The use of cameras or recording equipment during the 

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry ofthe 

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

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www.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

office at (202) 842-6450 or cirde@nga.gov for more information.

The Seventy-second Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,978th Concert

Wolfgang Holzmair, baritone

Russell Ryan, pianist

February 2, 2014

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Performed without intermission—the audience is requested to

withhold applause until the pause between sections, and again 

until the end ofthe cycle.

Franz Schubert (1797-1828)

Schwanengesang (Swan Song), D. 957 (1828)

(Songs with other Deutsch numbers are from other collections)

Die Taubenpost, D. 965a (Pigeon Post) (1828)

Im Freien, D. 880 (Out of Doors) (1826)

Liebesbotschaft (Message of Love)

Kriegers Ahnung (Warrior’s Foreboding)

Fruhlingssehnsucht (Spring Longing)

Standchen (Serenade)

Aufenthalt (Resting Place)

Herbst (Autumn)

In der Feme (In the Distance)

Abschied (Farewell)

BRIEF PAUSE

Der Atlas (Atlas)

Ihr Bild (Her Picture)

Das Fischermadchen (The Fisher Maiden)

Am Meer (By the Sea)

Die Stadt (The City)

Der Doppelganger (The Double)

Schwanengesang, D. 744 (Swan Song) (1823)

The Musicians

WOLFGANG HOLZMAIR

One ofthe world’s leading baritones, Wolfgang Holzmair was born in

Vocklabmck, Austria, and studied at the Vienna Academy of Music and

Dramatic Arts with Hilde Rossel-Majdan (voice) and Erik Werba (Lied). A

favorite in prestigious concert halls and festivals worldwide, he has given

recitals in Lisbon, London, Moscow, New York, Seoul, and Washington, DC.

He has been a featured singer at the Bregenz and Carinthian Summer

festivals in Austria; Risor Festival in Norway; Menuhin Festival in Switzerland; and Bath, Belfast, and Edinburgh festivals in the United Kingdom.

Active as well on the opera stage, Holzmair has sung Demetrius in

Britten’s A Midsummer Night’s Dream, Masino in Haydn’s La vera costanza,

Eduard in Hindemith’s Neues vom Tage, Father in Humperdinck’s Hansel

and Gretel, Papageno and Speaker ofthe Temple in Mozart’s Magic Flute,

Eisenstein in Johann Strauss Jr’s Die Fledermaus, Faninal in Richard Strauss’

Der Rosenkavalier, and Wolfram in Wagner’s Tannhduser.

Among the prominent orchestras with which Holzmair has sung are the

Berlin Philharmonic, Budapest Festival, Cleveland, Royal Concertgebouw,

Dresden Philharmonic, Israel Philharmonic, Leipzig Gewandhaus, and

Vienna Symphony orchestras as well as the Orchestra ofthe Age of Enlightenment. The conductors on those occasions included Herbert Blomstedt,

Pierre Boulez, Riccardo Chailly, Rafael Friihbeck de Burgos, Ivan Fischer,

Bernard Haitink, Roger Norrington, and Seiji Ozawa.

Winner of a Grammy Award for his recording ofBrahms’ Fin deutsches

Requiem with Herbert Blomstedt, Holzmair has recorded numerous Lieder

by Beethoven, Brahms, Haydn, Schubert, and Wolf as well as songs by contemporary composers. His long-standing commitment to works by formerly

persecuted composers is evidenced by his cds ofsongs by Ernst Krenek

(1900-1991), Franz Mittler (1893-1970), Franz Schrelcer (1878-1934) and 

Erich Zeisl (1905-1959) as well as his recording of compositions from the 

Terezin concentration camp.

3
Since 1998 Holzmair has taught Lied and oratorio at the Mozarteum in 

Salzburg and given master classes in Europe, Japan, and North America. He

is also a visiting professor at the Royal Academy of Music in London and a

fellow ofthe Royal College of Music. He appears at the National Gallery by

arrangement with Matthew Sprizzo artists, www.matthewsprizzo.com.

RUSSELL RYAN

Born in North Dakota, Russell Ryan received his first piano lessons at age

six. A prize winner and soloist at the San Francisco Junior Bach Festival, he 

studied piano under Paul Hersh at the San Francisco Conservatory of Music,

before participating in master classes at the Juilliard School in New York.

