St. Louis Symphony Extra - November 22, 2014

8/10/2019 St. Louis Symphony Extra - November 22, 2014

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CONCERT PROGRAMNovember 22-23, 2014

David Robertson, conductorSusan Graham, mezzo-sopranoPaul Groves, tenorDaniel Lee, cello

SCHUMANN Cello Concerto in A minor, op. 129 (1850) (1810-1856)

Nicht zu schnell (Not too fast) Langsam (Slow) Sehr lebhaft (Very lively)

Daniel Lee, cello

Performed without pause

INTERMISSION

MAHLER Das Lied von der Erde (The Song of the Earth) (1908-09) (1860-1911)

Das Trinklied von Jammer der Erde (The Drinking Song ofthe Earths Sorrow) Der Einsame im Herbst (The Lonely One in Autumn) Von der Jugend (Youth)

V d S h h i (B )


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Romanticism, the artistic outlook that dominatedmusic from early in the 19th century through the

rst years of the 20th, was not a set or static sen -sibility. Rather, it evolved and ripened over thenearly hundred years in which it held sway. Theearly Romantic composers were energized by newexpressive possibilities, and their music re ectsthe vitality of a young and initially revolutionarymovement. The intimation of delirious passion

in Berliozs Symphonie fantastique , the dazzling virtuosity of Chopin and Liszts piano music,the freshness of Mendelssohns orchestral worksand the youthful ardor of Schumanns SpringSymphony and Piano Concerto all bespeak thefervor of the early Romantic composers.

But before the end of the century, an autum-nal feeling became increasingly evident inRomantic music, especially that of German and Austrian composers. We nd this in Wagners

l f h

YOUTHFUL FIRE,AUTUMNAL WISDOMBY PAUL SCHIAVO

TIMELINKS

1850SCHUMANNCello Concerto in Aminor, op. 129

Richard WagnersLohengrin premieresunder the direction ofFranz Liszt in Weimar

1908-09MAHLER

Das Lied von der Erde(The Song of the Earth)Fords rst Model Tproduced


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Born June 8, 1810, Zwickau, Saxony

Died July 29, 1856, Endenich, nearBonn

First Performance June 9, 1860, in Leipzig,Ludwig Ebert played the solocello part

STL Symphony PremiereNovember 20, 1925, Max

Steindel was soloist, withRudolph Ganz conducting

Most Recent STL SymphonyPerformanceOctober 8 1998 Lynn Herrell

ROBERT SCHUMANNCello Concerto in A minor, op. 129

THE ROMANTIC CELLO Robert Schumann was acomposer of decidedly Romantic temperament,both his personality and his music being dreamyand passionate by turns. In view of this, it seemsentirely natural that Schumann would havelooked to the cello as a solo instrument. With itscapacity for lyrical expression on the one hand,and its great range and agility on the other, thecello is well suited to conveying both gentle rever-ies and impassioned outbursts. Not surprisingly,Schumanns Cello Concerto reveals its protago-nist as a Romantic instrument par excellence .

This work dates from 1850, a watershed year for Schumann. His 40th birthday was cel-ebrated with a concert organized by his admir-ers, and after what seemed an interminable seriesof delays his only opera, Genoveva, was nallyproduced in Leipzig. At about the same time,the composer accepted the directorship of themunicipal orchestra and chorus in Dsseldorfand in September moved with his family to thatcity on the Rhine The Dsseldorf appointment


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the obligatory opening of any concerto. Instead,the cello enters immediately after three prefatory

chords from the orchestra, giving out the beauti-ful and highly poetic melody that forms the prin-cipal subject of the rst movement. Schumannshows admirable restraint in his writing for thesolo instrument. Clearly he is more interested inthe poetic qualities of the cello than in its capac-

ity for virtuoso display, and this rst movementis generally free from the sort of showy passage- work that might have distracted from more sig-ni cant musical virtues.

The second movement, which ows seam -lessly from the rst, conveys a sense of peaceful

and languorous reverie. Eventually, an agitatedcadenza-like passage offers a recollection ofthe rst movements main theme. This episodeleads directly to the strongly rhythmic nale, where the soloist is nally allowed a notable dis -play of dexterity.

