Adobe PDF Version - Melbourne Recital Centre

Great Performers 2013
Camilla Tilling, soprano
Anthony Legge, piano
Thursday 16 May 2013
7.30pm Elisabeth Murdoch Hall
Presented by Melbourne Recital Centre
Pre–concert talk presented by Andrea Katz
6.45pm Elisabeth Murdoch Hall
This concert is being recorded by ABC Classic FM for delayed broadcast.
Duration: approximately two hours including one 20-minute interval.
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PROGRAM
Alexander von Zemlinsky (1871–1942)
Walzer Gesänge nach toskanischen Volksliedern von Ferdinand Gregorovius, Op.6
I Liebe Schwalbe
II Klagen ist der Mond gekommen
III Fensterlein, nachts bist du zu
IV Ich geh' des Nachts
V Blaues Sternlein
VI Briefchen schrieb ich
Franz Schubert (1747–1828)
Suleika I (D.720)
Suleika II (D.717)
Du Bist die Ruh (D.776)
Edvard Grieg (1843–1907)
Six Songs, Op.48
I Gruss
II Dereinst, Gedanke mein
III Lauf der Welt
IV Die verschwiegene Nachtigall
V Zur Rosenzeit
VI Ein Traum
Interval: 20 minutes
Jean Sibelius (1865–1957)
Five Songs, Op.37
I Den första kyssen
II Lasse liten
III Soluppgång
IV Var det en dröm?
V Flickan kom ifrån sin älsklings mote
Richard Strauss (1864–1949)
Befreit (Op.39, No.4)
Meinem Kinde (Op.37, No.3)
Hat gesagt – bleibt's nicht dabei (Op.36, No.3)
Muttertänderlei (Op.43, No.2)
Cäcilie (Op.27, No.2)
Program is correct at time of printing; details are subject to variation
at the performers’ discretion

ABOUT THE MUSIC
Alexander von Zemlinsky
(b. Vienna, Austria, 1871 – d. Larchmont, New York, USA, 1942)
Walzer Gesänge nach toskanischen Volksliedern von Ferdinand Gregorovius, Op.6
Waltz-Songs after Tuscan folksongs by Ferdinand Gregorovius (1821–1891)
Alexander von Zemlinsky occupies a unique position, an intermediary between late-
Romanticism and modernism, and a one-man distillation of the cosmopolitan ferment of turn
of the century Vienna.
A protégé of Brahms, a pupil of Bruckner, and championed by Gustav Mahler, Zemlinsky
in turn became the friend, teacher and brother-in-law of Arnold Schoenberg (who married
Alexander’s sister, Mathilde), giving Schoenberg his only formal composition lessons.
A conductor of note, Zemlinsky worked in Vienna, Prague and Berlin, returning to Austria in
1933 when Jews were excluded from German state service. After Hitler’s invasion, Zemlinsky
and his family fled Austria for the USA in 1938. They settled in New York, but Zemlinsky never
gained the high profile of his Los Angeles-based pupil Schoenberg or fellow émigrés Igor
Stravinsky and Paul Hindemith. Largely forgotten after his death, Zemlinsky’s work is at last
being recognised as vital testament of his turbulent times. Schonberg said of his teacher:
‘I always firmly believed that he was a great composer and I still believe this. It is possible
that his time will come sooner than we think’.
Zemlinsky’s highly sophisticated music looks to the past and the future: some of Brahms’
formal rigour provides the backbone for opulent harmonies. The Waltz-Songs were composed
in 1898, the year after Brahms’ death, and bear more than a passing resemblance to Brahms’
own waltzes (for example the four-hand waltzes of Op.39 or the two sets of vocal Liebeslieder
Waltzes, Op.52 and 65). Wistful, irresolute and never-entirely-happy, Zemlinsky’s Waltz-Songs
perfectly evoke the melancholy of the final dance at the ball. The last song ends however on a
triumphant note: ‘he who endures in eternity is victorious.’
Liebe Schwalbe
Liebe Schwalbe, kleine Schwalbe,
Du fliegst auf und singst so früh,
Streuest durch die Himmelsbläue
Deine süße Melodie.
Die da schlafen noch am Morgen,
Alle Liebenden in Ruh',
Mit dem zwitschernden Gesange
Die Versunk'nen weckest du.
Auf! nun auf! ihr Liebesschläfer,
Weil die Morgenschwalbe rief:
Denn die Nacht wird den betrügen,
Der den hellen Tag verschlief.
Dear Swallow
Dear swallow, small swallow,
you fly up and sing so early,
strewing through the blue heavens
your sweet melody.
Those who still are sleeping in the morning,
all lovers at rest,
with your twittering songs
you awaken them from their slumber.
Up! get up! you sleeping lovers –
the morning swallow is calling:
for the night will cheat
those who sleep away the bright day.
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Klagen ist der Mond gekommen
Klagen ist der Mond gekommen,
Vor der Sonne Angesicht,
Soll ihm noch der Himmel frommen,
Da du Glanz ihm nahmst und Licht?
Seine Sterne ging er zählen,
Und er will vor Leid vergehn:
Zwei der schönsten Sterne fehlen,
Die in deinem Antlitz stehn.
Fensterlein
Fensterlein, nachts bist du zu,
Tust auf dich am Tag mir zu Leide:
Mit Nelken umringelt bist du;
O öffne dich, Augenweide!
Fenster aus köstlichen Stein,
Drinnen die Sonne, die Sterne da draußen,
O Fensterlein heimlich und klein,
Sonne darinnen und Rosen daraußen.
Ich gehe des Nachts
Ich gehe des Nachts, wie der Mond tut gehn,
Ich suche, wo den Geliebten sie haben:
Da hab ich den Tod, den finstern, gesehn.
Er sprach: such nicht, ich hab ihn begraben.
Blaues Sternlein
Blaues Sternlein, du sollst schweigen,
Das Geheimnis gib nicht kund.
Sollst nicht allen Leuten zeigen
Unsern stillen Liebesbund.
Mögen andre stehn in Schmerzen,
Jeder sage, was er will;
Sind zufrieden unsre Herzen,
Sind wir beide gerne still.
Briefchen schrieb ich
Briefchen schrieb und warf in den Wind ich,
Sie fielen ins Meer, und sie fielen auf Sand.
