golda schultz, soprano and jonathan ware, piano

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GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANOSTUDENT TICKET ANGEL FUND BENEFACTORS

JAMES AND SUSAN MOESER

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GOLDA SCHULTZ was a journalism major at Rhodes University in Grahamstown, South Africa when she took her first music elective. In the school’s music library, she happened upon a recording of Die Fledermaus featuring soprano Kiri Te Kanawa and an album featuring the legendary Maria Callas. Inspired by these recordings, Schultz began singing and hasn’t stopped since. In the intervening decade, she has graduated from the Juilliard School, participated in the Opera Studio at the Bayerische Staatsoper in Munich, and begun singing major roles in leading opera houses around the world.

The Financial Times raves that Schultz “sings with strength and assurance, her voice with its own distinctively thrilling radiance; she is a newcomer who simply has everything.” She has also found a place on the concert stage, singing with the National Symphony, Cleveland Orchestra, Iceland Symphony Orchestra, Mahler Chamber Orchestra, and Finnish Radio Symphony Orchestra, among others. She has collaborated with pianist Jonathan Ware on a wide range of recital programs over the past few years—this is the pair’s first performance at CarolinaPerforming Arts.

Lauded by New York Musical Daily for his “vigorous clarity” and “emphatic, purposeful drive,” JONATHAN WARE is a highly sought-after song accompanist and chamber musician. He has given recitals at Wigmore Hall, the Aldeburgh Festival, the Boulez-Saal, Alice Tully Hall, and Heidelberger-Frühling Festival. Passionate about the song repertory, he served as co-artistic director of a year-

PROGRAM

SCHUBERT Lieder with texts written by women (1797–1828) Der Morgenkuss, D.264 Heimliches Lieben, D.922 “Romanze” aus Rosamunde, D.797 Suleika I, D.720 Suleika II, D.717 STRAUSS Vier Lieder, Op. 27 (1864–1949) Morgen! Heimliche Aufforderung Ruhe, meine Seele Cäcilie

INTERMISSION

SIBELIUS Luonnotar, Op. 70 (1865–1957)

BEACH Three Browning Songs, Op. 44 (1867–1944) The Year’s at the Spring Ah, Love, But a Day I send my Heart up to Thee

CARTER Cantata (1932–1981) Prelude Rondo Recitative Air Toccata

long festival devoted to the performance of the complete Schubert Lieder in New York during the 12/13 season and won the Pianist Prize at both the Das Lied Competition and the Wigmore Hall/Kohn Foundation Song Competition. Recently, he has collaborated with the Vogler Quartet in Europe and with oboist Olivier Stankiewicz in the US, appearing at the Morgan Library in New York to critical acclaim. He studied at the Eastman School of Music, Juilliard School, and the Hochschule ‘Hanns Eisler.’


PROGRAM NOTES & TRANSLATIONS Notes for this program were written by Dan Ruccia.

FRANZ SCHUBERT

DER MORGENKUSS, D.264

HEIMLICHES LIEBEN, D.922

“ROMANZE” AUS ROSAMUNDE,

D.797

SULEIKA I, D.720

SULEIKA II, D.717

Of the hundred-plus poets whose poetry Schubert set to music, only five were women: Gabriele von Baumberg (1768–1839), Helmina von Chézy (1783–1856), Caroline von Klencke (1759–1802), Caroline Pichler (1769–1843), and Marianne von Willemer (1784–1860). For such a voracious consumer of poetry as Schubert, this number seems vanishingly small. With that in mind, instead of discussing the songs themselves, which represent a broad cross-section of Schubert’s style, these notes will focus on the four poets included on the program (only Pichler is absent).

Gabriele von Baumberg (Der Morgenkuss) was possibly the best-known of these poets. At the peak of her fame, she was dubbed the “Sappho of Vienna,” and a collection of 155 of her poems was published in 1800. In 1805, she married the Hungarian poet János Batsányi, who sought to temper and contain her creative output, interference that ultimately prompted her to stop writing

entirely. In 1809, Batsányi’s pro-Napoleon agitation resulted in the two of them being exiled to Linz (a process which apparently involved the intervention of both Emperor Francis I and Klemens von Metternich), where they lived in misery for the next 30 years. Baumberg was an important figure to the young Schubert; his first attempt at lieder was a roughly 300-measure sketch on one of her poems. Der Morgenkuss was one of five Baumberg settings he wrote in a flurry in 1815

Caroline von Klencke (Heimliches Lieben) seems to have had a fairly wretched life. As a child, she was (briefl ) abandoned by her poet mother, and then went on to have two unhappy marriages, ultimately dying poor and alone. She did, however, receive some contemporary acclaim as a poet, appearing in a few anthologies during her lifetime. Caroline Pichler gave Schubert a misattributed copy of “Heimliches Lieben” in 1827, which he promptly turned into a song.