He subsequently moved to Austria, where he studied piano chamber music

under Georg Ebert at Vienna’s University for Music and Performing Arts,

where he was appointed to the faculty in 1985. Since 1991 he has assisted

in the Lied class of Edith Mathis. His activity in Vienna has also included

accompanying the Wiener Singverein, giving master classes at the Wiener 

Meisterkurse, and teaching at the Institute for the International Education

of Students. Festivals in which Ryan has participated include Gino Bechi

Festival in Florence, Grieg Festivals in Oslo and Bergen, Jugendfestival in

Bayreuth, Menuhin Festival in Gstaad, Oslo Music Academy Festival, and

Schleswig-Holstein Musikfestival in northern Germany.

Ryan performs regularly as a soloist and collaborative artist throughout

China, Europe, Israel, Japan, and the United States. He has appeared in many 

radio and television broadcasts, recorded several cds, and concertized at the 

Austrian embassies in New York and Washington, Carnegie Hall, Amsterdam’s Concertgebouw, the Kennedy Center, Lincoln Center, and the Wiener

Konzerthaus. Since 2008 he has been a professor of practice for collaborative

piano at Arizona State University and a guest artist at the Fairbanks Summer

Arts Festival and the Middlebury (Connecticut) Summer Program.

4

Program Notes

Historians consider Ludwig van Beethoven’s An diefeme Geliebte (To the 

Distant Beloved), composed in 1816, to be the first example ofthe song

cycle (Liederkreis) as a genre. Not long after Beethoven’s innovation, Franz

Schubert succeeded him as the foremost composer ofsong cycles with Die

schone Mullerin (The Lovely Maid ofthe Mill) in 1823 and Winterreise (Winter

Journey) in 1828. Schubert wrote those songs for the vocal range of a tenor

or soprano, but he also established a precedent by transposing his songs

into a lower key so that they would suit a wider range ofsingers. The piano 

parts are intricate, expressive, and replete with musical descriptions ofthe

words being sung as well as expressions ofunspoken but implied ideas.

Schubert’s inspiration for Die schone Mullerin and Winterreise came from

poetry that Wilhelm Muller (1794-1827) had published in 1820 and 1824.

The composer selected texts for his settings that would articulate the narrative of a wanderer’s journey, passing through stages oflove, longing, delusional hope, and despair.

Widely regarded as Schubert’s third great song cycle, Schwanengesang

(Swan Song) came into being under a more mundane set of circumstances.

Compiled after Schubert’s death by publisher Tobias Haslinger (1787-1842),

Schwanengesang consists of unpublished manuscripts that Haslinger found

among Schubert’s belongings. Having enjoyed great success in publishing

Schubert’s two previous cycles, he released the posthumous collection in

1829, advertising the “cycle” as Schubert’s “final musical testament to the 

world.” The idea of a “swan song” and the assignment ofthat name to the

publication were fabrications on Haslinger’s part. He did not even attempt

to organize the songs, but simply published them in the order in which he

found the manuscripts.

5
Wolfgang Holzmair has made his own musical and dramatic choices in

presenting Schubert’s Schwanengesang. He places two Lieder with texts by

Johann Gabriel Seidl (1804-1875)—“Die Taubenpost” and “Im Freien”—at

the beginning ofthe cycle, and finishes with a Lied from Schubert’s earlier

works, for which the text (by Johann Chrysostomos Senn, 1795-1857) is

indeed a swan song. The other songs are presented in the order in which

Haslinger published them, except for “Am Meer” and “Die Stadt,” which

are reversed.

An optimistic song ofunrequited longing, “Die Taubenpost” tells of

a carrier pigeon that carries a lover’s message to his sweetheart’s house

each day. The lover never receives a response, but he cherishes the constancy

and enthusiasm ofhis longing, symbolized by the pigeon and its flight

pattern. In “Im Freien,” Schubert returns to the theme ofthe wanderer’s

journey, which in this case occurs at nighttime. The wanderer, remembering

how the cottage where his loved one lived looked in the moonlight, finds a

bittersweet reminder ofthat bygone time in the scenes he encounters in his

present lonely journey.

