Haydn Die Jahreszeiten (The Seasons) Barbican Hall

Sunday 11 March 2007, 3.30pm
Haydn Die Jahreszeiten (The Seasons)
sung in German; text and translation on pages 5-25
Part One Spring 28’
Part Two Summer 35’
interval
Part Three Autumn 31’
Part Four Winter 31’
The English Baroque Soloists and The Monteverdi Choir
Sir John Eliot Gardiner conductor
Rebecca Evans soprano Hannah
James Gilchrist tenor Lucas
Dietrich Henschel baritone Simon
This concert has been generously supported by the Friends of Monteverdi.
Barbican Hall
The Barbican Centre is provided by the
City of London Corporation as part of its
contribution to the cultural life of London
and the nation.
The Great Performers 2007-2008 season is now on sale.
For full details visit www.barbican.org.uk/greatperformers0708 where you
can listen to soundclips and watch the Barbican’s Head of Music
Robert van Leer introduce the new season.

Notes
Joseph Haydn (1732-1809)
Die Jahreszeiten (The Seasons)
Haydn had just celebrated his 69th birthday when the
first performance of The Seasons took place in Vienna in
April 1801 in the spacious palace of Prince
Schwarzenberg. The idea of an oratorio on the timeless
subject of the procession of the seasons had been
conceived two years earlier, when Haydn’s The Creation
was given its first public performances. The enthusiasm
with which that work was greeted encouraged Baron
Gottfried van Swieten, the editor of the text, to think of a
sequel.
While The Creation had been born out of Haydn’s and
Swieten’s shared enthusiasm for the oratorios of Handel,
for the follow-up oratorio Swieten, rather than Haydn,
took the initiative, and turned once more to the English
tradition for a subject, to James Thomson’s epic poem
The Seasons. This had been issued in instalments
between 1726 and 1728, its success prompting the poet to
increasingly extravagant flights of lyrical imagination.
The final poem consisted of over 5,000 lines – far too
long for any musical setting. Out of the poem Swieten
skilfully culled a text for Haydn of some 650 lines,
concentrating on the passages of narrative and
description, and omitting the many digressions and
passages of moralising. He drew extensively on a
German translation of the poem by Barthold Heinrich
Brockes.
But Swieten rightly saw that the last part of Thomson’s
epic, ‘Winter’, with its repeated descriptions of a bleak
landscape, was incapable of providing the expected
uplifting conclusion to an oratorio. He therefore included
two items in lighter vein that drew on other sources, the
first a spinning song (poetry by Gottfried August Bürger),
the second a ‘Lied mit Chor’ (‘Song with Chorus’) on a
2
Haydn
text derived from Charles Simon Favart, telling a story
about a saucy girl outwitting a dirty old nobleman. In
addition, to end the ‘Winter’ section and the entire
oratorio, Swieten provided the text for a chorus of praise
and thanks, explicit Christian sentiments largely absent
from Thomson’s original.
Apart from the easy appeal of the subject-matter – the
measureless tread of the seasons – what specifically
attracted Swieten to Thomson’s poetry were the plentiful
descriptions of natural life: weather and climate, sunrise,
bird-song, hunting, harvesting and so on. For nearly 50
years Haydn’s music had shown a penchant for
descriptive writing, and precedents for many of the
illustrative passages in The Seasons abound in his earlier
music. Though these earlier passages are always
charming, they are often gratuitous too.
In The Seasons (as in The Creation) Haydn was
presented with a context in which the pictorial was a
persistent and governing element, in turn delighting and
enthralling the listener. Indeed, Haydn remarked on more
than one occasion during the composition of The
Seasons that there was too much word-painting. In
‘Autumn’ there is a chorus extolling the work of the
peasant (‘O Fleiss, o edler Fleiss’). Haydn, in the autumn
of his days and remembering his many years of hard
work, wryly remarked that it had never occurred to him to
set the word ‘fleiss’ (‘diligence’) to music; equally wryly he
responded with a learned fugue. In the concluding
movement of ‘Summer’ Haydn, within a space of 38 bars
and always in advance of the words, evokes cattle (loud
‘moos’ in wind and low strings), a quail (oboes), a cricket
(flutes), a frog (woodwind) and the tolling of the evening
bell (horns). The composer complained about the frog,

perhaps because for once his aural imagination was not
equal to the task. Haydn’s resourcefulness, otherwise, is
remarkable, as is his ability to contain such detail within
the flow of the music.
When Haydn attended a performance of Handel’s
Messiah in London, he was overwhelmed by the power
of the choral writing but was indifferent to the arias:
‘Handel was great in choruses but mediocre in his song’
he told an early biographer. In The Creation the chorus
had played the distinctive role of offering praise and
thanks at cumulative moments in the narrative. In The
Seasons the chorus plays a more central role, the choral
writing showing more variety and demanding great
technical resource and stamina. There are moments in
the narrative, such as the ends of ‘Spring’ and ‘Winter’,
when the chorus stands back from the action, summarises
and offers praise, but the chorus members are also active
participants, peasants who respond with the full gamut
of emotions, from enthusiasm to fear, to the year’s events.
We first hear them welcoming the onset of spring, the
whole village together and then separately as womenfolk
and menfolk. Later in the oratorio they are heard in
prayer, witnessing the sunrise and a storm, resting at the
end of a hot summer’s day, singing while spinning and
reacting readily to Hannah’s saucy tale.
Two numbers in ‘Autumn’ provide a particularly
prominent role for chorus, and constitute a tour de force
in any performance. The first describes a hunt and the
second is in praise of wine: blood sport followed by
binge drinking. The hunt for the stag is recounted stage
by stage by the onlookers, their commentary punctuated
by a series of actual hunting horn calls, taking the listener
from the ‘search’ (at the very opening) to the ‘kill’; in an
extravagantly colourful score Haydn even notates forte
grace notes for trombones (effectively short glissandi) to
suggest the exhausted stag. Following the excitement of
the hunt comes the equally extensive chorus in praise of
wine. It features a recurring accented note that in any
stage presentation would no doubt be accompanied by
a clash of mugs. The middle section of the chorus is an
increasingly unruly dance, the orchestra providing
onomatopoeic representation of the fife, the drum, the
fiddle, the hurdy-gurdy and the bagpipes. More wine is
called for and the participants attempt a fugue to the
Notes
words ‘Jauchzet, lärmet’ (Be joyful and noisy) – the
perfect antidote to the earlier fugue on ‘Fleiss’!) – only to
take refuge in a 6/8 harmonic rendering of the theme;
the babble increases as triangle and tambourine join in
and the movement moves to a boisterous close. Haydn’s
‘Autumn’ is clearly not for the faint-hearted.
The oratorio has parts for three soloists, their names
allotted by Swieten rather than taken from Thomson:
Simon (a farmer, bass), his daughter Hannah (soprano)
and Lucas (a young peasant, tenor). They are not fully
rounded characters in the manner of individuals in a
Mozart opera or, indeed, in many Handel oratorios.
Rather they are representatives of their fellow peasants,
as much part of the landscape as the storm, the hunt, the
brook and even the despised frog. They are recognisably
human, however, because Haydn gives them music
strongly redolent of contemporary German opera
(Singspiel). Simon’s first aria is typical of many in the
oratorio. Set as an Allegretto in 2/4, the vocal line is
predominantly syllabic and folk-song-like, reminding
modern listeners of Papageno’s music in Mozart’s The
Magic Flute. As Simon ploughs the land and sows the
seed, he joyfully whistles a theme from Haydn’s own
‘Surprise’ Symphony. (Haydn’s self-quotation is a
perfectly just reflection of his popularity as well as being
nonchalantly amusing. Over a century later Schoenberg
was to express the forlorn hope that the ploughman
would be singing his melodies in years to come.)
There are more ambitious arias to set alongside these
homely numbers, such as the accompanied recitative and
aria for Hannah, welcoming the shade in the heat of
midsummer. In the recitative the orchestra illustrates
successively a brook, swarming bees and a shepherd’s
pipe. This pipe, in the form of a solo oboe, then provides
an intermittent obbligato in the following aria, an
appropriate response to the burgeoning coloratura of
the soprano line. The final aria in the oratorio introduces
a rare moment of melancholy and introspection as it
compares the progress of the seasons with the course of
human life. In two parts, a 3/4 Largo and a 2/4 Allegro
molto, it is a moving portrayal of resignation tinged with
resentment at the passing of time, a virtual self-portrait of
Haydn in his old age. There is also a reference to the
untimely death 10 years earlier, in 1791, of Mozart, as the
3