Helmina von Chézy (“Romanze” aus Rosamunde), daughter of von Klencke, lived a full, adventurous life. She started writing at age 14, working as a journalist, poet, and playwright while bouncing between major cities in France and Germany. She is probably best known for her libretto to Carl Maria von Weber’s opera Euryanthe. In 1823, she collaborated

with Schubert for a decidedly unsuccessful production of her play Rosamunde. The “Romanze” was the only aria from Schubert’s incidental music, alongside three choruses.

Marianne von Willemer (Suleika I and II) is best known for her relationship with Goethe. Her husband introduced the two in 1814, and Goethe apparently fell for her immediately. In 1815, Goethe visited the Willemers again for a few weeks, and then he and Marianne privately wrote each other a series of love poems. Though they never saw each other again, they would continue to correspond until Goethe’s death. In 1819, Goethe published a few of her poems under his name in West-östlicher Divan. Shortly before her death in 1860, Marianne revealed that she was their true author. When Schubert set these poems in 1821, he probably thought he was adding to his voluminous collection of Goethe settings.

RICHARD STRAUSS

VIER LIEDER, OP. 27

In March 1894, while rehearsing his first opera, Guntram in Weimar, Richard Strauss was appointed Kapellmeister (conductor) in Munich. The new job may have given him the confidence to propose to the soprano who sang the lead role, Pauline de Ahna, and they were married that September. To call de Ahna Strauss’s muse


would be an understatement. Even though she retired from singing in 1906, she was the inspiration for large swaths of Strauss’s music all the way through the Four Last Songs of 1948.

The four songs of Opus 27 could, perhaps, be thought of as the “Four First Songs” (even though they were not the first he wrote). Three of them (“Ruhe, meine Seele,” “Heimliche Aufforderung,” and “Morgen”) were all written in May 1894, shortly after the public announcement of the couple’s engagement. Stauss wrote the final song (“Cäcilie”) the day before the wedding and gave the entire opus to de Ahna as a wedding present.

The four songs each present dramatically different visions of love. “Ruhe, meine Seele” is dark and disorienting, talking about some unnamed toil and labor that will soon be over. The soprano wanders aimlessly through oblique, static harmonies with occasional outbursts. Perhaps Strauss is referencing their lives before finding each other? The labor of performing Guntram? Something else entirely? “Cäcilie” is the exact opposite, overflowingwith excitement and longing for an absent lover. Its exuberant, sighing melodies are practically operatic. In “Heimliche Aufforderung,” the narrator exhorts his lover to sneak out from a party for a furtive kiss in the garden, as the piano flutters with anticipation. Finall ,

“Morgen,” arguably one of the most breathtaking depictions of pure contentment ever. One need not understand the German to get what Strauss is saying.

JEAN SIBELIUS

LUONNOTAR, OP. 70

After completing his fourth symphony in 1911, Sibelius began a gradual process of retreat: from urban cosmopolitanism, and from the dissonance and chromaticism that were coming to dominate the European avant-garde. Firmly ensconced in the stillness of his home in Ainola, Sibelius began to contemplate a new kind of musical utterance, based on a kind of transcription of the sounds of the natural world. Written in 1913 for soprano and orchestra, Luonnotar marks the first step in that direction. Sibelius had made two previous attempts to set the story of Luonnotar: first in the early 1890s as part of the never-completed opera Veneen Luominen, then in 1905 in early sketches of what would become Pohjola’s Daughter.

The song loosely recounts the opening creation myth of the Kalevala, the Finnish national epic and a frequent source of inspiration for Sibelius. In Sibelius’s telling, the goddess Luonnotar descends into the sea, where she swims for centuries in solitude. When a storm strikes, she comes to the surface seeking help from the

god Ukko only to discover a duck looking for shelter. She lifts her knee above the water, and the duck builds a nest. When the eggs hatch, Luonnotar is startled, flingingthem into the sky, where the yolk becomes the sun, the white becomes the moon, and the fragments of shell become the stars.