Schubert’s unpublished manuscripts included musical settings ofseven 

poems by Ludwig Rellstab (1799-1860)—a tribute to Beethoven, who had

considered setting them, but died in 1827 before he could do so. Schubert

employs unusual modulations throughout the Rellstab settings, but the

journey progresses organically, never defying convention too abruptly and

making seamless transitions between contrasting moods. “Liebesbotschaft”

features nature imagery, including running right-hand figurations intended

to depict a babbling brook. One ofthe most famous serenades in the world, 

“Standchen” unfolds seductively with a lush melody and heartbreaking harmonic motion. Following two identical verses in minor key, the shorter third

verse adds a triumphant exclamation to an otherwise brooding song. The

powerful banging ofthe piano in “Aufenthalt” conveys a pessimistic anguish,

denying the existence of a true “resting place.” In spite ofthe fact that its text

is a song offarewell, “Abschied” conveys a bright and hopeful disposition.

6

Ifthe Rellstab settings show Schubert’s compositional reserve, his

progressive musical sentiments certainly come through in the Heinrich

Heine settings that comprise the second part oftonight’s recital. In “Am

Meer,” shifting tonalities and thirty-second note figures in the piano illustrate the narrator’s slow decay and eventual demise.” “Die Stadt” uses a

hypnotic drone and diminished flourishes to create a sparse, spectral cityscape.

A bare piano dirge in “Der Doppelganger” adds to the narrator’s horror upon

reliving his darkest moments, with no hope of changing the past.

Composed five years before Schubert’s death, the Lied titled “Schwanengesang,” D. 744, replaces “Die Taubenpost,” the cycle’s customary closing piece,

on this evening’s program. Whereas the latter song was likely inserted by

Haslinger to provide a more optimistic conclusion to the cycle, “Schwanengesang” fits its spirit more appropriately, serving as a final lament with just a brief

glimmer ofhope in the phrase “transfiguration's joy.”

Program notes by Michael Jacko, music program specialist, National Gallery ofArt

Next week at the National Gallery ofArt

Fine Arts Quartet

Music by Kreisler, Rachmaninoff, and Zimbalist

February 9, 2014

Sunday, 6:30 pm

West Building, West Garden Court
Texts and Translations

Schubert: Schwanengesang

February 2, 2014

Die Taubenpost

(Johann Gabriel Seidl)

Ich hab’ eine Brieftaub’ in meinem Sold,

Die ist gar ergeben und treu,

Sie nimmt mir nie das Ziel zu kurz

Und fliegt auch nie vorbei.

Ich sende sie viel tausendmal 

Auf Kundschaft taglich hinaus,

Vorbei an manchem lieben Ort,

Bis zu der Liebsten Haus.

Dort schaut sie zum Fenster heimlich hinein,

Belauscht ihren Blick und Schritt,

Gibt meine GriiBe scherzend ab

Und nimmt die ihren mit.

Kein Briefchen brauch ich zu schreiben mehr,

Die Trane selbst geb ich ihr,

Oh, sie vertragt sie sicher nicht,

Gar eifrig dient sie mir.

Bei Tag, bei Nacht, im Wachen, im Traum,

Ihr gilt das alles gleich,

Wenn sie nur wandem, wandem kann,

Dann ist sie uberreich!

Sie wird nicht mud’, sie wird nicht matt,

Der Weg ist stets ihr neu;

Sie braucht nicht Lockung, braucht nicht Lohn,

Die Taub’ ist so mir treu!

Drum beg ich sie auch so treu an der Brust,

Versichert des schonsten Gewinns;

Sie heiBt—die Sehnsucht! Kennt ihr sie?

Die Botin treuen Sinns.

Pigeon Post

(Translation: Philip Sternberg)

I have a carrier-pigeon in my service 

Who is devoted and true.

She never stops short of her goal,

And never flies too far.

I have sent her a thousand times,

Out every day to gather information

Past many a favorite spot

To my beloved’s house.

There she peeps in at the window,

Spying on every look and step,

Gives my greetings playfully 

And brings my beloved’s to me.

I needn’t write a note any longer,

My very tears I give her:

She will not misdeliver them,

So earnestly does she serve me.

By date, by night, in waking, in dreaming,

They are all the same to her,

So long as she can wander,

She is more than satisfied!

She never tires, she never grows exhausted, 

The route always feels new;

She needs no enticement, needs no reward, 

This pigeon is so true to me.

And so I cherish her truly in my heart, 

Certain ofthe fairest prize;

Her name—Longing! Do you know her? 

The messenger of constancy.
7/ii Freien

(Seidl)

Out ofDoors

(Translation: David Gordon)

DrauBen in der weiten Nacht

Steh ich wieder nun,

Ihre helle Stemenpracht

LaBt mein Herz nicht ruhn!

