Sunday 11 March 2007, 3.

30pm

Haydn Die Jahreszeiten (The Seasons)

sung in German; text and translation on pages 5-25
Part One Spring 28
Part Two Summer 35
interval
Part Three Autumn 31
Part Four Winter 31

The English Baroque Soloists and The Monteverdi Choir

Sir John Eliot Gardiner conductor
Rebecca Evans soprano Hannah
James Gilchrist tenor Lucas
Dietrich Henschel baritone Simon

This concert has been generously supported by the Friends of Monteverdi.

Barbican Hall
The Great Performers 2007-2008 season is now on sale.
The Barbican Centre is provided by the For full details visit www.barbican.org.uk/greatperformers0708 where you
City of London Corporation as part of its can listen to soundclips and watch the Barbicans Head of Music
contribution to the cultural life of London
and the nation.
Robert van Leer introduce the new season.
Notes
Joseph Haydn (1732-1809)
Die Jahreszeiten (The Seasons)
Haydn had just celebrated his 69th birthday when the
first performance of The Seasons took place in Vienna in
April 1801 in the spacious palace of Prince
Schwarzenberg. The idea of an oratorio on the timeless
subject of the procession of the seasons had been
conceived two years earlier, when Haydns The Creation
was given its first public performances. The enthusiasm
with which that work was greeted encouraged Baron
Gottfried van Swieten, the editor of the text, to think of a
sequel.
While The Creation had been born out of Haydns and
Swietens shared enthusiasm for the oratorios of Handel,
for the follow-up oratorio Swieten, rather than Haydn,
took the initiative, and turned once more to the English
tradition for a subject, to James Thomsons epic poem
The Seasons. This had been issued in instalments
between 1726 and 1728, its success prompting the poet to
increasingly extravagant flights of lyrical imagination.
The final poem consisted of over 5,000 lines far too
long for any musical setting. Out of the poem Swieten
skilfully culled a text for Haydn of some 650 lines,
concentrating on the passages of narrative and
description, and omitting the many digressions and
passages of moralising. He drew extensively on a
German translation of the poem by Barthold Heinrich
Brockes.
But Swieten rightly saw that the last part of Thomsons
epic, Winter, with its repeated descriptions of a bleak
landscape, was incapable of providing the expected
uplifting conclusion to an oratorio. He therefore included
two items in lighter vein that drew on other sources, the
first a spinning song (poetry by Gottfried August Brger),
the second a Lied mit Chor (Song with Chorus) on a
2
Haydn
text derived from Charles Simon Favart, telling a story
about a saucy girl outwitting a dirty old nobleman. In
addition, to end the Winter section and the entire
oratorio, Swieten provided the text for a chorus of praise
and thanks, explicit Christian sentiments largely absent
from Thomsons original.
Apart from the easy appeal of the subject-matter the
measureless tread of the seasons what specifically
attracted Swieten to Thomsons poetry were the plentiful
descriptions of natural life: weather and climate, sunrise,
bird-song, hunting, harvesting and so on. For nearly 50
years Haydns music had shown a penchant for
descriptive writing, and precedents for many of the
illustrative passages in The Seasons abound in his earlier
music. Though these earlier passages are always
charming, they are often gratuitous too.
In The Seasons (as in The Creation) Haydn was
presented with a context in which the pictorial was a
persistent and governing element, in turn delighting and
enthralling the listener. Indeed, Haydn remarked on more
than one occasion during the composition of The
Seasons that there was too much word-painting. In
Autumn there is a chorus extolling the work of the
peasant (O Fleiss, o edler Fleiss). Haydn, in the autumn
of his days and remembering his many years of hard
work, wryly remarked that it had never occurred to him to
set the word fleiss (diligence) to music; equally wryly he
responded with a learned fugue. In the concluding
movement of Summer Haydn, within a space of 38 bars
and always in advance of the words, evokes cattle (loud
moos in wind and low strings), a quail (oboes), a cricket
(flutes), a frog (woodwind) and the tolling of the evening
bell (horns). The composer complained about the frog,

perhaps because for once his aural imagination was not
equal to the task. Haydns resourcefulness, otherwise, is
remarkable, as is his ability to contain such detail within
the flow of the music.
When Haydn attended a performance of Handels
Messiah in London, he was overwhelmed by the power
of the choral writing but was indifferent to the arias:
Handel was great in choruses but mediocre in his song
he told an early biographer. In The Creation the chorus
had played the distinctive role of offering praise and
thanks at cumulative moments in the narrative. In The
Seasons the chorus plays a more central role, the choral
writing showing more variety and demanding great
technical resource and stamina. There are moments in
the narrative, such as the ends of Spring and Winter,
when the chorus stands back from the action, summarises
and offers praise, but the chorus members are also active
participants, peasants who respond with the full gamut
of emotions, from enthusiasm to fear, to the years events.
We first hear them welcoming the onset of spring, the
whole village together and then separately as womenfolk
and menfolk. Later in the oratorio they are heard in
prayer, witnessing the sunrise and a storm, resting at the
end of a hot summers day, singing while spinning and
reacting readily to Hannahs saucy tale.
Two numbers in Autumn provide a particularly
prominent role for chorus, and constitute a tour de force
in any performance. The first describes a hunt and the
second is in praise of wine: blood sport followed by
binge drinking. The hunt for the stag is recounted stage
by stage by the onlookers, their commentary punctuated
by a series of actual hunting horn calls, taking the listener
from the search (at the very opening) to the kill; in an
extravagantly colourful score Haydn even notates forte
grace notes for trombones (effectively short glissandi) to
suggest the exhausted stag. Following the excitement of
the hunt comes the equally extensive chorus in praise of
wine. It features a recurring accented note that in any
stage presentation would no doubt be accompanied by
a clash of mugs. The middle section of the chorus is an
increasingly unruly dance, the orchestra providing
onomatopoeic representation of the fife, the drum, the
fiddle, the hurdy-gurdy and the bagpipes. More wine is
called for and the participants attempt a fugue to the
Notes
words Jauchzet, lrmet (Be joyful and noisy) the
perfect antidote to the earlier fugue on Fleiss!) only to
take refuge in a 6/8 harmonic rendering of the theme;
the babble increases as triangle and tambourine join in
and the movement moves to a boisterous close. Haydns
Autumn is clearly not for the faint-hearted.
The oratorio has parts for three soloists, their names
allotted by Swieten rather than taken from Thomson:
Simon (a farmer, bass), his daughter Hannah (soprano)
and Lucas (a young peasant, tenor). They are not fully
rounded characters in the manner of individuals in a
Mozart opera or, indeed, in many Handel oratorios.
Rather they are representatives of their fellow peasants,
as much part of the landscape as the storm, the hunt, the
brook and even the despised frog. They are recognisably
human, however, because Haydn gives them music
strongly redolent of contemporary German opera
(Singspiel). Simons first aria is typical of many in the
oratorio. Set as an Allegretto in 2/4, the vocal line is
predominantly syllabic and folk-song-like, reminding
modern listeners of Papagenos music in Mozarts The
Magic Flute. As Simon ploughs the land and sows the
seed, he joyfully whistles a theme from Haydns own
Surprise Symphony. (Haydns self-quotation is a
perfectly just reflection of his popularity as well as being
nonchalantly amusing. Over a century later Schoenberg
was to express the forlorn hope that the ploughman
would be singing his melodies in years to come.)
There are more ambitious arias to set alongside these
homely numbers, such as the accompanied recitative and
aria for Hannah, welcoming the shade in the heat of
midsummer. In the recitative the orchestra illustrates
successively a brook, swarming bees and a shepherds
pipe. This pipe, in the form of a solo oboe, then provides
an intermittent obbligato in the following aria, an
appropriate response to the burgeoning coloratura of
the soprano line. The final aria in the oratorio introduces
a rare moment of melancholy and introspection as it
compares the progress of the seasons with the course of
human life. In two parts, a 3/4 Largo and a 2/4 Allegro
molto, it is a moving portrayal of resignation tinged with
resentment at the passing of time, a virtual self-portrait of
Haydn in his old age. There is also a reference to the
untimely death 10 years earlier, in 1791, of Mozart, as the
3
Notes