In setting the myth to music, Sibelius steps decisively towards his new sound world. The tone poem follows no obvious form. Musical ideas undulate and cycle, constantly evolving in organic ways so that each change in texture feels like an inevitable progression from what came before. Drones of various sorts abound, evoking Luonnotar’s static existence in the ocean, and melodies fold and twist in unexpected ways. Sibelius makes huge demands of the singer, who must voice a complicated Finnish text as it swoops and leaps through a massive range. The singer’s declamations feel almost trance-like at times, as she evokes both Karelian singing techniques and Luonnotar’s primordial world.

“MORGEN” [IS] ARGUABLY ONE OF

THE MOST BREATHTAKING

DEPICTIONS OF PURE CONTENTMENT EVER.

AMY BEACH

THREE BROWNING SONGS, OP. 44

These three brief songs, commissioned in 1900 by the Boston Browning Society for a celebration of Robert Browning’s birthday, are probably Beach’s most famous compositions. This is particularly true of the fleetfooted first song, “The Year’s at the Spring.” Beach told the story that she was behind on the commission and stuck on a train from New York to Boston: “I simply sat still in the train, thinking of Browning’s poem, and allowing it and the rhythm of the wheels to take possession of

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CENTENNIAL OF THE 19TH AMENDMENT’S RATIFICATION.

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me. By the time I reached Boston, the song was ready.” The rest of the cycle deals with the Janus-faced nature of love. On one side, “Ah, Love, but a day!” ponders the moment that love stops and its tragic implications. On the other, “I send my heart up to thee!” lilts with the intoxicating fragrance of burgeoning affection.

JOHN CARTERCANTATA

“I was always curious that Black composers rarely concerned themselves with spirituals,” John Carter posited in 1969 while

discussing the origins of his 1959 Cantata. “They’ve been arranged, but Black composers have not cared for their folk music as have Chopin or Bartok, for xample. Even the arrangements seem timid, and have always been brief. This is not the way you hear them when the choruses sing them; the arrangement may look as if the performance would last only two minutes, but the chorus sings for five. This is what I decided to do with this material.”

Carter was certainly not the first African-American composer to consider spirituals—William

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Grant Still, Florence Price, and R. Nathaniel Dett, among others, had written expansive works based on spirituals decades earlier—but his treatment of them in Cantata is certainly exemplary. After a short piano prelude (that has been said to faintly resemble the spiritual “Were you there?”), each movement is based on a different spiritual: “Peter go ring dem bells,” “Sometimes I feel like a motherless child,” “Let us break bread together,” and “Ride on King Jesus.” Carter keeps the melodies largely intact, though he’s not afraid to embellish or alter them as the songs progress. Interestingly,

the changes all feel natural, the way a blues singer might tweak the melody as a song goes on. As Carter said in that same 1969 conversation, “A lot of spirituals are pentatonic, and twelve minutes of five-note melodies might not be too interesting.”

Given the piano accompaniment he wrote, Carter need not have worried about the piece being boring. If the vocal lines are simple and luminous, the piano’s part is a driving thicket of edgy harmonies, enticing counter-melodies (often sneaking in via the left hand), and complex rhythms. His harmonies

are closer to jazz voicings, rife with upper-voice harmonies and blue-note alterations, than the 12-tone approach popular at the time (this isn’t, say, Bernd Zimermann’s 1954 trumpet concerto on “Nobody knows de trouble I see”). But Carter’s harmonies are full enough that they can completely recolor a melody at will—perhaps his way of evoking the “nuances and subtleties [that] arise spontaneously from choral groups.” •

Dan Ruccia is a Durham-based composer, writer, and graphic designer.


DER MORGENKUSS

By Gabriele von Baumberg

Durch eine ganze Nacht sich nah zu sein,So Hand in Hand, so Arm im Arme weilen,So viel empfinden, ohne mitzuteilen,Ist eine wonnevolle Pein.So immer Seelenblick im SeelenblickAuch den geheimsten Wunsch des Herzens sehen,So wenig sprechen, und sich doch verstehen —Ist hohes martervolles Glück!

THE MORNING KISS

English Translation © Richard Wigmore

To be close the whole night long,to linger hand in hand, arm in arm,to feel so much, without revealing it in words,is blissful torment.To gaze constantly into each other’s soul,to see into the heart’s most secret desire,to speak so little, and yet to understand each other,is sublime, anguished happiness.

