tl

TABLE OF CONTENTS

Dlsc |
t

SYMPHONY NO. I in D Maior "Titan"

I. Langsam. Schleppend.Wie ein Naturlaut. Im Anfang sehr

gemdchlich

V',

;
l'

TMcKLlsrlNc

z
3
4

ll.
III.

Recorded

LE.NARD BERN'TETN coNDucrs cusrAv MAHLER

,\

-t-

byTim

Page

[!

rz

78:s8

IV

r5:06

Krdftig beweg, doch nicht zu schnell 8;rz

Feierlich und gemessen, ohne zu schleppen ro:r9
Stiirmisch bewegt - Energisch 18:55

ottober 4' t966' at Philharmonic Holl (now Avery Fisher Hall)' Lincoln center' NewYork

SYMPHONY NO. lO:. Adagio

Recoded

April 8,

1975,

citv

z6:26

at Columbia joth Strcet Studio, NwYotk City

MAHLER: HIS TIME HAS COME by Leonaril Bemstein zo

ili

r"

BERNSTEIN'S MAHLER: THE TlPPlNc POINT 3z

by

Erik Ryding

Dlsc 2

-.t

Ji.

TECHNICAL NOTE 38
by

An&eas K. Meyer

il
SUNG TEXTS 4Z

GUSTAV MAH LER REMEMBERED

I: Reminiscences by Mahler's Associates and by Musicians
who Played under His Baton 27:53
P^rt II: Includes Personal Recollections ofAnna Mahfer zo:oo

Part

WILLIAM MP'LLOCH,
(liginally

PRODUCTION CREDITS 6z

71:46

sp

aker

relerced t967, Sony Music Entettainment

SYMPHONY NO. 2 in C Minor ((Resurrection,,

I.

Dlsc 3
I
2
3

t\.tr^^

60:54

SYMPHONY NO. 2 in C Minor ((Resurrectiontt

II. Andante moderato rr.'jd
III. In ruhig fliessender Bewegang rc:04
IV "Urlicht". Sehr feierlich, aber schlicht 5;28

hont'd)

Text: Clemens Brentano (177t-1842) and Bettina von Arnim

(1785-1859) from Des Knaben Wundethorn

V ImTempo

des Scherzos.Wild herausfahrend jj:44

Text: Friedrich Gotdieb Klopstock (172+-1803),$th revisions by MatrJer

LEEVENORA, roplar,o
JENNIE TOUREL, ffiezzo-soprano
THE COLLEGIATE CHORALE
Recoded Septemher zg, 1963, at Manhattan Center,

Dlsc

Nwyork City

i3:,6

SYMPHONY NO.3 in D Minor

l. Kraftig y:t6

l-

lJl)L

Allegro maestoso 2jfij5

I
2
!

66:o5

SYMPHONY NO. 3 inD Minor

II. Tempo di Menuetto .ro;o5

III.

Comodo. Scherzando

(cont'd)

ry:54

IV Sehr langsam; Misterioso

8;48

Text, Friedrich Nietzsche (1844-1900)

from Zarathustra Mittemachtslied

Lustig im Tempo und keck im Ausdrrck

4:og

Text: Brentano and Arnim ftom Des Knaben Wunderhom

VI. Langsarn

z5:09

MARTHA LIPTON, mezzo-sopruno

WOMEN'S CHORUS OFTHE SCHOLA CANTORUM
(Hugh Ross, chorus master)
BOYS' CHOIR OF THE CHURCH OF THE TRANSFIGLIRATION
(Stuart Cardner, chorus master)
lltodcd Apil 3,

1961,

dt Manhattan Center;

NwYork City

Dlsc 6
I
2
3
I

Dlsc 8

54:46

77:40

((Tragic''

SYMPHONY NO.4 in G Maior

I. Bedachtig 16:47
ll. In gemachlicher Bewegung 9:or
III. Ruhevoll (Poco adagio) zo:28
IV Sehr behaglich a:32

I
2
!
a

Text: Brentano andArnim from Des KnabenWunderhorn

Rewded May 2 E 6,

SYMPHONY NO. 6 in A Minor

I. Allegro energico, ma non troppo
II. Scherzo.Wuchtig tz:zo
III. Andante moderato ,5:tj

IV

21:23

Finale.Allegro moderato -Allegro er,etgico

1967,

28:42

at Philharmonic Hall, NwYork City

RIRI GRIST, soprano

Rercded February

t,

Dlsc

1960,

at

St.

(korye Hotel, NwYork City

Dlsc 9
6e:,6

SYMPHONY NO.7 in E Minor

SYMPHONY NO.5 in C-Sharp Minor

Part

2
4

lI.
Part II: III.
Part III: IV

I:

Trauermarsch. In gemessenem Schritt. Streng.

'Wie

ein Kondukt lz:28

Stiirmisch bewegt. Mit grcissterVehemenz t4: t8
Scherzo. Krdftig, nicht zu schnelJ. ry:3g
Adagietto. Sehr langsam r-r:oz

Rondo

7s:2s

Finale.Allegro

RecordedJanuary 7, r96j, at Philhamonic Holl, NruYork City

13:s1

I
r
t
a
I

I.
II.
III.
IV

Langsam

(Adagio)

20:42

Nachtmusik l.Allegro moderato r6t8

Scherzo. Schattenhaft 9:32
Nachtmusik Il.Andante amoroso r4:jfjf
V. Rondo - Finale.Tempo I (Allegro ordinario)

RAYMOND SABINSKY. manilolin

Recorded December 14, 1965,

at Philhamonic Hall, NwYofu City

17:55

Dlsc l0

Dlsc ll

7e:06

(Symphony
SYMPHONY NO. 8 in E-flat Malor
of a'ltousand"
I. Teil. Hymnus:Veni, creator spiritus z4;oz
Hymn attrib. Hrabamus Maurus, Archbishop of Mainz, 9th century

II.

Teil. SchluBszene

a:us

Faust

55:04

Text' Johann Wolfgang von Goethe Falrst

Una Poenitentiun; GWYNETH JONES, soprano

Mater Cloriosa : GWYNETH ANNEAR, mez zo-soprano

bass

HANS VOLLENWEIDER, organ

LEEDS FESTIVAL CHORUS

LONDON SYMPHONY ORCHESTRA CHORUS (Donald Hunt,

chorus master)

FINCHLEY CHILDR-EN'S MUSIC GROUP (lohnAndrews, music ilirector)

HIGHGATE SCHOOL BOYS CHOIR (Edward Chapman, musical ilirecto)

ORPINGTONJUNIOR SINGERS (Sheila Mossman,

LONDON SYMPHONY ORCHESTRA
Recorded

April

I
2
I
I
5
6

chorus master)

o
z
o

63:'o

IV. Von der Schcinheit 7:29

V DerTiunkene im Friihling

8:28

4:05

3o;o9

CHRISTA LUDWIG, mez zo- sopraflo

RENE KOLLO, tenol

t8-2o, 1966, at Wohhamstow Assembly Hall, bndon, England

ISRAEL PHILHARMONIC ORCHESTRA

Recorded

May

18,

T'

Hal\ NwYork City

I. DastinkliedvomJammer derErde
II. Der Einsame im Herbst roro5
III. Von derJugend z:54
VI. DerAbschied

v<
=<
'pO
ux
I

Text' Hans Bethge (1876-1946)

VLADIMIR RUZDJAK, baitone

Pater Profundus: DONALD MCINTYR-E,

Ldndlers $:49

Das Lied von der Erde

Doctor Marianusj JOHN MITCHINSON, renor

Pater Eataticus:

I. Andante comodo 28:12

II. ImTempo eines gemlchlichen
III. Rondo. Burleske rz;zd
IV Adagio. Sehr langsam zz;59

Dlsc 12

Mulier Samaritarza; ANNA REYNOLDS, tnezzo-soprano

Maria Aegyptiau: NORMA PROCTER, mezzo-soprano

':'

SYMPHONY NO.9 in D Maior

I
2
3
4

Rearded December t6, t965, at Philhamoric

Magna Peceatrix; ERNA SPOOR-ENBERG, soprano

rzm

7s:31

20, 23, 1972, at Frederick Mann

Auditoium,Til Avi4 lvael

,i{!r

HOV HANDSOME lT VAS - this weighty, leather-bound set of

bERN

CONDUCTS

gH
BY

TIM

PACE

13 LPs

displayed proudly above the counter in record stores throughout the world!

itwas the late 1950s, and Leonard Bernstein had finished the first integral
cycte of the nine compteted symphonies of Gustav Mahter. This was not only

a landmark in recording history

but enormousty influential throughout the

musicat world, for Bernstein's inspired advocacy had finatty ptaced Mahler's

works squarety into the standard repertory.

Few coutd have foreseen the day when Mahter woutd become a genuinely poputar compos-

er. For many years, he had been the subject

ofa passionate cu[t, long championed

by such

musicians as Bruno \00atter and Dimitri Mitropoulos and a vocal group of partisans, but

to

the general public he was little more than a not-terribty-welcome curiosity. Then Bernstein
arrived on the scene, programming Mahter's vast symphonies in New York and etsewhere,

not iust once but again and again, all the white writing informed, passionate articles in magazines such as High

Fidelil, which published

his best-known essay on the subiect, "Mahter:

conducting and composing. Both men were omnivorous intettectuats; both were of lewish
extraction in predominantty Christian communities; both were subject to tremendous mood
swings that coutd be a[[ but incapacitating. Most imPortant, though, is the fact that both

Bernstein and Mahter distilted their joys and sufferings into art, the proof of which may be

found in this set.

Bernstein and Mahler even had the same ensemble in common (although, in Mahter's day,

the New York Philharmonic was called the Phitharmonic Society of New York). From 1909

His Time Has Come."

to l9ll, Mahler was the orchestra's conductor; Bernstein took the same position roughty
Mahler's time had come, indeed. Upon reflection, this was one of the most successful
revivats

ofthe 20th century. Bernstein

was the perfect exponent, for his deep afflnity for

Mahler's music was obvious to anyone. He did not stress Mahler's ctassicism (as had
George Szetl) nor did he emphasize any tidy spiritual connection to "old Venna" in the
manner of Bruno Watter. Rather, Bernstein presented Mahler as Modernist
cal and anxiety-ridden

barbed, ironi-

and the symphonies as nothing less than catactysmic meditations on

life and meaning. (lt is not insignificant that the great Mahler boom took place in the agitated, tossed-up 1960s.)