music quotes the distinctive descending phrase from the modern counterpart, as they saw it, Haydn himself. The
slow movement of the G minor symphony (No. 40) and, first performance was to have taken place on 21 April in
less obviously, in bass instruments, the beginning of the the Schwarzenberg Palace, but a death in the aristocratic
main theme of the first movement of the E flat symphony family meant that it had to be postponed until 24 April. It
(No.39). was to be the last oratorio performance sponsored by
the Gesellschaft. There were rumours that Haydn was
That Haydn thought of his soloists as archetypes rather
working on a further oratorio, The Last Judgement, but
than individuals is further suggested by the ready
nothing came of the idea. Swieten himself died in 1803,
interaction that occurs between them and the chorus.
the Gesellschaft disbanded, and Haydn after the
Each season contains one example, sometimes more, of
exertions of composing two large-scale oratorios in five
a trio with chorus in which the three peasants first
years had suddenly become an old man.
represent their community and then withdraw into it. The
concluding number of Summer begins as another 2/4 The Seasons draws on a rich variety of artistic stimuli: the
Allegretto, with the three soloists commenting on the English tradition of the Sublime and the Beautiful,
appearance of the countryside after the storm. Following Handelian oratorio, Austrian Catholicism and German
the sound of the evening bell, they lead the singing of a opera. This balance of intuition and reason was very
hymn to the evening the simple measured style, the key much a product of the 18th century and was replicated in
of E flat and, not least, the prominence of the clarinet in many areas of intellectual activity. Here these elements
the orchestral accompaniment provide another aural are fused together by the intellectual control of Europes
reminiscence of The Magic Flute. leading composer, one who had unrivalled experience
of composition but who crucially in this work still saw
The orchestral forces required by Haydn for the oratorio
himself as a gifted peasant.
are the largest in his output: one piccolo, two flutes, two
oboes, two clarinets, two bassoons, contrabassoon, four
horns, three trumpets, three trombones, timpani,
David Wyn Jones 2007
tambourine, triangle, strings and continuo (fortepiano).
Many felicities of scoring have already been mentioned
and certainly few oratorios since Haydn have managed
to demonstrate a massiveness of sonority as well as local
individual, sometimes idiosyncratic colouring. Each
season opens with an orchestral introduction, a
miniature tone poem in effect. In todays performance
the original versions of these introductions will be given:
violas rather than violins evoking the half-light that
precedes dawn in Summer, and the lengthier
evocations of Simons contentment at harvest time that
begins Autumn and of the thick, cold fog that heralds
Winter.
That Haydn was able to indulge his creative imagination
Find out first Why not download your Great Performers
to the full, knowing that the project would be realised in
programme before the concert? Each programme is now available
performance, is also due to Gottfried van Swieten. For
online five days in advance of each concert. For details visit
15 years he had been the driving force behind an
www.barbican.org.uk/greatperformers.
informal committee of aristocrats, the Gesellschaft der
Due to the possibility of last minute changes, the online programme
Assoziierten, who shared his enthusiasm for oratorio,
content may differ slightly from that of the final printed version.
principally the works of Handel and latterly of his

4
 Text and translation

PART ONE: SPRING

1 Introduction and Recitative
The Introduction paints the passage of Winter to Spring.
Simon
Seht, wie der strenge Winter flieht!
Zum fernen Pole zieht er hin.
Ihm folgt auf seinen Ruf
Der wilden Strme brausend Heer,
Mit grsslichem Geheul.
Lucas
Seht, wie vom schroffen Fels der Schnee
In trben Strmen sich ergiesst!
Hannah
Seht, wie von Sden her,
Durch laue Winde sanft gelockt,
Der Frhlingsbote streicht!
See how stern Winter takes to flight!
He is retreating to the distant poles.
Responding to his command,
the blustering hordes of tempests follow,
howling dismally.
See how the snow, in muddy streams,
runs off the craggy cliffs!
See how the heralds of the Spring,
enticed by warm, soft breezes,
begin to arrive from the south!

2 Chorus of Country People

Komm, holder Lenz! Des Himmels Gabe, komm!
Aus ihrem Todesschlaf erwecke die Natur!
Komm! Komm, holder Lenz!, etc.
Girls and Women
Es nahet sich der holde Lenz,
Schon fhlen wir den linden Hauch,
Bald lebet alles wieder auf.
Men
Frohlocket ja nicht allzu frh;
Oft schleicht in Nebel eingehllt
Der Winter wohl zurck,
Und streut auf Blt und Keim sein starres Gift.
All
Komm, holder Lenz, des Himmels Gabe, komm!
Komm! Auf unsre Fluren senke dich!
O komm, holder Lenz, o komm
Und weile lnger nicht!
Come, fair Spring, thou gift of Heaven, come!
Awaken nature from her deathlike sleep!
Come, come, fair Spring!, etc.
Fair Spring is drawing nigh,
we can feel its gentle breath already,
soon shall everything return to life.
Do not celebrate too soon;
for often, mist-enshrouded,
the Winter can creep back,
and spew his poison over bud and shoot.
Come, fair Spring, thou gift of Heaven, come!
Come! Upon our meadows set thy foot!
Oh come, fair Spring, oh come
and tarry no longer!

3 Recitative
Simon
Vom Widder strahlet jetzt In Aries now, the sun
Die helle Sonn auf uns herab. streams brightly down upon us.
Nun weichen Frost und Dampf Frost and fog are in retreat,
Und schweben laue Dnst umher; mild vapours hover all around;
Der Erde Busen ist gelst, softness returns to the earth
Erheitert ist die Luft. and gladness to the air.

please turn page quietly 5

Text and translation
4 Aria
Simon
Schon eilet froh der Ackersmann
Zur Arbeit auf das Feld,
In langen Furchen schreitet er
Dem Pfluge fltend nach.
In abgemessnem Gange dann
Wirft er den Samen aus,
Den birgt der Acker treu und reift
Ihn bald zur goldnen Frucht.
5 Recitative
Lucas
Der Landmann hat sein Werk vollbracht
Und weder Mh noch Fleiss gespart.
Den Lohn erwartet er aus Hnden der Natur,
Und fleht darum den Himmel an.
6 Trio and Chorus The Farmers Prayer
Lucas
Sei nun gndig, milder Himmel!
ffne dich und trufe Segen
ber unser Land herab.
Chorus
Sei nun gndig, milder Himmel!, etc.
Lucas
Lass deinen Tau die Erde wssern!
Simon
Lass Regenguss die Furchen trnken!
Hannah
Lass deine Lfte wehen sanft,
Lass deine Sonne scheinen hell!
Hannah, Lucas and Simon
Uns spriesset berfluss alsdann
Und deiner Gte Dank und Ruhm.
Sei nun gndig, milder Himmel!, etc.
7 Recitative
Hannah
Erhrt ist unser Flehn, der laue West erwrmt
Und fllt die Luft mit feuchten Dnsten an.
Sie hufen sich; nun fallen sie,
Und giessen in der Erde Schoss
Den Schmuck und Reichtum der Natur.
6
The ploughman is already hastening
merrily to the field;
he strides down the long furrows,
whistling behind the plough.
Measuring his paces,
he strews the seed
which, hidden in the trusty soil,
will soon a golden harvest yield.
The labourer has fulfilled his task,
sparing himself no pains or toil.
He looks to natures hand for his reward
and prays that heaven may grant it.
Be gracious now, O gentle heaven,
open up and shower blessings
down upon our land.
Be gracious now, O gentle heaven, etc.
Send thy dew to refresh the earth!
Send rain to water the furrows!
Let thy breezes softly blow,
let thy sun shine bright and clear!
Then shall we in abundance thrive
and praise thee for thy goodness.
Be gracious now, O gentle heaven, etc.
Our prayer is heard, the mild west wind
warms and fills the air with moisture.
Rainclouds form; and now they open,
showering upon the earth
natures jewels and riches.
 Text and translation

8 Song of Joy
Hannah
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Kommt, ihr Mdchen, lasst uns wallen Come, lasses, let us wander
Auf der bunten Flur! through the flowery meadows!
Lucas
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Kommt, ihr Bursche, lasst uns wallen Come, lads, let us wander
Zu dem grnen Hain! to the leafy grove!
Hannah and Lucas
O wie lieblich ist der Anblick, etc. How lovely the countryside, etc.
Hannah
Seht die Lilie, seht die Rose, Look at the lilies, look at the roses,
Seht die Blumen all! look at all the flowers!
Lucas
Seht die Auen, seht die Wiesen, Look at the meadows, the grassland,
Seht die Felder all! look at all the fields!
Lads and Lasses
O wie lieblich ist der Anblick der Gefilde jetzt! How lovely the countryside looks now!
Lasst uns wallen auf der bunten Flur! Lets wander through the flowery meadows!
Hannah
Seht die Erde, seht die Wasser, Look at the earth, at the lakes and rivers,
Seht die helle Luft! look at the bright sky!
Lucas
Alles lebet, alles schwebet, All is alive, all is expectant,
Alles reget sich. all nature bestirs itself.
Hannah
Seht die Lmmer, wie sie springen! See how the lambs are leaping!
Lucas
Seht die Fische, welch Gewimmel! Look at the fish: what a milling around!
Hannah
Seht die Bienen, wie sie schwrmen! See how the bees are swarming!
Lucas
Seht die Vgel, welch Geflatter! Look at the birds: what a fluttering!
Lads and Lasses
Alles lebet, alles schwebet, All is alive, all is expectant,
Alles reget sich. all nature bestirs itself.
Welche Freude, welche Wonne How our hearts are swelling
Schwellet unser Herz! with happiness and delight!
Ssse Triebe, sanfte Reize Tender feelings, soft sensations
Heben unsre Brust! awake within our breasts.
Simon
Was ihr fhlet, was euch reizet, The source of your emotion, your delight,
Ist des Schpfers Hauch. is the breath of the Creator.

please turn page quietly 7

Text and translation
Lads and Lasses
Lasst uns ehren, lasst uns loben,
Lasst uns preisen ihn!
Men
Lasst erschallen, ihm zu danken,
Eure Stimmen hoch!
Lads and Lasses
Es erschallen, ihm zu danken,
Unsre Stimmen hoch!
Ewiger, mchtiger, gtiger Gott!
Hannah, Lucas and Simon
Von deinem Segensmahle
Hast du gelabest uns.
Chorus
Mchtiger Gott!
Hannah, Lucas and Simon
Vom Strome deiner Freuden
Hast du getrnket uns.
Gtiger Gott!
Chorus
Ewiger, mchtiger, gtiger Gott!
Hannah, Lucas and Simon
Ewiger, mchtiger, gtiger Gott!
Chorus
Ehre, Lob und Preis sei dir,
Ewiger, gtiger, mchtiger Gott!
PART TWO: SUMMER
9 Introduction and Recitative
The Introduction paints the dawn of day.
Lucas
In grauem Schleier rckt heran
Das sanfte Morgenlicht,
Mit lahmen Schritten weicht vor ihm
Die trge Nacht zurck.
Zu dstren Hhlen flieht
Der Leichen Vgel blinde Schar;
Ihr dumpfer Klageton
Beklemmt das bange Herz nicht mehr.
Simon
Des Tages Herold meldet sich,
Mit scharfem Laute rufet er
8
Let us glorify, praise
and worship him!
Raise your voices in a song
of thanksgiving to him!
Let us raise our voices in a song
of thanksgiving to him!
The eternal, the almighty, the bounteous God!
From thy blessed table
hast thou provided for us.
Almighty God!
With the rivers of thy joy
hast thou quenched our thirst.
Merciful God!
Eternal, almighty, bounteous God!
Eternal, almighty, bounteous God!
Honour, praise and glory
to the eternal, almighty, bounteous God!
Veiled in misty grey,
dawns soft light returns,
while sluggish night, at her approach,
hobbles away once more.
Back to their dark crannies
fly shadowy hordes of owls;
their hollow voices no longer
strike fear into our hearts.
Days harbinger reveals himself;
with a loud voice he summons