HEIMLICHES LIEBEN

By Karoline von Klenke

O du, wenn deine Lippen mich berühren,So will die Lust die Seele mir entführen;Ich fühle tief ein namenloses BebenDen Busen heben.Mein Auge flammt, Glut schwebt auf meinen angen;Es schlägt mein Herz çein unbekannt Verlangen;Mein Geist, verirrt in trunkner Lippen Stammeln,Kann kaum sich sammeln.Mein Leben hängt in einer solchen StundeAn deinem süssen, rosenweichen Munde,Und will, bei deinem trauten Armumfassen,Mich fast verlassen.O! dass es doch nicht ausser sich kann fliehenDie Seele ganz in deiner Seele glühen!Dass doch die Lippen, die voll Sehnsucht brennen,Sich müssen trennen!Dass doch im Kuss’ mein Wesen nicht zerfliessetWenn es so fest an deinen Mund sich schliesset,Und an dein Herz, das niemals laut darf wagen,Für mich zu schlagen!

SECRET LOVE

English Translation © Richard Wigmore‡

When your lips touch me,desire all but bears away my soul;I feel a nameless tremblingdeep within my breast.My eyes flame, a glow tinges my cheeksmy heart beats with a strange longing;my mind, lost in the stammeringof my drunken lips, can scarcely compose itself.At such a time my life hangson your sweet lips, soft as roses,and, in your beloved embrace,life almost deserts me.Oh that my life cannot escape from itself,with my soul aflame in yoursOh that lips ardent with longingmust part!Oh that my being may not dissolve in kisseswhen my lips are pressed so tightly to yours,and to your heart, which may never dareto beat aloud for me!

ROMANZE „DER VOLLMOND STRAHLT“

By Wilhelmina von Chézy

Der Vollmond strahlt auf Bergeshöhn —Wie hab ich dich vermisst!Du süsses Herz! es ist so schön,Wenn treu die Treue küsst.Was frommt des Maien holde Zier?Du warst mein Frühlingsstrahl!Licht meiner Nacht, o lächle mirIm Tode noch einmal!Sie trat hinein beim Vollmondschein,Sie blickte himmelwärts:„Im Leben fern, im Tode dein!“Und sanft brach Herz an Herz.

ROMANCE ‘THE FULL MOON BEAMS’

English Translation © Richard Wigmore‡‡

The full moon beams on the mountain tops;how I have missed you!Sweetheart, it is so beautifulwhen true love truly kisses.What are May’s fair adorments to me?You were my ray of spring.Light of my night, O smile upon meonce more in death.She entered in the light of the full moon,and gazed heavenwards.‘In life far away, yet in death yours!’And gently heart broke upon heart.

TRANSLATIONS GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO


‡Translations by Richard Wigmore first published by Gollancz and reprinted in the Hyperion Schubert Song Edition‡‡Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)

SULEIKA I

Marianne von Willemer

Was bedeutet die Bewegung?Bringt der Ost mir frohe Kunde?Seiner Schwingen frische RegungKühlt des Herzens tiefe Wunde.Kosend spielt er mit dem Staube,Jagt ihn auf in leichten Wölkchen,Treibt zur sichern RebenlaubeDer Insekten frohes Völkchen.Lindert sanft der Sonne Glühen,Kühlt auch mir die heissen Wangen,Küsst die Reben noch im Fliehen,Die auf Feld und Hügel prangen.Und mir bringt sein leises FlüsternVon dem Freunde tausend Grüsse;Eh’ noch diese Hügel düstern,Grüssen mich wohl tausend Küsse.Und so kannst du weiter ziehen!Diene Freunden und Betrübten.Dort wo hohe Mauern glühen,Dort find’ ich bald den Vielgeliebten.Ach, die wahre Herzenskunde,Liebeshauch, erfrischtes LebenWird mir nur aus seinem Munde,Kann mir nur sein Atem geben.

SULEIKA I


What does this stirring portend?Is the east wind bringing me joyful tidings?The refreshing motion of its wingscools the heart’s deep wound.It plays caressingly with the dust,throwing it up in light clouds,and drives the happy swarm of insectsto the safety of the vine-leaves.It gently tempers the burning heat of the sun,and cools my hot cheeks;even as it flies it kisses the vinethat adorn the fields and hillsides.And its soft whispering brings mea thousand greetings from my beloved;before these hills grow darkI shall be greeted by a thousand kisses.Now you may pass on,and serve the happy and the sad;there, where high walls glow,I shall soon find my dearly beloved.Ah, the true message of the heart,the breath of love, renewed lifewill come to me only from his lips,can be given to me only by his breath.

