe!

Liebe mich immer,

Dich lieb' ich immerdar.

If you love for beauty,

Oh, do not love me!

Love the sun,

She wears golden hair!

If you love for youth,

Oh, do not love me!

Love the spring;

It is young every year!

If you love for treasure,

Oh, do not love me!

Love the mermaid;

She has many clear pearls!

If you love for love,

Oh yes, do love me!

Love me ever,

I'll love you evermore!

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