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

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-first Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,919th Concert

National Gallery ofArt Vocal Ensemble

Rosa Lamoreaux, artistic director and soprano

Barbara Hollinshead, mezzo-soprano; Robert Petillo, tenor

Steven Combs, bass-baritone

with Elizabeth Field, violinist; Maribeth Gowen, pianist

Viennese New Year Concert

December 30, 2012

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Franz Joseph Haydn (1732-1809)

Die Harmonie in der Ehe

Freunde, Wasser machete stumm

Johannes Brahms (1833-1897)

Ein Jdeiner, hiibscher Vogel nahm

Am Gesteine rauscht die Flut

From Liebeslieder Walzer, op. 52

Johann Strauss Jr. (1825-1899)

Champagne Polka

Robert Stolz (1880-1975)

Du bist auf dieser Welt

From Fruhling im Prater

Strauss

Waltz from Die Fledermaus

Franz Lehar (1870-1948)

Hor ich Cymbalklange

From Zigeunerliebe

Emmerich Kalman (1882-1953)

Der Walzer ist des Lebens schonste Melodie

Otto Nicolai (1810-1849)

Overture to Die lustigen Weiber von Windsor

Arranged for voices by Richard Hofmann
Brahms

Wenn so lind dein Auge mir

Nein, es ist nicht auszukommen

From Liebeslieder Walzer

INTERMISSION

Wolfgang Amadeus Mozart (1756-1791)

Caro mio Druck and Schluck

Kanon: Essen, Trinken

Brahms

Schlosser auf, und mache Schlosser

Am Donaustrande

From Liebeslieder Walzer

Strauss

An der schonen blauen Donau, op. 314

Franz von Suppe (1819-1895)

Hab’ ich nur deine Liebe

From Boccaccio

Lehar

Dein ist mein ganzes Herz

From Das Land des Lachelns

Vittorio Monti (1868-1922)

Csardas

Lehar

Heute Abend komm’ ich zu dir

Einer wird kommen

From Der Zarewitsch

Stolz

Was mein Flerz zu sagen hat

From Im weijlen Rossi

Lehar

Lippen schweigen

From Die lustige Witwe

Program Note

Continuing a tradition that began with the National Gallery ofArt’s

first New Year concert on January 2,1966, this evening’s performance

takes its cue from the famous New Year concerts at the Musikverien

in Vienna, Austria. It is offered as a heartfelt wish, expressed in music,

for a happy and prosperous New Year. This year for the first time the

Gallery music department expands the celebration to include vocal

music. In many cases, the Strauss family and other late nineteenthcentury Viennese composers arranged their waltzes, polkas, and marches

for vocal ensembles, with lyrics to suit a particular occasion or to

celebrate a facet ofViennese culture. Lyrics for the music sung this

evening may be found in the brochure enclosed with the program.
The Musicians

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

Now in its ninth season under the leadership of artistic director Rosa

Lamoreaux, the National Gallery ofArt Vocal Ensemble has presented numerous special programs in conjunction with Gallery exhibitions, including

seventeenth-century Dutch music in honor ofJan Lievens: A Dutch Master

Rediscovered (2008); Pride ofPlace: Dutch Cityscapes ofthe Golden Age (2009);

and the gala reopening ofthe Nineteenth-century French Galleries (2011). In

2008 the singers were guest artists at the Sonora, Mexico, Music Festival, and

in 2010 members ofthe Vocal Ensemble joined forces with the early music

ensemble artek to perform Claudio Monteverdi’s Vespers ofthe Blessed Virgin

(1610) on the occasion ofits 400th anniversary. The ensemble will be heard

again at the Gallery in April 2013, singing music by Arthur Sullivan and other

nineteenth-century British composers in honor of Pre-Raphaelites: Victorian

Art and Design, 1848-1900.

ROSA LAMOREAUX

Acclaimed by the Washington Post for her “scrupulous musicianship... gorgeous sound, and stylistic acuity,” soprano Rosa Eamoreaux 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 ofthe current season 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. 

Her concert tours abroad have included performances in Germany, Italy, and

the United Kingdom as well as Brazil, Japan, and Peru. Now in her ninth season as artistic director ofthe National Gallery ofArt Vocal Ensemble, she also 

works with ArcoVoce, Chatham Baroque, the Folger Consort, Four Nations

Ensemble, Hesperus, Musica Aperta, and Opera Lafayette. With more than

sixty performances at the National Gallery to her credit, she is also a favorite

6

at such museums as the Cloisters, Corcoran Gallery, Louvre, Metropolitan

Museum ofArt, Phillips Collection, and Smithsonian Institution. Lamoreaux

maintains a website at www.rosasings.com.