Outside in the vast night

Now once more I stand;

Its bright, starry splendor

Grants my heart no peace.

Tausend Anne winken mir

SuB begehrend zu,

Tausend Stimmen rufen hier,

»GruB dich, Trauter, du!«

A thousand anns beckon to me

With sweet longing

A thousand voices call to me:

“Greetings, thou dear friend!”

O ich weiB auch, was mich zieht,

WeiB auch, was mich ruft,

Was wie Freundes GruB und Lied

Locket durch die Luft.

Oh, I know what draws me,

What calls to me,

Like a friend’s greeting, a song

Floating enticingly through the air.

Siehst du dort das Hiittchen stehn,

Drauf der Mondschein ruht?

Durch die blanken Scheiben sehn

Augen, die mir gut!

Do you see the cottage

On which the moonlight is lingering?

From its sparkling windows

Fond eyes gaze out.

Siehst du dort das Haus am Bach,

Das der Mond bescheint?

Unter seinem trauten Dach

Schlaft mein liebster Freund.

Do you see the house there by the brook,

Lit by the moon?

Beneath its homey roof

My dearest friend sleeps.

Siehst du jenen Baum der voll

Silberflocken flimmt?

O wie oft mein Busen schwoll

Froher dort gestimmt!

Do you see that tree,

Glittering with flakes ofsilver?

Oh, how often did my heart

Swell there with joy!

Jedes Platzchen, das mir winkt

1st ein lieber Platz,

Und wohin ein Strahl nur sinkt,

Lockt ein teurer Schatz.

Every little place that beckons

Is precious to me

And wherever a moonbeam falls

Cherished treasure entices.

Drum auch winkt mir's iiberall

So begehrend hier,

Drum auch ruft es, wie der Schall

Trauter Liebe mir.

So everything here

Beckons to me with longing

And calls to me

Like the echo oftrue love.
Liebesbotscliaft Message ofLove

(Ludwig Rellstab) (Translation: Richard Morris)

Rauschendes Bachlein, Murmuring brooklet,

So silbem und hell, So silvery bright,

Eilst zur Geliebten Do you hurry to my beloved

So munter und schnell? So quick and so light?

Ach, trautes Bachlein, Oh friendly brooklet,

Mein Bote sei du; Be my messenger fair;

Bringe die Grufie Bring her my greetings

Des Femen ihr zu. From this place so far.

All ihre Blumen, All ofthe flowers

Im Garten gepflegt, She tends in her garden,

Die sie so lieblich Which she so sweetly

Am Busen tragt, Wears on her bosom,

Und ihre Rosen And her sweet roses

In purpumer Glut, In purple glow,

Bachlein, erquicke Brooklet, refresh them

Mit kiihlender Flut. With cooling flow.

Wenn sie am Ufer, When on the bank,

In Traume versenkt, Immersed in dreams,

Meiner gedenkend Remembering me,

Das Kopfchen hangt, She hangs her head,

Troste die SiiBe Comfort my sweetheart

Mit freundlichem Blick, With a friendly glance,

Denn der Geliebte For her beloved

Kehrt bald zuriick. Will soon come back.

Neigt sich die Sonne When the sun sets

Mit rotlichem Schein, With reddening glow,

Wiege das Liebchen Dandle my loved one

In Schlummer ein. To slumber,

Rausche sie murmelnd Murmur for her

In suBe Ruh, Sweet sleep,

Fliistre ihr Traume And whisper dreams

Der Liebe zu. Oflove to her.
Kriegers Ahnung

(Rellstab)

In tiefer Ruh liegt um mich her

Der Waffenbriider Kreis;

Mir ist das Herz so bang und schwer,

Von Sehnsucht mir so heiB.

Wie hab ich oft so suB geruht

An ihrem Busen wann,

Wie freundlich schien des Herdes Glut,

Lag sie in meinem Arm.

Hier, wo der Flammen diist'rer Schein

Ach nur aufWaffen spielt,

Hier fuhlt die Brust sich ganz allein,

Der Wehmut Trane quillt.

Herz! daB der Trost dich nicht verlaBt!

Es ruft noch manche Schlacht.

Bald ruh ich wohl und schlafe fest,

Herzliebste - gute Nacht!

