Come in and stay a while Englische und amerikanische Chormusik der letzten vier Jahrhunderte
Andreas Düker, Laute
Sonntag, 25. September 2016 ‐ 18 Uhr Klosterkirche Reinhausen
PROGRAMM
Rhonda Polay (20. Jhdt.) Manning Sherwin (1902‐1974) John Dowland (1563‐1626) John Dowland (1563‐1626) Thomas Weelkes (1576‐1623) Orlando Gibbons (1583 – 1625) Schottische Lautenmusik (17. Jhdt.) Tom Cunningham (*1946)
Traditional
Bernardo Gianoncelli (17. Jhdt.) Paul Desmond (1959) Harold Arlen (1905‐1986) Charlie Chaplin (1989‐1977) George Gershwin (1898‐1937)
Come in and stay a while A nightingale sang in Berkeley Square A fancy
Clear or cloudy O sweet woods Thule, the period of cosmography The Andalusian merchant The silver swan
Untitled – A port – Canaries – Turnte (Current) – Corne yards >>>>>>>>>>>Pause>>>>>>>>>>>>> The Painter's Eye Peaceable kingdom Tower of Babel The skating minister Birth of Venus An old man and his grandson Loch Lomond Tasteggiata Take five Over the rainbow Smile Love walked in Love is here to stay I got rhythm
Rhonda Polay (20. Jhdt.) Come in and stay a while Come in and stay a while. Cast the world aside for now. Give yourself a chance to breathe. And try your best to smile. Sometimes it's hard to relax, But you need to take the time.
Pleasantries can be some help, If you search until you find. The one who takes your fondest dream. And turns it into now. So let this place be your lifestyle. Come in and stay a while.
Manning Sherwin (1902‐1974)
A nightingale sang in Berkeley Square That certain night The night we met There was magic abroad in the air There were angels dining at the Ritz And a nightingale sang in Berkeley Square.
The moon that lingered over London town Poor puzzled moon He wore a frown Oh how could he know we two were so in love The whole wide world was upside down.
I may be right I may be wrong But I'm perfectly willing to swear That when you turned and smiled at me A nightingale sang in Berkeley Square.
The streets of town Were paved with stars It was such a romantic affair And as we kissed and said goodbye A nightingale sang in Berkeley Square.
John Dowland (1563 – 1626)
Clear or cloudy Clear or cloudy, sweet as April showering, Smooth or frowning so is her face to me, Pleas'd or smiling like mild May all flow'ring When skies blue silk and meadows carpets be, Her speeches notes of that nightbird that singeth, Who though all sweet yet jarring notes outringeth.
Heiter oder bewölkt, süß wie Schauer im April, glatt die Stirn oder gerunzelt, so ist ihr Gesicht für mich. Vergnügt oder lächelnd, wie der sanfte Mai ganz blühend, wenn der Himmel blauer Seide gleicht und wie Teppiche die Wiesen sind; ihr Sprechen Töne vom Gesang des Vogels in der Nacht, der süß zu singen dachte, doch seine Noten: schrill.
Her grace like June, when earth and trees be trimm'd In best attire of complete beauty's height, Her love again like summer's days be dimm'd, With little clouds of doubtful constant faith, Her trust her doubt, like rain and heat in skies Gently thund'ring, she lightning to my eyes.
Ihre Anmut wie der Juni, da Erde und Bäume getrimmt zu bester Gewandung für das voll‐ kommen Schöne. Ihre Liebe kann wie Sommertage sein, getrübt von kleinen Wolken zweifelhaft beständigen Vertrauens. Ihr Glaube, ihr Zweifel, wie Regen und Hitze im Himmel sanft donnernd, so blitzt sie in meine Augen.
Sweet Summer‐spring that breatheth life and growing, In weeds as into (healing) herbs and flow'rs,
Der süße Sommer‐Lenz, der Leben haucht und Wachstum in Unkraut wie in Kräuter und in Blumen,
And sees of service divers sorts in sowing, Some haply seeming and some being yours, Rain on your herbs and flow'rs that truly serve, And let your weeds lack dew and duly starve.
und sieht, dass dienlich ist verschied'ner Arten Saat, von denen manche nur vielleicht und manche sicher dein: Er soll beregnen deine Kräuter und die Blumen, die gebraucht, jedoch dein Unkraut lassen unbenetzt, so dass zu Recht es dürstet. (Übersetzung: Michael Kerstan)
O sweet woods
O sweet woods, the delight of solitariness; o how much do I love your solitariness. From fame’s desire, from love’s delight retired; in these sad groves a hermit’s life I led. And those false pleasures which I once admired, with sad remembrance of my fall I dread.
