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.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

ivuw.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery of Art through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

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

The Seventy-second Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

Five Lives in Music

Concerts created and presented in honor of

Five Lives in Music: Women Performers, Composers,

and Impresariosfrom the Baroque to the Present

by Cecelia Hopkins Porter

April 2, 9,16, 23, and 30, 2014

Wednesdays, 12:10 pm

West Building, West Garden Court

Admissionfree
Introduction

The National Gallery ofArt music department dedicates its five Wednesday

concerts in April to a musical realization of Five Lives in Music: Women

Performers, Composers, and Impresariosfrom the Baroque to the Present. Written by Cecelia Hopkins Porter and published in 2012 by the University of

Illinois Press, the book traces the author’s discovery offour remarkable

women composers whose work is largely unknown, and who were ignored 

until now because of chauvinistic attitudes that prevailed in their own and

subsequent generations. In addition, Porter writes about one of her contemporaries, pianist Ann Schein, whose career as a performer and teacher

exemplifies the emergence ofwomen from the shadows ofthe musical

world in the late twentieth and early twenty-first centuries. Schein’s performance on Wednesday, April 30, will conclude the series.

A graduate ofColumbia and Harvard Universities and the University

of Maryland where she served on the music faculty, Washington, DC native

Cecelia Hopkins Porter has also taught at George Washington University.

Her post-graduate musicological studies have included Fulbright and other

scholarships in Berlin and Vienna. Earlier publications include The Rhine

as Musical Metaphor: Cultural Identity in German Romantic Music, and

numerous articles in The American Music Teacher, Holocaust and Genocide

Studies, The Musical Quarterly, Nineteenth-Century Music, and Opera News.

Washington-area concertgoers will recognize Porter’s name from the many

concert reviews she has written for the Washington Post since the early

1960s. In addition to her skills as a scholar and writer, Porter is a pianist, 

flutist, and organist.

3
Judith Leyster, Self-Portrait, c. 1630, oil on canvas, National Gallery of Art, Washington

Gift of Mr. and Mrs. Robert Woods Bliss

2,988th Concert

April 2, 2014,12:10 pm

Barbara Hollinshead, mezzo-soprano

Linnea Shin, soprano

Dan Swenberg, theorbo

Gwendolyn Toth, harpsichord and organ

Music by Sophie-Elisabeth von Mecklenburg (1613-1676),

unless otherwise noted

Performed without intermission

From Evangelischer Wein-Berg (1651)

Gott, Herr, barmherzig, gnadig heist

From Ihr Schafer, sagt

Du kleiner Gott 

Auf Echo

Sprich mir nach

From “Manuscript 1”

Amour qui dompte

From Evangelischer Wein-Berg

Wenn schon der Wein der Freuden,

Dem Herren Christo sei Lob, Ehr, und Dank

Der Sohn wird billich hoch geacht

Herodes und Jerusalem

Herr Jesus Christ, der Herr der Herrn

5
From “Manuscript n”

Was acht ich diesen Leib

From Davids-Harpfm-Spid (1667-1670) 

Ach Herr!

Johann Rosenmiiller (1619-1684)

Ach Herr (opening section)

From “Manuscript in”

Ach wie nichtig

Heinrich Schiitz (1585-1672)

Tugent ist

Bringt Herr dem Herren

From “Manuscript ill”

Was die gantz vollkomne tugendt

6

The Musicians

BARBARA HOLLINSHEAD

Described by the Washington Post as singing with “an artful simplicity that 

illuminated the text and beguiled the ear,” mezzo-soprano Barbara Hollinshead studied with Max van Egmond in the Netherlands and has sung under

the baton ofsome of Europe’s finest early music masters, including Christopher Hogwood and Andrew Parrott. In demand throughout eastern North

America, she has appeared with the Bach Choir of Bethlehem, Chatham 

Baroque, Folger Consort, Opera Lafayette, Tafelmusik, and Washington Bach

Consort. A member ofthe New York-based early music group artek, she has

been the alto ofthe National Gallery ofArt Vocal Ensemble since 2004.

In addition to recordings ofmusic ofJ. S. Bach and Amy Beach, Hollinshead has recently released a CD ofseventeenth-century French courtly

songs with lutenist Howard Bass. An adjunct professor at American University, she is a cast member in the Washington Bach Consort’s popular

program “Bach in Time.”

DANIEL SWENBERG

A specialist in Renaissance and baroque basso-continuo playing, Daniel

Swenberg plays several unusual period instruments, including the gallizona/callichon (a six- or eight-course bass lute), Renaissance and baroque

lutes, and the theorbo/chitarrone (a bass lute with an extended neck). Often

called upon by the Mark Morris Dance Group, the Metropolitan Opera, and 

New York City Opera to realize scores ofballets and operas written before

1750, Swenberg regularly performs with the early music ensembles artek,

New York Collegium, Rebel, Piffaro, Spiritus, Tafelmusik, Les Violons du

Roy, and, of course, Lizzy and the Theorboys. He has received awards from 

the Belgian-American Educational Foundation and a Fulbright Scholarship 

(1997) f°r study at the Hochschule fur Kiinste in Bremen, Germany. He also

studied the lute at Mannes College of Music, musicology at Washington 

University in Saint Louis, and classical guitar at the North Carolina School

ofthe Arts.

7
GWENDOLYN TOTH

Recognized as one ofAmerica’s leading performers on early keyboard

instruments, artek Director Gwendolyn Toth performs with equal ease

on the harpsichord, organ, and fortepiano. Her interpretations have been

acclaimed for their spirit and intelligence, and her technique is founded on

historical performance principles offingering, articulation, and phrasing.

She has been heard in concert throughout Europe, the Far East, and North

America, and on radio broadcasts in France, Germany, and The Netherlands

as well as National Public Radio. She has performed in festivals in Berkeley,

Boston, and Indianapolis as well as in Edinburgh, Scotland; Regensburg,

Germany; Trevi nel Lazio, Italy; and Utrecht, Holland.

As a soloist and recording artist on historical organs, Toth tours each

summer in Europe, performing on significant organs from the sixteenth,

seventeenth, and eighteenth centuries. She has also performed and recorded

on the oldest surviving church organ in Europe, the 1434 organ in the

Fortress Cathedral in Sion, Switzerland. Active as a conductor of historical

performance ensembles, she conducted artek and the National Gallery

ofArt Vocal Ensemble in 2010 in a celebration at the Gallery ofthe 400th

anniversary ofClaudio Monteverdi’s Vespers ofthe Blessed Virgin (1610).

