MERZ TRIO
(PSC DEBUT)

MANN series
saturday, NOVEMBER 15 at 7:30 PM at high school OF FASHION INDUSTRIES, 225 W 24TH ST BTWN 7TH & 8TH AVES

virtual concert available MONday, november 17 -
sATURDAY, november 22

click here to buy MANN series tickets
BUY GENERAL ADMISSION SINGLE TICKETS ($20/ $10 STUDENTS)

The wonderful Merz Trio makes their PSC debut with a program exploring musical favorites of Alma Mahler during her travels in the US, ending with Schubert’s monumental Trio in E-flat

PROGRAM: 

“Alma Mahler Goes West”
Works by Alma Mahler, Johannes Maria Staud, Ives, Webern, Dvorak, Zemlinsky, Berg, and Thelonious Monk
~ intermission ~
Schubert: Trio No. 2 in E-flat, D. 929

MERZ TRIO
Amy Yang, piano
Brigid Coleridge, violin
Julia Yang, cello

Bio: 

Hailed as “entrancing” (BBC Music Magazine) and "artists in the deepest sense of the word" (CutCommon), Merz Trio, winners of the Naumburg, Concert Artists Guild, Fischoff and Chesapeake Competitions, and recipients of a Salon de Virtuosi Career Grant, have been lauded for their “stunning virtuosity... fresh and surprising interpretations” (Reading Eagle), and “perfection of intonation and ensemble” (Hudson Review). Merz Trio are passionately committed to reshaping the narrative of classical music through vibrantly dynamic programming and wide-ranging interdisciplinary collaboration. Their narrative programming style juxtaposes classical standards, new music, and their own arrangements of familiar and forgotten works, fluidly interwoven and guided with speaking from the Trio’s members. Their interdisciplinary collaborations include ongoing projects with directors Emma Jaster and Jon Levin, dancer Caroline Copeland, and Sandglass Puppet Theater. Read more…

merztrio.com

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Photo credit: Dimitri Mais

IVALAS QUARTET

arens series
saturday, november 8 at 7:30 PM at high school of fashion industries, 225 west 24th street

virtual concert available MONday, november 10 - sATURDAY, november 15

buy arens series tickets
BUY GENERAL ADMISSION SINGLE TICKETS ($20/ $10 STUDENTS)

*Mann and Arens Series concert locations will be announced this fall, at Washington Irving (40 Irving Pl & 16th St) or Fashion Industries (225 W 24th St & 7th Ave)

Ivalas Quartet returns to PSC with a program of contemporary and core classical repertoire

PROGRAM: 

Skye: Deliverance
Berg: String Quartet Op. 3
~ intermission ~
Debussy: String Quartet in G minor

IVALAS QUARTET
Reuben Kebede and Tiani Butts, violins
Marcus Stevenson, viola
Pedro Sánchez, cello

Bio: 

Hailed by The Strad for playing with “tremendous heart and beauty,” the Ivalas Quartet has been changing the face of classical music since its inception in 2017 with a mission to enrich the classical music world by spotlighting past and present BIPOC composers alongside the standard repertory. Among the many composers whose works they have championed are Eleanor Alberga, Gabriela Lena Frank, Osvaldo Golijov, Jessie Montgomery, Angélica Negrón, Iván Enrique Rodríguez, Carlos Simon, Alvin Singleton, and George Walker. They premiered Derrick Skye’s Deliverance through a commission from Caramoor in 2024. Read more…

ivalasquartet.com

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Photo credit: Titilayo Ayangarde

RICHARD GOODE, PIANO
(PSC RESIDENT ARTIST)
& ITAMAR ZORMAN, VIOLIN

MANN series
saturday, october 25 at 7:30 PM at high school OF FASHION INDUSTRIES, 225 w 24TH ST

virtual concert available MONday, OCTOBER 27 -
sATURDAY, november 1

click here to buy MANN series tickets
BUY GENERAL ADMISSION SINGLE TICKETS ($20/ $10 STUDENTS)

Resident Artist Richard Goode and acclaimed violinist Itamar Zorman open our historic 125th Anniversary Season with duo and solo works by Mozart, Bach and Brahms

PROGRAM:

Mozart: Sonata for Violin and Piano in B flat, K. 454
Bach: Sonata for unaccompanied violin in C, BWV 1005
~ intermission ~
Beethoven: Sonata in E Major, Op. 109
Brahms: Sonata for Violin and Piano in G major, op. 78

Richard Goode, piano & Itamar Zorman, violin

Bio: 

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, masterclasses in person or online, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following. Read more…

Itamar Zorman is one of the most soulful, evocative artists of his generation, distinguished by his emotionally gripping performances and gift for musical storytelling. Since his emergence with the top prize at the 2011 International Tchaikovsky Competition, he has wowed audiences all over the world with breathtaking style, causing one critic to declare him a “young badass who’s not afraid of anything.” His youthful intensity and achingly beautiful sound shine through in every performance, earning him the title of the “virtuoso of emotions.” Read more…

richardgoodepiano.com
itamarzorman.com

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Photo credits: Steve Riskind (Goode) and Jiyang Chen (Zorman)

JAMES LEE III: PRINCIPAL BROTHERS
DeMarre McGill, flute - Titus Underwood, oboe
Anthony McGill, clarinet - Bryan Young, bassoon

MANN series
saturday, april 19 at 7:30 PM at HS OF FASHION INDUSTRIES*
225 w 24TH ST (BETWEEN 7TH & 8TH AVES)

virtual concert available FROM MONDAY, april 21 - SATURDAY, april 26

BUY MANN SERIES TICKETS
Buy 4/19 Single Tickets (Starting at $20 general admission)

*this concert was relocated from Washington Irving due to a building use conflict

"Principal Brothers" features amazing wind principals from some of our major symphony orchestras - Demarre McGill, flute; Titus Underwood, oboe; Anthony McGill, clarinet; Bryan Young, bassoon, with new works written for them by James Lee III as well as works by Villa Lobos & selections from Bach Art of the Fugue

PROGRAM:

J. S. Bach: Selections from The Art of Fugue
James Lee III: Principal Brothers No. 1
H. Villa-Lobos: Quartet 
Lee: Principal Brothers No. 2
~ intermission ~ 
Lee: Principal Brothers No. 3
Valerie Coleman: Rubispheres
Lee: Principal Brothers No. 4
Errollyn Wallen: Commission by PCMS
Bach: Selections from The Art of Fugue

Demarre McGill, flute
Titus Underwood, oboe
Anthony McGill, clarinet
Bryan Young, bassoon

Bio: 

This new program highlights Demarre McGill, Titus Underwood, Anthony McGill, and Bryan Young — four Black artists who are orchestral principals and inspirational leaders in the field. Featuring a new set of pieces written for the participating musicians by James Lee III titled Principal Brothers, other works include chamber music selections for flute, oboe, clarinet, and bassoon in various configurations.

Winner of an Avery Fisher Career Grant and the Sphinx Medal of Excellence, Demarre McGill has appeared as soloist with numerous orchestras including the Philadelphia Orchestra, the San Francisco, Pittsburgh, Dallas, Seattle, San Diego, Winnipeg, Hawaii, Hartford and Baltimore symphony orchestras and, at age 15, the Chicago Symphony. Demarre has participated in festivals around the globe, is co-founder of Art of Élan, a founding member of the Myriad Trio, and has participated in the Marlboro, Moab, Santa Fe, Sarasota, Chamber Music Society of Lincoln Center and Stellenbosch chamber music festivals, to name a few.  Along with clarinetist Anthony McGill and pianist Michael McHale, the McGill/McHale Trio was founded in 2014. Their debut recording, "Portraits," was released in 2017 to rave reviews and "Winged Creatures," recorded with Anthony McGill and the Chicago Youth Symphony Orchestra was released two years later. Demarre performs, coaches and presents master classes throughout the United States, Canada, Europe, Asia and South Africa. Committed to teaching, he holds the position of Associate Professor of Flute at the University of Cincinnati College-Conservatory of Music, is a member of the Artist-Faculty at the Aspen Music Festival and School, as well as the National Orchestral Institute at the University of Maryland. Now principal flute of the Seattle Symphony, Demarre previously served as principal flute of the Dallas Symphony, San Diego Symphony, Florida Orchestra, and Santa Fe Opera Orchestra as well as acting principal flute of the Metropolitan Opera Orchestra and the Pittsburgh Symphony Orchestra. A native of Chicago, Demarre studied there with Susan Levitin, and continued his studies at The Curtis Institute of Music and The Juilliard School with Jeffrey Khaner and Julius Baker.