GUSTAV MAHLER Das Lied von der Erde(The Song of the Earth)


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It is not necessary, and probably not pos-sible, to trace fully the source of Mahlers vivid

concern with death. Partly this may be attributedto his romantic and quite neurotic personality.Partly it stemmed from experience. Seven of thecomposers 13 siblings died in infancy; another,his brother Otto, shot himself at the age oftwenty-one. Mahler himself escaped tragedy until

late in his life. But in July 1907 his elder daugh-ter contracted scarlet fever and died at the age offour. Within days of this loss, doctors discoveredthe heart ailment that four years later would endMahlers own life. Suddenly, deathwhich thecomposer had until now contemplated as the

universal human conditionassumed a far morepersonal signi cance. With this more intimateknowledge of his subject, Mahler began, in thatfateful summer of 1907, to compose settings ofa group of Chinese poems from the eighth andninth centuries, a work he would call Das Lied

von der Erde , or The Song of the Earth.A SYMPHONY OF SONGS The source of these verses was an anthology compiled and renderedinto German by the poet Hans Bethge Published

Scoringmezzo-sopranotenor3 utespiccolo3 oboesEnglish horn3 clarinetsE-at clarinetbass clarinet

3 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpani

percussion2 harpscelestamandolinstrings

Performance Timeapproximately 63 minutes


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interludes, and so found himself drawn more and more to his true musicalformthe symphony.

Yet the music of Das Lied von der Erde , which Mahler completed for themost part during the summer of 1908, represents a signi cant departure fromthe composers established symphonic language. The most striking differ-ence is in the transparency of its scoring. With his previous work, the EighthSymphony (the Symphony of a Thousand), Mahler had achieved the apex ofRomantic grandiosity. Here, however, he gives us quiet, shimmering textures

and sharply-etched melodic lines. The orchestra is not small, but it is employed judiciously, and the use of solo voices instead of a chorus is in keeping withthis. The delicacy of Mahlers orchestration was no doubt in uenced by thatof the Chinese verses he was setting, but its importance lies in the intense inti-macy of expression it allowed himone which is, paradoxically, as powerful asthat of his mightiest works.

The kinship between Das Lied and Mahlers earlier symphonies lies insteadin the emotional contour of the work, which follows a familiar path from spiri-tual crisis to resolution. The opening movement establishes the subject and, toa great extent, the general tone of the cycle: The rmament is blue eternally,and the earth / Will long stand fast and blossom in spring. / But thou, O man,how long livest thou? This is the most dramatic music of the score, a wild and

frightening mixture of hedonism and desperation that at times seems about tocareen out of control.In the succeeding four movements, Mahler considers different facets of

worldly existence in light of mankinds tragic condition: loneliness, youth,beauty and oblivion The long nal song offers no solution to the dilemma of


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A passionate and compelling communicator with an extensive orchestral and operatic reper-toire, American conductor David Robertson hasforged close relationships with major orches-tras around the world. In fall 2014, Robertsonlaunches his 10th season as Music Director ofthe 135-year-old St. Louis Symphony. In January2014, Robertson assumed the post of ChiefConductor and Artistic Director of the SydneySymphony Orchestra in Australia.

To celebrate his decade-long tenure with theSt. Louis Symphony in 2014-15, Robertson willshowcase 50 of the orchestras musicians in soloor solo ensemble performances throughout theseason. Other highlights include a concert per-formance of Verdis Adafeaturing video enhance-ments by S. Katy Tucker (one of a series of suchcollaborations during the season), and a returnto Carnegie Hall with a program featuring themusic of Meredith Monk. In 2013-14, Robertsonled the St. Louis Symphony in a Carnegie Hallperformance of Brittens Peter Grimes on the

David Robertson performedMahlers Das Lied in his rstseason as Symphony MusicDirector.

M I C H A E L

T A M M A R O


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SUSAN GRAHAMELLEN ATWOOD ARMSTRONG GUEST ARTIST

Susan Grahamdubbed Americas favoritemezzo by Gramophone magazinerose to thehighest echelon of international artists within just a few years of her professional debut, master-ing an astonishing range of repertoire and genresalong the way. Her operatic roles span four cen-turies, from Monteverdis Poppea to Sister HelenPrejean in Jake Heggies Dead Man Walking , which was written especially for her. Graham won a Grammy Award for her collection of Ivessongs, and her recital repertoire is so broad that14 composers, from Purcell to Sondheim, arerepresented on her most recent album, Virgins,Vixens & Viragos. Throughout her career, how-ever, this distinctly American artist has beenrecognized as one of the foremost exponentsof French vocal music. A Texas native, she wasawarded the French governments prestigiousChevalier de la Legion dHonneur , both for herpopularity as a performer in France and in honorof her commitment to French music.