LINNEA SHIN

Linnea Shin has been singing professionally since age seven, when she joined

the Metropolitan Opera Children’s Chorus. She sang the title role ofthe

musical Peter Pan at age twelve and the role of Belinda in Purcell’s Dido and

Aeneas at seventeen. The daughter oftwo professional early music performers,

she grew up with early music performance practice and musical style, singing

oratorios with period instruments and performing on baroque violin. She

made her New York City debut in 2010 with the ensemble Sinfonia Praetorius,

singing medieval, Renaissance, and baroque music. Concurrent with maintaining her vocal studies and singing career, Shin studies computer science

at Harvey Mudd College in Claremont, California.

Program Note

One of a handful ofpersons ofnoble birth who had the talent and discipline

required to compose significant music, Duchess Sophie-Elisabeth von Mecklenburg (1613-1676) was bom in the court of Giistrow, a small but active north

German cultural center, and spent part ofher youth in exile in Kassel—her

father, Duke John Albert 11 of Mecklenburg-Giistrow, was deposed from

1621-1624 by Emperor Ferdinand 11, who thought he had taken sides with 

the Swedes in the Thirty Years War—where she had access to even more

sophisticated musical training.

Her marriage to a relatively enlightened nobleman—August the Younger,

Duke ofthe nearby duchy ofBraunschweig-Liineberg (1579-1666), allowed

her the opportunity to continue her musical pursuits (she played the harpsichord) and even administer the musical life ofher husband’s court. One ofthe

musicians with whom she had frequent contact, and from whom she received 

advice and counsel, was the Kappelmeister ofthe Saxon court in Dresden,

Heinrich Schutz (1585-1672). Through Schiitz, the duchess came to know and

eventually aided composers Johann Jakob Lowe (1629-1703) and Julius Johann

Weiland (c. 1605-1663). Despite recurring turmoil and shortage offunds

caused by the Thirty Years War (1618-1648) and the preoccupation ofbearing

two children and rearing four more from her husband’s previous marriage,

Sophie-Elisabeth created and maintained a musical life at court that drew the

attention ofmusicians and nobles throughout northern Germany.

9
Adelaide Labille-Guiard, A Fashionable Noblewoman Wearing a Plumed Hat, c. 1789

pastel on blue laid paper, National Gallery of Art, Washington, New Century Fund

2,990th Concert

April 9, 2014,12:10 pm

Rosa Lamoreaux, soprano

With ArcoVoce

Elizabeth Field, Nina Falk, violins

Stephanie Vial, cello

Steven Silverman, harpsichord

Music by Elisabeth Jacquet de la Guerre (1665-1729)

Performed without intermission

Susanne

Recitatif—Contre la saison

Air—Indiscrete jeunesse

Recitatif—Les beautes de Susanne

Air—Cedez, il faut vous render

Recitatif—Ils doivent l’accuser

Recitatif mesure— Non, non,

Air—Que la meme ardeur

Sonata mfor violin and continuo

Selected movements

Semele

Recitatif—Jupiter avoit fait

Air—Ne peut-on vivre

Recitatif—Mais, quel bruit etonnant

Air—Quel triomphe, quelle victoire

Recitatif—Ah! quel embrasement

Dernier Air—Lorsque l’Amour
The Musicians

ROSA LAMOREAUX

Acclaimed by the Washington Post for her “scrupulous musicianship... gorgeous sound, and stylistic acuity,” soprano Rosa Lamoreaux maintains an

international career of broad scope, including solo recitals, chamber music,

opera, and orchestral performances at Carnegie Hall, the Dorothy Chandler

Pavilion, the Kennedy Center, Royal Albert Hall, Strathmore Hall, and the

Washington National Cathedral, among other major concert venues. Highlights ofrecent seasons include Bach cantatas and the B Minor Mass at the

Phillips Collection, Bethlehem Bach Festival, and Washington National 

Cathedral; and American musical revues for the Dumbarton Concert Series.

Now in her tenth season as artistic director ofthe National Gallery ofArt Vocal

Ensemble, she is also a favorite at other renowned museums, including the

Cloisters, Corcoran Gallery, Louvre, Metropolitan Museum of Art, Phillips 

Collection, and Smithsonian Institution. Lamoreaux maintains a website at

www.rosasings.com.

ARCOVOCE

Specializing in lesser-known but highly meritorious pieces from the full 

range ofWestern music, ArcoVoce has presented east coast premieres of

music ofthe Dutch baroque master Cornelius Padbrue (1592-1670), J.C. 

Gruen (fl. 1750-1760), and contemporary American composer Lori Laitman. 

In addition to two previous appearances at the National Gallery, ArcoVoce

has performed at the Corcoran Gallery, embassies of Germany and The

Netherlands, and Phillips Collection. Among the notable guest artists who

have appeared with the ensemble are Phoebe Carrai, principal cellist of

Musica Antiqua Koln; Franklin Cohen, principal clarinetist ofthe Cleveland

Orchestra; and celebrated baroque violinist Elisabeth Wallfisch. Noting

the group’s versatility, the Washington Post proclaimed: “The performances

were skilled and dedicated, wonderfully expressive.... It is very rare to hear

a single ensemble performing so well in such different kinds ofmusic.”

12

Program Note

Born to a respected family of Parisian musicians during the reign of Louis xiv,

Elisabeth-Claude Jacquet de la Guerre (1665-1729) lived amid the rich cultural

surroundings ofVersailles and Paris. Along with a number ofprofessionals

in an emerging petite-bourgeoisie, she was able to forge a career based on her

abilities rather than her birth. Presented at court at age twenty-two, she was the

first woman to have an opera staged at the Academie Royale de Musique. Her

portrait (now in a private collection in London) painted by Francois de Troy

(1645-1730), depicts her with sheet music in one hand, and a writing instrument in the other. She maintained an important salon in her home, at which

performers such as harpsichordist Louis Nicolas Clerambault (1676-1749)

and gambist Marin Marais (1656-1728) were heard. Frequent guests included

Marie de Lorraine, Duchess ofGuise (1615-1688), who herselfmaintained the

most famous musical salon outside the royal establishment, headed by MarcAntoine Charpentier (1643-1704). Widowed at age thirty-nine, Jacquet de

la Guerre continued to support herselfin a comfortable lifestyle by giving

concerts on the harpsichord, teaching, and publishing sonatas and cantatas

in the newly popular Italian style. One ofher harpsichord pupils, Louis-Claude

Daquin (1694-1772), went on to become one ofthe most important French

composers ofthe mid-eighteenth century.
Kathe Kollwitz, Praying Girl, 1892, etching and aquatint, National Gallery of Art,

Washington, Gift of Grant and Virginia Green

2,992nd Concert

April 16, 2014,12:10 pm

West Building, West Garden Court

Rosa Lamoreaux, soprano

Stan Engebretson, pianist

Music by Josephine Lang (1815-1880)

Performed without intermission

Schmetterling, op. 8, no. 1

Den Abschied schnell genommen, op. 15, no.

