Program Notes and Translations

George Frideric Handel (1685-1759) first premiered Rinaldo in 1711. The Italian libretto was written by Giacomo Rossi based on episodes of Torquato Tasso's Gerusalemme liberata ("Jerusalem Delivered"). It is a heroic story of battle and love set in the time of the First Crusade. Like Handel's other operas, Rinaldo fell into oblivion for two hundred years. However, starting in the 1970s, it has been revived regularly and has become part of the standard operatic repertoire. In 1984, a production of Rinaldo with mezzo-soprano Marilyn Horne in the title role at the Metropolitan Opera was the first Handel opera ever performed at the Met. In more recent years, the opera has been revived for the countertenor David Daniels. Sibillar gli angui dAletto
Sibillar gli angui d'Aletto, E latrar vorace Scilla, Parmi udir d'intorno a me. Rio velen mi serpe in petto, N ancor languida favilla Di timor, pena mi di. All around I seem to hear the hissing of Alecto's serpents, and the barking of hungry Scylla. An evil poison creeps into my breast, and has stung me with the dull spark of fear.

Stefano Donaudy (1879-1925) made a living as singing teacher, coach and accompanist for some of Sicily's wealthiest families, all while actively pursuing a career as a composer. He wrote mostly vocal music, dividing his efforts between opera and song, though he did also write chamber and orchestral music. Practically all his song texts and libretti were supplied by or written with his brother, Alberto Donaudy. Donaudy's fame rests exclusively on his collection 36 Arie di Stile Antico, first published in 1918. In the late 1990s the 36 Arie di Stile Antiche captured renewed attention when the entire collection was recorded for the first time by Ernesto Palacio and a bit later by Robert Guarino. O del mio amato ben
O del mio amato ben perduto incanto! Lungi dagli occhi miei chi m'era gloria e vanto! Or per le mute stanze sempre lo cerco e chiamo con pieno il cor di speranze? Ma cerco invan, chiamo invan! E il pianger m' s caro, che di pianto sol nutro il cor. Mi sembra, senza lui, triste ogni loco. Notte mi sembra il giorno; mi sembra gelo il foco. Se pur talvolta spero di darmi ad altra cura, sol mi tormenta un pensiero: Ma, senza lui, che far? Mi par cos la vita vana cosa senza il mio ben.
Oh, lost enchantment of my dearly beloved! Far from my eyes is he who was, to me, glory and pride! Now through the empty rooms I always seek him and call him with a heart full of hopes? But I seek in vain, I call in vain! And the weeping is so dear to me, that with weeping alone I nourish my heart. It seems to me, without him, sad everywhere. The day seems like night to me; the fire seems cold to me. If, however, I sometimes hope to give myself to another cure, one thought alone torments me: But without him, what shall I do? To me, life seems a vain thing without my beloved.

Quando ti rivedr
Quando ti rivedr, infida amante che mi fosti s cara? Tante lagrime ho piante or che altrui ci separa, che temo sia fuggita ogni gioia per sempre di mia vita. Eppur pi mi dispero, pi ritorno a sperare. Pi t'odio nel pensiero e pi ancora l'anima mia ti torna ad amar. Quando ti rivedr, infida amante che mi fosti cara cos?
When shall I see you again, Unfaithful lover, who were so dear to me? So many tears I have wept now that another separates us, That I fear that may be fled Every joy forever from my life. And yet the more I despair, The more I return to hoping. The more I hate you in my mind, The more my soul turns again to loving you. When shall I see you again, Unfaithful lover, who were so dear to me?

