May 3-5, 2013

David Robertson, conductor Christine Brewer, soprano Lucas Meachem, baritone

SUPPÉ (1819-1895) SCHUBERT (1797-1828)

Overture to Ein Morgen, Mittag und Abend in Wien (Morning, Noon and Night in Vienna) (1844) Symphony No. 8 in B minor, D. 759, “Unfinished” (1822)
Allegro moderato Andante con moto




Lyrische Symphonie (Lyric Symphony), op. 18 (1922-23)
Ich bin friedlos (I am restless)— Mutter, der junge Prinz (Mother, the young Prince)— Du bist die Abendwolke (You are the evening cloud)— Sprich zu mir, Geliebter (Speak to me, my love)— Befrei’ mich von den Banden (Free me from the bonds)— Vollende denn das letzte Lied (Then finish the last song)— Friede, mein Herz (Peace, my heart)

Christine Brewer, soprano Lucas Meachem, baritone


David Robertson is the Beofor Music Director and Conductor. Christine Brewer is the Ann and Lee Liberman Guest Artist. The concert of Friday, May 3, is underwritten in part by a generous gift from Mr. and Mrs. Jerry E. Ritter. The concert of Friday, May 3, is underwritten in part by a generous gift from Kay and John Bachmann. The concert of Saturday, May 4, is underwritten in part by a generous gift from Mr. and Mrs. William A. Sullins Jr. The concert of Sunday, May 5, is underwritten in part by a generous gift from Mrs. Priscilla R. McDonnell. Pre-Concert Conversations are presented by Washington University Physicians. These concerts are presented by Mary Pillsbury. These concerts are part of the Wells Fargo Advisors Series. Large print program notes are available through the generosity of Mosby Building Arts and are located at the Customer Service table in the foyer.



TIMELINKS 1822 SCHUBERT Symphony No. 8 in B minor, D. 759, “Unfinished” Franz Liszt makes his piano debut 1844 SUPPÉ Overture to Ein Morgen, Mittag und Abend in Wien (Morning, Noon and Night in Vienna) Samuel Morse taps telegraphic message from Washington, D.C. to Baltimore, “What hath God wrought?” 1922-23 ZEMLINSKY Lyrische Symphonie (Lyric Symphony), op. 18 First Dracula movie, Nosferatu, premieres in Berlin

This season, the St. Louis Symphony has programmed a series of concerts focusing on Vienna, the composers who lived and worked there, and the music they created. These programs have sampled the more popular strain of music that has flourished in the Austrian capital, which is sometimes described as “light classical,” in addition to weightier masterpieces created there. The Symphony’s concerts this weekend continue this examination of Vienna’s rich musical heritage. The three composers represented on our program include a Viennese native son, Franz Schubert; a musician who came to the city to make his career, Franz von Suppé; and a Viennaborn emigré, Alexander Zemlinsky. We hear Schubert’s most famous orchestral work, his “Unfinished” Symphony, the inspired first half of a projected four-movement composition. Suppé was born in Dalmatia (present-day Croatia) to a father of Belgian heritage, but he became a master of the Viennese “light classical” style second only to Johann Strauss, Jr. His overture known as Morning, Noon and Night in Vienna exemplifies his melodious work in that idiom. Zemlinsky was a native of Vienna who settled in Prague, where he composed his sumptuous Lyric Symphony. With texts by the Bengali poet Rabindranath Tagore, this work considers a perennially fascinating subject, the different aspects of love.