There can be no doubt that Bernstein empathized with Mahler on a profoundty personal
[eve[. Both were compticated men, their musical ambitions forever conflicted between

hatf a century later. White a[[ the musicians who had ptayed under Mahler had left the

orchestra by the time of Bernstein's arrivat, some retirees were stitl living and availabte for

of

interviews and, indeed, many then-active players had known musicians who had been part

Mahter's orchestra. Bernstein made scholarly use ofsuch connections. Moreover, he struck
up a friendship with Mahter's widow, A[ma Mahler. This fascinating muse of great men (her

later husbands included novetist Franz \(erfeI and architect \Uatter Cropius) was touched
and gratefuI for Bernstein's championship and was happy

to offer personaI reminiscences

and observations.

"l

have been goingthrough such experiencesthat I can hardlydiscussthem. Howshoutd

attempt to describe such

a cotossal crisis? | see everything in such a new

tight and I am in

such continuous fluctuation. I am thirstier than ever for life and I flnd the habit of living

sweeter than ever." As it happens, it was Mahler who wrote these words (while in the midst

of finishing his Symphony No. 9) but it might

as

wetl have been Bernstein.

The performances wi[[ Likely be familiar to many cotlectors,

as

they have been availabte

without interruption for more than three decades, a distinction in itself. Naming hightights
would be rather akin to setecting "favorite" figures in Michelangeto's
Suffice it to say that att ofthese works have their wonders

Last

ludgment.

from the transparent orchestra-

tion, virite stren$h and terrific tunes of the first symphony through the gentte, atmost childtike quatity

ofthe fourth through the ioyfut,

massive exuberance

ofthe eighth. lt

has

been suggested that this last symphony is perhaps a tittte excessive. But so is ecstasy
which is

often

the abiding emotional state of this cosmic extravaganza. Don't look for any of the

various "completed" versions of the Symphony No. l0 that Mahter left unfinished at his
death in

l9ll. Bernstein deemed the fragmentary later movements "unworthy of inclusion

in

the Mahter corpus" and wou[d conduct on[y the sublime opening Adagio.

In

their time these recordings, the first unified set of the Mahler symphonies ever made,

changed a lot of lives. And so it is good to know that Bernstein's Passionate, subiective'
intensely fett and attogether inimitable Mahler has been made availabte once more, at the

turn of a new century, so that it may continue to exatt and shatter us'
t6

Has come? Had come, rather; was there atl along, even as each bar of each symphony was

being penned in that speciat psychic ftuid of his. lf ever there was a composer of his time

it

was Mahler, prophetic onty in the sense that he already knew what the wortd woutd come

to

know and admit hatf a century later.

Basicatty, of course, all

of Mahter's music

is

about Mahler

- which means

simpty that

it

is

about conflict. Think of it: Mahler the Creator vs. Mahter the Performer; the lew vs. the
Christian; the Betievervs. the Doubter; the Naifvs. the Sophisticate; the provincial
Bohemian vs. the Viennese homme du monde,'the Faustian Philosopher vs. the Oriental
Mystic; the Operatic Symphonist who never wrote an oPera. But mainty the battte rages
between Vestem Man at the turn of the century and the life of the spirit. Out of this

opposition proceeds the endless list of antitheses

lnhabit Mahler's

music.

- the whole

roster ofYang and Vn

- that

BY LEONARD BERNSTEIN
Vhat was this dupte vision of Mahter's? A vision of his world, crumbling in comtption
beneath its smug surface, fulsome, hypocritical, ProsPerous, sure of its tenestriat
lmmortatity, yet bereft of its faith in spiritual immortality. The music is atmost cruel in its
revelations: it is tike a camera that has caught Westem society in the moment of its inciPient
decay. But

to Mahter's own audience none ofthis

was apparent: they refused (or were

unable) to see themsetves minored in these grotesque symphonies. They heard only exag,21

geration, extravagance, bombast, obsessive len$h

faiting to recognize these symptoms of

This dual vision

of Mahter's, which tore him apart atl his tife,

is

the vision we have finalty

their own decline and fatt. They heard what seemed like the history of German-Austrian

come to perceive in his music. This is what Mahter meant when he said, "My time will

music, recapitulated in ironic or distorted terms

come." lt

They heard endtess, brutat, maniacal marches

but faited to see the imperial insignia, the

and they called it shameful eclecticism.

is onty after

fifty, sixty, seventy years of wortd holocausts, of the simuttaneous

advance of democracy with our increasing inability

to stop making war, of the simultaneous

Swastika (make your own [ist) on the uniforms of the marchers. They heard mighty

magnification of nationaI pieties with the intensification of our active resistance to sociat

Chorales, overwhelming brass hymns

equatity

but fail.ed to see them tottering at an abyss of tonal

deterioration. They heard extended, romantic tove songs

these Lr'ebestrar-r *_"r"

nltn*ares,

but faited to understand that

as were those mad degenerate LEndler,

only after we have experienced all this through the smoking ovens of Auschwitz,

the frantically bombed jungtes ofVetnam, through Hungar|, Suez, the

Bay

of Pigs, the

farce-trial of Sinyavs\ and Daniel, the refueling of the Nazi machine, the murder in Datlas,
the arrogance of South Africa, the Hiss-Chambers travesty, the Trotz\ite purges, Black

But what makes the heartbreaking dupticity

is

that atl these anxiety-ridden images were set

Power, Red Guards, the Arab encirclement of lsrael, the plague of McCarthyism, the
only after atl this can we ffnatty listen to Mahler's music and

up atongside images of the life of the spirit, Mahler's anima, which surrounds, permeates,

Tweedledum armament race

and floodtights these cruel pictures with the tantalizing radiance of how tife coul.d be. The

understand that it foretol.d atl. And that in the foretetling it showered a rain of beauty on

intense longing for serenity is inevitabty coupled with the sinister doubt that it can be

this world that has not been equated since.

achieved. Obversely, the innate viotence

ofthe music, the excesses ofsentiment, the arroto understand the dualistic energy-source of

gance of estabtishment, the vulgarity of power-postures, the disturbing rumbte of status-

Now that the wortd of music has begun

non-quo are atl the more agonizing for being linked with memories of innocence, with the

Mahler's music, the very key to its meaning, it

aching nostalgia ofyouthful dreams, with aspirations towards the Empyrean, nobte procla-

strictly Wagnerian terms. For the doubleness of the music

mations of redemption, or with the bittersweet tease of some Nirvana or other, just barety

Mahter was split right down the middte, with the curious result that whatever quatity is per-

out of reach. lt

ceptibte and definabte in his music, the diametricatly opposite guality

is

thus a conflict between an intense love of tife and a disgust with [ife,

between a fierce tonging for Himmel and the fear of death.

.22

is easier

to understand this phenomenon in

is

the doubteness of the man.

other composer can this be said? Can we think of Beethoven

as

is equally so.

Of what

both roughhewn and

epicene? ls Debussy both subtte and blatant? Mozart both refined and raw? Stravinsky both

Bach, he was in the same rocky boat. To recapitulate the [ine, bring it to a ctimax, show

obiective and maudtin? Unthinkabte. But Mahler, uniquely,

atl in one, soldered and smelted together by his own fires

is a[[

of these

roughhewn and

epicene, subtle and btatant, refined, raw, obiective, maudlin, brash, shy, grandiose, self.

it

this was a function assigned him

by history and destiny, a function that meant years of ridicute, reiection, and bitterness.

annihitating, confident, insecure, adiective, opposite, adiective, opposite.

But he had no choice, compulsive manic creature that he was. He took a[[ (att!) the basic
The first spontaneous image that springs to my mind at the mention of the word "Mahter" is

of

a colossus

straddtingthe magic dateline "1900." There he stands, his leftfoot (ctoserto

elements of German music includingthe ctichds, and drove them to their ultimate limits.
He turned rests into shuddering sitences; upbeats into volcanic preparations for a death

the heart!) firmly ptanted in the rich, beloved nineteenth century, and his right, rather less

blow. Luftpausen became gasps of shock or terrified suspense; accents grew into titanic

firmly, seeking solid ground in the twentieth. Some

stresses

say he never found this

foothold; others

(and I agree with them) insist that twentieth-century music coutd not exist as we know it

that right foot had not landed there with a commanding thud. Whichever assessment

if

is

to be achieved by every conceivabte means, both sonic and tonic. Ritardandi were

stretched into near-motiontessness; accelerandibecame tornadoes; dynamics were refined

and exaggerated

to a point ofneurasthenic sensibitity. Mahler's marches are like heart

right, the image remains: he straddted. Atongwith Strauss, Sibelius, and yes, Schoenberg,

attacks, his chorales like atl Christendom gone mad, The otd conventional four-bar phrases

Mahter sang the last rueful songs of nineteenth-century romanticism. But Strauss's extra-

are detineated in steel; his most traditional cadences bless like the moment of remission

ordinary gifts went the route of a not very subiective virtuosity; Sibetius and Schoenberg

from pain. Mahler

is Cerman music

multiplied by n.

found their own extremely different but personal routes into the new century. Mahter was

left straddling; his destiny was to sum up, package, and

lay

to ultimate rest the fantastic

treasure that was German-Austrian music from Bach to Wagner.

