Program

Prolog. Es war mal ein Ritter (1912)(German) Gerard BunkNancy Rice, piano

1. Benisan, bayafeh (1928)(Hebrew) Samuel Alman2. Uit mijne tranen schieten (1879)(Flemish) Frank Vanderstucken3. La colombella, il giglio (1904)(Italian) Luigi Ferrari Trecate4. Serenadă (1920)(Romanian) Sabin Drăgoi 5. Dein Angesicht, so lieb und schön (1877)(German) Gustav Hasse6. O lägg din kind intill min kind (1856)(Swedish) August Söderman7. Če mogel vzdihe bi srca utopiti (Slovenian) Josip Ipavec8. The stars (1912)(English) Montague Phillips

Gregory Hayes and Nancy Rice, piano

9. Lyrisches Intermezzo (1832)(German) Franz Lachner 10. Lotoren lorak (1929)(Basque) Pablo Sorozábal11. Im Rhein, im heiligen Strome (c1860)(German) Robert Franz

Gregory Hayes and Elise Jackendoff, piano; David Schneider, clarinet;Sudie Marcuse, soprano; Dorie Goldman, mezzo-soprano

12. Du liebst mich nicht (189-?)(German) Alexander von Fielitz 13. O zweer het niet (18--?)(Flemish) Gustave Huberti14. Sur les yeux de ma bien aimée (1886)(French) Georges Hüe15. Le monde est aveugle (1915)(French) Arturo Buzzi-Peccia16. Verlegenheit (1883)(German) Arthur Hervey

Elise Jackendoff, piano

Intermission

17. Прощение [Proshchenie] (1958)(Russian) Edison Denisov18. Ich grolle nicht (c1898)(German) Charles Ives19. Ja! du bist elend (1876)(German) Anton Urspruch20. Das ist ein Flöten und Geigen (German) C. Otto Weber

Elise Jackendoff and Gregory Hayes, piano

21. So hast du ganz und gar vergessen (German) Fanny Mendelssohn Hensel 22. Und wüsstens die Blumen, die Kleinen (c1930)(German) Edna Frida Pietsch23. Отчего? [Otchevo?] (1869)(Russian) Pyotr I. Tchaikovsky24. Sie haben dir viel erzählet (c1905)(German) Oskar Guttmann25. Die Linde blühte, die Nachtigall sang (2006)(German) Gregory Hayes26. Wir haben viel für einander gefühlt (1971)(German) Tilo Medek

Sudie Marcuse, soprano; Dorie Goldman, mezzo-soprano;Gregory Hayes and Elise Jackendoff, piano; David Schneider, clarinet

27. Lyrisches Intermezzo--27 (2003)(German) Leslie Crabtree28. Die Erde war so lange geizig (1995)(German) Wilhelm Killmayer29. Lyrisches Intermezzo #29 (2006)(German) Clifton J. Noble, Jr.30. The violets blue (1906)(English) Frank Bridge31. Jak krásný ten svět (c1898)(Czech) Josef Bohuslav Foerster32. Mein süsses Lieb (c1885)(German) Catharinus Elling

Nancy Rice, piano

Heine and Lyrisches Intermezzo

Heinrich Heine (originally named Harry) was born on December 13, 1797 in Düsseldorf, Germany, of Jewish parents. Though his family preferred that he become a businessman, Heine eventually took a degree in law. In 1825, in order to make possible a civil service career, he resentfully converted to Protestantism, but still was never able to find employment in Germany. Heine’s literary reputation grew steadily with the publication of his poems throughout the early 1820’s. Most of these were collected in 1827 into the Buch der Lieder (Book of songs), which has always been his most widely read collection, and the most popular with composers, with over 5000 musical settings made of its 245 poems. It may have been inspired by his youthful, unrequited infatuation with one, or possibly two, of his rich uncle Salomon’s daughters.

The second major group of poems in Buch der Lieder is the cycle Lyrisches Intermezzo, which consists of a long prologue and 65 short lyric poems. They are a wonderfully contradictory combination of lyrical beauty and bitter irony. Heine was at once an arch-Romantic and an anti-Romantic, trying both to satisfy his own complex and ambivalent nature and to please his audience, which demanded trite, sentimental effusions that he despised. The seeming sentimental folk-song-like simplicity of Lyrisches Intermezzo has been widely imitated, but seldom with any success. Heine deliberately pushed conventional poetic imagery to the breaking point, often ending the most sweet and tender verses with an ironic or sarcastic twist. His words have inspired an enormous variety and quantity of musical responses, and it is always interesting to see whether a particular composer "gets" Heine's irony or just stays with the beauty on the surface of the poem. Today's concert consists of one setting per poem of the first half of the cycle, in Heine's published order, through poem 32. The songs have been selected to illustrate the wide variety of musical styles and many languages in which Heine's poetry has been set to music. Three were composed for this concert.

In 1831 Heine moved to Paris, where his political and social concerns found outlet in his prolific critical and satirical prose writings. He became acquainted with many prominent figures of the age, including Karl Marx. Heine’s pro-revolutionary views were unacceptable to the German governments, and by 1835 his voluntary exile in France became an imposed one, and his works were banned throughout Germany. He continued to write poetry as well, much of it with satirical elements of social and literary commentary. After 1844 Heine suffered financial reversals and painful physical deterioration from what may have been syphilis, amyotrophic lateral sclerosis or some other neuropathy. He spent the last several years of his life in his “mattress-grave” in a Paris apartment, but his creative powers never left him; some of his finest but darkest poems date from this period. He died in Paris on February 17, 1856.

During my sophomore year in music school, when I was first discovering German lieder and art song in general, I was in a joint recital with friends in which I did a set of three settings of a Heine poem. The following year I sang Schumann's great cycle Dichterliebe, also on Heine texts from Lyrisches Intermezzo, and in the years since I remained interested in the poet, reading a biography, occasionally performing other Heine settings, but not with any deliberate intent. This project started gestating when I dusted off Dichterliebe for several performances about ten years ago, which rekindled my interest in other musical settings of Heine. A year or so later I realized I was due for a sabbatical, and the outline of this long-term project started to take shape: the creation of a bibliographical database and the collection of music (so far over 2000 scores) to satisfy the librarian in me, the reading and recording of many songs and the performance of selected ones to satisfy the musician in me, and, to satisfy the musicologist in me, the creation of an online performer's guide with analytical critiques or reviews of the songs.