FRANZ VON SUPPÉ Overture to Ein Morgen, Mittag und Abend in Wien (Morning, Noon and Night in Vienna) A FAILED PLAY, A POPULAR OVERTURE Vienna’s tradition of “light classical” music is so strongly associated with Johann Strauss, Jr., that it is easy to lose sight of the fact that other musicians also made important contributions to this field. Among them were Strauss’s father, also named Johann Strauss; Franz Léhar, whose many operettas include the melodious and perennially popular The Merry Widow; and Franz von Suppé, whose Overture to Ein Morgen, Mittag und Abend in Wien opens our program. Although his first and last compositions were sacred music, Suppé spent nearly all of his career in the theater. Initially he wrote only incidental music: overtures, as well as songs and the occasional interlude to augment spoken dialogue. Eventually, however, he began writing true operettas, the first by a Viennese composer, with elaborate arias and ensemble numbers. These proved enormously successful, bringing the composer wealth and fame. Early in 1844, Suppé composed incidental music for a farce titled Ein Morgen, Mittag und Abend in Wien (Morning, Noon and Night in Vienna). The play closed after just three performances, but the overture Suppé wrote for it has become a popular concert piece. Like many overtures, this one begins with an introduction in slow tempo, here featuring a lyrical cello solo. The main body of the piece shows the influence of Italian opera composers, especially Rossini and Donizetti, whose music Suppé knew and admired. FRANZ SCHUBERT Symphony No. 8 in B minor, D. 759, “Unfinished” WORTHY OF BEETHOVEN Franz Schubert composed the two movements of his Symphony No. 8 in the autumn of 1822, when he was 25 years old. The composer still had six years remaining in his brief life in which he might have completed this work, and his failure to do so has never been satisfactorily explained. Some commentators have attributed this to Schubert’s

Born April 18, 1819, Spalato, Dalmatia (now Split, Croatia) Died May 21, 1895, Vienna First Performance February 26, 1844, in Vienna, conducted by the composer STL Symphony Premiere July 7, 1971, Walter Susskind conducting at Tilles Park Most Recent STL Symphony Performance September 19, 2012, Ward Stare conducting a Forest Park concert Scoring 2 flutes piccolo 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets 3 trombones timpani percussion strings Performance Time approximately 9 minutes

mounting discouragement in the face of public indifference to his orchestral music, some to an alleged lack of confidence. Other Schubert authorities, however, have disputed these claims, and it seems unlikely that any of them ever will be decisively accepted. And so we can only accept the two movements of the “Unfinished” Symphony as they stand—“a mighty torso,” to borrow the words of the musicologist Alfred Einstein. Not until Brahms, writing nearly half a century after Schubert, would a composer come to terms so successfully with the implications of Beethoven’s symphonic works. The deep pathos we encounter in the B-minor Symphony, its broad tonal terrain and the ambitious scale of the movements all mark the “Unfinished” Symphony as a worthy successor to Beethoven’s mature symphonies.

DEEP WATERS In the first movement, Schubert March 11, 1910, Max Zach condenses the typical slow introduction to a conducting brief statement for the cellos and basses. Solo Most Recent oboe and clarinet then give out what is ostensibly STL Symphony Performance the movement’s principal theme over a restless October 24, 2009, David accompaniment in the strings. The celebrated Robertson conducting the Symphony Gala second subject is introduced by the cellos. Although it promises a respite from the dark Scoring 2 flutes tone that has prevailed to this point, Schubert 2 oboes soon undercuts its lyrical character with a series 2 clarinets of harsh chords and a passage that makes of the 2 bassoons theme something more substantial and powerful 2 horns than the waltz melody it initially appears to be. 2 trumpets These two themes would provide excellent 3 trombones timpani material for Schubert to expand, but he instead strings bases the movement’s central development Performance Time section entirely on the motif of the introduction, approximately 25 minutes working this into a harrowing expression of tragedy. The recapitulation recalls the two longer themes as we should expect, and the movement closes with a coda bringing final consideration of the opening motif. The ensuing movement also surprises us with strong developments of its themes. This is particularly true of the second subject, a long melody introduced by solo clarinet and extended by the oboe and flute. It seems utterly placid, but immediately the full orchestra takes it up with Beethovenian fury. By the time the movement reaches its peaceful conclusion it is clear that these apparently still waters have run very deep indeed. Where the flow of Schubert’s inspiration might have led from here we can only guess.