Titus Underwood is the Principal Oboist of the Nashville Symphony Orchestra, Gateways Music Festival, and co-principal of the Chineke! Orchestra. Underwood is also the Associate Professor of Oboe at the University of Cincinnati College- Conservatory of Music. In addition, Underwood is a faculty artist at the Aspen Music Festival, and National Youth Orchestras at Carnegie Hall. A fierce advocate for amplifying voices of the historically underrepresented, he co-founded the Black Orchestral Network (BON) and Sphinx Orchestral Partners Auditions (SOPA). His personal endeavors in digital media have lead to multiple releases, notably the short film A Tale of Two Tails. Underwood also holds the honors of a Sphinx Medal of Excellence award for his ongoing commitment to leadership and community, and an Emmy Award for his work executive producing “We Are Nashville” with the Nashville Symphony. Underwood is a graduate of The Juilliard School, The Colburn School, and the Cleveland Institute of Music. Visit www.titusunderwood.com to learn more.

Hailed for his “trademark brilliance, penetrating sound and rich character” (New York Times),  clarinetist Anthony McGill enjoys a dynamic international solo and chamber music career and is  principal clarinet of the New York Philharmonic — the first African-American principal player in  the organization's history. He is the recipient of the 2020 Avery Fisher Prize, one of classical  music’s most significant awards, and was named Musical America’s 2024 Instrumentalist of the  Year. American Stories, his album with the Pacifica Quartet, was nominated for a GRAMMY® for  Best Chamber Music/Small Ensemble Performance. McGill appears as a soloist with top orchestras, including the New York and Los Angeles  Philharmonics, the Metropolitan Opera, and the Baltimore, Boston, Chicago, and Detroit  Symphony Orchestras. He performed alongside Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama, premiering a piece by John Williams.  As a chamber musician, McGill is a collaborator of the Brentano, Daedalus, Guarneri, JACK,  Miró, Pacifica, Shanghai, Takács, and Tokyo Quartets, and performs with leading artists  including Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He serves on the faculty of The Juilliard School and is the Artistic Director for Juilliard’s Music  Advancement Program. He holds the William R. and Hyunah Yu Brody Distinguished Chair at the  Curtis Institute of Music. In 2020, McGill’s #TakeTwoKnees campaign protesting the death of George Floyd and historic racial injustice went viral. In 2023, he partnered with Bryan Stevenson and the Equal Justice Initiative to organize a classical music industry convening at EJI’s Legacy Museum in Montgomery, Alabama, in which leaders and artists in classical music examined America’s history of racial inequality and how this legacy continues to impact their work. He is a Backun Artist and performs exclusively on Backun Clarinets.

Bryan Young is the bassoonist and co-founder of the Poulenc Trio and principal bassoonist of the Baltimore Chamber Orchestra, the Washington Post writes that Bryan Young's playing "dances with a lightness and grace uncommon for his instrument.' Bryan has premiered new works written for him by composers Megan DiGeorgio, Octavio Vazquez, Steven Gerber, Thomas Benjamin and David Fetter, in addition to more than 30 new works he co-commissioned and premiered with the Poulenc Trio.

Bryan is on the faculty of the Peabody Conservatory, and has has been invited as featured lecturer and given masterclasses at universities around the country. In addition to his musical activities, Bryan has an extensive career in technology, having founded Intertwine Systems, a healthcare focused software company.

Bryan is the Board Chair of Chamber Music America, President of the Board of the Candlelight Concert Society in Maryland, and a board member at the Boulanger Initiative.

jameslee3music.com/

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Photo credits: Denver Rispel (D. McGill); YNOT IMAGES LLC (Underwood); Todd Rosenberg Photography (A. McGill); Titilayo Ayangade (Young)

CHIEN-KIM-WATKINS TRIO
(PSC DEBUT)

arens series
saturday, april 26 at 7:30 PM at hs of fashion industries*
(225 w 24th st, between 7th & 8th aves)

virtual concert available MONday, april 28 - sATURDAY, may 3

buy arens series tickets
Buy 4/25 Single Tickets (Starting at $20 general admission)

*this concert was relocated from Washington Irving due to a building use conflict

Chamber music powerhouses Gloria Chien, piano; Soovin Kim, violin; and the Emerson Quartet's Paul Watkins, cello combine talents for Beethoven's Archduke Trio, Ravel Trio, and Saint-Saens arrangement of Orpheus by Franz Liszt

PROGRAM:

F. Liszt/ C. Saint-Saëns: Orpheus (arr. for piano trio)
M. Ravel: Piano Trio, M. 67
~ intermission ~
L. v. Beethoven: Piano Trio in B-flat Major, Op. 97 “Archduke”

Chien-Kim-Watkins Trio
Gloria Chien, piano
Soovin Kim, violin
Paul Watkins, cello

Bio: 

The Chien-Kim-Watkins Trio comprises three of classical music’s most highly esteemed artists performing today: pianist Gloria Chien, violinist Soovin Kim, and cellist Paul Watkins. The trio has been performing together since 2019 and has become a highly sought-after ensemble known for their exciting programming, including Beethoven’s complete Piano Trio Cycle. Read more…

/chien-kim-watkins-trio

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Photo credit: Lake Champlain Chamber Music Festival

JUILLIARD STRING QUARTET

SALOMON series
sUNDAY, MARCH 30 AT 2 pm AT THE TOWN HALL

virtual concert available MONday, MARCH 31 - sATURDAY, APRIL 5

buy salomon series tickets
Buy 3/30 Single Tickets (Starting at $25 REAR/SIDE SEATING)

Juilliard String Quartet, a PSC audience favorite, makes a rare appearance at The Town Hall

PROGRAM:

A. Dvořák: Selections from Cypresses, B. 152
L. Janacek: String Quartet No. 2 “Intimate Letters”
~ intermission ~
B. Smetana: String Quartet in E minor “From my Life”

Juilliard String Quartet
Areta Zhulla, violin
Ronald Copes, violin
Molly Carr, viola
Astrid Schween, cello

Bio: 

With unparalleled artistry and enduring vigor, the Juilliard String Quartet (JSQ) continues to inspire audiences around the world. Founded in 1946 and hailed by The Boston Globe as “the most important American quartet in history,” the ensemble draws on a deep and vital engagement to the classics, while embracing the mission of championing new works, a vibrant combination of the familiar and the daring. Each performance of the Juilliard String Quartet is a unique experience, bringing together the four members’ profound understanding, total commitment, and unceasing curiosity in sharing the wonders of the string quartet literature. Read more…

JUILLIARDSTRINGQUARTET.ORG

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Photo credit: Erin Baiano

CALDER QUARTET
& TIMO ANDRES, PIANO


virtual concert available MONday, may 19 - sUNDAY, may 25

Buy Virtual Concert ($20)

*this concert was relocated from Washington Irving due to a building use conflict

The "superb" Calder Quartet (NYT) and composer/ pianist Timo Andres give us the NY premiere of Andres' new piano quintet “The Great Span” as well as quartets by Schubert and Debussy

PROGRAM:

F. Schubert: Quartettsatz
Ann Southam: Remembering Schubert
Timo Andres: The Great Span
~ intermission ~
C. Debussy: String Quartet in g minor, Op. 10

Calder Quartet
Benjamin Jacobson, violin
Tereza Stanislav, violin
Jonathan Moerschel, viola
Eric Byers, cello

with Timo Andres, composer/ pianist

Bio: 

Hailed as "Superb" and "imaginative, skillful creators" by the New York Times, the Calder Quartet captivates audiences exploring a broad spectrum of repertoire, always striving to fulfill the composer’s vision in their performances. The group's distinctive artistry is exemplified by a musical curiosity brought to everything they perform and has led them to be called "one of America’s most satisfying - and most enterprising - quartets". (Los Angeles Times)
 Read more…

Timo Andres 🔊 (b. 1985, Palo Alto, CA) is a composer and pianist who grew up in rural Connecticut and lives in Brooklyn, NY. 2023–24 season highlights include a recital debut for Carnegie Hall including the premiere of a new piece by Andres, Fiddlehead, and the New York premiere of Gabriella Smith’s Imaginary Pancake; a tour with the Calder Quartet including a new piano quintet by Andres, performed at the Segerstrom Center for the Arts, San Francisco Performances and Chamber Music Albuquerque; the world premiere of a piano concerto written by Andres for Aaron Diehl, led by John Adams at the Los Angeles Philharmonic. Read more…

www.calderquartet.com
www.andres.com

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Photo credit: Austin Hargrave (Calder) & Michael Wilson (Andres)

JOY STEPPIN’
BY NOKUTHULA NGWENYAMA

The creation of “Joy Steppin’” written for Espressivo! was co-commissioned by: Linton Chamber Music, generously supported by Ann and Harry Santen (world premiere); Apex Concerts; Arizona Friends of Chamber Music; Brattleboro Music Center; Chamber Music Albuquerque; Clarice Smith Performing Arts Center at the University of Maryland; Denver Friends of Chamber Music; El Paso ProMusica; Emory Chamber Music Society; Highlands-Cashiers Chamber Music Festival; Hudson Valley Chamber Music Circle; International Violin Competition of Indianapolis and Ensemble Music Society of Indianapolis; Kansas City Friends of Music; Lake Champlain Chamber Music Festival; Peoples’ Symphony Concerts; Phoenix Chamber Music Society; Portland Ovations; Schubert Club; Seattle Chamber Music Society; and Syracuse Friends of Chamber Music through the International Arts Foundation, Inc. World Premiere October 20-21, 2024 in Cincinnati, OH.