BARBARA HOLLINSHEAD

Among the highlights of her career to date, mezzo-soprano Barbara

Hollinshead includes singing music by J. S. Bach at the Thomaskirche in

Leipzig and the alto roles in the Saint Matthew Passion with Tafelmusik in

Toronto. A special moment came when she sang the role ofMother in Gian 

Carlo Menotti’s Amahl and the Night Visitors, in a production in which her

son, Ned, sang the role ofAmahl. A member ofthe National Gallery of

Art Vocal Ensemble since 2004, Hollinshead is also a member ofthe New

York-based chamber group artek and has been a guest artist with many of

the East Coast’s finest early music groups, including Chatham Baroque,

Hesperus, the New York Collegium, Opera Lafayette, and the Washington

Bach Consort. When not performing, Hollinshead maintains a private voice

studio and serves as an adjunct professor and musician-in-residence at 

American University.

ROBERT PETILLO

Acclaimed by critics and audiences alike for his portrayals ofthe Evangelist

in the passions ofJohann Sebastian and Carl Philipp Emanuel Bach, American tenor Robert Petillo studied at Rutgers University and the University of

Maryland, where he completed a doctor ofmusical arts degree in 1994 under

the tutelage ofJames McDonald. Petillo is the first tenor section leader for

the United States Army Chorus, a division ofthe United States Army Band

(Pershing’s Own) stationed at Fort Myer, Virginia. He sings in a cappella

ensembles within the Army Chorus and appears as a soloist on many ofits

recordings. Other choruses with which he has appeared as soloist include the

Alexandria, Fairfax, Maryland, and Washington National Cathedral choral

societies, Cantate Chamber Singers, Masterworks Chorus, Raleigh Oratorio

Society, Washington Bach Consort, Washington Singers, and Washington

Sangerbund. Orchestras with which he as appeared include Italy’s Accademia

7
di San Rocco, Germany’s Halle Handel Festival Orchestra, the Northeast

Pennsylvania Philharmonic Orchestra, and the Virginia Symphony Orchestra.

With conductor and organist Dale Voelker, Petillo cofounded the Washington Kantorei and serves as its executive director. With Petillo as tenor soloist,

the Kantorei has performed motets ofJ. S. Bach, Schiitz, Poulenc, and Telemann

as well as lesser-known contemporary composers.

STEVEN COMBS

An accomplished vocalist in early and contemporary classical music, baritone Steven Combs has appeared with the National Cathedral Choral Society,

Master Chorale ofWashington, National Philharmonic Orchestra, Washington

Bach Consort, and Washington Chorus at the Kennedy Center, Lincoln Center,

the National Gallery ofArt, and Washington National Cathedral. Much in

demand as a soloist in works by J. S. Bach, Combs has performed the arias

and bass-baritone roles in the Saint John and the Saint Matthew passions

with the Washington Bach Consort, Cantate Chamber Singers, Choral Arts

Society ofWashington, Fairfax Choral Society, Oratorio Society ofVirginia, 

Rockbridge Choral Society (Lexington, Virginia), and the Virginia Consort.

His contemporary music credits include the 2004 North American premiere

of Stale Kleiberg’s Requiem and the debut performance and recording of

Donald McCullough’s Holocaust Cantata: Songsfrom the Camps. In 1991

Steven Combs debuted at the Metropolitan Opera in the premiere performance ofJohn Corigliano’s The Ghosts ofVersailles. Combs has performed other

principal roles with the Metropolitan Opera as well as Boston Lyric Opera,

Florentine Opera, and the Minnesota Opera. A 2008 winner ofthe Washington Vocal Arts Society’s Discovery Series Competition, he also marks his

ninth year of association with the National Gallery ofArt Vocal Ensemble.

ELIZABETH FIELD

Violinist Elizabeth Field is the founder and director ofthe Vivaldi Project and

concertmaster ofthe Bach Choir ofBethlehem, Pennsylvania. She has served 

as concertmaster for Opera Lafayette and the Washington Bach Consort as

well as acting as performance-practice coach for the National Philharmonic

Orchestra and the Washington Chamber Symphony. She has performed with

leading period instrument ensembles, including the Classical Band, the

Handel & Haydn Society, and the New York State Early Music Association.

A pupil of Oscar Shumsky and Joseph Silverstein, Field has coached student

and professional performers at the universities ofIllinois, Iowa, Maryland, 

and Washington. Currently an adjunct professor at the George Washington

University, she has held professorships at Sacramento State and the University of California at Davis. Her collaborative dvd with fortepianist Malcolm

Bilson, which explores the historical performance practice of eighteenthcentury violin and piano repertoire, was described by pianist Emanuel Ax as

“truly inspiring—a completely lucid and authoritative look at the connections

between the great composers and the instruments with which they worked.”

