Book e Part I: Bliss Th - Concordia Choral...

Book of LoveThe BlissPart I:

S. Katherine S healy, director

Concordia VoicesS. KATHERINE SHEALY

Choral Director

a Denotes Section Leaders

Board Of Directors:CHARLOTTE KROFT | PresidentTHERESA MOSS WITMYER | Vice President, Artistic Development STEPHEN WILBURN | Vice President, Business Development PETER CLARKE | TreasurerKARIN FORTWANGLER | Secretary & Librarian

Concert Etiquette:The members of the Concordia Choral Arts strive to provide a program of musical excellence. For our mutual enjoyment of the concert, we kindly ask:

If you have a young child who begins to cry, exit the performance hall and return when (s)he has settled;

Wait for applause to enter or exit the performance hall;

Silence your cell phone and other personal electronic devices; and

Refrain from flash photography and video recording, as both are strictly forbidden and violate copyright law.

SOPRANO 1Jane Buatti aKarin FortwanglerTheresa Moss WitmyerElizabeth Clauss

SOPRANO 2Jen NixonLynn ShealyPatti Spackman

ALTO 1Holly BranhamJennifer FordTamar Miller aAmy PeteritisDiane Piersol

ALTO 2Noreen DavishJoanne JenkinsBeth McAdooMary McGinty

TENOR 1Steve CanaleJeremy ClarkeRandolph Cornell

TENOR 2Arthur BuschPeter Clarke a

BASS 1Thomas F. McCormickDavid NatalieChristopher Portante

BASS 2Ryan K. BattinLuke Bauerlein aDavid Shealy

With our gratitudeConcordia’s sincere thanks are expressed to the following people and organizations:

Paoli United Methodist Church for providing rehearsal and performance facilities;

Calvary Lutheran Church and Church of the Good Samaritan for providing our concert venues;

Uptown! Entertainment Alliance for their continued support of our organization;

Choir Committee Members and Concordia volunteers who have donated time to help our organization run efficiently;

Rose Harris for program and marketing materials design; and

Roger Taylor for media outreach.

Thank You to Our

2017 SponsorsCONDUCTOR’S CIRCLE

David & Lynn ShealyTyler & Alexa

MUSICIAN’S CIRCLEAnnabelle P. IreyCaroline S. ButzPamela Smyth

Martha NussbaumRoger K. & Linda L. Taylor

Lenore & AJ ClarkeAlan & Lorraine Warren

PATRONSBill & Jo McAdoo

Steve & Suzanne Bugbee in memory of Mary Kate BugbeeFred & Karen Ford

Betsy & Richard StraubRosario & Joseph Nicholas

Catherine LawtonMaggie Tucker

Richard & Helene Dow

FRIENDSKaren & Mark Lukenda

Dorothy & Lisa BergkoetterDiane PiersolMarie Lerch

Mary WeaverGrace FiorillaJill Dietrich

Anna SpackmanTeresa Hofer

BENEFACTORSPerry & Gail HabeckerTom & Joanne Jenkins

Mr. & Mrs. Richard A. ZackroffConnie White

Catherine McGinleyMimi & Gordon WrightGwen & Bill Carpenter

Ann & Bret PleinesAnnette Bauerlein

Michael & Jennifer BergkoetterKevin & Kristin Loftus

Harry & Nancy HaymanDoug & Joan Johnson

Mr. & Mrs. Stephen SadrovitzIn memory of Carla Short

In memory of Alfons & Elsa RiegerIn memory of Herb & Louise Kroft

CORPORATE BENEFACTORJohnson & Johnson (matching gifts)

CORPORATE SPONSORSVertex (matching gifts)

Final Solutions (matching gifts)

