BRITISH MUSIC reain 63% in association with The Arts Council of Northern Ireland and The Department of Music, Queen's University Ibral10 obxfD (8362-6881) ocivassaub (sze HARDOTT SOCIETY OF NORTHERN IRELAND RITA RECITAL BY STREICH (soprano) and CARLOS CEBRO (piano) Whitla Hall, Queen's University TEASE-008 C) 21 October 1978, 7.30 p.m. 200 tra ajoy

An Sylvia An den Mond Heidenrös lein Der Jüngling an der Quelle Die Forelle PROGRAMME Ein kleines Haus She never told her love Piercing eyes Cancion al arbol del olvido Vidala Santiaguena La Rosa y el Sauce 15 2/1033 * * * * * * * * * INTERVAL ( * * * * * * * * * Ridente la calma, K. 152 Komm, liebe Zither, K. 351 Als Louise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 520 Das Traumbild, K. 530 Un moto di gioia, K. 579 Franz Schubert (1797-1828) Auf Flügeln des Gesanges, op.34 no.2 Der Mond, op.86 no.5 Venezianisches Gondollied, op.57 no.5 Hexenlied, op.8 no.8 Joseph Haydn (1732-1809) Alberto Ginastera (b.1916) Gilardo Gilardi (1889-1963) Carlos Guastavino (b.1912) Wolfgang Amadeus Mozart (1756-1791) Felix Mendelssohn (1809-1847)

ladh I wobsen edd ni NOTES AND TRANSLATIONS by Anthony Carver evol seve olgog galv SCHUBERT bad sayda dogzol 03 oda bas The first group of songs, by Schubert, reminds us how often poets and composers of the Romantic period drew on nature for their images. They also show us Schubert's melodic art at its most poised. Taking simple strophic form (i.e. the same melody for each verse) as a starting point, they may depart from it later to develop a little narrative scene, as for example in Die Forelle. bsdotaw I dumbl An Sylvia (Shakespeare) Sylvia knows the favour of heaven; her beauty and kindness are such that Cupid looks to her for cure of his blindness. Let us sing her praises and bring garlands. stall 2008 olos An den Mond (Goethe) Thou fillest bush and vale again with thy misty rule, and freest my soul once more. Thou wat chest over my destiny like a gentle friend. ata nond sfoort Each reminiscence of glad in my heart as I wander alone. Never will I be happy, as fun, have passed away. and gloomy times is felt Flow on, beloved stream! kisses, and indeed Truth Once I seemed to possess that which is so costly, which one, to one's torment, can never forget. Rush on along the valley, without rest or peace, whisper to my song answering melodies, whether you rage in winter or sparkle in springtime. o Blest is he who retires unembittered from the world, inspiring true love in a friend on whose breast he leans. That which heedless men never knew or pondered wanders through the labyrinth of the breast and into the night.

Heidenröslein (Goethe) A boy sees a rose growing in the meadow. 'I shall pluck you.' 'I shall prick you, so that you will always think of me.' But prick as it might, its laments were of no avail. Der Jüngling an der Quelle (Salis) The rippling spring and waving poplars awake love. I wanted to find solace and she to forget shyness. And the leaves and the stream whisper 'Louise'. It Die Forelle (Schubert) 207400 bre Goyazi I watched a playful trout flash past me in the clear stream. A fisherman watched, coldly. I thought, so long as the water remains clear, he will not catch it. But he muddied the stream and soon the fish was struggling on his hook. My blood stirred within me as I watched. HAYDNO Though he composed many operas for performance at Esterhaz, Hadyn's output of independent solo songs is relatively small. Nevertheless it does include a sub- stantial number of German songs dating from the 1780s on, as well as the delightful English canzonets written during his London visits. In general they are rather like piano pieces with a vocal line, albeit with a fresh melodic quality, and She never told her love (Shakespeare) approaches the operatic scena in the flexibility of its form. Ein kleines Haus A little house, encircled by nut-trees, through which the sun glints as the song of the lark wakes me from sleep. A little table, which love lays for me; a little field which pays no tithes; an old, true neighbour, who loves me; a clear sky, uncorrupted blood and a willing heart for work. Such good fortune! Friend, do you d begrudge it me? If I had only had it first, I would gladly have shared it with you!