Notes
music quotes the distinctive descending phrase from the
slow movement of the G minor symphony (No. 40) and,
less obviously, in bass instruments, the beginning of the
main theme of the first movement of the E flat symphony
(No.39).
That Haydn thought of his soloists as archetypes rather
than individuals is further suggested by the ready
interaction that occurs between them and the chorus.
Each season contains one example, sometimes more, of
a trio with chorus in which the three peasants first
represent their community and then withdraw into it. The
concluding number of ‘Summer’ begins as another 2/4
Allegretto, with the three soloists commenting on the
appearance of the countryside after the storm. Following
the sound of the evening bell, they lead the singing of a
hymn to the evening – the simple measured style, the key
of E flat and, not least, the prominence of the clarinet in
the orchestral accompaniment provide another aural
reminiscence of The Magic Flute.
The orchestral forces required by Haydn for the oratorio
are the largest in his output: one piccolo, two flutes, two
oboes, two clarinets, two bassoons, contrabassoon, four
horns, three trumpets, three trombones, timpani,
tambourine, triangle, strings and continuo (fortepiano).
Many felicities of scoring have already been mentioned
and certainly few oratorios since Haydn have managed
to demonstrate a massiveness of sonority as well as local
individual, sometimes idiosyncratic colouring. Each
season opens with an orchestral introduction, a
miniature tone poem in effect. In today’s performance
the original versions of these introductions will be given:
violas rather than violins evoking the half-light that
precedes dawn in ‘Summer’, and the lengthier
evocations of Simon’s contentment at harvest time that
begins ‘Autumn’ and of the thick, cold fog that heralds
‘Winter’.
That Haydn was able to indulge his creative imagination
to the full, knowing that the project would be realised in
performance, is also due to Gottfried van Swieten. For
15 years he had been the driving force behind an
informal committee of aristocrats, the Gesellschaft der
Assoziierten, who shared his enthusiasm for oratorio,
principally the works of Handel and latterly of his
4
modern counterpart, as they saw it, Haydn himself. The
first performance was to have taken place on 21 April in
the Schwarzenberg Palace, but a death in the aristocratic
family meant that it had to be postponed until 24 April. It
was to be the last oratorio performance sponsored by
the Gesellschaft. There were rumours that Haydn was
working on a further oratorio, The Last Judgement, but
nothing came of the idea. Swieten himself died in 1803,
the Gesellschaft disbanded, and Haydn – after the
exertions of composing two large-scale oratorios in five
years – had suddenly become an old man.
The Seasons draws on a rich variety of artistic stimuli: the
English tradition of the Sublime and the Beautiful,
Handelian oratorio, Austrian Catholicism and German
opera. This balance of intuition and reason was very
much a product of the 18th century and was replicated in
many areas of intellectual activity. Here these elements
are fused together by the intellectual control of Europe’s
leading composer, one who had unrivalled experience
of composition but who – crucially in this work – still saw
himself as a gifted peasant.
David Wyn Jones © 2007
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content may differ slightly from that of the final printed version.

PART ONE: SPRING
1 Introduction and Recitative
The Introduction paints the passage of Winter to Spring.
Simon
Seht, wie der strenge Winter flieht! See how stern Winter takes to flight!
Zum fernen Pole zieht er hin. He is retreating to the distant poles.
Ihm folgt auf seinen Ruf Responding to his command,
Der wilden Stürme brausend Heer, the blustering hordes of tempests follow,
Mit grässlichem Geheul.
Lucas
howling dismally.
Seht, wie vom schroffen Fels der Schnee See how the snow, in muddy streams,
In trüben Strömen sich ergiesst!
Hannah
runs off the craggy cliffs!
Seht, wie von Süden her, See how the heralds of the Spring,
Durch laue Winde sanft gelockt, enticed by warm, soft breezes,
Der Frühlingsbote streicht! begin to arrive from the south!
Text and translation
2 Chorus of Country People
Komm, holder Lenz! Des Himmels Gabe, komm! Come, fair Spring, thou gift of Heaven, come!
Aus ihrem Todesschlaf erwecke die Natur! Awaken nature from her deathlike sleep!
Komm! Komm, holder Lenz!, etc. Come, come, fair Spring!, etc.
Girls and Women
Es nahet sich der holde Lenz, Fair Spring is drawing nigh,
Schon fühlen wir den linden Hauch, we can feel its gentle breath already,
Bald lebet alles wieder auf. soon shall everything return to life.
Men
Frohlocket ja nicht allzu früh; Do not celebrate too soon;
Oft schleicht in Nebel eingehüllt for often, mist-enshrouded,
Der Winter wohl zurück, the Winter can creep back,
Und streut auf Blüt’ und Keim sein starres Gift. and spew his poison over bud and shoot.
All
Komm, holder Lenz, des Himmels Gabe, komm! Come, fair Spring, thou gift of Heaven, come!
Komm! Auf uns’re Fluren senke dich! Come! Upon our meadows set thy foot!
O komm, holder Lenz, o komm Oh come, fair Spring, oh come
Und weile länger nicht! and tarry no longer!
3 Recitative
Simon
Vom Widder strahlet jetzt In Aries now, the sun
Die helle Sonn’ auf uns herab. streams brightly down upon us.
Nun weichen Frost und Dampf Frost and fog are in retreat,
Und schweben laue Dünst’ umher; mild vapours hover all around;
Der Erde Busen ist gelöst, softness returns to the earth
Erheitert ist die Luft. and gladness to the air.
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Text and translation
4 Aria
Simon
Schon eilet froh der Ackersmann The ploughman is already hastening
Zur Arbeit auf das Feld, merrily to the field;
In langen Furchen schreitet er he strides down the long furrows,
Dem Pfluge flötend nach. whistling behind the plough.
In abgemessnem Gange dann Measuring his paces,
Wirft er den Samen aus, he strews the seed
Den birgt der Acker treu und reift which, hidden in the trusty soil,
Ihn bald zur gold’nen Frucht. will soon a golden harvest yield.
5 Recitative
Lucas
Der Landmann hat sein Werk vollbracht The labourer has fulfilled his task,
Und weder Müh’ noch Fleiss gespart. sparing himself no pains or toil.
Den Lohn erwartet er aus Händen der Natur, He looks to nature’s hand for his reward
Und fleht darum den Himmel an. and prays that heaven may grant it.
6 Trio and Chorus – The Farmer’s Prayer
Lucas
Sei nun gnädig, milder Himmel! Be gracious now, O gentle heaven,
Öffne dich und träufe Segen open up and shower blessings
Über unser Land herab.
Chorus
down upon our land.
Sei nun gnädig, milder Himmel!, etc.
Lucas
Be gracious now, O gentle heaven, etc.
Lass deinen Tau die Erde wässern!
Simon
Send thy dew to refresh the earth!
Lass Regenguss die Furchen tränken!
Hannah
Send rain to water the furrows!
Lass deine Lüfte wehen sanft, Let thy breezes softly blow,
Lass deine Sonne scheinen hell!
Hannah, Lucas and Simon
let thy sun shine bright and clear!
Uns spriesset Überfluss alsdann Then shall we in abundance thrive
Und deiner Güte Dank und Ruhm. and praise thee for thy goodness.
Sei nun gnädig, milder Himmel!, etc. Be gracious now, O gentle heaven, etc.
7 Recitative
Hannah
Erhört ist unser Fleh’n, der laue West erwärmt Our prayer is heard, the mild west wind
Und füllt die Luft mit feuchten Dünsten an. warms and fills the air with moisture.
Sie häufen sich; nun fallen sie, Rainclouds form; and now they open,
Und giessen in der Erde Schoss showering upon the earth
Den Schmuck und Reichtum der Natur. nature’s jewels and riches.
6

8 Song of Joy
Hannah
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Kommt, ihr Mädchen, lasst uns wallen Come, lasses, let us wander
Auf der bunten Flur! through the flowery meadows!
Lucas
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Kommt, ihr Bursche, lasst uns wallen Come, lads, let us wander
Zu dem grünen Hain! to the leafy grove!
Hannah and Lucas
O wie lieblich ist der Anblick, etc. How lovely the countryside, etc.
Hannah
Seht die Lilie, seht die Rose, Look at the lilies, look at the roses,
Seht die Blumen all’! look at all the flowers!
Lucas
Seht die Auen, seht die Wiesen, Look at the meadows, the grassland,
Seht die Felder all’! look at all the fields!
Lads and Lasses
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Lasst uns wallen auf der bunten Flur! Let’s wander through the flowery meadows!
Hannah
Seht die Erde, seht die Wasser, Look at the earth, at the lakes and rivers,
Seht die helle Luft! look at the bright sky!
Lucas
Alles lebet, alles schwebet, All is alive, all is expectant,
Alles reget sich. all nature bestirs itself.
Hannah
Seht die Lämmer, wie sie springen! See how the lambs are leaping!
Lucas
Seht die Fische, welch Gewimmel! Look at the fish: what a milling around!
Hannah
Seht die Bienen, wie sie schwärmen! See how the bees are swarming!
Lucas
Seht die Vögel, welch Geflatter! Look at the birds: what a fluttering!
Lads and Lasses
Alles lebet, alles schwebet, All is alive, all is expectant,
Alles reget sich. all nature bestirs itself.
Welche Freude, welche Wonne How our hearts are swelling
Schwellet unser Herz! with happiness and delight!
Süsse Triebe, sanfte Reize Tender feelings, soft sensations
Heben uns’re Brust! awake within our breasts.
Simon
Was ihr fühlet, was euch reizet, The source of your emotion, your delight,
Ist des Schöpfers Hauch. is the breath of the Creator.
Text and translation
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Text and translation
Lads and Lasses
Lasst uns ehren, lasst uns loben, Let us glorify, praise
Lasst uns preisen ihn! and worship him!
Men
Lasst erschallen, ihm zu danken, Raise your voices in a song
Eure Stimmen hoch! of thanksgiving to him!
Lads and Lasses
Es erschallen, ihm zu danken, Let us raise our voices in a song
Unsre Stimmen hoch! of thanksgiving to him!
Ewiger, mächtiger, gütiger Gott! The eternal, the almighty, the bounteous God!
Hannah, Lucas and Simon
Von deinem Segensmahle From thy blessed table
Hast du gelabest uns. hast thou provided for us.
Chorus
Mächtiger Gott! Almighty God!
Hannah, Lucas and Simon
Vom Strome deiner Freuden With the rivers of thy joy
Hast du getränket uns. hast thou quenched our thirst.
Gütiger Gott! Merciful God!
Chorus
Ewiger, mächtiger, gütiger Gott! Eternal, almighty, bounteous God!
Hannah, Lucas and Simon
Ewiger, mächtiger, gütiger Gott! Eternal, almighty, bounteous God!
Chorus
Ehre, Lob und Preis sei dir, Honour, praise and glory
Ewiger, gütiger, mächtiger Gott! to the eternal, almighty, bounteous God!
PART TWO: SUMMER
9 Introduction and Recitative
The Introduction paints the dawn of day.
Lucas
In grauem Schleier rückt heran Veiled in misty grey,
Das sanfte Morgenlicht, dawn’s soft light returns,
Mit lahmen Schritten weicht vor ihm while sluggish night, at her approach,
Die träge Nacht zurück. hobbles away once more.
Zu düst’ren Höhlen flieht Back to their dark crannies
Der Leichen Vögel blinde Schar; fly shadowy hordes of owls;
Ihr dumpfer Klageton their hollow voices no longer
Beklemmt das bange Herz nicht mehr. strike fear into our hearts.
Simon
Des Tages Herold meldet sich, Day’s harbinger reveals himself;
Mit scharfem Laute rufet er with a loud voice he summons
8