Wilhelm August Rieder

Born January 31, 1797, Vienna Died November 19, 1828, Vienna First Performance December 17, 1865, in Vienna, under the direction of Johann von Herbeck STL Symphony Premiere

ALEXANDER ZEMLINSKY Lyrische Symphonie (Lyric Symphony), op. 18 GREATNESS OBSCURED “The third friend is the one to whom I owe most of my knowledge of the technique and problems of composing: Alexander Zemlinsky. I have always thought, and still believe, that he was a great composer. Maybe his time will come earlier than we think.” So wrote Arnold Schoenberg, himself one of the great composers of the 20th century, in acknowledging several persons who had significantly influenced his artistic development. That the final sentence of his tribute to Zemlinsky seems more hopeful than confident reflects the obscurity into which the object of Schoenberg’s admiration had already fallen by the time it was written, in 1949. Seven years earlier, Zemlinsky had died exiled and penniless in New York. For nearly a decade before that, his works had been proscribed by the Nazis—first in Germany, later in Austria and finally throughout Europe. That ban alone might have cast Zemlinsky’s work into obscurity, but the composer also had been overtaken by the rapid evolution of musical styles during the second quarter of the last century. As complex and imaginative as it was, his idiom was hardly modern by the standards then being set by Stravinsky, Bartók, and Schoenberg himself, and this became even more true when musical activity resumed in Europe following the end of World War II. To the young composers of the post-War avantgarde, then excitedly building on the ideas of the most advanced early modernists, Zemlinsky’s late-Romantic style seemed anachronistic. And yet Schoenberg, whom those same young musicians revered, believed firmly that Zemlinsky’s day indeed would come—if not soon, at least eventually. A FRIEND OF MAHLER Zemlinsky was born in 1871, in Vienna. As a young man, he distinguished himself as a student at the Vienna Conservatory and soon gained entry into the highest musical circles of the Austrian capital. He attracted the attention of Brahms, who offered advice and encouragement to a degree he rarely bestowed on

Born October 14, 1871, Vienna Died March 15, 1942, Larchmont, New York First Performance June 2, 1942, in Prague, under the composer’s direction Scoring solo soprano and baritone voices 4 flutes 2 piccolos 3 oboes English horn 3 clarinets E-flat clarinet bass clarinet 3 bassoons contrabassoon 4 horns 3 trumpets 3 trombones tuba timpani percussion harmonium celesta harp strings Performance Time approximately 48 minutes

young composers. Later Zemlinsky became intimate with the director of the Vienna Opera, Gustav Mahler. He was frequently a guest in Mahler’s home and seems to have been one of the few musicians to enjoy anything like a real friendship with the difficult and self-absorbed composer and conductor. With Mahler’s encouragement, Zemlinsky also pursued a conducting career, and the keen musicianship he brought to this work won him engagements throughout Europe. In 1911, he became director of the major opera company in Prague. There he achieved performances of legendary beauty. Igor Stravinsky, reminiscing in his old age, recalled: “I remember a Marriage of Figaro conducted by him [Zemlinsky] in Prague as the most satisfying operatic experience of my life.” Zemlinsky did not neglect composition, however. Though he surely would have been more prolific if not for his conducting duties, he nevertheless produced a substantial body of music: four string quartets and various other chamber pieces; some half a dozen symphonic works; a full-length ballet; incidental music for Shakespeare’s Cymbeline; choral pieces; and many songs. But his foremost ambition rested with opera. “I am a man of the theater,” Zemlinsky once declared, and the seven operatic scores he completed constitute the core of his output. OPERATIC SYMPHONY Zemlinsky’s talent for theatrical music informs even his finest orchestral composition, his Lyric Symphony. Sketched during the summer of 1922 and completed over the course of the next year, this work consists of seven songs for solo soprano and baritone with orchestral accompaniment, linked by interludes and played without pause. That structure resembles the one Gustav Mahler had used in his “song-symphony” Das Lied von der Erde. And just as Mahler had looked to Asia for the texts of that work, setting Chinese poems (in German translation), so Zemlinsky based his Lyric Symphony on verses by the Indian writer Rabindranath Tagore. (Winner of the 1913 Nobel Prize for literature, Tagore enjoyed an international following during the early decades of the 20th century.) But whereas Mahler conceived Das Lied von der Erde as a fusion of symphony and German art song, Zemlinsky combined symphonic writing with the sound of opera. The composer asserted that he wrote his Lyric Symphony for “voices suitable to the theater: a heroic baritone and dramatic soprano.” Zemlinsky took the poems that comprise the symphony’s text from a collection Tagore titled The Gardener, which appeared in a German translation in 1914. The seven poems Zemlinsky selected are united by the theme of love, and their placement in the Lyric Symphony describes an arc that rises from yearning and desire to a peak of romantic union, then on to the bittersweet inevitability of parting. The symphony begins with an orchestral prelude that intimates love’s power, as well as a certain exoticism in its chant-like initial motif. (That figure will reappear dramatically late in the work.) This leads directly to the first song, where surging orchestral music reflects the restlessness the baritone soloist professes. Soprano and baritone alternate in singing the remaining songs. These range in tone from girlish excitement in “Mutter, der junge Prinz” (“Mother, the young Prince”), to quiet rapture in “Sprich zu mir, Geliebter”