Oh, süße Wälder, Wonnen des Einsamen, oh, wie sehr liebe ich eure Einsamkeit. Zurückgezogen vom Streben nach Ruhm, von Liebesglück, führte ich in diesen traurigen Hainen ein Eremitendasein, und falsche Freuden, die ich einst erstrebte, scheue ich nun in schmerzlicher Erinnerung an meinen Fall.
To birds, to trees, to earth impart I this, for she less secret and as senseless is.
Den Vögeln, Bäumen und der Erde teil ich dieses mit, denn sie ist weniger Geheimnis und so fühllos.
Experience which repentance only brings, Doth bid me now my heart from love estrange, Love is disdained when it doth look on Kings, And love placed base and apt to change. Their power doth take from him his liberty, Her want of worth make him in cradle die.
Erfahrung, die nur die Reue mit sich bringt, biete mir nun mein Herz, von Liebe entfremdet. Gering geschätzt wird Liebe, wenn sie auf Könige blickt, und niedere Liebe als wertlos und zur Veränderung geneigt. Ihre Macht nimmt dem Manne alle Freiheit, das Verlangen danach lässt ihn schon in der Wiege sterben.
You men that give false worship unto Love, And seek that which you never shall obtain, The endless work of Sisyphus you procure, Whose end is this: to know you strive in vain, Hope and desire which now your idols be, Your needs must loose and feel despair with me.
Männer, die ihr irrigen Dienst an der Liebe leistet, und das sucht, was ihr nie erlangen werdet, ihr erbringt endlose Sisyphus‐Arbeit, deren Ergebnis dies ist: zu wissen, dass ihr euch sinnlos müht. Hoffnung und Begierde, die nun eure Götzen sein werden, verliert ihr zwangsläufig, und fühlt Verzweiflung mit mir.
You woods, in you the fairest nymphs have walked, and seek that which you never shall obtain. You woods in whom dear lovers oft have talked, how do you now a place of mourning prove? Wanstead, my mistress said this in the doom, thou art love’s childbed, nursery, and tomb.
Ihr Wälder, durch euch wandelten die holdes‐ ten Nymphen, Nymphen, bei deren Anblick jedes Herz in Liebe entbrannte. Ihr Wälder, in denen Liebende oft flüsterten, warum zeigt ihr euch jetzt als Ort der Klage? Wanstead, meine Liebste sagt, du bist der Untergang, du bist der Liebe Kindbett, Wiege und Grab. (Übersetzung: Claudia Tschida)
Thomas Weelkes (1576‐1623) Thule, the period of cosmography Thule, the period of cosmography, Doth vaunt of Hecla, whose sulfurious fire Doth melt the frozen clime and thaw the sky; Trinacrian Aetna’s flames ascend not higher. These things seem wondrous, yet more wondrous I, Whose heart with fear doth freeze, with love doth fry.
Thule, Endpunkt der Weltkarte, rühmt sich des Hekla, dessen schwefliges Feuer die eisigen Lande schmilzt und den Himmel taut; die Flammen des sizilianischen Ätna steigen nicht höher empor. Diese Dinge scheinen wundersam, doch noch wundersamer ich, dessen Herz aus Furcht gefriert, aus Liebe brennt.
The Andalusian merchant
The Andalusian merchant, that returns Laden with cochineal and China dishes, Reports in Spain how strangely Fogo burns, Amidst an ocean full of flying fishes! These things seem wondrous, yet more wondrous I, Whose heart with fear doth freeze, with love doth fry.
Der andalusische Kaufmann, der zurückkehrt, beladen mit Cochenille und Porzellangeschirr, berichtet in Spanien, wie seltsam Fogo brennt inmitten eines Meeres voll fliegender Fische. Diese Dinge scheinen wundersam, doch noch wundersamer ich, dessen Herz aus Furcht gefriert, aus Liebe brennt.
Orlando Gibbons (1583 – 1625 ) The silver swan The silver swan, who, living, had no note, when Death approached, unlocked her silent throat. Leaning her breast upon the reedy shore, thus sang her first and last, and sang no more: "Farewell, all joys! O Death, come close mine eyes! More geese than swans now live, more fools than wise."