MARIBETH GOWEN

A prize-winning soloist and chamber musician who frequently collaborates

with the National Gallery ofArt Vocal Ensemble, Maribeth Gowen has made

concerto appearances with the Alabama, Baltimore, Chattanooga, and

Tucson Symphony Orchestras as well as the National Chamber Orchestra

and the National Gallery ofArt Orchestra. She has performed in many of

the nation’s premiere concert venues, including the Phillips Collection and

Carnegie Hall’s Weill Recital Hall. Outside the United States, she has been

heard in Meunster, Germany, and Istanbul and Izmir, Turkey as well as at 

the International Bellapais Music Festival in North Cyprus. Gowen’s teachers

and coaches have included Nelita True, Menahem Pressler, and members of

the Guarneri String Quartet.

9
Upcoming concerts at the National Gallery ofArt

Andreas Sunning, flutist

with Tone Elisabeth Braaten, soprano

and members ofthe

National Gallery ofArt Orchestra

Per Kristian Skalstad, conductor

Music by

Bull, Grieg, and Habbestad

Sponsored by the 

Royal Norwegian Embassy

January 6, 2013

Sunday, 6:30 pm

East Building Auditorium

Orava String Quartet

Music by

Haydn and Mendelssohn

January 13, 2013

Sunday, 6:30 pm

West Building, West Garden Court

Cyrus Forough, violinist

Katya Janpoladyan, cellist

Sung-Im Kim, pianist

Music by

Schubert and Vali

January 20, 2013

Sunday, 6:30 pm

West Building, West Garden Court
TEXTS AND TRANSLATIONS

DIE HARMONIE IN DER EHE

0 wunderbare Harmonie,

was er will, will auch sie,

er zechet gern, sie auch;

er spielet gern, sie auch;

er zahlt Dukaten gern,

und macht den grofeen Herrn,

auch das ist ihr Gebrauch.

0 wunderbare Harmonie,

was er will, will auch sie!

MARITAL HARMONY

Oh, wonderful harmony,

what he desires, she desires as well.

He enjoys a drink, she too;

he likes cards, she too;

he likes quick money,

and lives grandly,

as she also prefers.

0 marital bliss!

What pleases him, pleases her!

DIE BEREDSAMKEIT

Freunde, Wasser machet stumm,

lernet dieses an den Fischen,

doch beim Weine kehrt sich's um,

dieses lernt an unsern Tischen.

ELOQUENCE

Friends, water makes us dumb --

we learn that from the fishes.

But with wine it's different --

we learn that at the supper table.

Was fur Redner sind wir nicht,

wenn der Rheinwein aus uns spricht.

Wir ermahnen, streiten, lehren,

keiner will den andern horen.

Freunde, Wasser machet stumm..stumm..stumm

What orators we surely are 

when the Rhine wine speaks for us.

We admonish, argue, lecture —

no one listens to the other.

Friends, water makes us dumb..dumb..dumb

EIN KLEINER, HUBSCHER VOGEL

Ein kleiner, hiibscher Vogel nahm den Flug

zum Garten hin, da gab es Obst genug.

Wenn ich ein hiibscher, kleiner Vogel war,

ich saumte nicht, ich tate so wie der.

A SMALL, PRETTY BIRD

A small, pretty bird took flight

into the garden, for there was plentiful fruit there.

If I were a pretty, small bird,

I would not tarry -1 would do just as he did.

Leimruten Arglist lauert an dem Ort;

der arme Vogel konnte nicht mehr fort.

Wenn ich ein hiibscher, kleiner Vogel war,

ich saumte doch, ich tate nicht wie der.

Malicious lime-twigs lurked in that place;

the poor bird could not escape.

If I were a pretty, small bird,

I would have hesitated, I would not have done that.

Der Vogel kam in eine schone Hand,

da tat es ihm, den Gliicklichen, nicht an.

Wenn ich ein hiibscher, kleiner Vogel war,

ich saumte nicht - ich tate doch wie der.

The bird alit into a pretty girl's hand,

and she did not harm him, the lucky thing.

If I were a pretty, small bird,

I would not linger -1 would do just as he did.
2

AM GESTEINE RAUSCHT DIE FLUT

Am Gesteine rauscht die Flut,

heftig angetrieben;

wer da nicht zu seufzen weiR,

lernt es unterm Lieben.

AGAINST THE STONES THE STREAM RUSHES

Against the stones the stream rushes,

powerfully driven:

those who do not know to sigh there,

will learn it when they fall in love.

DU BIST AUF DIESER WELT

Ich denke immer nur das Eine:

so lieb und schon wie du ist keine!

Niemals hab' ich so sehr gebangt;

keine Frau so heite verlangt,

denn ich liebe dich!

YOU ARE THE ONE FOR ME

I think always of one only:

no one is as beloved and beautiful as you!

Never have I yearned so deeply;

no other woman has been so ardently desired,

for I love you!