Many thanks to my wife Suzan for helping to select these songs; to Brit Albritton for his help with publicity; to the National Yiddish Book Center, especially Nora Gerard, the Center's Program Director; to Rob Loomis for piano tuning; and to the pianists who read through and recorded over 400 settings of Lyrisches Intermezzo poems with me in the last four months: Gregory Hayes, Elise Jackendoff,

Monica Jakuc, Brenda Moore Miller, Clifton J. Noble, Nancy Rice, and Gretchen Saathoff.The performers

Peter W. Shea has sung professionally since 1972 throughout New England and the Hudson Valley. He studied voice with Arthur Koret at the Hartt School, University of Hartford, librarianship at Southern Connecticut State University, and historical musicology at the University of Connecticut, Storrs. He is a frequent soloist with groups such as Arcadia Players, Hampshire Choral Society, Commonwealth Opera, and the Brattleboro Community Chorus. He also performs regularly with vocal and instrumental chamber ensembles including the vocal sextet Cantabile and Novi Cantori, and as soloist in numerous music series. He is a member of the board of directors of Arcadia Players, and served as the baroque orchestra’s co-Artistic Director for the 2003-2004 season. He is cataloger of music and Western European languages at the W.E.B. DuBois Library, University of Massachusetts, and is developing an online guide to musical settings of Heine’s poetry: http://www.library.umass.edu/subject/music/heine/. He is currently on his second Heine-related sabbatical, which, in addition to three previous programs and this one, will include two more events: a house concert including Schumann's Dichterliebe, sponsored by the Amherst College German Department and German Club, 4 pm, March 1 at Porter House (next to the Lord Jeffery Inn), and Lyrisches Intermezzo II here at the NYBC on April 15. See http://www-unix.oit.umass.edu/~shea/.

Dorie Goldman, mezzo soprano, lived in Denmark for ten years, where she studied baroque music with Ole and Inger Wierød. In 2003 she returned home to the Pioneer Valley where she is currently working on a master’s degree in musicology at UMass Amherst. She sings locally with Arcadia Players, Cantabile, and the Five-College Early Music Program.

Gregory Hayes has taught piano and occasionally  harpsichord at Dartmouth College since 1991. He is a busy chamber  musician and orchestral keyboard player, and has participated regularly in the  New England Bach Festival and on the Mohawk Trail Concerts series. He is  longtime music director for the Unitarian Society of Northampton and Florence, and for fourteen  years directed Da Camera Singers. A graduate of Amherst College and the Manhattan School of Music, he has taught for many summers at Greenwood Music Camp in  Cummington.

Elise Jackendoff is a recent arrival in the Valley. She teaches piano at UMass and at her private studio in Amherst. She was a long-time faculty member of the Longy School of Music in Cambridge, and appeared frequently as guest artist with a number of Boston-area chamber groups. Her teachers include Leon Fleisher, Russell Sherman, Ruth Slenczynska, Jane Carlson and Edith Picht-Axenfeld. She has performed throughout the United States, has appeared on numerous radio broadcasts and has recorded the works of Dianne Goolkasian Rahbee on the Seda label.

Sudie Marcuse, soprano, has been a frequent soloist with Arcadia Players, Hampshire Choral Society and other groups. She sings with the vocal ensemble Cantabile, the Choir of the Church of the Advent in Boston, and has sung with numerous other choirs around New England. She holds a Master's degree in voice from UMass Amherst, and is pursuing a DMA in historical performance at Boston University. She has taught voice at several area institutions, and presently teaches privately and at Deerfield Academy.

Nancy Rice teaches piano privately at her home in Southampton and at Suffield Academy.  She holds degrees in piano performance, music education and composition from Boston University and Boise State University. A voice student of Sudie Marcuse, Nancy also sings with Novi Cantori and other area vocal ensembles. She has had experience directing and accompanying choral groups, choirs and theater groups throughout the U.S. and England and is presently accompanist for Suffield Academy's Chamber Singers.

David Schneider, clarinet, is currently chair of the music department at Amherst College where he teaches music history and theory. As a clarinetist he has been a member of the Alaria Chamber Ensemble in New York City (1986-88) and the Berkeley Symphony under Kent Nagano (1990-97). He has recorded

Copland's Clarinet Concerto for AFKA Records. His first book, "Bartók, Hungary, and the Renewal of Tradition" is due from the University of California Press this fall.

Texts and Translations, with Notes on the ComposersHeine's original German texts for songs not sung in German or English appear on pages 17-18.Prolog: Es mal ein Ritter, no. 4 of Vier Lieder nach Texten verschieder Dichter, op. 44, 1912

Gerard Bunk (1888-1958) was a prominent Dutch organist who spent his career in Germany. This song remains unpublished, and was computer typeset for this performance by composer Leslie Crabtree. English: Louis Untermeyer1. Other settings of this poem: 1.Es war mal ein Ritter trübselig und stumm, There once was a knight full of sorrow and doubt,Mit hohlen, schneeweißen Wangen; With cheeks white as snow; indecisionEr schwankte und schlenderte schlotternd herum, Would cause him to totter and stagger aboutIn dumpfen Träumen befangen. As though he were trailing a vision.Er war so hölzern, so täppisch, so links, And he was so wooden, so awkward and dumbDie Blümlein und Mägdlein, die kicherten rings, That flowers and maidens, whene'er he would come,Wenn er stolpernd vorbeigegangen. Would watch him and laugh in derision.

Oft saß er im finstersten Winkel zu Haus; And often he'd sit in his gloom-shrouded placeEr hatt sich vor Menschen verkrochen. (From men and their joys he had broken)Da streckte er sehnend die Arme aus, And hold out his arms in a yearning embrace,Doch hat er kein Wörtlein gesprochen. Though never a word would be spoken ...Kam aber die Mitternachtstunde heran, But just as the hours to midnight now ranEin seltsames Singen und Klingen begann - A marvelous singing and ringing began,An die Türe da hört er es pochen. With a knock at his door for a token.

Da kommt seine Liebste geschlichen herein And lo, his love enters--a zephyr that blows;Im rauschenden Wellenschaumkleide, Of shimmering sea-foam her dress is;Sie blüht und glüht wie ein Röselein, She glows and she grows like the bud of a rose,Ihr Schleier ist eitel Geschmeide. Her veil gleams with gems, and her tressesGoldlocken umspielen die schlanke Gestalt, Fall to her feet in golden array;Die Äuglein grüßen mit süßer Gewalt - Her eyes are impassioned. The lovers give wayIn die Arme sinken sich beide. And yield to each other's caresses.

Der Ritter umschlingt sie mit Liebesmacht, He holds her so close that his heart almost breaks.Der Hölzerne steht jetzt in Feuer, The wooden one now is afire;Der Blasse errötet, der Träumer erwacht, The pallid one reddens, the dreamer awakes,Der Blöde wird freier und freier. The bashful is bold with desire.Sie aber, sie hat ihn gar schalkhaft geneckt, But she, she coquettes and she teases, and thenSie hat ihm ganz leise den Kopf bedeckt With her magical veil she must blind him again.Mit dem weißen, demantenen Schleier. Who blindly does nought but admire.