Erinnerung (1839)

Ob ich manchmal Dein gedenke, op. 27, no.

An die Entfemte, op. 13, no. 5

Gedenke mein, op. 14, no. 3

Arabeske (piano solo)

Eerie und Lied (1864)

Lied, op. 25, no. 4

Sie liebt mich, op. 34, no. 4
The Musicians

ROSA LAMOREAUX

(See page 12)

STAN ENGEBRETSON

Growing up in a midwestern Scandinavian musical tradition, Stan Engebretson first played for singers in church. Supported by advanced degrees

in piano and voice from the University of North Dakota and a doctor of

musical arts degree in conducting from Stanford University, he has subsequently made a career of directing choirs and making music in churches.

In Washington, he has held leadership positions for more than twenty

years with George Mason University as director of choral studies, with the

National Philharmonic Orchestra as artistic director ofthe Chorale, and

with New York Avenue Presbyterian Church as music director and organist.

Among his upcoming choral projects, Engebretson plans to lead a “Steps 

of Mozart” tour in July, taking a choir to Vienna, Salzburg, and Prague

to sing the great composer’s Requiem. As a keyboard accompanist, he has

worked with major vocal artists throughout the dc area and abroad in

festivals in Italy and Spain as well as the Europa Cantat festival in Mainz,

Germany. Frequently appearing as a collaborative musician on the organ,

he played Leonard Bernstein’s Chichester Psalms in Nevers, France, and

Ralph Vaughan Williams’ Dona nobis pacem at the Sydney, Australia, Opera

House, home ofthe largest tracker pipe organ in the Southern Hemisphere.

Engebretson has led organ and choir workshops in Berlin, Cologne, 

Freiburg, Hamburg, and Munich, and conducted American music workshops in Saint Moritz, Switzerland. For his work, he has received Fulbright

Senior Specialist residencies in Iceland and South Korea. An active lecturer,

Engebretson gives presentations for the Smithsonian Institution at the

Spoleto usa festival in Charleston, South Carolina.

16

Program Note

By the time Josephine Lang (1815-1880) was a young adult, a woman making

a mark in music was not as rare a phenomenon as it had been in earlier

centuries. It should be noted, however, that her famous contemporaries Fanny

Mendelssohn Henschel (1805-1847) and Clara Wieck Schumann (1819-1896),

entered the scene bearing names already made famous by men. In spite 

of Lang’s considerable accomplishments—she wrote hundreds ofsongs, 

dozens of choral works, sonatas for violin and piano, and incidental pieces,

which earned published praise from Robert Schumann and other prominent

critics—she lived in relative obscurity, conforming to the expectations of

European culture ofher time for married women, which in her case included

raising six children without the aid offull-time servants. One exception was

her salon, which she maintained in her home in Tubingen, Germany, even

after her husband’s death in 1856. It attracted the likes of poets Eduard Moricke

(1804-1875), Friedrich Riickert (1788-1866), and Ludwig Uhland (1787-1862),

as well as sculptor Bertel Thorvaldsen (1770-1844).
Program details for these concerts will be 

added to a later edition ofthis concert brochure

Alessandra Marc, soprano

David Chapman, pianist

Music by Maria Bach, Erich Wolfgang Korngold, 

and Richard Strauss.

2,993rd Concert

April 23, 2014,12:10 pm

West Building, West Garden Court

Ann Schein, pianist

Music by Chopin, Debussy, Liszt, and Ravel

2,995th Concert

April 30, 2014,12:10 pm

West Building, West Garden Court
Music ofDuchess Sophie Elisabeth

Texts and Translations

Gott, Herr, barmherzig, gnadig heist

Gott, Herr, barmherzig, gnadig heist, 

Gediildig, Gnad und Treu beweist

In tausend Glied, oft Siind vergiebt,

Ein Eifrer ist, allein uns liebt,

Verzehrend Feur Gott um uns ist,

Uns schiizt, verzehrt der Feind’ Arglist.

Ist mein Erloser, Hirt, Erbgut

Mein Arzt, Nohthelfer, Hort und Hut,

Mein Konig Erb-Herr Herr allein,

Mein Schirm Erretter Troz in Pein,

Mein Herrscher, Mann, Haupt und Heiland,

Ja mein Erbarmer, und Beistand;

Gotts Weisheit, Warheit, Macht und Gnad' 

Preis’ alles was da Odem hat,

Gott Heilig, Heilig, Heilig heist,

Auch Heiligung an mir beweist,

Von ihm, durch ihn, und in ihm lebt

Ja alles, was da ist und webt.

Herr segne mich, und mich behiit;

Herr laB dein Antliz voller Gut’

Und Treu mir leuchten; heb’ und richt’ Herr iiber mich dein Angesicht,

Und gib mir Fried’ in dieser Zeit,

Und Freud’ in deiner Herrligkeit.

Du kleiner Gott

Du kleiner Gott lauflistiglich,

Du Herzens dieb was saiimst du dich,

Mach aufdie Welt, greifstraks hinein,

Verbinde die von sammen sein.

Den Diamanten Liebesband,

Nimm straks in deine rechte Hand,

Die Herzen alle lang herbei,

Besiehe nicht obs fiiglich sei.

Ihr Frauen volk seht euch jzzt fur,

Cupido klopfet an die Tiir,

Wo ihr ihn lasset kommen ein,

Sein Tuhn wird nicht ohn Wunden sein.

Ihr Schafer, sagt

Ihr Schafer, sagt, wo kommt ihr her,

Und leget straks ab eur Gewehr.

Ihr Leutlein, rufft nicht so geswind,

Wir sind der Konigin Gesind.

God, Lord, called merciful, gracious,

Patience, mercy and faith us shows 

A thousand times, often forgiving sin,

A zealous God, alone he loves us,

God is to us a consuming fire,

He shields us, and consumes the enemy’s malice.

