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Award-Winner Escher Quartet w Susanna Phillips

Mount Gretna, PA, United States

Haydn, Schoenberg, Respighi, Dvorak, and Handel program

Time 7:30 PM Admission $5-$35 This concert is open seating by section. Premium Section is the first 10 rows. Standard Section is rows 11-19.
Mt. Gretna Playhouse 200 Pennsylvania Avenue, Mount Gretna, PA 17064, United States
(717) 361-1508
Metropolitan Opera star Susanna Phillips graced our stage in 2018 and showed us why she is one of today’s most sought-after sopranos. She returns this time with the award-winning Escher Quartet whose past collaborations have included pianist Leon Fleisher, Joshua Bell, and jazz luminaries Joshua Redman, Paquito D’Rivera, and Kurt Elling. The Quartet will take center stage for the first half the program before Ms. Phillips joins them in the second half.

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Adam Barnett-Hart and Brendan Speltz, violin, Pierre Lapointe, viola
Brook Speltz, cello

The Escher String Quartet has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall. In its home town of New York, the ensemble serves as Season Artists of The Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets. Last season, the quartet toured with CMS to China.

Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, Joshua Bell, Paul Watkins and David Shifrin, as well as jazz saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera and Grammy award-winning guitarist Jason Vieaux. In 2013, the quartet became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant.

The Escher Quartet has made a distinctive impression throughout Europe, performing at venues such as Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Tel Aviv Museum of Art, Slovenian Philharmonic Hall, Auditorium du Louvre and Les Grand Interprètes series in Geneva. With a strong collaborative approach, the group has appeared at festivals such as Heidelberg Spring Festival, Incontri in Terra di Siena Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia.

The current season sees another extensive European tour, including debuts at Musik und Kunstfreunde Heidelberg, de Singel Antwerp, Budapest’s festival and Bath Mozarfest. Alongside its growing success in Europe, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New York, Kennedy Center in Washington DC, Chamber Music San Francisco, and the Ravinia, Caramoor and Music@Menlo festivals.

Currently String Quartet in Residence at Southern Methodist University in Dallas, Texas and Tuesday Musical in Akron, Ohio, the quartet fervently supports the education of young musicians and has given masterclasses at institutions such as the Royal Academy of Music in London and Campos do Jordão Music Festival in Brazil.

In Autumn 2016, the quartet released the third and final volume of the complete Mendelssohn Quartets on the BIS label. The set has been received with the highest critical acclaim; Volume II was listed in the Top 10 CDs of 2016 by the Guardian and hailed for its “sheer finesse” by Gramophone, whilst Volume III was nominated for a BBC Music Magazine Award. The quartet has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014 respectively, to accolades including five stars in the Guardian with “Classical CD of the Year”, a Recommendation in The Strad, “Recording of the Month” on MusicWeb International and a nomination for a BBC Music Magazine Award.

The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.


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Alabama-born soprano Susanna Phillips continues to establish herself as one of today’s most sought-after singing actors and recitalists. Ms. Phillips is a recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award. Known for her sparkling portrayal of Musetta in La bohème, Ms. Phillips has sung at the Met for 12 consecutive seasons in the roles of Musetta, Pamina, Donna Anna, Rosalinde, Antonia/Stella, Micaëla, Donna Elvira, and most recently as Countess Almaviva – a role very close to her heart. Role highlights at the Met include Fiordigili, which The New York Times called a “breakthrough night”, and Clémence in the Met premiere of Kaija Saariaho’s L’amour de Loin. Ms. Phillips was also a featured artist in the Met’s Summer Recital Series.

In 2005 Ms. Phillips won four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Ms. Phillips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago’s Ryan Opera Center. She holds both a Bachelor of Music and Master of Music degree from The Juilliard School.

The start of Ms. Phillips’s career found her at the Zürich Opera as Donna Anna in Don Giovanni, Sante Fe Opera as Pamina in Die Zauberflöte, and Arminda in La finta giardiniera. As a member of the Ryan Opera Center, Ms. Phillips sang the female leads in Roméo et Juliette and Die fledermaus. Additional roles include Elmira in Reinhard Keiser’s The Fortunes of King Croesus and the title roles in Lucia di Lammermoor and Agrippina.