In einen kristallenen Wasserpalast In a watery palace of crystalline lightIst plötzlich gezaubert der Ritter. She has witched him, and all that was bitterEr staunt, und die Augen erblinden ihm fast Grows golden and fair, all is magic and bright;Vor alle dem Glanz und Geflitter. His eyes are bemused with the glitter.Doch hält ihn die Nixe umarmet gar traut, The nixie still presses him close to her side;Der Ritter ist Bräut'gam, die Nixe ist Braut, The knight is the bridegroom, the nixie the bride--Ihre Jungfraun spielen die Zither. Her maidens keep playing the zither.

Sie spielen und singen, und singen so schön, Oh sweetly they sing and sweetly they play;Und heben zum Tanze die Füße; Fair feet in the dances are shown there;Dem Ritter, dem wollen die Sinne vergehn, The knight in his ardor is swooning awayUnd fester umschließt er die Süße - And tighter he clasps her, his own there ...

Da löschen auf einmal die Lichter aus, Then all in an instant is plunged into gloom,Der Ritter sitzt wieder ganz einsam zu Haus, And our hero is sitting once more in his room,Dem düstern Poetenstübchen. In his poet's dim garret--alone there!

1 Benisan, bayafeh, no. 1 of Five Hebrew songs from the Book of songs by H. Heine, 1928.Samuel Alman (1877-1947) was born and trained in Russia, but early in the 20th century

emigrated to London, where he became very influential in that city's Jewish musical life. Hebrew: Isaac Katznelson; English: Edgar Alfred Bowring2. Other settings of this poem: 132

Benisan, bayafeh, lechodshei hazziv 'Twas in the beauteous month of May,Ach niru hannitsa nim When all the flowers were springingVataal gam bilavi That first within my bosomHaahavah vaadanim. I heard love's echo ringing.

Benisan, bayafeh, lechodshei hazziv 'Twas in the beauteous month of May,Im shir kol kenafrenanim When all the birds were singing,Gillithi lah gagu ay That first I to my my sweetheartUmadvay hanneemanim. My vows of love was bringing.

2 Uit mijne tranen schieten, no. 1 of Blumen von H. Heine, op. 4, 1879Frank Vanderstucken (1858-1929) was born in Texas and moved with his family to Antwerp

in 1865. He had a very successful career as a conductor in both Europe and America.

Dutch: unknown; English: Louis Untermeyer1. Other settings of this poem: 65

Uit mijne tranen schieten Out of my tears and sorrowsVeel bloiende bloemen omhoog, The blossoming flowers arise,En mijne zuchten worden And nightingales in choirEen nachtigalenkoor. Are born of all my sighs.

Als du mij lief hebst, vrouwken, Dear girl, if you will love me,Schenk ik di al mijn gebloemt, Those flowers to you I'll bring--En voor dijne venster zal schallen And here before your windowDer nachtigallenlied. The nightingales will sing.

3 La colombella, il giglio, no. 7 of Sette breve canzoni romantiche, composed 1904, pub. 1930Luigi Ferrari Trecate (1884-1964), Italian composer and organist, studied with Mascagni and

directed the Parma Conservatory 1929-1955. Was most successful in his music for children. Italian: Bernadini Zendrini; English: P. G. L. Webb3. Other settings of this poem: 25

La colombella, il giglio, il sol, la rosa The rose, the lily, the sun and the dove,Io, li amai, li adorai, sovra ogni cosa I loved them all once in the rapture of love.Ora non amo che la mia carina I love them no more, for my sole delightL'unica mia la pura piccina! Is a maiden so slight, so bright and so white,Fontana d'ogni amore è la mia bella Who, being herself the source of love,È rosa, sole, giglio, colombella. Is rose and lily and sun and dove.

4 Serenadă [Serenade], no. 8 of 10 căntece pe versuri de Heine, composed 1920Sabin Drăgoi (1894-1968) was a Romanian composer and ethnomusicologist who published

important collections of Romanian folk music, on which he based much of his own work.

Romanian: St. O. Iosif; English: Alma Strettell4. Other settingsof this poem: 133

Şi dacăn ochi tăi privesc, Dear, when I look into thine eyes,

Mă vindec şi mă liniş tesc. My deepest sorrow straightway flies;Şi dacă gura ţio să rut, But when I kiss thy mouth, ah, thenMă simt cu totul renăscut. No thought remains of bygone pain!

Şi dacă tu la sîn mă culci, And when I lean upon thy breast,Mă farmecă iluzii dulci. No dream of heaven could be more blest;Şi dacămi spui: „Mieşti drag," tresar, But, when thou say'st thou lovest me,Şi parcaş plînge cu amar. I fall to weeping bitterly.

5 Dein Angesicht, so lieb und schön, no. 4 of Sechs Gesänge, op. 27, published 1877Gustav Hasse (1834-1889) an obscure German musician who was born in Peitz, studied in

Leipzig, and became a music teacher in Berlin.English: Edgar Alfred Bowring2. Other settings of this poem: 33

Dein Angesicht so lieb und schön, Thy face, so lovely and serene,Das hab ich jüngst im Traum gesehn, In vision I have lately seen;Es ist so mild und engelgleich, So like an angel's 'tis, and meek,Und doch so bleich, so schmerzenbleich. Though bitter grief has blanch'd thy cheek.

Und nur die Lippen, die sind rot; Thy lips alone, they still are red;Bald aber küßt sie bleich der Tod. Death soon will kiss them pale and dead;Erlöschen wird das Himmelslicht, The heavenly light will soon be o'er,Das aus den frommen Augen bricht. That from thine eyes is wont to pour.

6 O lägg din kind intill min kind, no. 5 of Heidenröslein: Liederzyklus nach Heine, pub. 1859August Söderman (1832-1876) was one of Sweden's most important and influential

composers, known cheifly for his theater music. His Heine cycle was written during a sojourn in Leipzig. Swedish: anon.; English: Charles G. Leland5. Other settings of this poem: 89

O lägg din kind intill min kind, Oh lean thy cheek upon my cheek,Då Mötas de, tårarnas strömmar; That together our tears may flow!Mitt hjärta till ditt hjärta tryck And to my heart press fast thy heart,Som i mina ljuvaste drömmar. That together their flames may glow.

Men när jag dig håller i min arm, And when the stream of our tears shall flowÖmt till mitt hjärta dig sluter Where that mighty flame is burning,Av kärlek och längtan förgås jag då And when my strong arms round thy body I throw,Och sista sucken jag gjuter. I die of love's wild longing.

7 Če mogel vzdihe bi srca utopiti, first published 1998Josip Ipavec (1873-1921) was from Slovenia's most famous musical family. Josip, his father

and two of his uncles were doctors as well as prolific amateur composers.

Slovenian: Pavel Oblák; English: John Todhunter6. Other settings of this poem: 77

Če mogel bi v lilije kelih So deep will I plunge my spiritUto piti vzdihe srca, In the lily's chalice white,Obljubljeni slavospevi The lily shall murmur, sighing,

Bi vreli iz njega dna. A song of my Heart's Delight.