He is my redeemer, shepherd, my all

My doctor, helper in need, refuge and shelter,

My king, first and only Lord,

My shield, deliverer, comfort in pain,

My Lord, soldier, chieftain and Savior,

Yes, my mercy, and my support;

God ofwisdom, truth, power and grace 

Everything which has breath praises him,

God holy, holy, holy is called

Also holiness to me he demonstrates,

From him, through him and in him lives

Yes all, that therein is and moves and lives.

Lord bless me and keep me;

Lord, let your face, filled with goodness

And truth, on me shine; lift and set right

On me your countenance, Lord,

And give me peace in this time,

And joy in your glory.

You little god running cunningly,

You heart thiefwhy do you tarry?

Take on the singles world wide,

Connect them together.

The diamond love band,

Take one straight in your right hand,

Bring the hearts of all together,

Don't think too long ifit fits.

You women folk watch out, already for you 

Cupid knocks on the door,

Ifyou let him in,

His actions will not be without wounds.

You shepherds say, where do you come from,

And put away your weapon.

Your people do not fight so quickly,

We are the Queen's servants.
AufEcho und Sprich mir nach

AufEcho und sprich mir nach,

Was folgt aufdie Krieges-Sach?

Ach.

Come Echo, and say after me,

What follows on the spoils ofwar?

Alas (a wail ofwoe).

Ach und Weh ist nicht voll Giite,

Was wachst aus des Kriege bliite?

Wiite.

Alas and woe is not full ofgoodness,

What blossoms grow from wars?

Rage.

Krieges Wiite kan ausleeren,

Wie entkommt man dem Beschweren?

Wehren.

War’s rage can drain us,

How can man escape the burden?

Resist.

Krieg bleibt auf der Welt erhoben,

Wer kann wehren seinem Toben?

Oben.

War remains in the world,

Who can stop its rage?

(God) Above.

DaB ein von der Gotter G’schlecht,

AuB dem Himmel Mittel bracht!

Recht.

Oh, that one ofthe race of gods,

From the sky brings an agent!

Law.

Recht, ja Recht soli wieder schweben.

Sich mit Fried zusammen kleben.

Leben.

Right, yes right to again be held in the balance.

That with peace we might be glued together.

Life.

Fried und Recht die kiinnen geben,

Rechten Nuten, rechtes Leben.

Eben.

Peace and justice the bold give,

Justice the key, right living.

Exactly.

Wollust die auB Kriegen kommt,

Wie der Rauch daher verschwind.

Wind.

The pleasure that comes from wars,

As the smoke, therefore vanishes.

Wind.

Niemand spinnt bei Kriegen Seiden,

Worin kan der Kreig uns kleiden?

Leiden.

No one spins silks in wars,

What can war clothe?

Suffering.

Nun, so komm doch, Friede, hier,

Echo, Drum scheid ich von dir.

Ich von dir, von dir, dir.

Now, peace, do come here,

Echo, I, therefore, depart from you.

I from you, from you, you.

Amour qui dompte

Amour qui dompte les hommes et les Dieux,

Fait que fildel j’espere a vos beaux yeux.

Je les desire pour conducteurs,

Et les respects pour gouverneurs,

Vos beaux yeux pour mon subject,

Et vos vertus pour mon souhait.

Love conquers men and gods,

I hope to be faithful to your beautiful eyes.

I your desires to guide,

And your countenance to rule,

Your eyes be my subject,

And your virtues bend to my wish.
Wenn schon der Wein der Freuden

Wenn schon der Wein der Freuden,

dir ganz und gar komt aus,

Fur Wein des Weinens Leiden,

Tran-Wasser krigst ins Haus,

Wenn schon zu deinem Rufen 

und Beten Christus spricht:

Was er mit dir zu schaffen?

Veriest er dich doch nicht.

Iffrom the wine ofjoy,

You wholly and entirely come,

Or through the wine ofweeping’s suffering,

Teardrops leak into the house,

If ever to your call

And praying Christ says:

What have I to do with you?

He does not forsake you.

Bald wieder setzt zu Ehren,

In seine Hand’ ihn schreibt,

Abwischend seine Zahren,

Weil er bestandig bleibt:

Der uns hat offenbaret,

Sein Herz und Herzligkeit,

Des Giit und Treu noch waret

Fest bleibt in Ewigkeit.

Soon he sits in Glory,

In his hand he writes,

Wiping away your tears,

Because he remains steadfast:

To us he has revealed

His heart and loving-kindness,

With goodness and trust he watches over us,

Standing fast forevermore.

Nach Siinden auch nicht handeln

Mit uns, vielmehr nach Gnadn,

In Freud’ all’ Angst verwandeln,

Erquikken was beladn:

Uns Gott noch offenbaret

Sein’ Herzlichkeit und Giit’,

Uns liebt und noch bewahret,

Fur allem Leid behiit.

Not according to our sins does he act

With us, rather by his mercy,

He transforms all fear to joy,

He lightens our burdens:

To us God offers

His warmth and goodness,

Loves us and also keeps us,

Sheltered from all suffering.

Dem Herren Christo sei Lob, Ehr und Dank

Dem Herren Christo sei Lob, Ehr und Dank,

DaB er zum Vater fur uns that den Gang;

Dadurch er alle Feind hat untertreten,

DaB wir auch freien Zutritt zu Gott hatten.

To the Lord Christ be praise, honor and thanks,

That he for us made a path to the Father;

He crushed all enemies,

So that we too may have free access to God.

Lobsinget, danket, und von Herzen preist

Gott Vater, Gott Sohn, und Gott heilgn Geist;

Der einig’ Herr und Gott in drei Personen,

Der uns in Nohten will mit Trost beiwohnen,

Sing praises, give thanks, and praise from the heart to

God the Father, God the Son and God the Holy Ghost; 

The one Lord and God in three persons,

Who will comfort us in our need.

DaB von dem schonen Gang, so Christus hielt

Zu Gott, da er den Zorn desselben stillt,

Ein neues Ehren-Lied von Alt und Jungen

Ihm werd’ ohn Unterlass zu Dank gesungen.

That through his beautiful passion, Christ took us

To God, so that he stills his wrath,

A new song ofglory from old and young

Will be sung to him with thanks for evermore.
Der Sohn wird billich hoch geacht

Der Sohn wird billich hoch geacht,

Der nach des Vaters Tugend tracht,

Viel hoher wird sein dessen Preis,

Der Gott des Vaters Willen weis,

Und iibt, wie Er, Barmherzigkeit,

In Sanfftmuth mild’, ohn Geiz und Neid.