The result of a[[ this exaggeration is, of course, that neurotic intensity which for so many
years was rejected as unendurable, and in which we now find oursetves mirrored. And there
are concomitant results: an irony atmost

too bitter to comprehend; excesses of sentimen-

It was a terribte and dangerous heritage. Whether he saw himsetf as the last symphonist in

tal.ity that stil.t make some listeners wince; moments of utter despair of not being abte

the long line staAed by Mozart, or the last Heilige Deukche Kdjnstler in the line started by

drive atl this material even further, into some kind of paramusic that might at last cteanse us.

to

But we are cleansed, when a][ is said and done; no person of sensibility can come away from

influenced many

the Ninth Symphony without being exhausted and purified. And that

to Beethoven

of

atl.

this purgatory, iustifring

atl. excesses:

is the

triumphant result

twentieth-century composer

are neverthetess uttimatety traceabte back

and Vagner.

we do uttimately encounter an apocatyptic radi-

ance, a glimmer of what peace must be [ike.

think that this is probabty why I doubt that I shalt ever come to terms with the so-catted

Tenth Symphony. I have never been convinced ofthose rhythmic exPeriments in the Schezo,
So much for the left fioot: what

ofthe right, tentatively scratching

at the new soil

ofthe

of the flirtation with atonatity. I often wonder what woutd have happened had Mahter not

the current

twentieth century, testing it for solidity, feAil.ity, roots? Yes, it was found fertile; there were

died so young. woutd he have finished that Tenth symphony, more or less

roots there, but they had sprung from the other side. Al[ of Mahler's testing, experiments,

,,versions"

incursions were made in terms of the past. His breaking-up of rhphms, his post-V/agnerian

go overthe hitl and encamp with schoenberg? lt is one of the more fascinating /fs of history.

stretching oftonatity to its very snapping point (but not beyond

Somehow I think he was unable to live through that crisis, because there was no sotution for

it!),

his probings into a new

thinness oftexture, into bare linear motion, into transparent chamber-music-like orchestral
manipulation

a[[ these adumbrated what was

to become twentieth-century common prac-

tice; but they all emanated from those nineteenth-century notes he loved so we[[. Similarly,
in his straining after new forms
phony

- a two-movement

(#3), symphonies with voices, not only

symphony

in the Finales

have it? woutd he have scrapped it? \uere there signs there that he was about

to

him; he had to die with that symphony unfinished. After a[[, a man's destiny is nothing more
or tess than precisety what happened to him in life. Mahter's destiny was to complete the
great German symphonic line and then depart, without it being gnnted him to start a new

a six-movement sym-

one. This may be ctear to us now; but for Mahler, white he lived, his destiny was anything but

(#3, #8, Das Lied), move-

ctear. In his own mind he was at least as much paa of the new century as of the otd. He was a

(#8),

ments which are intertudes, interruptions, movements deliberately matformed through arbitrary abridgment or obsessive repetition or fragmentation

as

tormented, divided man, with his eyes on the future and his heart in the past.

- all these attempts at new formal

structures abide in the shadow of Beethoven's Ninth, the last Sonatas and String Quartets.

But his destiny did permit him to bestow much beauty, and to occupy a unique place in

Even the angutar melodic motions, the unexpected intervats, the infinitely wide skips, the

musicat history. ln this position of Amen-sayer to symphonic music, through exaggeration

search for "endtess" melody, the harmonic ambiguities

and distortion, through squeezingthe last drops of iuice out ofthat glorious fruit, through

.26.

atl of which have deeply

his desperate and insistent redxamination and revatuation

ofhis materiats, through pushing

tonal music to its uttermost boundaries, Mahler was granted the honor of having the last
word, uttering the final sigh, letting fatl the last living tear, saying the finat good-bye. To
what? To life as he knew it and wanted

redemption; but atso to music

to remember it, to unspoiled nature, to faith in

as he knew

tonat beauty, to faith in its future

it and remembered it, to the unspoited nature

of

good-bye to a[[ that. The last C maior chord of Das Lied

von der Erdewas for him the last resotution of atl Faustian history. For him?
6 AMBERSON HOLDINGS LLC. 7967.

Reprinted by permksion ofThe bonard Bernstein Ofice, lnc.

Almost everyone knows Milton Glaser's iconic 1967 poster of Bob Dylan
ette against

a black sithou-

white background, with multicolored psychedetic swirts representing his witd

mane. And some might remember a simitar portrait that Claser created in the same year.
was for

lt

the cover of High Fidelity magazine, and the musician portrayed was an up-and-

coming superstar: Custav Mahl.er.

qfiRHIE[I,N5

True, Mahter was long dead by then, but his stardom had just begun, heratded by a deluxe
record set of his nine symphonies, the first of its kind. The conductor was Leonard
Bernstein, who wrote his famous essay "Mahter: His Time Has Come" for that issue of

Hih

Fidelityto coincide with the [andmark re[ease.

The orchestra, for atl but the monumental Eighth Symphony (performed by the London

POINT
BY ERIK RYDINC

Symphony Orchestra and Chorus), was the New York Phitharmonic. And what coutd be

more appropriate? Mahter's last orchestra, after at[, was the Philharmonic. In fact, Mahter's
direct association with New York's premier orchestra goes back

to 1908, when he conduct-

ed the United States premiere of his Second Symphony at Carnegie Hat[ with the New York
Symphony Society

then the Phitharmonic's rival, though the two orchestras would merge

In 1928. The fottowing two seasons, he frequentty returned

to Carnegie

as

the

Phitharmonic's music director, and in the lastyears of his brief life (he died in May 19ll), ne
woutd lead the players in his First and Fourth symphonies,

as

wetl

as

inhis KindertotenLieder.

Despite a number of influential critics who, over the decades, savaged Mahler's music, the

Bernstein identified with Mahler, and he absorbed the interpretations of his older co[-

Philharmonic continued to put his works before the pubtic, often guided by conductors who

teagues white developing his own take on the ceuvre

had known Mahter personatty and performed his symphonies with missionary zeal. The emi-

ty competting. In 1958, he became

nent Dutch conductor Wiltem Mengelberg

his music

- a friend of Mahter's

and

tireless champion

of

gave a groundbreaking Mahler cycle in Amsterdam in 1920 and made a con-

scious effort to bring the composer's music

to New

Yorkers in the 1920s. Bruno Walter,

Mahter's former assistant and one of his ctosest friends, continued to champion Mahler

fresh, vibrant, extravagant, and utter-

the music director of the New York Philharmonic, and

the fotlowing season, to cetebrate the centenary of Mahter's birth and the fiftieth anniversary

of his appointment

as

the Philharmonic's music director, Bemstein oversaw a Mahler

festivat in which he and Mitropoutos shared the bul.k of the conducting duties, with Walter

coming in at the end for Das Lied von der Erde,

work he had premiered in l9ll.

with the New York Philharmonic duringthe 1930s, the same decade in which the composer's music disappeared from the German and Austrian repertoire, as the Nazi plague

Bemstein and the Phitharmonic immediatety began recordingthe symphonies, preserving inter-

spread and music by lewish composers was banned. And it was with \(/alter that the

pretations that woutd mark the tipping point in the recePtion of Mahter's works. For the first

Philharmonic would make the wortd premiere recording of Mahler's mighty Fifth Symphony

time, the nine symphonies would be presented together, in stereophonic splendor, ptayed

in 1947

a whopping

forty-three years after its first performance.

with

as much passion as Mahter had poured into

them. Even symphonies setdom heard or

downright unpopular shone now in refutgent gtory. I stitt remember the revetation of hearing
By

the 1940s, the fiery Greek conductor Dimitri Mitropoulos had ioined the ranks of devout

the Seventh Symphony on this set. lt was

a work I

thought l'd never realty like - too ponderoug

but from the oPening measure to the last of Lenny's

Mahterians. And in that decade, the careers of Watter, Mitropoutos, and Leonard Bernstein

and disconnected, as it then seemed

became closely intertwined, startingwith a day in November 1943 when Watter fe[[ it] and

dazzling interpretation, I was spetlbound. "Oh," I thought, "thaf's how it's suPPosed to sound

Bemstein, his young assistant, had to take over a nationatty broadcast concert without

when Mahler's

rehearsing the orchestra. The most tatented musician of his generation, he became an

After many batttes, the war had clearty been won. Surely not

ovemight sensation.

music isn't performed somewhere, and hardty a month Passes when a maior orchestra

doesn't play one of his symphonies. Mahler's time is now.

a day goes by

TECHNICAL NOTE
It is a rare opportunity when one gets to produce and engineer a complete historical cycte
such as the Leonard Bernstein ,/ Mahter Symphony Cotumbia recordings. The significance

of

this reissue allowed me to utilize every tool at my disposat: the best source and the latest
audio technotogy. Archivists Anthony Fountain and Michael Kelty were invatuable in assisting
retrieval of the original edited master tapes from the vault. At[ titles came in their original

multi-track format. The importance of this

issues

is

that final processes often used in previous

that compensated for technological "problems" did not hinder me. What you are

hearing in this release

is

truer to the recording sessions than any previous release. These

tapes were mixed on a one-of-a-kind, state-of-the-art analog mixing board, purposely bui[t

for such a proiect, then recorded into the Sonoma DSD digital audio workstation. This
altowed for maximum fldelity while working in the digital domain during the assembly
process. The final master for this CD was produced using Sony's SBM Direct technology in
order to retain audiophite qual.ity. I thank Sony Masterworks for their dedication to the music
and wish the listener as much enjoyment from these recordings as they have provided for me.
_ANDR-EAS K. MEYER

Meyer Media

LLC

SYMPHONY NO.2
Movement lV: Url,icht

SYMPHONY NO.2
Movement lV: Primeval, Light

O Riischen rot!
Der Mensch liest in erii8ter Not!
Der Mensch lieEt in Er68ter Pein!
Ie lieber miicht'ich iir Himmel sein!

Oh. red rose!

Mankind lies in direst need.
Mankind lies in deepest pain.
Would that I were ii vour heaven!

Da kam ich auf einen breiten Wes:

Da kam ein Engelein und wollC 6ich abweisen.

I found myself upon. b.rd p.th,

And came'upon'an angel wh6 would banish me.

Ach nein! Ich lies mich nicht abweisen!

Ich bin von Gott und will wieder zu Gott!

But no, I would not eo awav!

From God I cme: to"God 'i'ill rerurn.

Der liebe Gott wird mir ein Lichtchen eeben,

Wird leuchten mir bis in das ewig seligleben!

My beloved God will shed a litde lieht for me

fuid illuminate my way throughoutihe everlasting,
blesed liG!

Was enranden ist,

Das muss vergehen!
Was vergangei, aufersteh'n!

All that once

Hiii aufzu

Forset thv trembline!

Preiare thrself for life!

beben!

Bereite dich zu leben!

has lived
Must now also oerish!
And what is losi, must rise again!