Staff and Distinguished Volunteers:S. KATHERINE SHEALY | Choral DirectorRYAN K. BATTIN | Outreach Performance DirectorGAIL HABECKER | AccompanistGAIL BUSCH | AccompanistBETH MCADOO | Attendance Manager & Social CoordinatorLYNN SHEALY | Concert Attire ManagerPATRICIA SPACKMAN | Librarian and Fundraising CoordinatorLUKE BAUERLEIN, BARB DROSEY, JENNIFER FORD | Social Media OutreachJANE BUATTI | Rehearsal Facilities Coordinator & Advertising CoordinatorROGER TAYLOR | Publicity

Leadership

S. KATHERINE SHEALY Director of ConcordiaS. Katherine Shealy obtained her Bachelor of Music in Choral Music Education from the University of Delaware with Paul Head and her Master of Music in Choral Conducting from West Chester University with David DeVenney. Ms. Shealy has sung in, assisted with, or directed ensembles through the Concordia Choral Arts its inception in 2006, including having directed and led CCA’s envoy of singers on a tour of four cities throughout China as part of the Fourth Annual Eric Whitacre International Choral Festival in 2006. Currently, she is CCA’s lead Choral Director, having founded several of the organization’s ensembles and serving as the choral director of Concordia Voices, the premier ensemble. She taught vocal and choral music, musical theatre, and integrated arts courses in both Delaware and Pennsylvania for six years, and presently teaches voice privately in Chester and Delaware counties.

GAIL HABECKER Accompanist Gail Habecker is the accompanist for the choirs of Concordia Choral Arts. She has been playing piano since the age of four. During high school and college, she accompanied school and church choirs before graduating from Juniata College with an emphasis in vocal accompaniment. She studied piano with Elizabeth Stuart, Mary Ruth Linton, and Lois Thayer. More recently Gail has also accompanied voice and instrumental soloists, played in the Immaculata Symphony, Chester County Pops, and with other ensembles at chamber concerts of Immaculata University. She also regularly performs piano duets in the Chester County region with Gail Busch, where they are known as Gail x 2. Ms. Habecker is also a graduate of the Wharton School of the University of Pennsylvania. She has a career in investment management and is part owner of StoneRidge PMG Advisors in West Conshohocken, PA.She lives in the Coatesville area with her husband, Perry, is a regular volunteer at the Chester County Library and enjoys reading, knitting, and quilting when she is not playing the piano.

www.uptownwestchester.orgBecome A Member - Buy Tickets

GAIL BUSCHAccompanistGail Busch received her Bachelor and Master of Music degree from Temple University’s Esther Boyer College of Music, with a major in piano and music theory. She studied with Alexander Fiorillo and Natalie Hinderas. She also completed an organ performance program at Immaculata University. Since then, she has been employed by several area churches, and has taught in schools and music conservatories. Also a contralto, she performs with Concordia Choral Arts and the Mid Atlantic Chamber players. Presently, she is the music director and organist at the Episcopal Church of the Trinity in Coatesville, and maintains an active teaching schedule. In her spare time, she enjoys playing and composing for the harp, quilting, reading, and house painting. Gail performs as a duet pianist with Gail Habecker, and they are known as Gail x 2.

SHAKESPEARE SONGSMatthew Harris

SONG OF SONGS

Northern Lights............................................................................................................Ola GjieloSong of Solomon 6:3-5

Set Me As a Seal Upon Thine Heart.................................................................William WaltonSong of Solomon 8:6-7

Erev Shel Shoshanim........................................................................Hadar, arr. Jack Klebanow

INTERMISSION

Tendresse...........................................................................................Gabriel Fauré (1825-1944)From The Dolly Suite, op. 56

Gail Busch and Gail Habecker, piano

SONGS OF 19TH CENTURY GERMANY

Liebeslieder Walzer, op. 52.......................................................Johannes Brahms (1833-1897)Poetry from Polydora by Georg Friedrich Daumer (1800-1875)

SONGS OF TODAY

Hallelujah.............................................................................................................Leonard CohenAdapted from the arrangement for Pentatonix ed. S.K. Shealy