Ja Gott wird euch in euren SchoB

Geriittelt iiberfliissig groB,

Gar vollgedriickt MaB wieder gebn,

Der alles machet gleich und ebn,

Es kommt schon der Vergeltungs-Tag,

Der Hoffnung, auch Feurflammen-Rach.

Der alle Ding zum besten kehrt,

Wird dort von Gott sein hoch geehrt,

Der auch das Niedrige belohnt,

Ob schon er hoch im Himmel wohnt: 

Herr gieb mir deinen Gnaden Geist,

DaB ich dir stets Gehorsam leist.

Herodes und Jeru-Salem

Herodes und Jeru-Salem,

Erscrak furm kind’ aus Bethlehem,

Alleluja, Alleluja.

Sie fragen nach dem Kindelein,

Ihr’ Andacht ist ein falscher Schein,

Alleluja, Alleluja.

Sie suchen das, was sie doch neidn:

Viel besser tuhn die weisen Heidn,

Alleluja, Alleluja.

Dich sich aus fernen Landen wagn, 

Aus Gottesfurcht von Herzen fragn

Alleluja, Alleluja.

Nach ihm, gefiihret durch den Stern, 

Ins Haus des neugebornen Herrn,

Alleluja, Alleluja.

Als Konig, Gott und Mensch ihn ehrn,

Gold, Weirauch, Mirrhen ihm verehrn;

Alleluja, Alleluja.

The son will be highly respected,

Who after his father's virtue strives

Far greater will be the reward

Who recognizes the will ofGod the Father

And who exercises, as does He, mercy,

In gentleness, without covetousness and envy.

Yes, God will return to your heart,

After testing it excessively,

Its contents in full measure.

He will make everything equal and even

The day ofjudgement will come,

Day ofhope, also offire-flaming wrath.

Those, who try always for the best,

Will there by God be highly honored,

Also the lowly shall be rewarded

Although He dwells high in heaven:

Lord give me the grace ofyour spirit

That I shall pay obedience to you always.

Herod and Jerusalem,

Frightened ofthe child ofBethlehem,

Alleluia, Alleluia.

Herod and his people ask for the little child

Their devotion is all false

Alleluja, Alleluja.

They seek that, what they are envious of

Much better are the wise heathens.

Alleluia, Alleluia.

Who venture from far away countries,

with a pious heart ask 

Alleluia, Alleluia

For him, guided by the star,

to the house ofthe newborn Lord,

Alleluia, Alleluia

As king, God and human man they honor him

With Gold, Incense, Myrrh they worship him

Alleluia, Alleluia
Herr Jesus Christ, der Herr der Herrn

Herr Jesus Christ, der Herr der Herrn,

Das Wort, der Weibes-Same,

Der Furst des Lebens und der Ehrn,

Der Lowe aus Judas Stamme,

Herfiir bricht wie die Morgenrot,

Siind, Holl und Todt er hat getodt,

Der Schlange Kopf zertretend.

Alleluja.

Heut scheinet der Versuhne-Tag,

Pharao mit Wagn und Rossen 

1st izzo, als der alte Drach,

Ins rote Meer gestossen,

Das Pascha, frei Feyr-Jubel-Jahr,

1st heut, da Christus aus Gefahr

Ins globte Land uns brachte.

Alleluja.

Wie Adam slief, da baut’ ihm Gott 

Ein Weib aus seiner Riebe,

Der ander Adam wandt’ im Tod’

Aufuns sein Herz’ und Liebe,

Der uns, wie jener Evam, leant’,

Uns sein Fleisch, Bein und Briider nant,

Wie er vom Tod’ erwachte.

Alleluja.

Was acht ich diesen leib

Was acht ich diesen leib:

die halbe handt voll bludt,

der geist der schwache windt, 

die lufft mit ihrem Glanze, 

die welt mit ihrer Pracht:

Was dieses gantze?

Hab ich nur Jesu dich,

So hab ich alles gutt.

Ach! Herr (Psalm 6)

Ach! Ach Herr! strafmich nicht in deinem Zoren,

und ziichtige mich nicht in deinem Grimm.

Sei gnadig, Herr! ich bin schwach und verlohren.

Ach heile mich, O Herr! mit deiner Stimm.

Dann mein Gebeine ist erschrokken und verwohren,

und meiner Seel, die sehr erschrocken ist, wird bange.

Ach du mein Herr! wie lange?

Ach wende dich zu mir, rett meiner Seel Beschwer.

Von wegen deiner Gilt, wollt helfen mir, O Herr!

Lord Jesus Christ, Lord of Lords,

The word, born ofwoman,

Prince oflife and honor,

Lion from the branch ofJudah,

Arisen from death as the morning dawns, 

Sin, hell and death he has defeated,

The snake’s head trampled.

Alleluja.

Today shines the victorious day,

Pharaoh with chariots and horses

Is now, as the old dragon,

Thrown in the Red Sea,

The Pascal lamb freely celebrate,

For today Christ freed us from danger

And brought us to the promised land.

Alleluja.

As Adam slept, God built for him

A woman from his rib,

The other Adam in his death

Shrouded us with his heart and love,

That we, as Eve, may be 

His flesh, bone and brothers,

And like he, awaken from death.

Alleluja.

What value has this body?

A half-handful ofblood,

The spirit becomes weak,

The air in all its splendor,

The world in its magnificence: 

What worth is all this?

IfI have only you, Jesus,

Then I have all that is good.

O Lord, rebuke me not in your anger,

nor discipline me in your wrath.

Be gracious to me, O Lord, for I am languishing:

Ah, heal me, O Lord! (with your voice).

For my bones are troubled

And my soul is greatly troubled

But for you, my Lord! How long?

Turn, O Lord, deliver my life;

Save me for the sake ofyour steadfast love!
Ach wie nichtig

Ach wie nichtig,

Ach wie fliichtig,

1st der menschen leben,

Wie ein nebel bait entstehet,

Undt auch wider bait vergehet, 

So ist unser leben sehet.

Tugent ist der beste freundt

Tugent is der beste freundt,

So wir haben aufder erden,

Tugent es alzeit wohl meint

Durch sie wir bewahret werden.

Fur gefahren mancherlei,

Machet uns die Tugend frei.

Oh how as nothing,

Oh how fleeting,

Is man’s life,

As a mist suddenly appears,

And as suddenly evaporates,

Behold, so is our life.

Virtue is the best friend

That we have on earth,

Virtue is always good 

Through it we are guarded.

In our various dangers

Virtue makes us free.

Bringt Herr dem Herren (Psalm 29)

Bringt her dem Herren, ihr Gewaltigen, 

Bringt her dem Herren Ehre und Starke,

Alleluja.