Tako bi vreli drhteči, That song shall quiver and tremblekot poljub drhtel je tvoj, Timidly as the kissKi pil sem z ustnic ljubečih That once from her moutch she gave menekoč ga pobožno s teboj. In a wonderful hour of bliss.

8 The stars, published 1912Montague Phillips (1885-1969) was an English composer who studied and later taught for

many years at the Royal Academy of Music. He initially made his name writing popular ballads for his wife, soprano Clara Butterworth. English: the composer? Other settings of this poem: 9

Es stehen unbeweglich For a thousand years the starsDie Sterne in der Höh' Stay quiet in the skies,Viel tausend Jahr', und schauen And ever at each other gazeSich an mit Liebesweh. With wistful loving eyes.

Sie sprechen eine Sprache, The words they speak togetherDie ist so reich, so schön; Are beautiful and grand,Doch keiner der Philologen Yet not the wisest scholarKann diese Sprache verstehn. Their speech may understand.

Ich aber hab sie gelernet, But I have read and learnt it,Und ich vergesse sie nicht; And know it evermore,Mir diente als Grammatik The face of my belovèdDer Herzallerliebsten Gesicht. Reveal'd to me their lore.

9 Lyrisches Intermezzo [Lyrical Intermezzo], 1832, first published 1981.Franz Lachner (1803-1890) was born into a large musical family, and became an important

conductor and composer of the early half of the Romantic era, during which the genre of song with obbligato instrument was very popular. English: anon.9 Other settings of this poem: 38

Auf Flügeln des Gesanges, On the wings of song far sweeping,Herzliebchen, trag ich dich fort, Heart's dearest, with me thou'lt goFort nach den Fluren des Ganges, Away where the Ganges is creeping;Dort weiß ich den schönsten Ort. It's loveliest garden I know.

Dort liegt ein rotblühender Garten A garden where roses are burningIm stillen Mondenschein; In the moonlight all silent there;Die Lotosblumen erwarten Where the lotus-flowers are yearningIhr trautes Schwesterlein. For their sister belovèd and fair.

Die Veilchen kichern und kosen, The violets titter, caressing,Und schaun nach den Sternen empor; Peeping up as the planets appear,Heimlich erzählen die Rosen And the roses, their warm love confessing,Sich duftende Märchen ins Ohr. Whisper words, soft-perfumed, to each ear.

Es hüpfen herbei und lauschen And, gracefully lurking or leaping,Die frommen, klugen Gazell'n; The gentle gazelles come round:

Und in der Ferne rauschen While afar, deep rushing and sweeping,Des heiligen Stromes Well'n. The waves of the Ganges sound.

Dort wollen wir niedersinken We'll lie there in slumber sinkingUnter dem Palmenbaum, Neath the palm-trees by the stream,Und Liebe und Ruhe trinken Rapture and rest deep drinking,Und träumen seligen Traum. Dreaming the happiest dream.

10 Lotoren lorak [Lotus blossom], no. 4 of Siete Lieder inspirados en poesías de Heine, 1929.Pablo Sorozábal (1897-1988) is one of the Basque region's most celebrated composers, chiefly famous for his many zarzuelas. He wrote his Basque Heine settings while studying in Germany. Basque: Arregui; English: Emma Lazarus8. Other settings of this poem: 66

Eguzkiaren argi izpipean The Lotus-flower tremblesLotoren lorak min dauko Before the sun's gold light;Bere burua makurtzen daula And, with her head low drooping,Gabaren begira dago. Waits, dreamily, the night.

Maitalea den gabeko izarrak The Moon, he is her lover,Iratzartzen du lorea, He wakes her with his light,Ta agertzen dio poliki poliki And unto him reveals sheBere aurpegi leleun leuna. Her flower-face so bright.

Ta dizdiratsu zabalten dela She blooms and glows and brightens,Muturik dago lorea And dumbly looks above;Begiak goruntz malkoz beterik She weeps and sighs and tremblesMaitasun garrak hartuta. With love and the woes of love.

11. Im Rhein, im heiligen Strome, no. 2 of Sechs Gesänge, op. 18, published ca. 1865.Robert Franz (1815-1892), highly respected in his day, wrote almost 300 songs, including 75

Heine settings, but little else. English: James Thomson7. Other settings of this poem: 29

Im Rhein im heiligen Strome, In the Rhine, in the beautiful riverDa spiegelt sich in den Well'n, The mighty shadow is thrownMit seinem großen Dome, With its great cathedral,Das große, heilige Köln. Of holy and great Cologne.

Im Dom, da steht ein Bildnis One picture in the cathedral,Auf goldenem Leder gemalt; On gilded leather wrought,In meines Lebens Wildnis Unto my life's wild sorrowHat's freundlich hineingestrahlt. Hath gracious comfort brought:

Es schweben Blumen und Englein The dear Madonna, with floatingUm Unsre liebe Frau; Angels and flowers above;Die Augen, die Lippen, die Wänglein, The eyes and the lips and contoursDie gleichen der Liebsten genau. Are all just those of my love.

12 Du liebst mich nicht, no. 3 of Drei Lieder von Heinrich Heine, op. 10, published 190-?

Alexander Von Fielitz (1860-1930) was a prominent German conductor and composer. He directed the Chicago Symphony 1904-08. English: Alma Strettell4. Other settings of this poem: 24

Du liebst mich nicht, du liebst mich nicht, You do not love me, sweet one? Why,Das kümmert mich gar wenig; That is a trifling thing;Schau ich dir nur ins Angesicht, Let me but see your face, and ISo bin ich froh wie 'n König. Am happy as a king.

Du hassest, hassest mich sogar, "I hate you, hate you!" even thisSo spricht dein rotes Mündchen; The little mouth has said;Reich mir es nur zum Küssen dar, Yet give me but that mouth to kiss,So tröst ich mich, mein Kindchen. Child, and I am comforted.

13 O zweer het niet, no. 3 of Huit mélodies [18--?]Gustave Huberti (1843-1910) was a Belgian composer, conductor, teacher and critic who

wrote, in all major genres, works that reflect his admiration of Schumann, Berlioz and Wagner.

Flemish: Hiel; English: John Todhunter6. Other settings of this poem: 13

O zweer het niet, maar soen me gauw, O kiss me only, do not swear,'k Geloof aan geenen eed der vrouw, All women's oaths I count but air!Uw woord is zoet, doch zoeter klonk Your words are sweet, but sweeter stillDe kus dien ik u lachend schonk. That kiss I took against your will!Dien heb ik, dien vertrouw ik ook, I keep it, trust it too till death,Het woord is ijl geschallen rook. A vow's but smoke and empty breath.                     * *O liefje, zweer nu immer voort, O swear, my dearest girl, swear on,'k Geloof u op het bloote woord, I'll trust thee on thy word alone!Op uwen boezen zink ik neer, And when I sink upon thy breast,'k Geloof nu aan den hemel weer. Firmly believe that I am blest;'k Geloof u liefjen voor altijd, Dear, I'll believe thy love for meDat g'eeuwig mijne liefste zijt. Long will outlast eternity.