Joseph-Maurice Ravel (1875-1937) composed Don Quichotte a Dulcine for for a film, Adventures of Don Quixote from Cervantes's celebrated novel, featuring the Russian bass Feodor Chaliapin. Ravel, however, was unable to meet the deadline that had been set for him and instead the film used music by Jacques Ibert. Ravel had found it increasingly difficult to write down the music that he was hearing in his head. He had been in a car accident in which he was not badly injured, but shortly afterward he became absent minded. It is now suggested that Ravel may have been in the early stages of frontotemporal dementia, and this might account for the repetitive nature of his orchestral work Bolro. The music itself was later released on its own and has since become one of the most popular song sets for baritone. Chanson romanesque
Si vous me disiez que la terre tant tourner vous offensa, Je lui dpcherais Pana: Vous la verriez fixe et se taire. Si vous me disiez que l'ennui Vous vient du ciel trop fleuri d'astres, Dchirant les divins cadastres, Je faucherais d'un coup la nuit. Si vous me disiez que l'espace Ainsi vid ne vous plat point, Chevalier dieu, la lance au poing. J'toilerais le vent qui passe. Mais si vous disiez que mon sang Est plus moi qu' vous, ma Dame, Je blmirais dessous le blme Et je mourrais, vous bnissant. Dulcine. If you told me the eternal turning Of the world, offended you. I would send Panza: you would see it motionless and silent. If you told me to be bored by the number of stars in the sky. I would tear the heavens apart, erase the night in one swipe. If you told me that the, now empty space, doesn't please you. As a god-like knight, with a lance at hand I would fill the passing wind with stars. But, my Lady, if you told me that my blood is more mine than yours. That reprimand would turn me pale And, blessing you, I would die. Oh, Dulcine.

Chanson pique
Bon Saint Michel qui me donnez loisir De voir ma Dame et de l'entendre, Bon Saint Michel qui me daignez choisir Pour lui complaire et la dfendre, Bon Saint Michel veuillez descendre Avec Saint Georges sur l'autel De la Madone au bleu mantel. D'un rayon du ciel bnissez ma lame Et son gale puret Et son gale en pit Comme en pudeur et chastet: Ma Dame, grands Saint Georges et Saint Michel L'ange qui veille sur ma veille, Ma douce Dame si pareille Vous, Madone au bleu mantel! Amen. Dear Saint Michael, who gives me the chance to see my Lady and to hear her. Dear Saint Michael who gracefully chooses me to please and defend her. Dear Saint Michael will you descend With Saint George to the altar Of the Virgin in the blue mantle. With a beam from heaven, bless my sword And his equal in purity And his equal in piety As in modesty and chastity: My Lady. O Great Saint George and Saint Michael The angel who guards my watch My sweet Lady, so much like you Virgin in the blue mantle. Amen.

Chanson boire
Foin du btard, illustre Dame, Qui pour me perdre vos doux yeux Dit que l'amour et le vin vieux Mettent en deuill mon coeur, mon me! Ah! Je bois la joie! La joie est le seul but O je vais droit... Lorsque j'ai ... lorsque j'ai bu! Foin du jaloux, brune matresse, Qui geint, qui pleure et fait serment D'tre toujours ce ple amant Qui met de l'eau dans son ivresse! Fig for the bastard, illustrious Lady who, for losing me in your sweet eyes tells me that love and old wine put my heart and soul in mourning. I drink to pleasure! Pleasure is the only goal, To which I go straight... When I've drunk! Fig for the jealous, dark-haired mistress who moans, who cries and swears always being the pallid lover, watering down his intoxication

Gustav Mahler (1860-1911) was best known in his lifetime as a leading conductor of symphonic and operatic works. He is now widely acknowledged as being one of the most important late Romantic composers. Lieder eines fahrenden Gesellen was his first song cycle, composed starting in December of 1883. He continued to revise it until about the mid 1890s. It is believed that this cycle was influenced by the conclusion of an unhappy love-affair. Mahler, who wrote the text himself, was heavily influenced by Des Knaben Wunderhorn, a collection of German folk poetry that was one of Mahler's favorite books. The first song is actually based on the Wunderhorn poem "Wann mein Schatz". He subjected the score to a great deal of revision and some time in the early 1890s orchestrated the original piano accompaniments. As a result of this situation, various discrepancies exist between the different sources. I.
Wenn mein Schatz Hochzeit macht, Frhliche Hochzeit macht, Hab' ich meinen traurigen Tag! Geh' ich in mein Kmmerlein, Dunkles Kmmerlein, Weine, wein' um meinen Schatz, Um meinen lieben Schatz! Blmlein blau! Verdorre nicht! Vglein s! Du singst auf grner Heide. Ach, wie ist die Welt so schn! Zikth! Zikth! Singet nicht! Blhet nicht! Lenz ist ja vorbei! Alles Singen ist nun aus. Des Abends, wenn ich schlafen geh', Denk' ich an mein Leide. An mein Leide! When my darling has her wedding-day, her joyous wedding-day, I will have my day of mourning! I will go to my little room, my dark little room, and weep, weep for my darling, for my dear darling!