Warrior’s Foreboding

(Translation: Morris)

In deep sleep my brothers-in-anns

Lie around me in a circle.

My heart is anxious and heavy,

I bum with longing.

How often have I sweetly rested 

On her warm bosom!

How friendly was the glowing hearth

When she lay in my arm!

Here, where the gloomy glow of flames

Alas, only on weapons plays,

Here the breast feels all alone,

And melancholy tears well up.

O my heart! May comfort not desert you!

There are many battles still to come.

Soon I shall rest and sleep deeply,

Love ofmy Heart, Goodnight!
Fiuhlingssehnsucht

(Rellstab)

Sauselnde Liifte wehend so mild

Blumiger Diifte atmend erfiillt!

Wie haucht ihr mich wonnig begriiBend an!

Wie habt ihr dem pochenden Herzen getan?

Es mochte euch folgen aufluftiger Bahn!

Wohin?

Bachlein, so munter rauschend zumal,

Wollen hinunter silbem ins Tal

Die schwebende Welle, dort eilt sie dahin!

Tiefspiegeln sich Fluren und Himmel darin.

Was ziehst du mich, sehnend verlangender Sinn,

Hinab?

GriiBender Sonne spielendes Gold,

Hoffende Wonne bringest du hold!

Wie labt mich dein selig begruBendes Bild!

Es lachelt am tiefblauen Himmel so mild

Und hat mir das Auge mit Tranen gefullt!

Warum?

Grunend umkranzet Walder und Hoh'!

Schimmemd erglanzet Blutenschnee!

So dranget sich alles zum brautlichen Licht;

Es schwellen die Keime, die Knospe bricht;

Sie haben gefunden, was ihnen gebricht:

Und du?

Rastloses Sehnen! Wiinschendes Herz,

Immer nur Tranen, Klage, und Schmerz?

Auch ich bin mir schwellender Triebe bewuBt!

Wer stillet mir endlich die drangende Lust?

Nur du befreist den Lenz in der Brust,

Nur du!

Spring Longing

(Translation: Michael P. Rosewall)

Rustling winds blow so gently,

Their breath overflowing with flowers’ perfume!

How lovely is the greeting you breathe to me!

What have you done to my pounding heart?

It wants to follow on the windy path,

Whither?

Little stream, always briskly rushing,

Silver lapping waves want to descend to the valley— 

Hurry them along!

Meadows and sky are mirrored deeply within.

Why do you draw me, longing, desirous spirit,

Away?

Playful gold ofthe beckoning sun,

You tenderly bring hopeful joy!

How the sight of your sacred greeting refreshes me!

It laughs lightly within the deep blue sky

And fills my eyes with tears,

Why?

The forests and hills are crowned with green!

The glint ofsnowy white blossoms shimmers!

All strain toward the bridal light;

Sprouts swell, buds open;

They have found what they desire:

And you?

Restless desire, longing heart,

Is it always to be only tears, complaint and pain?

I also know the swelling desire!

Who can finally still this burning longing?

Only you can set free the springtime in my breast, 

Only you!
Standchen

(Rellstab)

Leise flehen meine Lieder 

Durch die Nacht zu dir;

In den stillen Hain hemieder, 

Liebchen, komm zu mir!

Flustemd schlanke Wipfel rauschen 

In des Mondes Licht;

Des Verraters feindlich Lauschen

Fiirchte, Holde, nicht.

Horst die Nachtigallen schlagen?

Ach! sie flehen dich,

Mit der Tone suBen Klagen 

Flehen sie fur mich.

Sie verstehn des Busens Sehnen,

Kennen Liebesschmerz,

Riihren mit den Silbertonen 

Jedes weiche Herz.

LaB auch dir die Brust bewegen,

Liebchen, hore mich!

Bebend harr’ ich dir entgegen!

Komm, beglucke mich!

Aufenthalt

(Rellstab)

Rauschender Strom, brausender Wald,

Starrender Fels, mein Aufenthalt.

Wie sich die Welle an Welle reiht,

FlieBen die Tranen, mir ewig emeut.

Hoch in den Kronen wogend sich’s regt,

So unaufhorlich mein Herze schlagt.

Und wie des Felsen uraltes Erz,

Ewig derselbe bleibet mein Schmerz.

Serenade

(Translation: Rosewall)

My songs entreat softly 

through the night to you;

Into the quiet grove below,

Come to me, beloved!