A NOTE FROM THE COMPOSER

When Sharon Robinson of the fabulous piano quartet Espressivo! kindly invited me to write a piece for the ensemble, she offered this prompt: Embrace the joy that is all around us! I was honored to accept.

“Happiness” skirts around the edges, while “joy” settles deep and carries us beyond the abyss. Joy can be a challenge to cultivate, but it remains one of our great human gifts. Joy – on both a personal and universal level – draws from the same deep wellspring as grief, celebrating our capacity for love, compassion and generosity. It is ever hopeful, drawing us forward, embracing and nourishing the human capacity to make things better.

Joy Steppin’ anxiously begins walking along the shallow side of happy. It then settles and reflects, through the piú lento, adagio, and piú andante, before toe-tapping into its G minor dance theme of the title. And then, just before the final section brings the work to a close, the cello and piano take a deep breath, create a sliding, reverberating tone, a deep spiritual sound that begins low and gradually rises – like a meditational “Om ॐ”– providing a unifying moment to allow us to feel our interconnectedness.

As I was composing, I was uplifted reading The Book of Joy by the 14th Dalai Lama and Archbishop Desmond Tutu with Douglas Abrams and moved by the words of Dr. Brittney Cooper: Joy is an invitation to make new worlds rather than being held hostage to the old ones[1].

To which I add this wish: May all beings know love, compassion, peace and the experience of stepping into joy.

Thanks very much to Espressivo! - Anna Polonsky, Jaime Laredo, Milena Pájaro-van de Stadt and Sharon Robinson - for including me in this blessing. Thanks also very much to the International Arts Foundation, Inc. for supporting the creation of this work and to the commissioners: Linton Chamber Music, generously supported by Ann and Harry Santen (world premiere); Apex Concerts; Arizona Friends of Chamber Music; Brattleboro Music Center; Chamber Music Albuquerque; Clarice Smith Performing Arts Center at the University of Maryland; Denver Friends of Chamber Music; El Paso Pro Musica; Emory Chamber Music Society; Highlands-Cashiers Chamber Music Festival; Hudson Valley Chamber Music Circle; International Violin Competition of Indianapolis and Ensemble Music Society of Indianapolis; Kansas City Friends of Music; Lake Champlain Chamber Music Festival; Peoples’ Symphony Concerts; Phoenix Chamber Music Society; Portland Ovations; Schubert Club; Seattle Chamber Music Society; and Syracuse Friends of Chamber Music.

[1] Smith College. “Reflecting Joy and Justice.” Last modified November 26, 2023. Accessed October 11, 2024. https://www.smith.edu/news-events/news/reflecting-joy-and-justice. (Dr. Cooper is an award-winning author, commentator and professor of Women’s, Gender, and Sexuality Studies and Africana Studies at Rutgers University.)

Nokuthula Ngwenyama, 2024

RHAPSODY ON A THEME BY JONI
BY ALLISON LOGGINS-HULL

CO-COMMISSIONED BY PSC AND THE BOSTON AND SEATTLE SYMPHONIES,
WITH GENEROUS SUPPORT FROM EDMUND JACOBSEN AND SUSAN BLOOM

A NOTE FROM THE COMPOSER

Flutist and dear friend Alex Sopp sparked the initial conversation between myself and the chamber orchestra The Knights about creating a Rhapsody for Flute and Orchestra, set to premiere during the 100th anniversary season of Gershwinʼs Rhapsody in Blue.

Alex, who envisioned this partnership and will bring the piece to life at its premiere, has also been my muse throughout the compositional process. Not only is she one of the most extraordinary flutists of our time, she is also an exceptional singer and songwriter. Her voice and musicality often reminds me of the great Joni Mitchell, whose music has been a lifeline and a profound influence on me. With both Alex and Joni as personal inspirations, it was natural to channel their spirits into the vibrant and jubilant nature of a traditional rhapsody.

As the project grew, the Seattle Symphony and Boston Symphony joined as co-commissioners, adding even more excitement to this collaboration. With the onboarding of additional renown flutists and ensembles, I felt particularly inspired to nod to traditional styles and repertoire of virtuosic flute playing, while also leaning into modern and popular musical language, as Gershwin does in his Rhapsody in Blue.

Allison Loggins-Hull, 2024

ELIAS QUARTET
(PSC DEBUT)

arens series
saturday, march 8 at 7:30 PM at washington Irving

virtual concert available MONday, march 10 - sATURDAY, march 15

buy arens series tickets
Buy 3/8 Single Tickets (Starting at $20 general admission)

One of Europe's great young ensembles, the Elias String Quartet, performs the last quartet compositions of Haydn and Felix Mendelssohn, as well as Fanny Mendelssohn's sole quartet

PROGRAM:

F. J. Haydn: Quartet in d minor, Op. 103
Fanny Mendelssohn: Quartet in E-flat Major
~ intermission ~
Felix Mendelssohn: Quartet No. 6 in f minor, Op. 80

Elias String Quartet
Sara Bitlloch and Donald Grant, violins
Simone van der Giessen, viola
Marie Bitlloch, cello

Bio: 

The Elias String Quartet take their name from Mendelssohn’s oratorio, Elijah, of which Elias is its German form, and have quickly established themselves as one of the most intense and vibrant quartets of their generation. The Quartet was formed in 1998 at the Royal Northern College of Music in Manchester where they worked closely with the late Dr. Christopher Rowland. They also spent a year studying at the Hochschule in Cologne with the Alban Berg quartet. Between 2005 and 2009 they were resident String Quartet at Sheffield’s “Music in the Round” as part of Ensemble 360, taking over from the Lindsay Quartet. They are now ensemble in residence at the RNCM and regularly go back there to teach and perform. Read more…

eliasstringquartet.com

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Photo credit: Kauppo Kikkas

CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

MANN series
saturday, april 5 at 7:30 PM at HS OF FASHION INDUSTRIES*
225 w 24TH ST (BETWEEN 7TH & 8TH AVES)

virtual concert available FROM MONDAY, april 7
- SATURDAY, april 12

Buy 4/05 virtual concert (available to watch through 4/12)

*This concert was relocated from Washington Irving due to a building use conflict

The Chamber Music Society of Lincoln Center brings us three of their most exceptional younger artists - pianist Michael Stephen Brown, violinist Danbi Um, and cellist Nicholas Canellakis playing sonatas by Beethoven and Ravel and the Schumann Piano Trio No. 1 in D Minor.

PROGRAM:

L. v. Beethoven: Cello Sonata No. 2 in g minor, Op. 5, No. 2
M. Ravel:
Sonata for Violin and Cello
~ intermission ~
R. Schumann: Piano Trio No. 1 in d minor, Op. 63

Artists of the Chamber Music Society of Lincoln Center
Michael Stephen Brown, piano
Danbi Um, violin
Nicholas Canellakis, cello

Bio: 

The Chamber Music Society of Lincoln Center (CMS) is known for the quality of its performances and its inspired programming. It is New York's first and only season-long chamber music program with resident as well as guest artists - a roster of more than 130 leading international musicians. Critics have called CMS “an exploding star in the musical firmament” (Wall Street Journal). Many of their performances are live-streamed on the CMS website, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

Wu Han is the Co-Artistic Director with her husband cellist David Finckel of the Chamber Music Society of Lincoln Center.

chambermusicsociety.org

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Photo credits: Anela Bence Selkowitz (Brown), Marco Borggreve (Um), Arabella Oz (Canellakis)

THE KNIGHTS ORCHESTRA
FEATURING ALEX SOPP, FLUTE &
WORLD PREMIERE OF “RHAPSODY ON A THEME BY JONI” FOR FLUTE AND ORCHESTRA BY ALLISON LOGGINS-HULL

salomon series
sunday, DECEMBER 8 at 2:00 PM at the town hall

virtual concert available MONday, DECEMBER 9 - sATURDAY, DECEMBER 14

BUY SALOMON SERIES TICKETS
Buy 12/08 Single Tickets (Starting at $25 rear/side seating)

The Knights Orchestra program features the world premiere of a new piece by Allison Loggins Hull, co-commissioned with the Boston and Seattle Symphonies

PROGRAM:

Mozart: Flute Quartet
Loggins-Hull: Rhapsody on a Theme by Joni (World Premiere) featuring Alex Sopp, flute
~ intermission ~
Mozart: Sinfonia Concertante (featuring Colin Jacobsen, violin & Nicholas Cords, viola)

Bio: 

Flexible in size and repertory, The Knights are dedicated to transforming the orchestral experience and eliminating barriers between audience and music. Led by an open-minded spirit of camaraderie and collaboration, the ensemble seeks to engage with contemporary culture through vibrant performances that honor the classical tradition and our passion for musical discovery. Read more

theknightsnyc.com

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Photo credit: Shervin Lainez

ESPRESSIVO!
PIANO QUARTET

MANN series
saturday, december 14 at 7:30 PM
AT HIGH SCHOOL OF FASHION INDUSTRIES*

virtual concert available FROM MONDAY, december 16 - saturday, december 21

THIS CONCERT CELEBRATES THE LIFE OF ANTHONY P. CHECCHIA
AND HIS CONTRIBUTION TO PEOPLES’ SYMPHONY CONCERTS AND TO MUSIC

BUY MANN SERIES TICKETS
Buy 12/14 Single Tickets (Starting at $20 general admission)

*this concert has been relocated from Washington Irving due to a building use conflict. High School of Fashion Industries is located at 225 W 24th St, between 7th & 8th Aves.

