Here are the translations and notes for CD 2

CD 2 Tracks 1 and 9

Ständchen (Serenade)

Text: Adolf Friedrich, Graf von Schack (1815–1894)

Music: Richard Strauss Op. 17 No. 2

This is the most popular of the Lieder of Strauss, and one of Lehmann’s favorites. She included Ständchen on many recitals, and we have it in studio recordings with the original piano accompaniment as well as in this live version which was an encore to the 1938 Town Hall Recital.

We can also enjoy the lush orchestration and Lehmann’s opulent voice in this same song in the RCA Magic Key program of 3 April 1938, with Frank Black conducting the NBC orchestra that was only previously published as LP BWS 729.  Note her famous expressive breath just before the end at “der Nacht.”

In both recordings, we note that Lehmann follows her own advice, enjoying the “sweet secrecy” of the poem and its “glowing desire.” Listen to the way that she relishes the words “von uns’ren Küssen träumen.”

Mach auf, mach auf, doch leise mein Kind,

Um keinen vom Schlummer zu wecken.

Kaum murmelt der Bach, kaum zittert im Wind

Ein Blatt an den Büschen und Hecken.

Drum leise, mein Mädchen, daß nichts sich regt,

Nur leise die Hand auf die Klinke gelegt.

Mit Tritten, wie Tritte der Elfen so sacht,

Um über die Blumen zu hüpfen,

Flieg leicht hinaus in die Mondscheinnacht,

Zu mir in den Garten zu schlüpfen.

Rings schlummern die Blüten am rieselnden Bach

Und duften im Schlaf, nur die Liebe ist wach.

Sitz nieder, hier dämmert’s geheimnisvoll

Unter den Lindenbäumen,

Die Nachtigall uns zu Häupten soll

Von unseren Küssen träumen,

Und die Rose, wenn sie am Morgen erwacht,

Hoch glühn von den Wonnenschauern der Nacht.

Open the door, open the door, but softly my dear,

So as to wake no one from sleep.

The brook hardly murmurs, the wind hardly stirs

A leaf on the bushes or hedges.

So, softly, my maiden, so that nothing stirs,

Just softly lay your hand on the latch.

With steps as soft as the footsteps of elves,

As they hop over the flowers,

Fly lightly out into the moonlit night,

Slip out to me in the garden.

The flowers slumber along the rippling brook,

Sending forth fragrance as they sleep, only love is awake.

Sit down here, where mystery glimmers

Beneath the linden trees,

The nightingale overhead

Shall dream of our kisses,

And the rose, when it wakes in the morning,

Shall glow brighter [blushes!], at the quivering rapture of the night.

CD 2 Track 2

Therese

Text: Gottfried Keller (1819-1890)

Music: Johannes Brahms (1833-1897) Op. 86 No. 1

Lehmann loved this song and included it among her encores in her “all-Wolf” 1938 Town Hall recital. The youthful admirer encounters an older woman who teases him about his innocence. At the end, what does he hear? Probably something as mysterious as “the way to understand a woman.”

Du milchjunger Knabe,

Wie schaust du mich an?

Was haben deine Augen

Für eine Frage getan!

Alle Ratsherrn in der Stadt

Und alle Weisen der Welt

Bleiben stumm auf die Frage,

Die deine Augen gestellt!

Eine Meermuschel liegt

Auf dem Schrank meiner Bas’:

Da halte dein Ohr d’ran,

Dann hörst du etwas!

You beardless boy,

Why do you look at me so?

What a question

Your eyes have asked!

All the councilmen in the town

And all the wise men of the world

Would be struck dumb by the question

That your eyes have posed!

A seashell lies

Upon my cousin’s cupboard;

Press your ear to it,

Then you’ll hear something!

CD 2 Track 3

Vergebliches Ständchen (Futile Serenade)

Text: Anton Zuccalmaglio (1803-1869)

Music: Brahms Op.84 No. 4

Brahms liked this creation and its details. We appreciate the sprightly accompaniment for the girl and the shift to the minor for the freezing night. This is another Brahms encore among the Wolf songs of the 1938 Town Hall recital. Notice the way that Lehmann savored the chance to be both the boy and the girl, especially enjoying the girl’s rejection of the lad at the end. But she does sing the last words in a way that will encourage her suitor to return another time.

Er:

Guten Abend, mein Schatz,

Guten Abend, mein Kind!

Ich komm’ aus Lieb’ zu dir,

Ach, mach’ mir auf die Tür,

Mach’ mir auf die Tür

Sie:

Meine Tür ist verschlossen,

Ich laß dich nicht ein;

Mutter, die rät’ mir klug,

Wär’st du herein mit Fug,

Wär’s mit mir vorbei!

Er:

So kalt ist die Nacht,

So eisig der Wind,

Daß mir das Herz erfriert,

Mein’ Lieb’ erlöschen wird;

Öffne mir, mein Kind!

Sie:

Löschet dein’ Lieb’,

Lass’ sie löschen nur!

Löschet sie immerzu,

Geh’ heim zu Bett, zur Ruh’,

Gute Nacht, mein Knab’!

He:

Good evening, my treasure,

Good evening, my girl!

I come out of love for you,

Oh, open the door,

Open the door for me!

She:

My door is locked,

I won’t let you in;

My mother has advised me well,

If you were allowed in,

It would all be over for me!

He:

The night is so cold,

So icy the wind,

That my heart will freeze,

And my love will expire;

Open for me, my girl!