Zu neuer Ttigkeit
Den ausgeruhten Landmann auf.
10 Aria and Recitative
Simon
Der muntre Hirt versammelt nun
Die frohen Herden um sich her;
Zur fetten Weid auf grnen Hhn
Treibet er sie langsam fort.
Nach Osten blickend steht er dann
Auf seinem Stabe hingelehnt,
Zu sehn den ersten Sonnenstrahl,
Welchem er entgegen harrt.
Hannah
Die Morgenrte bricht hervor,
Wie Rauch verflieget das leichte Gewolk,
Der Himmel pranget im hellen Azur,
Der Berge Gipfel in feurigem Gold.
11 Trio and Chorus
Hannah, Lucas and Simon
Sie steigt herauf, die Sonne,
Sie steigt, sie naht, sie kommt,
Sie strahlt, sie scheint.
Chorus
Sie scheint in herrlicher Pracht,
In flammender Majestt!
Song of Praise to the Sun
Heil, o Sonne, Heil!
Des Lichts und Lebens Quelle, Heil!
Heil, o Sonne, Heil!
O du des Weltalls Seel und Aug,
Der Gottheit schnstes Bild!
Dich grssen dankbar wir!
Hannah, Lucas and Simon
Wer spricht sie aus, die Freuden alle,
Die deine Huld in uns erweckt?
Wer zhlet sie, die Segen alle,
Die deine Mild auf uns ergiesst?
Chorus
Die Freuden, o wer spricht sie aus?
Die Segen, o wer zhlet sie?
Text and translation
the farmer, newly-arisen,
to the days work.
The merry shepherd gathers
his happy flocks around him;
and slowly ushers them away
towards lush grazing in the verdant hills.
Gazing eastward then he stands
leaning on his staff,
watching for the suns first ray
for which he waits impatiently.
Rosy dawn has now arrived,
light clouds dissipate like smoke,
the sky is resplendent in bright blue,
the peaks in fiery gold.
The sun is rising in the sky,
rising, coming closer,
beaming, shining.
It shines in wondrous glory,
in flaming majesty!
Hail to thee, O sun!
Thou fount of light and life, all hail!
Hail to thee, O sun!
O thou, the soul, the eye of all the world,
fairest likeness of God!
We greet thee thankfully!
Who could express the joy
thy beauty awakes within us?
Who could number the blessings
thy goodness showers upon us?
The joy, oh, who could express it?
The blessings, oh, who could count them?
please turn page quietly 9
Text and translation
Hannah, Lucas and Simon
Dir danken wir, was uns ergtzt.
Dir danken wir, was uns belebt.
Dir danken wir, was uns erhlt.
Dem Schpfer aber danken wir,
Was deine Kraft vermag!
Chorus
Heil, o Sonne, Heil!
Des Lichts und Lebens Quelle, Heil!
Heil, o Sonne, Heil!
Dir jauchzen alle Stimmen,
Dir jauchzet die Natur.
All
Dir jauchzet die Natur, etc.
12 Recitative
Simon
Nun regt und bewegt sich alles umher,
Ein buntes Gewhl bedecket die Flur.
Dem braunen Schnitter neiget sich
Der Saaten wallende Flut,
Die Sense blitzt, da sinkt das Korn;
Doch steht es bald und aufgehuft
In festen Garben wieder da.
Lucas
Die Mittagssonne brennet jetzt in voller Glut,
Und giesst durch die entwlkte Luft
Ihr mchtiges Feur in Strmen hinab.
Ob den gesengten Flchen schwebt
In niedern Qualm, ein blendend Meer
Von Licht und Widerschein.
13 Cavatina
Lucas
Dem Druck erlieget die Natur;
Welke Blumen, drre Wiesen,
Trockne Quellen, alles zeigt
Der Hitze Wut,
Und kraftlos schmachten Mensch und Tier
Am Boden hingestreckt.
14 Recitative
Hannah
Willkommen jetzt, o dunkler Hain,
Wo der bejahrten Eiche Dach
10
We thank thee, bringer of delight.
We thank thee, cheerer of the heart.
We thank thee, giver of support.
And we thank the Creator too
who endowed thee with such power.
Hail to thee, O sun!
Thou fount of light and life, all hail!
Hail to thee, O sun!
Every voice exalts thee,
all nature shouts with joy.
All nature shouts with joy, etc.
Now all the folk bestir themselves,
a colourful crowd bedecks the fields.
Waves of golden corn bow down
before the sunburnt reaper,
the scythe flashes, the corn falls;
but soon it stands again, now bound
into sturdy stooks.
The midday sun now blazes at full strength,
beating down through the unclouded sky
in mighty waves of heat.
Over the parched meadows lies
a gauzy veil, a dazzling sea
of sunlight and reflections.
Nature bows before the onslaught;
wilted flowers, arid fields,
dried-up springs, all demonstrate
the heats ferocity,
and man and beast lie languishing,
stretched upon the ground.
Welcome art thou now, O shady wood,
where a roof of ancient oaks

Den khlenden Schirm gewhrt,
Und wo der schlanken Espe Laub
Mit leisem Gelispel rauscht!
Am weichen Moose rieselt da
In heller Flut der Bach,
Und frhlich summend irrt und wirrt
Die bunte Sonnenbrut.
Der Kruter reinen Balsamduft
Verbreitet Zephirs Hauch,
Und aus dem nahen Busche tnt
Des jungen Schfers Rohr.
15 Aria
Hannah
Welche Labung fr die Sinne,
Welch Erholung fr das Herz!
Jeden Aderzweig durchstrmet,
Und in jeder Nerve bebt
Erquickendes Gefhl.
Die Seele wachet auf
Zum reizenden Genuss,
Und neue Kraft erhebt
Durch milden Drang die Brust.
16 Recitative
Simon
O seht! Es steiget in der schwlen Luft,
Am hohen Saume des Gebirgs
Von Dampf und Dunst ein fahler Nebel auf.
Empor gedrngt, dehnt er sich aus
Und hllet bald den Himmelsraum
In schwarzes Dunkel ein.
Lucas
Hrt wie vom Tal ein dumpf Gebrll
Den wilden Sturm verkndt!
Seht, wie vom Unheil schwer
Die finstre Wolke langsam zieht,
Und drohend auf die Ebne sinkt!
Hannah
In banger Ahnung stockt das Leben der Natur:
Kein Tier, kein Blatt beweget sich,
Und Todesstille herrscht umher.
Text and translation
provides a cool umbrella,
and where the slender aspens leaves
softly rustle and whisper!
Babbling between soft, mossy banks
runs the crystal brook,
and swarms of buzzing insects
dance gaily in the air.
The pure and balmy scent of herbs
is wafted on the breeze,
while from the nearby thicket sounds
the shepherd-boys reed-pipe.
How refreshing to the senses,
how reviving for the heart!
Through every vein
and every nerve there runs
a reviving thrill.
The soul awakes
to pleasure and delight,
and hearts are gently lifted
to new strength, new desires.
Behold! There rises in the sultry air,
from the high rim of the mountain-range,
a livid cloud of mist and vapours.
Forced upwards, it expands
and soon the vault of heaven
is veiled in darkness.
A hollow rumble from the valley
heralds the heavy storm.
Laden with disaster, see
the dark clouds slowly muster
and, full of menace, sink towards the plain.
In fearful apprehension life stands still:
no beast, no leaf is moving,
a deathly silence reigns.
please turn page quietly 11
Text and translation
17 Chorus
Chorus
Ach, das Ungewitter naht!
Hilf uns, Himmel!
O wie der Donner rollt!
O wie die Winde toben!
Wo fliehn wir hin?
Flammende Blitze durchwhlen die Luft,
Den zackigen Keilen berstet die Wolke
Und Gsse strzen herab.
Wo ist Rettung?
Wtend rast der Sturm,
Der weite Himmel entbrennt.
Weh uns Armen!
Schmetternd krachen, Schlag auf Schlag
Die schweren Donner frchterlich.
Weh uns! Weh uns!
Erschttert wankt die Erde
Bis in des Meeres Grund.
Schmetternd krachen Schlag auf Schlag, etc.
18 Trio and Chorus
Lucas
Die dstren Wolken trennen sich,
Gestillet ist der Strme Wut.
Hannah
Vor ihrem Untergange
Blickt noch die Sonn empor,
Und von dem letzten Strahle glnzt
Mit Perlenschmuck geziert die Flur.
Simon
Zum langgewohnten Stalle
Kehrt gesttigt und erfrischt
Das fette Rind zurck.
Lucas
Dem Gatten ruft die Wachtel schon.
Hannah
Im Grase zirpt die Grille froh.
Simon
Und aus dem Sumpfe quakt der Frosch.
Hannah, Lucas and Simon
Die Abendglocke tnt.
Von oben winkt der helle Stern,
Und ladet uns zur sanften Ruh.
12
Ah! The tempest is upon us!
Heaven protect us!
Oh, how the thunder booms!
Oh, how the winds do rage!
Where can we shelter?
Flashes of lightning rend the air,
they crack the clouds with jagged spears
and water gushes down.
Where can we seek safety?
The storm in fury rages,
the whole sky is aflame.
Alas! Alas!
Banging, crashing, one upon the other
come the terrifying thunderclaps.
Alas! Alas!
The reeling world is shaken
to the ocean floor.
Banging, crashing, one upon the other, etc.
The dark clouds are dispersing,
the anger of the storm is stilled.
Before it sets,
the sun peeps out again,
and in its last ray the meadows
shine, bedecked with pearls.
To their long-accustomed stalls,
satisfied and refreshed,
the fattened cattle return.
The quail is already calling to her mate.
In the grass the merry crickets chirp.
And frogs croak from the marshes.
The vesper-bell rings out;
on high, Venus, like a messenger, appears
inviting us to sweet repose.
 Text and translation