Espressivo! Piano Quartet with chamber music stars Jaime Laredo, Milena Pajaro-van de Stadt, Sharon Robinson and Anna Polonsky, features the NYC premiere of a new work by Nokuthula Ngwenyama

PROGRAM:

W. A. Mozart: Piano Quartet in E-flat
N. Ngwenyama: JOY STEPPIN’ for Piano Quartet (NYC Premiere, co-commissioned by Peoples’ Symphony Concerts)
~ intermission ~
J. Brahms: Piano Quartet in g minor

ESPRESSIVO! Piano Quartet
Anna Polonsky, piano
Jaime Laredo, violin
Milena Pajaro-van de Stadt, viola
Sharon Robinson, cello

Bio: 

Four great artists with a passion for chamber music have formed an exciting new quartet that is bound to become an audience favorite. Each of them is known for wonderfully expressive playing, so it seemed that ESPRESSIVO! was the perfect name for this new quartet of piano and strings. Read more…

espressivoquartet.com

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Photo credit: Steve Riskind

Celebrating the Life of Anthony P. Checchia and his contribution to Peoples' Symphony Concerts and to Music
By Frank Salomon

We close 2024 with the wonderful EXPRESSIVO! Piano Quartet, a concert that is especially meaningful for me since it brings together a number of the musical worlds that I have been lucky enough to inhabit--Peoples’ Symphony Concerts and Vermont’s Marlboro Music’s special community.

The ESPRESSIVO! artists, together with Joshua Bell, Yefim Bronfman, Jeremy Denk, Richard Goode, Augustin Hadelich, Yo-Yo Ma, Murray Perahia, Andras Schiff, Richard Stoltzman, members of the Guarneri, Juilliard, Emerson, Dover Quartets, Kalichstein-Laredo-Robinson Trio are just a handful of the artists who have shared their music with us at Peoples' Symphony Concerts, and who credit Vermont's Marlboro Music School & Festival as one of their life-changing musical influences.

The December 14 concert will celebrate the life of Anthony P. Checchia (1930-2024) who worked most closely with Artistic Director Rudolf Serkin to realize what The New Yorker called "classical music's most coveted retreat” and who influenced generations of our most important musicians. I had the great pleasure of working together with Tony at Marlboro for fifty-five years.

Tony also changed the musical life of his native Philadelphia, almost forty years ago, when he established the Philadelphia Chamber Music Society with Philip Maneval, which has become one of the country's largest presenters of chamber music and recitals with more than fifty concerts each season. What he helped to create at Marlboro and in Philadelphia for exceptional musicians will continue to bring us great artists and exceptional music-making at Peoples' Symphony Concerts for generations to come.

Tony's passion for music and compassion for everyone that he met illuminated his life and his many accomplishments. He was a cherished musical leader and my closest and most valued friend.

- Frank Salomon



Photo courtesy of Philadelphia Chamber Music Society, pcmsconcerts.org

WHAT THE PSC ARTISTS AND COMPOSERS SAY…

“PSC is a great enthusiastic audience that really comes for the music and that lives for every note.”
— Yefim Bronfman, piano

Photo by Dario Acosta


“Having left NY four years ago, after living here for 17 years, this moment, this [concert] feels like such a quintessentially NY experience and I hope that you all don’t take it for granted. It’s really extraordinary what’s happening here, and what’s been happening for 125 years.”
— Gabriel Kahane, composer/ piano

Photo by Jason Quigley


It’s always wonderful to be back making music for this audience
— Paul Lewis, piano

Photo by Kauppo Kikkas


We love coming back to Peoples’ Symphony and sharing our explorations and musical journeys with the audience, which always has such reverence and appreciation for the music.
— Astrid Schween, cellist of the Juilliard String Quartet

Photo by Steve Sherman


It’s been a highlight of our season for decades... it has been an honor sharing this music with all of you at PSC. As a student I used to come to Peoples’ Symphony Concerts all the time, I heard so many wonderful musicians like Serkin and the Budapest Quartet and Schneider, I think it was 50 cents or something. Later when we got to play for PSC, you got the sense not only of being such a great part of this historic series along with our mentors, you feel that whole history and connection in the audience as well as so many of the audience members have been there for decades and decades seeing this whole lineage unfold. It’s really an amazing thing to be a part of and it’s a very unique audience, there’s absolutely nothing like it!
— Jaime Laredo, violin/ conductor

Photo by Christian Steiner


Robert Mann said when they were students they couldn’t afford to go to Carnegie Hall and it was such a thrill for them to be able to go to Washington Irving and hear their idols and actually put down their quarters and buy a ticket. It shows how much the concerts mean to students as well as so many audience members
— Sharon Robinson, cello

Photo by Christian Steiner


Peoples’ Symphony Concerts is such an important part of the New York City fabric. Look at all of the offerings that Peoples’ Symphony has going forward in the future!
— Anthony McGill, clarinet

Photo by Todd Rosenberg

CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

arens series
saturday, november 1 at 7:30 PM at HIGH SCHOOL OF FASHION INDUSTRIES, 225 WEST 24TH STREET

virtual concert available MONday, november 3 - sATURDAY, november 9

buy arens series tickets
BUY GENERAL ADMISSION SINGLE TICKETS ($20/ $10 STUDENTS)

We regret to share that Wu Han has sustained a wrist fracture and is unable to perform this weekend at High School of Fashion Industries. We are deeply grateful to pianist Michael Stephen Brown for stepping in on short notice to join violinist Julian Rhee and cellist David Finckel.

The program has been updated as follows:

Haydn — Trio in C major for Piano, Violin, and Cello, Hob. XV:27
Brahms — Sonata No. 3 in D minor for Violin and Piano, Op. 108
— intermission —
Dvořák — Trio in E minor for Piano, Violin, and Cello, Op. 90, “Dumky”

Michael Stephen Brown, piano
Julian Rhee, violin
David Finckel, cello

We wish Wu Han a smooth and speedy recovery and look forward to welcoming her back to the stage soon.

Bio: 

The Chamber Music Society of Lincoln Center (CMS) is known for the quality of its performances and its inspired programming. It is New York's first and only season-long chamber music program with resident as well as guest artists - a roster of more than 130 leading international musicians. Critics have called CMS “an exploding star in the musical firmament” (Wall Street Journal). Many of their performances are live-streamed on the CMS website, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

chambermusicsociety.org

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Photo credit: Lisa-Marie Mazzucco

JUILLIARD STRING QUARTET

arens series
saturday, february 15 at 7:30 PM at washington Irving

virtual concert available MONday, february 17 - sATURDAY, february 22

buy arens series tickets
Buy 2/15 Single Tickets (Starting at $20 general admission)

Juilliard String Quartet returns to Washington Irving for their annual treasured appearance

PROGRAM:

F. J. Haydn: String Quartet in g minor, Op. 20, No. 3
W. A. Mozart: “Hunt” Quartet, K. 458
~ intermission ~
F. Schubert: String Quartet in G Major, D. 887

Juilliard String Quartet
Areta Zhulla, violin
Ronald Copes, violin
Molly Carr, viola
Astrid Schween, cello

Bio: 

With unparalleled artistry and enduring vigor, the Juilliard String Quartet (JSQ) continues to inspire audiences around the world. Founded in 1946 and hailed by The Boston Globe as “the most important American quartet in history,” the ensemble draws on a deep and vital engagement to the classics, while embracing the mission of championing new works, a vibrant combination of the familiar and the daring. Each performance of the Juilliard String Quartet is a unique experience, bringing together the four members’ profound understanding, total commitment, and unceasing curiosity in sharing the wonders of the string quartet literature. Read more…

JUILLIARDSTRINGQUARTET.ORG

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Photo credit: Erin Baiano

BENJAMIN APPL, BARITONE & SHAI WOSNER, PIANO
A TRIBUTE TO DIETRICH FISCHER-DIESKAU’S CENTENARY

salomon series
sunday, FEBRUARY 16 at 2:00 PM at the town hall

virtual concert available MONday, february 17 - sATURDAY, february 22

buy salomon series tickets
Buy 2/16 Single Tickets (Starting at $25 rear/side seating)

