THE ART OF THE EARLY KEYBOARD SERIES IN PRINCETON

Music of Haydn,
Beethoven & Schubert
Saturday, April 21, 2012 at 8 pm
All Saints’ Church, Princeton

Laura Heimes, soprano; Michael Brown, tenor

Peter Becker, bass-baritone; Gwendolyn Toth, fortepiano
PROGRAM
Lieder Franz Schubert (1797-1828)
Ganymed
Der Schiffer
Der Rattenfänger
An Schwager Kronos
Mr. Brown & Ms. Toth

Piano Sonata in E minor, Hob. XVI:34 Franz Joseph Haydn (1732-1809)

Presto – Adagio – Vivace molto
Ms. Toth

An die ferne Geliebte, op. 98 Ludwig van Beethoven (1770-1827)

Auf dem Hügel sitz ich spähend
Wo die Berge so blau
Leichte Segler in den Höhen
Diese Wolken in den Höhen
Es kehret der Maien, es blühet die Au
Nimm sie hin denn, diese Lieder
Mr. Becker & Ms. Toth

Cantata: Arianna a Naxos Haydn

Ms. Heimes & Ms. Toth
ARTEK concerts and events are made possible, in part, with public funds from the New York State Council on the Arts and the New York
City Department of Cultural Affairs in partnership with the City Council. Special thanks to the All Saints’ Church staff, Dongsok Shin,
Francesca Galesi, and Alan Goodheart, ARTEK’s Princeton coordinator, for making this concert possible.

Audiences love ARTEK concerts for their exciting, dramatic performances of baroque music, with compelling musical settings of beautiful
poetry and infectious dance rhythms that infuse the performances with vitality and spirit. Founded by director Gwendolyn Toth in 1986,
ARTEK features America’s finest singers and instrumentalists in performances of seventeenth-century repertoire from Italy and Germany.
Highlights of ARTEK’s past seasons include acclaimed performances in 2002 and 2003 of ARTEK’s theater show, I’ll Never See the Stars
Again, at the Edinburgh Fringe Festival in 2005; standing ovation performances to sell-out crowds at the Regensburg (Germany) Tage
Alter Musik Festival in 1998 and 2003; and ARTEK’s debut performance in 2003 at the prestigious Boston Early Music Festival. ARTEK’s
recordings of Monteverdi’s Orfeo and other early Italian repertoire have been widely praised. ARTEK toured internationally from 1997
to 2002 with the Mark Morris Dance Group, visiting major venues in the United Kingdom, Italy, and Canada as well as more than 50 of
America’s premier theaters. Visit www.artekearlymusic.org to learn more.

Director Gwendolyn Toth is one of only a few American conductors of historical performance ensembles and orchestras. She is the director
and founder of America’s virtuoso period instrument ensemble, ARTEK. Ms. Toth has also conducted at Sadler’s Wells Theater in London
with the Mark Morris Dance Group; the Skylight Theater in Milwaukee; Kaye Playhouse, Merkin Hall, and BAM in New York City, and
for the German Radio Broadcasting system. She is recognized as an outstanding performer on early keyboard instruments, performing
in early music festivals in Boston, Utrecht, Holland, and the Czech Republic, and on radio networks in Holland, Germany, France, and
America’s National Public Radio. Her discography includes a CD of Bach’s Goldberg Variations on the lautenwerk, and two solo organ CDs
of Renaissance and Baroque organ music on meantone organs in Holland. She is currently on the faculties of Manhattan College, Mont-
clair State University, and Mount Saint Vincent College. Ms. Toth invites fans to view her blog, www.artekearlymusic.blogspot.com, for
stories and videos about her life with music and ARTEK.