Dir bin ich entrunsenl

O Tod! Du Allbea[ineer!
Nun bist du bezwungEn!

Ah pain, thou that piercest everything!

Froir thbe have I bien olucked.
Ah death, conqueror ofall,
Now art thou tonouered!

Mit Fliiseln. die ich mir errunsen

In heiss6m Liebestreben.
Werd'ich enbchweben
Zum Licht, zu dem kein Aug gedrungen!

With winm th.t I h.u.

In the smr--eele of love "r.n.d
I shall flv u"p"war,cls
To the lighi no eye has reached!

Mit Fliieeln. die ich mir errunqen

With winps that I have earned

In the smr--ssle of love
I shall llv uiwards
And in iiyiig shall I live!

Schmerz! Du Alldurchdrineer!

In heissim Liebesstreben.

SYMPHONY NO.2
Movement V: lm Tempo des Seherzos

SYMPHONY NO.2
Movement V: In Scherzo Tempo

Verd'ich enschweben

Aufersteh'n, ja aufenteh'n wint du,

Mein Staub.-nach kuzer Ruh!
Unsterblich Leben! Unsterblich Leben.
Wid Der dich rief dir geben.

Thou.shdt rise.aqd{r, verily, rise rgrin,

This dust. after biiefreposi!
Undyine life! Undvine life
WillHe-who cdleil th"ee srant thee.

Aufenteh'n, ia aufenteh'n
Wint du, m6in Herz, in einem Nu!
Was du geschlaqen
Zu Gott-wird eI dich tragen!

again, verily, rise again.

I nou mv nean. m an lturanu
And whit thou hast strueeled for
Shall carru vou to God!

Wieder aufzubliihn wint du eeslt!

Der Herr der Ernte geht

Thou shalt bloom

SYMPHONY NO.3, Movement lV

SYMPHONY NO.3, Movement lV

Tixt bv Friedith Nietzvhe,

ftom Ako sprach Zarathustra

fron Ako spnch

.*ln.,iout

The Lord of the Haivesi goes

And gathen the sheaves For ui. who have died.

Und sammelt Garbei

Uns ein, die sarben!

O qlaube, mein Herz, O elaube,

Es Eeht dir nichs verlorei!

My heart, believe it. beliwe

Nothine is lost with thee.

Dein ist, was du gesehnt!

Dein. wu du seliebt,
Was du gesnitlen!

Vhat tfi'ou hast

Ah, believe
Thou wert not in vain born.
Thou hast not in vain lived.'

desircd is thine.
Thine, what thou hast loved,
What thou hxt stmggled for.

elaube.

Du"wardsi nicht umsonst qeboren!

Hast nicht umsonst gelebtl
(Jelltten!

Not in vain anguished!

42.

Sterben werd'ich. um zu leben!

Thou shalt rise

Text by Fiedrich Nietzsche,

Zarathustra

O man! Take heed!

What does the deep midnight say?

O Mensch! Gib Acht!

Was soricht die tiefe Mitternacht?

Aus tiefem Tiaum bin ich erwacht!

DieWelt ist tief!
Und tiefer als derThg gedacht!

xleeo.
From deed dream I have awakened!
The worlil is deeo!
And deeper thanihe day had thought!

O Mensch! O Mensch!
Tie{, tie[, tief ist ihr Weh!
Lust. tiefer noch als Herzeleid!
Weh sprichtVergehl

O man! O man!
Deep. deep is is woe!
Tov ileepei still than heartache!
woe ciles: ole!

Ich sc}liefl

.43.

Doch alle Lust will Ewickeit!

Will tiefe, tiefe Ewigkeit'l

But all iov seels eterniw!

SYMPHONY NO. 3. Movement V

SYMPHONY NO. 3. Movement V

Text from Des Knaben Wunderhorn

Seels detlp, deep eternity!

Text ftom Des Knaben Wunderhorn

Bimm, bamm, bimm, bamm.

ning, aong, ding, dong.

Es sungen drei Eneel einen sii8en Gesans:

Mit.FrEuden e-s sefg_in de-m Himmel kla-ng,

Three angels sang a sweet sonq:

In blisfuljoy it 6unded throrigh Heaven,
They shodted iovfullv the while
That Peter wai 6ee <ifsin.

Und

als der HerrJesus zuTische sa8,

seinen zw6lfJiingern das Abendinahl aB,
Da sprach der Heir IEsus:Wu stehst du denn hier?
Wenir ich dich anseh'. so weinest du mir!

And when the Lord Jesus sat at table

And ate supper with-his twelve discioles.
Lore Iesus iioke: what doest thou hdre?
As I beholdthee, thou weepest!

Und sollt'ich nicht weinen, du giitiger Gou?

Ich hab'iibertreten die zehn Gebot.
Ich gehe und weine ia bitterlich.
Achlomm und erbaime dich iiber mich!

And should I not weeo. thou mercilirl God?

I have broken the Tentommandmens.
I go mv wav with bitter tears.
Ah, come, ahd have mercv on me!

Siejauchzten &tjhliih auch dabei,

DaB Petrus sei von Siinden frei.

Mit

Du

sollst

ja nicht weinen!

Hast du denn iibertreten die zehen Gebot.

So fall aufdie Knie und bete zu Gon!
Liebe nur Gott in alle Zeit!
So wint du erlangen die himmlische Freud'.

Die himmlische Freud'ist eine selise Stadt:

Die himmlische Freud', die kein Etde mehr hat,
Die himmlische Freude war Petro bereitt.

Thou shalt not weep!

If thou

hast bmken the Ten Commandmeng.

Fall on thy knees and Drav to God!

Love onlv God in eteririti!

So shdt fhou know heavdnly joy.

DurchJesum und allen zur Seligkeit.

Heavenlv iov is a haoov ciw:

Heavenlv joi knowdri6 end.
Heavenli lov wx sranted bv Tesus
To Petef ai'rd us foi our eterh"al felicity.

Bimm, bamm, bimm, bamm.

Ding, dong, ding, dong.

SYMPHONY NO.4
Movement lV: Das himmlische Leben
Ti:xt fron Des Knaben Wunderhorn

SYMPHONY NO.4
Movement lV: Heavenly Life

Wir

W" .niov

genie8en die himmlischen Freuden,

D rum tun wir das lrdische meidcn.

Kein weldich' Getiimmel

Hiirt man nicht im Himmel!
Lebt alles in sanftester Ruh'!
Vir frihren ein enslisches Leben.
Sind dennoch gani lustig daneben;
Wir enzen unil sprineei.
wlr nuDlen uno slngen.
Sanct Piter im Himinel sieht zu!
Iohannes das Limmlein auslasset.
Der Metzger Herodes d'rauf oasier.
pir fiihrei ein geduldig's, unichuldigi,
Ein liebliches I;immleii'zu Tod.
Sanct Lucas den Ochsen rit schlachten
Ohn'einie's Bedenken und Achten.
Der Wein'kost kein Heller

lm himrnlischen Keller:
Die Englein, die backen das Brot.
Gut' Kiiuter von allerhand Arten.
Die waclsen im himmlischen Garten!
Gut'Spareel, Fisolen.
Und was irir nur wollenGanze Schiiseln voll sind uns bereit!
Gut'Apfel, guC Birn' und gut'Trauben,
Die Girmeidie alles erlautren!
Willst Rehboch, willst Hasen,

Aufoffener

StraBen

Sie laufen herbei!

SollC ein Festtae erwa kommen

Alle Fiscfe gleiih mit Freuden angeschwommen!

Dort liuft sihon Sanct Peter
Mit Netz und mit K6der
Zum himmlischen Weiher hinein.
Sanct Martha die Kiichin mu8 sein!

Tbxt ftom Des Knaben Wund6rhorn

heaven's delighs.
so can-dispense with eithlv thinp.

N;;;;d;;;;ii

is to be heird in heaven:
Everythinq lives in peace and calm.
We lead the lrte ol ansels
yet are very gay about-it;
we JumP ano.&rnce,
we sKlp ano slnq.
St. Petir in heaien lools on.

St.Iohn les the lamb eo:

He-rod the butcher mailc it wellWe lead a patient, innocent,
lovable litde lamb to is death.
St. Luke slaushten the ox
without eiviis it a second thousht.
Wine cois no"t a farthing
in heaven's cellan:
The angels bake the bread.
Tasty vegetables ofevery kind
gtow ln neavens qaroen:
Good asparagus, b"eans,
and wnatever we Mnt.
Whole dishfuls are ready for us!
Good apples, pean and lrapes;.
tne qardeners let us have anYthing
If yo--u want deer or
on an oPen splt
I ney come runrune uD:
Should a fst-dav oEcui.
all fish eladlv swim alone!
St. Petei ahiadv hurries.with his net anil bait,
into the heavenly fishpond.

hare,

St. Martha mustbe

th! cook.

Therc's no music on earth

that can be compared to ours.
Eleven thousand vireins
set to dancing:
even St. Unulla laushs to see it.
Cecilia and her kiri
are the sDlendid Court musicians!
The ansi:lic voices

Kein Musik ist ia nicht auf Erden,

ffi il;;;;-L;li.i;;;' [;;;

;;#".

Elftausend lunEfrauen

Zu

tanzen

iiclitrauen.

Sanct Ursula selbst dazu lacht.

Clcilia mit ihrenVerwandten

Sind trefliche Hoftnusikanten!
Die englischen Stimmen

sladderiour

Ermuniern die Sinnen.

DaB alles

fiir

senses.

io that evervthins

Freuden erwacht.

awakes to oleasure.

Tiinslation: @ Uonel Sah'r

SYMPHONY NO. 8, Part l. Hymnus

SYMPHONY NO.8, Part l. Hymn

Veni, Crcator Spiritus,

Mentes tuorunivisita.

Come. Creator Spirit

Visit the thought! ofyour people.

Imole suoerna gratia.

With suoernal srace fill

Qdae tutreasti"pect6n
Qui Paraclitus dceris,

dhat vorihave made.

You, cdled Comforter,
Gift of God most hiph.

Brexs

Dbnum Dei dtisimi.