Ketten von Schnee und von Eise, die bind' ich,
Die Sonne zerschmilzt sie in meiner Hand.
Maria, Maria, du sollst es dir merken:
Am Ende gewinnt, wer dauert im Streit,
Maria, Maria, das sollst du bedenken:
Es siegt, wer dauert in Ewigkeit.
The Moon has Come Lamenting
The moon has come lamenting
before the gaze of the sun:
What use to her are the heavens
if you have taken away her radiance and light?
She went to count her stars,
and she will die for sorrow:
two of the fairest stars are missing –
those that belong to your face.
Little Window
Little window, by night you are shut,
and by day, to my sorrow, you are open:
you are framed with carnations;
If you were to open, it would be a welcome sight!
Window of precious stone,
within – sunlight; without – stars;
O little window, secret and small,
sun within and roses without.
I Walk at Night
I walk at night, following the moon;
I search for where they have taken my sweetheart.
But then I saw death, the Dark One.
He said: ‘Search no longer – I have buried him.’
Little Blue Star
Little blue star, be silent –
do not reveal the secret.
Do not show everyone
the silent bond between our hearts.
Others may stand their sorrows –
let them say what they will;
Our hearts are satisfied,
and we happily keep silent.
I wrote little letters
I wrote little letters and threw them into the wind;
they fell into the sea, and they fell onto the sand.
Into chains of snow and ice, I wind them,
and the sun melts them in my hands.
Maria, Maria, you must notice:
he who endures the struggle wins in the end;
Maria, Maria, you must understand:
he who endures in eternity is victorious.
English Translation © Emily Ezust

Franz Schubert
(b. Vienna, Austria, 1797 – d. Vienna, Austria, 1828)
If Franz Schubert didn’t quite invent the ‘lied’ he certainly perfected it. In hundreds of songs,
and song cycles, Schubert explored the spectrum of human emotion and experience with
unprecedented subtlety and power. Art Song had been a part of domestic music-making since
the 18th century – Haydn, Mozart and Beethoven composed them – but Schubert benefited
from the ascendancy of the middle-classes, the ubiquity of the new-fangled pianoforte in
parlours everywhere, and the publishing industry that grew up to service it. He also paved the
way for the lieder as the purview of professional musicians, and worthy of the hushed
attention of a concert audience.
In Schubert’s songs, the voice, accompaniment and pictorial description fuse into an
emotional whole. In the same was that Romantic landscape painters imbued their pictures
with joyous sublimity or glowering melancholy, Schubert sketches the internal state of the
poet with a few well-judged chords or a simple melodic figure.
Schubert set the poems of ‘Suleika’ (the nom de plume of Marianne von Willemer in her
correspondence with Goethe) twice. The first time in 1821 (D.720) he devised one of his most
‘symphonic’ settings, a miniature epic. The piano’s introduction evokes the motion of the East
Wind and then its fluttering underpins a soaring vocal line. Rather than a simple strophic
setting (where each verse gets the same music), Schubert varies each stanza, increasing the
harmonic tension before climaxing ecstatically in the fifth. The sixth stanza functions as a
hymn-like coda in the major key, providing harmonic, if not emotional, closure after the
unquenchable longing of the previous music. 'Suleika II' (D.717), composed a few years later,
is more extrovert, even operatic. The West Wind in this song is the servant of the singer, who
commands it to hasten to her beloved, sending the breezy, virtuosic piano accompaniment
undulating into the distance. The rapt, almost religious, intensity of ‘Du bist die Ruh’ has
made it one of Schubert’s most famous songs. The great Schubertian Graham Johnson
described it as "a chant or mantra, a litany of patience and humility which hymns long-lasting
love and the steady-breathed span of an enduring relationship". It is a small glimpse into the
inner life and desires of one of music’s most profound souls.
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Suleika I (D.720)
Text: Marianne von Willemer (1784–1860)
Attributed to and adapted by Wolfgang von
Goethe (1749–1832)
Was bedeutet die Bewegung?
Bringt der Ost mir frohe Kunde?
Seiner Schwingen frische Regung
Kühlt des Herzens tiefe Wunde.
Kosend spielt er mit dem Staube,
Jagt ihn auf in leichten Wölkchen,
Treibt zur sichern Rebenlaube
Der Insekten frohes Völkchen.
Lindert sanft der Sonne Glühen,
Kühlt auch mir die heißen Wangen,
Küßt die Reben noch im Fliehen,
Die auf Feld und Hügel prangen.
Und mir bringt sein leises Flüstern
Von dem Freunde tausend Grüße;
Eh' noch diese Hügel düstern,
Grüßen mich wohl tausend Küsse.
Und so kannst du weiter ziehen!
Diene Freunden und Betrübten.
Dort wo hohe Mauern glühen,
Dort find' ich bald den Vielgeliebten.
Ach, die wahre Herzenskunde,
Liebeshauch, erfrischtes Leben
Wird mir nur aus seinem Munde,
Kann mir nur sein Athem geben.
Suleika II (D.717)
Text: Marianne von Willemer (1784–1860)
Attributed to and adapted by Wolfgang von
Goethe (1749–1832)
Ach, um deine feuchten Schwingen,
West, wie sehr ich dich beneide:
Denn du kannst ihm Kunde bringen
Was ich in der Trennung leide!
Die Bewegung deiner Flügel
Weckt im Busen stilles Sehnen;
Blumen, Auen, Wald und Hügel
Stehn bei deinem Hauch in Tränen.
Suleika I
What does the motion mean?
Does the East wind bring glad tidings?
The refreshing movement of its wings
Chills the heart's deep wound.
It plays gently with the dust,
Chasing it into light clouds.
And drives the happy insect people
to the security of the vine-leaves.
It softly tempers the sun's incandescence,
and chills my hot cheeks,
As it flees it kisses the vines
which are prominent on the fields and hills.
And its soft whispering brings me
A thousand greetings from my friend
Before these hills dim,
I will be greeted by a thousand kisses.
So as you go on your way
And serve friends and the saddened.
There where high walls glow,
I shall soon find my dearly beloved.
Oh, the true message of his heart,
Loves-breath, refreshing life
Comes only from his mouth,
Can be given to me only by his breath.
English Translation © Richard Morris.
Suleika II
Ah, West Wind, how I envy you
your moist wings;
for you can bring him word
of what I suffer separated from him.