Chorus
Mdchen, Bursche, Weiber kommt! Lasses, lads and women, come!
Unser wartet ssser Schlaf, Golden slumbers now await us,
Wie reines Herz, gesunder Leib for a pure heart, a healthy body
Und Tagesarbeit ihn gewhrt. and a days labour vouch for that.
Women
Wir gehn, wir gehn, wir folgen euch. Were coming, were coming, well follow you.
All
Die Abendglocke hat getnt, The vesper-bell has rung;
Von oben winkt der helle Stern on high, Venus, like a messenger, appears
Und ladet uns zur sanften Ruh. inviting us to sweet repose.

Interval

PART THREE: AUTUMN

19 Introduction and Recitative
The Introduction indicates the husbandmans satisfaction at the abundant harvest.
Hannah
Was durch seine Blte That which Spring first promised
Der Lenz zuerst versprach, with its blossoms,
Was durch seine Wrme that which Summer ripened
Der Sommer reifen hiess, with its warmth,
Zeigt der Herbst in Flle Autumn presents in abundance
Dem frohen Landmann jetzt. to the joyful farmer now.
Lucas
Den reichen Vorrat fhrt er nun The golden store he now transports
Auf hochbeladnen Wagen ein. in heavy-laden wagons.
Kaum fasst der weiten Scheune Raum, The spacious barn can hardly hold
Was ihm sein Feld hervorgebracht. all that his fields have yielded.
Simon
Sein heitres Auge blickt umher, Happily he looks around him,
Es misst den aufgetrmten Segen ab, measuring the piled-up grain,
Und Freude strmt in seine Brust. and happiness fills his heart.

20 Trio with Chorus

Simon
So lohnet die Natur den Fleiss, So nature honest toil rewards,
Ihn ruft, ihn lacht sie an; she invokes it, smiles upon it,
Ihn muntert sie durch Hoffnung auf, gladdens it with hope,
Ihm steht sie willig bei, lends it a willing hand,
Ihm wirket sie mit voller Kraft. and guides it with all her might.
Hannah and Lucas
Von dir, o Fleiss, kommt alles Heil. All benefits come from thee, O toil.
Die Htte, die uns schirmt, The cottage that shelters us,
Die Wolle, die uns deckt, the wool that clothes us,

please turn page quietly 13

Text and translation
Die Speise, die uns nhrt
Ist deine Gab, ist dein Geschenk.
O Fleiss, o edler Fleiss,
Von dir kommt alles Heil.
Hannah
Du flssest Tugend ein,
Und rohe Sitten milderst du.
Lucas
Du wehrest Laster ab,
Und reinigest der Menschen Herz.
Simon
Du strkest Mut und Sinn
Zum Guten und zu jeder Pflicht.
Hannah, Lucas and Simon
O Fleiss, o edler Fleiss, von dir
Kommt alles, alles Heil.
Chorus
O Fleiss, o edler Fleiss, von dir
Kommt alles, alles Heil.
Hannah, Lucas and Simon
Die Htte, die uns schirmt, etc.
All
O Fleiss, o edler Fleiss, von dir, etc.
21 Recitative
Hannah
Seht, wie zum Haselbusche dort
Die rasche Jugend eilt!
An jedem Aste schwinget sich
Der Kleinen lose Schar,
Und der bewegten Staud entstrzt
Gleich Hagelschaur die lockre Frucht.
Simon
Hier klimmt der junge Baur
Den hohen Stamm entlang
Die Leiter flink hinauf.
Vom Wipfel, der ihn deckt,
Sieht er sein Liebchen nahn,
Und ihrem Tritt entgegen
Fliegt dann im trauten Scherze
Die runde Nuss herab.
Lucas
Im Garten stehn um jeden Baum
Die Mdchen gross und klein,
Dem Obste, das sie klauben,
An frischer Farbe gleich.
14
the food that sustains us,
all come from thee, they are thy gifts.
O toil, O noble toil,
all benefits come from thee.
Thou dost virtue instil,
and makest rough-hewn manners gentle.
Thou dost ward off vice,
and purify the heart of man.
Thou dost give us the courage and inclination
to strive for goodness and perform our duty.
O toil, O noble toil, from thee
comes every benefit.
O toil, O noble toil, from thee
comes every benefit.
The cottage that shelters us, etc.
O toil, O noble toil, etc.
See how impatiently the youngsters
rush to the hazel-bush!
Small boys swing
on every single branch,
and from the swaying bush
the ripe fruit rains like hail.
The farmers son is climbing
nimbly up a ladder
to the top of the tree.
Hidden in the topmost branches,
he sees his sweetheart drawing nigh,
and, with a lovers sense of fun,
throws the fat nuts down
into her path.
Around every tree in the garden
girls of all ages are gathered,
their colour as fresh and rosy
as the ripe fruit they pick.

22 Duet
Lucas
Ihr Schnen aus der Stadt, kommt her!
Blickt an die Tchter der Natur,
Die weder Putz noch Schminke ziert.
Da seht, mein Hannchen, seht!
Ihr blht Gesundheit auf den Wangen;
Im Auge lacht Zufriedenheit,
Und aus dem Munde spricht das Herz,
Wenn sie mir Liebe schwrt.
Hannah
Ihr Herrchen, sss und fein, bleibt weg!
Hier schwinden eure Knste ganz,
Und glatte Worte wirken nicht,
Man gibt euch kein Gehr.
Nicht Gold, nicht Pracht kann uns verblenden,
Ein redlich Herz ist, was uns rhrt;
Und meine Wnsche sind erfllt,
Wenn treu mir Lucas ist.
Lucas
Bltter fallen ab, Frchte welken hin,
Tag und Jahr vergehn,
Nur meine Liebe nicht.
Hannah
Schner grnt das Blatt,
Ssser schmeckt die Frucht,
Heller glnzt der Tag,
Wenn deine Liebe spricht.
Hannah and Lucas
Welch ein Glck ist treue Liebe!
Unsre Herzen sind vereinet,
Trennen kann sie Tod allein.
Lucas
Liebstes Hannchen!
Hannah
Bester Lucas!
Hannah and Lucas
Lieben und geliebet werden
Ist der Freuden hchster Gipfel,
Ist des Lebens Wonn und Glck!
Hannah
Bester Lucas!
Text and translation
You town-bred beauties, come and look!
Look at these daughters of nature,
unadorned by finery or paint.
Just look at my Hannah!
The bloom of health is on her cheeks;
joy sparkles in her eyes,
and her heart speaks through her lips
when she swears she loves me.
You mincing dandies, stay away!
Here your airs and graces count for nothing,
and smooth talk does no good:
no-one will listen to you.
No gold, no gorgeousness can blind us,
we are moved by an honest heart alone;
and all my hopes will be fulfilled
if Lucas is true to me.
Leaves can fall, fruit can decay,
days and years can pass away,
my love alone is changeless.
A leaf appears more lovely,
fruit has a sweeter taste,
the day is brighter than before
when you speak of your love.
What happiness is true love!
Our hearts are united,
only death can divide us.
Dearest Hannah!
Peerless Lucas!
To love and to be loved
is the peak of happiness,
the pride and joy of life!
Peerless Lucas!
please turn page quietly 15
Text and translation
Lucas
Liebstes Hannchen!
Hannah, Lucas
Lieben und geliebet werden, etc.
23 Recitative
Simon
Nun zeiget das entblsste Feld
Der ungebetnen Gste Zahl,
Die an den Halmen Nahrung fand
Und irrend jetzt sie weiter sucht.
Des kleinen Raubes klaget nicht
Der Landmann, der ihn kaum bemerkt;
Dem bermasse wnscht er doch
Nicht ausgestellt zu sein.
Was ihn dagegen sichern mag,
Sieht er als Wohltat an,
Und willig frhnt er dann zur Jagd,
Die seinen guten Herrn ergtzt.
24 Aria
Simon
Seht auf die breiten Wiesen hin!
Seht, wie der Hund im Grase streift!
Am Boden suchet er die Spur
Und geht ihr unablssig nach.
Jetzt aber reisst Begierd ihn fort,
Er horcht auf Ruf und Stimme nicht mehr.
Er eilet zu haschen ... da stockt sein Lauf,
Und steht er unbewegt wie Stein.
Dem nahen Feinde zu entgehn,
Erhebt der scheue Vogel sich,
Doch rettet ihn nicht schneller Flug.
Es blitzt, es knallt, ihn erreichet das Blei,
Und wirft ihn tot aus der Luft herab.
25 Recitative
Lucas
Hier treibt ein dichter Kreis
Die Hasen aus dem Lager auf.
Von allen Seiten hingedrngt
Hilft ihnen keine Flucht.
Schon fallen sie, und liegen bald,
In Reihen freudig hingezhlt.
16
Dearest Hannah!
To love and to be loved, etc.
Now in the denuded fields
uninvited guests are seen;
they found food in the standing corn
and still they forage for it.
The labourer does not begrudge
such pilfering, which he scarcely notices,
but he does not want to show
excessive laxity.
Any means of protection
he regards as beneficial,
and happily sets off for the hunt,
which pleases his good landlord.
Look at yonder open field!
See how the dog is prowling in the grass!
He seeks the scent upon the ground,
then follows it relentlessly.
Now, maddened by excitement,
he is deaf to all commands.
He races towards his prey ... then stops
and stands as motionless as a stone.
To escape his approaching foe,
the timid bird flies up into the air,
but swift flight cannot save him.
A flash, a bang, the bullet reaches him,
and hurls him, dead, to the ground.
Here the main body of the hunt
chases the hares from their formes.
Driven from all directions,
they have no escape.
They fall, and soon are laid
in rows and gleefully counted.