Zu neuer Tätigkeit the farmer, newly-arisen,
Den ausgeruhten Landmann auf. to the day’s work.
10 Aria and Recitative
Simon
Der munt’re Hirt versammelt nun The merry shepherd gathers
Die frohen Herden um sich her; his happy flocks around him;
Zur fetten Weid’ auf grünen Höh’n and slowly ushers them away
Treibet er sie langsam fort. towards lush grazing in the verdant hills.
Nach Osten blickend steht er dann Gazing eastward then he stands
Auf seinem Stabe hingelehnt, leaning on his staff,
Zu seh’n den ersten Sonnenstrahl, watching for the sun’s first ray
Welchem er entgegen harrt. for which he waits impatiently.
Hannah
Die Morgenröte bricht hervor, Rosy dawn has now arrived,
Wie Rauch verflieget das leichte Gewolk, light clouds dissipate like smoke,
Der Himmel pranget im hellen Azur, the sky is resplendent in bright blue,
Der Berge Gipfel in feurigem Gold. the peaks in fiery gold.
11 Trio and Chorus
Hannah, Lucas and Simon
Sie steigt herauf, die Sonne, The sun is rising in the sky,
Sie steigt, sie naht, sie kommt, rising, coming closer,
Sie strahlt, sie scheint. beaming, shining.
Chorus
Sie scheint in herrlicher Pracht, It shines in wondrous glory,
In flammender Majestät! in flaming majesty!
Song of Praise to the Sun
Heil, o Sonne, Heil! Hail to thee, O sun!
Des Lichts und Lebens Quelle, Heil! Thou fount of light and life, all hail!
Heil, o Sonne, Heil! Hail to thee, O sun!
O du des Weltalls Seel’ und Aug’, O thou, the soul, the eye of all the world,
Der Gottheit schönstes Bild! fairest likeness of God!
Dich grüssen dankbar wir! We greet thee thankfully!
Hannah, Lucas and Simon
Wer spricht sie aus, die Freuden alle, Who could express the joy
Die deine Huld in uns erweckt? thy beauty awakes within us?
Wer zählet sie, die Segen alle, Who could number the blessings
Die deine Mild’ auf uns ergiesst? thy goodness showers upon us?
Chorus
Die Freuden, o wer spricht sie aus? The joy, oh, who could express it?
Die Segen, o wer zählet sie? The blessings, oh, who could count them?
Text and translation
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9

Text and translation
Hannah, Lucas and Simon
Dir danken wir, was uns ergötzt. We thank thee, bringer of delight.
Dir danken wir, was uns belebt. We thank thee, cheerer of the heart.
Dir danken wir, was uns erhält. We thank thee, giver of support.
Dem Schöpfer aber danken wir, And we thank the Creator too
Was deine Kraft vermag! who endowed thee with such power.
Chorus
Heil, o Sonne, Heil! Hail to thee, O sun!
Des Lichts und Lebens Quelle, Heil! Thou fount of light and life, all hail!
Heil, o Sonne, Heil! Hail to thee, O sun!
Dir jauchzen alle Stimmen, Every voice exalts thee,
Dir jauchzet die Natur. all nature shouts with joy.
All
Dir jauchzet die Natur, etc. All nature shouts with joy, etc.
12 Recitative
Simon
Nun regt und bewegt sich alles umher, Now all the folk bestir themselves,
Ein buntes Gewühl bedecket die Flur. a colourful crowd bedecks the fields.
Dem braunen Schnitter neiget sich Waves of golden corn bow down
Der Saaten wallende Flut, before the sunburnt reaper,
Die Sense blitzt, da sinkt das Korn; the scythe flashes, the corn falls;
Doch steht es bald und aufgehäuft but soon it stands again, now bound
In festen Garben wieder da. into sturdy stooks.
Lucas
Die Mittagssonne brennet jetzt in voller Glut, The midday sun now blazes at full strength,
Und giesst durch die entwölkte Luft beating down through the unclouded sky
Ihr mächtiges Feu’r in Strömen hinab. in mighty waves of heat.
Ob den gesengten Flächen schwebt Over the parched meadows lies
In nieder’n Qualm, ein blendend Meer a gauzy veil, a dazzling sea
Von Licht und Widerschein. of sunlight and reflections.
13 Cavatina
Lucas
Dem Druck erlieget die Natur; Nature bows before the onslaught;
Welke Blumen, dürre Wiesen, wilted flowers, arid fields,
Trock’ne Quellen, alles zeigt dried-up springs, all demonstrate
Der Hitze Wut, the heat’s ferocity,
Und kraftlos schmachten Mensch und Tier and man and beast lie languishing,
Am Boden hingestreckt. stretched upon the ground.
14 Recitative
Hannah
Willkommen jetzt, o dunkler Hain, Welcome art thou now, O shady wood,
Wo der bejahrten Eiche Dach where a roof of ancient oaks
10

Den kühlenden Schirm gewährt, provides a cool umbrella,
Und wo der schlanken Espe Laub and where the slender aspen’s leaves
Mit leisem Gelispel rauscht! softly rustle and whisper!
Am weichen Moose rieselt da Babbling between soft, mossy banks
In heller Flut der Bach, runs the crystal brook,
Und fröhlich summend irrt und wirrt and swarms of buzzing insects
Die bunte Sonnenbrut. dance gaily in the air.
Der Kräuter reinen Balsamduft The pure and balmy scent of herbs
Verbreitet Zephirs Hauch, is wafted on the breeze,
Und aus dem nahen Busche tönt while from the nearby thicket sounds
Des jungen Schäfers Rohr. the shepherd-boy’s reed-pipe.
15 Aria
Hannah
Welche Labung für die Sinne, How refreshing to the senses,
Welch’ Erholung für das Herz! how reviving for the heart!
Jeden Aderzweig durchströmet, Through every vein
Und in jeder Nerve bebt and every nerve there runs
Erquickendes Gefühl. a reviving thrill.
Die Seele wachet auf The soul awakes
Zum reizenden Genuss, to pleasure and delight,
Und neue Kraft erhebt and hearts are gently lifted
Durch milden Drang die Brust. to new strength, new desires.
16 Recitative
Simon
O seht! Es steiget in der schwülen Luft, Behold! There rises in the sultry air,
Am hohen Saume des Gebirgs from the high rim of the mountain-range,
Von Dampf und Dunst ein fahler Nebel auf. a livid cloud of mist and vapours.
Empor gedrängt, dehnt er sich aus Forced upwards, it expands
Und hüllet bald den Himmelsraum and soon the vault of heaven
In schwarzes Dunkel ein. is veiled in darkness.
Lucas
Hört wie vom Tal ein dumpf Gebrüll A hollow rumble from the valley
Den wilden Sturm verkünd’t! heralds the heavy storm.
Seht, wie vom Unheil schwer Laden with disaster, see
Die finst’re Wolke langsam zieht, the dark clouds slowly muster
Und drohend auf die Eb’ne sinkt! and, full of menace, sink towards the plain.
Hannah
In banger Ahnung stockt das Leben der Natur: In fearful apprehension life stands still:
Kein Tier, kein Blatt beweget sich, no beast, no leaf is moving,
Und Todesstille herrscht umher. a deathly silence reigns.
Text and translation
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11