Fons vivus, ignis, carias,

(Veni, Creator Spiritus,

(Come, Creator Spirit,

You called Comftirter.
Gift of God most hish.)
Grant us wonhv reio'icing:
Grant us the eift oferacel
Give us peacel everlalting peace.
The boni:ls of dissension-dssolve:
With fetters of oeace bind us fut
(Grant us peacd

Qui Paraclitus dceris,

Donum Dei altissimi-l
Da eaudiorum onemia.'
Da Eradarum niunen.
Prce-m dones, pacem protinus.
Dissolve litis dncula.
Adstrinee pacis foedera.

(Pacemtoires.
Ductore te praevio,
uc utemus omne pessmum.)

V/ith vou ^as leader.

We shill know no-evil.)

Gloria Pani Domino.

Gloria sit Domino Natoque,
'
Qui a mortuis surrcxit,
Ac PamclitoDeo sit eloria.
In saecula saeculorum.
Gloria Patri
In saeculorum saecula.

Glorv be to the Father.

Glorv be to the Son.
Who arose from the dead.
And to the Comforter:
Glorv be to God.
For dver and evei.
Glorv to the Father
For iver and ever.
Translation :

Rkhard HanE-Jarlin

-bt sDrrrtals uncno,

Irivipg fo.unuin, fi reichariry

Ano sDrlruil uncnon.

(Verii, Creator, imple

Quae tu creasti. prlctora
Superna graha.)

SYMPHONY NO.8. Part ll.

Final Scene from Go-ethets FAUST

SYMPHONY NO.8. Part ll.

Final Scene from Go-ethe's FAUST

The bosoms that you have made

With supernal grice.)

ORCHESTEREINFUHRUNG

ORCHESTRAI INTRODUCTION

The infumitv of our bodies

CHOR UND ECHO (Miinnmhihe)

CHORUSAND ECHO (Men\

(Berpschluchten,

(Mountainous sorpa, woods, itones. wiWuness.

Holy,h,umits, icatiterid upoi the piaks,
dmta ne canyons.)
How the w6ods shake.

(Comi, Creator, fill

Infrma nostri corporis

Virtute fi rmans peipeti.

With perpetual srrength make strong.

With lishi kindle oui serues,
With lo,-ve infuse our hearts.

Lumen accendi ieniibus.

Infunde amorem cordibus.
Hostem reoellas loneius.
Pacemque'protinus ilones.
Ductori sii te oraevio.
Vitemus omne'oessimum.
Tu septiformis rirunere,
Disitis paternae dexterae,
Per"te scimus da Patrem.
Noscamus Filium,
Credamus Soiritun.
Credamus ohne temDore.
(Accende lumen sensibus.
Infunde amorem cordibus.)

Mav the foe be driven away;

Mai, oeace be ever bestowid.
Wiih'vou zuidine us as leader,
Mav rie k-frow nd evil.
Yori. the sevenfold eift.
Fineer ofGod's rief,t hand.
Th6ueh you may"we know the Father,
That #e riray leain about the Son,
And beliwe'in the SDirit.'
Mav we ever have faith.
46.

Kiirdle with lieht our senses.

lnfuse with lovE our hears.)

Wald, Feb, Einii de

Heifrgen Anwhore un, gebir4auJ vuteih,
.Qt laleil zwtyhen Klulten.)
Wafduns. sie schwairkt henn.
Felsen, sii: lasten dran,
Wurzeln, sie klammern an,
Samm dicht an Stamm hinan.
Wage nach Wage spritzt.

Hiihle, die tiefte, &hiitit;

Liiwen, sie schleichen stumm
Freundlich um uns herum.
Ehren qeweihten Ort,

Heilisei Liebeshort.

larJn ncsrar

tctJS (Banansolo)

(auJ und abuhwebend)

choruses)

Rocls pres down,

Roos 6ntwine

themselves.

Trunk upon trunk crowds together,

Wave aft'er wave surges,
Darkest cave gives sf,elter.
Silendv the lions skulk
fuound us, unthreateninq,

Honoring the sacred spo'i.

Lovet blissed refuge. '
PATER ECSTATICUS (Baitone
.47. (Soaring buh and forth)

solo)

Ewiger Wonnebrand,
Gliif,endes Liebesband. .
Siedender Schmerz dei Brust.
Schlumende Gotteslust.
Pfeile, durchdrineet mich,
Lanzen, bezwingEt mich,
Keulen- zerschriettert mich.

Everlasring spark of blis,

Gleaminsa6nd of love,
Pulsine p-ain in this bosom,
Burniid need for God.
Come iierce me, arrows;
Overco'me me. lances:
Cudsel me, cl;bs;

Blitze, ilurchwettert mich,

Das ia das Nichtiee
Alles-verlliichri ge,-

Sniki through
until the abvss

me, lighming,

PATER PROFUNDUS

(tiefe Repion\

(From the depths)

As the abvsi ofrocls at mv feet
Ress heavily upon a deeper abyss,
As a thousarid sbarkline sheams eush
To the fearful fill in a hothine flbod,
fu perfecdy srraight ofils owi accord,
The trunk'reachds high into the air,

FeFsenaberund rnir zu FiiBen

Auf tieGm Ab.-erund lastend ruht,

Wie tausend Blche strahlend fliessen
Zum grausen Sturz. des Scha-ums &r Flut,
Wie sinck, mit eig'nem ladfi'gen Triebe,
Der Stamm sich ii die Liifte tiagt;
So ist es die allrnlcht'se Liebe,

'

Mein Ini

res

milg

es

(Bass solo)

To pur-ify the- atmosphere

Of boiscins and fumis carried in its bosom.
The:v are love's messeneen. oroclaiminq
Thai the eternal force Sfciiation surd'unds us.
Mav it spark the imermost of rnv being, too,
Wliere the spirit, confused and cirld,
Asonizes wifh liinited, dullard faculiies,
Eichained in harsh fetten ofoain.
O God! becdm mv thoushts,Enlighten this hun'gry hein!

auch entziinden,

Verqudlt in stumpfer Sinne Schranken,

Schirf aneeschlois'nem Ketterschmerz.
O Gott! Seschwichtige die Gedanken,
Erleuchte mein bedii"rftie Herz!

CHOR DER

CHORUS OFANGELS (Wonen\

ENGEL"(Frauenchare)
(schwebend in der hiiheren Atmosphiire,
'
Faustens Unsterbliches tragenl)

(Soainp in the upper ether,

bearing-Faust
.48.

\ innor tal

soul)

h-erzlichem

Willkdmen.

chomses)

We can rescu6.

hin

With the heartiest welcome.

(Knabenchor)

(um die hiichsten Gipfel krekend\

Hdnde venchlinse'ieuch

Thus is the almighryLove

Wo sich der Geisi, verworren, kalt,

CHOR SELIGER {NABEN

Which shapes alf, piotects all.

All about rire is a ivild roar.
As ifwoods and rocks were heavins!
And stiil, as if in love with the din,"
The water crashes into the chasm,
As if summoned to irrieate the vale.
The liehmins strikes do:wn in flames

Die alles bildet. alles h-est.

Ist um mich her ein wifdes Brausen,
Als waeteWald und Felsensrund!
Und d6ch stiirzt, liebevoll im Sausen,
Die Waserliille sich zum Schlund.
Berufen gleich dasTal zu wdssern;
Der Blitz] der flamend niedenchlug,
Die Atmosphte zu verbessern,
Die Gift uid Dunst im busen rrus:
Sind Liebesboten. sie verkiinden.
Was ewie schaffeid uru umwallt.

And if within him he carries

The love from on hieh,
The blessed host wilfreceive

MiI

PATER PROFUNDUS (Bassold

Me

Und hat an ihn die Liebe gar

Von oben teilgenommen,

Is all banishid.
The eternal star glows,
Kernel of everlas-ting love!

der Darlerstern-

Delivered &om all evil

Is the noblest of the soirit world:
He who alwavs strusdles.

Besesnet ihm-die sel'ee Schar

Ewiger Liebe Kern!

Ghue

Gerettet ist das edle Glied

Der Geisterwelt vom Biisen:
Wer immer strebend sich bemiiht,
Den kdnnen wir erl,iisen.

Freudis zum fuiwerein,

Reqt eilch und siieet
Heil'ee Gefiihle drEin!

CHORUS OF BLESSED CHILDREN

(Boys'thoi) (Circling about the highest peak)
Hanos wll] enace vou
Joyful.ly into the union of the circle,
Lift vourself uo and sine
ta

r'

wlm Dlessec leelngsl

wlm orune guloance,

Giittlich belehret,
Diirft ihr vertauen:
Den ihr verehret,
Werdet ihr schauen.

You can now-trust:

The one vou wonhip
Soon will'appear to !ou.

CHOR DER TUNGER-EN ENGEL

CHORUS OFYOUNGER ANGELS

(Fruuenthot)

(Wonen\

Iene Rosen. aus den Hdnden

Liebend-heil'ger Biisserinnen,
Halfen uns de-n Siee sewinnen
Und das hohe Werk vollenden.
Diesen Seelenschatz erbeuten.
B6se wichen, als wir streuten.
Teufel flohen. als wir trafen.
Statt sewohnter Hiillenstrafen,
FiihltEn Liebesoual die Geister:
Selbst der alte Satans-Meister
Wr von spitzer Pein durchdruneen.
Jauchzet atrf! Es ist gelungen.

Those roses that came ftom the hmds

Ofpenitent women devoted to holy worls

DIE VOLLENDETEREN ENGEL

(Alle Chiirc mit Altsolo\
Uns bleibt ein Erderuest
Uns. zu tnsen peinlich.
Und wlr' ei voi Asbesi
Er ist nicht reinlich.
Wenn starke Geisteskraft

thoruses)

Hetpe-d_ qq to triumph victoriously

And fulEll our sacrdd calline:
To caoture the treasured soil.
As wd strew them, evil withdrewl
As we neared, devfu fled.
Where they expected the blows ofheavens,
The spiris'only felt the pangs ofrovc;
Even ihe old Mmter of ileviE
Was pierced throueh with keen pain.
Reioice! It wx wetl done-

THE MORE PERFECTED ANGELS

(Full

choruses

with alto solo)

A residue ofearth remains in

Painfiil for us to carrv.

us,

And were it made ofasbestos,

Even then, it would not be clean.
When the soul's stark powers

Gather these elemen6

Tosether within us,
No"anqel can dissolve
The t*ofold. united narure
Oftwo bound together;
Everlastine love afone
Has the p6wer to part them.