Graham recently made title role debuts in

Susan Graham mostrecently performed withthe St. Louis Symphony inOctober 2012.


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Paul Groves most recentlyperformed with the St.Louis Symphony in October2009.

PAUL GROVES

American tenor Paul Groves enjoys an impor-tant international career, performing on thestages of the worlds leading opera houses andconcert halls.

A gifted musician, Groves is continually indemand for concerts with the worlds leadingorchestras and conductors. He recently returnedto Boston for performances in SchoenbergsGurrelieder and Tippets A Child of Our Time , as well as Berliozs La Damnation de Faust , all ledby James Levine. Groves performed StravinskysRossignol with the San Francisco Symphony, con-ducted by Michael Tilson Thomas, and MahlersDas Lied von der Erde with the PhiladelphiaOrchestra, led by Christoph Eschenbach.The tenor made his debut with the ClevelandOrchestra in performances as Berliozs Faust,led by Christoph von Dohnnyi, and he hassince appeared with them in performancesof Beethovens Symphony No. 9, also underthe direction of von Dohnnyi at ClevelandsSeverence Hall and at New Yorks Carnegie Hall.

Other recent performances at Carnegie


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DANIEL LEEMR. AND MRS. WHITNEY R. HARRIS GUEST ARTIST

Korean-American cellist Daniel Lee continues togain recognition as one of his generations mostsigni cant artists. A native of Seattle, Lee startedplaying the cello at the age of six, studying withRichard Aaron. At age 11, he began his studiesat the Curtis Institute of Music in Philadelphiaand became the youngest protg of the legend-ary Russian cellist Mstislav Rostropovich. Whileat Curtis, Lee also studied with Orlando Cole, William Pleeth, and Peter Wiley. He graduatedfrom the New England Conservatory with an Artist Diploma after studying with Paul Katz ofthe Cleveland Quartet. In 1994, at the age of 14,he signed an exclusive recording contract withDecca Records. He released two recordings:Schuberts Arpegionne sonata and short pieces,and the Brahms sonatas. And in 2001, at the ageof 21, he received the prestigious Avery Fisher

Career Grant, just one of many awards and com-petitions that hes won during his career. Lee wasalso named one of the 2011 40 under 40 by theSt. Louis Business Journal.

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Daniel Lee most recentlyperformed as a soloist withthe St. Louis Symphony inFebruary 2014.


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AUDIENCE INFORMATIONBOX OFFICE HOURS

Monday-Saturday, 10am-6pm;closed Sunday. Concert Hours: Fridaymorning Coffee Concerts open 9am;all other concerts open 2 hours prior toconcert through intermission.

TO PURCHASE TICKETS

Box Of ce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.orgFax: 314-286-4111

A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another Wells Fargo Advisors subscriptionconcert up to one hour prior to your

POLICIES

You may store your personalbelongings in lockers located on theOrchestra and Grand Tier Levels at acost of 25 cents.

FM radio headsets are available at

Customer Service.Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictlyprohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of theconcert will be seated at the discretionof the House Manager.


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WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL(DRESS CIRCLE, DRESS CIRCLE BOXES,

GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UPDELMAR

POWELL HALL

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GUSTAV MAHLER (18601911)Das Lied von der Erde

Texts: based on The Chinese Flute by Li Poand others, translated into German byHans Bethge (18761946)

I. Das Trinklied vom Jammerder Erde

Text: after Li Po

Schon winkt der Wein im goldnen Pokale.Doch trinkt noch nicht, erst sing ich euch

ein Lied!Das Lied vom Kummer soll auflachendIn die Seele euch klingen. Wenn der Kummer

naht,Liegen wst die Grten der Seele,Welkt hin und stirbt die Freude, der Gesang.Dunkel ist das Leben, ist der Tod.