Praised for her “sparkle and humor, radiance and magnetism” and hailed for “a voice equally velvety up and down the registers,” soprano
Laura Heimes is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance to the 21st century. She has
collaborated with many of the leading figures in early music, including Andrew Lawrence King, Julianne Baird, The King’s Noyse, Paul
O’Dette, Chatham Baroque, Apollo’s Fire, Voices of Music, Brandywine Baroque, and Piffaro – The Renaissance Band, a group with whom
she has toured the United States. She has been heard at the Boston, Connecticut and Indianapolis Early Music Festivals, at the Oregon
and Philadelphia Bach Festivals, at the Carmel Bach Festival, and in Rio de Janeiro and Sao Paulo, Brazil in concerts of Bach and Handel.
With the Philadelphia Orchestra she appeared as Mrs. Nordstrom in Stephen Sondheim’s A Little Night Music. December 2003 marked
her Carnegie Hall debut in Handel’s Messiah with the Masterwork Chorus. Heimes’ most recent recordings include On The Just Treatment
of Licentious Men (modern art songs by Peter Flint), Cantatas Françoises (music of Jacquet de la Guerre and Clérambault), Handel Duets
and Trios; Oh! the Sweet Delights of Love, songs of Purcell with Brandywine Baroque; The Lass with the Delicate Air, English songs from the
London Pleasure Gardens; The Jane Austen Songbook with Julianne Baird; and Caldara’s Il Giuoco del Quadriglio with Julianne Baird and the
Queen’s Chamber Band conducted by Stephen Altop.

Michael Brown, tenor, has been a member of ARTEK since the 1992 production of Orfeo. He started musical life hearing classical
and show music on phonograph and radio. While receiving first music lessons from his father, he served as a chorister in Bethlehem, Penn-
sylvania. Inspired by the singing of Dietrich Fischer-Dieskau, he attended the Manhattan School of Music and Mannes College of Music.
He sang the American premeier of Peter Maxwell Davies’ The Lighthouse in Boston and has also sung with Connecticut Early Music Festival,
American Bach Soloists, and Glimmerglass Opera. Recent highlights include performances of Schubert’s Winterreise with Harvey Burgett
and the music of contemporaries Wendy Griffiths and Chris Berg. He and his wife, soprano Phyllis Clark, travel frequently to Japan to
teach ensemble singing. He teaches English as a Second Language at La Guardia Community College.