Book I Hark, Hark! The Lark (from Cymbeline) Who is Sylvia? (from Two Gentlemen of Verona)

Luke Bauerlein, soloist

Book III It Was a Lover and His Lass (from As You Like It) O Mistress Mine (from Twelfth Night)

Randolph Cornell, soloist

1. Rede, Mädchen3. O die Frauen Jeremy Clarke, tenor; David Natalie, baritone

4. Wie des Abends schöne Röte5. Die grüne Hopfenranke Karin Fortwangler, soprano; Jennifer Ford, alto; Jeremy Clarke, tenor; Ryan K. Battin, bass

6. Ein kleiner, hübscher Vogel7. Wohl schön bewandt war es Lynn Shealy, mezzo-soprano

8. Wenn so lind dein Auge mir Lynn Shealy, soprano; Beth McAdoo, alto Randolph Cornell, tenor; David Shealy, bass

9. Am Donaustrande11. Nein, es ist nicht auszukommen13. Vögelein durchrauscht die Luft Karin Fortwangler, soprano; Amy Peteritis, mezzo-soprano

14. Sieh, wie ist die Welle klar17. Nicht wandle, mein Licht Randolph Cornell, tenor

18. Es bebet das Gesträuche

Gail Busch and Gail Habecker, piano

Program NotesShakespeare SongsMatthew HarrisMatthew Harris was born in 1956 in New York State, and studied at The Juilliard School, New England Conservatory and Harvard University. His teachers include many well-known names, among them Elliott Carter, Milton Babbitt, Roger Sessions and Donald Martino. He has received two grants in composition from the National Endowment for the Arts and fellowships from the New York Foundation for the Arts, Tanglewood, Composers Conference at Wellesley, Ives Center, Conductors Institute, and the MacDowell and Yaddo artist colonies. He has won prizes for his works in the Chautauqua Chamber Singers Choral Composition Contest and the National Association of Composers USA Young Composers’ Competition. He has also won the Georges Enesco International Composition Award, the Society for New Music’s Brian M. Israel Prize, and awards from ASCAP, BMI, Musicians’Accord, and the Taubman Institute. Mr. Harris’s works have been performed by numerous distinguished groups including the Minnesota Orchestra, Houston Symphony, Lark Quartet, New York New Music Ensemble, the Dale Warland Singers and the New Amsterdam Singers, who performed his music at the televised Three Tenors concert at the Meadowlands. Some of his other commissions have come from the Fromm Foundation/Aspen Music Festival (where Mr. Harris was a Composer-in-Residence), I Cantori di New York, Modesto Symphony Orchestra, Haydn-Mozart Orchestra, and American Composers Forum. He has taught at Fordham University and Kingsborough College, CUNY. He has been a board member of League-ISCM and American Composers Alliance and currently serves on the board of the MacDowell Artists Executive Committee. Currently, Harris lives in New York City, where he works as a musicologist. Beginning in 1989, Harris has composed six books of Shakespeare Songs, which are his contemporary musical settings of the lyrics to songs in Shakespeare’s plays. Concordia Voices will be performing four of his Shakespeare Songs (of twenty-one songs total) from books I and III, with romantic texts drawn from the plays As You Like It, Cymbeline, Twelfth Night, and Two Gentlemen of Verona

Hark, Hark! The Lark

Hark, hark! the lark at heaven’s gate sings,

And Phoebus ‘gins arise,

His steeds to water at those springs

On chaliced flowers that lies;

And winking Mary-buds begin

To ope their golden eyes:

With every thing that pretty is,

My lady sweet, arise:

Arise, arise.

--Cymbeline, Act II, Scene ii

Who Is Silvia?

Who is Silvia? what is she,

That all our swains commend her?

Holy, fair, and wise is she;

The heaven such grace did lend her,

That she might admirèd be.

Is she kind as she is fair?

For beauty lives with kindness.

Love doth to her eyes repair,

To help him of his blindness,

And, being helped, inhabits there.