Text and translation
17 Chorus
Chorus
Ach, das Ungewitter naht! Ah! The tempest is upon us!
Hilf uns, Himmel! Heaven protect us!
O wie der Donner rollt! Oh, how the thunder booms!
O wie die Winde toben! Oh, how the winds do rage!
Wo flieh’n wir hin? Where can we shelter?
Flammende Blitze durchwühlen die Luft, Flashes of lightning rend the air,
Den zackigen Keilen berstet die Wolke they crack the clouds with jagged spears
Und Güsse stürzen herab. and water gushes down.
Wo ist Rettung? Where can we seek safety?
Wütend rast der Sturm, The storm in fury rages,
Der weite Himmel entbrennt. the whole sky is aflame.
Weh uns Armen! Alas! Alas!
Schmetternd krachen, Schlag auf Schlag Banging, crashing, one upon the other
Die schweren Donner fürchterlich. come the terrifying thunderclaps.
Weh uns! Weh uns! Alas! Alas!
Erschüttert wankt die Erde The reeling world is shaken
Bis in des Meeres Grund. to the ocean floor.
Schmetternd krachen Schlag auf Schlag, etc. Banging, crashing, one upon the other, etc.
18 Trio and Chorus
Lucas
Die düst’ren Wolken trennen sich, The dark clouds are dispersing,
Gestillet ist der Stürme Wut. the anger of the storm is stilled.
Hannah
Vor ihrem Untergange Before it sets,
Blickt noch die Sonn’ empor, the sun peeps out again,
Und von dem letzten Strahle glänzt and in its last ray the meadows
Mit Perlenschmuck geziert die Flur. shine, bedecked with pearls.
Simon
Zum langgewohnten Stalle To their long-accustomed stalls,
Kehrt gesättigt und erfrischt satisfied and refreshed,
Das fette Rind zurück. the fattened cattle return.
Lucas
Dem Gatten ruft die Wachtel schon. The quail is already calling to her mate.
Hannah
Im Grase zirpt die Grille froh. In the grass the merry crickets chirp.
Simon
Und aus dem Sumpfe quakt der Frosch. And frogs croak from the marshes.
Hannah, Lucas and Simon
Die Abendglocke tönt. The vesper-bell rings out;
Von oben winkt der helle Stern, on high, Venus, like a messenger, appears
Und ladet uns zur sanften Ruh. inviting us to sweet repose.
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Text and translation
Chorus
Mädchen, Bursche, Weiber kommt! Lasses, lads and women, come!
Unser wartet süsser Schlaf, Golden slumbers now await us,
Wie reines Herz, gesunder Leib for a pure heart, a healthy body
Und Tagesarbeit ihn gewährt. and a day’s labour vouch for that.
Women
Wir geh’n, wir geh’n, wir folgen euch. We’re coming, we’re coming, we’ll follow you.
All
Die Abendglocke hat getönt, The vesper-bell has rung;
Von oben winkt der helle Stern on high, Venus, like a messenger, appears
Und ladet uns zur sanften Ruh. inviting us to sweet repose.
Interval
PART THREE: AUTUMN
19 Introduction and Recitative
The Introduction indicates the husbandman’s satisfaction at the abundant harvest.
Hannah
Was durch seine Blüte That which Spring first promised
Der Lenz zuerst versprach, with its blossoms,
Was durch seine Wärme that which Summer ripened
Der Sommer reifen hiess, with its warmth,
Zeigt der Herbst in Fülle Autumn presents in abundance
Dem frohen Landmann jetzt. to the joyful farmer now.
Lucas
Den reichen Vorrat fährt er nun The golden store he now transports
Auf hochbelad’nen Wagen ein. in heavy-laden wagons.
Kaum fasst der weiten Scheune Raum, The spacious barn can hardly hold
Was ihm sein Feld hervorgebracht. all that his fields have yielded.
Simon
Sein heit’res Auge blickt umher, Happily he looks around him,
Es misst den aufgetürmten Segen ab, measuring the piled-up grain,
Und Freude strömt in seine Brust. and happiness fills his heart.
20 Trio with Chorus
Simon
So lohnet die Natur den Fleiss, So nature honest toil rewards,
Ihn ruft, ihn lacht sie an; she invokes it, smiles upon it,
Ihn muntert sie durch Hoffnung auf, gladdens it with hope,
Ihm steht sie willig bei, lends it a willing hand,
Ihm wirket sie mit voller Kraft. and guides it with all her might.
Hannah and Lucas
Von dir, o Fleiss, kommt alles Heil. All benefits come from thee, O toil.
Die Hütte, die uns schirmt, The cottage that shelters us,
Die Wolle, die uns deckt, the wool that clothes us,
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Text and translation
Die Speise, die uns nährt the food that sustains us,
Ist deine Gab’, ist dein Geschenk. all come from thee, they are thy gifts.
O Fleiss, o edler Fleiss, O toil, O noble toil,
Von dir kommt alles Heil. all benefits come from thee.
Hannah
Du flössest Tugend ein, Thou dost virtue instil,
Und rohe Sitten milderst du. and makest rough-hewn manners gentle.
Lucas
Du wehrest Laster ab, Thou dost ward off vice,
Und reinigest der Menschen Herz. and purify the heart of man.
Simon
Du stärkest Mut und Sinn Thou dost give us the courage and inclination
Zum Guten und zu jeder Pflicht. to strive for goodness and perform our duty.
Hannah, Lucas and Simon
O Fleiss, o edler Fleiss, von dir O toil, O noble toil, from thee
Kommt alles, alles Heil. comes every benefit.
Chorus
O Fleiss, o edler Fleiss, von dir O toil, O noble toil, from thee
Kommt alles, alles Heil. comes every benefit.
Hannah, Lucas and Simon
Die Hütte, die uns schirmt, etc. The cottage that shelters us, etc.
All
O Fleiss, o edler Fleiss, von dir, etc. O toil, O noble toil, etc.
21 Recitative
Hannah
Seht, wie zum Haselbusche dort See how impatiently the youngsters
Die rasche Jugend eilt! rush to the hazel-bush!
An jedem Aste schwinget sich Small boys swing
Der Kleinen lose Schar, on every single branch,
Und der bewegten Staud’ entstürzt and from the swaying bush
Gleich Hagelschau’r die lock’re Frucht.
Simon
the ripe fruit rains like hail.
Hier klimmt der junge Bau’r The farmer’s son is climbing
Den hohen Stamm entlang nimbly up a ladder
Die Leiter flink hinauf. to the top of the tree.
Vom Wipfel, der ihn deckt, Hidden in the topmost branches,
Sieht er sein Liebchen nah’n, he sees his sweetheart drawing nigh,
Und ihrem Tritt entgegen and, with a lover’s sense of fun,
Fliegt dann im trauten Scherze throws the fat nuts down
Die runde Nuss herab.
Lucas
into her path.
Im Garten steh’n um jeden Baum Around every tree in the garden
Die Mädchen gross und klein, girls of all ages are gathered,
Dem Obste, das sie klauben, their colour as fresh and rosy
An frischer Farbe gleich.
14
as the ripe fruit they pick.

22 Duet
Lucas
Ihr Schönen aus der Stadt, kommt her! You town-bred beauties, come and look!
Blickt an die Töchter der Natur, Look at these daughters of nature,
Die weder Putz noch Schminke ziert. unadorned by finery or paint.
Da seht, mein Hannchen, seht! Just look at my Hannah!
Ihr blüht Gesundheit auf den Wangen; The bloom of health is on her cheeks;
Im Auge lacht Zufriedenheit, joy sparkles in her eyes,
Und aus dem Munde spricht das Herz, and her heart speaks through her lips
Wenn sie mir Liebe schwört. when she swears she loves me.
Hannah
Ihr Herrchen, süss und fein, bleibt weg! You mincing dandies, stay away!
Hier schwinden eure Künste ganz, Here your airs and graces count for nothing,
Und glatte Worte wirken nicht, and smooth talk does no good:
Man gibt euch kein Gehör. no-one will listen to you.
Nicht Gold, nicht Pracht kann uns verblenden, No gold, no gorgeousness can blind us,
Ein redlich Herz ist, was uns rührt; we are moved by an honest heart alone;
Und meine Wünsche sind erfüllt, and all my hopes will be fulfilled
Wenn treu mir Lucas ist. if Lucas is true to me.
Lucas
Blätter fallen ab, Früchte welken hin, Leaves can fall, fruit can decay,
Tag und Jahr vergeh’n, days and years can pass away,
Nur meine Liebe nicht. my love alone is changeless.
Hannah
Schöner grünt das Blatt, A leaf appears more lovely,
Süsser schmeckt die Frucht, fruit has a sweeter taste,
Heller glänzt der Tag, the day is brighter than before
Wenn deine Liebe spricht. when you speak of your love.
Hannah and Lucas
Welch ein Glück ist treue Liebe! What happiness is true love!
Uns’re Herzen sind vereinet, Our hearts are united,
Trennen kann sie Tod allein. only death can divide us.
Lucas
Liebstes Hannchen! Dearest Hannah!
Hannah
Bester Lucas! Peerless Lucas!
Hannah and Lucas
Lieben und geliebet werden To love and to be loved
Ist der Freuden höchster Gipfel, is the peak of happiness,
Ist des Lebens Wonn’ und Glück! the pride and joy of life!
Hannah
Bester Lucas! Peerless Lucas!
Text and translation
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15