Du bist auf dieser Welt, 

die, die mir gefallt, nur du!

Du bist bestimmt fur mich, 

so wie ich fur dich-ja, nur du!

Find' ohne dich keine Ruh',

denke an dich immerzu, du!

Du bist auf dieser Welt,

die, die mir gefallt

und ich geb' dich mich her!

Du, du gehorst zu mir, denn ich weiR,

nach dir kommt keine mehr!

In all the world, you are the one

who pleases me, only you!

You are made for me,

and I for you -- yes, only you!

I find no rest without you,

I think of you constantly, you!

In all the world,

you are the one who pleases me 

and I surrender myselfto you!

You, you belong to me, for I know

that after you, there will be no one else.

Es stand schon lange in den Sternen,

dass wir uns einmal kennen lernen.

WeiR selber nicht, wie es geschah,

doch auf einmal warst du da,

und ich liebte dich!

It was written in the stars long ago,

that we would one day know each other.

I myself do not know how it happened,

but all at once you were there,

and I loved you!

Du bist auf dieser Welt, 

die, die mir gefallt, nur du!

Du bist bestimmt fur mich,

so wie ich fur dich -- ja, nur du!

Find' ohne dich keine Ruh',

denke an dich immerzu, du!

Du bist auf dieser Welt,

die, die mir gefallt

und ich geb' dich mich her!

Du, du gehorst zu mir, denn ich weiR,

nach dir kommt keine mehr!

In all the world, you are the one

who pleases me, only you!

You are made for me,

and I for you -- yes, only you!

I find no rest without you,

I think of you constantly, you!

In all the world,

you are the one who pleases me 

and I surrender myselfto you!

You, you belong to me, for I know

that after you, there will be no one else.
HOR' ICH ZYMBALKLANGE

Hor' ich Zymbalklange,

wird ums Herz mir enge, 

siifees Land der Muttersprache,

Heimatland!

Seufz' nach deinen Waldern,

nach den goldene Feldern;

sehne mich nach dir, mein sii£es Ungarland!

Ziehst du weit hinaus,

gehst die Welt du aus,

uberall ist's schon und doch

am schonsten ist's zuhaus!

Hor' ich Zymbalklange,

wird ums Herz mir enge, 

siifces Land der Muttersprache,

Heimatland!

Macht nichts! Hoi's der Teufel!

Macht nichts! Ohne Zweifel

kann der Mensch nicht immer traurig sein!

Liebt mein Schatz mich nimmer,

find't man Andre immer,

schad' um jede Trane, die ich wein'!

Will nicht ohne Kiifte leben, nein, nein!

Keine Stunde ohne Liebsten sein!

Jaj, jaj, hoi's der Teufel!

Jaj, jaj, ohne Zweifel,

immer kann der Mensch nicht traurig sein!

GIPSY FIDDLES PLAYING

I hear the sound ofthe zimbal,* 

making my heart long

for the sweet land of my language,

my homeland!

It sighs through the forests,

on to the golden fields;

I see myself near you, my sweet Hungary! 

Drawn so far from you, 

going through the world,

everywhere is beautiful, yet,

the most beautiful is my home!

I hear the sound of the zimbal,

making my heart long

for the sweet land of my language,

my homeland!

No matter! To hell with it!

No matter! Without a doubt,

people cannot always be sad!

If my sweetheart does not love me,

I'll find another,

who will have pity on my tears!

I will not live without kisses, no! no!

No hours will be without love!

Hah, hah! Get the devil out!

Hah, hah! Without a doubt,

we cannot always be sad!

*(hammered dulcimer)
4

DER WALZER 1ST DES LEBENS

SCHONSTE MELODIE

Der Walzer ist des Lebens schonste Melodie;

der Walzer, den das Gluck uns singt

ein unsagbarer Zauber, eine siiRe Harmonie,

ein Charm, der uns von neuem stets bezwingt!

Ja, ja, sie haben recht,

das tanzt sich gar nicht schlecht

man dreht sich und man kann's im Nu.

Ein Beben, Herz an Herz,

und ein Schweben himmelwarts,

und auf einmal ist man mit dem Gluck per "du"!

Wer niemals vom Zauber der Geigen berauscht,

gliihende Lippen im Tanz gekiiRt,

trunkenen Worten der Liebe gelauscht,

weite nicht, was der Walzer uns ist!

Den Walzer hat der Herrgott

fur Verliebte nur er dacht;

siiR und weich umfangt er euch, 

wie eine Liebesnacht!

Auf Engelsschwingen tanzt man froh

ins Reich des Glucks hinein;

solang' es noch Verliebte gibt, 

wird auch der Walzer sein!

Alle Herzen schwingen mit

bei jedem Walzerschritt,

und jeder Geigenstrich singt jubelnd laut:

"Ich liebe dich!"