Then to Silvia let us sing,

That Silvia is excelling;

She excels each mortal thing

Upon the dull earth dwelling:

To her let us garlands bring.

--Two Gentlemen of Verona, Act IV, Scene ii

It Was A Lover And His Lass

It was a lover and his lass,

With a hey, and a ho, and a hey nonino,

That o’er the green corn-field did pass,

In the spring time, the only pretty ring time,

When birds do sing, hey ding a ding, ding;

Sweet lovers love the spring.

Between the acres of the rye,


These pretty country folks would lie,




This carol they began that hour,


How that life was but a flower




And, therefore, take the present time


For love is crown`d with the prime




—As You Like It, Act V, Scene iii

O Mistress Mine

O Mistress mine, where are you roaming?

O stay and hear! your true-love’s coming

That can sing both high and low;

Trip no further, pretty sweeting,

Journeys end in lovers’ meeting—

Every wise man’s son doth know.

What is love? ’tis not hereafter;

Present mirth hath present laughter;

What’s to come is still unsure:

In delay there lies no plenty,—

Then come kiss me, Sweet-and-twenty,

Youth’s a stuff will not endure.

-- Twelfth Night, Act II, Scene iii

CCA is grateful to this program patron.Advertise in our program next season by contacting [email protected]

Set Me As a Seal Upon Thine HeartWilliam WaltonWhere William Walton’s choral works are concerned, his cantata Belshazzar’s Feast eclipses everything else. This is rather unfortunate, as he wrote an impressive body of choral works mainly for liturgical use in the Anglican service, but that also have been featured regularly in the concert hall. The wedding anthem Set me as a seal upon thine heart was written in 1938 for the wedding of Mabel Fox-Strangeways and the Honorable Ivor Guest, who was the son of Walton’s muse, Lady Alice Wimborne. From the Old Testament, the words were taken from chapter 8:6-7 of the Song of Solomon. It seems that Walton interrupted work on his magnificent Violin Concerto to compose this grace-imbued and respectful wedding anthem.

Set me as a seal upon thine heart,As a seal upon thine arm,For love is strong as death.

Many waters cannot quench love,Neither can the floods drown it.

Northern LightsOla Gjielo“Northern Lights is my most Norwegian production in years; composed in an attic out-side of Oslo at Christmastime in 2007, it’s one of the few works I have written in Norway since I moved to New York in 2001. The US is my home now, so I guess my work has been increasingly reflecting my love for American music, writing, and scenery. Most of all, this piece and its text is about beauty. About a “terrible,” powerful beauty, although the music is quite serene on the surface.

Looking out from the attic window that Christmas in Oslo, over a wintry lake under the stars, I was thinking about how this “terrible” beauty is so profoundly reflected in the northern lights, or aurora borealis, which, having grown up in the southern part of the country, I have only seen once or twice in my life. It is one of the most beautiful natural phenomena I’ve ever witnessed, and has such a powerful, electric quality that must have been both mesmerizing and terrifying to people in the past, when no one knew what it was and when much superstition was attached to these experiences. Northern Norway is one of the areas where aurora borealis is easiest to spot, thanks to the warming effects of the Gulf Stream, which makes the area habitable. At www.visitnorway.com, you can find incredible pictures of the aurora borealis phenomenon, pictures that also greatly inspired this piece.” Compositional notes by Ola Gjielo, composer

Thou art beautiful, O my love,

Sweet and beautiful daughter of Jerusalem,

Thou art beautiful, O my love,

Sweet and comely as Jerusalem,

Terrible as an army set in array.

Turn away thy eyes from me,

For they have made me flee away.

CCA is grateful to this program patron.Advertise in our program next season by contacting [email protected]

Evening of roses,

Let us go out to the grove.

Myrrh, fragrant spices and incense

Are a threshhold for your feet.

Night falls slowly

And the wind of roses is blowing.