The motion of your wings
awakens a silent longing within my breast.
Flowers, meadows, woods and hills
grow tearful at your breath.

Doch dein mildes sanftes Wehen
Kühlt die wunden Augenlider;
Ach, für Leid müsst’ ich vergehen,
Hofft’ ich nicht zu sehn ihn wieder.
Eile denn zu meinem Lieben,
Spreche sanft zu seinem Herzen;
Doch vermeid’ ihn zu betrüben
Und verbirg ihm meine Schmerzen.
Sag ihm, aber sag’s bescheiden:
Seine Liebe sei mein Leben,
Freudiges Gefühl von beiden
Wird mir seine Nähe geben.
Du Bist die Ruh (D.776)
Text: Friedrich Rückert (1788–1866)
Du bist die Ruh,
Der Friede mild,
Die Sehnsucht du
Und was sie stillt.
Ich weihe dir
Voll Lust und Schmerz
Zur Wohnung hier
Mein Aug und Herz.
Kehr ein bei mir,
Und schließe du
Still hinter dir
Die Pforten zu.
Treib andern Schmerz
Aus dieser Brust!
Voll sei dies Herz
Von deiner Lust.
Dies Augenzelt
Von deinem Glanz
Allein erhellt,
O füll es ganz!
But your mild, gentle breeze
cools my sore eyelids;
ah, I should die of grief
if I had no hope of seeing him again.
Hasten then to my beloved
speak softly to his heart –
but be careful not to distress him,
and conceal my suffering from him.
Tell him, but tell him humbly,
that his love is my life,
and that his presence will bring me
a joyous sense of both.
English Translation © Richard Wigmore/
Hyperion Records
You Are Calm
You are calm,
The gentle peace,
You are longing
And what makes it cease.
Full of joy and pain,
I give to you
As a dwelling place
My eyes and heart
Come to me
And gently close
The gates
Behind you
Drive the pain
From my breast
Let my heart
Be filled with joy
The canopy of my eyes
By your radiance
Alone is lit
Oh, fill it entirely!
English Translation ©
Melbourne Recital Centre
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Edvard Grieg
(b. Bergen, Norway, 1843 – d. Troldhaugen, near Bergen, Norway, 1907)
Six Songs, Op.48
Norway’s greatest composer, and founder of the national style, received his musical education
in Leipzig, the city of Schumann and Mendelssohn. It was during his time in Copenhagen that
he became interested in the folk music of Norway, establishing a concert society dedicated to
the performance of new music by Scandinavian composers. In 1867 he married his cousin,
soprano Nina Hagerup, the dedicatee and first performer of many of Grieg’s substantial body
of songs. Grieg’s later works became more inflected by folk song, which in turn acted as the
inspiration for Percy Grainger and Béla Bartók. Grieg also pioneered a kind of neoclassicism
in works like the Holberg Suite, looking back to Baroque music for inspiration much as
Stravinsky would in the 1920s.
Grieg is a master of the miniature and the striking character piece, so the song, a musical
short story, is an ideal medium for his craft (he wrote more than 180). The Six Songs, Op.48,
were composed between 1884 and 1889, at the height of his most Norwegian phase, but they
are settings of German texts. Grieg wrote that he was reaching for a ‘broader and more
universal vision’ rather than the specifically local one he had been exploring. The folk
element is downplayed, except perhaps in the lighthearted ‘Lauf der Welt’ and these songs
are very much in the German Lied tradition. Whatever language he sets, Grieg’s gift for
unforgettable melodies and apt musical evocation of the words – trilling nightingales and
chiming bells – is in the ascendant.
Grüss
Text: Heinrich Heine (1797–1856)
Leise zieht durch mein Gemüt
Liebliches Geläute,
Klinge, kleines Frühlingslied,
Kling hinaus ins Weite.
Kling hinaus bis an das Haus,
Wo die Blumen sprießen,
Wenn du eine Rose schaust,
Sag, ich laß sie grüßen.
Greeting
Gently moves through my spirit
a lovely pealing sound;
ring out, little spring song,
ring out into the distance.
Go out, up to the house,
where the violets bud;
if you see a rose,
say, I send her my greeting.

Dereinst, Gedanke mein
Text: Emanuel von Geibel (1815–1884),
after Cristobal del Castellejo (1491–1556)
Dereinst, dereinst,
Gedanke mein,
Wirst ruhig sein.
Läßt Liebesglut
Dich still nicht werden,
In kühler Erden,
Da schläfst du gut,
Dort ohne Lieb'
und ohne Pein
Wirst ruhig sein.
Was du im Leben
Nicht hast gefunden,
Wenn es entschwunden,
Wird's dir gegeben,
Dann ohne Wunden
Und ohne Pein
Wirst ruhig sein.
Lauf der Welt
Text: Johann Ludwig Uhland (1787–1862)
An jedem Abend geh' ich aus
Hinauf den Wiesensteg.
Sie schaut aus ihrem Gartenhaus,
Es stehet hart am Weg.
Wir haben uns noch nie bestellt,
Es ist nur so der Lauf der Welt.
Ich weiß nicht, wie es so geschah,
Seit lange küss' ich sie,
Ich bitte nicht, sie sagt nicht: ja!
Doch sagt sie: nein! auch nie.
Wenn Lippe gern auf Lippe ruht,
Wir hindern's nicht, uns dünkt es gut.
Das Lüftchen mit der Rose spielt,
Es fragt nicht: hast mich lieb?
Das Röschen sich am Taue kühlt,
Es sagt nicht lange: gib!
Ich liebe sie, sie liebet mich,
Doch keines sagt: ich liebe dich!
One Day, My Thought
One day, one day,
my thought,
you will find peace.
If love’s passion
will not let you rest,
in the cool earth,
there you will sleep soundly,
there without love or pain
you will find peace.
What in life
you did not find,
when it has vanished,
it will be given to you;
then without wounds
and without pain
you will find peace.
The Way of the World
Every evening I go out,
up the meadow path.
She is looking out from her summer house,
it stands just beside the way.
We have never yet introduced ourselves –
that is just the way of the world.
I do not know how it happened,
but for a long time I have been kissing her,
I do not ask, she does not say yes,
but neither does she ever say no.
When lips gladly rest on lips,
we do not prevent it, it seems good to us.