Bass-baritone Peter Becker has performed throughout the USA, Europe, Asia, and South America in repertoire ranging from medieval to
contemporary. Theater credits include performances with Canadian Opera Company, Macerata Festival, Teatro Opera di Roma, the New
York Shakespeare Festival, Glimmerglass Opera, the 21st Century Consort, and the Broadway show Band in Berlin. He has made guest
appearances with Tafelmusik, Smithsonian Chamber Players, Magnificat, the Newberry Consort, Folger Consort, Portland Baroque, and
Artek, and has performed at a number of festivals including Spoleto (Italy and USA), Caramoor, Ravinia, Aldeburgh, Utrecht, Hong Kong,
Ravenna, Jerusalem, Macao, Miyazaki, and Saratoga. As a member of the male vocal quintet Hudson Shad, Mr. Becker has performed
with such distinguished conductors as Kurt Masur (New York Philharmonic), Zubin Mehta (Los Angeles Philharmonic), Michael Tilson
Thomas (San Francisco Symphony), Charles Dutoit (Philadelphia Orchestra), Dennis Russell Davies (Austrian Radio Orchestra, and the
Bruckner Orchester Linz), Bruno Bartoletti (Orchestra Regionale Toscana), and Ingo Metzmacher (Orchestra Accademia Nazionale di
Santa Cecilia). His contemporary music credits include Tan Dun’s Marco Polo, Peter Maxwell Davies’ Eight Songs for a Mad King, Heinz
Karl Gruber’s Frankenstein, William Walton’s Façade, Stravinsky’s Renard, Oliver Knussen’s Where the Wild Things Are, Mark Kuss’ The Show,
and Kurt Weill’s Seven Deadly Sins.
Translations
Ganymed
Wie im Morgenglanze
Du rings mich anglühst,
Frühling, Geliebter!
Mit tausendfacher Liebeswonne
Sich an mein Herze drängt
Deiner ewigen Wärme
Heilig Gefühl,
Unendliche Schöne!
Daß ich dich fassen möcht’
In diesen Arm!
Ach, an deinem Busen
Lieg’ ich und schmachte,
Und deine Blumen, dein Gras
Drängen sich an mein Herz.
Du kühlst den brennenden
Durst meines Busens,
Lieblicher Morgenwind!
Ruft drein die Nachtigall
Liebend nach mir aus dem Nebeltal.
Ich komm’, ich komme!
Ach, wohin, wohin?
Hinauf! strebt’s, hinauf.
Es schweben die Wolken
Abwärts, die Wolken
Neigen sich der sehnenden Liebe.
Mir! Mir!
In euerm Schosse
Aufwärts!
Umfangend umfangen!
Aufwärts an deinen Busen,
Alliebender Vater!
Der Schiffer
Friedlich lieg’ ich hingegossen,
Lenke hin und her das Ruder,
Arme kühl im Licht des Mondes,
Träume süß im stillen Mute;
Gleiten laß ich auch den Kahn,
Schaue in die blanken Fluten,
Wo die Sterne lieblich schimmern,
Spiele wieder mit dem Ruder.
Säße doch das blonde Mägdlein
Vor mir auf dem Bänkchen ruhend,
Sänge schmachtend zarte Lieder.
Himmlisch wär’ mir dann zu Mute,
Ließ mich necken von dem Kinde,
Wieder tändelnd mit der Guten.
Friedlich lieg’ ich hingegossen,
Träume süß im stillen Mute,
Arme kühl im Licht des Mondes,
Führe hin und her das Ruder.
How in the morning radiance
you glow around me,
spring, beloved!
With the thousandfold joy of love,
my heart is enveloped
by the blissful sensastion
of your eternal warmth
oh infinite beauty!
That I might clasp you
in my arms!
Ah, on your bosom
I lie, languishing.
And your flowers, your grass
press upon my heart.
You cool the burning
thirst of my bosom,
lovely morning breeze!
While the nightingale calls
to me tenderly from the misty vale.
I come, I come!
Wither, ah, whither?
Upwards, upwards I am driven.
The clouds float
downwards; the clouds
bend down towards my yearning love.
To me! To me!
In your lap
upwards!
Embracing and embraced,
upwards to thy bosom
all-loving Father!
I lie stretched out peacefully,
Turn the rudder to and fro,
Breathe languidly in the moonlight,
And dream sweetly in a mood of stillness;
Then I let the boat drift,
Gaze into the shining waters
Where the stars shimmer gracefully,
And play with the rudder again.
If only the fair-haired maiden were sitting,
Resting on the bench in front of me,
I would sing gentle, soulful songs.
I would be in a state of heavenliness,
Letting the child tease me,
And flirting with the good girl.
I lie stretched out peacefully,
And dream sweetly in a mood of stillness,