14 Sur les yeux de ma bien aimée, no. 5 of Six mélodies ... de l'Intermezzo d'Henri Heine, 1886.Georges Hüe (1858-1948) was born into a family of famous French architects, but pursued

composition instead, chiefly vocal works, including several operas. His Heine songs date from early in his career. French: anon; English: Emma Lazarus8. Other settings of this poem: 2

Sur les yeux de ma bien aimée, Upon my loved one's little eyesJ'ai fait les plus beaux canzones; I wrote my sweetest song;Sur la petite bouche de ma bien aimée, Upon my loved one's little cheeksJ'ai fait les meilleurs terzine; I wrote fair verses long.

Sur les yeux de ma bien aimée, As for my loved one's little mouth,J'ai fait les plus magnifiques stances, I wrote a stanza on it;Et si ma bien aimée avait un cœur, And, if my loved one had a heart,Je lui ferais sur son cœur quelque beau sonnet! I'd write for it a sonnet.

15 Le monde est aveugle, no. 2 of French songs, 1915.Arturo Buzzi-Peccia (1854-1943) was born in Milan, emigrated to America in 1898 and lived

mostly in New York as a vocal teacher, publishing numerous songs and choral works.

French: anon.; English: James Thomson7. Other settings of this poem: 4

Le monde est stupide, le monde est aveugle, The world is dull, the world is blind,Il devient tous les jours plus absurdes: And daily grows more silly!Il dit de toi, ma belle petite, It says of you, my lovely child,Que tu n'as pas un bon caractère! You are not quite a lily.

Le monde est stupide, le monde est aveugle, The world is dull, the world is blind,Il te méconnaitra toujours, And judges in stupid fashion:Il ne sait pas combien tes étreintes It knows not how sweet your kisses are, Font frémir de bonheur, tes baisers son brûlants. And how they burn with passion.

16 Verlegenheit [Confusion], no. 5 of Sechs Liebeslieder von Heine, 1883.Arthur Hervey (1855-1922), of English-Irish background, wrote music in many genres, but is

best known for his criticism. English: Edgar Alfred Bowring2. Other settings of this poem: 6

Liebste, sollst mir heute sagen: Loved one--gladly would I know it,--Bist du nicht ein Traumgebild', Art thou but a vision fair,Wie's in schwülen Sommertagen Such as in his brain the poetAus dem Hirn des Dichters quillt? Loves in summer to prepare?

Aber nein, ein solches Mündchen, No! such eyes of magic splendor,Solcher Augen Zauberlicht, Lips so rosy and so warm,Solch ein liebes, süßes Kindchen, Such a child, so sweet and tender,Das erschafft der Dichter nicht. Never did the poet form.

Basilisken und Vampire, Basilisks and vampyres gory,Lindenwürm' und Ungeheu'r, Dragons, monsters of the earth,Solche schlimme Fabeltiere, Suchlike evil beats of storyDie erschafft des Dichters Feu'r. In the poet's fire have birth.

Aber dich und deine Tücke, But thyself, thy wiles insidious,Und dein holdes Angesicht, And thy face, so sweet and staid,Und die falschen frommen Blicke - And thy kindly looks perfidious,--Das erschafft der Dichter nicht. These the poet never made.

17 Прощение [Proshchenie = Forgiveness], no. 3 of Stradaniia iunosti [Young sufferings], 1958.Edison Denisov (1929-1996), originally trained as an engineer, was one of the most influential, independent-minded and courageous musical figures of the post-Shostakovich generation in

Russia. Russian: Aleksandr Blok; English: John Todhunter6. Other settings of this poem: 5

Как из пены восс ияшая Radiant as the foam-born Venus,Лучезарнй красотой Gleams my love in beauty's pride,Ты блистаешь, сташая For a strange man, come between us,Не моею, а чужой. Claims her as his chosen bride.

Сердце, мукою томимое, Heart, my heart, thou much enduring,Об измене не грусти, Murmur not at Fate's decree;

Будь покорно, и любимую, Bear it, pardon what's past curing--Неразумную прости! What, sweet fool, she has done to thee.

18 Ich grolle nicht, no. 83 of 114 Songs, composed ca. 1898, published 1922.Charles Ives (1874-1954), America's great iconoclastic composer. His settings of popular

German texts including Heine are early examples of his attempts to integrate European and American traditions. English: James Thomson7. Other settings of this poem: 14

Ich grolle nicht, und wenn das Herz auch bricht, I blame thee not, a broken heart my lot,Ewig verlornes Lieb! ich grolle nicht. O love for ever lost! I blame thee not.Wie du auch strahlst in Diamantenpracht, Though thou art splendid with the diamonds bright,Es fällt kein Strahl in deines Herzens Nacht. There falls no gleam within thy heart's deep night.

Das weiß ich längst. Ich sah dich ja im Traum, I've known this long. I saw thee in clear dream,Und sah die Nacht in deines Herzens Raum, And saw the black night within thy soul supreme,Und sah die Schlang', die dir am Herzen frißt - And saw the black worm still fretting at thy heart;Ich sah, mein Lieb, wie sehr du elend bist. I saw how wretched, O my love, thou art.

19 Ja! du bist elend, no. 9 of Liebeslieder nach Texten von Heinrich Heine, 1876.Anton Urspruch (1850-1907) studied piano with Liszt but soon turned exclusively to

composition. His works were quite popular in their day and show ingenious and original use of harmony and counterpoint. English: James Thomson7. Other settings of this poem: 32

Ja, du bist elend, und ich grolle nicht; - Yes, thou art wretched, and I blame thee not;--Mein Lieb, wir sollen beide elend sein! My Love, we both must ever wretched be!Bis uns der Tod das kranke Herze bricht, Until death's peace concludes our fatal lot,Mein Lieb, wir sollen beide elend sein. My Love, we both must ever wretched be!

Wohl seh ich Spott, der deinen Mund umschwebt, I see the scorn which round thy pale lip weaves,Und seh dein Auge blitzen trotziglich, And see thine eyes outlighten haughtily,Und seh den Stolz, der deinen Busen hebt, - And see the pride with which thy bosom heaves;Und elend bist du doch, elend wie ich. And wretched thou art still, wretched as I.

Unsichtbar zuckt auch Schmerz um deinen Mund, In secret roundthy mouth a pain-thrill steals,Verborgne Träne trübt des Auges Schein, Through tears held back thine eyes can scarcely see,Der stolze Busen hegt geheime Wund' - Thy haughty breast a bleeding heart conceals; Mein Lieb, wir sollen beide elend sein. My Love, we both must ever wretched be!