She:

If your love will perish,

Then let it expire!

If it keeps dying,

Go home to bed, and rest,

Good night, my boy!

CD 2 Track 4

Heimkehr vom Feste (Returning Home from the Banquet)

Text: Heinrich Seidel (1842-1906)

Music: Leo Blech (1871-1958)

Blech was a conductor by trade, and a personal friend of Lehmann’s. She often sang this song as a “final” encore. She’d sung it as early as 1920 on a program with other soloists in the Großer Saal (Great Hall) of the Vienna Philharmonic, and tried to record it in 1926. So it may come as no surprise to find it as an encore on the 1938 Town Hall recital of Wolf songs. Lehmann’s story-telling and her own fun with the light song are infectious.

Bei Goldhähnchens war ich heut zu Gast,

Sie wohnen im grünen Fichtenpalast,

In einem Nestchen klein,

Sehr niedlich und sehr fein.

Was hat es gegeben? Schmetterlingsei,

Und Mückensalat und Gritzenbrei,

Und Käferbraten famos,

Zwei Millimeter groß.

Dann sang Vater Goldhähnchen was,

So zierlich klang’s wie gesponnenes Glas.

Dann wurden die Kinder beseh’n;

Sehr niedlich alle zehn.

Dann sagt’ ich “Adieu” und “Ich danke sehr!”

Sie sprachen:  “O  bitte, wir hatten die Ehr,

Es hat uns mächtig gefreut!”

Es sind doch reizende Leut!

At the Gold-crested Wrens I was guest today,

They live in a green spruce palace,

In a cozy little nest,

Very cute and very fine.

What was for dinner? Butterfly eggs,

And salad of gnats with beetle-leg puree,

And splendid roasted bugs,

Two millimeters in size.

Then Father Wren sang for us,

As delicately sounding as spun glass.

Then we looked at the little ones;

Very appealing all ten.

Then I said “Adieu” and “Thanks so much!”

They replied: “Oh please, it was our honor,

It has pleased us mightily!”

They’re charming people indeed!

CD 2 Tracks 5 and 7

Zueignung (Dedication)

Text: Hermann von Gilm zu Rosenegg (1812-1864)

Music: Strauss Op. 10 No. 1

This is another of Lehmann’s favorite encores, and she recorded it with piano successfully in the studio. Here’s a chance to hear her perform it as an encore, “live,” on the 1938 Town Hall recital. Lehmann really does follow her own advice, and sings each “thank you” with a different emotion.

The second recording of Zueignung on this CD has the technical finesse of a recording studio, a good orchestra and Lehmann in effulgent, glorious voice. Frank Black conducts the NBC Orchestra for the Magic Key of 3 April 1938,  “Army Salute Day” (General Malin Craig of the Joint Chiefs of Staff was Lehmann’s co-star!). This has only appeared on LPs BWS 729 and EJS 425.

Ja, du weißt es, teure Seele,

Daß ich fern von dir mich quäle,

Liebe macht die Herzen krank,

Habe Dank.

Einst hielt ich, der Freiheit Zecher,

Hoch den Amethysten-Becher,

Und du segnetest den Trank,

Habe Dank.

Und beschworst darin die Bösen,

Bis ich, was ich nie gewesen,

Heilig, heilig an’s Herz dir sank,

Habe Dank.

Yes, you know it, precious soul,

How I suffer when I’m far from you,

Love makes the heart ache,

Thank you.

Once I, drinker of freedom,

Held high the amethyst beaker,

And you blessed the drink,

Thank you.

And you exorcised the evils in it,

Until I, as I had never been before,

Blessed, blessed sank upon your breast,

Thank you.

CD 2 Track 6

Vissi d’arte (I Lived for Art)

Text: Luigi Illica (1857-1919) and Giuseppe Giacosa (1847-1906)

Music: Giacomo Puccini (1858-1924)

Though Lehmann recorded this commercially, it was in German as Nur der Schönheit.  It’s especially enjoyable to hear Vissi d’arte in the original Italian and with a decent orchestra. This is again the Magic Key broadcast of 3 April 1938, with Frank Black and the NBC Orchestra, that has only previously been released on LPs BWS 729 and EJS 425.

In Act II Tosca sings the famous aria in which she questions God for allowing her to exchange her self-respect for her lover’s freedom. Lehmann is dramatic in this performance, but not over-the-top.

Vissi d’arte, vissi d’amore,

Non feci mai male ad anima viva!

Con man furtiva

Quante miserie conobbi aiutai.

Sempre con fè sincera

La mia preghiera

Ai santi tabernacoli salì.

Sempre con fè sincera

Diedi fiori agl’altar.

Nell’ora del dolore

Perchè, perchè, Signore,

Perchè me ne rimuneri così?

Diedi gioielli della Madonna al manto,

E diedi il canto agli astri, al ciel,

Che ne ridean più belli.

Nell’ora del dolor

Perchè, perchè, Signor,

Ah, perchè me ne rimuneri così?

I lived for my art, I lived for love,

I never harmed a living soul!

With a secret hand

I relieved as many misfortunes as I knew.

Always with true faith

My prayer

Rose to the holy shrines.

Always with true faith

I gave flowers to the altar.

In the hour of grief

Why, why, o Lord,

Why do you reward me thus?

I gave jewels for the Madonna’s mantle,

And I gave my song to the stars, to heaven,

Which smiled with more beauty.