Acclaimed lieder singer, Baritone Benjamin Appl and PSC Resident Artist, pianist Shai Wosner, perform a tribute to Dietrich Fischer-Dieskau, on the occasion of his centenary, with works by Schubert and a US premiere by David Lang written for Appl

PROGRAM:

F. Schubert: An die Musik
D. Lang: “the light and the shadow” from flower, forget me* (US Premiere)
Schubert: Liebesbotschaft^
Schubert: An den Mond^
Schubert: Kriegers Ahnung
Schubert: An den Tod^
Schubert: Ständchen
D. Lang: “the roses and the violets” from flower, forget me* (US Premiere)
Schubert: Herbst^
Schubert: Aufenthalt
Schubert: Heidenröslein^
Schubert: Abschied
~ intermission ~
Schubert: Der Atlas
D. Lang: “some day you will” from flower, forget me* (US Premiere)
Schubert: Nachtviolen^
Schubert: Frühlingssehnsucht^
Schubert: An die Apfelbäume, wo ich Julien erblickte^
Schubert: Die Stadt
D. Lang: “all around me” from flower, forget me* (US Premiere)
Schubert: Ganymed
Schubert: Das Fischermädchen
Schubert: Im Frühling
Schubert: Der Doppelgänger
Schubert: Die Taubenpost

*written for Benjamin Appl, commissioned by the Konzerthaus Dortmund in 2022

Benjamin Appl, baritone
Shai Wosner, piano

Bio: 

Hailed as ‘the most promising of today’s up-and-coming song recitalists’ (Financial Times), baritone Benjamin Appl is celebrated by audiences and critics alike for a voice that ‘belongs to the last of the old great masters of song’ with ‘an almost infinite range of colours’ (Suddeutsche Zeitung), ‘exacting attention to text’ (New York Times), and artistry that’s described as ‘unbearably moving’ (The Times). Read more…

Pianist Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity, and creative insight. His performances of a broad range of repertoire—from Beethoven and Schubert to Ligeti and the music of today—reflect a degree of virtuosity and intellectual curiosity that has made him a favorite among audiences and critics, who note his “keen musical mind and deep musical soul” (NPR’s All Things Considered). Read more…

https://www.opus3artists.com/artists/shai-wosner/

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Photo credits: Lars Borges/ Sony (Appl) and Marco Borggreve (Wosner)

MYSTERY PIANIST

salomon series
sunday, january 26 at 2:00 PM at the town hall

virtual concert available MONday, january 27 - sATURDAY, february 1

buy salomon series tickets (available on subscription only)

Our 2025 Mystery Pianist is a much beloved and renowned concert artist. Another unmissable mystery pianist event at PSC, whose previous Mystery Pianist concerts have featured Richard Goode and Yefim Bronfman.

Photo credit: Steinway & Sons

STEVEN ISSERLIS, CELLO & CONNIE SHIH, PIANO

MANN series
saturday, february 8 at 7:30 PM
AT HIGH SCHOOL OF FASHION INDUSTRIES
225 WEST 24TH STREET BETWEEN 7TH & 8TH AVES

virtual concert available FROM
MONDAY, february 10 - SATURDAY, february 15

BUY MANN SERIES TICKETS
Buy isserlis & shih virtual concert (AVAILABLE THROUGH 2/15)

World-renowned cellist Steven Isserlis in his much-anticipated return to PSC with sonatas and works by Beethoven, Martinu, Boulanger and Grieg with pianist Connie Shih

PROGRAM:

L. v. Beethoven: Cello Sonata No. 2 in g minor, Op. 5, No. 2
B. Martinu: Cello Sonata No. 1
~ intermission ~
Nadia Boulanger: 3 Pieces for Cello and Piano
E. Grieg: Cello Sonata, Op. 36

Steven Isserlis, cello
Connie Shih, piano

Bio: 

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster. As a concerto soloist he appears regularly with the world’s leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic, and Zurich Tonhalle orchestras. He gives recitals every season in major musical centers, and plays with many of the world’s foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich, and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programs. Read more…

The Canadian pianist Connie Shih is repeatedly considered to be one of Canada’s most outstanding artists. As a soloist and chamber music artist she has performed in the major venues of the U.S., Canada and Europe. To critical acclaim, she appears regularly in recital with cellist Steven Isserlis. Including chamber music appearances at the Wigmore and Carnegie Halls, she performs at the prestigious Bath Music Festival, Aldeburgh, Cheltenham, Weill Hall (N.Y.), and at the Kronberg Festival. Her collaborations have included Maxim Vengerov, Tabea Zimmerman, and Isabelle Faust. Read more…

stevenisserlis.com
conniekshih.wixsite.com

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Photo credit: Satoshi Aoyagi (Isserlis) & Connie Shih (Shih)

RAPHAËL FEUILLÂTRE, GUITAR
IN HIS NYC & PSC DEBUT

salomon series
sunday, FEBRUARY 2 at 2:00 PM at the town hall

virtual concert available MONday, february 3 - sATURDAY, february 8

buy salomon series tickets
Buy 2/2 Single Tickets (Starting at $25 rear/side seating)

Deutsche Grammophon guitar star Raphaёl Feuillâtre performs Bach and his contemporaries in his NYC debut

PROGRAM:

J. S. Bach: Prelude No. 1 in C Major, BWV 846 (arr. R. Feuillâtre)
F. Couperin: Les barricades mystérieuses (arr. A. Fougeray)
J. Duphly: Médée (arr. A. Fougeray)
J. S. Bach: Concerto in D Major, BWV 972 (after A. Vivaldi; arr. J. Perroy)
D. Scarlatti: Sonata K. 208 (arr. G. Abiton)
M. L. Solés: Variations on a theme of Sor (La Folia)
~ intermission ~
J. Arcas: Fantasia on themes from La Traviata
M. L. Solés: Two Catalan folk songs
I. Albéniz: V. Asturias “Leyanda” (from Suite española No. 1, Op. 47, transcribed for guitar)
F. Tarrega: Three Preludes (in E Major; in f-sharp minor; in D Major)
A. B. Mangoré: La Catedral
A. Piazzolla: Adios Nonino
R. Dyens: Triaela, III. “Clown Down” Gismonti at the circus

Raphaёl Feuillâtre, guitar

Bio: 

Hailed as the new face of classical guitar worldwide, Raphaël Feuillâtre fascinates audiences and critics alike with the depth of his interpretations, his dazzling virtuosity, and the richness of his repertoire. Read more…

raphael-feuillatre.com

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Photo credit: Stefan Hoederath

Exclusive Management: ARTS MANAGEMENT GROUP, INC., 130 w. 57th St., New York, NY 10019

Discography: DEUTSCHE GRAMMOPHON, NAXOS, JSM GUITAR RECORDS

Raphaël Feuillâtre has received support from the Savarez string company and plays on Creation Cantiga Premium strings

Poster

 

TAKÁCS QUARTET

MANN series
saturday, OCTOBER 19 at 7:30 PM at HS OF FASHION INDUSTRIES*

virtual concert available FROM MONDAY, OCTOBER 21 - SATURDAY, OCTOBER 26

BUY MANN SERIES TICKETS
10/19 Single Tickets (Starting at $20 general admission)

Announced as of 10/16, this concert will take place at the High School of Fashion Industries
at 225 W 24th St, between 7th & 8th Avenues in Manhattan

The renowned Takács Quartet opens our historic 125th Anniversary Season with quartets by Haydn, Britten, and Beethoven. This concert also marks the 40th anniversary of the quartet’s first performance at PSC!

PROGRAM:

F. J. Haydn: String Quartet in C Major, Op. 54, No. 2
B. Britten:
Quartet No. 2 in C Major, Op. 36
~ intermission ~
L. v. Beethoven: Quartet in F Major, Op. 59, No. 1

Takács Quartet
Edward Dusinberre, violin
Harumi Rhodes, violin
Richard O’Neill, viola
András Fejér, cello

Bio: 

The world-renowned Takács Quartet is now celebrating its fiftieth season. Edward Dusinberre, Harumi Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello) are excited about the 2023-2024 season that features varied projects including a new work written for them. Nokuthula Ngwenyama composed ‘Flow,’ an exploration and celebration of the natural world. The work was commissioned by nine concert presenters throughout the USA. July sees the release of a new recording of works by Samuel Coleridge-Taylor and Dvořák for Hyperion Records, while later in the season the quartet will release works by Schubert including his final quartet in G major. In the Spring of 2024 the ensemble will perform and record piano quintets by Price and Dvořák with long-time chamber music partner Marc-Andre Hamelin. Read more…

takacsquartet.com

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Photo credit: Amanda Tipton

The Takács Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and Decca/London Records.

The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London

IMPORTANT PROGRAM CHANGE FOR 3/1:
IVALAS QUARTET STEPS IN
FOR AUGUSTIN HADELICH

arens series
saturday, march 1 at 7:30 PM at washington Irving

virtual concert available MONday, march 3 - sATURDAY, march 8

buy arens series tickets
Buy 3/1 Single Tickets (Starting at $20 general admission)

Late last night Augustin Hadelich’s representative advised us that, as much as he was looking forward to returning to PSC, his illness would not allow him to play for us tonight, Saturday, March 1 at 7:30 PM at Washington Irving Campus. We wish him a speedy recovery and look forward to having him with us soon again.