Vom Walzer schrieb der Herrgott uns

ins Buch des Lebens ein:

"Solang' es noch Verliebte gibt, 

wird auch der Walzer sein!"

WENN SO LIND DEIN AUGE MIR

Wenn so lind dein Auge mir,

und so lieblich schauet,

jede letzte Triibe flieht, 

welche mich umgrauet.

Dieser Liebe schone Glut,

late sie nicht verstieben!

Nimmer wird, wie ich,

so treu dich ein andrer lieben.

THE WALTZ IS LIFE'S MOST

BEAUTIFUL SONG

The waltz is life's most beautiful song;

the waltz sings to us ofjoy,

an ineffable magic, a sweet harmony,

a charm, which ever enchants us anew.

Yes, yes, they have the right idea,

those who dance not at all badly;

they whirl, and can do that in an instant.

A fluttering of heart upon heart,

and a soaring heavenward,

and suddenly you know what happiness is!

Who has never been drunk with the violin's magic,

kissed burning lips while dancing,

heard intoxicating words of love,

does not understand what the waltz means to us!

God had the waltz in mind

just for lovers;

sweetly and tenderly it enfolds you 

like a night of love!

With a flourish of angels one dances blithely

within the realm of bliss; 

as long as there are lovers,

there will be waltzes!

All hearts resonate

with each waltz step,

and every violin stroke sings with resounding joy:

"I love you!"

Of the waltz, God has written for us 

in the Book of Life:

"As long as there are lovers,

there will be waltzes!"

WHEN YOUR EYES LOOK AT ME

When your eyes look at me

so gently and lovingly, 

you chase away every last anxiety

that troubles my life.

The lovely glow of this lovedo not let it disappear!

No one else will ever love you

as truly as I.
NEIN, ES 1ST NICHT AUSZUKOMMEN

Nein, es ist nicht auszukommen mit den Leuten; 

alles wissen sie 

so giftig auszudeuten!

Bin ich heiter, hegen soil ich lose Triebe;

bin ich still, so heist's, ich ware irr aus Liebe.

Nein, es ist nicht auszukommen etc.

CARO MIO DRUCK UND SCHLUCK

Konstanze: Caro mio Druck und Schluck,

caro mio Schluck und Druck,

ti lascio, oh Dio!

Kugelrund, che affano! A Loth ist ka Pfund.

Mozart: Cara mia bagatellerl,

cara mia bagatellrl,

io parto, tu resti, Spitzignas,

oh Dio! tu resti, Spitzignas,

che pena! che tormento!

Wenn's regn't, ist's nate.

Friend F: Perfidi! Barbari! Belui! Mostri! 

Tiranni, Erzlumpen, Gesindel,

Lumpengesindel, Lumpengesindel,

vedrete, vedrete, ihr macht noch in die Windel.

Friend H: Amico, non tanto aufbracht's Wesen.

Friend F: Tacci, tacci!

Friend H: Eh, quel ch'e stato ist gewesen.

Friend F: Dumma tacci.

Friend H: A me tacci? Friend F: Ate tacci!

Friend H: Amelacci? Friend F: Atelacci!

Friend H: Lacci? Friend F: Lacci!

Friend H: Lacci? Friend F: Tacci!

Both: Tacci, lacci, tacci, lacci?!

Konstanze and Mozart: Quello l'adira,

wir konnen nix dafiira, cara Cobochti!

Pieta, pieta, es ist schon achti;

un po di carita, sonst machen ma...a...a...

Friend F: A1 diavol, Lumpenpack!

Ich brech euch noch das Knack.

Son risoluto, zu an Schnupftabak.

Friend H: Pieta, pieta di me,

mir bei£e scho die Floh.

THERE’S NO GETTING ALONG WITH PEOPLE

No, there's just no getting along with people;

they make such poisonous interpretations

of everything they hear!

If I'm merry, they say I harbor wanton desires;

if I'm quiet, they say I am crazed with love.

No, there's just no getting along etc.

MY DEAR SQUEEZE AND SLURP

Konstanze: My dear Squeeze and Slurp,

My dear Slurp and Squeeze,

I'm leaving you - oh God!

Tubby! what a bore! Ten grams is not a pound.

Mozart: My dear little bagatelle,

my dear little bagatelle,

I'm going, you're staying, Needlenose,

oh God! you're staying, Needlenose,

what punishment! what torment!

When it rains, your nose gets wet.

Friend F: Traitors! Savages! Beasts! Monsters!

Tyrants, arch-rascals, clods, 

tatterdemalions, tatterdemalions,

look, you have even soiled your trousers!

Friend H: Friend, don't get in such an uproar.

Friend F: Shut up, all of you!

Friend H: Oh, what a state we are in!