In the hour of grief

Why, why, o Lord,

Oh, why do you reward me like this?

CD 2 Track 7, Zueignung, see CD 2 Track 5

CD 2 Track 8

Traum durch die Dämmerung (Dreaming in the Twilight)

Text: Otto Bierbaum (1865-1910)

Music: Strauss Op. 29 No. 1

Strauss is able to capture the dream-like feeling of the poetry that we hear in an orchestrated version on this Magic Key broadcast of 3 April 1938, with Frank Black conducting the NBC Orchestra. This has only previously been published on LP BWS 729. Original source material was used for this CD.

Lehmann recorded and sang this song often, always abiding by her admonition that “there should be no hurrying but neither should there be any dragging, only a quiet ambling toward the lovely goal.”

Weite Wiesen im Dämmergrau;

Die Sonne verglomm, die Sterne ziehn,

Nun geh’ ich hin zu der schönsten Frau,

Weit über Wiesen im Dämmergrau,

Tief in den Busch von Jasmin.

Durch Dämmergrau in der Liebe Land;

Ich gehe nicht schnell, ich eile nicht;

Mich zieht ein weiches samtenes Band

Durch Dämmergrau in der Liebe Land,

In ein blaues, mildes Licht.

Broad meadows in the grey twilight;

The sun has died away and the stars move,

Now I go to the loveliest of women,

Across the meadow in the grey twilight,

Deep into the jasmine bush.

Through the grey twilight to the land of love;

I do not walk quickly, I do not hurry;

I am drawn by a faint, velvety thread

Through the grey twilight to the land of love,

In a blue, mild light.

CD 2 Track 9, Ständchen, see CD 2 Track 1

CD 2 Track 10

Das Mädchen spricht  (The Girl Speaks)

Text: Otto Gruppe (1804-1876)

Music: Brahms  Op. 107 No. 3

Paul Ulanowsky is Lehmann’s pianist on this radio broadcast from 3 April 1938. It has only previously been published on LP EJS 425.

While listening to this song, we can join the “young girl” as she questions the swallow for information that she needs.

Schwalbe, sag’ mir an,

Ist’s dein alter Mann,

Mit dem du’s Nest gebaut?

Oder hast du jüngst erst

Dich ihm vertraut?

Sag’, was zwitschert ihr,

Sag’, was flüstert ihr

Des Morgens so vertraut?

Gelt, du bist wohl

Auch noch nicht lange Braut?

Swallow, tell me,

Is that your old husband,

With whom you built your nest?

Or have you just recently

Become betrothed to him?

Tell me what you twitter about,

Tell me what you whisper about

In the mornings, so intimately?

You haven’t been

A bride for very long either, have you?

CD 2 Track 11

Gretel

Text: Carl Busse (1872-1918)

Music: Hans Pfitzner (1869-1949) Op. 11 No. 5

Though Lehmann recorded Gretel in the studio, this live radio broadcast performance of 3 April 1938 for an audience has special energy and has never before been published.

Notice how wild Lehmann gets at the final cry, which she didn’t do quite so much on the commercial recording. Ulanowsky was the pianist.

Vor der Tür im Sonnenscheine,

Wo das Kätzchen sonst liegt,

Steht die Gretel ganz alleine,

Und die Gretel ist vergnügt.

Hört die Frühglocken klingen,

Wie so lustig das geht,

Wenn die Schulmädchen singen:

“Wenn’s Mailüfterl weht.”

Vor der Tür ganz in Sinnen

Steht die Gretel und lacht:

Was der Hans wohl da drinnen

Im Zimmer da macht?

Und im Tripptrapp die paar Stufen

Und sie holt sich den Hut,

Ihren Hans will sie rufen,

Denn dem Hans ist sie gut.

Und es dauert kaum ein Weilchen,

Da springt sie zurück,

Vorn im Knopfloch lauter Veilchen,

In den Augen lauter Glück!

Drücke die Klinke verstohlen,

Steckt das Köpfchen durch den Spalt:

Lieber Hans, ich will dich holen,

Kommst du mit in den Wald?

Weit fort aus den Gassen,

Dummer Junge, sag’ ja!

Und der Hans kann’s nicht lassen,

Und der Hans ruft: Hurrah!

Küßt die Gretel auf die beiden

Roten Lippen im Nu,

Und die Gretel will’s nicht leiden,

Und sie kichert: ach du!

At the door, in the sunshine

Where the little cat usually lies,

There stands Gretel, all alone,

And is quite jolly.

She listens to the morning bells,

As merry as can be,

While the school girls sing:

“The May breezes are here.”

By the door stand Gretel,

Deep in thought, and laughs:

What might Hans in there

Be doing in his room?

And then, hop, hop up the steps

She brings out her hat,

She wants to call her Hans,

Because she’s his girl.

After just a little while,

She runs down the stairs,

Her buttonhole filled with violets,

Her eyes full of joy!

She gently opens the door,

And peeps her head through the crack:

Dear Hans, I’m here to get you,

Will you come with me to the woods?

Far from the little road,

Foolish boy, say: Yes!

And Hans can’t resist,

And he calls out: Hurrah!

He kisses Gretel on her red lips,

Kisses her right then,

But his Gretel won’t have it,

And she giggles: Oh you!