Highly in demand by the world’s most prestigious orchestras, Ms. Phillips has appeared with the Royal Stockholm Philharmonic under Alan Gilbert, Baltimore Symphony Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Philadelphia Orchestra, Philadelphia Chamber Music Society, Santa Fe Symphony, Santa Barbara Symphony, Milwaukee Symphony, St. Louis Symphony, Gulbenkian Orchestra, Orchestra of St. Luke’s, Atlanta Symphony, Santa Fe Concert Association, La Jolla Music Society’s SummerFest, Boston Baroque, Chamber Music Society of Lincoln Center, and her native Huntsville Symphony where she celebrated the bicentennial of Alabama performing Strauss’s Vier Letzte Lieder.

The 2021-22 season sees Ms. Phillips returning to her native Huntsville, engagements with OSNY and the Chamber Music Society of Lincoln Center, the Celebrity Boston Series, Bravo! Vail, and a world premiere of Picker’s “Awakenings” at OTSL. A native of Huntsville, Alabama, over 400 people traveled from her hometown to New York City in December 2008 for Ms. Phillips’s Met Opera debut in “La Bohème”. She returns frequently to her native state for recitals and orchestral appearances.

[tabby title=”Program Notes, Text, Translations”]

Haydn, String Quartet in B-flat Major, Hob. III:78, ‘Sunrise’
Schoenberg, String Quartet No. 2, Op. 10
Respighi, Il Tramonto
Dvorak, selections from Cypresses 
Handel, Arias TBA

Franz Joseph Haydn, String Quartet in B-flat Major, Hob. III:78, ‘Sunrise’

The creation of a beautiful melody, Haydn is reported to have said, is the highest achievement of a composer.  I beg to differ, and cite the scads of endearing tunes littering utterly numbing works by the likes of Dussek, Wanhal, Cimarosa, and a hundred other forgotten composers of Franz Joseph’s time as evidence.  Heck, even I could come up with a decent ditty if I tried.  The trick is knowing what to do with it; and that’s where Haydn separates himself from the pack.  Take for instance the String Quartet in B-flat Major, Op. 76, No. 4 (1797), which doesn’t get its nickname, Sunrise, from the lovely melody with which it starts, but from how it is presented, the violin’s tune rising in an auroral arc from the lower strings’ quiet, chordal horizon.  And if that’s not proof enough that tunesmithing all by itself is not the ne plus ultra of the composer’s art, this same quartet’s second movement hardly has a proper tune at all, is built instead out of a five note germ, yet is one of Haydn’s most sublime musical meditations.

The minuet as well is not melody-driven, but derives its great momentum by way of rhythm.  Okay, so the finale’s charm flows mostly from a theme that one can easily imagine being sung over, around, and in between gulps of ale at an eighteenth century glee club.  But that’s the exception that proves the rule.  Don’t believe me?  Just go listen to a sonata by Dussek, or a Cimarosa opera, beautiful tunes and all.  I dare you.                                                                                                

Note by Carl Kane

Arnold Schoenberg, String Quartet in f-sharp minor, Op. 10

This work in four movements was written during a very emotional time in Schoenberg’s life. Though it bears the dedication “to my wife”, it was written during Mathilde Schoenberg’s affair with their friend and neighbour, artist Richard Gerstl, in 1908. It was first performed by the Rosé Quartet and the soprano Marie Gutheil-Schoder.

The second movement quotes the Viennese folk song, “O du lieber Augustin.” The third and fourth movements are quite unusual for a string quartet, as they also include a soprano singer, using poetry written by Stefan George. On setting George, Schoenberg himself later wrote, “I was inspired by poems of Stefan George, the German poet, to compose music to some of his poems and, surprisingly, without any expectation on my part, these songs showed a style quite different from everything I had written before. … New sounds were produced, a new kind of melody appeared, a new approach to expression of moods and characters was discovered.”,_op._10

Ottorino Respighi, Il Tramonto                                                                                                                                       

Known primarily for his colorful, brilliantly scored orchestral tone poems, Respighi, a violist who studied orchestration and composition with Nicolai Rimsky-Korsakov, rose to fame when Arturo Toscanini conducted The Fountains of Rome in Milan in 1918 to great success, establishing Respighi as one of Italy’s greatest twentieth-century composers.