Breathe languidly in the moonlight,
Turn the rudder to and fro.
Der Rattenfänger
Ich bin der wohlbekannte Sänger
Der vielgereiste Rattenfänger
Den diese altberühmte Stadt
Gewiss besonders nötig hat
Und wärens Ratten noch so viele
Und wären Wiesel mit im Spiele
Von allen säubere ich diesen Ort
Sie müssen alle mit mir fort.
Dann ist der gutgelaunte Sänger
Mitunter auch ein Kinderfänger
Der selbst die wildesten bezwingt
Wenn er die goldenen Märchen singt
Und wären Knaben noch so trutzig
Und wären Mädchen noch so stutzig
In meine Saiten greif ich ein
Sie müssen alle hinterdrein.
Dann ist der vielgewandte Sänger
Gelegentlich ein Mädchenfänger
In keinem Städtchen langt er an
Wo er`s nicht mancher angetan
Und wären Mädchen noch so öde
Und wären Weiber noch so spröde
Doch allen wird so liebesbang
Bei Zaubersaiten und Gesang.
An Schwager Kronos
Spute dich, Kronos!
Fort den rasselnden Trott!
Bergab gleitet der Weg;
Ekles Schwindeln zögert
Mir vor die Stirne dein Zaudern.
Frisch, holpert es gleich,
Über Stock und Steine den Trott
Rasch ins Leben hinein!
Nun schon wieder
Den eratmenden Schritt
Mühsam berghinauf.
Auf denn, nicht träge denn,
Strebend und hoffend hinan!
Weit, hoch, herrlich
Rings den Blick ins Leben hinein,
Vom Gebirg zum Gebirg
Schwebet der ewige Geist,
Ewigen Lebens ahndevoll.
Seitwärts des Überdachs Schatten
Zieht dich an
Und ein Frischung verheißender Blick
Auf der Schwelle des Mädchens da.
Labe dich! Mir auch, Mädchen,
Diesen schäumenden Trank,
Diesen frischen Gesundheitsblick!
I am the well-known singer
The well-travelled rat catcher
Of whom this famous old town
Is definitely in need
And if there are still as many rats
And if there are weasels in the game
Of everything I cleanse this place
They all have to leave with me.
Then the good-humoured singer
A children catcher among others
Who even forces the wildest
When he sings golden fairy tales
And if the lads are still so defiant
And if the girls are still suspicious
With my strings I intervene
They all have to come in behind me.
Then the much-wandered singer
Is occasionally a girl catcher
There is no small town
Where he’s not had a few
And if the girls are still so dull
And if the women are still so aloof
But all are afraid of love
In magic strings and song.
Make haste, Chronos!
Forward to the rattling lope!
Downhill glides the path;
Disgusting dizziness slowly
Seizes my mind at your dallying.
Quick, jolting equally,
Over sticks and stones - trot
Quickly into life!
Now, already again
The breathless stride goes
Tediously uphill.
Up then, not sluggish then,
Striving and hoping onwards!
Wide, tall, glorious
Is the panoramic view of life,
From mountain range to mountain range
Hovers the eternal spirit,
of eternal life.
Sideways the shadows of the overhead
roof pulls on you
And a gaze of warm freshness
From the maiden there on the threshold.
Refresh yourself! To me also, maiden,
This foaming drink,
This fresh view of health!
Ab denn, rascher hinab!
Sieh, die Sonne sinkt!
Eh sie sinkt, eh mich Greisen
Ergreift im Moore Nebelduft,
Entzahnte Kiefer schnattern
Und das schlotternde Gebein,
Trunknen vom letzten Strahl
Reiß mich, ein Feuermeer
Mir im schäumenden Aug,
Mich geblendeten Taumelnden
In der Hölle nächtliches Tor.
Töne, Schwager, in’s Horn,
Rassle den schallenden Trab,
Daß der Orkus vernehme: wir kommen,
Daß gleich an der Tür
Der Wirt uns freundlich empfange.
An Die Ferne Geliebte
Auf dem Hügel sitz ich spähend
Auf dem Hügel sitz ich spähend
In das blaue Nebelland,
Nach den fernen Triften sehend,
Wo ich dich, Geliebte, fand.
Weit bin ich von dir geschieden,
Trennend liegen Berg und Tal
Zwischen uns und unserm Frieden,
Unserm Glück und unsrer Qual.
Ach, den Blick kannst du nicht sehen,
Der zu dir so glühend eilt,
Und die Seufzer, sie verwehen
In dem Raume, der uns teilt.
Will denn nichts mehr zu dir dringen,
Nichts der Liebe Bote sein?
Singen will ich, Lieder singen,
Die dir klagen meine Pein!
Denn vor Liebesklang entweichet
Jeder Raum und jede Zeit,
Und ein liebend Herz erreichet
