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

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 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 has dedicated 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 ofthe chauvinistic attitudes that prevailed in their

own and subsequent generations. In addition, Porter writes about one of

her contemporaries, pianist Anne Schein, whose career as a performer

and teacher exemplifies the emergence ofwomen from the shadows of

the 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 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 ofArt, 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),

Johann Rosenmiiller, and Heinrich Schiitz

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

required to compose worthwhile music, Duchess Sophie-Elisabeth von 

Mecklenburg (1613-1676) was born in the court of Gustrow, 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-Luneberg (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), 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 the previous marriage ofher husband, Elisabeth-Sophie created and maintained a musical life at court that

drew the attention ofmusicians and nobles throughout northern Germany.

5
Adelaide Labille-Guiard, A Fashionable Noblewoman Wearing a Plumed Hat, c. 1789

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

2,990th Concert 

April 9, 2014,12:10 pm

Rosa Lamoreaux, soprano

With Arco Voce

Elizabeth Field, Nina Falk, violins

Stephanie Vial, cello

Steven Silverman, harpsichord

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

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

of professionals 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 Academic 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, and frequent guests included Marie de Lorraine, Duchess of

Guise (1615-1688), who herselfmaintained the most famous musical salon 

outside the royal establishment, headed by Marc Antoine de Charpentier

(1643-1704). Widowed at age thirty-nine, Jacquet de la Guerre continued

to support herselfin a comfortable life style 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 prime French composers of

the mid-eighteenth century.

7
Kathe Kollwitz, Praying Girl, 1892, etching and aquatint, National Gallery ofArt,

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)

By the time Josephine Lang 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 the two most famous women among her

musician 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 the salon that 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).

9
Oskar Kokoschka, Corona I,1918, lithograph, National Gallery ofArt, Washington,

Rosenwald Collection

2,993rd Concert

April 23, 2014,12:10 pm

West Building, West Garden Court

Alessandra Marc, soprano

David Chapman, pianist

Program

a,

2.

4,

£

Johannes Brahms (1833-1897)

Der Tod, das ist die kuehle Nacht, op. 96, no. 1

Text by Heinrich Heine

Immer leiser wird mein Schlummer, op 105, no.

Text by Herrmann Lingg

Botschaft, op. 47, no. 1

Text after Georg Friedrich Daumer

1 T?

! 3

a '-Y\

Richard Strauss (1864-1949)

Morgen

Allersellen

Freundliche Vision

Staendchen

/\t. M- k S

k. Hugo Wolf (1860-1903) 

Zitronenfalter im April

Auch kleine Dinge

Er ist’s

5'-36
Maria Bach (1896-1978)

Bild (1926)

Text by Grete von Urbanitzky (1891-1974)

Dauemde Erinnerung

Text by Kino Aritomo (1868-1965)

Fruehling’s Ende

Maria und der Schiffer

Erich Wolfgang Korngold (1897-1957)

oa* Marietta’s Lied

I q ^ Die tode Stadt, op. 12

12

The Musicians

ALESSANDRA MARC

Writing in The New Yorker, music critic Andrew Porter described Alessandra

Marc’s voice as “an instrument ofunsurpassed beauty and impact” and “perhaps the richest, fullest, most beautiful big soprano voice around.” Highlights

ofher operatic career to date include the title role ofAida at the Metropolitan

Opera, about which the New York Times wrote, “She displayed burnished tone

and enormous volume, especially in climactic phrases that soar above the

orchestra and chorus.” Her recordings include American Diva, which rose to

number thirteen on Billboard magazine’s classical charts, and Opera Gala with

Andrew Litton and the Dallas Symphony Orchestra. A frequent guest ofthe

world’s leading opera houses and orchestras, Marc collaborated frequently with

the late Giuseppe Sinopoli, for whose funeral mass she sang in Rome in 2001.

Not long after her first performance at the White House in 1991, Marc 

was selected by then National Gallery music director George Manos to

substitute for ailing soprano Arleen Auger to sing with the National Gallery 

Orchestra on the occasion ofthe Gallery’s fiftieth anniversary (and coincidentally its 2,000th concert). The resulting performance of Richard Strauss’

Four Last Songs was a resounding success with the audience and critics alike.