Friend F: Dummy, shut up!

Friend H: Who, me?? Friend F: Yes, you! 

Friend H: Scram? Friend F: Scram!

Friend H: Scram? Friend F: Scram!

Friend H: Scram? Friend F: Shut up!

Both: Shut up, scram! Shut up, scram!

Konstanze and Mozart: Whomever it upsets,

it's not our fault, dear Cobotieres!

Mercy, it's already eight o'clock; 

a little charity, otherwise they will make...a...a...a

Friend F: To the devil, you pack of rascals!

I'll smash your snouts!

I'm determined to have a pinch ofsnuff!

Friend H: Pity, have pity on me,

the fleas are biting me!
6

KANON: ESSEN, TRINKEN

Essen, Trinken, das erhalt den Leib;

's ist doch mein liebster Zeitvertreib,

das Essen und Trinken.

Labt mich Speis' und Trank nicht mehr,

dann ade! dann Welt, gute Nacht!

So ein Bratchen, ein Pastetchen, ach,

wenn die meinem Gaumen winken,

dann, dann ist mein Tag vollbracht,

mein Tag vollbracht.

Ach, und wenn im lieben, vollen Glaschen

Gram und Sorgen niedersinken,

dann aller Welt dann gute Nacht!

SCHLOSSER AUF, UND MACHE SCHLOSSER

Schlosser auf, und mache schlosser

Schlosser ohne Zahl;

denn die bosen, bosen Mauler

will ich schlieteen, schlieteen allzumal!

AM DONAUSTRANDE

Am Donaustrande, da steht ein Haus,

da schaut ein rosiges Madchen aus.

Das Madchen, es ist wohl gut gehegt,

zehn eiserne Riegel sind vor die Tiire gelegt.

Zehn eiserne Riegel das ist ein Spate;

die spreng ich als waren sie nur von Glas.

Am Donaustrande, da steht ein Haus,

da schaut ein rosiges Madchen aus.

CANON: EATING, DRINKING

Eating, drinking, that preserves the body;

thus my favorite pastime

is eating and drinking.

If food and drink don't delight me any more,

then farewell, world, good night!

Such a roast, a pastry, oh! --

when they greet my palate,

then, then my day is complete,

my day is made!

Oh, and when in the beloved full glass

sorrow and care sink deeply down,

then good night to all the world!

LOCKSMITH, GET UP AND MAKE YOUR LOCKS

Locksmith, get up and make your locks,

locks without number;

for I want to lock up

all the evil mouths!

ON THE BANKS OF THE DANUBE

On the banks of the Danube, there stands a house,

and looking out of it is a pink-cheeked maiden.

The maiden is very well protected:

ten iron bolts have been placed on the door.

But ten iron bolts are just a joke;

I will snap them as if they were only glass.

On the banks ofthe Danube, there stands a house,

and looking out of it is a pink-cheeked maiden.
HAB' ICH NUR DEINE LIEBE

Hab' ich nur deine Liebe,

die Treue brauch' ich nicht.

Die Liebe ist die Knospe nur,

aus der die Treue bricht.

Drum sorge fur die Knospe, 

da£ sie auch schon gedeih',

auf date sie sich in voller Pracht

entfallen mag, o gib drauf Acht,

ob mit, ob ohne Treu'1

Denn selbst auch ohne Treue,

hat Liebe oft entziickt.

Doch ohne Liebe Treu' allein

hat keinen noch begliickt.

Drum sorge fur die Knospe, etc.

DEIN IST MEIN GANZES HERZ

Dein ist mein ganzes Herz!

Wo du nicht bist, kann ich nicht sein.

So, wie die Blume welkt,

wenn sie nicht ktitet der Sonnenschein!

Dein ist mein schonstes Lied,

weil es allein aus der Liebe erbluht.

Sag' mir noch einmal, mein einzig Lieb,

0, sag' noch einmal mir: "Ich hab' dich lieb!"

Wohin ich immer gehe,

ich fuhle deine Nahe.

Ich mochte deinen Atem trinken

und betend dir zu Fuften sinken,

dir, dir, allein!

Wie wunderbar ist dein leuchtendes Haar!

Traumschon und sehnsuchtsbang

ist dein strahlender Blick!

Hor' ich der Stimme Klang,

ist es so wie Musik.

IF I ONLY HAVE YOUR LOVE

If I only have your love,

I don't need faithfulness.

Love is only the bud

from which faithfulness springs.

Therefore take care of the bud,

that it may prosper nicely,

and that it may bloom in full glory,

oh, keep an eye on it,

with or without faithfulness!

Because even without faithfulness,

love has often delighted.

But faithfulness alone, without love,

has not made anyone happy!

Therefore take care of the bud, etc.

MY WHOLE HEART IS YOURS

My whole heart is yours!

Without you I cannot exist.