CD 2 Track 12

None But the Lonely Heart

Text: originally Goethe; unknown translation

Music: Tchaikovsky (1840-1893) Op. 6 No. 6

The beautiful melody of Tchaikovsky’s None But the Lonely Heart was originally inspired by Goethe’s poem Nun wer die Sehnsucht kennt, translated into Russian by Lev Aleksandrovich Mey (1822-1862). It’s interesting that Lehmann didn’t revert to the original Goethe words, but again, it may have been politic to avoid German when possible, and this English translation works well. The NBC Orchestra is called the Victory Orchestra on the broadcast; Lehmann was announced as “die geliebte Lehmann.” Nathaniel Schilket conducts on this RCA Magic Key broadcast of 18 September 1939. This has never been published in any format.

None but the lonely heart
Can know my sadness.
Alone and parted
Far from joy and gladness.
Heaven’s boundless arch I see
Spread out above me,
Oh, what a distance drear to those
That loved me.
None but the lonely heart
Can know my sadness,
Alone and parted
Far from joy and gladness.
Alone and parted far
From joy and gladness.
My senses fail,
A burning fire
Devours me,
None but the lonely heart
Can know my sadness.

CD 2 Track 13

The Star (A Fragment from Plato)

Text: Charles Fletcher Lummis (1859-1928)

Music: James Rogers (1857-1940)

The songs of the American composer James Rogers had been previously recorded by many singers including Louise Homer, Ernestine Schumann-Heink, Geraldine Farrar, and John McCormack. The Star, which Lehmann sings in quite good English, had been recorded as early as 1917 by Frances Alda and later by many others. This performance, never before published, is from the RCA Magic Key program of 18 September 1939 with the NBC Orchestra conducted by Nathaniel Schilket.

Star of me…

Watching the mother skies…

Where thine elder sisters be…

Would I were heav’n…

With all its eyes on thee…

CD 2 Track 14

Die junge Nonne (The Young Nun)

Text: Jackob Nikolaus, Reichsfreiherr von Craigher de Jachelutta (1797-1855)

Music: Schubert  Op. 43 No. 1; D. 828

This is from the Columbia recording session that Lehmann sang on 4 March 1941, matrix number XCO 30013-1 published on 78s as 71509-D, and also released on Columbia LP ML 5778.

In her interpretation, Lehmann is a very forceful, forthright, powerful, and devoted nun. She’s able to paint the opening storm with her consonants and vocal color, but delineates that as different from the emotional storm she’s overcome.

Wie braust durch die Wipfel der heulende Sturm!

Es klirren die Balken, es zittert das Haus!

Es rollet der Donner, es leuchtet der Blitz,

Und finster die Nacht, wie das Grab!

Immerhin, immerhin,

So tobt’ es auch jüngst noch in mir!

Es brauste das Leben, wie jetzo der Sturm,

Es bebten die Glieder, wie jetzo das Haus,

Es flammte die Liebe, wie jetzo der Blitz,

Und finster die Brust, wie das Grab.

Nun tobe, du wilder gewalt’ger Sturm,

Im Herzen ist Friede, im Herzen ist Ruh,

Des Bräutigams harret die liebende Braut,

Gereinigt in prüfender Glut,

Der ewigen Liebe getraut.

Ich harre, mein Heiland! mit sehnendem Blick!

Komm, himmlischer Bräutigam, hole die Braut,

Erlöse die Seele von irdischer Haft.

Horch, friedlich ertönet das Glöcklein vom Turm!

Es lockt mich das süße Getön

Allmächtig zu ewigen Höhn.

Alleluja!

How wind roars through the tree-tops of the howling storm!

The rafters rattle, the house shudders!

Thunder rolls, lighting flashes,

And the night is as dark as the grave!

After all, after all,

So it raged in me not long ago as well!

My life roared like the storm now,

My limbs trembled like the house now,

Love burst into flame, like the lightning now,

And my heart was as dark as the grave.

Now rage, you wild, daunting storm,

My heart’s peaceful, my heart’s calm.

The groom is awaited by the loving bride,

Cleansed by the purifying flames,

To eternal Love betrothed.

I await you, my Savior! with a yearning gaze!

Come, heavenly bridegroom, take your bride,

Rescue her soul from earthly imprisonment.

Listen: the bell rings peacefully from the tower!

That sweet tone invites me

Overpoweringly to eternal heights.

Alleluia!

CD 2 Track 15

Der Doppelgänger

Text: Heinrich Heine (1797-1856)

Music Schubert  D. 957 No. 13

Heine’s poem inspired Schubert to one of his darkest creations. The sinister atmosphere drew from Lehmann one of her most unsettling and chilling interpretations.

This is from the Columbia recording session of 4 March 1941, matrix XCO 30016-1 released on 78 as 71509-D and re-issued on Columbia LP ML 5778.

Still ist die Nacht, es ruhen die Gassen,

In diesem Hause wohnte mein Schatz;

Sie hat schon längst die Stadt verlassen,

Doch steht noch das Haus auf demselben Platz.

Da steht auch ein Mensch und starrt in die Höhe

Und ringt die Hände vor Schmerzensgewalt;

Mir graust es, wenn ich sein Antlitz sehe –

Der Mond zeigt mir meine eigne Gestalt.

Du Doppelgänger, du bleicher Geselle!

Was äffst du nach mein Liebesleid,

Das mich gequält auf dieser Stelle

So manche Nacht, in alter Zeit?

Still is the night, the streets quiet down,

In that house lived my treasure;

She’s long since gone away from this town,

But this house still stands in the same square.