26 Chorus
Farmers and Hunters
Hrt! hrt das laute Getn,
Das dort im Walde klinget!
Welch ein lautes Getn
Durchklingt den ganzen Wald!
Es ist der gellenden Hrner Schall,
Der gierigen Hunde Gebelle.
Schon flieht der aufgesprengte Hirsch,
Ihm rennen die Doggen und Reiter nach.
Er flieht, er flieht! O wie er sich streckt!
Ihm rennen die Doggen und Reiter nach.
O wie er springt! O wie er springt!
O wie er sich streckt!
Da bricht er aus den Gestruchen hervor
Und luft ber Feld in das Dickicht hinein.
Jetzt hat er die Hunde getuscht,
Zerstreuet schwrmen sie umher.
Die Hunde sind zerstreut,
Sie schwrmen hin und her.
Tajo, tajo, tajo!
Der Jger Ruf, der Hrner Klang
Versammelt aufs neue sie.
Ho, ho, ho! Tajo! Ho, ho!
Mit doppeltem Eifer strzet nun
Der Haufe vereint auf die Fhrte los.
Tajo, tajo, tajo!
Von seinen Feinden eingeholt,
An Mut und Krften ganz erschpft,
Erlieget nun das schnelle Tier.
Sein nahes Ende kndigt an
Des tnenden Erzes Jubellied,
Der freudigen Jger Siegeslaut:
Ha-la-li, ha-la-li, ha-la-li.
Den Tod des Hirsches kndigt an
Des tnenden Erzes Jubellied, etc.
Text and translation
Hear, O hear the clamour
that echoes through yonder woods!
What a clamour that is
that echoes throughout the woods!
It is the shrill cry of the horn,
the baying of eager hounds.
Now the stag leaps up and runs,
followed by hounds and riders.
He flees, he flees! O how he flies along!
Hounds and riders follow him.
Oh, how he leaps and bounds!
Oh, how he runs for his life!
Now he bursts out of cover
and races across the fields and into the thicket.
Now hes outwitted the hounds;
they scatter, run hither and thither.
The hounds have scattered
and are running hither and thither.
Tally-ho, tally-ho, tally-ho!
The huntsmans voice and the horn
rally the pack anew.
Ho, ho, ho! Tally-ho! Ho, ho!
With redoubled zeal
the reunited pack sets off again.
Tally-ho, tally-ho, tally-ho!
Surrounded by his enemies,
his courage and his powers quite exhausted,
the fleet-footed beast now sinks.
His approaching death is heralded
by the victory-call of the horn
and the cries of the happy hunters:
halloo, halloo, halloo!
The death of the stag is heralded
by the victory-call of the horn, etc.
please turn page quietly 17
Text and translation
27 Recitative
Hannah
Am Rebenstocke blinket jetzt
Die helle Traub im vollen Safte,
Und ruft dem Winzer freundlich zu,
Dass er zu lesen sie nicht weile.
Simon
Schon werden Kuf und Fass
Zum Hgel hingebracht,
Und aus den Htten strmet
Zum frohen Tagewerke
Das muntre Volk herbei.
Hannah
Seht, wie den Berg hinan
Von Menschen alles wimmelt!
Hrt, wie der Freudenton
Von jeder Seit erschallet!
Lucas
Die Arbeit frdert lachender Scherz,
Vom Morgen bis zum Abend hin,
Und dann erhebt der brausende Most
Die Frhlichkeit zum Lustgeschrei.
28 Chorus
Chorus
Juh-he, juh-he! Der Wein ist da,
Die Tonnen sind gefllt,
Nun lasst uns frhlich sein,
Und juh-he, juh-he juh!
Aus vollem Halse schrein!
Lasst uns trinken! Trinket Brder,
Lasst uns frhlich sein!
Lasst uns singen! Singet alle,
Lasst uns frhlich sein!
Juh-he, juh-he juh! Es lebe der Wein!
Es lebe das Land, wo er uns reift!
Juh-he, juh! Es lebe der Wein!
Es lebe das Fass, das ihn verwahrt!
Juh-he, juh! Es lebe der Wein!
Es lebe der Krug, woraus er fliesst!
Juh-he, juh! Es lebe der Wein!, etc.
Kommt, ihr Brder! Fllt die Kannen,
Leert die Becher, lasst uns frhlich sein!
18
Upon the vine the grapes now glisten,
bright and full of juice,
inviting the grower pleasantly
to pick them and tarry not.
Now are tub and barrel
carried to the slopes,
and from their shacks the pickers
are trooping merrily
to their agreeable days work.
See, how the slopes up yonder
are all alive with people!
Harken to the merry voices
ringing on all sides!
The work is helped along by jokes
from daybreak to sunset,
and then the foaming grape-juice turns
merriment to cries of joy.
Hurrah, hurrah! The wine is safe,
the barrels have been filled,
now let us be merry,
and shout hurrah, hurrah
with might and main!
Let us drink! Brothers, drink up,
let us all be merry!
Let us sing! Everyone sing,
and be merry!
Hurrah, hurrah, hurrah for wine!
Hurrah for the land that produces it!
Hurrah, hurrah, hurrah for wine!
Hurrah for the barrel that holds it!
Hurrah, hurrah, hurrah for wine!
Hurrah for the jug from which it flows!
Hurrah, hurrah, hurrah for wine!, etc.
Come, my friends, fill your jugs,
empty your beakers, lets be merry!

Hei-da, hei-da! Lasst uns frhlich sein,
Und juh-he, juh-he, juh!
Aus vollem Halse schrein!
Juh-he, juh-he! Es lebe der Wein!
Nun tnen die Pfeifen
Und wirbelt die Trommel.
Hier kreischet die Fiedel,
Da schnarret die Leier,
Und dudelt der Bock.
Schon hpfen die Kleinen
Und springen die Knaben;
Dort fliegen die Mdchen
Im Arme der Bursche
Den lndlichen Reihn!
Hei-sa! Hop-sa! Lasst uns hpfen!
Ihr Brder kommt!
Hei-sa! Hop-sa! Lasst uns springen!
Die Kannen fllt, die Kannen fllt!
Hei-sa! Hop-sa! Lasst uns tanzen!
Die Becher leert, die Becher leert!
Hei-da! Hei-da! Lasst uns frhlich sein!
Hei-da! Und juh-he, juh-he, juh!
Aus vollem Halse schrein!
Jauchzet, lrmet! Juh-he, juh-he, juh!
Juh-he, juh! Springet, tanzet!
Hei-sa, hop-sa! Lachet, singet,
Jauchzet, singet! Hei-sa, hei-sa, hei!
Nun fassen wir den letzten Krug,
Hei-sa, hop-sa, hei-sa!
Und singen dann im vollen Chor
Dem freudenreichen Rebensaft!
Hei-sa, hei! Juh-he, juh!
Es lebe der Wein, der edle Wein,
Der Grillen und Harm verscheucht!
Sein Lob ertne laut und hoch
In tausendfachen Jubelschall!
Hei-da, lasst uns frhlich sein,
Und juh-he, juh-he, juh!
Aus vollem Halse schrein!
Juh, juh!
Text and translation
Heigh-ho, heigh-ho! Lets be merry.
and sing hurrah, hurrah
with might and main!
Hurrah, hurrah, hurrah for wine!
Now pipes are piping,
drums are beating.
The fiddle is scraping,
the hurdy-gurdy twanging,
the bagpipes droning.
The little children are skipping,
the boys are jumping;
the lasses fly round,
arm in arm with the lads,
dancing a country reel!
One-two, one-two! Everyone hop!
Come on, my friends!
One-two, one-two! Everyone jump!
Fill your jugs, fill your jugs!
One-two, one-two! Everyone dance!
Drain your beakers, drain your beakers!
Heigh-ho, heigh-ho! Lets be merry!
Shout heigh-ho and shout hurrah,
shout with might and main!
Cheer, yell! Hurrah, hurrah!
Hurrah, hurrah! Leap and dance!
One-two, one-two! Laugh, sing,
cheer and sing! Hip-hip-hip-hurray!
Now lets claim our final jug,
hip-hip-hip-hurray!
And then sing all together
of the grape that makes us merry!
Hip-hip-hurrah! Hurray!
Hurrah for wine, for the noble wine
in which we drown our sorrows!
May its praises be sung far and wide
in thousandfold rejoicing!
Heigh-ho, lets be merry,
and shout hurrah, hip-hip-hurrah
with might and main!
Hurrah!
please turn page quietly 19
Text and translation

PART FOUR: WINTER

29 Introduction and Recitative
The Introduction paints the thick fogs at the beginning of Winter.
Simon
Nun senket sich das blasse Jahr, Now the outworn year is dying
Und fallen Dnste kalt herab. and chilly fogs descend.
Die Berg umhllt ein grauer Dampf, The mountains are shrouded in grey mist
Der endlich auch die Flchen drckt, that reaches at last into the vales
Und am Mittage selbst and, even at midday,
Der Sonne matten Strahl verschlingt. hides the suns pale beams.
Hannah
Aus Lapplands Hhlen schreitet her From Laplands caverns stalks
Der strmisch dstre Winter jetzt. the sombre, stormy Winter now.
Vor seinem Tritt erstarrt Before his tread all nature stands
In banger Stille die Natur. in frozen, frightened silence.