(“Speak to me, my love”), to desperate struggle in the ensuing “Befrei’ mich von den Banden” (“Free me from the bonds”), and sad but wise acceptance in the final two songs. The extraordinarily rich orchestral music that surrounds the vocal lines conveys not only the mood of each song but, throughout the work, a kind of perfumed “oriental” sensuality.
Program notes © 2013 by Paul Schiavo



David Robertson has established himself as one of today’s most sought-after American conductors, and has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. In fall 2012, Robertson launched his eighth season as Music Director of the 133-yearold St. Louis Symphony. In January 2014, while continuing as St. Louis Symphony music director, Robertson also will assume the post of Chief Conductor and Artistic Director of the Sydney Symphony in Australia. In September 2012, the St. Louis Symphony and Robertson embarked on a European tour, which included appearances at London’s BBC Proms, at the Berlin and Lucerne festivals, and culminated at Paris’s Salle Pleyel. In March 2013 Robertson and his orchestra returned to California for their second tour of the season, which included an intensive three-day residency at the University of California-Davis and performance at the Mondavi Center for the Performing Arts, with violinist James Ehnes as soloist. The orchestra also performed at venues in Costa Mesa, Palm Desert, and Santa Barbara, with St. Louis Symphony Principal Flute, Mark Sparks, as soloist. In addition to his current position with the St. Louis Symphony, Robertson is a frequent guest conductor with major orchestras and opera houses around the world. During the 2012-13 season he appears with prestigious U.S. orchestras such as the New York Philharmonic, Los Angeles Philharmonic, and San Francisco Symphony, as well as internationally with the Royal Concertgebouw Orchestra, Vienna Radio Symphony Orchestra, Israel Philharmonic, and Ensemble Intercontemporain. Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting.

David Robertson and the St. Louis Symphony return to Carnegie Hall with a concert performance of Britten’s Peter Grimes in November 2013.



Christine Brewer most recently performed with the St. Louis Symphony in January 2012.

Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert, and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Her range, golden tone, boundless power, and control make her a favorite of the stage as well as a sought-after recording artist. Brewer’s 2012-2013 season highlights included her role as Sister Aloysius in the world premiere of Douglas J. Cuomo’s Doubt at Minnesota Opera, based on the Pulitzer Prize and Tony Award-winning play and popular film by John Patrick Shanley. An equally exciting concert season included Brewer singing Strauss’s Four Last Songs with the Kansas City Symphony, Eugene Symphony Orchestra, and the Deutsches Symphony Orchestra. Brewer also performed Brünnhilde’s Immolation Scene from Götterdämmerung with the University of Kentucky as well as with the Orchestra Philharmonique du Luxembourg, rounding out her concert season with Britten’s War Requiem with the Seattle Symphony Orchestra. Highlights of Brewer’s 2011-12 season included opening the Atlanta Symphony Orchestra’s 67th season with a program featuring Beethoven’s Symphony No. 9 and the Immolation Scene from Wagner’s Götterdämmerung. A “superlative Strauss singer” (New York Times), she also sang the German composer’s Four Last Songs with the St. Louis Symphony and David Robertson, besides featuring his music alongside that of Marx, Thomson, Ives, and Smith in recital with pianist and frequent collaborator Craig Rutenberg, at New York’s Alice Tully Hall. On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’s Ariadne auf Naxos. Attracting glowing reviews with each role, the soprano has performed Wagner’s Tristan und Isolde, Gluck’s Alceste, the Dyer’s Wife in Strauss’s Die Frau ohne Schatten, and Lady Billows in Britten’s Albert Herring at Santa Fe Opera.