The rustle ofslender leaftips whispers 

in the moonlight;

Do not fear the evil spying

ofthe betrayer, my lovely one.

Do you hear the nightingales’ call?

Ah, they entreat you;

With the sweet sound oftheir singing

they entreat for me.

They understand the heart’s longing,

know the pain oflove;

They calm with their silver tones

each tender heart.

Let them also stir within your breast,

beloved, hear me!

Trembling, I wait for you,

Come, make me happy!

Resting Place

(Translation: Rosewall)

Rushing torrent, howling forest,

Awesome crag, my dwelling.

Just as each wave follows upon the last,

My tears flow, eternally renewed.

As the high treetops surge and sway

So beats my heart incessantly.

And, like the ore within the ancient stone,

My pain remains unchanged forever.
Herbst

(Rellstab)

Es rauschen die Winde 

So herbstlich und kalt;

Verodet die Fluren,

Entblattert der Wald.

Ihr blumigen Auen!

Du sonniges Grim!

So welken die Bliiten

Des Lebens dahin.

Es ziehen die Wolken 

So finster und grau;

Verschwunden die Sterne

Am himmlischen Blau!

Ach, wie die Gestime 

Am Himmel entflieh

’n,

So sinket die Ltoffnung

Des Lebens dahin!

Ihr Tage des Lenzes

Mit Rosen geschmiickt,

Wo ich den Geliebten

Ans Herze gedriickt!

Kalt uber den Hugel

Rauscht, Winde, dahin!

So sterben die Rosen

Der Liebe dahin.

Autumn

(Translation: Michael Lee)

Gusting are the winds 

So autumnal and cold;

Barren are the fields,

Leafless the woods.

You flowery meadows!

You sunlit green!

Thus wither away 

The blossoms oflife.

Drifting are the clouds

So gloomy and grey;

Vanished are the stars

From the heavenly blue!

Ah, as the stars

Escape from the sky.

Thus fades away 

The hope oflife!

You days ofspring 

With roses adorned,

When my beloved I pressed to my heart!

Cold over the hill

Rush, winds, there!

Thus pass away

The roses oflove!
In der Feme

(Rellstab)

In the Distance

(Translation: Knut W. Barde)

Wehe dem Fliehenden,

Welt hinaus ziehenden!

Fremde durchmessenden,

Heimat vergessenden,

Mutterhaus hassenden,

Freunde verlassenden

Folget kein Segen, ach!

Aufihren Wegen nach!

Woe to the fugitive

Heading out into the wide world!

Traversing foreign lands,

Forgetting his homeland,

Hating his family home,

Abandoning friends;

Ah! No blessing follows

their paths!

Herze, das sehnende,

Auge, das tranende,

Sehnsucht, nie endende,

Heimwarts sich wendende!

Busen, der wallende,

Klage, verhallende,

Abendstem, blinkender,

Hoffnungslos sinkender!

You longing heart,

Weeping eye,

Never-ending yearning,

Homeward turning!

Heaving bosom,

Reverberating moan,

Flickering evening star,

Sinking hopelessly!

Liifte, ihr sauselnden,

Wellen sanft krauselnden,

Sonnenstrahl, eilender,

Nirgend verweilender:

Die mir mit Schmerze, ach!

Dies treue Herze brach,

Griiftt von dem Fliehenden,

Welt hinaus ziehenden!

You sighing breezes,

Softly rippling waves,

Rushing sunbeam,

Never tarrying:

Send to her who, alas, has

Painfully broken this true heart ofmine,

Greetings from the fugitive 

heading out into the wide world!
Abschied

(Rellstab)

Ade! du muntre, du frohliche Stadt, ade!

Schon scharret mein RoBlein mit lustigen FuB;

Jetzt nimm noch den letzten, den scheidenden GruB.

Du hast mich wohl niemals noch traurig gesehn,

So kann es auch jetzt nicht beim Abschied geschehn.

Ade, ihr Baume, ihr Garten so grim, ade!

Nun reit ich am silbemen Strome entlang.

Weit schallend ertonet mein Abschiedsgesang;

Nie habt ihr ein trauriges Lied gehort,

So wird euch auch keines beim Scheiden beschert!

Ade, ihr freundlichen Magdlein dort, ade!

Was schaut ihr aus blumenumduftetem Haus

Mit schelmischen, lockenden Blicken heraus?