Text and translation
Lucas
Liebstes Hannchen! Dearest Hannah!
Hannah, Lucas
Lieben und geliebet werden, etc. To love and to be loved, etc.
23 Recitative
Simon
Nun zeiget das entblösste Feld Now in the denuded fields
Der ungebet’nen Gäste Zahl, uninvited guests are seen;
Die an den Halmen Nahrung fand they found food in the standing corn
Und irrend jetzt sie weiter sucht. and still they forage for it.
Des kleinen Raubes klaget nicht The labourer does not begrudge
Der Landmann, der ihn kaum bemerkt; such pilfering, which he scarcely notices,
Dem Übermasse wünscht er doch but he does not want to show
Nicht ausgestellt zu sein. excessive laxity.
Was ihn dagegen sichern mag, Any means of protection
Sieht er als Wohltat an, he regards as beneficial,
Und willig fröhnt er dann zur Jagd, and happily sets off for the hunt,
Die seinen guten Herrn ergötzt. which pleases his good landlord.
24 Aria
Simon
Seht auf die breiten Wiesen hin! Look at yonder open field!
Seht, wie der Hund im Grase streift! See how the dog is prowling in the grass!
Am Boden suchet er die Spur He seeks the scent upon the ground,
Und geht ihr unablässig nach. then follows it relentlessly.
Jetzt aber reisst Begierd’ ihn fort, Now, maddened by excitement,
Er horcht auf Ruf und Stimme nicht mehr. he is deaf to all commands.
Er eilet zu haschen ... da stockt sein Lauf, He races towards his prey ... then stops
Und steht er unbewegt wie Stein. and stands as motionless as a stone.
Dem nahen Feinde zu entgeh’n, To escape his approaching foe,
Erhebt der scheue Vogel sich, the timid bird flies up into the air,
Doch rettet ihn nicht schneller Flug. but swift flight cannot save him.
Es blitzt, es knallt, ihn erreichet das Blei, A flash, a bang, the bullet reaches him,
Und wirft ihn tot aus der Luft herab. and hurls him, dead, to the ground.
25 Recitative
Lucas
Hier treibt ein dichter Kreis Here the main body of the hunt
Die Hasen aus dem Lager auf. chases the hares from their formes.
Von allen Seiten hingedrängt Driven from all directions,
Hilft ihnen keine Flucht. they have no escape.
Schon fallen sie, und liegen bald, They fall, and soon are laid
In Reihen freudig hingezählt. in rows and gleefully counted.
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26 Chorus
Farmers and Hunters
Hört! hört das laute Getön, Hear, O hear the clamour
Das dort im Walde klinget! that echoes through yonder woods!
Welch’ ein lautes Getön What a clamour that is
Durchklingt den ganzen Wald! that echoes throughout the woods!
Es ist der gellenden Hörner Schall, It is the shrill cry of the horn,
Der gierigen Hunde Gebelle. the baying of eager hounds.
Schon flieht der aufgesprengte Hirsch, Now the stag leaps up and runs,
Ihm rennen die Doggen und Reiter nach. followed by hounds and riders.
Er flieht, er flieht! O wie er sich streckt! He flees, he flees! O how he flies along!
Ihm rennen die Doggen und Reiter nach. Hounds and riders follow him.
O wie er springt! O wie er springt! Oh, how he leaps and bounds!
O wie er sich streckt! Oh, how he runs for his life!
Text and translation
Da bricht er aus den Gesträuchen hervor Now he bursts out of cover
Und läuft über Feld in das Dickicht hinein. and races across the fields and into the thicket.
Jetzt hat er die Hunde getäuscht, Now he’s outwitted the hounds;
Zerstreuet schwärmen sie umher. they scatter, run hither and thither.
Die Hunde sind zerstreut, The hounds have scattered
Sie schwärmen hin und her. and are running hither and thither.
Tajo, tajo, tajo! Tally-ho, tally-ho, tally-ho!
Der Jäger Ruf, der Hörner Klang The huntsman’s voice and the horn
Versammelt aufs neue sie. rally the pack anew.
Ho, ho, ho! Tajo! Ho, ho! Ho, ho, ho! Tally-ho! Ho, ho!
Mit doppeltem Eifer stürzet nun With redoubled zeal
Der Haufe vereint auf die Fährte los. the reunited pack sets off again.
Tajo, tajo, tajo! Tally-ho, tally-ho, tally-ho!
Von seinen Feinden eingeholt, Surrounded by his enemies,
An Mut und Kräften ganz erschöpft, his courage and his powers quite exhausted,
Erlieget nun das schnelle Tier. the fleet-footed beast now sinks.
Sein nahes Ende kündigt an His approaching death is heralded
Des tönenden Erzes Jubellied, by the victory-call of the horn
Der freudigen Jäger Siegeslaut: and the cries of the happy hunters:
Ha-la-li, ha-la-li, ha-la-li. halloo, halloo, halloo!
Den Tod des Hirsches kündigt an The death of the stag is heralded
Des tönenden Erzes Jubellied, etc. by the victory-call of the horn, etc.
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Text and translation
27 Recitative
Hannah
Am Rebenstocke blinket jetzt Upon the vine the grapes now glisten,
Die helle Traub’ im vollen Safte, bright and full of juice,
Und ruft dem Winzer freundlich zu, inviting the grower pleasantly
Dass er zu lesen sie nicht weile. to pick them and tarry not.
Simon
Schon werden Kuf’ und Fass Now are tub and barrel
Zum Hügel hingebracht, carried to the slopes,
Und aus den Hütten strömet and from their shacks the pickers
Zum frohen Tagewerke are trooping merrily
Das munt’re Volk herbei. to their agreeable day’s work.
Hannah
Seht, wie den Berg hinan See, how the slopes up yonder
Von Menschen alles wimmelt! are all alive with people!
Hört, wie der Freudenton Harken to the merry voices
Von jeder Seit’ erschallet! ringing on all sides!
Lucas
Die Arbeit fördert lachender Scherz, The work is helped along by jokes
Vom Morgen bis zum Abend hin, from daybreak to sunset,
Und dann erhebt der brausende Most and then the foaming grape-juice turns
Die Fröhlichkeit zum Lustgeschrei. merriment to cries of joy.
28 Chorus
Chorus
Juh-he, juh-he! Der Wein ist da, Hurrah, hurrah! The wine is safe,
Die Tonnen sind gefüllt, the barrels have been filled,
Nun lasst uns fröhlich sein, now let us be merry,
Und juh-he, juh-he juh! and shout hurrah, hurrah
Aus vollem Halse schrei’n! with might and main!
Lasst uns trinken! Trinket Brüder, Let us drink! Brothers, drink up,
Lasst uns fröhlich sein! let us all be merry!
Lasst uns singen! Singet alle, Let us sing! Everyone sing,
Lasst uns fröhlich sein! and be merry!
Juh-he, juh-he juh! Es lebe der Wein! Hurrah, hurrah, hurrah for wine!
Es lebe das Land, wo er uns reift! Hurrah for the land that produces it!
Juh-he, juh! Es lebe der Wein! Hurrah, hurrah, hurrah for wine!
Es lebe das Fass, das ihn verwahrt! Hurrah for the barrel that holds it!
Juh-he, juh! Es lebe der Wein! Hurrah, hurrah, hurrah for wine!
Es lebe der Krug, woraus er fliesst! Hurrah for the jug from which it flows!
Juh-he, juh! Es lebe der Wein!, etc. Hurrah, hurrah, hurrah for wine!, etc.
Kommt, ihr Brüder! Füllt die Kannen, Come, my friends, fill your jugs,
Leert die Becher, lasst uns fröhlich sein! empty your beakers, let’s be merry!
18