LUCAS MEACHEM Baritone Lucas Meachem has established himself as an internationally sought-after performer whose compelling lyric baritone voice and dramatic interpretations have led him to the world’s most important operatic stages. Meachem’s 2012-13 season began with a tour of Tchaikovsky’s Iolanta with soprano Anna Netrebko, with performances in eleven of Europe’s most important musical centers including Vienna, Munich, Paris, Berlin, and Amsterdam. Meachem then returned to the Lyric Opera of Chicago to sing Marcello in La bohème, followed by performances as the title role in Don Giovanni with Cincinnati Opera. Maintaining his busy concert schedule, Meachem performed this season in gala concerts with the Natchez Festival and the San Antonio Symphony. Meachem concludes the season this summer performing the title role in The Barber of Seville with the Mill City Opera in Minneapolis. In the 2011-12 season, Meachem reprised his role as Don Giovanni at the San Francisco Opera. At the beginning of 2012 in Palm Beach, he performed in Roméo et Juliette as Mercutio. He reprised his role as Figaro in The Barber of Seville at the San Diego Opera. He then went to Europe where he performed as Wolfram von Eschenbach in Tannhäuser. Lucas Meachem has been a winner in many competitions across the United States including: the Mario Lanza, Jessie Kneisel, West Palm Beach Opera, Opera Index, George London, and the Bel Canto competitions. He has also been a winner in the Metropolitan National Council Competition in Charlotte, North Carolina and in New Haven, Connecticut, and was the recipient of an Encouragement award at the Regional Metropolitan National Council Competition in Atlanta, Georgia.

Lucas Meachem most recently performed with the St. Louis Symphony in May 2008.