Wie sonst, so gruB ich und schaue mich um,

Doch nimmer wend ich mein RoBlein um.

Ade, liebe Sonne, so gehst du zur Ruh, ade!

Nun schimmert der blinkenden Sterne Gold.

Wie bin ich euch Stemlein am Himmel so hold;

Durchziehn wir die Welt auch weit und breit,

Ihr gebt iiberall uns das treue Geleit.

Ade! du schimmemdes Fensterlein hell, ade!

Du glanzest so traulich 

mit dammemdem Schein

Und ladest so freundlich 

ins Huttchen uns ein.

Voriiber, ach, ritt ich so manches Mai,

Und war es denn heute zum letzten Mai?

Ade, ihr Sterne, verhiillet euch grau! Ade!

Des Fensterlein triibes, verschimmemdes Licht

Ersetzt ihr unzahligen Sterne mir nicht,

Darfich hier nicht weilen, muB hier vorbei,

Was hilft es, folgt ihr mir noch so treu!

Farewell

(Translation: Arthur Bullard)

Farewell! You brave, cheerful, city, farewell!

Already my horse trots, keen of hoof;

Now take my last, parting greeting.

You have never yet seen me sad;

Let it not happen now, on parting.

Farewell! You trees, you gardens so green, farewell!

Now I ride along the silvery stream,

My farewell song echoes far and wide 

Never have you heard a sad song,

So I won’t give you one on parting.

Farewell! You friendly young maids, farewell!

Why do you look out of your flower-perfumed house 

with impish, beckoning glances?

How can I but greet them and look around?

But never will I turn my horse round.

Farewell! Dear sun, as you go to bed, farewell!

The gold ofthe glittering stars shimmers.

How close I am to you, lovely stars in the heavens,

We travel far and wide through this world,

You are always our faithful guide.

Farewell! You shimmering window bright, farewell!

You glint so invitingly 

with a dawning light,

And invite us so graciously 

into the hut,

So many times have I ridden past,

And will today be the last?

Farewell, you stars, envelope yourselves in grey!

The cloudy, shimmering window light

Cannot replace you infinite stars for me,

I cannot stay here, I must carry on,

What good does it do, that you follow me so faithfully!
DerAtlas

(Heinrich Heine)

Ich ungliicksel’ger Atlas! Eine Welt,

Die ganze Welt der Schmerzen muB ich tragen,

Ich trage Unertragliches, und brechen 

Will mir das Herz im Leibe.

Du stolzes Herz, du hast es ja gewollt!

Du wolltest glucklich sein, unendlich glucklich, 

Oder unendlich elend, stolzes Herz,

Und jetzo hist du elend.

Ihr Bild

(Heine)

Ich stand in dunkeln Traumen 

und starrte ihr Bildnis an,

und das geliebte Antlitz 

Heimlich zu leben begann.

Um ihre Lippen zog sich

Ein Lacheln wunderbar,

Und wie von Wehmutstranen 

Erglanzte ihr Augenpaar.

Auch meine Tranen flossen

Mir von den Wangen herab -

Und ach, ich kann’s nicht glauben,

DaB ich dich verloren hab!

Das Fischermadchen

(Heine)

Du schones Fischermadchen,

Treibe den Kahn ans Land;

Komm zu mir und setze dich nieder,

Wir kosen Hand in Hand.

Leg an mein Herz dein Kopfchen

Und flirchte dich nicht zu sehr;

Vertraust du dich doch sorglos

Taglich dem wilden Meer.

Mein Herz gleicht ganz dem Meere,

Hat Sturm und Ebb’ und Flut,

Und manche schone Perle 

In seiner Tiefe ruht.

Atlas

(Translation: Rosewall)

I, ill-fated Atlas!

I carry a world, the entire world of pain,

I bear the unbearable,

And my heart wants to break within me.

Proud heart, you have wanted it thus!

You wanted to be happy, eternally happy,

Or eternally miserable, you proud heart,

And now you are miserable.

Her Picture

(Translation: David Kenneth Smith)

I stood in darkened daydreams 

and stared at her portrait long

as that beloved face

was secretly coming to life.

Around her lips there blossomed 

a wondrous laughing smile,

and melancholy teardrops 

glittered in her fair eyes.

Likewise my tears welled up

and flowed down mournful cheeks

alas, I can’t believe it,

That I am deprived of you!