Luckily, the wonderful Ivalas Quartet is coming to our rescue with a program of Mendelssohn, Bartok and Carlos Simon. We’ve heard great reports about their Residency at The Schneider Concerts at The New School, this season, which makes us especially excited that they are coming to play for us.

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PAUL LEWIS, PIANO
SCHUBERT CYCLE III

salomon series
sunday, october 27 at 2:00 PM at the town hall

virtual concert available on subscription only
for RENEWED & ny area in-person & virtual subscribers
thursday, october 31 - sunday, november 3

BUY salomon SERIES TICKETS
10/27 Single Tickets (Starting at $25 rear/side seating)

As part of its celebration in 2024-2025, of the 125th season of Peoples Symphony Concerts, the series is honored to present the only New York performance of Paul Lewis’ Schubert Cycle.

PROGRAM:

Schubert: Piano Sonata No. 4 in a minor, D. 537
Schubert:
Piano Sonata No. 9 in B Major, D. 575
~ intermission ~
Schubert: Piano Sonata No. 18 in G Major, D. 894

Schubert’s completed piano sonatas take us on a unique and heart-wrenching journey through the last 12 years of his life. From the charming lyricism of the early sonatas to the transcendent creativity of the late masterpieces, via harrowing moments of despair as his health started to decline.

Schubert’s sonatas express with directness and sincerity some of the most fundamental elements of human experience - longing, consolation, despair, joy, loss, nostalgia, and hope. In our time, his music is as essential and poignant as ever.

- PAUL LEWIS, PIANO

Bio: 

Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Annee, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours. Read more…

paullewispiano.co.uk

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Photo credit: Kaupo Kikkas

A TRIBUTE TO DIETRICH FISCHER-DIESKAU
PROGRAM ADDENDUM

‘FLOWER, FORGET ME’ PROGRAM NOTE
BY COMPOSER DAVID LANG

flower, forget me was commissioned by Konzerthaus Dortmund, for the baritone Benjamin Appl, specifically to go on a program with Schubert’s great song cycle Die Schöne Müllerin.

I am not sure that they knew it when they asked me, but Die Schöne Müllerin is one of my favorite pieces. Die Schöne Müllerin is an act of radical storytelling, completely ahead of its time in subtlety and complexity, whose radical nature is hidden from our sight by the emotional narrative and the beautiful tunes.

One interesting fact is that Schubert didn’t set to music all of the poems in the original cycle, by the poet Wilhelm Müller. He left out a few, and my first thought for this piece was to set some of the missing poems to new music. On re-reading them, one of these un-set poems immediately jumped out at me— Blümlein Vergißmein (The Flower Forget-me).

In this poem, which appears near the end of the cycle, the young miller hides in the forest, throwing himself on the ground in despair, describing the flowers that could match the darkness that he feels all around him. Then I began to remember the flowers in other texts that Schubert set to music—the flowers with which Death tempts the boy  in Der Erlkönig, the creepy boy tormenting a rose in Heidenröslein, etc., and of course all the flower imagery in those Schöne Müllerin poems that Schubert did set.

Flowers show up a lot in the texts that Schubert used, as they did in much Romantic era poetry. Flowers are the perfect metaphor for futility and death—seeing their fragile, bright, short lives might make us think of our own. I began to wonder how many of Schubert’s songs engaged this kind of imagery. I went alphabetically in the German through every single Schubert song text and compiled every instance of when a flower is mentioned as a reminder of our mortality. All told, I have used excerpts from 33 songs, translating them very roughly and trimming them into a single text. And then I set to music the Müller poem that Schubert didn’t set.

This is the same process I used to make the text for my piece death speaks, in which the libretto is made out of all the moments in Schubert song texts when Death speaks to us, directly, in words.

I would like to thank Benjamin Appl and Konzerthaus Dortmund for asking me to do this project. Not only is it a tremendous honor, but it is also meaningful to me personally, as my grandfather Max Atlas lived in Dortmund in the years before the First World War. After the war he moved to Düsseldorf, met my Grandmother, and they settled in Wuppertal.

David Lang, 2022


SONG TEXTS AND TRANSLATIONS

To music

Oh beauteous art, in so many dreary hours,
Where I have been swept up in the savage circle of life,
You have ignited my heart, giving it a warmer love.
You have carried me off into a better world.

There has often been a sigh flowing from your harp,
A sweet sacred chord of yours,
Which has opened up to me the better times of heaven.
Oh beauteous art, I thank you for it.

Malcolm Wren, schubertsong.uk

An die Musik

Du holde Kunst, in wie viel grauen Stunden,
Wo mich des Lebens wilder Kreis umstrickt,
Hast du mein Herz zu warmer Lieb entzunden,
Hast mich in eine beßre Welt entrückt.

Oft hat ein Seufzer, deiner Harf entflossen,
Ein süßer, heiliger Akkord von dir,
Den Himmel bessrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür.

Franz Adolph Friedrich von Schober


the light and the shadow

the light and the shadow
they fade

the flowers breathe out
their soft, sweet air

I walk alone in this garden
one day, these flowers
will bloom upon my grave

one day you’ll come
to where I rest
and pluck a flower
and press it to your cheek

little rose, half-opened
show me your mercy

when I am dead
a flower will bloom
wherever you have walked

and when the earth grows young again

those blossoms will be refreshed

one day you too will fall
and be refreshed
as a flower on a grave

david lang


Message of love

Babbling little stream,
So silver and bright,
Are you rushing to my beloved
So cheerfully and quickly?
Oh dearest little stream
Be my messenger;
Take my greetings
From afar to her.

All her flowers
Looked after in the garden,
Which she so lovingly
Wears on her breast,
And her roses
With their crimson glow,
Little stream, refresh them
With your cooling waters.

When she is on the river bank
Falling into daydreams
Thinking of me
As her little head hangs down;
Comfort my sweet girl
With a friendly glance,
For her beloved
Will soon be returning.

When the sun begins to set
With a reddish glow,
Rock my beloved
To sleep.
Babble and mutter to her
In her sweet rest,
Whisper to her dreams
Of love.

Malcolm Wren, schubertsong.uk

Liebesbotschaft

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.

Wann 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.

Ludwig Rellstab, 1821-24


To the moon

Pour, dear moon, pour your silver shimmering
Through this green of the beech trees,
Where fantasies and dream-forms always
Fly past me!

Reveal yourself, so that I can find the place
Where my girl often sat
And often, in the sighing of the beech and lime trees,
Forgot the golden town!

Uncover yourself, so that I can take pleasure in the shrub
That murmured and cooled her,
And sprinkle a garland onto that meadow
Where she listened to the brook!

Then, dear moon, then put the veil back on,
And mourn for your friend,
And weep so that tears fall through the gauze of the clouds,
Just as your deserted one weeps!

Malcolm Wren, schubertsong.uk

An den Mond

Geuß, lieber Mond, geuß deine Silberflimmer
Durch dieses Buchengrün,
Wo Phantasien und Traumgestalten immer
Vor mir vorüber fliehn.

Enthülle dich, dass ich die Stätte finde,
Wo oft mein Mädchen saß,
Und oft, im Wehn des Buchbaums und der Linde,
Der goldnen Stadt vergaß.

Enthülle dich, dass ich des Strauchs mich freue,
Der Kühlung ihr gerauscht,
Und einen Kranz auf jeden Anger streue,
Wo sie den Bach belauscht.

Dann, lieber Mond, dann nimm den Schleier wieder,
Und traur’ um deinen Freund,
Und weine durch den Wolkenflor hernieder,
Wie dein Verlassner weint!

Ludwig Christoph Heinrich Hölty, 1772


Warrior's sense of foreboding

Lying around me in deep repose
Is the circle of my brothers in arms;
My heart feels so anxious and heavy,
I am so hot with longing.

How often I have dreamt so sweetly
On her warm breast!
How friendly the glow of the fire appeared
When she was lying in my arms!

Here, where the dismal glow of the flames
Plays only on our weapons,
Here my breast feels totally alone and
Tears of melancholy well up.

Heart! May solace never abandon you!
Many a battle is still calling you. –
I shall soon rest well and sleep tight,
Dearest heart – goodnight!

Malcolm Wren, schubertsong.uk

Kriegers Ahnung

In tiefer Ruh liegt um mich her
Der Waffenbrüder Kreis.
Mir ist das Herz so bang und schwer,
Von Sehnsucht mir so heiß.

Wie hab ich oft so süß geträumt
An ihrem Busen warm,
Wie freundlich schien des Heerdes Glut,
Lag sie in meinem Arm.

Hier, wo der Flammen düstrer Schein
Ach nur auf Waffen spielt,
Hier fühlt die Brust sich ganz allein,
Der Wehmut Träne quillt.