Was ein liebend Herz geweiht!
Down then, more quickly downwards!
See, the sun sinks!
Before it sinks, before I, an old man,
Am seized by a mist on the moor,
My toothless jaw chattering
And my shivering bones,
Drunk from the last ray
Tear me, a sea of fire
Foaming in my eye,
Blinded, staggering,
Through the nocturnal gate of Hell.
Sound, Coachman, your horn,
Rattle the clangorous trot,
That Orcus hears: we come,
That immediately at the door
The host can receive us kindly.
On the hill sit I, peering
into the blue, hazy land,
toward the far away pastures
where I you, beloved, found.
Far am I, from you, parted,
separating us are hill and valley
between us and our peace,
our happiness and our sorrow.
Ah! The look can you not see,
that to you so ardently rushes,
and the sighs, they blow away
in the space that separates us.
Will then nothing more be able to reach you,
nothing be messenger of love?
I will sing, sing songs,
that to you speak of my pain!
For before the sound of love escapes
every space and every time,
and a loving heart reaches,
what a loving heart has consecrated!
Wo die Berge so blau
Wo die Berge so blau
Aus dem nebligen Grau
Schauen herein,
Wo die Sonne verglüht,
Wo die Wolke umzieht,
Möchte ich sein!
Dort im ruhigen Tal
Schweigen Schmerzen und Qual.
Wo im Gestein
Still die Primel dort sinnt,
Weht so leise der Wind,
Möchte ich sein!
Hin zum sinnigen Wald
Drängt mich Liebesgewalt,
Innere Pein.
Ach, mich zög’s nicht von hier,
Könnt ich, Traute, bei dir
Ewiglich sein!
Leichte Segler in den Höhen
Leichte Segler in den Höhen,
Und du, Bächlein klein und schmal,
Könnt mein Liebchen ihr erspähen,
Grüßt sie mir viel tausendmal.
Seht ihr, Wolken, sie dann gehen
Sinnend in dem stillen Tal,
Laßt mein Bild vor ihr entstehen
In dem luft’gen Himmelssaal.
Wird sie an den Büschen stehen,
Die nun herbstlich falb und kahl.
Klagt ihr, wie mir ist geschehen,
Klagt ihr, Vöglein, meine Qual.
Stille Weste, bringt im Wehen
Hin zu meiner Herzenswahl
Meine Seufzer, die vergehen
Wie der Sonne letzter Strahl.
Flüstr’ ihr zu mein Liebesflehen,
Laß sie, Bächlein klein und schmal,
Treu in deinen Wogen sehen
Meine Tränen ohne Zahl!
Diese Wolken in den Höhen
Diese Wolken in den Höhen,
Dieser Vöglein muntrer Zug,
Werden dich, o Huldin, sehen.
Nehmt mich mit im leichten Flug!
Diese Weste werden spielen
Scherzend dir um Wang’ und Brust,
In den seidnen Locken wühlen.
Teilt ich mit euch diese Lust!
Hin zu dir von jenen Hügeln
Emsig dieses Bächlein eilt.
Wird ihr Bild sich in dir spiegeln,
Fließ zurück dann unverweilt!
Where the mountains so blue
out of the foggy gray
look down,
where the sun dies,
where the cloud encircles,
I wish I were there!
There is the restful valley
stilled are suffering and sorrow
where in the rock
quietly the primrose meditates,
blows so lightly the wind,
I wish I were there!
There to the thoughtful wood
the power of love pushes me,
inward sorrow,
ah! This moves me not from here,
could I, dear, by you
eternally be!
Light veils in the heights,
and you, little brook, small and narrow,
should my love spot you,
greet her, from me, many thousand times.
See you, clouds, she goes then,
meditating in the quiet valley,
let my image stand before her
in the airy heavenly hall.
If she near the bushes stands,
now that autumn is faded and leafless,
lament to her, what has happened to me,
lament to her, little birds, my suffering!
Quiet west, bring in the wind
to my heart’s chosen one
my sighs, that pass
as the last ray of the sun.
Whisper to her of my love’s imploring,
let her, little brook, small and narrow,
truly, in your waves see
my tears without number!
These clouds in the heights,
these birds gaily passing,
will see you, my beloved.
take me with you on your light flight!
These west winds will play
joking with you about your cheek and breast,
in the silky curls will dig.
I share with you this pleasure!
There to you from this hill
busily, the little brook hurries.
If your image is reflected in it,
flow back without delay!
Es kehret der Maien, es blühet die Au