A man stands here too, staring up into space

And wrings his hands in despair;

I shudder, when I behold his face –

For the moon shows me my own features.

You phantom double, you pallid companion!

Why do you ape my love-pain

That tortured me here in this place

So many a night, in times gone by?

CD 2 Track 16

Liebesbotschaft (Love’s Message)

Text: Ludwig Rellstab (1799-1860)

Music: Schubert (from Schwanengesang) D. 957 No. 1

Lehmann recorded this with Ulanowsky for Columbia on 19 March 1941, matrix CO 30017-1. It wasn’t published on 78 and the only LP release was in Japan: YD 3017/18. This is a test pressing of that delightful studio recording in which Lehmann’s light-hearted happiness sings forth.

Rauschendes Bächlein,

So silbern und hell,

Eilst zur Geliebten

So munter und schnell?

Ach, trautes Bächlein,

Mein Bote sei du;

Bringe die Grüße

Des Fernen ihr zu.

All ihre Blumen,

Im Garten gepflegt,

Die sie so lieblich

Am Busen trägt,

Und ihre Rosen

In purpurner Glut,

Bächlein, erquicke

Mit kühlender Flut.

Wenn sie am Ufer,

In Träume versenkt,

Meiner gedenkend

Das Köpfchen hängt,

Tröste die Süße

Mit freundlichem Blick,

Denn der Geliebte

Kehrt bald zurück.

Neigt sich die Sonne

Mit rötlichem Schein,

Wiege das Liebchen

In Schlummer ein.

Rausche sie murmelnd

In süße Ruh,

Flüstre ihr Träume

Der Liebe zu.

Murmuring brooklet,

So silvery and bright,

Are you hurrying to my beloved

So cheerfully and fast?

Oh, friendly brooklet,

Be my messenger;

Bring the greetings

From afar to her.

All her flowers,

Tended in her garden,

Which she so sweetly

Wears on her breast,

And her roses

Glowing purple,

Brooklet, refresh them

With cooling flow.

When she’s on the bank,

Sunk in dreams,

Remembering me,

Hanging her head,

Comfort the sweet one

With a friendly glance,

For her beloved

Will soon return.

When the sun sets

With reddening glow,

Rock my loved one

To slumber.

Murmur for her

In sweet peace,

Whisper dreams

Of love to her.

CD 2 Track 17

Aufträge (Messages)

Text: Christian L’Egru (fl. 1850)

Music: Robert Schumann (1810-1856) Op. 77 No. 5

Lehmann recorded Aufträge with Ulanowsky for Columbia on 26 June 1941, matrix CO 31486-1; it was not released as a 78rpm, but was published on Columbia LP ML 5778. This is first CD appearance.

There are a lot of notes for the pianist and a lot of words for the singer: they make the most of their tasks. Whether ripples in the brook or the flight of a dove, we are witnesses to it all. And listen to the fermata that Lehmann beautifully sings on the “du” at the end.

Nicht so schnelle, nicht so schnelle!

Wart ein wenig, kleine Welle!

Will dir einen Auftrag geben

An die Liebste mein.

Wirst du ihr vorüberschweben,

Grüße sie mir fein!

Sag, ich wäre mitgekommen,

Auf dir selbst herabgeschwommen:

Für den Gruß einen Kuß

Kühn mir zu erbitten,

Doch der Zeit Dringlichkeit

Hatt’ es nicht gelitten.

Nich so eillig! halt! erlaube,

Kleine, leichtbeschwingte Taube!

Habe dir was aufzutragen

An die Liebste mein!

Sollst ihr tausend Grüße sagen,

Hundert obendrein.

Sag, ich wär’ mit dir geflogen,

Über Berg und Strom gezogen:

Für den Gruß einen Kuß

Kühn mir zu erbitten,

Doch der Zeit Dringlichkeit

Hatt’ es nicht gelitten.

Warte nicht, daß ich dich treibe,

O du träge Mondesscheibe!

Weißt’s ja, was ich dir befohlen

Für die Liebste mein:

Durch das Fensterchen verstohlen

Grüße sie mir fein!

Sag, ich wär’ auf dich gestiegen,

Selber zu ihr hinzufliegen:

Für den Gruß einen Kuß

Kühn mir zu erbitten,

Du bist schuld, Ungeduld

Hatt’ mich nicht gelitten.

Not so fast, not so fast!

Wait a bit, tiny wave!

I’d like to give you a message

For my sweetheart.

If you glide past her,

Greet her fondly for me!

Say, I would have come with you,

Swimming on you myself:

In return for my greeting,

Boldly demanding a kiss,

But the urgency of time

Would not permit it.

Not so hasty! Stop! Permit me,

Small, light-winged dove!

I have to assign you a message

For my sweetheart!

You should give her a thousand greetings,

And a hundred beyond that.

Say, I would have flown with you,

Trekking over mountain and stream:

In return for my greeting,

Boldly demanding a kiss,

But the urgency of time

Would not permit it.

Don’t wait for me to drive you,

Oh you sluggish round moon!

You know well what I have commanded you

To do for my sweetheart:

Through her little window, furtively,

Greet her fondly for me!

Say, I would climb on you,

And fly to her myself:

In return for my greeting,

Boldly demanding a kiss,

It was your fault, for your impatience

Would not permit me.