The breeze plays with the rose,
it does not ask, ‘Do you love me?’
The little rose cools itself in the dew,
it does not say, ‘Give!’
I love her, she loves me,
but neither one says, ‘I love you!’
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Die verschwiegene Nachtigall
Text: Karl Joseph Simrock (1802–1876)
Unter der Linden,
an der Haide,
wo ich mit meinem Trauten saß,
da mögt ihr finden,
wie wir beide
die Blumen brachen und das Gras.
Vor dem Wald mit süßem Schall,
Tandaradei!
sang im Tal die Nachtigall.
Ich kam gegangen
zu der Aue,
mein Liebster kam vor mir dahin.
Ich ward empfangen
als hehre Fraue,
daß ich noch immer selig bin.
Ob er mir auch Küsse bot?
Tandaradei!
Seht, wie ist mein Mund so rot!
Wie ich da ruhte,
wüßt' es einer,
behüte Gott, ich schämte mich.
Wie mich der Gute
herzte, keiner
erfahre das als er und ich –
und ein kleines Vögelein,
Tandaradei!
das wird wohl verschwiegen sein.
Der Rosenzeit
Text: Wolfgang von Goethe (1749–1832)
Ihr verblühet, süße Rosen,
Meine Liebe trug euch nicht;
Blühtet, ach! dem Hoffnungslosen,
Dem der Gram die Seele bricht!
Jener Tage denk' ich trauernd,
Als ich, Engel, an dir hing,
Auf das erste Knöspchen lauernd
Früh zu meinem Garten ging;
Alle Blüten, alle Früchte
Noch zu deinen Füßen trug
Und vor deinem Angesichte
Hoffnung in dem Herzen schlug.
The Secretive Nightingale
Under the lime trees
by the heath
where I sat with my beloved,
there you may find,
how we two
broke the flowers and the grass.
Before the wood with a sweet sound,
tandaradei!
the nightingale sang in the valley.
I came walking
to the pasture,
my beloved came before me there.
I was received
as a noble lady,
and so I shall always be happy.
Did he offer me kisses?
tandaradei!
See, how red my mouth is!
How I rested there,
if anyone should know,
God forbid, I would be ashamed.
How my darling embraced me,
no one may know,
but he and I;
and a little bird,
tandaradei!
who had better keep the secret.
The Time of Roses
You are fading, sweet roses,
my love did not deceive you;
ah, you bloomed for the hopeless one,
whose soul is torn by affliction!
Sorrowfully I think of those days,
when I, angel, set my heart on you,
and looking out for the first little bud,
went early in the morning to my garden;
carried all the blossoms, all the fruits
to your very feet,
and before your face
hope was beating in my heart.

Ihr verblühet, süße Rosen,
Meine Liebe trug euch nicht;
Blühtet, ach! dem Hoffnungslosen,
Dem der Gram die Seele bricht!
Ein Traum
Text: Friedrich von Bodenstedt (1819–1892)
Mir träumte einst ein schöner Traum:
Mich liebte eine blonde Maid;
Es war am grünen Waldesraum,
Es war zur warmen Frühlingszeit:
Die Knospe sprang, der Waldbach schwoll,
Fern aus dem Dorfe scholl Geläut –
Wir waren ganzer Wonne voll,
Versunken ganz in Seligkeit.
Und schöner noch als einst der Traum
Begab es sich in Wirklichkeit –
Es war am grünen Waldesraum,
Es war zur warmen Frühlingszeit:
Der Waldbach schwoll, die Knospe sprang,
Geläut erscholl vom Dorfe her –
Ich hielt dich fest, ich hielt dich lang
Und lasse dich nun nimmermehr!
O frühlingsgrüner Waldesraum!
Du lebst in mir durch alle Zeit –
Dort ward die Wirklichkeit zum Traum,
Dort ward der Traum zur Wirklichkeit!
You are fading, sweet roses,
my love did not deceive you;
ah, you bloomed for the hopeless one,
whose soul is torn by affliction!
A Dream
I once dreamed a beautiful dream:
a blond maiden loved me,
it was in the green woodland glade,
it was in the warm springtime:
the buds were blooming, the brook was swelling,
from the village far away churchbells were chiming –
we were completely filled with joy,
engulfed in happiness.
And more beautiful yet than that dream,
it happened in reality:
it was in the green woodland glade,
it was in the warm springtime;
the brook was swelling, the buds were blooming,
churchbells were chiming from the village –
I held you tight, I held you long
and now will never let you go!
Oh vernal woodland glade,
you will live in me for all time!
There reality became a dream,
there a dream became reality!
English Translation © Dr David Fanning
By kind permission of Deutsche Grammophon
GmbH Berlin / Universal Music Australia
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Jean Sibelius
(b.Hämeenlinna, Finland, 1865 – d. Ainola, near Järvenpää, Finland, 1957)
Five Songs, Op.37
Jean Sibelius is associated not only with the forging of a distinctively Finnish style of music,
but of the creation of national consciousness and his role in Finnish independence. He
remains something of a national hero, and is still probably the most famous Finn to those of
us outside of Finland. Why then are his Five Songs, Op.37 (composed between 1898 and 1904)
set in Swedish rather than Finnish? Sibelius’s first language was Swedish, and while he
learned Finnish, he was never entirely comfortable corresponding in it. Sibelius’s musical
language is also a polyglot amalgam: of German and Russian Romanticism (there’s plenty of
Tchaikovsky in his earlier works, and some Wagner, especially in the works based on Finnish
legends). Eventually something deeper, darker and more authentically Finnish emerged: the
urbane polish of Tchaikovsky is replaced by a rough-hewn, austere, bracing quality, cast in
unique musical forms which Sibelius described as being like assembling a mosaic. Sibelius
trod his own path, writing music which seems at once ancient and new, until the final 30-year
silence from 1926.
The best known of the Op.37 songs is the final and most impassioned one, sometimes called
‘The Tryst’, which was made famous by Norwegian soprano Kirsten Flagstad. The text is
almost folk-like with its riddling format and devastating dénoument. The poet Joahn Ludvig
Runeberg was a family friend and Sibelius said that in his poems he found “a greater sense
of reality and truth than in the works of any other poet that I have read up to the present.”