20 Das ist ein Flöten und Geigen, no. 3 Fünf Lieder, published in the 1890s.C. Otto Weber is not favored with an entry in any major reference work. His five songs were

published in Regensburg, Germany, and someone of the same name published a Jewish hymnal in London in 1905. English: Edgar Alfred Bowring2. Other settings of this poem: 11

Das ist ein Flöten und Geigen, The flutes and fiddles are sounding,Trompeten schmettern drein; The trumpets ringing clear;Da tanzt den Hochzeitreigen In the wedding dance is boundingDie Herzallerliebste mein. My heart's own mistress dear.

Das ist ein Klingen und Dröhnen The shawms and kettle-drums vyingVon Pauken und Schalmei'n; In noisy chorus I hear;Dazwischen schluchzen und stöhnen But meanwhile good angels are sighing

Die lieblichen Engelein. And weeping many a tear.

21 So hast du ganz und gar vergessen, composed 1837, first published 1999.Fanny Mendelssohn Hensel (1805-1847) was Felix Mendelssohn's sister, and a very

accomplished composer in her own right, although she was discouraged from having her works published and performed in public. English: Charles G. Leland5. Other settings of this poem: 23So hast du ganz und gar vergessen, And canst thou have forgotten whollyDaß ich so lang dein Herz besessen, How long thy heart was mine, mine solely?Dein Herzchen so süß und so falsch und so klein, That small heart, so sweet, and so false, and so wee,Es kann nirgend was Süßres und Falscheres sein. Nought sweet, nought falser could ever be.

So hast du die Lieb' und das Leid vergessen, Canst thou have forgotten the love and anguishDie das Herz mir täten zusammenpressen. Wherewith my heart oppressed did languish?Ich weiß nicht, war Liebe größer als Leid? I know not if love was greater than care,Ich weiß nur, sie waren groß alle beid'! I only know how great both were.

22 Und wüsstens die Blumen, die Kleinen, composed ca. 1930, unpublished.Edna Frida Pietsch (1894-1982) was born and spent her entire life in Milwaukee, teaching at

the Wisconsin Conservatory. Her work was influenced by MacDowell and Tchaikovsky as well as Milwaukee's German heritage. English: Alma Strettell4. Other settings of this poem: 119

Und wüßten's die Blumen, die kleinen, And if the little flowers could seeWie tief verwundet mein Herz, How pierced my heart with grief,Sie würden mit mir weinen, Then surely they would weep with meZu heilen meinen Schmerz. To bring my pain relief.

Und wüßten's die Nachtigallen, And if the nightingales could tellWie ich so traurig und krank, How sick I am, and sad,Sie ließen fröhlich erschallen Their merry songs would fill the vale, Erquickenden Gesang. To make my heart more glad.

Und wüßten sie mein Wehe, And if the golden stars on highDie goldnen Sternelein, My sorrows could but guess,Sie kämen aus ihrer Höhe, They would come down from out the sky,Und sprächen Trost mir ein. To comfort my distress.

Die alle können's nicht wissen, Yet none of these can ever know;Nur Eine kennt meinen Schmerz: One knows, but only one.Sie hat ja selbst zerrissen, Herself she pierced my heart--and soZerrissen mir das Herz. She knows, and she alone.

23 Отчего? [Otchevo? = Why?], no. 5 of Shest' romansov [Six romances], op. 6. 1869.Pyotr I. Tchaikovsky (1840-1893), undoubtedly the most famous composer on this program,

wrote 103 songs, in which, as in other genres, he successfully fused Western art with Russian feeling. Russian: Lev A. Mey; English:

John Todhunter6. Other settings of this poem: 79

Отчего побледнела весной Oh, why are now the roses so pale,

пышноцветная роза сама? Oh say, my love, say why?Отчего под зелёной травой Why now in the grass of the greening valeголубая фиалка нема? Dumb the blue violets lie?

Отчего так печально звучит Why fills the sky with such doleful soundпесня птички, несясь в небеса? Yon lark aloft in air?Отчего над лугами висит Why breathes the thyme from each sunny moundпогребальным покровом роса? A corpselike odor there?

Отчего в небе солнце с утра Why shines the sun on the meads today,холодно и темно, как зимой? So coldly, in sullen gloom?Отчего и земля вся сыра And why is now the earth so greyи угрюмей могилы самой? And dismal as a tomb?

Отчего я и сам все грустней And why am I now so sick and so drear? и болезненней день ото дня? My dearest love, reply!Отчего, о, скажи мне скорей ты, Oh say, my dearest of all most dear,покинув, забыла меня? Why didst thou leave me, why?

24 Sie haben dir viel erzählet, no. 6 of Heine-Lieder (1904-1906), published 1911.Oskar Guttmann (d. 1943), was a music critic and composer of Jewish heritage who lived and worked in Berlin until he emigrated in the 1930s. His son was the American composer Alfred

Goodman. English: Louis Untermeyer1. Other settings of this poem: 4

Sie haben dir viel erzählet They have told you many storiesUnd haben viel geklagt; And made a great to-do;Doch was meine Seele gequälet; But why my spirit worriesDas haben sie nicht gesagt. Has not been told to you.

Sie machten ein großes Wesen They made a stir and pother,Und schüttelten kläglich das Haupt; Complaining and shaking the head,Sie nannten mich den Bösen, "A devil!" they said to each other;Und du hast alles geglaubt. And you believed all they said.

Jedoch das Allerschlimmste, And yet the very worst thingDas haben sie nicht gewußt; They never even have guessed;Das Schlimmste und das Dümmste, For the worst and most accurst thing,Das trug ich geheim in der Brust. I carry hid in my breast.

25 Die Linde blühte, die Nachtigall sang, composed February 2006Gregory Hayes (see performers' bios on p. 4). This work was commissioned for this concert,

and is receiving its world premiere. English: Charles G. Leland5. Other settings of this poem: 7

Die Linde blühte, die Nachtigall sang, The nightingale sang, the lime was in flower,Die Sonne lachte mit freundlicher Lust; The sun was laughing with hearty glee;Da küßtest du mich, und dein Arm mich umschlang, Your arms were about me, you kissed me that hour,Da preßtest du mich an die schwellende Brust. On your heaving bosom you cradled me.

Die Blätter fielen, der Rabe schrie hohl, The raven croaked, and the lime-leaves fell,Die Sonne grüßte verdrossenen Blicks; The sun's salute was a peevish light;Da sagten wir frostig einander: "Lebwohl!" We bade to each other a frosty "Farewell,"Da knickstest du höflich den höflichsten Knicks. And you curtsied politely a curtsy polite.