30 Cavatina
Hannah
Licht und Leben sind geschwchet, Light and life are now enfeebled,
Wrm und Freude sind verschwunden. warmth and joy have disappeared.
Unmutsvollen Tagen folget Ill-humoured days are followed
Schwarzer Nchte lange Dauer. by long dark nights.

31 Recitative
Lucas
Gefesselt steht der breite See,
Gehemmt in seinem Laufe der Strom.
Im Sturze vom trmenden Felsen hngt
Gestockt und stumm der Wasserfall.
Im drren Haine tnt kein Laut.
Die Felder deckt, die Tler fllt
Ein ungeheure Flockenlast.
Der Erde Bild ist nun ein Grab,
Wo Kraft und Reiz erstorben liegt,
Wo Leichenfarbe traurig herrscht,
Und wo dem Blicke weit umher
Nur de Wstenei sich zeigt.
The lakes expanse is gripped in ice,
the current of the stream is stemmed.
Suspended from the towering cliffs,
the waterfall hangs motionless and silent.
In the leafless woods no sound is heard.
A monstrous covering of snow
blankets the fields and fills the vales.
Earths aspect is that of a tomb,
where strength and grace lie dead,
where sad corpse-colours predominate,
and where, on every side, the gaze
falls only upon barren wasteland.

32 Aria
Lucas
Hier steht der Wandrer nun, Here stands a traveller now
Verwirrt uns zweifelhaft, bewildered and perplexed,
Wohin den Schritt er lenken soll. not knowing which way to turn.
Vergebens suchet er den Weg, In vain he seeks the road,
Ihn leitet weder Pfad noch Spur. but finds neither path nor track.

20

Vergebens strenget er sich an,
Und watet durch den tiefen Schnee;
Er findt sich immer mehr verirrt.
Jetzt sinket ihm der Mut,
Und Angst beklemmt sein Herz,
Da er den Tag sich neigen sieht,
Und Mdigkeit und Frost
Ihm alle Glieder lhmt.
Jetzt sinket ihm der Mut,
Und Angst beklemmt sein Herz,
Doch pltzlich trifft sein sphend Aug
Der Schimmer eines nahen Lichts.
Da lebt er wieder auf,
Vor Freuden pocht sein Herz.
Er geht, er eilt der Htte zu,
Wo starr und matt er Labung hofft.
33 Recitative
Lucas
Sowie er naht, schallt in sein Ohr,
Durch heulende Winde nur erst gestreckt,
Heller Stimmen lauter Klang.
Hannah
Die warme Stube zeigt ihm dann
Des Drfchens Nachbarschaft,
Vereint im trauten Kreise,
Den Abend zu verkrzen
Mit leichter Arbeit und Gesprch.
Simon
Am Ofen schwtzen hier
Von ihrer Jugendzeit die Vter,
Zu Krb und Reusen flicht die Weidengert,
Und Netze strickt der Shne
Muntrer Haufe dort.
Am Rocken spinnen die Mtter,
Am laufenden Rade die Tchter;
Und ihren Fleiss belebt
Ein ungeknstelt frohes Lied.
34 Solo Song and Chorus - The Spinning Song
Women
Knurre, schnurre, Rdchen, schnurre!
Hannah
Drille, Rdchen, lang und fein,
Text and translation
Vainly he tries to struggle,
and wades through the deep snow;
only to find himself more lost than ever.
Now his courage ebbs away,
his heart is gripped by the fear
of seeing daylight disappear
and being paralysed
by weariness and cold.
Now his courage ebbs away,
his heart is gripped by fear,
but suddenly his eye is caught
by the glimmer of a light nearby.
Now he breathes again,
his heart throbs with joy.
He runs towards the cottage where,
cold and tired, he hopes to find refreshment.
As he draws nigh, he catches,
borne on the howling wind,
the sound of voices bright and clear.
The warm room soon reveals
the villages inhabitants
gathered sociably
to while away the evening
with light tasks and chatter.
Fathers, sitting by the stove,
natter about their youth
while willow twigs are plaited into baskets,
and their sons, in a jolly group,
are making nets.
Mothers are spinning with distaffs,
their daughters with the spinning wheel;
and their toil is enlivened
by an artless, happy song.
Purring, whirring, work, my little wheel!
Twist long and fine, my little wheel,
please turn page quietly 21
Text and translation
Drille fein ein Fdelein,
Mir zum Busenschleier.
Women
Knurre, schnurre, Rdchen, schnurre!
Hannah
Weber, webe zart und fein,
Webe fein das Schleierlein
Mir zur Kirmessfeier.
Women
Knurre, schnurre, Rdchen, schnurre!
Hannah
Aussen blank und innen rein
Muss des Mdchens Busen sein,
Wohl deckt ihn der Schleier.
Women
Knurre, schnurre, Rdchen, schnurre!
Hannah
Aussen blank und innen rein,
Fleissig, fromm und sittsam sein,
Locket wackre Freier.
Chorus
Aussen blank und innen rein, etc.
35 Recitative
Lucas
Abgesponnen ist der Flachs,
Nun stehn die Rder still.
Da wird der Kreis verengt,
Und von dem Mnnervolk umringt,
Zu horchen auf die neue Mr,
Die Hannah jetzt erzhlen wird.
36 Solo Song with Chorus
Hannah
Ein Mdchen, das auf Ehre hielt,
Liebt einst ein Edelmann,
Da er schon lngst nach ihr gezielt,
Traf er allein sie an.
Er stieg sogleich vom Pferd und sprach:
Komm, ksse deinen Herrn!
Sie rief vor Angst und Schrecken: Ach!
Ach ja, von Herzen gern.
Chorus
Ei, ei, warum nicht nein?
22
twist a fine, neat thread
to make a kerchief for my breast.
Purring, whirring, work, my little wheel!
Shuttle, weave both soft and fine,
finely weave the kerchief
I shall wear at Easter.
Purring, whirring, work, my little wheel!
Outwardly bright and inwardly pure
will the breast of a maiden be
when her kerchief is becoming.
Purring, whirring, work, my little wheel!
Fair without and pure within
industrious, pious and modest be,
to attract a worthy suitor.
Fair without and pure within, etc.
The flax has all been spun,
and now the wheel stands silent.
The circle has drawn closer
and the menfolk gather round it
to listen to the latest story
Hannah has to tell.
A nobleman that once did love
a maid who held her honour dear,
on finding her alone at last
set about wooing her.
Dismounting from his horse, he said:
Come, kiss your lord, my dear!
Alarmed and frightened, she cried out: Oh!
Oh yes, with all my heart!
Oh, why did she not say no?