Der silberne Schwan, der im Leben kein Lied kannte, Entfesselte beim Nahen des Todes seine schweigende Kehle, Lehnte seine Brust an das schilfbewachsene Ufer Und sang so zum ersten und letzten Mal, und sang nie wieder: Lebt wohl alle Freuden, o Tod, schließe meine Augen, Mehr Gänse als Schwäne leben heute, mehr Narren als Weise. (Übersetzung: Peter Rottländer)
Tom Cunningham (*1946)
The Painter's Eye Peaceable kingdom The lamb will with the lion lie down, The country will embrace the town, The leopard that has stalked its prey Will smile instead and beg to play. The stormy sky will change its rain To gentle drops to soothe our pain, The tiny mouse that was so freet Now sleeps content at tiger feet. The world is not like this, we know, But yet the artist strives to show That love transforms and for its part Makes whole again the injured heart.
Peaceable kingdom (1845‐46) Edward Hicks (1780‐1849) The Phillips Collection, Washington D.C.
Tower of Babel Once we spoke a single tongue, Words bore meaning, once The speech of one was speech of all; The world made sense. And the whole earth was of one language. On a plain we built a tower Touched upon the sky We breached the clouds; a cry was raised: The heavens are next. And the words we spoke were understood. Brueghel’s tower, a cone on end, Ships below unload The stone that builds our mighty dome; A king looks on. And the pride of men is our defeat. Babble of language, nouns and verbs Different, strange to ear; We cannot tell each other now unfinished tower Pride makes of us each a stranger. Babble! Babble! Babel! Babbel! Babel!
Tower of Babel (1563) Pieter Bruegel d. Ä. (c. 1525‐1569) Kunsthistorisches Museum, Wien
The skating minister How calm he seems, Skates on the ice. Ready was winter then Scotch skaters to entice. He dons his skates, Words in his head; Sermons composed on ice, Will bring all sinners dread.
Fleeting moments of pleasure will pass away, pass away, Doubt it not, doubt it not: we shall pay, we shall pay, Dies are cast, come what may, so they say, so they say, Nothing is ever achieved without several Bills at the end of the day, which we have to pay, Conscience is always the test, and pure guilt the best Signpost through life for avoidance of strife, And the straightest of ways Through our life’s little maze.
‘Neath Arthur’s Seat, There lies the toon; Scottish theology Can weigh the spirit doon. Ice melts away, Few sport a hat; Sinners are skating now, And that, we fear, is that. The Reverend Robert Walker skating on Duddingston Loch Sir Henry Raeburn (1756‐1823) National Gallery of Scotland, Edinburgh Birth of Venus
Venus on this shell is born; She stands. White flowers on the gentle wind Are blown. Angels caught in mid‐air flight, Embrace. The gift of love is now revealed To all. Each man and woman, lonely now, Imagines love deserved, But she, the goddess of love, is fickle, Smiles upon one, ignores another. There’s no justice in love; But grant me this at least; that my own love Be requited, be mine alone.
Birth of Venus (c. 1482‐86) Alessandro di Botticelli (1445‐1510) Uffizien, Florenz
An old man with his grandson The youth who looks upon age With such affection must wonder: Will I be like that in due time? An old man with a bulbous nose? It can’t be me. Who grows old? Neither the boy Nor the man who looks at the boy And knows what the boy is thinking, But believes him wrong. It won’t be us. In whose heart does spring truly Give way to winter? Winter Is a way of dying; Denial a way of life.
An old man and his grandson (c. 1490) Domenico Ghirlandaio (1449‐1494) Musée du Louvre, Paris
It cannot be. Traditional
Loch Lommond By yon bonnie banks and by yon bonnie braes, Where the sun shines bright on Loch Lomond. Where me and my true love were ever wont to gae On the bonnie, bonnie banks O' Loch Lomond.
Dort an dem Ufer, am fröhlichen Hang, Wo die Sonne scheint hell auf Loch Lomond, Wo ich, mit der Liebsten, macht' manchen frohen Gang, An dem schönen Hang bei Loch Lomond.
O ye'll take the high road and I'll take the low road, An' I'll be in Scotland afore ye; But me and my true love will never meet again On the bonnie, bonnie banks O' Loch Lomond.
O, nehm du den Bergweg und ich geh zunieder, Und ich werd' in Schottland vor dir sein, Doch ich und mein Schatz sehen uns nie wieder An dem schönen Hang bei Loch Lomond.
'Twas there that we parted in yon shady glen, On the steep, steep side O' Ben Lomon', Where in purple hue the Hieland hills we view, An' the moon comin' out in the gloamin'.
Er war dort, unser Abschied, im schattigen Tal Dort am steilen Hang von Ben Lomond, Wo purpur die Berge wir sahen noch einmal In dem Abendrot unter'm Vollmond.
The wee birdies sing and the wild flow'rs spring And in sunshine the waters are sleepin'; But the broken heart it kens nae second spring, Tho' the waefu' may cease frae their greetin'.