Marc maintains a web site at www.alessandramarc.com.

DAVID CHAPMAN

Making his third appearance at the National Gallery ofArt this afternoon,

pianist and private voice teacher David Chapman holds degrees and performance diplomas from the Peabody Conservatory and the Eastman School 

of Music. While in Germany on a Fulbright grant, he continued his studies

in Stuttgart and performed in Austria, Denmark, Hungary, Italy, and Switzerland. In addition to making recordings for radio stations in Stuttgart and

Cologne, he has appeared on German television and taught master classes

at the Moscow Conservatory. In the United States, he has performed at Carnegie Hall, as collaborative pianist with Alessandra Marc and Nancy Peery 

Marriott; the Kennedy Center Opera House; the British, Chinese, Finnish,

13
Polish, and Swedish embassies; and the universities of Oklahoma and

Nebraska. A member ofthe National Association ofTeachers of Singing

and an adjunct teacher at the Landon School for Boys in Bethesda, Maryland, Chapman is music director and pianist at the Paint Branch Unitarian

Universalist Church in Adelphi, Maryland, and a member ofthe Friday Morning Music Club. He was the piano soloist and accompanist for the soundtrack

ofthe motion picture The Successor (1996), directed by Rodoh Seji.

H

Program Note

Born into a wealthy family in Austria’s upper middle class, Maria Bach 

(1896-1978) enjoyed a first-class musical education and frequent contact

with many ofthe renowned composers who made Vienna their home in

the first quarter ofthe twentieth century, among them Erich Korngold,

Alma Mahler (1879-1964), and Joseph Marx (1882-1964). During prominent musical soirees hosted by her family, Maria’s chamber works were

performed by members ofthe Vienna Philharmonic Orchestra, and leading

singers from the Vienna Opera included her songs in their recitals. Her

rising prominence as a composer, however, was interrupted by momentous

movements and events. The revolutionary effect ofthe “Viennese modern”

school, headed by Arnold Schoenberg (1874-1951), pushed conservative

composers like Maria Bach into the background. Successive world-shaking

events—World War 1, the Great Depression, and the rise of Nazism in

Austria—removed completely the economic and social support network that

might have aided her as a composer. Her career was further impeded

by a decades-long legal dispute with her sisters over inheritance oftheir

parents’ fortune, which left all ofthem impoverished. Except for occasional

performances by clubs devoted to women composers and performers, Maria 

Bach and her music were all but forgotten in post-World War 11 Vienna.

15
Millicent Krouse, Young Woman, 1957, color woodcut on wove paper, National Gallery of

Art, Washington, Rosenwald Collection

2,995th Concert

April 30, 2014,12:10 pm

West Building, West Garden Court

vas Hd- (z <7

Ann Schein, pianist

*

Program

Performed without intermission

Maurice Ravel (1875-1937)

Sonatine

Modere

Mouvement de menuet

Anime

Claude Debussy (1862-1918)

9 L’Isle joyeuse

Frederic Chopin (1810-1845)

\ ' , Sonata no. j in B Minor, op. 58

Allegro maestoso

Scherzo: Molto vivace

Largo

Finale: Presto non tanto

a\ss

j-**

\>0 5 £ W ucvA/\e>u s

*37

17
Program Note

Cecelia Porter was drawn to Ann Schein as the subject for the fifth and final

chapter ofher book due to Schein’s consistent excellence as a performer, 

which Porter had first encountered when both women were students

of Mieczyslaw Munz (1900-1976) at the Peabody Conservatory of Music.

Porter found Schein to be the perfect culmination for her treatise on women

in music, not only because she represents a fulfillment in America ofthe 

aspirations for which European musicians and composers laid the groundwork, but also because Schein has proven to be eager to share her thoughts

and feelings about her profession.