Hannah
Sei ruhig, sprach er, liebes Kind,
Und schenke mir dein Herz!
Denn meine Lieb ist treu gesinnt,
Nicht Leichtsinn oder Scherz.
Dich mach ich glcklich, nimm dies Geld,
Den Ring, die goldne Uhr,
Und hab ich sonst, was dir gefllt,
O sags und fodre nur.
Chorus
Ei, ei das klingt recht fein.
Hannah
Nein, sagt sie, das wr viel gewagt,
Mein Bruder mcht es sehn,
Un wenn ers meinem Vater sagt,
Wie wird mirs dann ergehn!
Er ackert uns hier allzunah,
Sonst knnt es wohl geschehn.
Schaut nur, von jenem Hgel da,
Knnt Ihr ihn ackern sehn.
Chorus
Ho, ho, was soll das sein?
Hannah
Indem der Junker geht und sieht,
Schwingt sich das lose Kind
Auf seinen Rappen und entflieht
Geschwinder als der Wind.
Lebt wohl, rief sie, mein gndger Herr,
So rch ich meine Schmach!
Ganz eingewurzelt stehet er
Und gafft ihr staunend nach.
Chorus
Ha, ha, ha, ha, das war recht fein,
Das war recht fein, ha, ha, etc.
37 Recitative
Simon
Vom drren Osten
Dringt ein scharfer Eishauch jetzt hervor.
Schneidend fhrt er durch die Luft,
Verzehret jeden Dunst
Und hascht des Tieres Odem selbst.
Des grimmigen Tyranns,
Des Winters Sieg ist nun vollbracht,
Und stummer Schrecken drckt
Den ganzen Umfang der Natur.
Text and translation
Be not alarmed, dear child, he said,
but give your heart to me,
for my love is sincerely meant,
I do not trifle or jest.
Ill make you happy, take this gold,
this ring, this golden watch,
and if there is anything else youd like
you only have to tell me.
Aha, that sounds too smooth!
Oh no, she said, you are too bold,
my brother might have seen us,
and if he tells my father,
I dont know what would happen!
Hes ploughing in a nearby field,
he could be watching us.
Just go and look, from yonder hill
you might see him ploughing.
Ho ho, now what will happen?
While the squire went off to look,
the clever girl did leap
upon his black horse, and flew off
as swiftly as the wind.
Farewell, she cried, my gracious lord,
so I avenge my shame!
Quite rooted to the spot,
he stood gaping after her.
Ha, ha, ha, ha, she did do well,
she did do well, ha, ha, etc
Now from the arid east
a biting, icy breath is blowing.
It slices through the air
consuming the very mists
and even catching at the cattles breath.
The dominance of Winter,
that dread tyrant, is complete,
and all the natural world
is mute with terror.
please turn page quietly 23
Text and translation
38 Aria and Recitative
Simon
Erblicke hier, betrter Mensch,
Erblicke deines Lebens Bild!
Verblhet ist dein kurzer Lenz,
Erschpfet deines Sommers Kraft.
Schon welkt dein Herbst dem Alter zu,
Schon naht der bleiche Winter sich
Und zeiget dir das offne Grab.
Wo sind sie nun, die hohn Entwrfe,
Die Hoffnungen von Glck,
Die Sucht nach eitlem Ruhme,
Der Sorgen schwere Last?
Wo sind sie nun, die Wonnetage,
Verschwelgt in ppigkeit?
Und wo die frohen Nchte,
Im Taumel durchgewacht?
Wo sind sie nun? Wo?
Verschwunden sind sie, wie ein Traum.
Nur Tugend bleibt.
Sie bleibt allein
Und leitet uns unwandelbar
Durch Zeit und Jahreswechsel,
Durch Jammer oder Freude
Bis zu dem hchsten Ziele hin.
39 Trio and Double Chorus
Simon
Dann bricht der grosse Morgen an,
Der Allmacht zweites Wort erweckt
Zum neuen Dasein uns,
Von Pein und Tod auf immer frei.
Lucas and Simon
Die Himmelspforten ffnen sich,
Der heilge Berg erscheint.
Ihn krnt des Herren Zelt,
Wo Ruh und Friede thront.
Chorus 1
Wer darf durch diese Pforten gehn?
Hannah, Lucas and Simon
Der Arges mied und Gutes tat.
Chorus 2
Wer darf besteigen diesen Berg?
24
Look on this, deluded Man,
see here an image of your life!
The blooms of your brief Spring are over,
the power of your Summer is exhausted.
Your Autumn soon fades into old age,
soon comes the pallid Winter,
pointing to an open grave.
Where are they now, your lofty plans,
your hopes of happiness,
your search for empty fame,
the cares that burdened you?
Where are they now, the golden days
squandered in self-indulgence?
And where are the merry nights
of drunken revelry?
Where are they now? Where?
All have vanished like a dream.
Virtue alone remains.
It survives alone
and leads us, undeviatingly,
through time and the rolling years,
through sorrow and joy
to the highest goal.
Then the greatest dawn doth break,
and the Almightys second word
awakes us to new life,
freed forever from pain and death.
The gates of heaven open wide,
the holy mount appears,
crowned by the tabernacle of the Lord,
where peace and joy reign supreme.
Who may enter these portals?
He who shunned evil and did good.
Who may ascend this mount?
 Text and translation

Hannah, Lucas and Simon

Von dessen Lippen Wahrheit floss. He who has spoken the truth.
Chorus 1
Wer darf in diesem Zelte wohnen? Who may dwell in this tabernacle?
Hannah, Lucas and Simon
Der Armen und Bedrngten half. He who helped the poor and needy.
Chorus 2
Wer wird den Frieden dort geniessen? Who shall taste of these joys?
Hannah, Lucas and Simon
Der Schutz und Recht der Unschuld gab. He who protected the innocent.
Chorus 1
O seht! Der grosse Morgen naht! Oh see, the great dawn approaches!
Chorus 2
O seht! Er leuchtet schon! Oh see, it gleams already!
Chorus 1 and 2
Die Himmelspforten ffnen sich, Heavens portals open,
Der heilge Berg erscheint. the holy mount appears.
Vorber sind, verbrauset sind Finished, their racket silenced,
Die leidenvollen Tage, are the sorrow-laden days,
Des Lebens Winterstrme. the Winter-storms of life.
Ein ewger Frhling herrscht, An eternal Spring now reigns,
Und grenzenlose Seligkeit and infinite blessedness
Wird der Gerechten Lohn. rewards the righteous.
Hannah, Lucas and Simon
Auch uns werd einst ein solcher Lohn! May such a reward one day be ours!
Lasst uns wirken, lasst uns streben! Let us work and strive for it!
Chorus 1 and 2
Lasst uns kmpfen! Lasst uns harren, Lets fight the good fight, hoping
Zu erringen diesen Preis! that this prize will be ours!
Uns leite deine Hand, o Gott! Thy hand, O God, shall guide us.
Verleih uns Strk und Mut. Give us strength and courage.
Dann singen wir, dann gehn wir ein Then shall we sing, then shall we enter
In deines Reiches Herrlichkeit. the kingdom of thy glory.
Amen. Amen.
Text after The Seasons by James Thomson (1700-48), Translation Avril Bardoni
arranged by Gottfried van Swieten (1733-1803)

25
About the performers

Sir John Eliot Gardiner
conductor
John Eliot Gardiner is one of the
most versatile conductors of our
time and is acknowledged as a key
figure in the early music revival.
Founder and artistic director of the
Monteverdi Choir, the English
Baroque Soloists and the Orchestre Rvolutionnaire et
Romantique, John Eliot Gardiner enjoys acclaim for a
repertoire ranging from Monteverdi to Verdi and
beyond. He appears regularly as guest conductor with
the worlds leading orchestras, including the Vienna and
Berlin Philharmonic, the Boston and Cleveland and the
London Symphony orchestras.
He has made over 250 recordings, many of which have
received numerous international awards, winning more
Gramophone awards for Gardiner than any other artist.
Recordings include the six late masses by Haydn as well
as Santiago a Cappella, released to coincide with his
2004 Santiago Pilgrimage tour. His set of recordings of
the Bach cantatas from the Bach Cantata Pilgrimage
tour of 2000 is currently being released on his own
record label Soli Deo Gloria. The first release won the
Gramophone Record of the Year Award, 2005. The
labels first non-Bach, independently produced
recording, Pilgrimage to Santiago, has been chosen by
The Sunday Times as its Record of the Year.
Recent opera engagements have included his La Scala
debut with Kata Kabanova and a return visit to the
Royal Opera House, Covent Garden, for La finta
giardiniera, with Simon Boccanegra planned for his next
appearance there. During 2006 Gardiner conducted
several Mozart anniversary programmes, detailed
below under English Baroque Soloists and The
Monteverdi Choir. He has recently conducted music by
Rameau and his contemporaries in Paris and, in addition
to performances of Haydns The Seasons in Lisbon,
Valladolid, Madrid and Vitoria, future engagements
include concerts of Brahmss orchestral music with the
Orchestre Rvolutionnaire et Romantique, and a focus
on music by the Bach family.
In 1987 John Eliot Gardiner received an Honorary
Doctorate from the University of Lyon, and in 1996 he
26
was created Commandeur dans lOrdre des Arts et des
Lettres. In 1992 he became an Honorary Fellow of both
Kings College, London, and the Royal Academy of
Music. He received a knighthood in 1998 and in 2006 he
was awarded a Doctorate Honoris Causa in Musicology
by the University of Cremona, the birthplace of Claudio
Monteverdi.
Rebecca Evans soprano Hannah
Rebecca Evans was born in South
Wales and studied at the Guildhall
School of Music & Drama. On the
operatic stage she has sung
Susanna/Le nozze di Figaro and
Zerlina/Don Giovanni at the
Metropolitan Opera, New York;
Pamina/Die Zauberflte, Zerlina, Nannetta/Falstaff and
Johanna/Sweeney Todd at the Royal Opera House,
Covent Garden; Despina/Cos fan tutte at the
Staatsoper, Berlin; Romilda/Xerxes and
Ginevra/Ariodante at English National Opera; Pamina
and Adle/Die Fledermaus for the Lyric Opera of
Chicago; and Zerlina, Anne Trulove/The Rakes Progress
and Adina/Lelisir damore for San Francisco Opera.
She is a regular guest at the Bavarian State Opera,
Munich, where her roles have included Susanna,
Ilia/Idomeneo, Nannetta, Sophie/Der Rosenkavalier,
Zdenka/Arabella and Servilia/La clemenza di Tito. At
Welsh National Opera she has sung Mim/La bohme,
Susanna, Ilia, Marzelline/Fidelio, Norina/Don Pasquale
and Hro/Batrice et Bndict. Future engagements
include Despina at Covent Garden; Governess/The Turn
of the Screw at ENO; Pamina at WNO, and in San
Francisco; and Ginevra in Munich. Her concert
appearances include the BBC Proms and the Salzburg,
Edinburgh, Tanglewood, Ravinia, Melbourne and
Munich festivals. In recital, she has appeared at the
Barcelona, Ravinia, Buxton, Belfast and Beaulieu-sur-
Mer festivals as well as the Wigmore Hall. Her extensive
discography includes the roles of Pamina, Ilia and
Nannetta; a series of Gilbert and Sullivan recordings
with Sir Charles Mackerras; and a solo recording of
Italian songs.
 About the performers