Let me whisper you a song, secretly,

A song of love.

Dawn, a dove is cooing.

Your head is filled with dew.

Your mouth is a rose unto the morning,

I will pick it for myself.

-Translation by Sara Kramer

Tendresse from The Dolly SuiteGabriel FauréGabriel Fauré (1845-1924) was one of the foremost French composers of the late 19th and early 20th centuries. He showed an early aptitude for music, and was enrolled in the School of Classical and Religious Music at age nine. There, he studied piano with Camille Saint-Saëns, and the two became lifelong friends. After graduation, Fauré secured a series of increasingly prestigious positions as a church organist, a living that would allow time for writing music. He was encouraged by Saint-Saëns to apply for a position at the National Conservatory in Paris and was appointed professor of composition in 1896 and Conservatory Director in 1905. His students there included Georges Enescu, Nadia Boulanger, and Maurice Ravel. Among his best-known works are his Requiem, Incidental Music for Pelleas and Melisande, Pavane, Clair de lune, and the Nocturnes for piano.

The Dolly Suite, for four hand piano, is dedicated to Hélène Bardac, the daughter of a close friend, singer Emma Bardac. Hélène was known to her family as “Dolly,” and some speculate that she may have been Fauré’s daughter.

Erev Shel ShoshanimJosef Hadar, arr. Jack KlebanowErev Shel Shoshanim is frequently referred to as an Israeli Folksong. Although the words are largely taken from the biblical Song of Solomon, or Song of Songs, the original setting was created by Moshe Dor and Josef Hadar in 1956. The song has become so familiar in its many guises that in many cases the credits read only, “Israeli,” “Traditional,” “Folksong,” or “Public Domain.” Many people know and love the versions popularized in the United States by the Oranim Zabar Israeli folksong group on an Elektra recording from the 1950s as well as in recordings by Harry Belafonte and Mariam Makeba in the 1960s. Jack Klebanow has created a wonderfully sensitive arrangement of this beautiful song, complimented by a fluid piano accompaniment, truly creating the open feeling of the desert at night while the scent of roses drifts on the cool air.

in part rewritten by Georg Friedrich Daumer. Two of these poems were of Russian origin; three Polish; five Hungarian; and the other eight had both Russian and Polish roots. Brahms set them all in 3/4 time, calling them Liebesliederwalzer, or “Love Song Waltzes.” The waltz itself was a relatively new invention; a product of the nineteenth century, though it developed out of the Laendler, a much older peasant dance of probable Austrian origin. Brahms’ Walzer are barely distinguishable from their parent form, which is generally slower and may differ in its rhythmic emphasis. These songs were almost surely a means to an end; eminently salable, certainly in a popular vein, their intent was probably to provide financial support to Brahms while he finished the Requiem - and possibly to tide him over if it were to fail. But the reception of Ein Deutsches Requiem, premiered in 1869, was unbelievably positive; Brahms suddenly had the recognition he coveted (although he still did not get a conducting position). And Liebeslieder Walzer was also a surprising success, from its first performance just after New Year’s in 1870. So much so that Brahms subsequently issued another collection, Neue Liebeslieder, finished in 1874 and performed the next year, with lyrics again drawn from Daumer. The newfound fame also eventually got Brahms a conducting job, with the Vienna Gesellschaftskonzerte in 1872; but the demands of that position sapped the time available for composing, and he resigned the next year. Fortunately, he had little need for conducting thereafter, and while continuing to compose, accumulated a continuing (albeit belated) stream of prizes and recognitions. He died at age 63, of cancer, in 1896, less than a year after his beloved Clara.