Born in White Plains, New York, and raised in Evanston, Illinois, and

Washington, DC, Schein was a star pupil, performing in a live television

broadcast and with a symphony orchestra at age ten, gaining acceptance 

into the Peabody Conservatory studio of Mieczyslaw Munz at age thirteen,

winning the Merriweather Post Concerto Competition at age sixteen,

and playing her professional debut recital (at Washington’s Pan American

Union) at eighteen. When, in i960, the world-famous pianist Arthur

Rubenstein (1887-1982) heard a recording of Schein’s performance of

Rachmaninoffs Third Piano Concerto, he immediately invited her to New

York to audition for him, and later (1962) to Paris and Lucerne, to study

with him while he was on vacation. This proved to be not only a breathtaking educational experience for the young pianist, but also led to recordings

with the Vienna Philharmonic Orchestra and a managing contract with the

powerful Russian-born American impresario Sol Hurok (1888-1974).

After initial successes in New York and Europe, Schein’s career as a

pianist can be said to have moved to a “back burner.” In 1969 she married

Earl Carlyss (b. 1939), who was at the time the new second violinist ofthe 

Juilliard String Quartet. She gave birth to their two children in the early

1970s, and remained out ofthe spotlight for the remainder ofthe decade. In 

1980, however, Schein presented a cycle of all-Chopin recitals at Alice Tully

Hall that drew sold-out audiences and rave reviews, launching a new chapter

18

in her career. During the next few years she gave concerts in forty states 

across the country; was appointed to the faculties ofthe Peabody Conservatory and the Aspen Summer Festival; formed a chamber ensemble (the

American Chamber Players, resident at the Library ofCongress, 1981-

1986); and toured worldwide with soprano Jessye Norman (b. 1945). In 2009

she was honored with a visiting professorship at the University ofIndiana.

Ann Schein’s numerous performances at the National Gallery date

back to 1956, when, still a student at the Peabody Conservatory, she played

Mozart’s Piano Concerto no. 20 in D Minor, K. 466, with the National Gallery

Orchestra. It is truly fitting that a performance by Ann Schein provides the

culmination ofthis five-concert salute to women in music by Cecelia Porter 

and the Gallery music department.

19
Texts and Translations

April 23, 2014

Alessandra Marc, soprano; David Chapman, pianist

Cecelia Porter, lecturer

Der Tod, das ist die ktihle Nacht

Heinrich Heine (1797-1856)

Der Tod, das ist die ktihle Nacht,

Das Leben ist der schwiile Tag.

Es dunkelt schon, mich schlafert,

Der Tag hat mich mud gemacht.

Uber mein Bett erhebt sich ein Baum,

Drin singt die junge Nachtigall;

Sie singt von lauter Liebe -

Ich hor es sogar im Traum.

Immer leiser wird mein Schlummer

Herrmann Lingg (1820-1905)

Immer leiser wird mein Schlummer,

Nur wie Schleier liegt mein Kummer 

Zittemd liber mil*.

Oft im Traume hor’ ich dich

Rufen drauB vor meiner Tiir:

Niemand wacht und offnet dir,

Ich erwach’ und weine bitterlich.

Ja, ich werde sterben mussen,

Eine andre wirst du kiissen,

Wenn ich bleich und kalt.

Eh’ die Maienliifte wehen,

Eh’ die Drossel singt im Wald:

Willst du einmal noch mich sehen,

Komm, o komme bald!

Death! It is the Cooling Night

Death! It is the cooling night;

Life! It is the sultry day:

It darkens, and I slumber;

I am wearied with the light.

Over my bed is a tree,

And in it a nightingale sings;

It sings of nought but love —

I can hear it amidst my dreaming.

My Slumber Grows Ever More Peaceful

My slumber grows ever more peaceful; 

Only my anxiety lies upon me,

trembling like a thin veil.

Often in my dreams I hear you

calling outside my door;

no one is awake to let you in,

and I wake up and weep bitterly.

Yes, I will have to die;

another will you kiss,

when I am pale and cold.

Before the May breezes blow,

before the thrush sings in the forest:

If you wish to see me once more,

come, o come soon!
Botschaft

Georg Friedriech Daumer (1800-1875)

After Hafez

Wehe, Liiftchen, lind und lieblich 

Um die Wange der Geliebten,

Spiele zart in ihrer Locke,

Eile nicht hinwegzufliehn!