The Fisher-maiden

(Translation: Rosewall)

You beautiful fishennaiden,

Pull your boat toward shore;

Come to me and sit down,

We will speak oflove, hand in hand.

Lay your little head on my heart,

And do not be too frightened;

After all, you trust yourselffearlessly 

Daily to the wild sea!

My heart is just like the sea,

Having storms and ebb and flow,

And many beautiful pearls 

Rest in its depths.
Am Meer

(Heine)

Das Meer erglanzte weit hinaus 

Im letzten Abendscheine;

Wir saBen am einsamen Fischerhaus,

Wir saBen stumm und alleine.

Der Nebel stieg, das Wasser schwoll,

Die Mowe flog hin und wieder;

Aus deinen Augen liebevoll 

Fielen die Tranen nieder.

Ich sah sie fallen auf deine Hand

Und bin aufs Knie gesunken;

Ich hab von deiner weiBen Hand

Die Tranen fortgetrunken.

Seit jener Stunde verzehrt sich mein Leib,

Die Seele stirbt vor Sehnen;

Mich hat das unglucksel’ge Weib

Vergiftet mit ihren Tranen.

Die Stadt

(Heine)

Am femen Horizonte 

Erscheint, wie ein Nebelbild,

Die Stadt mit ihren Turmen,

In Abenddammrung gehullt.

Ein feuchter Windzug krauselt 

Die graue Wasserbahn;

Mit traurigem Takte rudert 

Der Schiffer in meinem Kahn.

Die Sonne hebt sich noch einmal

Leuchtend vom Boden empor 

Und zeigt mirjene Stelle,

Wo ich das Liebste verlor.

By the Sea

(Translation: Rosewall)

The sea sparkled out in the distance 

By the light of evening’s last glow;

We sat near the solitary fisherman’s house,

We sat mute and alone.

The fog gathered, the water swelled,

A seagull flew back and forth;

From your eyes full oflove

Tears fell down.

I saw them fall on your hand 

And sank to one knee;

From out of your white hand 

I drank the tears.

Since that hour my body consumes itself,

My soul is dying oflonging;

That ill-fated woman

Has poisoned me with her tears.

The City

(Translation: Rosewall)

On the far horizon 

Like a picture in the fog,

Appears a city, with its towers

Shrouded in the evening dusk.

A damp gust of wind eddies

The course ofthe grey water;

With a mournful rhythm 

The boatman rows in my boat.

The sun lifts itself once more,

Glowing upwards from below the horizon,

And shows me that place

Where I lost what was dearest to me.
Der Doppelganger

(Heine)

Still ist die Nacht, es ruhen die Gassen,

In diesem Hause wohnte mein Schatz;

Sie hat schon langst die Stadt verlassen,

Doch steht noch das Haus auf demselben Platz.

Da steht auch ein Mensch und starrt in die Hohe

Und ringt die Hande vor Schmerzensgewalt;

Mir graust es, wenn ich sein Antlitz sehe -

Der Mond zeigt mir meine eigne Gestalt.

Du Doppelganger, du bleicher Geselle!

Was affst du nach mein Liebesleid,

Das mich gequalt auf dieser Stelle

So manche Nacht, in alter Zeit?

Schwanengesang

(Johann Chrysostomos Senn)

"Wie klag’ ich’s aus, das Sterbegeflihl,

Das auflosend durch die Glieder rinnt?

Wie sing’ ich’s aus, das Werdegefuhl,

Das erlosend dich, o Geist, anweht?"

Er klagt’, er sang,

Vemichtungsbang,

Verklarungsfroh,

Bis das Leben floh,

Das bedeutet des Schwanen Gesang!

The Double

(Translation: Rosewall)

The night is calm, the avenues are quiet,

My beloved lived in this house;

She has already left the city long ago,

The house nevertheless still stands where it was.

A man stands there, too, staring into space

Wringing his hands in torment.

It horrifies me to see his countenance—

The moon shows me my own form.

You frightful double, pale companion!

Why do you mock the pain ofmy love

That tortured me in this place 

Many a night, in times long ago?

Swan Song

(Translation: Douglas Watt-Carter)

“How shall I complain about it, the feeling of death,

the dissolution that runs through the limbs?

How shall I sing about it, the feeling of becoming, 

the salvation, O spirit, that awaits you?”

He lamented, he sang,

Fear of annihilation,

Joy oftransfiguration,

Until life left him—

That is the meaning ofthe swan’s song!