Die Elemente
An sich heraneerafft.
Kein Eneel tdnnte
Geeinte Zweinatur
Der innigen beiden;
Die ewiie Liebe nur

Vermas{zu scheiden.

orr liNcEn-er.r ENGEL (en

lch sbur

Frauewhor)

soeben

Neb6lnd um Felsenhiih',
Ein Geisterleben.
Reqend sich in der Nlh'.
Seliser Knaben
Seh'ich beweste Schar,
Los von der Frde Druck.
Im Kreis sesellt,
Die sich Jrlaben
Am neuen Lenz und Schmuck

Der obernVelt.
Sei er zum Anbesinn,

DOCTOR MARIANUS

Freed from earthlv weisht.

loined in a circle,'
Deliehtine themselves
In reiewe? sprinq and the finery

Ofthe kinedom ibove.

From the s-tart.
As he rises to iirll elorv
Let him ioin themT

Steieendem Vollslwinn,

Dieien gesellt!

THEYOUNGER ANGELS (One women\

Iust now I can sense
'Wrapped in mist on the rocky height,
A lifiirs spirit,
Liftine'lilnself up nearby.
Blesse? children'
I make out in a band.

(TZnonolo

(ln der hiiclsten, reinliclsten hlle\

Hier ist die Asicht &ei.

OOCfOn fr An[ANUS

(??nor solo)
the hiphat, deanat celt)
Fmm he-re all is unobstructed.

(ln

Dort ziehen Frauen vorbei,

The soirit exalted

Overthere women so bv.

Schwebend nach oben:

Soaring

Die Herrliche mittenin

Im Sternenlranze
Die Himmelsk6niein,

The Glorious One amid

The starv crown.
Queen of Heaven

Der Geist erhoben.

upwards:

Bihold her solendor!

CHOR GESEGNETER KNABEN

CHORUS OU

(Knabenchof)

Freudis empfansen wir

Diesen"im Pupp-enstand;

Also erlanqen'urir
Enelisches"Unterpfand.
Liiiet die Flockefi los.
Die ihn umgeben!
Schon ist erlchiin und gross

U""'O

DOCTOR MARIANUS

(??ronolo)

CHILDR-EN

(Bovs'thoir\
Vy'e'welcoire him eladlv'
In his beginning sdge;
I nus we securc
His comins angelhood.
Unloose th-e cl6thes
That swaddle him!
How lovely he is and grand

solo)

(EatatimlD

Hiiclrte Herncherin

Wenn du hlehr eebietest:

Pliitzlich milder"t sich dii: Glut.
Wenn du uns befiiedest.

Most sovireierr Lord of the world!

Let me. in th"e blue
Exoanse of heaven's canoov.
Behold vour mystery!
Coroidei what in min's breast
So earnesdv and sweedv stin,
And how the iov of saired love
Brines him to viru!
Our"courase ii indomitable
When voui call comes ftom on high;
Our oalsions are quicklv ouelled Wheir vou re the irne wh6 calms us.

der Welt!
Luse mich irn blauen
AussesDannten Himmelszelt

Deii deheimis
chorus)

DOCTOR MARIANUS (?nor

(veniickt\

schauen!

Bill'ee, was des Mannes Brust

Ernsi und zart bewest
Und mit heil'eer Lidbedust
Dir enteesen -tristl

UnbeaFii'slich

u-'nser M

ut,

DOCTOR MARIANUS UND CH6R.E

DOCTOR MARIANUS AND CHORUSES

Jungfrau, rein im sch6nsten Sinne,

Mu"ner, Ehren wiincti e,

Virgin, pure in the truest

Uns erwlhlte Krinisin,

Giittern ebenbiirtigl

Our chosen qdeen,

(Mater Gloriosa schwebt einhen)

(Mater Gloriosa soars up.)

Ausserst langsam

Adagissino

CH6RT

CHORUSES
To you, untouched one,
It $ not sumnsrng
That those iasilvled astnv
'
Come in sorrori, to vou.
Overtaken by their own frailty,
Thw arc didcult to save.
Who can bv his own power break
The Gttesbf desire?'
How ouicklv dides the foot

Dir, der Unberiihrbaren,

Ist es nicht benommen,
Dass die leichtVefihrbaren
Tiaulich zu dir kommen.
In die Schwachheit hineeraft,

" '

Ich seh's am Glanz'e!

With holy life.

Von heiligem Leben.

Sind sie schwer zu rette-n.

Wer zerreisst aus eis'ner Kraft
Der Geliiste Kettenl
Wie entsleitet schnell der Fus
Schieferi, glattem Boden?

UNA POENITENTIUM UND

CHOR DER BUSSERINNEN
(Sowansolo und Sowanthiire\

Du'schwebst zu lliihen

sense,

Moiher, worthv of honor,

Equal ofgo&-.

On th6

steep and slippery slope!

UNA POENITENTIUMAND
CHORUS OF PENITENTS
(Sopruno solo and ehorus oJ sopranos)
-

You who soar high up

Der ewieen Reiche.

To the eternal realms,

Hear our pravers,
You merciful-one!
You unsained one!

Vernimri das Flehen.

Du Gnadenreiche!
Du Ohnegleiche!
MAGNA PECCATRIX

(Soprunsolo)

Bei der Liebe. die den FiiBeri

Deines gotwerkllrten Sohnes

Tiinen Ees zum Balsam fliessen-

Trotz des Pharisler-Hohnes:

Beim Gefisse. das so reichlich
Trooft e wohleeruch hernieder:
Bei'den Loclien. die so weichlich
Trocknete did heil'gen Glieder

MULIER SAMARITANA

(u4lrosolo)

Bei dem Brom. zu dem schon weiland

Abram liess die Herde fiihren;
Bei dem Eimer. der dem Heilano
Kiihl die Lippe durft'beriihren:
Bei der rein'eh, reichen Quelle,
Die nun dorther sich ergiesset,
Uberfliisis. ewie helle, Rings durih dle"Welten flies

MARIA AEGYPTI IrCL

(Ak o s ol o)

MAGNA PECCATRIX (Soprano

Bv the love that. over the fe6t
O'fyour son, tnnsfeured by God,

P6ured the sweet &agrance;

By the neses that sdsendv
Diied the holv limbs

MULIER SAMARITANA (Ailo solo)

By the fountain, that in days ofold,
Abraham allowed his herds-to be led:
Bv the pail which the Savior
Was sivin to cool his lios:
Bv tlie oure. bountifirl ivell
That spiine; from there,
Overllbwiis, ever clear,
Arcund all ihe worlds

solo)

Bei dem hochgeweihten Orte,

Wo den Herrri-mm niederliess:
Bei dem Arm, der von der Pforte
Warnend mich zuriicke stiess:
Bei der vierzieilhr'sen Busse,
Der ich treu iiWiiiten blieb:
Bei dem sel'sen Scheidesrusse,
Den im SaniI ich niederiihrieb.

Bv the forw-vear atonemei't

Iri which I'scjyed true in the wiloerness;
Bv the blesed farewell
I wmte down in the sand.

MAGNA PECCATRIX, MULIER

SAMARITANA. und MARIA AEGYPTIACA
Die du qrossen Siinderinnen

MAGNA PECCATRIX. MULIER

SAMARITANA. and MARIA AIGYPTIACA
You who do not refuse your company

Deine Nihe nicht vemeiqerst,

Und ein biissendes Gewiri-nen
In die Ewigkeiten steigerst,

G6nn'auch dieser guten Seele,

Bv the heaven-blessed olace

Vhere the Lord was laid down:
Bv the arm that fiom the eate
Shoved me back in warninis:

To the women of greateit sin,

And whose rewnfin heaven
Awaits the penitent,
Also grant to this good soul,

Who foreot henelf but once.

Who didnot suspect she faltared,

Dein Verzeihen insemessen!

Gtinn' auch dieser?rten Seele,
Dein Verzeihen angimessen!

Your iust pardon!

Also irani to this eood soul.

UNA POENITENTIUM

UNA POENITENTIUM

Yourjust pardon!

"

solo)

Maile the balm flori tearfullv,'

Despite the Pharisees'ieers;
Bv ihe vessels that so ibundandv

MARIA AXGYPTIACA (Alto

Die sich einmal nur versessen.

Die nicht ahnte. dass sie?hle.

(Soprarsolo)
(sonst Gretchen genannt, skh insihniegeid)

Neree. nerPe.

Du bhnefleiche,
Du StnhlEmeich.
Dein Anditz qnldich meinem Glilck!
Der friih Geliebte.
Nicht mehr Getriibte.
Er kommt zuriick.

(Soprano solo')
(Once called Gretthen, nearin2 aier doser)

Look down.look dom. You oeerlesi one.

You iedm ofradiance,
Show your mercifi:l face in my happines!
I ne one I once loved.
No lonser beclouded,
He com-es behind.

CHOR SELIGER KNABEN (Knabencho)

(ln kekbewequry sich niihernd)
Er iibemlchst rins schon
An mdcht'sen Gliedern.
Wird treuei Pflese Lohn

CHORUS OF BLESSED CHILDRI,N

Reichlich erwid6rn.
Wir wurden friih entfernt
Von Lebechiiren.
Doch dieser hat selernt:
Er wird um lehre:n.

Our careful intch.'

a thq
\Bof ,choil (Cirdingrcund
us

near)

rueaov ne overcomes
On mi'shw limbs:
He will riilrlv repav

Once we were estranged

From the realm ofth6 livine,

But this one

has

learned:

He will teach us.

Er iiberwichst uns schon, ruu.

Already he overcomes us, et.

UNA POENITENTIUM (GRITCHEN)

UNA POENITENTIUM (GRETCHEN)

(Sopransolo)

(Soprano solo')

Voin edlei Geisterchor umgeben,

Wird sich der Neue kaum Eewahr,
Er ahnet kaum das fusche teben.
So eleicht er schon der heil'een Schar.

Suimunded bv the exdted chorus of spirits,

A newcomer hardly recognizes himself,
He hardlv notices lris nefr life.
So much'does he resemble th6 heavenly host.
See how everv earthlv traDDine
He sheds from him like aibldhusk.
And the ethereal garments

Siefi'.

wie er iedem Erdenban?e

Der alten Hiille sich entrafit.