Tut sie dann vielleicht die Frage,

Wie es um mich Armen stehe;

Sprich: “Unendlich war sein Wehe,

Hochst bedenklich seine Lage;

Aberjetzo kann er hoffen 

Wieder herrlich aufzuleben,

Denn du, Holde,

Denkst an ihn.”

Morgen

John Henry Mackay (1864-1933)

Und morgen wird die Somie wieder 

scheinen,

und auf dem Wege, den ich gehen werde,

wird uns, die Seligen, sie wieder einen 

inmitten dieser sonnenatmenden Erde...

Und zu dem Strand, dem weiten,

wogenblauen,

werden wir still und langsam niedersteigen, 

stumm werden wir uns in die Augen

schauen,

und auf uns sinkt des Gliickes grosses

Schweigen.

A Message

Blow, Breeze, gently and lovingly 

about the cheeks ofmy beloved;

Play tenderly in her locks,

do not hasten to flee far away!

Ifperhaps she is then to ask,

how it stands with poor wretched me,

Tell her: "Unending was his woe,

highly dubious was his condition;

However, now he can hope 

magnificently to come to life again.

For you, lovely one,

are thinking ofhim!"

Tomorrow

And tomorrow the sun will

shine again,

and on the path I will take,

it will unite us again, we happy ones,

upon this sun-breathing earth...

And to the shore, the wide shore with blue

waves,

we will descend quietly and slowly;

w'e will look mutely into each other’s eyes

and the great silence ofhappiness will settle

upon us.
Allerseelen

Herrmann von Gilm zu Rosenegg (1812—

1864)

Stell auf den Tisch die duftenden Reseden,

Die letzten roten Astern trag herbei,

Und laB uns wieder von der Liebe reden,

Wie einst im Mai.

Gib mir die Hand, daB ich sie heimlicb 

driicke,

Und wenn man’s sieht, mir ist es einerlei,

Gib mir nur einen deiner siiBen Blicke,

Wie einst im Mai.

Es bliiht und duftet heut aufjedem Grabe,

Ein Tag im Jalir ist ja den Toten frei,

Komm an mein Herz, daB ich dicli wieder 

habe,

Wie einst im Mai.

Freundliche Vision

Otto Julius Bierbaum (1865-1910)

Nicht im Schlafe hab’ ich das getraumt,

Hell am Tage sah ich’s schon vor mir:

Eine Wiese voller Margeritten;

Tief ein weiBes Haus in griinen Biischen;

Gotterbilder leuchten aus dem Laube.

Und ich geh’ mit Einer, die mich lieb hat,

Ruhigen Gemiites in die Kiihle

Dieses weiBen Hauses, in den Frieden,

Der voll Schonbeit wartet, daB wir kommen.

AH Souls’ Day

Place on the table the fragrant mignonettes, 

Bring inside the last red asters,

and let us speak again oflove,

as once we did in May.

Give me your hand, so that I can press it

secretly;

and ifsomeone sees us, it’s all the same to

me.

Just give me your sweet gaze,

as once you did in May.

Flowers adorn today each grave, sending off

their fragrances;

One day in the year are the dead free.

Come close to my heart, so that I can have

you again,

as once I did in May.

Friendly Vision

I did not dream this while asleep;

1 saw it fair before me in the light of day:

A meadow full of daisies, 

a white house deep in green bushes, 

images of gods gleaming from the leaves.

And I walk with one who loves me,

in a peaceful mood in the coolness

ofthis white house, in which peace 

awaits our arrival, full of beauty.
Staendchen

Adolf Friedrich, Graf von Schack (1815—

1894)

Mach auf, mach auf, doch leise mein Kind,

Um keinen vom Schlummer zu wecken.

Kaum murmelt der Bach, kaum zittert im

Wind

Ein Blatt an den Biischen und Hecken.

Drum leise, mein Madchen, daB nichts sich

regt,

Nur leise die Hand auf die Klinke gelegt.