Bringt her dem Herren Ehre seines Namens,

Betet an den Herren in heiligem Schmuck,

Alleluja.

Alle Lande beten dich an und lobsingen dir,

Lobsingen deinem Namen,

Alleluja.

Was die gantz vollkomne tugendt

Was die gantz vollkomne tugendt,

Hatt gelernet in der jugendt,

Undt an andren offt gesehn,

Muss sie itzundt selbst aussiiben,

Undt so richten ihr betriiben,

Das es mog mit freud aussgehn.

Ascribe to the Lord, O heavenly beings, 

Ascribe to the Lord glory and strength,

Alleluja.

Ascribe to the Lord the glory of his name,

Worship the Lord in holy array,

Alleluja.

All lands worship you and sing your praises,

They sing the praises ofyour name,

Alleluja.

That quite perfect virtue,

I had learned in my youth,

And in others often seen,

I must now learn to practice,

And so focus my sorrow,

So that in the end it may be transformed into joy.

Barbara Hollinshead wishes to profusely thank Ingeborg Sober, without whom these translations would have

been impossible and imponderable. Translations were done through the collaboration ofBarbara Hollinshead

and Ingeborg Sober. To provide a glimpse of Duchess Sophie’s times, Barbara chose to reflect here the original

German and French spellings found in the manuscripts and in the Vinetum Evangelicum (Evangelischer Wein-Berg).
TEXTS AND TRANSLATIONS

SUSANNE

Recitatif

Contre la saison trop ardente Susanne, d’une eau

claire empruntait la fraicheur; et cachez pour la

voir, deux Vieillards qu’elle enchante, d’un

regard attentifirritaient leur ardeur.

Air

Indiscrete jeunesse,

Qui suivez les amours,

Ne croyez pas que la vieillesse 

Contre-eux vous garde aucun secours.

Celui qu’Amour entraine,

Dans son jeune printemps.

Traine toujours sa chaine,

Jusqu’a ses demiers ans.

Recitatif

Les beautes de Susanne animent leur audace.

Ces odieux Amants osent se decouvrir. Leur

amour, joint a la menace, veut l’effrayer ou

Lattendrir.

Air

“Cedez, il faut vous rendre

A nos ardents desirs;

Pourrez-vous vous defendre,

Des plus charmants plaisirs.

Soulagez notre peine,

Ou des ce meme jour,

Redoutez une haine,

Egale a notre amour.”

Recitatif

Ils doivent Taccuser d’une ardeur criminelle,

que la loi punit de la mort. Pour vaincre sa

vertu rebelle, c’est de ce piege adroit que se

sert leur transport. Inhumains, est-ce ainsi que

vous pretendez plaire? Susanne, quel peril!

Helas! qu’allez-vous faire? Vous rendrez 

vous a leur courroux, pour eviter la mort. La

meriterez-voux?

SUSANNA

Recitative

To relieve the summer heat, Susanna was

refreshing herselfin a clear stream, while two

infatuated old men had hidden themselves to

watch her, the close view arousing their desire.

Air

Reckless youths,

Who follow Love’s allures,

Do not believe that aging

Will rescue you from them.

He who is seduced by Love

In the spring of his youth,

Forever drags her chain

Until his final years.

Recitative

Susanna’s loveliness fuels their audacity. Those

loathsome voyeurs dare to reveal themselves.

Their fervor, tied to a threat, means to frighten

or persuade her.

Air

“Submit! You must yield 

To our passionate demands!

Could you deny yourself

These most irresistible delights?

Relieve our torment,

Or from this day on,

Dread a hatred

As deep as our desire!”

Recitative

They are going to accuse her of criminal lust,

which the law punishes by death. To prevail over 

her unyielding virtue, that is the crafty snare

which serves their purpose. Beasts! Is this the

way you extort your entertainment? Susanna,

what danger! Alas! what are you going to do? To

escape death, you will give in to their 

rapaciousness. Will you deserve that?
2

Recit mesure

“Non, non,” dit Fheroine constante,

“Vous pouvez me faire perir,

Mais, s’il me faut mourir,

Je mourrai du moins innocente.”

Air

Que la meme ardeur nous anime,

Un cceur innocent ne craint rien.

Non, non, pour lui le jour n’est un bien

Que quand il en jouit sans crime.

SEMELE

Recitatif

Jupiter avoit fait un indiscret serment,

D’accorder tout aux voeux d’une amante fidelle.

Semele doute encor du rang de son amant,

Et ce doute fait son tourment;

Elle aspire a le voir dans sa gloire immortelle;

Mais FAmour par pitie pour elle,

D’un plaisir si funeste eloigne le moment!

Semele cependant gemit, s’impatiente;

Elle se plaint ainsy d’une trop longue attente.

Air

Ne peut-on vivre en tes liens

Sans souffrir de mortelles peines,

Amour, tu promets mille biens,

Qu’on ne trouve point dans tes chaines.

Un cceur qui s’est laisse charmer 

Doit immoler tout a sa flame.

Mon amant s’il s9avoit aimer,

Previendroit les vceux de mon ame.

Recitatif

Mais, quel bruit etonnant se repand dans les airs.

Quel ravage; la foudre gronde,

Le Ciel s’entrouvre; et les eclairs

M’annoncent le maistre du monde.

Quel apareil pompeux. Quel spectacle pour moy;

Pardonne, j’avois tort de soup9onner ta foy.

Measured recitative

“No, no,” the steadfast heroine says,

“You can cause my death,

But ifI must perish,

At least I will die virtuously.”

Air

Ifthat same fidelity motivates us,

A pure heart fears nothing.

No, for such, a day is worthy

Only when it is spent without wrongdoing.

SEMELE

Recitative

Jupiter had made a foolish vow

To grant in full the desires of a devoted lover.

Semele remains doubtful of her beloved’s prestige,

And this uncertainty disturbs her;

She wants to behold him in his everlasting splendor;

But Love, having mercy on her,

Delays such a disastrous event!

But Semele sighs and becomes fretful;

She thus complains that the wait is too long.

Air

Can anyone exist in your fetters

Without bearing deathly suffering?

Love, the thousand benefits which you pledge

Are not to be found at all in your shackles.

A heart which has been enchanted

Must sacrifice everything to its fervor.

My beloved, if he were able to love,

Would perceive my soul’s desires.

Recitative

But what a startling sound bursts into the air!

What havoc! A thunderbolt booms,

The sky cracks open, and lightning flares

Reveal to me the ruler ofthe universe.