Den första kyssen
Text: Johan Ludvig Runeberg (1804–1877)
På silvermolnets kant satt aftonstjärnan,
från lundens skymning frågte henne tärnan:
Säg, aftonstjärna, vad i himlen tänkes,
när första kyssen åt en älskling skänkes?
Och himlens blyga dotter hördes svara:
På jorden blickar ljusets änglaskara,
och ser sin egen sällhet speglad åter;
blott döden vänder ögat bort och gråter.
Lasse liten
Text: Zacharias Topelius (1818–1898))
Världen är så stor, så stor,
Lasse, Lasse liten!
Större än du nånsin tror,
Lasse, Lasse liten!
Det är hett och det är kallt,
Lasse, Lasse liten!
Men Gud råder överallt,
Lasse, Lasse liten!
The First Kiss
The evening star sat on the rim of silver mist.
From the shadowy grove the maiden asked her:
Tell me, evening star, what do they think in heaven
when you give the first kiss to your lover?
And heaven's shy daughter was heard to answer:
The angels of light look toward the earth
and see their own bliss reflected back;
only death turns his eyes away and weeps.
English Translation © Lynn Steele
Little Lasse
The world is so big, so big,
Lasse, little Lasse!
Bigger then you can ever imagine,
Lasse, little Lasse!
It is hot and it is cold,
Lasse, little Lasse!
But God councils us everywhere,
Lasse, little Lasse!

Många mänskor leva där,
Lasse, Lasse liten!
Lycklig den som Gud har kär,
Lasse, Lasse liten!
När Guds angel med dig går,
Lasse, Lasse liten!
Ingen orm dig bita få,
Lasse, Lasse liten!
Säg, var trives du nu mest,
Lasse, Lasse liten?
Borta bra men hemma bäst,
Lasse, Lasse liten!
Soluppgång
Text: Tor Hedberg (1862–1931)
Under himlens purpurbrand
Ligga tysta sjö och land,
Det är gryningsstunden.
Snöig gren och frostvit kvist
Tecka sig så segervisst
Mot den röda grunden.
Riddarn står vid fönsterkarm,
Lyssnar efter stridens larm,
Trampar golvets tilja.
Men en smal och snövit hand
Kyler milt hans pannas brand,
Böjer mjukt hans vilja.tenderly
Riddarn sätter horn till mun,
Blåser vilt I gryningsstund,
Över nejd som tiger.
Tonen klingar, klar och spröd,
Branden slocknar, gyllenröd,
Solen sakta stiger.
Many people live there,
Lasse, little Lasse!
Happy he whom God loves,
Lasse, little Lasse!
When God's angel walks with you,
Lasse, little Lasse,
No snake can bite you,
Lasse, little Lasse!
Say, where are you most happy
Lasse, little Lasse!
It's good to travel, but home is best,
Lasse, little Lasse!
English Translation © John Atkinson/
Hyperion Records
Sunrise
Beneath heaven's purple fire
Silently lie lake and land;
It is the time of dawn.
Snow-covered branch and frost-white twig
Stand out prominently
From the red backdrop.
The knight stands by the window
listening for the sound of battle,
pacing the floor.
But a small, snow-white hand
gently cools his hot brow,
changing his resolve.
The knight puts his horn to his mouth,
and blows fiercely at the dawn,
over the silent land.
The note rings clear and fragile;
The fire slowly dies, golden red,
As the sun slowly rises.
English Translation © John Atkinson/
Hyperion Records
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Var det en dröm?
Text by Josef Julius Wecksell (1838–1907)
Var det en dröm, att ljuvt en gång
jag var ditt hjärtas vän?
Jag minns det som en tystnad sång,
då strängen darrar än.
Jag minns en törnros av dig skänkt,
en blick så blyg och öm;
jag minns en avskedstår, som blänkt.
Var allt, var allt en dröm?
En dröm lik sippans liv så kort
uti en vårgrön ängd,
vars fägring hastigt vissnar bort
för nya blommors mängd.
Men mången natt jag hör en röst
vid bittra tårars ström:
göm djupt dess minne i ditt bröst,
det var din bästa dröm!
Flickan kom ifrån sin älsklings möte
Text by Johan Ludvig Runeberg (1804–1877)
Flickan kom från sin älsklings möte,
kom med röda händer. Modern sade:
‘Varav rodna dina händer, flicka?’
Flickan sade: ‘Jag har plockat rosor
och på törnen stungit mina händer.’
Åter kom hon från sin älsklings möte,
kom med röda läppar. Modern sade:
‘Varav rodna dina läppar, flicka?’
Flickan sade: ‘Jag har ätit hallon
och med saften målat mina läppar.’
Åter kom hon från sin älsklings möte,
kom med bleka kinder. Modern sade:
‘Varav blekna dina kinder, flicka?’
Flickan sade: ‘Red en grav, o moder!
Göm mig där och ställ ett kors däröver,
och på korset rista, som jag säger:
En gång kom hon hem med röda händer,
ty de rodnat mellan älskarns händer.
En gång kom hon hem med röda läppar,
ty de rodnat under älskarns läppar.
Senast kom hon hem med bleka kinder,
ty de bleknat genom älskarns otro.’
Was It A Dream?
Was it a dream that once, in a wonderful time,
I was your heart's true love?
I remember it as a song fallen silent,
of which the strains still echo.
I remember a rose you tossed,
a glance so shy and tender;
I remember a sparkling tear when we parted.
Was it all, all a dream?
A dream as brief as the life of a cowslip
in a green meadow in springtime,
whose beauty soon withers away
before a crowd of new flowers.
But many a night I hear a voice
through the flood of my bitter tears:
hide this memory deep in your heart,
it was your best dream!
English Translation © Lynn Steele
The Girl Came from Meeting Her Lover
The girl came from meeting her lover,
came with her hands all red. Said her mother:
‘What has made your hands so red, girl?’
Said the girl: ‘I was picking roses
and pricked my hands on the thorns.’
Again she came from meeting her lover,
came with her lips all red. Said her mother:
‘What has made your lips so red, girl?’
Said the girl: ‘I was eating raspberries
and stained my lips with the juice.’
Again she came from meeting her lover,
came with her cheeks all pale. Said her mother:
‘What has made your cheeks so pale, girl?’