Herr dieses Hauses!Dein Keller birgt die Flle des goldenen Weins!Hier diese lange Laute nenn ich mein!Die Laute schlagen und die Glser leeren,Das sind die Dinge, die zusammenpassen.Ein voller Becher Weins zur rechten ZeitIst mehr wert als alle Reiche dieser Erde.

Dunkel is das Leben, ist der Tod.

Das Firmament blaut ewig, und die ErdeWird lange feststehn und aufblhn im Lenz.Du aber, Mensch, wie lang lebst denn du?Nicht hundert Jahre darfst du dich ergtzen

An all dem morschen Tande dieser Erde!

Seht dort hinab!Im Mondschein auf den Grbern hocktEine wild-gespenstische Gestalt. Ein Aff ists!Hrt ihr, wie sein Heulen hinausgelltIn den sen Duft des Lebens!

Jetzt nehmt den Wein! Jetzt ist es Zeit,Genossen!

Leert eure goldnen Becher zu Grund!Dunkel ist das Leben, ist der Tod.

The Song of the Earth

Drinking Song of the EarthsSorrow

The wine in its golden goblet beckons.But drink not yet. Ill sing you a song first.

The song of sorrow shall laughinglyEnter your soul. When sorrow draws near,

Desolate lie the gardens of the soul, Joy, song, fade and perish.Dark is life, is death.

Lord of this house!Your cellar holds golden wine in abundance!Mine I call this lute here!Striking the lute and draining glasses,Those are the things which go together.A full beaker of wine at the proper timeIs worth more than all the kingdoms of

this earth.Dark is life, is death.

The sky is forever blue, and the earthWill long stand firm, and blossom in spring.But you, man, how long will you live?Not a hundred years are you permitted

to delight In all the brittle vanity of this earth!

Look down there!On the graves, in the moonlight, squatsA wild spectral figure. An ape it is!Hear how its howls screech out Into the sweet fragrance of life!Take now the wine. Now is the time,

friends!Drain your golden beakers to the last!Dark is life, is death.

3Please do not turn the page until the end of the movement.

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Wie ein Halbmond steht die Brcke,Umgekehrt der Bogen. Freunde,Schn gekleidet, trinken, plaudern.

IV. Von der Schnheit

Text: after Li Po Junge Mdchen pflcken Blumen, pflcken

LotosblumenAn dem Uferrande. Zwischen BschenUnd Blttern sitzen sie, sammelnBlten, sammeln Blten in den Scho und rufenSich einander Neckereien zu.

Goldne Sonne webt um die Gestalten,Spiegelt sich im blanken Wasser wider,Sonne spiegelt ihre schlanken Glieder,Ihre sen Augen wider, und der ZephirHebt mit Schmeichelkosen das GewebeIhrer rmel auf, fhrt den ZauberIhrer Wohlgerche durch die Luft.

O sieh, was tummeln sich fr schne KnabenDort an dem Uferrand auf mutgen Rossen,Weithin glnzend, wie die Sonnenstrahlen;Schon zwischen dem Gest der grnen WeidenTrabt das jungfrische Volk einher!Das Ross des einen wiehert frhlich auf Und scheut und saust dahin, ber Blumen,

GrserWanken hin die Hufe, sie zerstampfen jh

im SturmDie hingesunknen Blten,Hei! wie flattern im Taumel seine Mhnen,Dampfen hei die Nstern,Goldne Sonne webt um die Gestalten,Spiegelt sie im blanken Wasser wider.

Und die schnste von den Jungfraun sendetLange Blicke ihm der Sehnsucht nach.Ihre stolze Haltung ist nur Verstellung:In dem Funkeln ihrer groen Augen,In dem Dunkel ihres heien BlicksSchwingt klagend noch die Erregung ihres

Herzens nach.

Like a half-moon stands the bridge,Arch reversed. Friends,Beautifully attired, drink, chat.

Of Beauty

Young maidens pluck flowers, lotus flowers

At the shores edge. Amidst shrubsAnd foliage they sit, gatherBlossoms into their laps and call Teasingly to each other.

Golden sun plays about the figures,Mirrors itself in the shining water,Mirrors their slender limbs,Their sweet eyes, and the zephyrWith its caresses lifts the fabric

Of their sleeves, and bears the magicOf their fragrance through the air.