Mit Tritten, wie Tritte der Elfen so sacht,

Um iiber die Blumen zu hiipfen,

Flieg leicht hinaus in die Mondscheinnacht, 

Zu mir in den Garten zu schliipfen.

Rings schlummem die Bliiten am rieselnden 

Bach

Und duften im Schlaf, nur die Liebe ist

wach.

Sitz nieder, hier dammerfs geheimnisvoll

Unter den Lindenbaumen,

Die Nachtigall uns zu Hiiupten soil

Von unseren Kiissen traumen,

Und die Rose, wenn sie am Morgen

erwacht,

Hoch gliihn von den Wonnenschauem der 

Nacht.

Serenade

Open up, open, but softly my dear,

So as to wake no one from sleep.

The brook hardly murmers, the wind hardly 

shakes

A leaf on bush or hedge.

So, softly, my maiden, so that nothing stirs,

Just lay your hand softly on the doorlatch.

With steps as soft as the footsteps of elves,

Soft enough to hop over the flowers,

Fly lightly out into the moonlit night,

To steal to me in the garden.

The flowers are sleeping along the rippling 

brook,

Fragrant in sleep; only love is awake.

Sit. here it darkens mysteriously 

Beneath the lime trees,

The nightingale over our heads

Shall dream of our kisses,

And the rose, when it wakes in the morning,

Shall glow from the wondrous passions of

the night.
Bild

Greta Urbanitzky (1891-1974)

Verschlafene Bauemhauser selTn still in

tiefen Traumen

Hervor aus breiten dunklen mhvollen

Lindenbaumen.

Es reckt sich starr gebietend der Wald zum

Himmelsbogen,

De Berge steh’n schweigend von Wolken

grau umzogen.

Und eine lichte Wolke schwebt leicht auf

roten Fliigeln,

Aus abenddunklem Schweigen heim zu den

blauen Hiigeln.

Dauernde Erinnerung

Hans Bethge (1876-1946)

Based on a text by Kino Aritomo, published 

in Japanese Spring (1918)

Ich wiinsche ein Gewand mir von der Farbe

Der Kirschenbliiten.

Wenn die Bliiten dann Schon lang verwelkt

sind, werd ich immer doch

Durch mein Gewand an ihre Lust gemahnt.

Friihlings Ende

Bethge

Based on a text by Okishima (fl. eighth 

century), published in Japanese Spring

(1918)

Im Bambushaine meines Gartens hor ich

Die Nachtigall mit milder Stimme klagen,

Sie trauert, weil die weissen Pflaumenbliiten 

In Scharen von den Baumen niederfallen,

Weil nun der Lenz mit seinen Wundem 

flieht.

Image

Sleeping fami houses in deep dreams look

calmly out through the broad boughs of dark

and peaceful line trees.

The forest stretches stiffly toward the arch

ofheaven;

The mountains stand mute, embraced by 

gray clouds.

And one shining cloud floats weightlessly 

on red wings,

Up, out ofthe dark silence ofthe evening, to

its home in the blue hills.

Lasting Memory

I long for a gown the color of cherry 

blossoms.

When the blossoms have long since faded,

I will be reminded by my gown ofthe

pleasure they gave me.

The End of Spring

In the bamboo grove in my garden

I hear the nightingale complaining, with a

tired voice;

She mourns because the white plum 

blossoms are falling in showers from the

trees,

For the spring, with all its miracles, 

is now in flight.
Maria und der Schiffer

German Folk Poem

Maria ging wohl langs das Meer,

Da fand sie einen Schiffman steh’n..

"Schiffer. liebster Schiffer mein,

Willst du mich wohl schiffen liber das

Meer?”

"Eh ich euch schiffe iiber das Meer,

So mii/3t Ihr mir geben, was mein Herz

begehrt!”

“Eh ich dire gebe was dein Herz begehrt,

Viel lieber will ich wandeln liber das Meer."

Maria hob ihr Rocklein auf, sie trat wohl in

das tiefe Meer.

Als sie wohl in die Mitte kam,

Da fingen alle Gottesglocklein an.

Maria trat auf einem Stein,

Dem Schiffmann sprang sein Herz entzwei.