Earlier in his career, he transcribed smaller pieces by 17th and 18th-century composers. Those by Claudio Monteverdi for voice and orchestra became his first international success when Arthur Nikisch, conductor of the Berlin Philharmonic, conducted the transcriptions with famed singer Julia Culp. That success encouraged Respighi, then an accompanist at Hungarian soprano Etelka Gerster’s singing school, to have other transcriptions of older works performed in Berlin. Those performances contributed to the rediscovery of Monteverdi’s work.

In January 1913, Respighi became a professor of composition at the Liceo Musicale di Santa Cecilia in Rome, a position that he held for almost a decade. In 1914, he set Il Tramonto (The Sunset), a poem by Percy Bysshe Shelley (1792-1822), and dedicated it to Signora Chiarina Fino Savio.

When Italy entered World War I in May 1915 Respighi, aged 36, was eligible to join the army. His position at the Liceo Musicale granted him temporary exemption and he took advantage of the delay to take a summer holiday and court one of the new students, a singer in his composition class, Elsa Olivieri-Sangiacomo. Elsa, fourteen years his junior, married the composer in 1919. Their friend, librettist Claudio Guastalla, spoke of their marriage: “It functioned on an almost transcendental level of human and spiritual harmony.”

Antonín  Dvořák, selections from Cypresses                                                                                                           

Among the students Dvořák tutored throughout the 1860s were the sisters Josefina and Anna Čermáková. Antonin fell in love with the elder sister, Josefina, but she did not reciprocate his feelings. The anguish of his unrequited love is expressed in Cypresses (1865), eighteen songs set to texts by Gustav Pfleger-Moravský. In November 1873 he married the younger sister, Anna, a pianist and singer. The first few years of the Dvorak’s marriage were challenged by financial insecurity and marked by tragedy. Anna had given birth to three children by 1876 but by 1877 had buried all of them. In 1878, however, she gave birth to the first of the six healthy children the couple would raise together. The Dvořáks maintained a close relationship with Josefina and the man she eventually married, Count Václav Kounic. After several years of regular visits, they bought a summer house in the small village of Vysoká, where Josefina and the count had settled, and spent every summer there from that point onward. Dvořák composed some of his best-known works there.

George Frideric Handel, selected arias

With his first original and full-fledged Italian opera, Agrippina, “Handel had already hit his stride,” according to Paul Henry Lang. Composed in Naples, it was phenomenally successful when produced in Venice in 1709. He wrote it for Margherita Durastanti and continued a long collaboration with this remarkable singer whom he had met in Rome in 1708 when they performed for aristocrats. After he moved to London in 1711, Handel and the impresario JJ Heidegger, with eventual support from the new King George ll, took over the assets of the Royal Academy and presented 36 operas at the King’s Theatre on the London Haymarket (a few, toward the end, played at Covent Garden, still called the Royal Opera House). 

The 1724 Giulio Cesare was full of vivid dramatic scenes, some of them of the festive “grand opera type that would make this great work especially suitable for modern audiences…the ending of the opera is equally spectacular.” (Paul Henry Lang)

In 1727, Admeto put into the field an incomparable quartet of stars (including an alto-castrato) and was greeted with instant admiration: eight performances within a month, and ten more during the rest of the season in the year that Handel’s application for naturalization was approved by King George I.

By 1740 as the London public began to tire of operas and competitors tried to steal his success, Handel approached bankruptcy and turned to oratorios. Thus came Messiah, and the rest is history.                                                                                

Respighi, Dvořák, and Handel notes by Carl Ellenberger

Arnold Schoenberg, String Quartet No. 1 in f-sharp minor, Op. 10


Tief ist die trauer die mich umdüstert, Ein tret ich wieder, Herr! in dein haus.