I would be like the flower that fades

without the kiss ofsunlight!

My sweetest song is yours,

for it springs from love alone.

Tell me once more, my one and only love,

tell me once more: "I love you!"

Wherever I go

I feel you near me.

I should like to drink your breath

and kneel imploringly at your feet,

at yours, yours alone!

How wonderful is your glistening hair!

Your lovely, radiant gaze

is beautiful with dreams and anxious longing.

When I hear the sound of your voice,

it is just like music.

Dein ist mein ganzes Herz! etc. My whole heart is yours! etc.
HEUTE ABEND KOMM' ICH ZU DIR

Mascha: Was mir einst an dir gefiel,

war dein Balalaikaspiel;

sonst entdeckte ich an dir nicht viel!

Alles was das Weib begehrt,

was gesetzlich ihr gehort,

das hast du Schlemihl mir nie gewahrt!

Da auch noch so nebenbei die Treue etwas litt, 

geb ich dir hiermit, deinen Abschiedstritt!

Iwan: Sieh mein bleiches Antlitz an,

hore den geliebten Mann,

daft er deinen Busen riihren kann!

Heute Abend komm' ich zu dir, 

auf eine schwache Stund!

Schatz, probier's noch einmal mit mir, 

ich sag's nicht ohne Grund!

Schlumm're suft auf deinen weiften Kissen;

wekken will ich dich mit heiften Kiissen.

Schatz, probier's noch einmal mit mir;

zehn Uhr bin ich bei dir!

Mascha: Niemals hab' ich's so gespiirt,

wie mich deine Stimme riihrt;

o wie dein Tenor die Frau'n verfiihrt!

Iwan: Siiftes Weib, du wirst schon schwach;

richte her dein Schlafgemach, ziind' die Ampel an, 

ich komme nach!

Mascha: Blick mich nicht so schmelzend an,

ich fiihle heifte Glut, wonnig wallt mein Blut

und mir wird nicht gut!

Iwan: Halt ein biftchen dich zuriick,

nur noch einen Augenblick,

und du schwimmst in einem Meer von Gluck!

Both: Heute Abend komm' ich zu dir, etc.

TONIGHT I WILL COME TO YOU

Mascha: What used to please me about you

was your balalaika playing;

otherwise, about you I knew little.

Everything that the wife wishes for,

all that lawfully belongs to her,

has never been offered to me, you Schlemihl

Therefore my trust has suffered as well.

I give you herewith your marching orders!

Iwan: Look at my pale countenance,

listen to this loving man, 

so that he can touch your heart!

Tonight I will come to you, 

in an unguarded moment!

My darling, give me another chance;

I say this not without good reason!

Slumber sweetly on your white pillow;

I will waken you with burning kisses.

Darling, give me another chance;

at ten o'clock I will be with you!

Mascha: Never have I felt so strongly

the way your voice touches me;

oh, how your Tenor seduces us ladies!

Iwan: Sweet lady, you are already yielding;

prepare for sleep, light the lamp,

I'll be with you soon!

Mascha: Don't gaze at me so meltingly;

I burn with passion, my blood courses

rapturously, and that's not good!

Iwan: Restrain yourself a little,

only for a moment,

and you will swim in a sea of bliss!

Both: Tonight I will come to you, etc.
9

EINERWIRD KOMMEN

Einer wird kommen, der wird mich begehren,

Einer wird kommen, dem soil ich gehoren.

Werd' ich bei seinen Kiissen erbeben?

Werd' ich der Liebe Wunder erleben?

Einer wird kommen, dem werd' ich gehoren.

Mir ist so bang, als hielt mich ein Traum befangen;

fiebernde Glut steigt heiR mir

zu Herz und Wangen.

Schweigende Nacht mich lockend umfangt;

mit wonniger Macht, die Sinne bedrangt.

Ich mochte entflieh'n, und wart doch auf ihn!

WiiRt' ich doch, zieh ich das groRe Los,

wird das Gluck mir scheinen?

ONE WILL COME

One will come, whom I will crave,

One will come, whom I will belong to.

Will his kisses make me shudder?

Will I live in love's wonder?

One will come to whom I will belong.

I am so fearful, as though held caught in a dream;

with a glow of fever

in my heart and on my cheeks.

The silent night envelops me alluringly;

with wondrous power my soul is pressed.

I want to flee, and yet to wait for him!

Can I be certain that great joy is coming to me; 

will happiness shine on me?

Werd ich als Spielzeug bloR diese Stund beweinen?0r will I, as a plaything, only bewail these hours?

Werde, was will, daraus. Liebe, nach dir, nach dir

breite ich meine Arme aus!

What will be, will be. Love, to you, to you, 

I open wide my arms!

WAS MEIN HERZ ZU SAGEN HAT

Was mein Herz zu sagen hat, fuhlst auch du!