I ICH BIN FRIEDLOS I I AM RESTLESS Ich bin friedlos, ich bin durstig nach fernen Dingen. Meine Seele schweift in Sehnsucht, den Saum der dunklen Weite zu berühren. O großes Jenseits, o ungestümes Rufen Deiner Flöte. Ich vergesse, ich vergesse immer, daß ich keine Schwingen zum Fliegen habe, daß ich an dieses Stück Erde gefesselt bin für alle Zeit. Ich bin voll Verlangen und wachsam, ich bin ein Fremder im fremden Land; Dein Odem kommt zu mir und raunt mir unmögliche Hoffnungen zu. Deine Sprache klingt meinem Herzen vertraut wie seine eig’ne. O Ziel in Fernen, o ungestümes Rufen deiner Flöte. Ich vergesse immer, ich vergesse, daß ich nicht den Weg weiß, daß ich das beschwingte Roß nicht habe. Ich bin ruhlos, ich bin ein Wanderer in meinem Herzen. Im sonnigen Nebel der zögernden Stunden, welch gewaltiges Gesicht von dir wird Gestalt in der Bläue des Himmels. O fernstes Ende, o ungestümes Rufen deiner Flöte. Ich vergesse, ich vergesse immer, daß die Türen überall verschlossen sind in dem Hause, wo ich einsam wohne. II MUTTER, DER JUNGE PRINZ Mutter, der junge Prinz muß an unsrer Türe vorbeikommen wie kann ich diesen Morgen auf meine Arbeit Acht geben? Zeig mir, wie soll mein Haar ich flechten; zeig mir, was soll ich für Kleider anziehen? Warum schaust du mich so verwundert an, Mutter? Ich weiß wohl, er wird nicht ein einz’ges Mal zu meinem Fenster aufblicken. Ich weiß, im Nu wird er mir aus den Augen sein; nur das verhallende Flötenspiel wird seufzend zu mir dringen von weitem. Aber der junge Prinz wird bei uns vorüberkommen, und ich will mein Bestes anziehn für diesen Augenblick. Mutter, der junge Prinz ist an unsrer Türe vorbeigekommen, und die Morgensonne blitzte an seinem Wagen. Ich strich den Schleier aus meinem Gesicht, riß die Rubinenkette von meinem Halse und warf sie ihm in den Weg. Warum schaust du mich so verwundert an, Mutter? Ich weiß wohl, daß er meine Kette nicht aufhob. Ich weiß, sie ward unter den Rädern zermalmt und ließ eine rote Spur im Staube zurück. Und niemand weiß, was mein Geschenk war, und wer es gab. Aber der junge Prinz kam an unsrer Tür vorüber und ich hab’ den Schmuck von meiner Brust ihm in den Weg geworfen. I am restless. I am athirst for far-away things. My soul goes out in a longing to touch the skirt of the dim distance. O Great Beyond, O the keen call of thy flute! I forget, I ever forget, that I have no wings to fly, that I am bound in this spot evermore. I am eager and wakeful, I am a stranger in a strange land. Thy breath comes to me whispering an impossible hope. Thy tongue is known to my heart as its very own. O Far-to-seek, O the keen call of thy flute! I forget, I ever forget, that I know not the way, that I have not the winged horse. I am listless, I am a wanderer in my heart. In the sunny haze of the languid hours, what vast vision of thine takes shape in the blue of the sky! O Farthest end, O the keen call of thy flute! I forget, I ever forget, that the gates are shut everywhere in the house where I dwell alone! II MOTHER, THE YOUNG PRINCE O mother, the young Prince is to pass by our door, how can I attend to my work this morning? Show me how to braid up my hair; tell me what garment to put on. Why do you look at me amazed, mother? I know well he will not glance up once at my window; I know he will pass out of my sight in the twinkling of an eye; only the vanishing strain of the flute will come sobbing to me from afar. But the young Prince will pass by our door, and I will put on my best for the moment. O mother, the young Prince did pass by our door, and the morning sun flashed from his chariot. I swept aside the veil from my face, I tore the ruby chain from my neck and flung it in his path. Why do you look at me amazed, mother? I know well he did not pick up my chain; I know it was crushed under his wheels leaving a red stain upon the dust, and no one knows what my gift was nor to whom. But the young Prince did pass by our door, and I flung the jewel from my breast before his path.


III DU BIST DIE ABENDWOLKE Du bist die Abendwolke, Die am Himmel meiner Träume hinzieht. Ich schmücke dich und kleide dich Immer mit den Wünschen meiner Seele; Du bist mein Eigen, mein Eigen. Du, die in meinen endlosen Träumen wohnt. Deine Füße sind rosigrot von der Glut meines sehnsüchtigen Herzens, du, die meine Abendlieder erntet, deine Lippen sind bittersüß vom Geschmack des Weins aus meinen Leiden. Du bist mein Eigen, mein Eigen. Du, die in meinen einsamen Träumen wohnt, Mit dem Schatten meiner Leidenschaft hab’ ich deine Augen geschwärzt, gewohnter Gast in meines Blickes Tiefe. Ich hab’ dich gefangen und dich eingesponnen, Geliebte, in das Netz meiner Musik. Du bist mein Eigen, mein Eigen. Du, die in meinen unsterblichen Träumen wohnt. IV SPRICH ZU MIR GELIEBTER Sprich zu mir, Geliebter, sag mir mit Worten, was du sangest. Die Nacht ist dunkel, die Sterne sind in Wolken verloren. Der Wind seufzt durch die Blätter. Ich will mein Haar lösen, mein blauer Mantel wird dich umschmiegen wie Nacht. Ich will deinen Kopf an meine Brust schließen, und hier, in der süßen Einsamkeit laß dein Herz reden. Ich will meine Augen zumachen und lauschen, ich will nicht in dein Antlitz schauen. Wenn deine Worte zu Ende sind, wollen wir still und schweigend sitzen. Nur die Bäume werden im Dunkel flüstern. Die Nacht wird bleichen, der Tag wird dämmern, Wir werden einander in die Augen schauen und jeder seines Weges ziehn. Sprich zu mir, Geliebter.