James Gilchrist tenor Lucas operatic roles include, among others, Monteverdis
Orfeo and Ulisse; Mozarts Count and Don Giovanni;
After studying at Kings College,
and Rossinis Barber and Dandini; as well as more
Cambridge, where he was a choral
contemporary roles such as Bergs Wozzeck. He
scholar, James Gilchrist began his
regularly appears at the opera houses in Berlin,
working life as a doctor, turning to a
Cologne, Brussels, Geneva, Zurich, Lyon and Paris, as
full-time career in music in 1996.
well as at international festivals including Salzburg, Aix-
Recent highlights include
en-Provence and the Maggio Musicale in Florence. His
Frederic/The Pirates of Penzance
extensive discography includes, among many others,
and Ralph/HMS Pinafore, Septimius/Theodora, Elgars
Schuberts Winterreise and the complete recording of
The Dream of Gerontius, Israel in Egypt, Bachs B minor
Busonis Dr Faust (Opra de Lyon/Nagano), which was
Mass and Christmas Oratorio, as well as Mozarts
awarded a Grammy in 2000. He recently sang the title-
Requiem (Seattle Symphony Orchestra), Tippetts The
role in Wozzeck in Lisbon, the Brahms/Glanert Vier
Knot Garden (BBC SO/Sir Andrew Davis), Alexanders
ernste Gesnge in Cologne, Kurwenal/Tristan und
Feast in Salzburg and Judas Maccabeus (Danish Radio
Isolde in Montral and, following this short tour of The
Orchestra). Engagements last season include Messiah
Seasons, will take part in Bachs St. John Passion in Paris,
with the San Francisco and Detroit Symphony orchestras,
Brahmss Ein Deutsches Requiem in Santiago and
Mozarts C minor Mass with the Tonhalle Orchestra, Bach
Madrid, Bachs St. Matthew Passion in Berlin and a
cantatas with the Bach Collegium Japan in Tokyo, St.
newly commissioned opera El viaje a Simorgh in
Matthew Passion with North Carolina Symphony
Madrid, as well as creating the role of the Mad Hatter in
Orchestra, St. John Passion with the Royal Concertgebouw
Unsuk Chins Alice in Wonderland in Munich.
Orchestra, Brittens Serenade for Tenor, Horn and
Strings at The Sage, Gateshead, and Purcells King
Arthur for Mark Morris at English National Opera. He
recently sang in Brittens War Requiem in Westminster The English Baroque Soloists and
Cathedral, Stravinskys Pulcinella with the Ensemble The Monteverdi Choir
Orchestral de Paris at the Thtre des Champs-Elyses,
The English Baroque Soloists was formed in 1978 by Sir
Haydns Nelson Mass in Granada, and Handels
John Eliot Gardiner and has since established itself as
Belshazzar with San Franciscos Philharmonia Baroque
one of the great chamber orchestras of the world
Orchestra and Mark Morris, while future engagements
playing on period instruments. The ensemble has
include Bachs St. Matthew Passion at the Concertgebouw,
performed at many venues around the world, including
Amsterdam. As a recitalist he has performed many varied
Teatro alla Scala, Milan; the out-door amphitheatre in
programmes with piano, lute and harp, and among his
Pompeii; the Philharmonie, Berlin; Thtre du Chtelet,
many recordings are a disc of Finzi song-cycles, Oh Fair
Paris; New Yorks Lincoln Center; Sydney Opera House;
to See (with Anna Tilbrook), and When Laura Smiles,
Amsterdams Concertgebouw, and St Marks, Venice. In
Elizabethan lute songs (with Matthew Wadsworth).
1990 the English Baroque Soloists made its Salzburg
Festival debut and has since returned to Salzburg, along
with Vienna and Innsbruck, on many occasions. In 1990
Dietrich Henschel baritone
a six-year European project was launched to perform
Simon
and record Mozarts seven mature operas. Other
Dietrich Henschel began his recordings include Mozarts major symphonies, the
international career with the title- Requiem and Mass in C minor as well as the first
roles in Henzes Der Prinz von complete, period-instrument piano concerto cycle with
Homburg at the Deutsche Oper, Malcolm Bilson. In celebration of the 250th anniversary
Berlin and Busonis Dr Faust at the of J.S. Bachs death in 2000, Gardiner and the
Opra National de Lyon. Other Monteverdi Choir and English Baroque Soloists
27
About the performers

undertook the Bach Cantata Pilgrimage performing all
198 of Bachs sacred cantatas in over 60 churches
throughout Europe on the Sundays and feast days for
which they were intended. Over the last few years the
English Baroque Soloists has toured extensively
throughout Europe, the Far East and the USA. During
2006 the English Baroque Soloists and the Monteverdi
Choir celebrated the Mozart anniversary, touring the
East and West coasts of North America, presenting Il re
pastore and La finta giardiniera at the Royal Opera
House, Covent Garden, and visiting several major
European summer festivals including Salzburg; toured a
programme of Bach cantatas around Europe; and gave
a series of opera galas in London, Paris, Madrid and
Pisa. The Soloists and Choir gave concerts of Rameau
and his contemporaries in Paris in February and, in
addition to touring, will be performing music by the Bach
family in future concerts.

THE ENGLISH BAROQUE SOLOISTS

First Violin Hidburg Williams Double Bass Bassoon/ Trombone
Alison Bury leader KathrynTempleman Valerie Botwright Contrabassoon Adam Woolf
Kati Debretzeni Cecelia Bruggemeyer Jane Gower Abigail Newman
Matthew Truscott Viola Markus van Horn Gyrgyi Farkas Stephen Saunders
Sophie Barber Annette Isserlis David Chatterton
Ken Aiso Tom Dunn Flute Timpani
Ann Schumann Lisa Cochrane Rachel Beckett Horn Robert Kendell
Sarah Bealby-Wright Alfonso Leal Del Ojo Christine Garratt Gavin Edwards
Geoffroy Schied Stefanie Heichelheim Anneke Scott Percussion
May Kustovny Oliver Wilson Oboe Joe Walters Robert Davies
Michael Niesemann Martin Lawrence Charlotte Mobbs
Second Violin Cello Molly Marsh
Roy Mowatt Philipp von Steinaecker Trumpet Fortepiano
Jayne Spencer Catherine Rimer Clarinet Michael Harrison Roger Hamilton
Jean Paterson Olaf Reimers Timothy Lines Robert Vanryne
Jane Gille Christopher Poffley Guy Cowley Paul Sharp
Iona Davies Gabriel Amherst
Hkan Wikstrom

THE MONTEVERDI CHOIR

Soprano Alto Tenor Bass
Isabelle Adams Angela Kazimierczuk Margaret Cameron Ben Alden Richard Bannan
Miriam Allan Charlotte Mobbs Jacqueline Connell Andrew Busher Paul Charrier
Elenor Bowers-Jolley Katie Pringle Peter Crawford Simon Davies Julian Clarkson
Donna Deam Rachel Wheatley Carol Hall Andrew Hewitt Robert Davies
Juliet Fraser Belinda Yates Frances Jellard Tom Raskin Samuel Evans
Alison Hill Andrew Radley Paul Tindall James Oldfield
Kirsty Hopkins Richard Wyn Roberts Will Unwin Lawrence Wallington

28
Barbican Committee Barbican Music Department Production Managers
Chairman Head of Music Katy Arnander
John Barker OBE Robert van Leer Jessica Buchanan-Barrow
Alison Cooper
Deputy Chairman Concert Hall Manager
Barbara Newman CBE Vicky Atkinson Event Managers
Kate Packham
Mary Lou Carrington Music Programmers Kirsten Siddle
Stuart Fraser Gijs Elsen Fiona Todd
Christine Cohen OBE Bryn Ormrod
Jeremy Mayhew Production Assistant
Maureen Kellett Programming Consultant Corinna Woolmer
Joyce Nash OBE Angela Dixon
John Owen-Ward Technical Manager
Programming Assistants Eamonn Byrne
John Robins Andrea Jung
Patrick Roney CBE Gersende Giorgio Deputy Technical Manager
Lesley King-Lewis Katy Morrison Ingo Reinhardt
Barbican Directorate Concerts Planning Manager Technical Supervisors
Managing Director Frances Bryant Mark Bloxsidge
Sir John Tusa Steve Mace
Music Administrator
Artistic Director Thomas Hardy Technicians
Graham Sheffield Maurice Adamson
Concerts Assistant Jasja van Andel
Commercial and Catherine Langston
Venue Services Director Robert Jennings
Mark Taylor Head of Marketing Jason Kew
Chris Denton Martin Shaw
Projects and Building
Services Director Music Marketing Manager Stage Manager
Michael Hoch Jacqueline Barsoux Elizabeth Burgess

Finance Director Marketing Executives Deputy Stage Manager

Sandeep Dwesar Naomi Engler Julie-Anne Bolton
Bethan Sheppard Stage Supervisors
HR Director
Diane Lennan Performing Arts Marketing Christopher Alderton
Assistant Paul Harcourt
Executive Assistant Sarah Hemingway
to Sir John Tusa Stage Assistants
Leah Nicholls Media Relations Manager Ademola Akisanya
Nicky Thomas Michael Casey
Andy Clarke
Media Relations Assistant Trevor Davison
(Classical Music) Heloise Donnelly-Jackson
Hannah Kendall Hannah Wye
Acting Senior Production Manager Technical & Stage Coordinator
Eddie Shelter Colette Chilton

Programme edited by Edge-Wise, artwork by Jane Denton; printed by Vitesse London; Barbican Centre
advertising by Cabbell (tel. 020 8971 8450) Silk Street
London EC2Y 8DS
Please make sure that all digital watch alarms and mobile phones are switched off during the
performance. In accordance with the requirements of the licensing authority, sitting or standing Administration 020 7638 4141
in any gangway is not permitted. No smoking, eating or drinking is allowed in the auditorium. Box Office 020 7638 8891
No cameras, tape recorders or any other recording equipment may be taken into the hall. www.barbican.org.uk

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