What a glorious appearance! What a sight for me!

Pardon me, I was mistaken to suspect your fidelity.
Air

Quel triomphe, quelle victoire 

Flatte mon cceur ambitieux.

Est-il rien d’egal a ma gloire,

Je vais joiiir du sort des Dieux.

Je ne veux point que le mistere 

Cache le bonheur de mes fers;

Que Ton sache que j’ay sceu plaire

Au plus grand Dieu de l’univers.

Recitatif

Ah! quel embrasement tout a coup m’epouvante.

Je vois ce Palais s’enflamer;

Ah! Ciel, je me sens consumer;

Jupiter, quel est done le sort de ton Amante ?

Un souhait me conduit au dernier des malheurs.

Quel horrible tourment; je sucombe, je meurs.

Dernier Air

Lorsque 1’Amour nous enchaisne,

De ses plus aimables noeuds,

Ne meslons point a ses feux

L’ardeur d’une gloire vaine,

Ne partageons point ses voeux;

Lorsque l’Amour nous enchaisne.

L’ eclat, la grandeur supreme,

Ne furent jamais un bien.

C’est dans un tendre lien,

Qu’on trouve un bonheur extreme,

II ne faut compter pour rien

L’eclat, la grandeur supreme.

Air

What celebration, what success

Glorifies my aspiring heart!

Is there anything matching my prestige?

I am to claim the fortune ofthe gods.

I do not wish the happiness ofmy fate

To be shrouded in mystery -

Only that it is known that I have given pleasure

To the most exalted god ofthe universe.

Recitative

Ah! what flame suddenly horrifies me!

I behold this palace ablaze!

Ah! Heaven! I am feeling myself engulfed!

Jupiter, is this the destiny of your beloved? 

Ambition carries me finally to disaster.

What dreadful agony! I surrender, I perish.

Final Air

When Love imprisons us

In his sweetest chains,

We must never confuse with his passion 

The arrogance of proud self-importance.

Never parcel out his promises,

When Love holds us enchained.

Magnificence and great splendor 

Never produce happiness.

It is in a loving relationship 

That one discovers the utmost blessing.

Magnificence and great splendor 

Must not matter at all.
TEXTS AND TRANSLATIONS

Schmetterling

Friihlingsbote! Schmetterling!

Sanft wie Zephirs lindes Wehen,

Schmeichelnd wie der Liebe Flehen,

Flatterst du mit leichten Sinn

Durch die Blumen Welt dahin!

Friihlingsbote! Schmetterling!

Mit des Schmeichelns suftem Kosen,

Gaukelst du um junge Rosen,

Wendest dann mit Mannersinn,

Dich zu andem Blumen hin!

Friihlingsbote! Schmetterling!

1st dein ganzes Leben Scherz,

Fesselt nichts dein kleines Herz,

O so nenne nicht die Triebe

Deiner Flatterseele Liebe!

Friihlingsbote! Schmetterling!

Bunter Wechsel scheint dein Ziel,

Aber grausam ist dies Spiel.

Ach! ein Schmetterling wie du

Nahm mir tandelnd meine Ruh!

—Anonymous

Den Abschied schnell genommen

Nur den Abschied schnell genommen,

Nicht gezaudert, nicht geklagt,

Schneller als die Tranen kommen,

Losgerissen, unverzagt!

Aus den Armen losgewunden,

Wie dies in der Brust auch brennt,

Was im Leben sich gefunden,

Wird im Leben auch getrennt!

Sollst du tragen, mufit du tragen,

Trage nur mit festem Sinn!

Deine Seufzer, deine Klagen 

Wehen in die Liifte hin!

Soil der Schmerz dich nicht bezwingen,

So bezwinge du den Schmerz,

Und verwelkte Bliiten schlingen

Frisch sich um dein wundes Herz!

—Johann Ludwig Ferdinand von Deinhardstein

Butterfly

Herald ofspringtime! Butterfly!

Gentle as a zephyr’s soft flutter,

Beguiling as love’s appeals,

You float effortlessly 

Through the world of blossoms!

Herald ofspringtime! Butterfly!

Flirting, with honeyed kisses,

You flutter among the new roses,

Then you turn, just like a man,

To other blooms!

Herald ofspringtime! Butterfly!

Is your whole life a deception?

Can nothing capture your tiny heart?

O, therefore do not name Love as

The impulse of your fickle soul!

Herald ofspringtime! Butterfly!

Color change appears to be your purpose,

But that sport is heartless.

Ah, such a butterfly 

Flirtatiously took away my peace!

Only the departure quickly taken

Only the departure quickly taken,

Not lingering, not complaining,

More swiftly than the teardrops start,

Torn away, is firm!

From arms unwound,

However burning the breast,

Those who are found by each other in life,

Will also in life be parted!

Should you suffer, must you suffer,

Suffer with nothing but a sure resolve!

Your sighing, your moans,

Are blown away in the wind!

So that sorrow does not defeat you,

You therefore conquer sorrow.

And withered blossoms revived will weave

Themselves about your injured heart!
2

Erinnerung

Mein Ende zeigt mirjeder Traum!

Mir lacht nicht mehr der Zukunft Raum!

Kaum weiB ich noch, was Freude sei,

In meines Lebens Friihling fiel

Des Ungliicks wint’rig Flockenspiel!

Lust, Hoffnung, Liebe sind vorbei,

Ich wollt’ Erinn’rung war’ dabei!

—George Gordon Noel Byron, Lord Byron

Memory

My fate is shown in every dream!

The realm ofthe future no longer smiles for me

I hardly know any more what joy is.

In the springtime ofmy life,

Despair’s icy blizzard beats down!

Pleasure, Hopefulness, Love are past.

I wish that Memory could also be so!

Ob ich manchmal Dein gedenke

Ob ich manchmal Dein gedenke?

WiiBtest Du, wie sehr ich’s tu’!

Dir auch noch die Schatten lenken

Traumender Gedanken zu.

Do I think of you at times?

Do I think of you at times?

If you could know how very much I do!

Even the images of my daydreams

Lead to you.

Tag und Nacht, und alle Stunden,

0 dies Alles sagt es nicht;

Du, seitdem wir uns gefunden,

Bist’s allein, was aus mir spricht.

At any hour of day or night,

0, nothing more can be said about this.

Ever since we met each other,

I can speak only of you.

Alles andre seh’ ich schwanken

Um mich her wie Traum und Schein!

Dein gedenken ist mein Leben!

Dich zu lieben ist mein Sein!