Oh see the handsome young menAt the shores edge on lively horses,Shining out like the suns rays;Amongst the green willows branchesThe blithe young men come trotting!The steed of one whinnies joyously,Shies, races off; over flowers, grasses

The hooves fly, trampling in their career

The fallen blossoms,Ah, how its mane streams in the frenzy,Its nostrils steam hotly,Golden sun plays about the figures,Mirrors them in the shining water.

And the fairest of the maidens sendsAfter him long longing glances.Her proud bearing is but a post:In the flash of her wide eyes,In the darkness of her ardent gazeHer hearts agitation still quivers sadly.

5Please do not turn the page until the end of the movement.

II. Der Einsame im HerbstText: after Tchang Tsi

Herbstnebel wallen blulich berm See;Vom Reif bezogen stehen alle Grser.Man meint, ein Knstler habe Staub von Jadeber die feinen Blten ausgestreut.

Der se Duft der Blumen ist verflogen,Ein kalter Wind beugt ihre Stengel nieder.Bald werden die verwelkten, goldnen BltterDer Lotosblten auf dem Wasser ziehn.

Mein Herz ist mde. Meine kleine LampeErlosch mit Knistern, es gemahnt mich an

den Schlaf.Ich komm zu dir, traute Ruhesttte!

Ja gib mir Ruh! Ich hab Erquickung not!

Ich weine viel in meinen Einsamkeiten,Der Herbst in meinem Herzen whrt zu lange;Sonne der Liebe, willst du nie mehr scheinen,Um meine bittern Trnen mild aufzutrocknen?

III. Von der JugendText: after Li Po

Mitten in dem kleinen TeicheSteht ein Pavillon aus grnemUnd aus weiem Porzellan.

Wie der Rcken eines TigersWlbt die Brcke sich aus JadeZu dem Pavillon hinber.

In dem Huschen sitzen Freunde,Schn gekleidet, trinken, plaudern,Manche schreiben Verse nieder.

Ihre seidnen rmel gleitenRckwrts, ihre seidnen MtzenHocken lustig tief im Nacken.

Auf des kleinen Teiches stillerWasserflche zeigt sich allesWunderlich im Spiegelbilde:

Alles auf dem Kopfe stehend,In dem Pavillon aus grnem

Und aus weiem Porzellan.

The Solitary in Autumn

Bluish above the lake rise autumn mists;Hoar-frost-clad is all the grass.One would think that with jade dust an artist Had sprinkled the fine blossoms.

Gone is the sweet fragrance of flowers,A cold wind bends low their stems.Soon the faded golden leavesOf the lotus will drift upon the water.

My heart is weary. My tiny lampHas spluttered out, reminding me

of sleep.I am coming to you, homely place of rest.Yes, give me rest! I need to be refreshed.

I weep a lot in my solitude,The autumn in my heart endures too long;Sun of Love, will you never more shineGently to dry my bitter tears?

Of Youth

In the middle of the small pondStands a pavilion of greenAnd white porcelain.

Like a tigers backThe bridge of jade archesOver to the pavilion.

In this little house sit friends,Beautifully attired, drink, chat Some write down verses.

Their silk sleeves slideUp, their silk capsPerch merrily back on their heads.

On the small ponds placid Surface all things are revealed Strangely as mirror images:

All standing on their headsIn the pavilion of green

And white porcelain.

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Alle Sehnsucht will nun trumen,Die mden Menschen gehn heimwrts, um

im SchlafVergessnes Glck und Jugend neu zu lernen!

Die Vgel hocken still in ihren Zweigen,Die Welt schlft ein Es wehet khl im

Schatten meiner Fichten.Ich stehe hier und harre meines Freundes;Ich harre sein zum letzten Lebewohl.Ich sehne mich, o Freund, an deiner SeiteDie Schnheit dieses Abends zu genieen,Wo bleibst du? Du lsst mich lang allein!

Ich wandle auf und nieder mit meiner LauteAuf Wegen, die von weichem Grase

schwellenO Schnheit! O ewigen LiebensLebens

trunkne Welt!

Er stieg vom Pferd und reichte ihm den TrunkDes Abschieds dar. Er fragte ihn, wohinEr fhre und auch warum es msste sein.Er sprach, seine Stimme war umflort:Du mein Freund, mir war auf dieser Welt das

Glck nicht hold!