Was die Uhr geschlagen hat, weiRt auch du!

Und hast du kein Ohr fur mich,

finde ich keine Ruh, drum hor zu, drum hor zu!

Sag ich es in Prosa dir, klingt es kuhl,

das ist nicht das Rechte fur mein Geftihl!

Aber wenn die Geigen zartlich fur mich flehn, 

wirst du gleich mich verstehn:

Mein Liebeslied muR ein Walzer sein!

Voll Bliitenduft und voll Sonnenschein!

Wenn beim ersten Du ich mich an dich schmieg,

braucht mein Herz dazu siiRe Walzermusik!

Mein Liebeslied muR ein Walzer sein, 

der suR berauscht wie Champagnerwein!

Und das Lied, das dir sagt: "Ich bin dein!",

kann doch nur ein Wiener Walzer sein!

Wenn der Liebe Lust und Schmerz einen packt,

schlagt ein jedes Menschenherz seinen Takt!

Jeder singt fur sich partout

und auch der Text dazu heiRt: Chacun a son gout!

Einer gibt den groRten Reiz der Gavott

und der andre seinerseits liebt mehr flott!

Und es wechseln Moll und Dur, ja, c'est l'amour.

Aber ich sage nur:

Mein Liebeslied muR ein Walzer sein! etc.

WHAT MY HEART HAS TO SAY

What my heart has to say, you surely perceive!

What time has brought about, you know that, too!

And if you do not hear me,

I find no rest -- listen to me, hear me!

Saying it to you in prose sounds lukewarm;

that does not do justice to my sentiment!

But when the violin tenderly implores for me, 

you will easily understand me.

My love song must be a waltz!

Full of flower-fragrance and sunshine!

When at the first "Du" I press close to you, 

my heart needs sweet waltz-music for that!

My love song must be a waltz,

which sweetly intoxicates like champagne!

And the song which says to you, "I am yours!",

can be only a Viennese waltz!

When love, joy and pain hold one spellbound,

every human heart beats in time!

Each one sings on his own, indeed,

and the lyrics likewise mean: "To each his own!" 

For one, the gavotte holds the greatest charm,

and another loves something more lively!

And minor and major keys vary — yes, that's love.

However, I say only,

My love song must be a waltz! etc.
10

LIPPEN SCHWEIGEN

Lippen schweigen, 's fliistern Geigen,

"Hab' mich lieb!"

AH' die Schritte sagen,

"Bitte, hab' mich lieb!'

Jeder Druck der Hande

deutlich mir’s beschrieb;

er sagt klar's ist wahr, 's ist wahr.

Du hast mich lieb!

Wenn die Geige so zaubrisch erklingt,

und Musik sich den Reigen erzwingt,

dann frisch auf, zogert nicht,

denn die Jugend, sie spricht:

's ist der Tanz holder FiiRchen Pflicht!

0 kommet doch, o kommt!

Ihr Ballsirenen folgt den stiRen Walzertonen

wie sie singen und klingen; o tanzt doch mit!

Hebt eure FiiRchen ein biRchen im Walzerschritt!

Ja so ist's recht und schon

ihr Ballsirenen tanzet lustig meine Schonen,

frohlich singt mit hellen Tonen;

so lang der Walzer klingt,

tanzt leicht beschwingt!

Bei jedem Walzerschritt, tanzt auch die Seele mit; 

da hiipft das Herzchen klein es klopft und pocht:

"Sei mein! Sei mein!"

Und der Mund er spricht kein Wort

doch tont es fort und immerfort:

"Ich hab' dich ja so lieb, ich hab' dich lieb!"

Jeder Druck der Hande

deutlich mir's beschrieb;

er sagt klar's ist wahr, 's ist wahr.

Du hast mich lieb!

LIPS ARE SILENT

Lips are silent, violins whisper,

"Will you love me?"

All the steps are saying,

"Please love me."

Every clasp of hands

surely tells me;

it says clearly, it's true, it's true.

You love me!

When the violin so magically sings, 

and the music makes the dancing begin,

then go to it! don't delay! 

for as the young people say,

dancing is the duty of lovely little feet!

So come, oh come!

The ball lures us with the waltz's sweet sounds

as they sing and ring; oh, dance, everyone!

Move your feet in a few waltz steps!

Yes, it's right and fine

that my beautiful lady dances in the ball's delights,

singing joyfully with clear tones;

as long as the waltz plays, 

she dances carefree and elated!

During every waltz-step, the soul also dances;

the little heart hops, knocks and beats:

"Be mine, be mine!"

And the mouth, though speaking no words,

nonetheless declares, over and over,

"I love you so much! I love you!"

Every clasp of hands

surely tells me;

it says clearly, it's true, it's true.

You love me!