Herz, dass der Trost dich nicht verlässt,
Es ruft noch manche Schlacht. –
Bald ruh ich wohl und schlafe fest,
Herzliebste – gute Nacht!

Ludwig Rellstab, 1821-24


To death

Death, what a horror of nature you are!
Your hour-glass is always trickling,
The scythe you swing flashes,
Grass, stalk and flower sink.

Do not indiscriminately cut down
This little flower that is just coming into bloom;
This little rose, only just half red;
Be merciful, dear death!

Do not take this beauteous lad,
Who, with innocence in his face,
Is playing with his mother’s breast
And who is feeling his first stirrings of life.

And for my sake spare this youth,
Who, at the sensitive piano
Is weighing and swinging golden strings
And is singing a song of love.

Look, over there stands a German hero
In Columbus’s new world,
Who does not shun the savage’s axe:
Death, oh extend his time!

Spare the poet, whose strength,
Like his maker, creates worlds,
Who, in the circle of those learning from him
Knows how to make everything devout.

Do not kill the young bride,
Beautifully constructed for her husband,
Who, with a similar character to Sulamith,
Gives love and receives love.

Nor the pious in the land
Whose upstretched hands
Support God’s heavens with their prayers
When he sends down his wrath with the lightning.

Do not kill the sinner either;
Just terrify him with judgement,
So that he will be shocked with fear,
Cry with repentance and change his ways.

In the golden halls of princes,
Dear death, you create distress;
Spare them until the wind
Of vain greatness is too much for them.

Do not kill any rich people;
Leave the healthy in peace!
If you come across good people
Just extend their course.

But if you do have to kill, death,
Then just do it where necessity
Sends a signal from eyes that have been eaten up
And which are sinking into the dust of the dungeon.

Somewhere with each morning: Death!
Somewhere with each evening: Death!
Death! resounds at midnight
In such a way that the frightful cell reverberates.

Death, when are you going to come? My delight!
Pull the dagger out of my breast;
Slip the shackles off my hand.
Oh, when are you going to cover me with sand?

This deathly voice calls out
From so many prison vaults,
Where grief, full of despair,
Has to languish without hope.

Come, oh death, if you please,
Lift prisoners out of the world;
Come, put an end to my distress;
Be merciful, dear death!

Malcolm Wren, schubertsong.uk

An den Tod

Tod, du Schrecken der Natur,
Immer rieselt deine Uhr,
Die geschwungne Sense blinkt,
Gras und Halm und Blume sinkt.

Mähe nicht ohn’ Unterschied
Dieses Blümchen, das erst blüht,
Dieses Röschen, erst halb rot,
Sei barmherzig, lieber Tod!

Nimm den holden Knaben nicht,
Der voll Unschuld im Gesicht
Mit der Brust der Mutter spielt,
Und sein erstes Leben fühlt.

Und den Jüngling schone mir,
Der am fühlenden Klavier
Goldne Saiten wiegt und schwingt,
Und ein Lied von Liebe singt.

Sieh, dort steht ein deutscher Held
In Kolumbens neuer Welt,
Der des Wilden Axt nicht scheut:
Tod! ach friste seine Zeit!

Schon’ den Dichter, dessen Kraft,
Wie sein Schöpfer, Welten schafft,
Der in seinem Bildungskreis
Alles fromm zu machen weiss.

Töte nicht die junge Braut,
Schön für ihren Mann gebaut,
Die, wie Sulamit gestimmt,
Liebe gibt und Liebe nimmt.

Nicht den Frommen in dem Land,
Dessen hochgehobne Hand,
Betend Gottes Himmel stützt,
Wenn er Rache niederblitzt.

Auch den Sünder töte nicht;
Schreck ihn nur mit dem Gericht,
Dass er bang zusammenfährt,
Busse weint und sich bekehrt.

In der Fürsten goldnem Saal,
Lieber Tod, bist du zur Qual;
Schone sie, bis sie vom Wind
Eitler Größ’ gesättigt sind.

Keinen Reichen töte du;
Den Gesunden lass in Ruh!
Triffst du gute Leute an,
So verlängre ihre Bahn.

Aber musst du töten, Tod!
Ach! so thu’s, wo dir die Not
Aus zerfreßnen Augen winkt,
Und in Staub des Kerkers sinkt.

Wo mit jedem Morgen: Tod!
Wo mit jedem Abend: Tod!
Tod! um Mitternacht erschallt,
Dass die Schauerzelle hallt.

Tod, wann kommst du? meine Lust!
Ziehst den Dolch aus meiner Brust,
Streifst die Fessel von der Hand,
Ach, wann deckst du mich mit Sand.

Diese Todtenstimme rufft
Aus so mancher Kerkergruft,
Wo der Gram verzweiflungsvoll
Ohne Hoffnung schmachten soll.

Komm, o Tod! wenn dir’s gefällt,
Hol Gefangne aus der Welt:
Komm, vollende meine Not,
Sei barmherzig, lieber Tod!

Christian Friedrich Daniel Schubart, 1778-84


Serenade

My songs call out gently
Through the night as they beseech you;
Come down here into the quiet grove of trees,
Beloved, come to me!

Slender tree tops whisper as they rustle
In the moonlight;
No hostile traitor is going to overhear,
So do not be afraid, my love.

Can you hear the nightingales singing?
Oh, they are beseeching you
With the sweet notes of their laments,
They are interceding with you on my behalf.

They can understand the longing of the breast,
They are familiar with the pain of love,
With their silver notes they stir
Every sensitive heart.

Let your own breast be moved too,
Beloved, listen to me!
I am trembling as I await your response;
Come, make me happy!

Malcolm Wren, schubertsong.uk

Ständchen

Leise flehen meine Lieder
Durch die Nacht zu dir,
In den stillen Hain hernieder,
Liebchen, komm zu mir.

Flüsternd schlanke Wipfel rauschen
In des Mondes Licht,
Des Verräters feindlich Lauschen
Fürchte, Holde, nicht.

Hörst die Nachtigallen schlagen?
Ach, sie flehen dich,
Mit der Töne süßen Klagen
Flehen sie für mich.

Sie verstehn des Busens Sehnen,
Kennen Liebesschmerz,
Rühren mit den Silbertönen
Jedes weiche Herz.

Lass auch dir die Brust bewegen,
Liebchen, höre mich!
Bebend harr ich dir entgegen,
Komm, beglücke mich.

Ludwig Rellstab, 1821-24


the roses and the violets

the roses and the violets
throw their spice into the air

the rose’s cheek will fade
so too will yours
so too will mine

the roses rise again
they raise their heads
fragrant with longing
and then they fall

you, rose,
I burn with love

butterflies sip at your red mouth

you cannot protect them

flowers speak our secret words
they know our suffering
they know the words
our guarded lips can never speak aloud 

warmth tempted me
to come into the light
I could have bloomed forever
but now
my color fades

the blossom’s fragrance
cannot reach me now

the rose, the jasmines, the narcissus

the violets
scatter them all on my silent grave

the roses have all gone, one by one

down into my heart

wild rose, wild rose, wild rose red
no one can hear your cries of pain

the winds blow cold
and so the roses die

I have often reached for them
but I have never plucked them

david lang


Autumn

The winds are roaring,
So autumnal and cold;
The fields have become barren,
The forest has lost its leaves.
You flowery meadows!
You sunlit green!
In the same way the blossoms wither – the blossoms
Of life decay.

The clouds are going by
So dark and grey;
The stars have disappeared
In the blue of the sky.
Alas, just as the constellations
Fly away in the sky,
In the same way hope sinks – the hope
Of life collapses!

You days of spring,
Adorned with roses,
Where I took my beloved
And pressed him to my heart!
Cold over the hill,
Winds, roar away.
In the same way the roses die – the roses
Of life pass away.

Malcolm Wren, schubertsong.uk

Herbst

Es rauschen die Winde
So herbstlich und kalt,
Verödet die Fluren,
Entblättert der Wald,
Ihr blumigen Auen,
Du sonniges Grün,
So welken die Blüten
Des Lebens dahin.

Es ziehen die Wolken
So finster und grau,
Verschwunden die Sterne
Am himmlischen Blau.
Ach, wie die Gestirne
Am Himmel entfliehn,
So sinket die Hoffnung
Des Lebens dahin!

Ihr Tage des Lenzes,
Mit Rosen geschmückt,
Wo ich den Geliebten
Ans Herze gedrückt!
Kalt über den Hügel
Rauscht, Winde, dahin –
So sterben die Rosen
Des Lebens dahin!

Ludwig Rellstab, 1821-24


Where I am staying

Roaring river,
Rustling forest,
Fixed rock
Where I am staying.

Just as waves
Follow waves,
My tears flow
Endlessly renewed.

High in the tree tops
There is a swaying movement,
In the same way incessantly
My heart is beating.

And like the rock’s
Primeval ore,
Forever the same
My pain endures.

Roaring river,
Rustling forest,
Fixed rock
Where I am staying.