Hei-da, hei-da! Lasst uns fröhlich sein, Heigh-ho, heigh-ho! Let’s be merry.
Und juh-he, juh-he, juh! and sing hurrah, hurrah
Aus vollem Halse schrei’n! with might and main!
Juh-he, juh-he! Es lebe der Wein! Hurrah, hurrah, hurrah for wine!
Nun tönen die Pfeifen Now pipes are piping,
Und wirbelt die Trommel. drums are beating.
Hier kreischet die Fiedel, The fiddle is scraping,
Da schnarret die Leier, the hurdy-gurdy twanging,
Und dudelt der Bock. the bagpipes droning.
Schon hüpfen die Kleinen The little children are skipping,
Und springen die Knaben; the boys are jumping;
Dort fliegen die Mädchen the lasses fly round,
Im Arme der Bursche arm in arm with the lads,
Den ländlichen Reih’n! dancing a country reel!
Hei-sa! Hop-sa! Lasst uns hüpfen! One-two, one-two! Everyone hop!
Ihr Brüder kommt! Come on, my friends!
Hei-sa! Hop-sa! Lasst uns springen! One-two, one-two! Everyone jump!
Die Kannen füllt, die Kannen füllt! Fill your jugs, fill your jugs!
Hei-sa! Hop-sa! Lasst uns tanzen! One-two, one-two! Everyone dance!
Die Becher leert, die Becher leert! Drain your beakers, drain your beakers!
Hei-da! Hei-da! Lasst uns fröhlich sein! Heigh-ho, heigh-ho! Let’s be merry!
Hei-da! Und juh-he, juh-he, juh! Shout heigh-ho and shout hurrah,
Aus vollem Halse schrei’n! shout with might and main!
Jauchzet, lärmet! Juh-he, juh-he, juh! Cheer, yell! Hurrah, hurrah!
Juh-he, juh! Springet, tanzet! Hurrah, hurrah! Leap and dance!
Hei-sa, hop-sa! Lachet, singet, One-two, one-two! Laugh, sing,
Jauchzet, singet! Hei-sa, hei-sa, hei! cheer and sing! Hip-hip-hip-hurray!
Nun fassen wir den letzten Krug, Now let’s claim our final jug,
Hei-sa, hop-sa, hei-sa! hip-hip-hip-hurray!
Und singen dann im vollen Chor And then sing all together
Dem freudenreichen Rebensaft! of the grape that makes us merry!
Hei-sa, hei! Juh-he, juh! Hip-hip-hurrah! Hurray!
Es lebe der Wein, der edle Wein, Hurrah for wine, for the noble wine
Der Grillen und Harm verscheucht! in which we drown our sorrows!
Sein Lob ertöne laut und hoch May its praises be sung far and wide
In tausendfachen Jubelschall! in thousandfold rejoicing!
Hei-da, lasst uns fröhlich sein, Heigh-ho, let’s be merry,
Und juh-he, juh-he, juh! and shout hurrah, hip-hip-hurrah
Aus vollem Halse schrei’n! with might and main!
Juh, juh! Hurrah!
Text and translation
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Text and translation
PART FOUR: WINTER
29 Introduction and Recitative
The Introduction paints the thick fogs at the beginning of Winter.
Simon
Nun senket sich das blasse Jahr, Now the outworn year is dying
Und fallen Dünste kalt herab. and chilly fogs descend.
Die Berg’ umhüllt ein grauer Dampf, The mountains are shrouded in grey mist
Der endlich auch die Flächen drückt, that reaches at last into the vales
Und am Mittage selbst and, even at midday,
Der Sonne matten Strahl verschlingt. hides the sun’s pale beams.
Hannah
Aus Lapplands Höhlen schreitet her From Lapland’s caverns stalks
Der stürmisch düst’re Winter jetzt. the sombre, stormy Winter now.
Vor seinem Tritt erstarrt Before his tread all nature stands
In banger Stille die Natur. in frozen, frightened silence.
30 Cavatina
Hannah
Licht und Leben sind geschwächet, Light and life are now enfeebled,
Wärm’ und Freude sind verschwunden. warmth and joy have disappeared.
Unmutsvollen Tagen folget Ill-humoured days are followed
Schwarzer Nächte lange Dauer. by long dark nights.
31 Recitative
Lucas
Gefesselt steht der breite See, The lake’s expanse is gripped in ice,
Gehemmt in seinem Laufe der Strom. the current of the stream is stemmed.
Im Sturze vom türmenden Felsen hängt Suspended from the towering cliffs,
Gestockt und stumm der Wasserfall. the waterfall hangs motionless and silent.
Im dürren Haine tönt kein Laut. In the leafless woods no sound is heard.
Die Felder deckt, die Täler füllt A monstrous covering of snow
Ein’ ungeheure Flockenlast. blankets the fields and fills the vales.
Der Erde Bild ist nun ein Grab, Earth’s aspect is that of a tomb,
Wo Kraft und Reiz erstorben liegt, where strength and grace lie dead,
Wo Leichenfarbe traurig herrscht, where sad corpse-colours predominate,
Und wo dem Blicke weit umher and where, on every side, the gaze
Nur öde Wüstenei sich zeigt. falls only upon barren wasteland.
32 Aria
Lucas
Hier steht der Wand’rer nun, Here stands a traveller now
Verwirrt uns zweifelhaft, bewildered and perplexed,
Wohin den Schritt er lenken soll. not knowing which way to turn.
Vergebens suchet er den Weg, In vain he seeks the road,
Ihn leitet weder Pfad noch Spur. but finds neither path nor track.
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Vergebens strenget er sich an, Vainly he tries to struggle,
Und watet durch den tiefen Schnee; and wades through the deep snow;
Er find’t sich immer mehr verirrt. only to find himself more lost than ever.
Jetzt sinket ihm der Mut, Now his courage ebbs away,
Und Angst beklemmt sein Herz, his heart is gripped by the fear
Da er den Tag sich neigen sieht, of seeing daylight disappear
Und Müdigkeit und Frost and being paralysed
Ihm alle Glieder lähmt. by weariness and cold.
Jetzt sinket ihm der Mut, Now his courage ebbs away,
Und Angst beklemmt sein Herz, his heart is gripped by fear,
Doch plötzlich trifft sein spähend Aug but suddenly his eye is caught
Der Schimmer eines nahen Lichts. by the glimmer of a light nearby.
Da lebt er wieder auf, Now he breathes again,
Vor Freuden pocht sein Herz. his heart throbs with joy.
Er geht, er eilt der Hütte zu, He runs towards the cottage where,
Wo starr und matt er Labung hofft. cold and tired, he hopes to find refreshment.
33 Recitative
Lucas
Sowie er naht, schallt in sein Ohr, As he draws nigh, he catches,
Durch heulende Winde nur erst gestreckt, borne on the howling wind,
Heller Stimmen lauter Klang. the sound of voices bright and clear.
Hannah
Die warme Stube zeigt ihm dann The warm room soon reveals
Des Dörfchens Nachbarschaft, the village’s inhabitants
Vereint im trauten Kreise, gathered sociably
Den Abend zu verkürzen to while away the evening
Mit leichter Arbeit und Gespräch. with light tasks and chatter.
Simon
Am Ofen schwätzen hier Fathers, sitting by the stove,
Von ihrer Jugendzeit die Väter, natter about their youth
Zu Körb’ und Reusen flicht die Weidengert’, while willow twigs are plaited into baskets,
Und Netze strickt der Söhne and their sons, in a jolly group,
Munt’rer Haufe dort. are making nets.
Am Rocken spinnen die Mütter, Mothers are spinning with distaffs,
Am laufenden Rade die Töchter; their daughters with the spinning wheel;
Und ihren Fleiss belebt and their toil is enlivened
Ein ungekünstelt frohes Lied. by an artless, happy song.
Text and translation
34 Solo Song and Chorus - The Spinning Song
Women
Knurre, schnurre, Rädchen, schnurre! Purring, whirring, work, my little wheel!
Hannah
Drille, Rädchen, lang und fein, Twist long and fine, my little wheel,
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Text and translation
Drille fein ein Fädelein, twist a fine, neat thread
Mir zum Busenschleier. to make a kerchief for my breast.
Women
Knurre, schnurre, Rädchen, schnurre! Purring, whirring, work, my little wheel!
Hannah
Weber, webe zart und fein, Shuttle, weave both soft and fine,
Webe fein das Schleierlein finely weave the kerchief
Mir zur Kirmessfeier. I shall wear at Easter.
Women
Knurre, schnurre, Rädchen, schnurre! Purring, whirring, work, my little wheel!
Hannah
Aussen blank und innen rein Outwardly bright and inwardly pure
Muss des Mädchens Busen sein, will the breast of a maiden be
Wohl deckt ihn der Schleier. when her kerchief is becoming.
Women
Knurre, schnurre, Rädchen, schnurre! Purring, whirring, work, my little wheel!
Hannah
Aussen blank und innen rein, Fair without and pure within
Fleissig, fromm und sittsam sein, industrious, pious and modest be,
Locket wack’re Freier. to attract a worthy suitor.
Chorus
Aussen blank und innen rein, etc. Fair without and pure within, etc.
35 Recitative
Lucas
Abgesponnen ist der Flachs, The flax has all been spun,
Nun steh’n die Räder still. and now the wheel stands silent.
Da wird der Kreis verengt, The circle has drawn closer
Und von dem Männervolk umringt, and the menfolk gather round it
Zu horchen auf die neue Mär, to listen to the latest story
Die Hannah jetzt erzählen wird. Hannah has to tell.
36 Solo Song with Chorus
Hannah
Ein Mädchen, das auf Ehre hielt, A nobleman that once did love
Liebt’ einst ein Edelmann, a maid who held her honour dear,
Da er schon längst nach ihr gezielt, on finding her alone at last
Traf er allein sie an. set about wooing her.
Er stieg sogleich vom Pferd und sprach: Dismounting from his horse, he said:
Komm, küsse deinen Herrn! Come, kiss your lord, my dear!
Sie rief vor Angst und Schrecken: Ach! Alarmed and frightened, she cried out: Oh!
Ach ja, von Herzen gern. Oh yes, with all my heart!
Chorus
Ei, ei, warum nicht nein? Oh, why did she not say no?
22

Hannah
Sei ruhig, sprach er, liebes Kind, Be not alarmed, dear child, he said,
Und schenke mir dein Herz! but give your heart to me,
Denn meine Lieb’ ist treu gesinnt, for my love is sincerely meant,
Nicht Leichtsinn oder Scherz. I do not trifle or jest.
Dich mach’ ich glücklich, nimm dies Geld, I’ll make you happy, take this gold,
Den Ring, die gold’ne Uhr, this ring, this golden watch,
Und hab ich sonst, was dir gefällt, and if there is anything else you’d like
O sag’s und fod’re nur. you only have to tell me.
Chorus
Ei, ei das klingt recht fein. Aha, that sounds too smooth!
Hannah
Nein, sagt sie, das wär’ viel gewagt, Oh no, she said, you are too bold,
Mein Bruder möcht’ es sehn, my brother might have seen us,
Un wenn er’s meinem Vater sagt, and if he tells my father,
Wie wird mir’s dann ergehn! I don’t know what would happen!
Er ackert uns hier allzunah, He’s ploughing in a nearby field,
Sonst könnt’ es wohl geschehn. he could be watching us.
Schaut nur, von jenem Hügel da, Just go and look, from yonder hill
Könnt’ Ihr ihn ackern sehn. you might see him ploughing.
Chorus
Ho, ho, was soll das sein? Ho ho, now what will happen?
Hannah
Indem der Junker geht und sieht, While the squire went off to look,
Schwingt sich das lose Kind the clever girl did leap
Auf seinen Rappen und entflieht upon his black horse, and flew off
Geschwinder als der Wind. as swiftly as the wind.
Lebt wohl, rief sie, mein gnäd’ger Herr, Farewell, she cried, my gracious lord,
So räch’ ich meine Schmach! so I avenge my shame!
Ganz eingewurzelt stehet er Quite rooted to the spot,
Und gafft ihr staunend nach. he stood gaping after her.
Chorus
Ha, ha, ha, ha, das war recht fein, Ha, ha, ha, ha, she did do well,
Das war recht fein, ha, ha, etc. she did do well, ha, ha, etc
Text and translation
37 Recitative
Simon
Vom dürren Osten Now from the arid east
Dringt ein scharfer Eishauch jetzt hervor. a biting, icy breath is blowing.
Schneidend fährt er durch die Luft, It slices through the air
Verzehret jeden Dunst consuming the very mists
Und hascht des Tieres Odem selbst. and even catching at the cattle’s breath.
Des grimmigen Tyranns, The dominance of Winter,
Des Winters Sieg ist nun vollbracht, that dread tyrant, is complete,
Und stummer Schrecken drückt and all the natural world
Den ganzen Umfang der Natur. is mute with terror.
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Text and translation
38 Aria and Recitative
Simon
Erblicke hier, betörter Mensch, Look on this, deluded Man,
Erblicke deines Lebens Bild! see here an image of your life!
Verblühet ist dein kurzer Lenz, The blooms of your brief Spring are over,
Erschöpfet deines Sommers Kraft. the power of your Summer is exhausted.
Schon welkt dein Herbst dem Alter zu, Your Autumn soon fades into old age,
Schon naht der bleiche Winter sich soon comes the pallid Winter,
Und zeiget dir das off’ne Grab. pointing to an open grave.
Wo sind sie nun, die hoh’n Entwürfe, Where are they now, your lofty plans,
Die Hoffnungen von Glück, your hopes of happiness,
Die Sucht nach eitlem Ruhme, your search for empty fame,
Der Sorgen schwere Last? the cares that burdened you?
Wo sind sie nun, die Wonnetage, Where are they now, the golden days
Verschwelgt in Üppigkeit? squandered in self-indulgence?
Und wo die frohen Nächte, And where are the merry nights
Im Taumel durchgewacht? of drunken revelry?
Wo sind sie nun? Wo? Where are they now? Where?
Verschwunden sind sie, wie ein Traum. All have vanished like a dream.
Nur Tugend bleibt. Virtue alone remains.
Sie bleibt allein It survives alone
Und leitet uns unwandelbar and leads us, undeviatingly,
Durch Zeit und Jahreswechsel, through time and the rolling years,
Durch Jammer oder Freude through sorrow and joy
Bis zu dem höchsten Ziele hin. to the highest goal.
39 Trio and Double Chorus
Simon
Dann bricht der grosse Morgen an, Then the greatest dawn doth break,
Der Allmacht zweites Wort erweckt and the Almighty’s second word
Zum neuen Dasein uns, awakes us to new life,
Von Pein und Tod auf immer frei.
Lucas and Simon
freed forever from pain and death.
Die Himmelspforten öffnen sich, The gates of heaven open wide,
Der heil’ge Berg erscheint. the holy mount appears,
Ihn krönt des Herren Zelt, crowned by the tabernacle of the Lord,
Wo Ruh’ und Friede thront.
Chorus 1
where peace and joy reign supreme.
Wer darf durch diese Pforten geh’n?
Hannah, Lucas and Simon
Who may enter these portals?
Der Arges mied und Gutes tat.
Chorus 2
He who shunned evil and did good.
Wer darf besteigen diesen Berg?
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Who may ascend this mount?