Die Vögelein die singen uns ihr' süße Lieder Die Wasser, die schlaf'n unter Sonne Aber Herzleid erlebt Frühling nie wieder Und die Betrübtheit kennt keine Wonne.
Harold Arlen (1905‐1986) Over the rainbow When all the word is a hopeless jumble, And the raindrops tumble all around, Heaven opens a magic lane, When all the clouds darken up the skyway There’s a rainbow highway to be found, Leading from your windowpane To a place behind the sun Just a step beyond the rain: Somewhere over the rainbow, way up high, There's a land that I've heard of once in a lullaby,
Somewhere over the rainbow, skies are blue And the dreams that you dare to dream, Really do come true. Someday I'll wish upon a star And wake up where the clouds are far behind me. Where troubles melt like lemon drops Away above the chimney tops, That's where you'll find me. Somewhere over the rainbow, blue birds fly Birds fly over the rainbow Why then, oh why can't I?
Charlie Chaplin (1989‐1977) Smile Smile tho' your heart is aching, Smile, even tho' it's breaking. When there are clouds in the sky You'll get by if you Smile through your fear and sorrow, Smile and maybe tomorrow You'll see the sun come shining thru for you.
Light up your face with gladness, Hide ev'ry trace of sadness, Altho' a tear maybe ever so near. That's the time you must keep on trying Smile what's the use of crying, You'll find that life is still worthwhile If you'll just smile.
George Gershwin (1898‐1937)
Love Walked In Love walked right in and drove the shadows away. Love walked right in and brought my sunniest day.
One look and I forgot the gloom of the past. One look and I had found my future at last. One look and I had found a world completely new.
One magic moment and my heart seemed to know that love said hello Though not a word was spoken.
When love walked in with you.
Love is here to stay
It’s very clear Our love is here to stay: Not for a year But ever and a day.
But, oh, my dear, Our love is here to stay; Together we’re goin’ A long, long way.
The radio and the telephone And the movies that we know May be passing fancies. And, in time, may go.
In time the Rockies may crumble, Gibraltar may tumble, oh, Only made of clay But our love is here to stay.
I got rhythm I got rhythm, I got music, I got my man, who could ask for anything more? I got daisies in green pastures, I got my man, who could ask for anything more?
Old man trouble, I don't mind him, You won't find him 'round my door. I got starlight, I got sweet dreams, I got my man, who could ask for anything more? Who could ask for anything more?
i dodici Anne Simmenroth‐Nayda, Christiane Heddergott, Julika Minde (Sopran) Ildikó Gágyor, Stephanie Kluth, Turan Lackschewitz (Alt) Christian Nayda, Tilmann Prautzsch, Peter Schweiger (Tenor) Gerd Kortleben, Matthias Löber, Bertram Preuschhof (Bass) Das Vokalensemble i dodici mit der festen Anzahl von 12 SängerInnen existiert seit 1992. Seit seiner Gründung erarbeiten sich die Mitwirkenden regelmäßig anspruchsvolle geistliche und weltliche Werke der unterschiedlichsten Epochen; dazu zählen Kompositionen wie Arvo Pärts Magnificat, Benjamin Brittens Hymn to Cecilia u.v.m. Im Zentrum der musikalischen Arbeit stehen wohlüberlegte, in sich geschlossene Programmzusammenstellungen sowie die Ausarbeitung feiner stilistischer Nuancen und Charakteristika der einzelnen Werke. Der Tenor Tilmann Prautzsch leitet die Probenarbeit und wird seit einiger Zeit phasenweise vom Pianisten und Ensembleleiter Jan Revermann unterstützt. Andreas Düker Andreas Düker studierte Klassische Gitarre in Kassel bei Wolfgang Lendle und war dort an mehreren Uraufführungen und Rundfunkaufnahmen mit Moderner Musik beteiligt. Seine Künstlerische Reifeprüfung im Fach Laute legte er 1996 bei Prof. Stephen Stubbs an der Hochschule für Künste in Bremen ab. Ehrenvolle Erwähnung als bester Lautenist beim internationalen Wettbewerb „Musica Antiqua“ 1996 in Brügge. CD – und Rundfunkproduktionen. Mitwirkung bei den Göttinger Händelfestspielen, den Tagen für Alte Musik in Kassel und Georgs‐ marienhütte sowie bei den Gandersheimer Dommusiktagen, dem Bodensee‐ Festival und dem Göttinger Jazzfestival. Neben einer regen Konzerttätigkeit im Bereich der Alten Musik widmet sich Andreas Düker auch in mehreren Crossover‐ Projekten der Verbindung von Alter Musik, Jazz und Folk.