Und aus ltherischem Gewande
Heruornitt erste lusendkraft!
Verqiinne mir, ihir iir belehren.
NoIh blendet ihn der neue Tag.

Give him back thE streneth ofvouth!

Gnnt that I mav zuide Fim:
The new dav stilltredazdes him.

MATER GLORIOSA

Koml

(Sopransolo)

Komm!
Hebe dich zu hdhern Sohlren!
Wenn er dich ahnet, fol$ er nach.

CH6RE
(Tenorcolo)

(Ih Aryuicht anbetend)

Blickeiauf.
Alle reuie Zarten.
Blicket

Whenhe

sees

voi. he rivill follow

DOCTOR MARIANUS

a"u{!

Soprunsolo)

Alles Vereinsliche

Ist nur eh Gleichnis:

Das Unzulineliche,
Hier wird's Eieiqnis:
Das UnbeschreiSliche.
Hier ist's qetan;

Ds EwislVeibliche

k onlv an imaeei
The iiradequati
Here becomes enoush:
The inconceiwble "
Here can be reached;
A wonan's saindiness

Zieht uni hinan.

Draws us ever upward.

Alles Vergingliche, asu.

All that is fleerins,

Das Lied von der Erde

Die chinesische Fl6te
A8z6-rst6)

The Sons
by Hans Bethge

Soprano solo)

All that is {leetine

dieser Erde!

Dunkel ist das Leben. ist derTod.

uarK$[Ie.$oeatn.

Das Firmament blaut ewis und die Erde

fest steh'n uni[ aufblilh'n im Lenz.
Du, aber,-Mensch, wie lang lebst denn du?
Nicht hundert Iahre dar6idu dich ers,iitzen
An all dem mohchen Thnde dieser Er?e!

The firmament in its eternal blue, and the earth,

these will lons endure, will blossom in sDrinstime.
But thou, O Man, what is the span of thiy lilE?
Not a huirdred years art thou plrmitted'
to eniov the idli vanities ofthis earth!

Seht dort hinab!

fooL th"r. b"lo*t

Im Mondschein aufden Grdbern

Hockt eine wildeesoenstische Gestalt.

Ein
ist's! Hiiit ihr. wie sein Heulen
Hinausgellt in den siiBen Duft des Lebens!
nehmt
den Wein! Jetzt ist es Zeit, Genossen!
Jetzt

In the moonlight uDon the graves

there crouches-a wild, ehosfv 6zure
an aoe it is! Hark how'his h<iwlins shrills out
into'the seet eirs of this our life!Bring on the winelThe time has come, my com-

Leert eure sold'nen Becher zu Grund!

Dunkel ist ilas Leben, ist derTod!

Drk ii life.is death'l

Af

mdesJ

etc.

Tianslation: Rfuhard

ofthe Earth

fiiiJ[;f^""'Ftute

is life. is death.

Lord ofthis house!

Thv cellar holds the firllness ofeolden wine!
Heie. this lute I call mine own!To play upon the lute, to empty glasses,
theie dre ihines that fit each bthei.
At the prooer-time a soblet fi:ll of wine is worth
more tian'all the kinidoms of rhis earth!

Wird lange

eyes!, elr.

MYSTIC CHORUS (with

Dark

dieses Hauses!

ht mehr wert, als alle Reiche

of Earth's Sorrow (Teno)

Wheh sorrow apprcaches.

the soul's gandenilie desolate,
Iov and So-ns wither and die.

Dein Keller birst die Fiille des soldenen Weins!

Hier. diese Laut-e nem'ich mei-n!

CHORUSES

Lift up your

Wine in the solden soblet is beckonine,

but drink noiyet,6it, I will sins vou isong!
The Song of Sbrrcw,let its moc[ery laugh itself
lnto vout soul,

Die Laute scblagen und die Gldser leeren,

Das sind die Diige, die zusammen passen.
Ein voller BecheiWeins zur rechten Zeit

aid in iour ouest.

Virsin, Modher, Queen,
Goildes. remain irerciful!

r.rsur.

I. The Drinking Song

Schon winkt derWein im gold'nen Pokale,

Herr

Will

CHORUS MYSTICUS (mit

From

(Tenor solo)

Meet the Redeemer's saze.

All frail penitents,
So that 6lesed iov
Mav in eratitude become voun!
Th6 besi ofvour senses

Alle reuis Zarten.

Euch zuiel'eem Gliick
Dankend uriizuarten!
Werde ieder bes re Sinn
Dir zuir dienst erbtitie:
Iune6au, Mutter, Kiinigin,
Giiitin, bleibe gnldig! -

L Das Trinktied vom lammer der Erde (Teno)

Doch trinkt noch nicht, erit sine'ich euch'ein Lied!
Das Lied vom Kumer soll aulEchend in die Seele
euch klinsen.
Wenn der'Kummer naht.
Liesen wiist die Glrten der Seele.
Welkt hin und srirbt die Freude, der Gesanq.
Dunkel ist dx Leben. ist derTod!

he)
lWonhipping
Lm up Your eyes,
You 6ail oenitents.
Lift up y<iur eyes!

Auf zum Retterblick.

CHOR-E
Blicket aufl.

(Sopruno solo)

Come! Come!
fuse up to the higher spheres!
CHORUSES
Come! Corne!

Komm! Komm!

DOCTOR MARIANUS

MATER GTORIOSA

bY

Uon

Dnin your

golden_ goblets

to the

dregs!

II. Der Einsame im Herbst (Contnlto)

II. Autumn lonetiness (Contralto)

Herbstnebel wallen bllulich iiberm See:

The mists of autumn build their blue wall over the

sea:

Hans Bethse

Vom Reifbezogen stehen alle Grjser;

Man meint, ein'kiiruder habe Staub vom Jade
Uber die feinen Bliiten ausgestreut.

with hoarfrost covered stands the grass;

it seems as ifan artist had snewn
the dust ofjade over delicate blossoms.

.)).

Der siiBe Duft der Blumen ist verllosen:

Ein kalterWind beust ihre Steneel nfedir.
Bdd werden die veriielkten. eoftl'nen Blltter
Der Lotosbliiten auf demWasier zieh'n.

The llowers'Fagnnce has spent iself;

a cold wind bloivs them to'earth.
Soon the withered. eolden leaves oflotus flowers
will be scattered uodn the water.

Mein Herz ist miide. Meine kleine Lampe

Erlosch mit Knistern. es semahnt mich in den

hai gone out, a-ciackling, mindiirg me of need for

Umsekehrt der Boqen. Freunde,

Schdn gekleidet, triliken, plaudern.

revened is is bow. Friends,

beautifi.rlly gowned, are drinking, gosiping.

IV Von der Schiinheit (ConraltQ

IV Of Beauty (Contalto)

lunge Mldchen pfliicken Blumen,

an dem UGrrande.
Zwischen Biischen und Bl'dnern sitzen sie,
Sammeln Bliiten in den SchoB und rufen

Schld.
Ich komm'zu dir. traute Ruhest?itte!
Ja, gib mir Ruh', ich hab'Erquickung Not!

sleeD.

Yea, give nie rest,

Sich einander Neckereien zu.

Youthful maidens are plucking 0owen,

oluckins lorus lloweriat the Edge ofthe shore.
Bemeei bushes and leaves are thev sittins,
gathering blosoms in their laps and callin-g
to eech other ln lest.

Ich weine viel in meinen Einsamkeiten.

Der Herbst in meinem Herzen wlhrt zu lanse.
Sonne der Liebe, willst du nie mehr scheinei',
Um meine bittern Trinen mild au0unocknen?

I weeo and weeo in all mv solitude.

Autuirn in mv heart too lonq has lasted.
O Sun of Lovb, wilt thou nevrer shine again,
gendy to dry my bitter tean?

Goldne Sonne webt um die Gestalten,

Spieselt sich im blanken Wasser wider.
Sbnn'e spieeelt ihre schlanken Glieder,
Ihre siiden"Augen wider,
Und der Zeplivr hebt mit Schmeichelkosen

The golden ,un pl.p .bou, their forms,

retlected ln me oulet water.
The sun mirroniheir slender limbs,
their sweet eYes,
and a zephyr'with gendest caress raises the fabric

III. Von der Jugend

III. Of Youth

Gewebe

Mv heart i,

I cdme to

(??nor)

*".*.

tutu little lamp

vou, blest resting-place!

for I neetr quickening!

(?Znor)

Steht ein Pavillon aus sriinem

Und aus weiSen PozEllan.

Midwav in the litde pool

stands d oavilion ofereen
and ofw^hite oorcelin.

Wie der Riicken eines Tiqers

W6lbt die Briicke sich aui -Iade
Zu dem Pavillon hiniiber.

Like the back ofa tiser

the bridge ofjade.arihes
acrcss to me Davuon.

In dem Hluschen sitzen Freunde,

Schijn sekleidet, ninken, plaudern,
Manch6 schreiben Vene nleder.

beautifully gomed, drinking, gosiping;

Mitten in dem kleinen Teiche

In the little house friencls

?llfcken Lotosblumen

of their sleeves, wafu the magic

of their perfume through the air.

O sieh. was tummeh sich fiir schiine Knaben

Dort an dem UGrrand auf mut'qen Rossen,
Weit hin eldnzend wie die Sonninstrahlen;
Schon afrschen dem Gedst der griinenVeiden

Trabt
are seated.

some ate wnnng verses.

das

Ihrer fumel auf. fihrt den Zauber

IhrerWohlgeriiche durch die Luft.

das

jungfr ische Volk einherl

Das RoR des einen wiehert friihlich auf

Und scheut und saust dahin:
Uber Blumen, Griser, wanki:n hin die Hufe,
Sie zerstampfenj?ih im Sturm die hingesunk'nen

The steed ofone whinnies forjoy

soms.

Ihre seidnen lirmel eleiten

Riickwirs. ihre seidien Miitzen
Hocken lustig tief im Nacken.

Their silken

sleeves elide
backwards. their silkEn caps
hang ftom the bacls of their necls.

Bliiten.