Lang war die reise, matt sind die glieder, Leer sind die schreine, voll nur die qual.

Durstende zunge darbt nach dem weine. Hart war gestritten, starr ist mein arm.

Gönne die ruhe schwankenden schritten, Hungrigem gaume bröckle dein brot!

Schwach ist mein atem rufend dem traume, Hohl sind die hände, fiebernd der mund.

Leih deine kühle, lösche die brände. Tilge das hoffen, sende das licht!

Gluten im herzen lodern noch offen, Innerst im grunde wacht noch ein schrei.

Töte das sehnen, schliesse die wunde! Nimm mir die liebe, gib mir dein glück!


Deep is the sadness that gloomily comes over me, Again I step, Lord, in your house.

Long was the journey, my limbs are weary, The shrines are empty, only anguish is full.

My thirsty tongue desires wine. The battle was hard, my arm is stiff.

Grudge peace to my staggering steps, for my hungry gums break your bread!

Weak is my breath, calling the dream, my hands are hollow, my mouth fevers.

Lend your coolness, douse the fires, rub out hope, send the light!

Still active flames are glowing inside my heart; in my deepest insides a cry awakens.

Kill the longing, close the wound!

Take love away from me, and give me your happiness!


Ich fühle luft von anderem planeten.

Mir blassen durch das dunkel die gesichter Die freundlich eben noch sich zu mir drehten.

Und bäum und wege die ich liebte fahlen Dass ich sie kaum mehr kenne und du lichter Geliebter schatten—rufer meiner qualen—

Bist nun erloschen ganz in tiefern gluten Um nach dem taumel streitenden getobes Mit einem frommen schauer anzumuten.

Ich löse mich in tönen, kreisend, webend, Ungründigen danks und unbenamten lobes Dem grossen atem wunschlos mich ergebend.

Mich überfährt ein ungestümes wehen

Im rausch der weihe wo inbrünstige schreie In staub geworfner beterinnen flehen:

Dann seh ich wie sich duftige nebel lüpfen In einer sonnerfüllten klaren freie

Die nur umfängt auf fernsten bergesschlüpfen.

Der boden schüffert weiss und weich wie molke.

Ich steige über schluchten ungeheuer. Ich fühle wie ich über letzter wolke

In einem meer kristallnen glanzes schwimme— Ich bin ein funke nur vom heiligen feuer

Ich bin ein dröhnen nur der heiligen stimme.

Stefan George


I feel air from another planet.

The faces that once turned to me in friendship Pale in the darkness before me.

And trees and paths that I once loved fade away So that I scarcely recognize them, and you bright Beloved shadow—summoner of my anguish—

Are now extinguished completely in deeper flames In order, after the frenzy of warring confusion,

To reappear in a pious display of awe.

I lose myself in tones, circling, weaving,

With unfathomable thanks and unnamable praise; Bereft of desire, I surrender myself to the great breath.

A tempestuous wind overwhelms me

In the ecstasy of consecration where the fervent cries Of women praying in the dust implore:

Then I see a filmy mist rising In a sun-filled, open expanse That includes only the farthest mountain retreats.

The land looks white and smooth like whey.

I climb over enormous ravines.

I feel like I am swimming above the furthest cloud

In a sea of crystal radiance—

I am only a spark of the holy fire

I am only a whisper of the holy voice.


Ottorino Respighi, Il Tramonto

Già v’ebbe un uomo, nel cui tenue spirto (qual luce e vento in delicata nube

che ardente ciel di mezzo-giorno stempri)

la morte e il genio contendeano. Oh! quanta tenera gioia, che gli fè il respiro venir meno

(così dell’aura estiva l’ansia talvolta)

quando la sua dama, che allor solo conobbe l’abbandono pieno e il concorde palpitar di due creature che s’amano, egli addusse pei sentieri d’un campo,

ad oriente da una foresta biancheggiante ombrato ed a ponente discoverto al cielo!

Ora è sommerso il sole; ma linee d’oro pendon sovra le cineree nubi,

sul verde piano sui tremanti fiori sui grigi globi dell’ antico smirnio, e i neri boschi avvolgono,

del vespro mescolandosi alle ombre.