Es kehret der Maien, es blühet die Au, May returns, the meadow blooms,
Die Lüfte, sie wehen so milde, so lau, the breezes they blow so softly, so mildly,
Geschwätzig die Bäche nun rinnen. chattering, the brooks now run.

Die Schwalbe, die kehret zum wirtlichen Dach, The swallow, that returns to her hospitable roof,
Sie baut sich so emsig ihr bräutlich Gemach, she builds, so busily, her bridal chamber,
Die Liebe soll wohnen da drinnen. love must dwell there.

Sie bringt sich geschäftig von kreuz und von quer She brings, so busily, from all directions,
Manch weicheres Stück zu dem Brautbett hieher,Manch wär- many soft pieces for the bridal bed,
mendes Stück für die Kleinen. many warm pieces for the little ones.

Nun wohnen die Gatten beisammen so treu, Now live the couple together so faithfully,
Was Winter geschieden, verband nun der Mai, what winter has separated is united by May,
Was liebet, das weiß er zu einen. what loves, that he knows how to unite.

Es kehret der Maien, es blühet die Au. May returns, the meadow blooms,
Die Lüfte, sie wehen so milde, so lau. the breezes, they blow so softly, so mildly,
Nur ich kann nicht ziehen von hinnen. only I cannot go away from here.

Wenn alles, was liebet, der Frühling vereint, When all that loves, the spring unites,
Nur unserer Liebe kein Frühling erscheint, only to our love no spring appears,
Und Tränen sind all ihr Gewinnen. and tears are our only consolation.

Nimm sie hin denn, diese Lieder

Nimm sie hin denn, diese Lieder, Take, then, these songs,
Die ich dir, Geliebte, sang, that I to you, beloved, sang,
Singe sie dann abends wieder sing them again in the evenings
Zu der Laute süßem Klang. to the sweet sounds of the lute!

Wenn das Dämmrungsrot dann zieht When the red twilight then moves
Nach dem stillen blauen See, toward the calm, blue lake,
Und sein letzter Strahl verglühet and the last ray dies
Hinter jener Bergeshöh; behind that hilltop;

Und du singst, was ich gesungen, and you sing, what I have sung,
Was mir aus der vollen Brust what I, from my full heart,
Ohne Kunstgepräng erklungen, artlessly have sounded,
Nur der Sehnsucht sich bewußt: only aware of its longings.