Zitronenfalter im April

Eduard Morike (1804-1875)

Grausame Friihlingssonne,

Du weckst mich vor der Zeit,

Dem nur in Maienwonne 

Die zarte Kost gedeiht!

1st nicht ein liebes Madchen hier,

Das auf der Rosenlippe mir 

Ein Tropfchen Honig beut,

So muB ich jammerlich vegehn

Und wird der Mai mich nimmer sehn

In meinem gelben Kleid.

Maria and the Boatman

As Maria walked along the shore ofthe lake,

She found a boatman standing there.

“Boatman, my dear boatman, will you take

me across the lake?”

“Before I take you across the lake,

You must give me whatever my heart 

desires.”

“Fd sooner walk across the lake

Than give you what your heart desires.”

Maria raised her skirt and walked into the

deep lake;

When she reached the middle,

All of God’s bells began to ring

Maria stumbled on a stone;

The boatman’s heart broke in two.

Brimstone Butterflies in April

Cruel spring sun,

you wake me before my time;

my delicate food does not flourish

until the bliss of May!

Ifthere is no dear girl here 

to offer me a droplet of honey 

from her rosy lips,

then I must perish miserably, 

and May will never see me

in my yellow dress.
Audi kleine Dinge

Paul Heise (1830-1914)

From a traditional Italian folk poem

Auch kleine Dinge konnen uns entzucken,

Auch kleine Dinge konnen teuer sein.

Bedenkt, wie gern wir uns mit Perlen

schmucken;

Sie werden schwer bezahlt und sind nur 

klein.

Bedenkt, wie klein ist die Olivenirucht, 

Und wird um ihre Giite doch gesucht.

Denkt an die Rose nur, wie klein sie ist,

Und duftet doch so lieblich, wie ihr wiBt.

Er ist’s

Morike

Fruhling laBt sein blaues Band

Wieder flatten! durch die Lufte;

Siifte, wohlbekannte Diifte

Streifen ahnungsvoll das Land.

Veilchen traumen schon,

Wollen balde kommen.

Horch, von fern ein leiser Harfenton!

Fruhling, ja du bist’s!

Dich hab ich vemommen!

Even Little Things

Even little things can delight us,

Even little things can be precious.

Think how we gladly adorn ourselves with 

pearls;

They are heavily paid for, and yet are small.

Think how small is the olive's fruit,

And is nevertheless sought for its virtue.

Think only on the rose, how small she is,

And yet, smells so sweet, as you know.

It is He

Spring lets its blue ribbon

flutter again in the breeze;

a sweet, familiar scent

sweeps with promise through the land.

Violets are already dreaming,

and will soon arrive.

Hark! In the distance - a soft harp tone!

Spring, yes it is you!

It is you that I have heard!
Mariettas Lied

Julius Komgold (1860-1945)

Gluck, das mir verblieb,

ruck zu mir, mein treues Lieb.

Abend sinkt im Hag 

bist mir Licht und Tag.

Bange pochet Herz an Herz

Hoffnung schwingt sich himmelwarts.

Wie wahr, ein traurig Lied.

Das Lied vom treuen Lieb,

das sterben muss.

Ich kenne das Lied.

Ich hort es oft in jungen,

in schoneren Tagen.

Es hat noch eine Strophe —

weiB ich sie noch?

Naht auch Sorge triib,

nick zu mir, mein treues Lieb.

Neig dein blab Gesicht 

Sterben trennt uns nicht.

MuBt du einmal von mir gehn,

glaub, es gibt ein Auferstehn.

Marietta’s Song

Happiness that has stayed with me,

move up close beside me, my true love.

In the grove evening is waning,

yet you are my light and day.

One heart beats uneasily against the other,

[while] hope soars heavenward.

How true, a mournful song.

The song ofthe true love

bound to die.

I know this song.

I often heard it sung

in happier days of yore.

There is yet another stanza -

have I still got it in mind?

Though dismal sorrow is drawing nigh,

move up close beside me, my true love.

Turn your wan face to me

death will not part us.

When the hour of death comes one day,

believe that you will rise again.