Lenta sorge ad oriente

l’infocata luna tra i folti rami delle piante cupe: brillan sul capo languide le stelle.

E il giovine sussura: “Non è strano? Io mai non vidi il sorgere del sole,

o Isabella. Domani a contemplarlo verremo insieme.”

Il giovin e la dama giacquer tra il sonno e il dolce amor congiunti ne la notte: al mattin

gelido e morto ella trovò l’amante.

Oh! nessun creda che, vibrando tal colpo, fu il Signore misericorde.

Non morì la dama, né folle diventò:

anno per anno visse ancora

Ma io penso che la queta sua pazienza, e i trepidi sorrisi

e il non morir… ma vivere a custodia del vecchio padre (se è follia dal mondo dissimigliare)

fossero follia. Era, null’altro che a vederla, come leggere un canto da ingegnoso bardo

intessuto a piegar gelidi cuori in un dolor pensoso. Neri gli occhi ma non fulgidi più;

consunte quasi le ciglia dalle lagrime;

le labbra e le gote parevan cose morte tanto eran bianche; ed esili le mani e per le erranti vene e le giunture rossa del giorno trasparia la luce.

La nuda tomba, che il tuo fral racchiude,

cui notte e giorno un’ombra tormentata abita, è quanto di te resta, o cara creatura perduta!

“Ho tal retaggio, che la terra non dà:

calma e silenzio, senza peccato e senza passione.

Sia che i morti ritrovino (non mai il sonno!) ma il riposo, imperturbati quali appaion,

o vivano, o d’amore nel mar profondo scendano; oh! che il mio epitaffio, che il tuo sia: Pace!” Questo dalle sue labbra l’unico lamento.

Translation: Roberto Ascoli

The Sunset                                                                      

There late was One within whose subtle being, As light and wind within some delicate cloud That fades amid the blue noon’s burning sky, Genius and death contended. None may know The sweetness of the joy which made his breath Fail, like the trances of the summer air,

When, with the lady of his love, who then First knew the unreserve of mingled being, He walked along the pathway of a field Which to the east a hoar wood shadowed o’er, But to the west was open to the sky.

There now the sun had sunk, but lines of gold Hung on the ashen clouds, and on the points Of the far level grass and nodding flowers And the old dandelion’s hoary beard,

And, mingled with the shades of twilight, lay On the brown massy woods – and in the east The broad and burning moon lingeringly rose Between the black trunks of the crowded trees, While the faint stars were gathering overhead. “Is it not strange, Isabel,” said the youth,

“I never saw the sun? We will walk here

To-morrow; thou shalt look on it with me.”

That night the youth and lady mingled lay

In love and sleep – but when the morning came The lady found her lover dead and cold.

Let none believe that God in mercy gave That stroke. The lady died not, nor grew wild

But year by year lived on – in truth I think Her gentleness and patience and sad smiles, And that

she did not die, but lived to tend Her agèd father,  were a kind of madness, If madness ’tis to be unlike the world. For but to see her were to read the tale

Woven by some subtlest bard, to make hard hearts Dissolve away in wisdom-working grief;

Her eyes were black and lustreless and wan: Her eyelashes were worn away with tears,

Her lips and cheeks were like things dead – so pale; Her hands were thin, and through their wandering veins And weak articulations might be seen Day’s ruddy light. The tomb of thy dead self

Which one vexed ghost inhabits, night and day, Is all, lost child, that now remains of thee!

“Inheritor of more than earth can give, Passionless calm and silence unreproved, Where the dead find, oh, not sleep! but rest, And are the uncomplaining things they seem, Or live, a drop in the deep sea of Love;

Oh, that like thine, mine epitaph were – Peace!” This was the only moan she ever made.

Percy Bysshe Shelley

Antonin Dvorák, selections from Cypresses

Já vím, že v sladké naději Tě smím přec milovat;

A že chceš tím horoucněji Mou lásku pěstovat.