Blue flower! Do not wither! Sweet little bird - you sing on the green heath! Alas, how can the world be so fair? Chirp! Chirp! Do not sing; do not bloom! Spring is over. All singing must now be done. At night when I go to sleep, I think of my sorrow, of my sorrow!

II.
Ging heut morgen bers Feld, Tau noch auf den Grsern hing; Sprach zu mir der lust'ge Fink: "Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird's nicht eine schne Welt? Zink! Zink! Schn und flink! Wie mir doch die Welt gefllt!" Auch die Glockenblum' am Feld Hat mir lustig, guter Ding', Mit den Glckchen, klinge, kling, Ihren Morgengru geschellt: "Wird's nicht eine schne Welt? Kling, kling! Schnes Ding! Wie mir doch die Welt gefllt! Heia!" Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein! Blum' und Vogel, gro und klein! "Guten Tag, ist's nicht eine schne Welt? Ei du, gelt? Schne Welt?" Nun fngt auch mein Glck wohl an? Nein, nein, das ich mein', Mir nimmer blhen kann! I walked across the fields this morning; dew still hung on every blade of grass. The merry finch spoke to me: "Hey! Isn't it? Good morning! Isn't it? You! Isn't it becoming a fine world? Chirp! Chirp! Fair and sharp! How the world delights me!" Also, the bluebells in the field merrily with good spirits tolled out to me with bells (ding, ding) their morning greeting: "Isn't it becoming a fine world? Ding, ding! Fair thing! How the world delights me!"

And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the sunshine! Flower and bird, great and small! "Good day, is it not a fine world? Hey, isn't it? A fair world?" Now will my happiness also begin? No, no - the happiness I mean can never bloom!

III.
Ich hab' ein glhend Messer, Ein Messer in meiner Brust, O weh! Das schneid't so tief In jede Freud' und jede Lust. Ach, was ist das fr ein bser Gast! Nimmer hlt er Ruh', nimmer hlt er Rast, Nicht bei Tag, noch bei Nacht, wenn ich schlief. O Weh! Wenn ich in dem Himmel seh', Seh' ich zwei blaue Augen stehn. O Weh! Wenn ich im gelben Felde geh', Seh' ich von fern das blonde Haar Im Winde wehn. O Weh! Wenn ich aus dem Traum auffahr' Und hre klingen ihr silbern' Lachen, O Weh! Ich wollt', ich lg auf der schwarzen Bahr', Knnt' nimmer die Augen aufmachen! I have a red-hot knife, a knife in my breast. O woe! It cuts so deeply into every joy and delight. Alas, what an evil guest it is! Never does it rest or relax, not by day or by night, when I would sleep. O woe!

When I gaze up into the sky I see two blue eyes there. O woe! When I walk in the yellow field, I see from afar her blond hair waving in the wind. O woe!

When I start from a dream and hear the tinkle of her silvery laugh, O woe! Would that I lay on my black bier - Would that I could never again open my eyes!

IV.
Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da mut ich Abschied nehmen vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab' ich ewig Leid und Grmen. Ich bin ausgegangen in stiller Nacht Wohl ber die dunkle Heide. Hat mir niemand Ade gesagt. Ade! Mein Gesell' war Lieb' und Leide! Auf der Strae steht ein Lindenbaum, Da hab' ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blten ber mich geschneit, Da wut' ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles, Lieb und Leid Und Welt und Traum! The two blue eyes of my darling - they have sent me into the wide world. I had to take my leave of this wellbeloved place! O blue eyes, why did you gaze on me? Now I will have eternal sorrow and grief.