CD 2 Track 18

Morgengruss (Morning greeting)

Text: Heine

Music: Felix Mendelssohn (1809-1847) Op. 47 No. 2

Lehmann and Ulanowsky recorded Morgengruss for Columbia on 26 June 1941, matrix CO 31699-1, published on 78 as 17344-D. Strangely it was never released on LP and this is its first CD appearance. This is a test pressing from that session.

Though Mendelssohn’s songs had never been as widely-performed as his contemporary, Robert Schumann’s, Lehmann’s belief in and enjoyment of these Lieder is apparent.  Of course, there is the added political dimension: Lehmann sang these songs in America when the racial laws of Nazi Germany had forbidden them. But even today, Mendelssohn songs are not well represented in the standard recital. It is difficult to explain why. They include melody that’s well suited to the words, and always with Mendelssohn’s understanding of the voice.

Über die Berge steigt schon die Sonne,

Die Lämmerherde läutet von fern:

Mein Liebchen, mein Lamm, meine Sonne und Wonne,

Noch einmal säh’ ich dich gar zu gern!

Ich schaue hinauf mit spähender Miene,

“Leb’ wohl, mein Kind, ich wandre von hier!”

Vergebens! es regt sich keine Gardine;

Sie liegt noch und schläft und träumt von mir.

Over the hills the sun is already climbing,

I hear the flock of lambs far away:

My darling, my lamb, my sunshine and joy,

If only I could see you one more time!

I look upward, searching,

“Farewell, my child, I travel from here!”

In vain! No curtain stirs;

She’s still asleep, and dreaming of me.

CD 2 Track 19

Venetianisches Gondellied (Venetian Gondola Song)

Text: Ferdinand Freiligrath (1810-1876); based on a text in English by Thomas Moore (1779-1852).

Music: Felix Mendelssohn Op. 57 No. 5

Lehmann and Ulanowsky recorded this on 30 June 1941 for Columbia, matrix CO 31700-1, not released as a 78, but as Columbia LP ML 5778.

The rocking music in the piano is just right for the romantic tryst or flight via gondola. Every ebb and flow of Lehmann’s musicality is exactly met by Ulanowsky. Note how Lehmann almost whispers “das Boot ist bereit.”

Wenn durch die Piazzetta

Die Abendluft weht,

Dann weißt du, Ninetta,

Wer wartend hier steht.

Du weißt, wer trotz Schleier

Und Maske dich kennt,

Du weißt wie die Sehnsucht

Im Herzen mir brennt.

Ein Schifferkleid trag’ ich

Zur selbigen Zeit,

Und zitternd dir sag’ ich:

Das Boot ist bereit!

O komm jetzt, wo Lunen

Noch Wolken umzieh’n,

O komm jetzt, komm jetzt!

Laß durch die Lagunen,

Geliebte, uns flieh’n!

When through the piazzetta

The evening breezes blow,

Then you know, Ninetta,

Who waits for you here.

You know who despite your veil

And your mask, recognizes you,

You know how longing

Flames in my heart.

In sailor’s guise I dress

At this very hour,

And, trembling, I say to you:

The boat is ready!

Oh come now, while Luna

Peeps out through the clouds,

Oh come now, oh come now!

Through the lagoon,

Beloved, let us flee!

CD 2 Track 20

Neue Liebe (New Love) (In dem Mondenschein)

Text: Heine

Music: Felix Mendelssohn Op. 19 No. 4

This is a test pressing of Neue Liebe that Lehmann and Ulanowsky recorded on 30 June 1941, matrix CO 31701-1. This wasn’t published as a 78, and was only found  (mislabeled) on BWS 729. There is no previous CD of this performance.

Mendelssohn is in his pixie mood, except for the last lines, when it becomes mysterious for a bit. Lehmann and Ulanowsky take this at breakneck speed, but it captures the thrill of the riding elves.

In dem Mondenschein in Walde,

Sah ich jüngst die Elfen reiten;

Ihre Hörner hört ich klingen,

Ihre Glöcklein hört ich läuten.

Ihre weißen Rößlein trugen

Güldnes Hirschgeweih und flogen

Rasch dahin, wie wilde Schwäne

Kam es durch die Luft gezogen.

Lächelnd nickte mir die Köngin,

Lächelnd, im Vorüberreiten.

Galt das meiner neuen Liebe,

Oder soll es Tod bedeuten?

In the moonlit forest

I watched the elves riding;

I heard their horns sound

I heard their bells ring.

Their white horses, with

Golden antlers, flew on

Swiftly, like wild swans

Travelling through the air.

Smiling, the queen nodded at me,

Smiling, as she rode overhead.

Was it because of my new love,

Or does it mean death?

CD 2 Track 21

Der Nußbaum (The Nut Tree)

Text: Julius Mosen (1803-1867)

Music: Schumann Op. 25 No. 3

Lehmann recorded this for Columbia on 30 June 1941, matrix CO 31702-1. It wasn’t released on 78s, but eventually published on Columbia LP ML 5778.

Lehmann and Ulanowsky seem to sway together with the branches of the tree. Note how softly Lehmann sings at the end, as if she doesn’t want to disturb the dreaming.

Es grünet ein Nußbaum vor dem Haus,

Duftig, luftig breitet er

Blättrig die Äste aus.

Viel liebliche Blüten stehen dran;

Linde Winde kommen,

Sie herzlich zu umfahn.

Es flüstern je zwei zu zwei gepaart,

Neigend, beugend zierlich

Zum Kusse die Häuptchen zart.