SONGS FROM ARGENTINA Ginastera is perhaps the most well-known of this trio of 20th-century Argentinian composers and he has written many large-scale orchestral and stage works. Guastavino specialises in songs and song-cycles. The titles in English are: Song to the Tree of Oblivion A Sad Love-Song from Santiago del Estero The Rose and the Willow nem * * * * * * * * * INTERVAL * * * * * * * * * MOZART Like Haydn, Mozart did not cultivate seriously the art- song as opposed to the operatic aria. That this was more a question of lack of time than of ability is proven by the excellence of some of the German songs that he did write. We begin and end in Italian with a canzonetta in da capo form Mozart wrote at the age of 19 and an aria buffa written in 1789 as an extra number (and therefore usually omitted nowadays) for Susanna in Le Nozze di Figaro. Komm, liebe Zither is a trifle, written originally with mandoline accompaniment, but the other two songs illustrate the immediate background to the Romantic Lied. Als Louise ... is an intense expression of grief and anger in a small space, really a recitativo accompagnato, whilst Das Traumbild is strophic, with a well-chiselled melody. Ridente la calma When peace awakes in the soul there remains no sign of anger and fear. You come amidst all to bring, beloved, the sweet chains which bind my heart so dearly. Komm, liebe Zither Come, sweet Zither, come, thou friend of secret love. To you I'll entrust my most secret desire and my pain. Tell her for me, for I cannot, how completely my heart is hers.

Als Louise ... (Gabriele von Baumberg) Begotten of fiery imagination, brought to birth in one mad hour, go to ground, you offspring of melancholy! To you the flames owe their being - I give you now the flames back again, and all the passionate songs that alas! he sang not only to me. You burn now and soon there will be no trace of him left here. trace of him lef Yet alas! the man who wrote you will perhaps burn long in me. Das Traumbild (Holty) Where art thou, vision which stood before me as I dreamed in the garden and glanced in my soul, drawing the warm hand of a maiden across my cheek? Now I seek thee, full of sorrow, in the lime-trees, in the town, but in vain. I look in at each window, but see only mist. si yllide to add omke 30, do sweet vision of the night. Bring the swan- white hand which stole my heart. Come swee Come, IS201 Your big blue eyes, through which an angel looked, your countenance, your lips, love as of paradise - bring it all with you, my beloved. Un moto di gioia Joy stirs in my breast, pleasure in the midst of fear. We trust that in contentment anxiety will end; fate and love are not always pitiless. MENDELSSOHN It is a particular pleasure that we are to hear a group of Lieder by Mendelssohn, a superb melodist whose songs have been overshadowed by those of his contemporary Schumann and by his own Songs without Words. Yet On Wings of Song is one of the world's most well-known tunes. Der Mond and the Venezianisches Gondollied are also

exquisite examples of pure Romantic melody, whilst the early Hexenlied is young Mendelssohn in that fiery manner which is a lesser-known characteristic of his music. Auf Flügeln des Gesanges (Heine) On wings of song I bear you away to fields by the Ganges. There lies a garden full of red blossoms in soft moonlight. The violets look up at the stars, the roses tell each other fragrant tales. 604 The gazelles leap near and listen, and the ripples of the sacred stream murmur in the distance. There we will sink down under the palm-trees, drink- ing in love and peace as we dream. Der Mond (Giebel) My heart is like the dark night when the tree-tops rustle, as the moon in full splendour passes from behind a cloud and the wood listens in deep silence. You are the bright moon in the fulness of your love; throw me a glance full of heavenly peace and lo! this unquiet heart will be still. Venezianisches Gondollied (after Thomas Moore) When through the Piazetta the air of evening breathes, then you know, Ninetta, who is waiting here, who knows you despite veil and mask. You know how longing burns in my heart. A seaman's cloak I wear, and trembling say to you 'The boat is ready'. O come now, where clouds surround the moon, o come! Let us flee, beloved, through the lagoons. When through the Piazetta ... Hexenlied The witches ride to their glorious dance.

RITA STREICH Rita Streich was born into a tradition of music and sing- ing as she is descended from two coloratura sopranos - Erna Berger and Maria Ivogun. Her first operatic role was in 1946 when she sang Olympia in The Tales of Hoffman with the German State Opera. This was followed by many engagements with the State Opera of West Berlin and the Vienna State Opera, sing- ing major roles but having particular success as a singer of Mozart. She was invited to make guest appearances at some of the most important opera houses in the world, including those at Milan and San Francisco. Her work with the leading festivals began when she sang The Woodbird in Siegfried. Following this Wilhelm Furtwängler engaged her as Ännchen in Der Freischutz in the Salzburg Festival where she appeared regularly for the next 15 years, and she has since sung at the Glyndebourne, Aix-en- Provence, Holland, Oxford, Bergen and Chicago festivals. She also succeeds in the field which is beyond the d reaches of many opera singers, the realm of Lieder. Gifted at languages and interpretation she includes in her programmes Italian, French, German and Russian songs. She has recorded almost every role in the operatic repertoire and a large number of solo arias, and Lieder recitals. Among the awards she has won are the Grand Prix, the Edison in Amsterdam and the Orphée d'Or in Paris. In recognition of her services Rita Streich was made a Kammersängerin by the Austrian President and has been awarded the Bundesverdienstkreuz by the President of the Bundesrepublik of Germany. N ΕΧΤ EXT RECIT Elmwood Hall, 4 November, at 7.30 p.m. THE DARTINGTON STRING QUARTET apousal Programme to be announced IMPORTANT NOTE Please note change of artists and time of performance