Said the girl: ‘Oh mother, dig a grave for me,
Hide me there and set a cross above,
And on the cross write as I tell you:
Once she came home with her hands all red,
they had turned red between her lover's hands.
Once she came home with her lips all red,
they had turned red beneath her lover's lips.
The last time she came home with her cheeks
all pale,
they had turned pale at her lover's faithlessness.’
English Translation © Lynn Steele

Richard Strauss
(b. Munich, Germany, 1864 – d. Garmisch-Partenkirchen, Germany, 1949)
Richard Strauss’s turbulent marriage to soprano Pauline da Ahna is depicted humorously
in his tone-poem Sinfonia Domestica. Her tantrum is followed by a sensuous ‘reconciliation’.
The fiery singer was the model for the moody Dyer’s Wife in Die Frau Ohne Schatten – a role
composed for her – and was the muse for many of his 200 exquisite lieder, which often seem
to find Pauline in a more tranquil or lighthearted mood.
Just like Strauss’s operas, his songs require a singing actress, as well as a pianist capable of the
symphonic sweep and colour. The transformation of the lied from domestic entertainment to
concert hall showpiece is complete. The selection of songs here come mostly from the 1890s
and range from the quietly ecstatic setting of Expressionist poet Dehmel’s ‘Befreit’ (a cousin
to Schubert’s ‘Du bist die Ruh’), the hypnotic lullaby of ‘Meine Kinde’ and the humour of the
Wunderhorn setting with a sardonic piano commentary on a story of broken promises.
‘Muttertädlerei’ has a Mozartian freshness and naïvité, while ‘Cäcilie’ finds Strauss in more
characteristic form, complete with exultant, operatic finale. It was a wedding present to
Pauline.
Befreit
Text: Richard Dehmel (1863–1920)
From Five Songs, Op.39
Du wirst nicht weinen. Leise, leise
wirst du lächeln: und wie zur Reise
geb' ich dir Blick und Kuß zurück.
Unsre lieben vier Wände! Du hast sie bereitet,
ich habe sie dir zur Welt geweitet –
o Glück!
Dann wirst du heiß meine Hände fassen
und wirst mir deine Seele lassen,
läßt unsern Kindern mich zurück.
Du schenktest mir dein ganzes Leben,
ich will es ihnen wiedergeben –
o Glück!
Es wird sehr bald sein, wir wissen's beide,
wir haben einander befreit vom Leide;
so geb' ich dich der Welt zurück.
Dann wirst du mir nur noch im Traum erscheinen
und mich segnen und mit mir weinen –
o Glück!
Freed
You will not weep. Gently
you will smile, and as before a journey,
I will return your gaze and your kiss.
Our dear four walls you have helped build;
and I have now widened them for you into the world.
O joy!
Then you will warmly seize my hands
and you will leave me your soul,
leaving me behind for our children.
You gave me your entire life,
so I will give it again to them.
O joy!
It will be very soon, as we both know –
but we have freed each other from sorrow.
And so I return you to the world!
You will then appear to me only in dreams,
and bless me and weep with me.
O joy!
English Translation © Emily Ezust
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Meinem Kinde
Text: Gustav Falke (1853–1916)
From Six Songs, Op.37
Du schläfst und sachte neig' ich mich
Über dein Bettchen und segne dich.
Jeder behutsame Atemzug
Ist ein schweifender Himmelsflug,
Ist ein Suchen weit umher,
Ob nicht doch ein Sternlein wär'
Wo aus eitel Glanz und Licht
Liebe sich ein Glückskraut bricht,
Das sie geflügelt herniederträgt
Und dir auf's weiße Deckchen legt.
Du schläfst und sachte neig' ich mich
Über dein Bettchen und segne dich.
Hat gesagt – bleibt's nicht dabei
Text: Anonymous, from Des Knaben
Wunderhorn (The Youth’s Magic Horn)
From Four Songs, Op.36
Mein Vater hat gesagt,
Ich soll das Kindlein wiegen,
Er will mir auf den Abend
Drei Gaggeleier sieden;
Siedt er mir drei,
Ißt er mir zwei,
Und ich mag nicht wiegen
Um ein einziges Ei.
Mein Mutter hat gesagt,
Ich soll die Mägdlein verraten,
Sie wollt mir auf den Abend
Drei Vögelein braten;
Brät sie mir drei,
Ißt sie mir zwei,
Um ein einziges Vöglein
Treib ich kein Verräterei.
Mein Schätzlein hat gesagt,
Ich soll sein gedenken,
Er wöllt mir auf den Abend
Drei Küßlein auch schenken;
Schenkt er mir drei,
Bleibt's nicht dabei,
Was kümmert michs Vöglein,
Was schiert mich das Ei.
My Child
You sleep and gently I lean
Over your little bed and bless you.
Every cautious intake of breath
Is a roaming flight to heaven,
Is a searching all around,
To see if there isn't yet a little star
Where from sheer gloss and light
Love could break off a good-luck herb,
Which then Love, winged, will carry down
And lay on your little white blanket.
You are sleeping and gently I lean
Over your little bed and bless you.
English translation © Joel Ayau
Reprinted with permission
Has Said – But It Won’t Stop at That
My father has said
that I should rock the child;
and in the evening he will
boil three eggs for me.
If he boils me three,
he will eat two [himself],
and I don't want to rock
for just one egg.
My mother has said
that I should tell on the maids;
and in the evening she will
roast three birds;
if she roasts me three
she will eat two [herself],
and for just one bird
I'm not tempted to be a traitor.
My sweetheart has said
that I should think of him,
and in the evening he will
give me three little kisses.
If he gives me three,
it won't stop at that.
What do I care about a little bird –
why should I concern myself over an egg?
English Translation © Emily Ezust

Muttertänderlei
Text: Gottfried August Bürger (1747–1794)
From Three Songs on Old German Poems, Op.43
Seht mir doch mein schönes Kind,
Mit den gold'nen Zottellöckchen,
Blauen Augen, roten Bäckchen!
Leutchen, habt ihr auch so eins?
Leutchen, nein, ihr habt keins!
Seht mir doch mein süßes Kind,
Fetter als ein fettes Schneckchen,
Süßer als ein Zuckerweckchen!
Leutchen, habt ihr auch so eins?
Leutchen, nein, ihr habt keins!
Seht mir doch mein holdes Kind,
Nicht zu mürrisch, nicht zu wählig!