Sie flüstern von einem Mägdlein,

Das dächte die Nächte, und Tagelang,

Wusste, ach, selber nicht was.

Sie flüstern, sie flüstern,

Wer mag verstehn so gar leise Weis’?

Flüstern von Bräut’gam und nächstem Jahr,

Von nächstem Jahr.

Das Mägdlein horchet, es rauscht im Baum;

Sehnend, wähnend sinkt es

Lächelnd in Schlaf und Traum.

A nut tree flourishes in front of the house,

Fragrantly, airily spreading out

Its leafy branches.

Many lovely blossoms hang from the tree;

Gentle breezes come

To tenderly embrace them.

They whisper, paired two by two,

Bending, bowing gracefully,

Their little heads daintily for a kiss.

They whisper of a maiden

Who wonders day and night long,

Knew, but alas, not of what.

They whisper, they whisper,

Who may understand their murmuring song?

They whisper of a bridegroom and of the coming year,

Of the coming year.

The maiden listens, the tree rustles;

Yearning, imagining, she sinks

Smiling into sleep and dream.

CD 2 Track 22

Wonne der Wehmut (Joy of Melancholy)

Text: Goethe

Music: Beethoven Op. 83 No. 1

This test pressing of Wonne der Wehmut is from Lehmann and Ulanowsky’s Columbia recording session of 30 June 1941, matrix CO 31703-1 not released on 78s, and, as far as I know, only available on the Bruno Walter Society LP BWS 729.

From such a simple poem Beethoven crafted a moving song that Lehmann sings with honest pathos.

Trocknet nicht, trocknet nicht,

Tränen der ewigen Liebe!

Ach, nur dem halbgetrockneten Auge

Wie öde, wie tot die Welt ihm erscheint!

Trocknet nicht, trocknet nicht,

Tränen unglücklicher Liebe!

Do not dry, do not dry,

Tears of eternal love!

Ah, only to the half-dry eye

How desolate and dead the world appears!

Do not dry, do not dry,

Tears of unhappy love!

CD 2 Track 23

Andenken (Remembrance)

Text: Friedrich von Matthisson (1761-1831)

Music: Beethoven WoO 136

On 30 June 1941 Lehmann and Ulanowsky recorded Andenken matrix  CO 31704-1. We’re lucky to have this test pressing because only the Bruno Walter Society released it as LP BWS 729.

Simple and straightforward, the artists match the intention of the words and the beauty of the melody. Nothing is overdone or extraneous.

Ich denke dein,

Wenn durch den Hain

Der Nachtigallen

Akkorde schallen!

Wann denkst du mein?

Ich denke dein

Im Dämmerschein

Der Abendhelle

Am Schattenquelle!

Wo denkst du mein?

Ich denke dein

Mit süßer Pein

Mit bangem Sehnen

Und heißen Tränen!

Wie denkst du mein?

O denke mein,

Bis zum Verein

Auf besserm Sterne!

In jeder Ferne

Denk ich nur dein!

I think of you

When through the grove

The nightingales’

Chords sound forth!

When do you think of me?

I think of you

In the twilight

Of the evening brightness

By the shadowy spring!

Where do you think of me?

I think of you

With sweet pain,

With anxious longing

And hot tears!

How do you think of me?

Oh think of me

Until we’re united

On a better star!

However distant,

I think only of you!

CD 2 Track 24

Wiegenlied (Cradle Song or Lullaby)

Text: First strophe from Des Knaben Wunderhorn; second: Georg Scherer (1824-1909)

Music: Brahms Op. 49 No. 4

This is from the Columbia recording session of 30 June 1941, matrix CO 32035-1 published as 17300-D on 78 and re-released on Columbia LP ML 5778.

Though this song is so often sung that it can become cliché, Lehmann, who sang it frequently, brings a freshness to it as if just discovering it. Ulanowsky is the pianist.

Guten Abend, gut Nacht,

Mit Rosen bedacht,

Mit Näglein besteckt,

Schlupf unter die Deck’.

Morgen früh, wenn Gott will,

Wirst du wieder geweckt.

Guten Abend, gut’ Nacht,

Von Englein bewacht,

Die zeigen im Traum

Dir Christkindleins Baum:

Schlaf nun selig uns süß,

Schau im Traum’s Paradies.

Good evening, good night,

Bedecked with roses,

Covered with carnations,

Slip under the blanket.

Early tomorrow, God willing,

You will awaken again.

Good evening, good night,

Guarded by angels,

Who show in your dream

The Christ child’s tree:

Sleep now blissfully and sweetly,

In your dreams you’ll see Paradise.

CD 2 Track 25

Ständchen (Serenade)

Text: Franz Kugler (1808-1853)

Music: Brahms Op. 106 No. 1

This is from the very successful Columbia session of 30 June 1941, matrix 32036-1 published on 78 as 17300-D and on Columbia LP ML 5778.

Both Lehmann and Ulanowsky seem to enjoy themselves and the ambience of young love that they’re able to bring about.

Der Mond steht über dem Berge,

So recht für verliebte Leut’;

Im Garten rieselt ein Brunnen,

Sonst Stille weit und breit.

Neben der Mauer im Schatten,

Da stehn der Studenten drei

Mit Flöt’ und Geig’ und Zither

Und singen und spielen dabei.

Die Klänge schleichen der Schönsten

Sacht in den Traum hinein,

Sie schaut den blonden Geliebten

Und lispelt: »Vergiß nicht mein!«

The moon hangs over the mountain,

So fitting for love-struck people;

In the garden trickles a fountain,

Otherwise, it’s still far and wide.