26 Wir haben viel für einander gefühlt, from Heinrich-Heine-Lieder (1968-89), composed 1971.Tilo Medek (b. 1940) was brought up and trained as a composer and musicologist in East

Germany, but was de-naturalized in 1977 and emigrated to West Germany, where he runs a music publishing house. English: Charles G. Leland5. Other settings of this poem: 5

Wir haben viel füreinander gefühlt, We have felt so much the one for the other,Und dennoch uns gar vortrefflich vertragen. Yet lieved in an excellent concord, God knows;Wir haben oft "Mann und Frau" gespielt, We have played at husband and wife together,Und dennoch uns nicht gerauft und geschlagen. Yet never once came to scratchings or blows.Wir haben zusammen gejauchzt und gescherzt, We have shouted together in joy and in jest,Und zärtlich uns geküßt und geherzt. And tenderly too we have kissed and caressed.Wir haben am Ende, aus kindischer Lust, And we played at the last in childish glee"Verstecken" gespielt in Wäldern und Gründen, At hide-and-seek through life's tangled maze;Und haben uns so zu verstecken gewußt, And managed to hide so completely that weDaß wir uns nimmermehr wiederfinden. Shall not find each other through all our days.

27 Lyrisches Intermezzo--27, composed March 2003Leslie Crabtree (b. 1941) is a retired mathematics teacher and now lives in Florida. He has

composed much vocal music, including a Heine song cycle. Composed at my suggestion, this is to my knowledge the first setting ever made of this poem. English: Edgar A. Bowring2.

Du bliebest mir treu am längsten, To me thou wert faithful and steady,Und hast dich für mich verwendet, And madest for me supplication;Und hast mir Trost gespendet, In my troubles and sad tribulationIn meinen Nöten und Ängsten. Thy comfort was always ready.

Du gabest mir Trank und Speise, Food and drink thou gav'st me in paymentUnd hast mir Geld geborget, And plenty of money didst lend me,Und hast mich mit Wäsche versorget, And also a passport didst send me,Und mit dem Paß für die Reise. As well as some changes of raiment.

Mein Liebchen! daß Gott dich behüte, From heat and from coldness unpleasantNoch lange, vor Hitz' und vor Kälte, May heaven, my dear one, long guard thee,Und daß er dir nimmer vergelte And may it never reward theeDie mir erwiesene Güte! The kindness shown me at present!

28 Die Erde war so lange geizig, no. 5 of Heine Lieder, 3. Abt. "Die alte Geschichte", 1995.Wilhelm Killmayer (b. 1927) was born in Munich and studied with Carl Orff, among others.

His extended song cycles in particular display an abiding confrontation with the musical styles of the 18th and 19th centuries. English: John Todhunter6. Other settings of this poem: 0

Die Erde war so lange geizig, Till May came Earth was quite penurious,Da kam der Mai, und sie ward spendabel, And then grew lavishly charitable,

Und alles lacht, und jauchzt, und freut sich, Now all things laugh in a joy delirous,Ich aber bin nicht zu lachen kapabel. I too would laugh, were I only able.

Die Blumen sprießen, die Glöcklein schallen, The flowers blossom, the bells are pealing,Die Vögel sprechen wie in der Fabel; The birds all speak as they do in fable;Mir aber will das Gespräch nicht gefallen, To me their speech brings no pleasant feeling,Ich finde alles miserabel. I still find all things miserable.

Das Menschenvolk mich ennuyieret, They bore me, all the race of Adam,Sogar der Freund, der sonst passabel; - Ay, even my friend, once quite tolerable;--Das kömmt, weil man Madame titulieret And all because they address as 'Madam'Mein süßes Liebchen, so süß und aimabel. My sweetheart, so sweet and so amiable.

29 Lyrisches Intermezzo #29, composed January 2006, commissioned for this program.Clifton J. Noble, Jr. (b. 1961) is an accomplished local composer and pianist whose works are

widely performed. English: Louis Untermeyer1. Other settings of this poem: 1

Und als ich so lange, so lange gesäumt, And thus, as I wasted so many a dayIn fremden Landen geschwärmt und geträumt; In wandering and dreaming the hours away,Da werd meiner Liebsten zu lang die Zeit, My love found the waiting too long a recess,Und sie nähete sich ein Hochzeitkleid, So she started to sew on her wedding dress;Und hat mit zärtlichen Armen umschlungen And she caught in her arms, (oh deluded and dupéd)Als Bräut'gam den dümmsten der dummen Jungen. As husband, the stupidest one of the stupid.

Mein Liebchen ist so schön und mild, My loved one is so mild and fairNoch schwebt mir vor ihr süßes Bild; Her likeness haunts me everywhere;Die Veilchenaugen, die Rosenwänglein, The rose-cheeks and the violet-eyesDie glühen und blühen, jahraus, jahrein. year in, year out, their ghosts arise.Daß ich von solchem Lieb konnt weichen, And that I should lose a love so dear,War der dümmste von meinen dummen Streichen. Was the stupidest act of a stupid career.

30 The violets blue, no. 3 of Four Lyrics, composed 1906, published 1916.Frank Bridge (1879-1941) an English composer, violist and conductor, is most noted as the

teacher of Benjamin Britten. English: James Thomson7. Other settings of this poem: 10

Die blauen Veilchen der Äugelein, The violets blue of the eyes divine,Die roten Rosen der Wängelein, And the rose of the cheeks as red as wine,Die weißen Lilien der Händchen klein, And the lilies white of the hands so fine,Die blühen und blühen noch immerfort, They flourish and flourish from year to year,

Und nur das Herzchen ist verdorrt. And only the heart is withered and sere.

31 Jak krásný ten svět, no. 3 of Písnê soumraku, op. 42, ca. 1898.Josef Bohuslav Foerster (1859-1951) was an influential Czech composer and a contemporary

of Leoš Janáček. Czech: K. Burian; English: James Thomson7. Other settings of this poem: 11

Jak krásný ten svět, nebes modravá báň, The earth is so fair and the heaven so blue,a těch vánků; let mi ovívá skráň, And the breeze is breathing so warmly too,a ty květy po nivách kynou mi vstřic, The flowers of the meadow are gleaming througha ve třpytu rosy žhou víc, The sparkling and glittering morning dew,a lidem rozkoší plane líc! And the people are joyous wherever I view:a já toužím jen spáti v hrobě; Yet would were I in the grave at resttam se vinout moje mrtvá milko k tobě. Folded close to my lost love's breast.

32 Mein süsses Lieb, no. 3 of Vier Lieder von Heine, op. 16, ca. 1885.Catharinus Elling (1858-1942) was a Norwegian composer and ethnomusicologist who

studied and lived for a while in Germany. English: anon9. Other settings of this poem: 17

Mein süßes Lieb, wenn du im Grab, When thou shalt lie, my darling, lowIm dunkeln Grab wirst liegen, In the dark grave, where they hide thee,Dann will ich steigen zu dir hinab, Then down to thee I will surely go,Und will mich an dich schmiegen. And nestle in beside thee.