Hannah, Lucas and Simon
Von dessen Lippen Wahrheit floss. He who has spoken the truth.
Chorus 1
Wer darf in diesem Zelte wohnen? Who may dwell in this tabernacle?
Hannah, Lucas and Simon
Der Armen und Bedrängten half. He who helped the poor and needy.
Chorus 2
Wer wird den Frieden dort geniessen? Who shall taste of these joys?
Hannah, Lucas and Simon
Der Schutz und Recht der Unschuld gab. He who protected the innocent.
Chorus 1
O seht! Der grosse Morgen naht! Oh see, the great dawn approaches!
Chorus 2
O seht! Er leuchtet schon! Oh see, it gleams already!
Chorus 1 and 2
Die Himmelspforten öffnen sich, Heaven’s portals open,
Der heil’ge Berg erscheint. the holy mount appears.
Vorüber sind, verbrauset sind Finished, their racket silenced,
Die leidenvollen Tage, are the sorrow-laden days,
Des Lebens Winterstürme. the Winter-storms of life.
Ein ew’ger Frühling herrscht, An eternal Spring now reigns,
Und grenzenlose Seligkeit and infinite blessedness
Wird der Gerechten Lohn. rewards the righteous.
Hannah, Lucas and Simon
Auch uns werd’ einst ein solcher Lohn! May such a reward one day be ours!
Lasst uns wirken, lasst uns streben! Let us work and strive for it!
Chorus 1 and 2
Lasst uns kämpfen! Lasst uns harren, Let’s fight the good fight, hoping
Zu erringen diesen Preis! that this prize will be ours!
Uns leite deine Hand, o Gott! Thy hand, O God, shall guide us.
Verleih uns Stärk’ und Mut. Give us strength and courage.
Dann singen wir, dann geh’n wir ein Then shall we sing, then shall we enter
In deines Reiches Herrlichkeit. the kingdom of thy glory.
Amen. Amen.
Text after ‘The Seasons’ by James Thomson (1700-48), Translation © Avril Bardoni
arranged by Gottfried van Swieten (1733-1803)
Text and translation
25

About the performers
Sir John Eliot Gardiner
conductor
John Eliot Gardiner is one of the
most versatile conductors of our
time and is acknowledged as a key
figure in the early music revival.
Founder and artistic director of the
Monteverdi Choir, the English
Baroque Soloists and the Orchestre Révolutionnaire et
Romantique, John Eliot Gardiner enjoys acclaim for a
repertoire ranging from Monteverdi to Verdi and
beyond. He appears regularly as guest conductor with
the world’s leading orchestras, including the Vienna and
Berlin Philharmonic, the Boston and Cleveland and the
London Symphony orchestras.
He has made over 250 recordings, many of which have
received numerous international awards, winning more
Gramophone awards for Gardiner than any other artist.
Recordings include the six late masses by Haydn as well
as Santiago a Cappella, released to coincide with his
2004 Santiago Pilgrimage tour. His set of recordings of
the Bach cantatas from the Bach Cantata Pilgrimage
tour of 2000 is currently being released on his own
record label Soli Deo Gloria. The first release won the
Gramophone Record of the Year Award, 2005. The
label’s first non-Bach, independently produced
recording, Pilgrimage to Santiago, has been chosen by
The Sunday Times as its ‘Record of the Year’.
Recent opera engagements have included his La Scala
debut with Kat’a Kabanova and a return visit to the
Royal Opera House, Covent Garden, for La finta
giardiniera, with Simon Boccanegra planned for his next
appearance there. During 2006 Gardiner conducted
several Mozart anniversary programmes, detailed
below under English Baroque Soloists and The
Monteverdi Choir. He has recently conducted music by
Rameau and his contemporaries in Paris and, in addition
to performances of Haydn’s The Seasons in Lisbon,
Valladolid, Madrid and Vitoria, future engagements
include concerts of Brahms’s orchestral music with the
Orchestre Révolutionnaire et Romantique, and a focus
on music by the Bach family.
In 1987 John Eliot Gardiner received an Honorary
Doctorate from the University of Lyon, and in 1996 he
26
was created Commandeur dans l’Ordre des Arts et des
Lettres. In 1992 he became an Honorary Fellow of both
King’s College, London, and the Royal Academy of
Music. He received a knighthood in 1998 and in 2006 he
was awarded a Doctorate Honoris Causa in Musicology
by the University of Cremona, the birthplace of Claudio
Monteverdi.
Rebecca Evans soprano Hannah
Rebecca Evans was born in South
Wales and studied at the Guildhall
School of Music & Drama. On the
operatic stage she has sung
Susanna/Le nozze di Figaro and
Zerlina/Don Giovanni at the
Metropolitan Opera, New York;
Pamina/Die Zauberflöte, Zerlina, Nannetta/Falstaff and
Johanna/Sweeney Todd at the Royal Opera House,
Covent Garden; Despina/Così fan tutte at the
Staatsoper, Berlin; Romilda/Xerxes and
Ginevra/Ariodante at English National Opera; Pamina
and Adèle/Die Fledermaus for the Lyric Opera of
Chicago; and Zerlina, Anne Trulove/The Rake’s Progress
and Adina/L’elisir d’amore for San Francisco Opera.
She is a regular guest at the Bavarian State Opera,
Munich, where her roles have included Susanna,
Ilia/Idomeneo, Nannetta, Sophie/Der Rosenkavalier,
Zdenka/Arabella and Servilia/La clemenza di Tito. At
Welsh National Opera she has sung Mimí/La bohème,
Susanna, Ilia, Marzelline/Fidelio, Norina/Don Pasquale
and Héro/Béatrice et Bénédict. Future engagements
include Despina at Covent Garden; Governess/The Turn
of the Screw at ENO; Pamina at WNO, and in San
Francisco; and Ginevra in Munich. Her concert
appearances include the BBC Proms and the Salzburg,
Edinburgh, Tanglewood, Ravinia, Melbourne and
Munich festivals. In recital, she has appeared at the
Barcelona, Ravinia, Buxton, Belfast and Beaulieu-sur-
Mer festivals as well as the Wigmore Hall. Her extensive
discography includes the roles of Pamina, Ilia and
Nannetta; a series of Gilbert and Sullivan recordings
with Sir Charles Mackerras; and a solo recording of
Italian songs.