SULEIKA II

Marianne von Willemer

Ach, um deine feuchten SchwingenWest, wie sehr ich dich beneide:Denn du kannst ihm Kunde bringenWas ich in der Trennung leide!Die Bewegung deiner FlügelWeckt im Busen stilles Sehnen;Blumen, Auen, Wald und HügelStehn bei deinem Hauch in Tränen.Doch dein mildes sanftes WehenKühlt die wunden Augenlider;Ach, für Leid müsst’ ich vergehen,Hofft’ ich nicht zu sehn ihn wieder.Eile denn zu meinem Lieben,Spreche sanft zu seinem Herzen;Doch vermeid’ ihn zu betrübenUnd verbirg ihm meine Schmerzen.Sag ihm, aber sag’s bescheiden:Seine Liebe sei mein Leben,Freudiges Gefühl von beidenWird mir seine Nähe geben.

SULEIKA II


Ah, West Wind, how I envy youyour moist wings;for you can bring him wordof what I suffer separated from him.The motion of your wingsawakens a silent longing within my breast.Flowers, meadows, woods and hillsgrow tearful at your breath.But your mild, gentle breezecools my sore eyelids;ah, I should die of griefif I had no hope of seeing him again.Hasten then to my belovedspeak softly to his heart —but be careful not to distress him,and conceal my suffering from him.Tell him, but tell him humbly,that his love is my life,and that his presence will bring mea joyous sense of both.

https://www.oxfordlieder.co.uk/poet/239

https://www.oxfordlieder.co.uk/poet/239


MORGEN!

Und morgen wird die Sonne wieder scheinenund auf dem Wege, den ich gehen werde,wird uns, die Glücklichen sie wieder eineninmitten 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 Glückes stummes Schweigen...

TOMORROW!

And tomorrow the sun will shine againAnd on the way which I shall followShe will again unite us lucky onesAs all around us the earth breathes in the sunSlowly, silently, we will climb downTo the wide beach and the blue wavesIn silence, we will look in each other’s eyesAnd the mute stillness of happiness will sink upon us

HEIMLICHE AUFFORDERUNG

By John Henry Mackay (1864—1933)

Auf, hebe die funkelnde Schale empor zum Mund,Und trinke beim Freudenmahle dein Herz gesund.Und wenn du sie hebst, so winke mir heimlich zu,Dann lächle ich und dann trinke ich still wie du...

Und still gleich mir betrachte um uns das HeerDer trunknen Zecher [Schwätzer] —

verachte sie nicht zu sehr.Nein, hebe die blinkende Schale, gefüllt mit Wein,Und laß beim lärmenden Mahle sie glücklich sein.

Doch hast du das Mahl genossen, den Durst gestillt,Dann verlasse der lauten Genossen festfreudiges Bild,Und wandle hinaus in den Garten zum Rosenstrauch,Dort will ich dich dann erwarten nach altem Brauch,

Und will an die Brust dir sinken, eh du’s gehofft [erhofft],

Und deine Küsse trinken, wie ehmals oft,Und flechten in deine Haare der ose Pracht.O komm [komme], du wunderbare, ersehnte Nacht!

THE LOVER’S PLEDGE

Translation by John Bernhoff (1912)

Up, raise the sparkling cup to your lips,And drink your heart’s fill at the joyous feast.And when you raise it, so wink secretly at me,Then I’ll smile and drink quietly, as you...

And quietly as I look around at the crowdOf drunken revelers —

don’t think too ill of them.No, lift the twinkling cup, filled with wine,And let them be happy at the noisy meal.

But when you’ve savored the meal, your thirst quenched,Then quit the loud gathering’s joyful fest,And wander out into the garden, to the rosebush,There shall I await you, as often of old.

And ere you know it shall I sink upon your breast,And drink your kisses, as so often before,And twine the rose’s splendour into your hair.Oh, come, you wondrous, longed-for night!

TRANSLATIONS GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO


RUHE, MEINE SEELE!

Nicht ein LüftchenRegt sich leise,Sanft entschlummertRuht der Hain;Durch der BlätterDunkle HülleStiehlt sich lichterSonnenschein.