-Adapted from notes by J. R. Fancher of The Naperville Chorus, March 2005

Liebeslieder Walzer (op. 52)Johannes BrahmsAt 35, Johannes Brahms had not achieved any real success. He had given up his career as a concert pianist some 15 years earlier, hoping to achieve success as a composer and conductor. All he now had to show were couple of serenades, a piano concerto, some chamber music, and conducting a women’s chorus in Hamburg for two years. He was painfully aware of others’ successes at 35: Haydn, for example, at 35 had about 25 symphonies to his credit, a couple of masses, a fine cello concerto, two operas, and at least six string quartets - and lived another 42 productive years. Mozart, in the last year of his life, was working on an opera (La Comenza di Tito) and his Requiem; Beethoven had completed three of his nine symphonies, the Waldstein and Appassionata piano sonatas, the Kreutzer violin sonata, and the first version of his opera Fidelio. Mendelssohn had finished five symphonies, the oratorio St. Paul, two piano concerti, at least seven overtures, most of his Songs Without Words - and lived only three more years. And Brahms’ great friend Robert Schumann, besides being a respected editor and critic, at 35 had completed three of his four symphonies, a piano concerto, numerous quartets, enormous amounts of piano music, art songs, as well as an oratorio (Das Paradies und die Peri). Even Clara Schumann, Robert’s widow, and probably Brahms’ best friend (and the subject of his unrequited love, although over time, this had been replaced by deep respect for the older woman), had become a remarkable touring piano virtuoso and composer. This was interrupted, at 35, when Robert’s decreasing mental health finally caused him to be permanently institutionalized.

Brahms’ lack of recognition probably was not without his own culpability. Brahms was not a recluse, but he was serious and intense. In the 1850’s, he authored a manifesto - also signed by a few other musical friends - in which he took vigorous exception to the supposed superiority of the “New German School,” the musical torrent of his time, which was dominated by, among others, Liszt and Wagner. This publication backfired, making Brahms a laughing-stock and probably contributing to the neglect of his compositions by the intelligentsia of the day. Moreover, Brahms was extremely self-critical (which could not have helped his lagging recognition) and destroyed much of what he composed, which of course left his reputation resting on a smaller body of published work.

In his 35th year, Brahms moved to Vienna. He brought with him at least two works in process. One was the work that at last brought him real recognition as a composer: Ein Deutsches Requiem (A German Requiem), which is a unique and very personal oratorio/cantata inspired by Brahms’ regard for his mother, who had passed away three years previously. The other, as different - and commercial - as it could be, was a series of 18 song settings, based on poems translated and possibly

Rede, Mädchen, allzu liebes, das mir in die Brust, die kühle,hat geschleudert mit dem Blicke, diese wilden Glutgefühle!Willst du nicht dein Herz erweichen, willst du eine Überfromme,rasten ohne traute Wonne, oder willst du, dass ich komme?Rasten ohne traute Wonne, nicht so bitter will ich büssen,komme nur, du schwarzes Auge,willst du dass ich komme wenn die Sterne grüssen?

O die Frauen, o die Frauen,’Wie sie Wonne tauen!Wären lang ein Mönch geworden,Wären nicht die Frauen!

Wie des Abends schöne Rötemöcht ich arme Dirne glühneinem, einem zu Gefallensonder Ende Wonne sprühn

Ein kleiner hübscher Vogel nahm den Flugzum Garten hin, da gab es Obst genug.Wenn ich ein hübscher, kleiner Vogel wär,ich säumte nicht, ick täte so wie der.Leimruten Arglist, lauert an dem Ort,der arme Vogel konnte nicht mehr fort.Nicht fort, nicht fort.Wenn ich ein hübscher, kleiner Vogel wärich säumte nicht, ich täte nicht wie der.Der Vogel kam in eine schöne Hand,da tat es ihm, dem Glücklichen nicht and.Wenn ich ein hübscher, kleiner Vogel wär,ich säumte nicht, ich täte so wie der.

Wohl schön bewandt War es voreheMit meinem Leben, Mit meiner Liebe;Durch eine Wand, Ja, durch zehn Wände,Erkannte mich Des Freundes Sehe;Doch jetzo, wehe, Wenn ich dem KaltenAuch noch so dicht Vor’m Auge stehe,Es merkt’s sein Auge, Sein Herze nicht.