Near the wall, in the shadows,

Stand the three students

With flute and fiddle and zither

They sing and play with a will.

The sounds steal up to the most beautiful one

Gently entering her dreams,

She gazes on her blond beloved

And whispers: “Forget me not!”

CD 2 Track 26

Auf Flügeln des Gesanges (On Wings of Song)

Text: Heine

Music: Felix Mendelssohn Op. 34 No. 2

This test pressing was recorded by Lehmann and Ulanowsky on 2 July 1941, matrix CO 31696-1 published on 78 as 17344-D. It appeared as an LP on the Japanese CBS (SONY) Masterworks 20 AC 1915 and on Odyssey (CBS Columbia) 32 16 0179. As far as I can tell, this is its first appearance on CD.

The best known of Mendelssohn’s songs, it still packs a punch when sung with the intensity and attention to detail that Lehmann brings. Notice her fun with “kichern und kosen.”

Auf Flügeln des Gesanges,

Herzliebchen, trag ich dich fort,

Fort nach den Fluren des Ganges,

Dort weiß ich den schönsten Ort;

Dort liegt ein rotblühender Garten

Im stillen Mondenschein,

Die Lotosblumen erwarten

Ihr trautes Schwesterlein.

Die Veilchen kichern und kosen,

Und schaun nach den Sternen empor,

Heimlich erzählen die Rosen

Sich duftende Märchen ins Ohr.

Es hüpfen herbei und lauschen

Die frommen, klugen Gazelln,

Und in der Ferne rauschen

Des heilgen Stromes Well’n.

Dort wollen wir niedersinken

Unter dem Palmenbaum,

Und Liebe und Ruhe trinken,

Und träumen seligen Traum.

On wings of song,

My love, I’ll carry you away,

To the meadows of the Ganges,

Where I know the most beautiful place;

There lies a red-flowering garden

In the serene moonlight,

The lotus-flowers await

Their beloved sister.

The violets giggle and caress,

And look up at the stars,

The roses tell each other secretly

Their fragrant fairy-tales.

Here come leaping to listen

Gentle, bright gazelles,

And in the distance murmurs

The waves of the holy stream.

There let us sink down

Under the palm tree,

And drink of love and peace,

And dream our blessed dream.

CD 2 Track 27

Sehnsucht nach dem Frühlinge (Longing for Springtime)

Text: Christian Overbeck (1755-1821)

Music: Wolfgang Amadeus Mozart (1756-1791) K. 596

This Columbia test pressing was recorded by Lehmann and Ulanowsky on 9 July 1941, matrix CO 31489-1. It never appeared as a 78, but was published on LP as BWS 729. There seems to be no previous CD.

This children’s song is treated with all the care of any Lied the artists attempted.

Komm, lieber Mai, und mache

Die Bäume wieder grün,

Und laß mir an dem Bache

Die kleinen Veilchen blühn!

Wie möcht ich doch so gerne

Ein Veilchen wieder sehn,

Ach, lieber Mai, wie gerne

Einmal spazieren gehn!

Ach, wenn’s doch erst gelinder

Und grüner draußen wär!

Komm, lieber Mai, wir Kinder,

Wir bitten gar zu sehr!

O komm und bring vor allen

Uns viele Veilchen mit,

Bring auch viel Nachtigallen

Und schöne Kuckucks mit!

Come, dear May, and make

The trees green again,

And by the brook, let

The little violets bloom for me!

How I really would love

To see a violet again,

Oh, dear May, how gladly

I’d go walking!

Oh, if only it were milder

And greener out there!

Come, dear May, we children,

We beg you seriously!

Oh, come and bring us before all else

Many violets,

Bring also lots of nightingales

And pretty cuckoos!

CD 2 Track 28

Warnung (Warning)

Text: Folk poetry

Music: Mozart K. 433

A Columbia test pressing that Lehmann and Ulanowsky recorded on 9 July 1941; obviously a good day for both of them. No more than two takes were ever recorded! The Columbia matrix CO 31489-1 wasn’t published on 78s, but was released on LP as BWS 729. No previous CD includes it.

In this fun song, Lehmann seems really to believe that the young girls need to be locked up, to keep them from being “nibbled” by voracious men. You can almost hear Lehmann savoring something when she sings “schmeckt so gut.”

Männer suchen stets zu naschen,

Läßt man sie allein,

Leicht sind Mädchen zu erhaschen,

Weiß man sie zu überraschen;

Soll das zu verwundern sein?

Mädchen haben frisches Blut,

Und das Naschen schmeckt so gut.

Doch das Naschen vor dem Essen

Nimmt den Appetit.

Manche kam, die das vergessen,

Um den Schatz, den sie besessen,

Und um ihren Liebsten mit.

Väter, läßt’s euch Warnung sein:

Sperrt die Zuckerplätzchen ein!

Sperrt die jungen Mädchen ein!

Men are always searching to nibble,

If one leaves them alone,

They’ll easily find a maiden to snatch,

For they know how to surprise them;

Should that be any wonder?

Maidens are full-blooded,

And the snacks taste so good.

But a snack before the meal

Can ruin one’s appetite.

Many girls who forget this

Lose the treasure they possess,

And their beloved with it.

Fathers, let this be a warning to you:

Lock up your sugar candies!

Lock up your young girls!

 

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