Ruhe, ruhe,Meine Seele,Deine StürmeGingen wild,Hast getobt undHast gezittert,Wie die Brandung,Wenn sie schwillt.Diese Zeiten

CÄCILIE

Wenn du es wüßtest, Was träumen heißt von brennenden Küsse, Von wandern und ruhen mit der Geliebten, Aug in Auge, Und kosend und plaudernd, Wenn du es wüßtest, Du neigtest dein Herz! Wenn du es wüßtest, Was bangen heißt in einsamen Nächten, Umschauert vom Sturm, da niemand tröstet Milden Mundes die kampfmüde Seele, Wenn du es wüßtest, Du kämest zu mir. Wenn du es wüßtest, Was leben heißt, umhaucht von der Gottheit weltschaffendem Atem, Zu schweben empor, lichtgetragen, Zu seligen Höhn,Wenn du es wüßtest, wenn du es wüßtest, Du lebtest mit mir

REST THEE, MY SOUL

Not a breath of windis stirring,Hill and Daleare wrapped in slumber;Golden through thesheltering foliageSummer’s Middaysunbeams peep.

Rest thee, rest theetroubled spirit,Thou hast sufferedlaboured, toiled,Thou hast foughtand thou has trembled,like the stormbeat,ocean wild.These times

CECILIA

If you but knew, sweet, what ‘tis to dream of fond, burning kisses, of wand’ring and resting with the belov’d one; gazing fondly caressing and chatting, could I but tell you, your heart would assent. If you but knew, sweet, the anguish of waking thro’ nights long and lonely and rocked by the storm when no-one is near to soothe and comfort the strife weary spirit. Could I but tell you, you’d come, sweet, to me. If you but knew, sweet, what living is, in the creative breath of God, Lord and Maker to hover, upborne on dove-like pinions to regions of light, if you but knew it, could I but tell you, you’d dwell, sweet, with me.

Sind gewaltig,Bringen HerzUnd Hirn in Not —Ruhe, ruhe,Meine Seele,Und vergiß,Und vergiß,Was dich bedroht!

are momentous,head and heartmust trouble bear —Rest thee, rest theetroubled spiritand forgetall thy sufferingswill soon be over!

GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO


LUONNOTAR

© Breitkopf & Härtel 1913

Olipa impi Ilman tyttö,kave, Luonnotar korea.Ouostui elämätäänaina yksin ollessansaavaroilla autioilla.Laskeusi lainehille,aalto impeä ajeli,vuotta seitsemänsataa.Vieri impi, veen emona.Uipi luotehet, etelät.Uipi kaikki ilman rannat.Tuli suuri tuulen puuska.Meren kuohuille kohotti.”Voi poloinen päiviäni.Parempi olisi ollutIlman impenä elää.Oi, Ukko Ylijumala,käy tänne kutsuttaissa.”Tuli Sotka suora lintu,lenti kaikki ilman rannat,lenti luotehet etelät.Ei löyä pesän sioa.”Ei, ei, ei.Teenkö tuulehen tupani,aalloille asuinsijani.Tuuli kaatavi,aalto viepi asuinsijani.”Niin silloin veen emonennosti polvea lainehesta.Siihen sorsa laativi pesänsä.Alkoi hautoa.Impi tuntevi tulistuvaksi.Järkytti jäsenensä.Pesä vierähti vetehen.Katkieli kappaleiksi.Muuttuivat munat kaunoisiksi.Munasen yläinen puoliylhäiseksi taivahaksi.

LUONNOTAR

English Translation Pietari Tamminen

& Richard Stanley © Kroma 2010

Once a beauteous maid,virgin Daughter of the Ether.Forlorn and burdened,dwelling ever alonein the vastness of space.Descending on the swell,waves bore the virgin onward,seven hundred years.Being mother of the waters.Swam nor’west, south.Swam the air’s every shore.Came mighty gusts,Foaming the sea.“Oh my wretched days.Better had I beenmaid of the Ether.Oh Ukko, God on high,hasten here I call.”A seabird beauteous fl w,straight o’er all air’s shores,fl w nor’west, south.No nest she found.“No, no, no.Shall I nest upon the wind,dwelling on the waves.The wind shall overturn,The waves taking my dwelling.”Then the mother of the watersDid lift her knee from the billows.The seabird on it set her nest,her eggs to hatch.The maid felt burning,Her limbs were quaking.The nest slipped waterward,and fell splintered.Wondrous things the egg became.The shell’s top domebecame the vault of heaven.The upper albumen,the bright shining Moon.The motley parts, the firmament.Heavenly starlight

GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO

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golda schultz, soprano and jonathan ware, piano

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