James Gilchrist tenor Lucas
After studying at King’s College,
Cambridge, where he was a choral
scholar, James Gilchrist began his
working life as a doctor, turning to a
full-time career in music in 1996.
Recent highlights include
Frederic/The Pirates of Penzance
and Ralph/HMS Pinafore, Septimius/Theodora, Elgar’s
The Dream of Gerontius, Israel in Egypt, Bach’s B minor
Mass and Christmas Oratorio, as well as Mozart’s
Requiem (Seattle Symphony Orchestra), Tippett’s The
Knot Garden (BBC SO/Sir Andrew Davis), Alexander’s
Feast in Salzburg and Judas Maccabeus (Danish Radio
Orchestra). Engagements last season include Messiah
with the San Francisco and Detroit Symphony orchestras,
Mozart’s C minor Mass with the Tonhalle Orchestra, Bach
cantatas with the Bach Collegium Japan in Tokyo, St.
Matthew Passion with North Carolina Symphony
Orchestra, St. John Passion with the Royal Concertgebouw
Orchestra, Britten’s Serenade for Tenor, Horn and
Strings at The Sage, Gateshead, and Purcell’s King
Arthur for Mark Morris at English National Opera. He
recently sang in Britten’s War Requiem in Westminster
Cathedral, Stravinsky’s Pulcinella with the Ensemble
Orchestral de Paris at the Théâtre des Champs-Elysées,
Haydn’s ‘Nelson’ Mass in Granada, and Handel’s
Belshazzar with San Francisco’s Philharmonia Baroque
Orchestra and Mark Morris, while future engagements
include Bach’s St. Matthew Passion at the Concertgebouw,
Amsterdam. As a recitalist he has performed many varied
programmes with piano, lute and harp, and among his
many recordings are a disc of Finzi song-cycles, Oh Fair
to See (with Anna Tilbrook), and When Laura Smiles,
Elizabethan lute songs (with Matthew Wadsworth).
Dietrich Henschel baritone
Simon
Dietrich Henschel began his
international career with the titleroles
in Henze’s Der Prinz von
Homburg at the Deutsche Oper,
Berlin and Busoni’s Dr Faust at the
Opéra National de Lyon. Other
About the performers
operatic roles include, among others, Monteverdi’s
Orfeo and Ulisse; Mozart’s Count and Don Giovanni;
and Rossini’s Barber and Dandini; as well as more
contemporary roles such as Berg’s Wozzeck. He
regularly appears at the opera houses in Berlin,
Cologne, Brussels, Geneva, Zurich, Lyon and Paris, as
well as at international festivals including Salzburg, Aixen-Provence
and the Maggio Musicale in Florence. His
extensive discography includes, among many others,
Schubert’s Winterreise and the complete recording of
Busoni’s Dr Faust (Opéra de Lyon/Nagano), which was
awarded a Grammy in 2000. He recently sang the titlerole
in Wozzeck in Lisbon, the Brahms/Glanert Vier
ernste Gesänge in Cologne, Kurwenal/Tristan und
Isolde in Montréal and, following this short tour of The
Seasons, will take part in Bach’s St. John Passion in Paris,
Brahms’s Ein Deutsches Requiem in Santiago and
Madrid, Bach’s St. Matthew Passion in Berlin and a
newly commissioned opera El viaje a Simorgh in
Madrid, as well as creating the role of the Mad Hatter in
Unsuk Chin’s Alice in Wonderland in Munich.
The English Baroque Soloists and
The Monteverdi Choir
The English Baroque Soloists was formed in 1978 by Sir
John Eliot Gardiner and has since established itself as
one of the great chamber orchestras of the world
playing on period instruments. The ensemble has
performed at many venues around the world, including
Teatro alla Scala, Milan; the out-door amphitheatre in
Pompeii; the Philharmonie, Berlin; Théâtre du Châtelet,
Paris; New York’s Lincoln Center; Sydney Opera House;
Amsterdam’s Concertgebouw, and St Mark’s, Venice. In
1990 the English Baroque Soloists made its Salzburg
Festival debut and has since returned to Salzburg, along
with Vienna and Innsbruck, on many occasions. In 1990
a six-year European project was launched to perform
and record Mozart’s seven mature operas. Other
recordings include Mozart’s major symphonies, the
Requiem and Mass in C minor as well as the first
complete, period-instrument piano concerto cycle with
Malcolm Bilson. In celebration of the 250th anniversary
of J.S. Bach’s death in 2000, Gardiner and the
Monteverdi Choir and English Baroque Soloists
27

About the performers
undertook the Bach Cantata Pilgrimage – performing all
198 of Bach’s sacred cantatas in over 60 churches
throughout Europe on the Sundays and feast days for
which they were intended. Over the last few years the
English Baroque Soloists has toured extensively
throughout Europe, the Far East and the USA. During
2006 the English Baroque Soloists and the Monteverdi
Choir celebrated the Mozart anniversary, touring the
East and West coasts of North America, presenting Il re
THE ENGLISH BAROQUE SOLOISTS
First Violin
Alison Bury leader
Kati Debretzeni
Matthew Truscott
Sophie Barber
Ken Aiso
Ann Schumann
Sarah Bealby-Wright
Geoffroy Schied
May Kustovny
Second Violin
Roy Mowatt
Jayne Spencer
Jean Paterson
Jane Gille
Iona Davies
Håkan Wikstrom
THE MONTEVERDI CHOIR
Soprano
Isabelle Adams
Miriam Allan
Elenor Bowers-Jolley
Donna Deam
Juliet Fraser
Alison Hill
Kirsty Hopkins
28
Hidburg Williams
KathrynTempleman
Viola
Annette Isserlis
Tom Dunn
Lisa Cochrane
Alfonso Leal Del Ojo
Stefanie Heichelheim
Oliver Wilson
Cello
Philipp von Steinaecker
Catherine Rimer
Olaf Reimers
Christopher Poffley
Gabriel Amherst
Angela Kazimierczuk
Charlotte Mobbs
Katie Pringle
Rachel Wheatley
Belinda Yates
Double Bass
Valerie Botwright
Cecelia Bruggemeyer
Markus van Horn
Flute
Rachel Beckett
Christine Garratt
Oboe
Michael Niesemann
Molly Marsh
Clarinet
Timothy Lines
Guy Cowley
Alto
Margaret Cameron
Jacqueline Connell
Peter Crawford
Carol Hall
Frances Jellard
Andrew Radley
Richard Wyn Roberts
pastore and La finta giardiniera at the Royal Opera
House, Covent Garden, and visiting several major
European summer festivals including Salzburg; toured a
programme of Bach cantatas around Europe; and gave
a series of opera galas in London, Paris, Madrid and
Pisa. The Soloists and Choir gave concerts of Rameau
and his contemporaries in Paris in February and, in
addition to touring, will be performing music by the Bach
family in future concerts.
Bassoon/
Contrabassoon
Jane Gower
Györgyi Farkas
David Chatterton
Horn
Gavin Edwards
Anneke Scott
Joe Walters
Martin Lawrence
Trumpet
Michael Harrison
Robert Vanryne
Paul Sharp
Tenor
Ben Alden
Andrew Busher
Simon Davies
Andrew Hewitt
Tom Raskin
Paul Tindall
Will Unwin
Trombone
Adam Woolf
Abigail Newman
Stephen Saunders
Timpani
Robert Kendell
Percussion
Robert Davies
Charlotte Mobbs
Fortepiano
Roger Hamilton
Bass
Richard Bannan
Paul Charrier
Julian Clarkson
Robert Davies
Samuel Evans
James Oldfield
Lawrence Wallington

Barbican Committee
Chairman
John Barker OBE
Deputy Chairman
Barbara Newman CBE
Mary Lou Carrington
Stuart Fraser
Christine Cohen OBE
Jeremy Mayhew
Maureen Kellett
Joyce Nash OBE
John Owen-Ward
John Robins
Patrick Roney CBE
Lesley King-Lewis
Barbican Directorate
Managing Director
Sir John Tusa
Artistic Director
Graham Sheffield
Commercial and
Venue Services Director
Mark Taylor
Projects and Building
Services Director
Michael Hoch
Finance Director
Sandeep Dwesar
HR Director
Diane Lennan
Executive Assistant
to Sir John Tusa
Leah Nicholls
Barbican Music Department
Head of Music
Robert van Leer
Concert Hall Manager
Vicky Atkinson
Music Programmers
Gijs Elsen
Bryn Ormrod
Programming Consultant
Angela Dixon
Programming Assistants
Andrea Jung
Gersende Giorgio
Katy Morrison
Concerts Planning Manager
Frances Bryant
Music Administrator
Thomas Hardy
Concerts Assistant
Catherine Langston
Head of Marketing
Chris Denton
Music Marketing Manager
Jacqueline Barsoux
Marketing Executives
Naomi Engler
Bethan Sheppard
Performing Arts Marketing
Assistant
Sarah Hemingway
Media Relations Manager
Nicky Thomas
Media Relations Assistant
(Classical Music)
Hannah Kendall
Acting Senior Production Manager
Eddie Shelter
Programme edited by Edge-Wise, artwork by Jane Denton; printed by Vitesse London;
advertising by Cabbell (tel. 020 8971 8450)
Please make sure that all digital watch alarms and mobile phones are switched off during the
performance. In accordance with the requirements of the licensing authority, sitting or standing
in any gangway is not permitted. No smoking, eating or drinking is allowed in the auditorium.
No cameras, tape recorders or any other recording equipment may be taken into the hall.
Production Managers
Katy Arnander
Jessica Buchanan-Barrow
Alison Cooper
Event Managers
Kate Packham
Kirsten Siddle
Fiona Todd
Production Assistant
Corinna Woolmer
Technical Manager
Eamonn Byrne
Deputy Technical Manager
Ingo Reinhardt
Technical Supervisors
Mark Bloxsidge
Steve Mace
Technicians
Maurice Adamson
Jasja van Andel
Robert Jennings
Jason Kew
Martin Shaw
Stage Manager
Elizabeth Burgess
Deputy Stage Manager
Julie-Anne Bolton
Stage Supervisors
Christopher Alderton
Paul Harcourt
Stage Assistants
Ademola Akisanya
Michael Casey
Andy Clarke
Trevor Davison
Heloise Donnelly-Jackson
Hannah Wye
Technical & Stage Coordinator
Colette Chilton
Barbican Centre
Silk Street
London EC2Y 8DS
Administration 020 7638 4141
Box Office 020 7638 8891
www.barbican.org.uk
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