Ich küsse, umschlinge und presse dich wild, Wildly I'll kiss and clasp thee there,Du Stille, du Kalte, du Bleiche! Pale, cold, and silent lying;Ich jauchze, ich zittre, ich weine mild, Shout, shudder, weep in dumb despair,Ich werde selber zur Leiche. Beside my dead love dying.Die Toten stehn auf, die Mitternacht ruft, The midnight calls, up rise the dead,Sie tanzen im luftigen Schwarme; And dance in airy swarms there;Wir beide bleiben in der Gruft, We twain quit not our earthly bed,Ich liege in deinem Arme. I lie wrapt in your arms there.

Die Toten stehn auf, der Tag des Gerichts Up rise the dead; the Judgment-dayRuft sie zu Qual und Vergnügen; To bliss or anguish calls them;Wir beide bekümmern uns um nichts, We twain lie on as before we lay,Und bleiben umschlungen liegen. And heed not what befalls them.

-------------------------------------------------------------------------------------------------------------------------------Sources of English translations: 1. Louis Untermeyer, Poems of Heinrich Heine (New York, 1917) 2. Edgar Alfred Bowring, The poems of Heine complete (London, 1861) 3. Philip G. L. Webb, Translations from Heine and Goethe (London, 1912) 4. Ernest Rhys, Prose and poetry, Heinrich Heine (London, 1934) 5. Charles G. Leland, The works of Heinrich Heine (New York, 1900) 6. John Todhunter, Heine's Book of songs (Oxford,1907) 7. James Thomson, The poetical works (London, 1895) 8. Emma Lazarus, Poems and translations (New York, 1867) 9. Kuno Francke, The German Classics, Vol. VI. http://manybooks.net/pages/franckek12471247312473-8/-1.html -------------------------------------------------------------------------------------------------------------------------------Heine's original German texts for songs not sung in German or English

1 2Im wunderschönen Monat Mai, Aus meinen Tränen sprießenAls alle Knospen sprangen, Viel blühende Blumen hervor,

Da ist in meinem Herzen Und meine Seufzer werdenDie Liebe aufgegangen. Ein Nachtigallenchor.

Im wunderschönen Monat Mai, Und wenn du mich lieb hast, Kindchen,Als alle Vögel sangen, Schenk ich dir die Blumen all,Da hab ich ihr gestanden Und vor deinem Fenster soll klingenMein Sehnen und Verlangen. Das Lied der Nachtigall.

3 4Die Rose, die Lilie, die Taube, die Sonne, Wenn ich in deine Augen seh,Die liebt ich einst alle in Liebeswonne. So schwindet all mein Leid und Weh;Ich lieb sie nicht mehr, ich liebe alleine Doch wenn ich küsse deinen Mund,Die Kleine, die Feine, die Reine, die Eine; So werd ich ganz und gar gesund.Sie selber, aller Liebe Bronne,Ist Rose und Lilie und Taube und Sonne. Wenn ich mich lehn an deine Brust,

Kommt's über mich wie Himmelslust;6 Doch wenn du sprichst: "Ich liebe dich!",

Lehn deine Wang' an meine Wang' So muß ich weinen bitterlich.Dann fließen die Tränen zusammen!Und an mein Herz drück fest dein Herz, 7Dann schlagen zusammen die Flammen! Ich will meine Seele tauchen

In den Kelch der Lilie hinein;Und wenn in die große Flamme fließt Die Lilie soll klingend hauchenDer Strom von unsern Tränen, Ein Lied von der Liebsten mein.Und wenn dich mein Arm gewaltig umschließt -Sterb ich vor Liebessehnen! Das Lied soll schauern und beben

Wie der Kuß von ihrem Mund,Den sie mir einst gegebenIn wunderbar süßer Stund'.

10 13Die Lotosblume ängstigt O schwöre nicht und küsse nur,Sich vor der Sonne Pracht, Ich glaube keinem Weiberschwur!Und mit gesenktem Haupte Dein Wort ist süß, doch süßer istErwartet sie träumend die Nacht. Der Kuß, den ich dir abgeküßt!

Den hab ich, und dran glaub ich auch,Der Mond, der ist ihr Buhle, Das Wort ist eitel Dunst und Hauch.Er weckt sie mit seinem Licht,                      *Und ihm entschleiert sie freundlich O schwöre, Liebchen, immerfort,Ihr frommes Blumengesicht. Ich glaube dir aufs bloße Wort!

An deinen Busen sink ich hin,Sie blüht und glüht und leuchtet, Und glaube, daß ich selig bin;Und starret stumm in die Höh'; Ich glaube, Liebchen, ewiglich,Sie duftet und weinet und zittert Und noch viel länger, liebst du mich.Vor Liebe und Liebesweh.

1514 Die Welt ist dumm, die Welt ist blind,

Auf meiner Herzliebsten Äugelein Wird täglich abgeschmackter!Mach ich die schönsten Kanzonen. Sie spricht von dir, mein schönes Kind:Auf meiner Herzliebsten Mündchen klein Du hast keinen guten Charakter.Mach ich die besten Terzinen.

Die Welt ist dumm, die Welt ist blind,Auf meiner Herzliebsten Wängelein Und dich wird sie immer verkennen;

Mach ich die herrlichsten Stanzen. Sie weiß nicht, wie süß deine Küsse sind,Und wenn meine Liebste ein Herzchen hätt, Und wie sie beseligend brennen.Ich machte darauf ein hübsches Sonett.

2317 Warum sind denn die Rosen so blaß,

Wie die Wellenschaumgeborene O sprich, mein Lieb, warum?Strahlt mein Lieb im Schönheitsglanz, Warum sind denn im grünen GrasDenn sie ist das auserkorene Die blauen Veilchen so stumm?Bräutchen eines fremden Manns.

Warum singt denn mit so kläglichem LautHerz, mein Herz, du vielgeduldiges, Die Lerche in der Luft?Grolle nicht ob dem Verrat; Warum steigt denn aus dem BalsamkrautTrag es, trag es, und entschuldig es, Hervor ein Leichenduft?Was die holde Törin tat.

Warum scheint denn die Sonn' auf die Au31 So kalt und verdrießlich herab?

Die Welt ist so schön und der Himmel so blau, Warum ist denn die Erde so grauUnd die Lüfte, die wehen so lind und so lau, Und öde wie ein Grab?Und die Blumen winken auf blühender Au,Und funkeln und glitzern im Morgentau, Warum bin ich selbst so krank und so trüb,Und die Menschen jubeln, wohin ich schau - Mein liebes Liebchen, sprich?Und doch möcht ich im Grabe liegen, O sprich, mein herzallerliebstes Lieb,Und mich an ein totes Liebchen schmiegen. Warum verließest du mich?