Immer freundlich, immer fröhlich!
Leutchen, habt ihr auch so eins?
Leutchen, nein, ihr habt keins!
Seht mir doch mein frommes Kind!
Keine bitterböse Sieben
Würd' ihr Mütterchen so lieben.
Leutchen, möchtet ihr so eins?
O, ihr kriegt gewiß nicht meins!
Komm' einmal ein Kaufmann her!
Hunderttausend blanke Taler,
Alles Gold der Erde zahl' er!
O, er kriegt gewiß nicht meins! –
Kauf' er sich woanders eins!
Mother-Chatter
But just look at my fair child,
with such golden curly locks,
blue eyes, red cheeks!
My friends, have you such a one?
My friends, no, you have not!
But just look at my sweet child,
fatter than a fat snail,
sweeter than a sugar roll!
My friends, have you such a one?
My friends, no, you have not!
But just look at my lovely child,
not too grumpy, not too particular!
Always friendly, always merry!
My friends, have you such a one?
My friends, no, you have not!
But just look at my pious child!
No bitter shrew
could be so loved by its mother.
My friends, would you like to have such a one?
O, you certainly won't get mine!
Just let a buyer come here once!
A hundred thousand shiny thalers –
all the gold in the world he would pay!
But he certainly won't get mine!
Let him buy somewhere else.
English Translation © Emily Ezust
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Cäcilie
Text: Heinrich Hart (1855–1906)
From Four Songs, Op.27
Wenn du es wüßtest,
Was träumen heißt von brennenden Küssen,
Von Wandern und Ruhen mit der Geliebten,
Aug in Auge,
Und kosend und plaudernd,
Wenn du es wüßtest,
Du neigtest dein Herz!
Wenn du es wüßtest,
Was bangen heißt in einsamen Nächten,
Umschauert vom Sturm, da niemand tröstet
Milden Mundes die kampfmüde Seele,
Wenn du es wüßtest,
Du kämst zu mir.
Wenn du es wüßtest,
Was leben heißt, umhaucht von der Gottheit
Weltschaffendem Atem,
Zu schweben empor, lichtgetragen,
Zu seligen Höhen,
Wenn du es wüßtest,
Du lebtest mit mir!
Program notes: © Melbourne Recital Centre, 2013.
Cecilia
If you only knew
what it's like to dream of burning kisses,
of wandering and resting with one's beloved,
eye turned to eye,
and cuddling and chatting –
if you only knew,6
you would incline your heart to me!
If you only knew
what it's like to feel dread on lonely nights,
surrounded by a raging storm, while no one comforts
with a mild voice your struggle-weary soul –
if you only knew,
you would come to me.
If you only knew
what it's like to live, surrounded by God's
world-creating breath,
to float up, carried by the light,
to blessed heights –
if you only knew,
then you would live with me!
English Translation © Emily Ezust

ABOUT THE ARTISTS
Camilla Tilling
Soprano
A graduate of the University of Gothenburg and London’s Royal College of Music, Swedish
soprano Camilla Tilling’s international career was launched at New York’s City Opera as
Corinna in Rossini’s Il viaggio a Reims and, by the end of the subsequent two seasons, she
had made débuts at Covent Garden, the Aix-en-Provence, Glyndebourne and Drottningholm
Festivals, La Monnaie Brussels and at the Metropolitan Opera New York.
In the 2012/13 season Camilla Tilling returns to the Opéra National de Paris as Susanna (under
Pido), the Teatro Real Madrid as Pamina (under Rattle), she will also sing Susanna with the
Budapest Festival Orchestra in Budapest, Berlin and New York and will also appear as Sophie
at Moscow’s Bolshoi Theatre. In concert she sings Berg’s Sieben frühe Lieder with the SWR
Sinfonieorchester (Roth), Messiah with the New York Philharmonic (Haïm), Mahler’s
Symphony No. 4 with the Boston Symphony (Haitink) and Strauss’ Vier letzte Lieder with
the Hong Kong Philharmonic (Ashkenazy). She will also give recitals at the Belfast Festival,
Melbourne Recital Centre, Amsterdam’s Concertgebouw and London’s Wigmore Hall.
Over the past decade, Camilla Tilling’s operatic career has flourished with major engagements
on both sides of the Atlantic: at Covent Garden Pamina (Die Zauberflöte), Sophie (Der
Rosenkavalier), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera)
and Gretel (Hänsel und Gretel); at the Metropolitan Opera, Zerlina (Don Giovanni) and Nanetta
(Falstaff); at Teatro alla Scala Ilia (Idomeneo) also released on DVD; at the Aix-en-Provence
Festival Rosina (Il barbiere di Siviglia), Iole (Hercules), and Susanna (Le nozze di Figaro); for
Lyric Opera of Chicago Sophie; at the Bayerische Staatsoper Sophie, Susanna, Princess
(L’enfant et les sortilèges) and Donna Clara (Der Zwerg); for Opéra National de Paris Ilia, Oscar
and Susanna; at the San Francisco Opera Susanna; at Glyndebourne the Governess (The Turn
of the Screw); at Teatro Real Madrid L’Ange (St François d’Assise) and Mélisande (Pelléas et
Mélisande). She has also sung L’Ange for De Nederlandse Opera, Gretel at the Saito Kinen
Festival, Japan and made her role debut as Fiordiligi (Così fan tutte) at the Théâtre des
Champs-Elysées.
Among the many distinguished conductors with whom she has collaborated are Daniel
Harding, Sir Antonio Pappano, James Levine, Sir Andrew Davis, Seiji Ozawa, Sir John Eliot
Gardiner, Semyon Bychkov and the late Sir Charles Mackerras. Recent concert highlights
include Mahler’s Symphony No. 2 in Gothenburg (Dudamel); Mahler’s Symphony No. 2 with
the Berliner Philharmoniker at New York’s Carnegie Hall (Rattle); St Matthew Passion in Dallas
(van Zweden); Brahms’ Requiem in Leipzig and Copenhagen (Blomstedt), Salzburg (Bolton),
Cologne (Bychkov) and in Berlin (Janowski); Haydn’s Die Schöpfung with the LA Philharmonic
(Salonen); Grieg’s Peer Gynt with l’Orchestre National de France (Masur); Mozart’s C Minor
Mass with the San Francisco Symphony (Metzmacher), Chicago Symphony (Salonen) and
Orchestre de Paris (Järvi); Handel’s Messiah with the Berliner Philharmoniker (Christie) and
Le Concert d’Astree (Haïm); Mendelssohn’s Elijah in Munich (Hengelbrock), Beethoven’s Ah!