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Speak, dearest maiden you whose glance has hurledinto my cool heart these wild, passionate feelings!Don’t you want to soften your heart? Do you want, you overly pious one,to rest without true delight? Or do you want me to come?Rest without true delight — I don’t want to suffer so bitterly.Do come, you dark-eyed boy; come when the stars appear!

Oh women, oh women,how they do delight!I would have become a monk long agowere it not for women!

Like the evening’s lovely red,would I, a poor maiden, like to glow,to please one, one boyand to then radiate bliss forever.

A pretty bird flewto the garden where fruit was plentiful.If I were a pretty little bird,I’d not hesitate; I’d do just as he did.Treacherous lime-twigs lurked in that place;The poor bird could not escape.If I were a pretty little bird,I’d definitely hesitate before doing as he did.The bird was taken by a lovely hand;No harm came to the happy little bird.If I were a pretty little bird,I’d not hesitate; I’d certainly do as he did.

How very pleasant it used to be,both with my life and with my love;through a wall, even through ten walls,my friend’s eye noticed me.Yet now, alas, even if I standright in front of the cold one’s eye,his eye, his heart notice me not.

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Wenn so lind dein Auge mir und so lieblich schauet,jede lezte Trübe flieht, welche mich umgrauet.Dieser Liebe schöne Glut, lass sie nie verstieben!Nimmer wird, wie ich so treu dich ein Andrer lieben.

Am Donaustrande, da steht ein Hausda schaut ein rosiges Mädchen aus.Das Mädchen ist wohl gut gehegt,zehn eiserne Riegel sind vor die Türe gelegt.Zehn eiserne Riegel das ist ein Spass,die spreng ich als wären sie nur vom Glas.Am Donaustrande, da steht ein Haus, da schaut ein rosiges Mädchen aus.

Nein, es ist nicht auszukommen mit den Leuten;alles wissen sie so giftig auszudeuten.Bin ich heiter, hegen soll ich lose Triebe,bin ich still, so heissts ich wäre irr aus Liebe.Nein, es ist nicht auszukommen mit den Leuten;alles wissen sie so giftig auszudeuten.

Sieh’, wie ist die Welle klar,blickt der Mond hernieder!Die du meine Liebe bist,liebe du mich wieder!

Nicht wandle, mein Licht, dort außen Im Flurbereich!Die Füße würden dir, die zarten, Zu naß, zu weich.All überströmt sind dort die Wege, Die Stege dir;So überreichlich tränte dorten Das Auge mir.

Es bebet das Gesträuche,Gestreift hat es im Fluge ein Vögelein.In gleicher Art erbebet die Seele mir,erschüttert von Liebe, Lust und Leide,gedenkt sie dein.

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When your eyes so gently and so fondly gaze on me,every last sorrow flees that once had troubled me.This beautiful glow of our love —do not let it die!Never will another love you as faithfully as I.

On the Danube’s bank there stands a house,and there a rosy maiden gazes out.The maiden is quite well protected;ten iron bars are blocking her door.Ten iron bars—that’s a joke!I’ll break them as if they were only glass.On the Danube’s bank there stands a house,and there a rosy maiden gazes out.

No, it is impossible to get along with such people;they know how to interpret everything so maliciously!If I’m merry, I’m said to have frivolous desires;if I’m silent, then it means I’m mad with love.No, it is impossible to get along with such people;they know how to interpret everything so maliciously!

See how clear are the waveswhen the moon gazes down!You who are my love,love me again!

Don’t wander, my light, over there in the fields!Your dainty feet would become Too wet, too soft.All the roads are flooded there, all your paths—So profuse were the tears that flowed from my eyes.

The bushes tremble,brushed during the flight of a little bird.In the same way my soul trembles, shaken by love, joy, and sorrow,when it thinks of you.

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