I went out into the quiet night well across the dark heath. To me no one bade farewell. Farewell! My companions are love and sorrow! On the road there stands a linden tree, and there for the first time I found rest in sleep! Under the linden tree that snowed its blossoms onto me - I did not know how life went on, and all was well again! All! All, love and sorrow and world and dream!

Gerald Finzi (1901-1956) made a significant contribution to British twentieth-century music, especially the settings of Thomas Hardy, his favorite poet, whom he set more than any other. His volume of Hardys Collected Poems was a treasured possession, as he wrote to a friend: If I had to be cut off from everything that would be the one book I should choose. Finzi composed slowly, so that songs that formed his sets, as he preferred to call them, were gathered over many years, gradually being brought into suitable groupings. Consequently at his death some two dozen songs were left complete. His friend Howard Ferguson, together with Finzis widow Joy, and eldest son Christopher, divided them into four song sets of which I Said to Love brought together the remaining Hardy settings for baritone. This group includes four songs that Finzi, in a flurry of creativity, composed or completed during 1956, the last year of his life, with others begun in the 1920s.

I need not go
I need not go Through sleet and snow To where I know She waits for me; She will tarry me there Till I find it fair, And have time to spare From company. When I've overgot The world somewhat, When things cost not Such stress and strain, Is soon enough By cypress sough To tell my Love I am come again. And if someday, When none cries nay, I still delay To seek her side, (Though ample measure Of fitting leisure Await my pleasure) She will not chide. What not upbraid me That I delayed me, Nor ask what stayed me So long? Ah no! New cares may claim me, New loves inflame me, She will not blame me, But suffer it so.

In five-score summers
In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century's vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. - Yet what to me how far above? For I would only ask thereof That thy worm should be my worm, Love!

For life I had never cared greatly

For Life I had never cared greatly, As worth a man's while; Peradventures unsought, Peradventures that finished in nought, Had kept me from youth and through manhood till lately Unwon by its style. In earliest years--why I know not I viewed it askance; Conditions of doubt, Conditions that leaked slowly out, May haply have bent me to stand and to show not Much zest for its dance. With symphonies soft and sweet colour It courted me then, Till evasions seemed wrong, Till evasions gave in to its song, And I warmed, until living aloofly loomed duller Than life among men. Anew I found nought to set eyes on, When, lifting its hand, It uncloaked a star, Uncloaked it from fog-damps afar, And showed its beams burning from pole to horizon As bright as a brand. And so, the rough highway forgetting, I pace hill and dale Regarding the sky, Regarding the vision on high, And thus re-illumed have no humour for letting My pilgrimage fail.

At Middle-Field Gate in February

The bars are thick with drops that show As they gather themselves from the fog Like silver buttons ranged in a row, And as evenly spaced as if measured, although They fall at the feeblest jog. They load the leafless hedge hard by, And the blades of last year's grass, While the fallow ploughland turned up nigh In raw rolls, clammy and clogging lie Too clogging for feet to pass. How dry it was on a farback day when straws hung the hedge and around, When amid the sheaves in amorous play In curtained bonnets and light array Bloomed a bevy now underground!

Two Lips
I kissed them in fancy when I came Away in the morning glow: I kissed them through the glass of her picture-frame: She did knot know. I kissed them in love, in troth, in laughter, When she knew all; long so! That I should kiss them in a shroud thereafter She did knot know.

I said to Love
I said to Love, "It is not now as in old days When men adored thee and thy ways All else above; Named thee the Boy, the Bright, the One Who spread a heaven beneath the sun," I said to Love. I said to him, "We now know more of thee than then; We were but weak in judgment when, With hearts abrim, We clamoured thee that thou would'st please Inflict on us thine agonies," I said to him. I said to Love, "Thou art not young, thou art not fair, No elfin darts, no cherub air, Nor swan, nor dove Are thine; but features pitiless, And iron daggers of distress," I said to Love. "Depart then, Love! Man's race shall perish, threatenest thou, Without thy kindling coupling-vow? The age to come the man of now Know nothing of? We fear not such a threat from thee; We are too old in apathy! Mankind shall cease.. - So let it be," I said to Love.