Wohin ich geh? Ich geh, ich wandre in dieBerge.

Ich suche Ruhe fr mein einsam Herz.Ich wandle nach der Heimat, meiner Sttte!Ich werde niemals in die Fremde schweifen.Still ist mein Herz und harrt seiner Stunde:Die liebe Erde allberall blht auf im Lenz

und grntAufs neu! Allberall und ewig blauen licht

die Fernen!Ewig Ewig

All desire wants now to dream,Weary men walk home to learn in sleep

Forgotten happiness and youth anew!

The birds crouch silently among their twigs,The world falls asleep Cool it blows in the

shadow of my spruces,Here I stand, awaiting my friend,Waiting to bid him a last farewell.I long, O friend, at your sideTo enjoy the beauty of this evening, Where are you? You leave me long alone!

Up and down I wander with my luteOn paths swelling with soft grass,

O beauty! O eternal love, eternal life-drunkworld!

Dismounting, he handed himThe cup of farewell. Asked him whitherHe fared, also why that must be.He said, his voice muffled:My friend, fortune has not smiled on me in

this world!

Whither I go? I go, I wander to the mountains.

I seek peace for my lonely heart.I wander to my homeland, to my abode!Never shall I roam to foreign parts.Calm is my heart and waiting for its hour:The dear earth, everywhere blooms forth in

spring, grows greenAnew! Everywhere and eternally blue are the

distant places!Eternally Eternally

English translations: George Bird andRichard Stokes

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V. Der Trunkene im FrhlingText: after Li Po

Wenn nur ein Traum das Leben ist,Warum dann Mh und Plag?Ich trinke, bis ich nicht mehr kann,Den ganzen lieben Tag.

Und wenn ich nicht mehr trinken kann,Weil Kehl und Seele voll,So tauml ich bis zu meiner TrUnd schlafe wundervoll!

Was hr ich beim Erwachen? Horch,Ein Vogel singt im Baum.Ich frag ihn, ob schon Frhling sei,Mir ist als wie im Traum.

Der Vogel zwitschert: Ja! der Lenz ist da,Sei kommen ber Nacht,Aus tiefstem Schauen lauscht ich auf,

Der Vogel singt und lacht!Ich flle mir den Becher neuUnd leer ihn bis zum GrundUnd singe, bis der Mond erglnztAm schwarzen Firmament.

Und wenn ich nicht mehr singen kann,So schlaf ich wieder ein.Was geht mich denn der Frhling an!?Lasst mich betrunken sein!

VI. Der Abschied

Text: after Mong Koo Yen and Wang WeiDie Sonne scheidet hinter dem Gebirge,In alle Tler steigt der Abend niederMit seinen Schatten, die voll Khlung sind.

O sieh! Wie eine Silberbarke schwebtDer Mond am blauen Himmelssee herauf.Ich spre eines feinen Windes WehnHinter den dunklen Fichten!

Der Bach singt voller Wohllaut durch dasDunkel:

Die Blumen blassen im Dmmerschein.

Die Erde atmet voll von Ruh und Schlaf.

The Drunkard in Spring

If life is but a dream,Why, then, toil and torment?I drink, until I can no more,The livelong day.

And when I can drink no more,Because my gorge and soul are full,I stumble to my doorAnd I sleep wonderfully!

And, waking, what do I hear? Hark,A bird sings in the tree.I ask him whether spring has come I am as if in a dream.

The bird twitters. Yes, spring is here!Overnight it has come From deepest contemplation I started,

The bird sings and laughs!

Afresh I fill my beakerAnd drain it to the dregsAnd sing until the moon gleamsIn the black firmament.

And when I can sing no more,I fall asleep again.What has spring to do with me!?Let me be drunk!

The Farewell

The sun departs behind the hills,Into all valleys descends the evening With its shadows full of freshness.

Oh see, like a silver bark,The moon slips over the skys blue lake.I feel the wafting of a gentle breezeBeyond the somber spruces!

Full of melody, the stream sings in the dark,

The flowers, in the twilight, pale.

Earths breathing is full of peace and sleep.

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Documents

St. Louis Symphony Extra - November 22, 2014