Dann vor diesen Liedern weichet For before these songs yields,
Was geschieden uns so weit, what separates us so far,
Und ein liebend Herz erreichet and a loving heart reaches
Was ein liebend Herz geweiht. for what a loving heart has consecrated.
Arianna a Naxos
Recitative
Teseo mio ben, dove sei? Dove sei tu?
Vicino d’averti mi parea,
ma un lusinghiero sogno fallace m’ingannò.
Già sorge in ciel la rosea Aurora,
e l’erbe e i fior colora Febo
uscendo dal mar col crine aurato.
Sposo, sposo adorato, dove guidasti il piè
Forse le fere ad inseguir
ti chiama il tuo nobile ardor.
Ah vieni, ah vieni, o caro,
ed offrirò più grata preda ai tuoi lacci.
Il cor d’Arianna amante, che t’adora costante,
stringi, stringi con nodo più tenace,
e più bella la face splenda del nostro amor.
Soffrir non posso d’esser da te divisa un sol istante.
Ah di vederti, o caro, già mi strugge il desio;
ti sospira il mio cor, vieni, vieni idol mio.
Aria
Dove sei, mio bel tesoro,
chi t’invola a questo cor?
Se non vieni, io già mi moro,
né resisto al mio dolor.
Se pietade avete, oh Dei,
secondate i voti miei,
a me torni il caro ben.
Dove sei? Teseo!
Recitativo
Ma, a chi parlo? Gli accenti Eco ripete sol.
Teseo non m’ode, Teseo non mi risponde,
e portano le voci e l’aure e l’onde.
Poco da me lontano esser egli dovria.
Salgasi quello che più d’ogni altro
s’alza alpestre scoglio; ivi lo scoprirò.
Che miro? Oh stelle, misera me,
quest’ è l’argivo legno!
Greci son quelli!
Teseo! Ei sulla prora!
Ah m’ingannassi almen ...
no, no, non m’inganno.
Ei fugge, ei qui mi lascia in abbandono.
Più speranza non v’è, tradita io sono.
Teseo, Teseo, m’ascolta, Teseo!
Ma oimè! vaneggio!
I flutti e il vento lo involano per
sempre agli occhi miei.
Ah siete ingiusti, o Dei,
se l’empio non punite! Ingrato!
Perchè ti trassi dalla morte
dunque tu dovevi tradirmi!
E le promesse, e i giuramenti tuoi?
Spergiuro, infido! hai cor di lasciarmi.
A chi mi volgo, da chi pietà sperar?
Già più non reggo,
il piè vacilla, e in così amaro istante
sento mancarmi in sen l’alma tremante.
Theseus, my love, where are you?
you seemed to be beside me,
but a sweet, false dream deceived me.
Now, the rosy dawn appears in the sky;
and Phoebus colors the grass and flowers
as he rises from the sea with golden rays.
Husband dearest, where are you?
Perhaps a wild animal chase
has called your noble and brave spirit?
Ah, come back, my dearest,
and I will offer you a sweeter prey for your snare.
The loving heart of Arianna, that adores you so faithfully,
binds you with tighter bonds
and the flame of our love shines more brightly.
I cannot bear to be parted from you for a single moment.
Ah, already I am seized with the desire to see you, dearest;
my heart sighs for you - oh come, my beloved idol.
Where are you, my handsome treasure,
who tore you away from my heart?
If you do not come, I will die.
I cannot bear this grief.
O God, if you have any pity,
hear my pleas,
return my beloved to me.
Where are you? Theseus!
But, to whom do I speak? The echoes alone repeat my words.
Theseus does not hear me, Theseus does not respond to me,
the wind and waves carry my voice away.
Not far from me are those cliffs.
I’ll climb that one that rises
higher than the others: there I my discover him.
What do I see? O stars, poor me,
That is the wooden ship from Argos,
those are the Greeks!
Theseus! There on the prow!
Ah, do I deceive myself?
no, it is no mistake!
He flees, and leaves me here abandoned.
There is no more hope, I am betrayed.
Theseus, hear me!
Alas, I am going crazy!
The wind and waves carry him away
before my very eyes.
Ah, you would be unjust, O gods,
if he remained unpunished! Ungrateful man!
Why did I snatch you from death,
only for you to betray me?
And your promises, your vows?
You faithless liar! You have the audacity to leave me!
To whom can I turn, to whom may I look for compassion?
No longer can I stand,
my knees tremble,and in this bitter moment
I feel my soul trembling within my breast.
Aria
A che morir vorrei in sì fatal momento, I should like to die at this dire moment.
ma al mio crudel tormento But my cruel torment
mi serba ingiusto il ciel. is unjustly ordained by heaven.
Misera abbandonata non ho chi mi consola. Miserable, abbandoned, I have no one to console me.
Chi tanto amai s’invola barbaro ed infedel. The one I loved so much has fled, cruel and unfaithful.