—Christian Reinhold [Kostlin]

I see all else reeling

Around me as illusion and fantasy!

Thinking about you is my life!

Loving you is my being!

An die Entfernte

Diese Rose pfliick’ ich hier

In der fremden Feme,

Liebes Herze, dir, ach dir,

Bracht’ ich sie so gerne!

To the Far-Away One

This rose I pluck here,

In this foreign place,

To you, dear heart, ah, to you

I would so happily present it!

Doch bis ich zu dir mag ziehen

Viele weite Meilen,

Ist die Rose langst dahin;

Denn die Rosen eilen.

But before I might reach you

Over many wide miles,

The rose would have reached its end,

Which roses hasten to do.

Nie soli weiter sich in’s Land

Lieb’ von Liebe wagen,

Als sich bliihend in der Hand

LaBt die Rose tragen;

A lover should never travel

Away from his beloved

Farther than he can bring

A living rose in his hand...

Oder als die Nachtigall

Halme bringt zum Neste,

Oder als ihr siiBer Schall

Wandert mit dem Weste.

—Nikolaus Lenau

Nor than the nightingale

Can carry straws to his nest,

Nor than his melodious call

Can float along the west wind.
Gedenke mein

Gedenke mein! die lieben Augen lenke

In stillen Nachten oft nach mir!

Ich denke dein, wenn ich des Liebsten denke,

Und was ich schaffe weih’ ich dir!

Gedenke mein! wenn dir die Tranen kommen,

Dir weint mein ganzes Leben nach!

So rasch gegeben, rascher noch genommen,

Und Lust und Leid ein einzig Ach!

Gedenke mein, im heiben Kampf des Lebens,

Und denk’, dab er auch mich verzehrt.

Du weibt es ja, wir ringen nicht vergebens:

So werden wir einander wert.

Gedenke mein! wenn Freude macht dich lacheln

Und sende mir in Traum dein Bild!

Als ein Engel mir die Stim zu facheln,

Wenn mir die Aussicht wird zu wild!

Gedenke mein! versprich es, treue Seele!

Sieh als ein schoner Stem mich an,

Dem ich darf anvertrauen was mir fehlet,

Wenn ich mir selbst nicht helfen kann!

Gedenke mein! ich weib, du wirst es halten;

So sind wir nimmermehr getrennt!

Die Flamme eint’ sich noch, die jetzt vergebens

In zwei verwandten Herzen brennt!

Gedenke mein! Gedenke mein!

—Christian Reinhold [Kostlin]

Perle und Lied

Die Perle, wahrend im Gehaiise,

Das seinen Schatz geborgen halt,

So schifft die stille Muschel leise

Durch’s tiefe Wogenmeer der Welt!

Der Muschel gleichen meine Lieder,

Von einer Trane sind sie schwer!

Und leise zieh’n sie auf und nieder 

Durch meiner Schmerzen tiefes Meer!

—Karl Egon Ebert

Remember me

Remember me! your cherished eyes reach me

Again and again in the silence of night.

When I think ofthe most beloved, I think of you,

And that which I envision, I sanctify to you!

Remember me! when my tears for you arise,

My whole existence weeps for you!

Suddenly you were given, yet more quickly taken,

Happiness and grief create one single sigh.

Remember me, in life’s fevered strife,

And believe that it besets me, too.

You understand, we do not struggle needlessly:

So increases our worth to one another.

Remember me! whenever joy delights you,

And in a dream, send to me your image.

It is as though an angel is cooling my brow,

When my prospects become too troubling!

Remember me! pledge that to me, true heart!

Gaze down on me like a lovely star,

In whom I may confide my troubles,

When I am unable to comfort myself.

Remember me! I know you will keep your pledge,

So that we are never to be parted!

The fires that vainly burn now in two linked hearts

Will yet be joined into one flame!

Remember me! Remember me!

Pearl and Song

The pearl, while in the shelter 

Which protects its opulence,

Guides the tranquil shell gently

Through the world’s deep, billowing sea.

My songs resemble the shell;

They bear the weight of a single tear!

And softly they drift up and down

Through the ocean-depths ofmy sorrow!
Lied

Immer sich rein

Kindlich erfreu’n,

Selig, wer’s kann.

Song

To feel, like a child,

Pure delight all the time -

Blessed is he who can do that.

Jubeln und singen,

Hiipfen und springen,

Selig, wer’s kann.

To be joyful and sing,

To skip and to jump -

Blessed is he who can do that.

Lachen und scherzen

Mit frohlichem Herzen,

Selig, wer’s kann.

To laugh and be merry,

With a blithe spirit -

Blessed is he who can do that.

Sorgen zerstreuen,

Geme verziehen,

Selig, wer’s kann.

To banish worries,

To pardon willingly -

Blessed is he who can do that.

Menschen begliicken,

Welch’ ein Entzucken!

Selig, wer’s kann.

To bring happiness to people,

What a joy!

Blessed is he who can do that.

Boses nicht messen

Und Vieles vergessen,

Selig, wer’s kann.

— Wilhelm Heilwig Carl Robert

August von Ungern-Sternberg

Not to judge wicked people,

And to forgive much -

Blessed is he who can do that.

Sie liebt mich

Sie liebt mich, sie liebt mich,

Ja, sie liebt mich!

Welch schreckliches Beben!

Fiihl ich mich selber?

Bin ich am Leben?

Sie liebet mich! Sie liebet mich!

She loves me

She loves me, she loves me,

Yes, she loves me!

What an ecstatic sensation!

Do I feel like myself?

Am I living?

She loves me! She loves me!

Ach, kann die Seele dich denn erfassen,

Gluck ohne Name kann ich dich lassen!

Einmal erwacht, einmal erwacht!

Gluck ohne Name!

Sie liebt mich, sie liebt mich, ja!

Sie liebt mich! Ja! Sie liebt mich!

Ah, indescribable happiness,

Can the heart fathom you, can I give you up,

Now that you’re aroused, now that you’re aroused?

Indescribable happiness!

She loves me, she loves me, yes!

She loves me! Yes! She loves me!

Ach, rings so anders!

Bist du’s noch, Sonne?

Bist du’s noch, Hiitte?

Trage die Wonne, seliges Herz!

Sie liebt mich, sie liebt mich, ja!

Sie liebt mich! Ja! Sie liebt mich!

—Johann Wolfgang von Goethe

Ah, all around me is now changed!

Are you still there, sun?

Are you still there, cottage?

Hold fast to the rapture, blissful heart!

She loves me, she loves me, yes!

She loves me! Yes! She loves me!