III YOU ARE THE EVENING CLOUD You are the evening cloud floating in the sky of my dreams. I paint you and fashion you ever with my love longings. You are my own, my own, Dweller in my endless dreams! Your feet are rosy-red with the glow of my heart’s desire. Gleaner of my sunset songs! Your lips are bitter-sweet with the taste of my wine of pain. You are my own, my own, Dweller in my lonesome dreams! With the shadow of my passion have I darkened your eyes. Haunter of the depth of my gaze! I have caught you and wrapt you, my love, in the net of my music. You are my own, my own, Dweller in my deathless dreams! IV SPEAK TO ME, MY LOVE Speak to me, my love! Tell me in words what you sang. The night is dark. The stars are lost in clouds. The wind is sighing through the leaves. I will let loose my hair. My blue cloak will cling round me like night. I will clasp your head to my bosom; and there in the sweet loneliness murmur on your heart. I will shut my eyes and listen. I will not look in your face. When your words are ended, we will sit still and silent. Only the trees will whisper in the dark. The night will pale. The day will dawn. We shall look at each other’s eyes and go on our different paths. Speak to me, my love!


V BEFREI’ MICH VON DEN BANDEN Befrei’ mich von den Banden deiner Süße, Lieb! Nichts mehr von diesem Wein der Küsse. Dieser Nebel von schwerem Weihrauch erstickt mein Herz. Öffne die Türe, mach Platz für das Morgenlicht. Ich bin in dich verloren, eingefangen in die Umarmungen deiner Zärtlichkeit. Befrei’ mich von deinem Zauber und gib mir den Mut zurück, dir mein befreites Herz darzubieten. VI VOLLENDE DENN DAS LETZTE LIED Vollende denn das letzte Lied Und laß uns auseinandergehn. Vergiß diese Nacht, wenn die Nacht um ist. Wen müh’ ich mich mit meinen Armen zu umfassen? Träume lassen sich nicht einfangen. Meine gierigen Hände drücken Leere an mein Herz Und es zermürbt meine Brust. VII FRIEDE, MEIN HERZ Friede, mein Herz, laß die Zeit für das Scheiden süß sein, laß es nicht einen Tod sein, sondern Vollendung. Laß Liebe in Erinn’rung schmelzen und Schmerz in Lieder. Laß die letzte Berührung deiner Hände sanft sein, wie die Blume der Nacht. Steh still, steh still, o wundervolles Ende, für einen Augenblick, und sage deine letzten Worte in Schweigen. Ich neige mich vor dir, ich halte meine Lampe in die Höhe, um dir auf deinen Weg zu leuchten.

V FREE ME FROM THE BONDS Free me from the bonds of your sweetness, my love! No more of this wine of kisses. This mist of heavy incense stifles my heart. Open the doors, make room for the morning light. I am lost in you, wrapped in the folds of your caresses. Free me from your spells, and give me back the manhood to offer you my freed heart. VI THEN FINISH THE LAST SONG Then finish the last song and let us leave. Forget this night when the night is no more. Whom do I try to clasp in my arms? Dreams can never be made captive. My eager hands press emptiness to my heart and it bruises my breast. VII PEACE, MY HEART Peace, my heart, let the time for the parting be sweet. Let it not be a death but completeness. Let love melt into memory and pain into songs. Let the last touch of your hands be gentle like the flower of the night. Stand still, O Beautiful End, for a moment, and say your last words in silence. I bow to you and hold up my lamp to light you on your way.


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