A přec, když nazřím očí tvých V tu přerozkošnou noc

A zvím jak nebe lásky z nich Na mne snáší moc:

Tu moje oko slzamí, Tu náhle se obstírá,

Neb v štěstí naše za námi Zlý osud pozírá!ý

Nad krajem vévodí lehký spánek Jasná se rozpjala májová noc; Nesmělý krade se do listí vánek,

S nebes se schýlila míru moc.

Zadřímlo kvítí, poto-kem šumá

Tišeji nápěvů tajemných sbor.

Příroda v rozkoši blaženě dumá,

Neklidných živlů všad utichl vzpor

Hvězdy se sešly co naděje světla, Země se mění na nebeský kruh.

Mým srdcem, v němž-to kdys blaženost kvetla, Mým srdcem táhne jen bolesti ruch!

Ó, duše drahá, jedinká, Jež v srdci žiješ dosud:

Má oblétá tě myšlenka, Ač nás dělí zlý osud.

Ó, kéž jsem zpěvnou labutí, Já zaletěl bych k tobě;

A v posledním bych vzdechnutí Ti vypěl srdce v mdlobě.

Gustav Pfleger-Moravský

I know, with sweet hope, that I can offer you my love;

That you will cherish my love with ardor.

And yet, when I look

into your eyes on this opulent night,

And see there all the power that love brings from the sky,

Suddenly my eyes well up with tears of sadness — Above our happiness, cruel fate looms.

Over the landscape ruled by care-free dreams, Clear May night is outstretched.

Gently a breeze steals through the leaves, From the skies, calmness descends.

Flowers slumber, and through the woods, Like a secretive choir, the brook sings.

Opulent nature muses blissfully,

Nothing remains that would bring conflict.

Stars are assembled to bring the light,

The earth is melding into the heaven’s orb.

But in my heart, where once blessedness blossomed, Now only illness remains.

Oh, you, my soul’s only dear one, Who will live in my heart forever:

My thoughts circle around you, Even though cruel fate separates us.

Oh, if I were a singing swan,

I would fly to you, and with my last breath, Sing my heart out to you,

Ah, with my last breath.

Translation: © Djordje Nesic and Hannah Sharene Penn, Reprinted with permission from the LiederNet Archive

George Frideric Handel,

Ogni venoto ch’al porto lo spinga, from Agrippina, HWV 6

Ogni vento, ch’al porto lo spinga, benché fiero minacci tempeste, l’ampie vele gli spande il nocchier.

Regni il figlio mia sola lusinga; sian le stelle in aspetto funeste, senza pena le guarda il pensier.

Vincenzo Grimani

May every wind bring him to port again Despite the raging tempest’s power May the pilot spread his sails full wide.

My only dream is to see my son reign Although unfriendly stars may lower, My thoughts will not be turned aside

Da tanti affanni oppressa, from Admeto, HWV 22

Da tanti affanni oppressa Talor dico a me stessa:

Vivere tu non puoi, misera amante. Par che il confermi amore, Dicendo, che dal core

Partirà solo il duol, con l’alma errante.

Nicola Francesco Haym

Overwhelmed by so many worries Sometimes I say to myself:

You cannot live, poor lover.

It seems the confirmation of love, Saying, that from the heart

Only the sorrow will start, with the wandering soul.


Da tempeste il legno infranto, from Giulio Cesare, HWV 17

Da tempeste il legno infranto,

se poi salvo giunge in porto

non sa più che desiar.

Così il cor tra pene, e pianto or che trova il suo conforto

torna l’anima a bear.

Nicola Francesco Haym

A storm-battered vessel,

if it at least arrives safely in port, has nothing left to desire.

So my heart, through suffering and weeping,

now that it has found comfort,

returns to make my soul happy at last.

Translation: © Andrew Schneider, Reprinted with permission from the LiederNet Archive



Oh, you, my soul’s only dear one, Who will live in my heart forever:

My thoughts circle around you, Even though cruel fate separates us.

Oh, if I were a singing swan,

I would fly to you, and with my last breath, Sing my heart out to you,

Ah, with my last breath.

Translation: © Djordje Nesic and Hannah Sharene Penn, Reprinted with permission from the LiederNet Archive