Auf des kleinen Teiches stiller

Wuserlllche zeipc sich alles
Wunderlich im Spiegelbilde.

On the smooth surface of the quiet pool

Alles aufdem Koofe stehend

In dem Pavillon aus qriinem
Und aus wei3em PoEellan:

All stands upon is head

in the pavilion ofqreen
md ofwhite oorcElain.

Gold'ne Sonne webt um die Gestdten,

Soieeelt sie im blanken Wasser wider.
IJnddie schtinste von den Jung6au'n sendet
Ianee Blicke ihm der Sehrisucht nach.
Ihre-stolze Halrung ist nurVentellung.
In dem Funkeln iFer ero8en Aueen,
In dem Dunkel ihres h"eiBen Blic[s
Schwingt klagend noch die Erregung ihres Herzens

Wie ein Halbmond steht die Briicke.

Like a half-moon sands the bridge,

dl

is mirrcred

wondrously.

56

see, beautiful youths a-t play_on fiery hones,

over there at the'edge ofthe shore,
distenine from afarlike rays ofthe sun;
Setween"the qreen branchi:s ofthe willows,
fresh youth is-making is way!

Hei!Wie llattern imTaumel seine Mlhnen,

Dampfen heiB die Niistern!

and shies and rushes oast.

Over flowen, qrasses, gallop his hoo{i,
whose stormy'stampiri'g crirshes the fallen blos-

Heieh! How his mane flies in the breeze,

how-his nostrils dilate!
The eolden sun plavs about the forms,
relleclng them iir the quiet water.
And the-loveliest ofthe maiders
sends him long elances ofvearning.
Her haughty b"eiring is no'more tf,an feigned.
In the sp-arkle of her"wide eyes,
in the darkenins ofthe easei slance,
ascends the

nacn.
57.

plaiit ofthe

p'assio'n

ofher

heart.

V Der Trunkene im Friihting (?nof

V Vine in Spring (72nof

Wenn nur ein Traum das Leben isr,

Warum denn Miih'und Plae'?
Ich trinke, bis ich nicht meh'r kann.
Den ganzen, lieben Tag!

If life is no morc than a dream.

whv then the trouble and bother?
I diink, till I can drink no morc,
the whole, IiveJong day!

Und wenn ich nicht mehr trinken kann.

Weil Kehl'und Seele voll.
So auml'ich bis zu meinerTiir
Und schlafe wunderuoll!

And when I can drink no lonper

when throat and soul are full. "
I staseer home to mv door
and ileep wondmusly soundly!

hdr'ich beim Erwachen? Horch!

EinVoeel sinst im Baum.
Ich fra['ihn,"ob schon Friihling sei,

What do I hear when I wake? Hark!

A bird is sineine in the uee.
I ask him wFetf,er Spring has come,
it seem like a dreani.

Was

Mir

ist-als

wie im Tnum.

DerVosel zwitschert: "la! Der Lenz

Ist da. Si kommen iib6r Nacht!"
Aus tiefitem Schauen lausch'ich auf.
DerVogel singt und lacht!

The bird rwitten,"Yes! the Spring

is here, it came overnight!"
With deep contempladon I listen,
while the bird singi and laughs!

Ich ffille mir den Becher neu

Und leer'ihn bis zum Grund
Und sinee, bis der Mond erslenzt
Am schiarzen Firmment!

I 6ll mv soblet anew

and driin'it to the drees
and.sing until the mooi
in the ihrk firmment!

Und wenn ich nicht mehr singen kann,

So schlaf ich wieder ein.
Was geht mich denn der Friihling an?
LaBt inich bem.rnken sein!

And when I can sing no longer,

aqaln to sleeD I go.
For what do'es Spring mafter to me?
Let me be drunk!

VI. Der Abschied (Contraln\

VI. The Farewetl

Die Sonne scheidet hinter dem Gebiree.

ln alleTdler steist derAbend nieder Mit seinen Schaften, die voll Kiihlune sind.

The sun is sinkinq beneath the hills.

Evenins descendiinto the vales
with icicool. quiet shadows.
Behold! Like a'bark ofsilver
the moon rises into the blue heaven.
I feel the motion of a gende wind
behind the dark pines.-

'

O sieh!Wie eine Silberbarke schwebi

Der Mond am blauen Himmelsee herauf.
Ich spiire eines feinen Windes Weh'n
Hintir den dunklen Fichten!

.58.

shines

bright

(Conhaho)

Der Bach sinst vollerVohllaut durch das Dunkel.

Die Blumen Slassen im Dimmenchein.
Die Erde atmet voll von Ruh'und Schlaf.
Alle Sehnsucht will nun tiiumen.
Die miiden Menschen geh'n heimwirs,

Um im Schlaf verseB'nEs Gliick

Und lusend neu il lernen!
DieV6[el hocken still in ihren Zweigen.
DieWeTt sclrllft ein!
Es wehet kiihl im Schatten meiner Fichten.
Ich stehe hier und harre meines Freundes;

Ich harre sein zum leuten Lebewohl.

Ich sehne mich, o Freund, an deiner Seite
Die Schiinheit dieses Abends zu qenieBen.
Wo bleibst du? Du llBt mich lan[ allein!
Ich wndle auf und nieder mit m*einer Laute
AufWeeen. die vom weichen Grue schwellen.
O Schii-nhiit! O ewiqen Liebens - Lebenstrunk'ne
Welt!
Er sties vom iferd und reichte ihm den Trunk
Des Ab'schieds dar. Er fraete ihn, wohin
Er fiihre und auch waruri es miiBte sein.
Er sprach, seine Stimme war umllort:
Du.'mein Freund,
Mir war auf dieserVelt das Gliick nicht hold!
Vohin ich geh'? Ich geh', ich wandre in die Berge.

The brook sinps is music throueh the dark.

The flowers ebw oale in the tvilieht.
The earth bEatheithe quiet of resi and sleep.
All lonsing qoes a-drearirine.
Weary trui'a"nity is homew*d-bound,
to setik anew iri sleeo
forsonen fomrne. vduth.
Birils are perched upon their branches.
The worlil falls uleio.
The cool windis in th. shqdo*-of -y pines.
I stand here and await mv ftiend
for a last farewell.
I lone. O friend. at thv side
to driik in the beauw of this eveninq.
Where are you?You Ieave me long ii sol.irude!
I wnder td and fro with mv lute
on oattrs thick with soft snis.
O Beauw! O World. druik with eternal love and
life!
He climbed 6om his horse and gave him a cup
in frewell. He asked him whithEr
he wu goins, and whv it had to be.
As he si'okelhis voice'was mufled:
o my iiend,
Fate h* not been kind to me in this world!

Whither am I bound? I go,I wander into the

Ich suche Ruhe ftir mein einsam Herz.

Ich wandle nach der Heimat, meiner Stitte.
Ich werde niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde!

mountams.
I seek rest for mv lonelv heart.
I wander toward'my nahve place,.my home.
I shall no lonser se6k the fai horrzon.
My heart is sdll and awaits its time!

Die liebe Erde alliiberall

Bliiht aufim Lenz und sriint au6 neu!
Alliiberall und ewie blaien
Licht die Fernen! Ewig ...ewig . . .

The lovelv earth, all, everywhere,

grows qre'en in Spring and bloorns aneq
All, eve"rvwhere alnd eler, shines the
blue horizon! Ever... ever...

.59.

DISC 1 Oiginal Prcduca: John McClurc &

Since first opening its doors in 1891, Camegie

Thom Z. Shepard (Symphony No. 1)

John McClurc (a.ll othcr rcrls)
Oigiulf
O

tg?s

DISC
DISC
DISC
DISC
DISC
DISC

1967 &if MBi hffinn

M& Enbdnndl

ELBcd

Sry

Hat[ has set the intemational standard for

nl

musical excetlence, its walls echoing with

o'itiaalty ftbsct
t96z Soty Llwi. Entdahdcnl
'961,
3 dsiruily El'ucd t9q Sory Mut Entdaiil^dl
4 Oisiwry Ek6.d tg6z Sodf Mwk httuinndl
5 oig;utty rttccd ,952 sry MBk Entuinndl
6 Oigiuil! nhed 19& Sory Mwk Enttuinn hl
7 Ontitully Ebs.d 1961 snr MBk Entdainddt
DISc 8 Airin&ilr rtlced ry62 &'ry Mwt EntdaiMl
DISC 9 c'irinlilr El$?d
Sonr Mwb En@ainndl
'96
DISC 10 O':srlrltly rL6.d t$l Sory M6k Entdainndl
DISC l1 Orlr'eily Elr6.d
$nf Mwk EnMiMd|
DISC 12@ 97a Soty Must '968
Enttuianal

apptause for the wortd's outstanding musicians,

dancers, potiticians, authors, and crusaders who

have appeared there throughout its history.

Today, the acctaimed venue continues this

tradition by presenting the finest ctassicat, iazz

and wortd music performers on three great

Genual Maugemcnt: Alex Miller

Reksue Prcdw and DSD Mgtfrilg Eflgircq:

stages within the hatl. Through the extensive

Andreo K. Meyer
Prcjed

Dit.tion: Dtvid Foil & Laun Ksan

tuodn Dewlopnent: Eliabeth A.Wright

An Diredion E Dolrr Romme Slimk
&rcrein Photognpls: Don Hurotein,
Sony Muic Photo Archives

education programs of The WeiI Music Institute,

Mahla Photograpk : @ BettrEm,/CORSIS

generation of music lovers, nurture tomorrow's

Camegie Hatt atso hetps to inspire the next

musicat tatent, and contribute to the evotution

Thanks to:

Gil Amnoq Cmdice Bcckrum, Synneve Carlino,

Anthony Fountain, Naomi Gnbel, Clive Gilliroon,
Matthew Kelly, Stuart Pressru, DavidW?eth
CONTAINS PRIVTOUSLY ruLEASED M/ITERIAL.
88697-45369-2 O 2009 Sony Msic Entctu.n! /Thi cohpilarion
@ 2009 Sory Muic Enedimcnt. / SO^IY CLASSICAL ad IZ
qin.rcd
of Sony Corponiion. Ui.d und.! liccrcc.
AI righB 6crcd

frdffik

of music education.