Perfido in Stockholm (Oramo) and Bach’s St Matthew Passion in Berlin and at the Salzburg
Easter Festival (Rattle).
21

22
Camilla Tilling features on numerous recordings: Cherubini’s Mass in D minor with Muti
(EMI); Mahler’s Symphony No 4 with Zander (Telarc); Belinda in Purcell’s Dido and Aeneas and
the Angel in Handel’s La Resurrezione with Emanuelle Haïm, Grieg’s Peer Gynt with Paavo
Jarvi (all on Virgin Classics) and Mozart’s C Minor Mass and Beethoven’s Ah! Perfido with Paul
McCreesh (DG Archiv). Camilla Tilling has also made two solo recordings – Rote Rosen, a
selection of Lieder by Richard Strauss and Bei dir allein! – a selection of Schubert songs
(both with Paul Rivinius) on the BIS label.
Anthony Legge
Piano
Anthony Legge has worked regularly with the principal British opera companies,
Glyndebourne Festival Opera, Opera Australia, many European opera companies and at
Bayreuth, where he assisted on the Kupfer-Barenboim Ring cycle for five years and a new
production of Die Meistersinger. As Head of Music at English National Opera for 14 years he
conducted performances of Dido and Aeneas, Orpheus and Eurydice, Lulu, and Alcina, and as
Music Director of Clonter Opera he conducted Butterfly, Wienerblut, La traviata, Carmen and
Don Giovanni. He is now the Associate Music Director of Opera Australia. He was Director of
Opera at the Royal Academy of Music, where he conducted The Magic Flute and The Marriage
of Figaro, following on from Sir Colin Davis and also The Rape of Lucretia and Rinaldo. He is
Music Advisor to Grange Park Opera and was a judge on the Channel 4 Operatunity series.

OUR PARTNERS
Melbourne Recital Centre acknowledges the generous support of its business and philanthropic partners
Founding Patron
Dame Elisabeth Murdoch ac dbe
Board of Directors
Kathryn Fagg, Chair Stephen Carpenter Margaret Farren-Price
Peter Bartlett Des Clark John Higgs
Tommas Bonvino Joseph Corponi Julie Kantor
Founding Benefactors
The Kantor Family Helen Macpherson Smith Trust
The Calvert-Jones Family Robert Salzer Foundation
Lyn Williams am The Hugh Williamson Foundation
Principal Government Partner
Business Partners
Principal Partner
International Airline Partner
Program Partners
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INSPIRED GIVING
We thank the following patrons whose generosity ensures the Centre can make a real difference in the
lives of young artists and reach the broadest possible audience.
Artist Development Leadership Circle
Colin Golvan sc & Dr Deborah Golvan
Life-long Learning Leadership Circle
Betty Amsden oam
New Music Leadership Circle
Naomi Milgrom ao
Local Heroes Leadership Circle
Dr Garry Joslin & Prof Dimity Reed am
ENCORE BEQUEST PROGRAM
Betty Amsden oam
Jim Cousins ao & Libby Cousins
Ken Bullen
Mary Vallentine ao
MUSIC CIRCLE PATRONS PROGRAM
Magnum Opus Circle
Betty Amsden oam*
Naomi Milgrom ao*
Annamila Pty Ltd*
The Playking Foundation
Virtuoso Circle
Colin Golvan sc & Dr Deborah Golvan*
Mrs Margaret S Ross am & Dr Ian C Ross*
Melbourne Recital Centre Board of Directors
Kathryn Fagg
Stephen Carpenter & Leigh Ellwood
Des & Irene Clark
Joseph Corponi
Margaret Farren-Price
Mr John Higgs & Mrs Betty Higgs
Julie Kantor*
Composers Circle
Anonymous (1)
Andrew & Theresa Dyer
George & Laila Embelton
Dr Helen Ferguson*
Richard Gubbins*
Dr Alastair Jackson*
Mr Peter Jopling qc*
Dr Garry Joslin & Prof Dimity Reed am
Harold Mitchell ac
Cathy Lowy & John Price*
J.A Westacott & T.M Shannon
Lyn Williams am
Melbourne Recital Centre Senior Management
Message Consultants Australia Pty Ltd
Youth Music Foundation Australia*
Musicians Circle
Anonymous (1)
Eva Besen ao & Marc Besen ao
Ms Nina Friedman
Dr Richard Mills am*
Sarah & Baillieu Myer
Dr Cherilyn Tillman & Mr Tam Vu*
Drs Victor & Karen Wayne
Prelude Circle
Anonymous (2)
Barbara Burge
Maggie Edmond
William J Forrest am
Nance Grant mbe
Jan & Robert Green
Stuart & Sue Hamilton
Barbara Higgins
Judith Hoy
Penelope Hughes
Michael & Gillian Hund
Darvell M Hutchinson am
Alan Kozica & Wendy Kozica
Diana Lempriere*
Mr Pierre Mercier
Maria Mercurio
James Ostroburski
Prof David Penington AC & Mrs Sonay Penington
Peter Rose & Christopher Menz
Christine Sather
Rob & Philippa Springall
Barbara & Duncan Sutherland
Elisabeth & Peter Turner
Sally Webster
*Donations directed to the Elisabeth Murdoch
Creative Development Fund
All donations, big or small, directly impact the
Centre’s ability to provide transformative music
experiences for everyone. Join us in support of one
of the world’s great halls.
To speak to the Director of Development, Sandra
Robertson, please call 03 9207 2641 or email
sandra.robertson@melbournerecital.com.au

MAHLER
CHAMBER
ORCHESTRA
‘The best orchestra in the world.’
Le Monde, France
BEETHOVEN DVORˇ ÁK SCHUMANN SHOSTAKOVICH
Daniel Harding conductor
Alisa Weilerstein cello
Christian Tetzlaff violin
WED 12 & THU 13 JUNE 7.30PM
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21 ENSEMBLES OVER 65 CONCERTS
A YEARLONG FESTIVAL OF CHAMBER MUSIC