ARTEK concerts are made possible by funds from the New York State Council on the Arts, the New York City Department of Cultural
Affairs, and our many private donors:
Underwriters: ($5,000 and up) Supporters ($100-$249) Mary Jean Holland Friends ($1-$99) Delano Morgan
Stanley Epstein Juli Anil Deborah Kahan Rosemary Atkinson Barbara Plimack
James Guiher Carolyn Arvidson Kelvin Kean S. Ann Barasch Glenda Potter
Nizam Kettanah Martha Bixler L. Wilson Kidd Jr. Lynne Beltran Jean Prahl
William Bregman Polina Lieberman Patricia Blowers Margaret Richards
Angels ($1,000-$4,999) Charles Brown Alan Mallach Todd Breitbart Alison Ryley
Anonymous Margaret Brown Margaret Mautner Susan Brown Gail Sabelman
Anthony Elitcher & Andrea Taras Nevin Brown William Maxwell M. J. Cahill Michael Sarg, Jr.
Marina Galesi Barbara C. Bryan Jean McCarroll Elaine & Bret Charipper Anne Sawhill
Siran Grigorian Catharine Burt Deborah McIntosh Linda Cheek Margo Schab
Claire Lord Nancy Carr Juliet Miller Patricia Chernoff Ellen Schiff
Neal Plotkin Marie Carter Norvell Miller Robert Clere Edward Silberfarb
Patsy Rogers Deborah Guiher Chamblee Pamela Morton Catherine Conn Cynthia Simonoff
Sparkplug Foundation Yvonne Chang Robert Moss Rebekah Duggan Frankie Smith
Ian & Carol Clark Yochanan Muff Mirjam Farkas Carolyn Staley
Benefactors ($500-$999) Joan Clark Richard Nelson Frederick Fischer Karen Stamm
Elizabeth Bartlett Peter and Susan Collins Deborah Nicoll-Griffith Anne Garrigue Jane Standen
Dino Capone Daisy Corsini James Olander Barbara Gatje Frederick Thompson
Sarah Davies Doris Cramer Richard Pace Israel Glasser John Todras
Rev. William Fensterer Helen Craner Nancianne Parella Virginia Glover Judith Wands
Michael Flanagan Laura Goff Davis Robin Prescott Stanley Granat Jennifer Weigel
Sally Graudons William Maxwell Davis Marion Krista Ramirez Helen Greer Patsy & Blair Weille
William Meyers & Nahma Sandrow Alison Deem Donald Rehlaender Dorothy Haase Rose Anne Welch
Rodney & Barbara Myrvaagnes Marie DeFalco Regina Rheinstein Kent Hanson Barbara Wood
Amanda Pond Deutsche Bank Ellen Richard Daniel A. Harris Ann Yoke
Nancy Quaife Marilyn Driscoll Meg Rogers Marjorie Holden Edward W. Zimmerman
Paula Rand Annette Elvey Norma Rosen Diane Horan
Nancy Tooney Diana Erbsen Charles Andre Roy David Housel
Margarete Wellman Ellen Friedman Second Stage Theatre Sylvia Jayham
Gregory & Carol Fryer Irwin Shipper Bernard Katz
Patrons ($250-$499) Jane Furth James Swenberg Judith Klein
Ellen Asher Barry Geller Nancy Tepper Kees Kooper
Louise Basbas Yoram Gelman Charlotte Thorp Nannie Lawler
Catharine Burt Dolores Gillmore Evelyn Triantafillou Emmanuel Leemans
Christopher Collins Alan Goodheart LaVerne Weaver Herb Leibowitz
Elizabeth De Cuevas Elsie Gould Barbara Weeks Margaret MacDonald
Constance Ellis William Greer, Jr. Julie Wenzell Jean May
Gladys Foxe Robert Gunhouse Caroly Wilcox Julia McCants
Hans Gesell Estelle Haferling Clare Zierhut Mel Mendelssohn
Catharine B. Guiher Diana Haskell Martin Morell & Sandra Horowitz
Susan Hollinshead
David King
Arthur Lawrence & Bruce Gustafson
Frank Read
Evelyn Simon
Christine Souders
Christine Sperry
ARTEK
Gwendolyn Toth, Artistic Director
Francesca Galesi, Office Manager and Midtown Concerts Administrator
Board of Directors: William Fensterer, Gladys Foxe, Alan Goodheart, Estelle Haferling,
Neal Plotkin (treasurer), Nahma Sandrow, Gwendolyn Toth (chairman)
170 West 73rd Street, #3C, New York, NY 10023
Phone: 212-967-9157 Fax: 212-799-0690
Website: www.artekearlymusic.org E-mail: artekgwent@aol.com