Malcolm Wren, schubertsong.uk

Aufenthalt

Rauschender Strom,
Brausender Wald,
Starrender Fels
Mein Aufenthalt.

Wie sich die Welle
An Welle reiht,
Fließen die Tränen
Mir ewig erneut.

Hoch in den Kronen
Wogend sich’s regt,
So unaufhörlich
Mein Herze schlägt.

Und wie des Felsen
Uraltes Erz
Ewig derselbe
Bleibet mein Schmerz.

Rauschender Strom,
Brausender Wald,
Starrender Fels
Mein Aufenthalt.

Ludwig Rellstab, 1821-24


Little rose on the heathland

A lad saw a little rose standing on the heathland,
A little rose on the heathland,
It was as young and as beautiful as the morning,
He ran quickly in order to look at it more closely,
He took great pleasure in looking at it.
Little rose, little rose, little red rose,
Little rose on the heathland.

The lad said, I shall break you off,
Little rose on the heathland!
The little rose said, I shall stab you
So that you always think of me,
And I will not bear it.
Little rose, little rose, little red rose,
Little rose on the heathland.

And the savage lad plucked
That little rose on the heathland;
The little rose defended itself and stabbed,
But crying out with pain did not help him –
He still had to bear it.
Little rose, little rose, little red rose,
Little rose on the heathland.

Malcolm Wren, schubertsong.uk

Heidenröslein

Sah ein Knab ein Röslein stehn,
Röslein auf der Heiden,
War so jung und morgenschön,
Lief er schnell, es nah zu sehn,
Sah’s mit vielen Freuden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Knabe sprach: ich breche dich,
Röslein auf der Heiden.
Röslein sprach: ich steche dich,
Dass du ewig denkst an mich,
Und ich will’s nicht leiden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Und der wilde Knabe brach
‘s Röslein auf der Heiden;
Röslein wehrte sich und stach,
Half ihm doch kein Weh und Ach,
Musst´ es eben leiden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Johann Wolfgang von Goethe, 1771


Farewell

Farewell, you cheerful, you jolly town, farewell!
My little horse is already pawing the ground with his eager foot;
Now take my last, departing greeting.
Since you have never yet seen me sad,
You cannot see my like that as I take my leave.
Farewell, you cheerful, you jolly town, farewell!

Farewell, you trees, you gardens so green, farewell!
I am now riding along by the silver stream,
Ringing out far and wide is my farewell song;
You have never heard a sad song,
So you will not be given one as I depart.
Farewell, you trees, you gardens so green, farewell!

Farewell, you friendly girls there, farewell!
Why are you looking out from your house surrounded by the scent of flowers
With such a mischievous, alluring twinkle in your eyes?
I shall greet you as I used to do and look around
But I shall never turn my horse around.
Farewell, you friendly girls there, farewell!

Farewell, dear sun, as you settle down to rest, farewell!
Now the gold of the twinkling stars is glistening.
How dear you are to me, you little stars in the sky,
We traverse the world far and wide,
Everywhere you lead us faithfully.
Farewell, dear sun, as you settle down to rest, farewell!

Farewell, you bright shimmering window, farewell!
You are shining so intimately in the twilight,
And you are inviting us into the cottage in such a friendly way,
But alas! I have ridden past so many times
Can today really be the last time?
Farewell, you bright shimmering window, farewell!

Farewell, you stars, cover yourselves in grey! – Farewell!
The dull, fading light of that little window –
You cannot take its place for me you countless stars;
If I cannot remain here, I shall have to go away from here,
What does it help however faithfully you follow me!
Farewell, you stars, cover yourselves in grey! – Farewell!

Malcolm Wren, schubertsong.uk

Abschied

Ade! du muntre, du fröhliche Stadt, ade!
Schon scharret mein Rösslein mit lustigem Fuß,
Jetzt nimm meinen letzten, den scheidenden Gruß,
Du hast mich wohl niemals noch traurig gesehn,
So kann es auch jetzt nicht beim Abschied geschehn,
Ade! du muntre, du fröhliche Stadt, ade!

Ade! ihr Bäume, ihr Gärten so grün, ade!
Nun reit ich am silbernen Strome entlang,
Weit schallend ertönet mein Abschiedsgesang,
Nie habt ihr ein trauriges Lied gehört,
So wird euch auch keines beim Scheiden beschert,
Ade! ihr Bäume, ihr Gärten so grün, ade!

Ade! ihr freundlichen Mägdlein dort, ade!
Was schaut ihr aus blumenumduftetem Haus
Mit schelmischen, lockenden Blicken heraus!
Wie sonst, so grüß ich und schaue mich um,
Doch nimmer wend ich mein Rösslein um,
Ade! ihr freundlichen Mägdlein dort, ade!

Ade! liebe Sonne, so gehst du zur Ruh! Ade!
Nun schimmert der blinkenden Sterne Gold,
Wie bin ich euch Sternlein am Himmel so hold,
Durchziehn wir die Welt auch weit und breit,
Ihr gebt überall uns das treue Geleit,
Ade! liebe Sonne, so gehst du zur Ruh, ade!

Ade, du schimmerndes Fensterlein hell, ade!
Du glänzest so traulich mit dämmerndem Schein
Und ladest so freundlich ins Hüttchen uns ein.
Vorüber, ach, ritt ich so manches Mal
Und wär es denn heute zum letzten Mal,
Ade, du schimmerndes Fensterlein hell, ade!

Ade! ihr Sterne, verhüllet Euch grau! Ade!
Des Fensterlein trübes, verschimmerndes Licht
Ersetzt Ihr unzähligen Sterne mir nicht;
Darf ich hier nicht weilen, muss hier vorbei,
Was hilft es, folgt ihr mir noch so treu,
Ade! ihr Sterne, verhüllet euch grau, ade!

Ludwig Rellstab, 1821-24


Atlas

I am miserable Atlas! a world,
I have to bear the whole world of pain,
I bear the unbearable, and my heart wants to break –
My heart wants to break in my body.

You proud heart! actually it is what you wanted,
You wanted to be happy, endlessly happy
Or endlessly suffering, proud heart,
And now you are suffering.

Malcolm Wren, schubertsong.uk

Der Atlas

Ich unglücksel’ger Atlas, eine Welt,
Die ganze Welt der Schmerzen muss ich tragen,
Ich trage Unerträgliches, und brechen
Will mir das Herz im Leibe.

Du stolzes Herz, du hast es ja gewollt,
Du wolltest glücklich sein, unendlich glücklich,
Oder unendlich elend, stolzes Herz,
Und jetzo bist du elend.

Heinrich Heine, 1823-24


some day you will

some day you will
lie down upon these flowers
some day you will
feel my love again

pearls glisten on them

night violets
with their dark and soulful eyes

all lips say to you
forget me not

your welcoming breath
where has it gone?

your blossom shine
where has it gone?

I built myself
a place to live
that I could trust
and then I called out
forget me, forget me not

in the storm the flower’s stem breaks
in the storm a man’s heart breaks

then love becomes the angel
who can bear me up to heaven

don’t laugh at me
for seeing the flowers in winter

david lang


Night violets (Dame's violets)

Night violets! Night violets!
Dark eyes, soulful –
It is blissful to allow yourself to sink
Into that velvety blue.

Green leaves joyfully strive
To brighten you, to adorn you;
But you look out seriously and silently
Into the warm spring air.

With an exalted melancholy beam
You struck my faithful heart.

And now on silent nights it blossoms
Forth, this sacred connection.

Malcolm Wren, schubertsong.uk

Nachtviolen

Nachtviolen, Nachtviolen,
Dunkle Augen, seelenvolle,
Selig ist es, sich versenken
In dem samtnen Blau.

Grüne Blätter streben freudig,
Euch zu hellen, euch zu schmücken,
Doch ihr blicket ernst und schweigend
In die laue Frühlingsluft.

Mit erhabnem Wehmutsstrahle
Trafet ihr mein treues Herz,

Und nun blüht in stummen Nächten
Fort die heilige Verbindung.

Johann Baptist Mayrhofer, 1821


Longing at springtime

Rustling breezes,
Wafting so gently,
Floral scents
Filling the breath!
How blissfully you blow on me as you offer your greetings!
How have you stirred my beating heart?
It would like to follow you on your course through the air!
Where to?

Little streams, so cheerful,
Babbling along,
Wanting to go down
On their silver paths into the valley.
The floating waves, they are hurrying off down there!
The fields and the sky are mirrored in them deep down.
Why are you pulling me, you mood of longing and yearning,
Pulling me down?

Sun with your greeting,
Playful gold
And hopeful bliss
Are what you generously offer.
How your blessed gaze refreshes me with its welcome!
It is smiling so gently in the dark blue sky
And it has filled my eyes with tears! –
Why?

With a green garland all around
Stand the forests and the hills!
Shining and glowing there –
Snow-like blossom!
Thus everything is pushing up towards the bridal light;
The seeds are bursting, the buds are breaking open;
They have found what they needed:
And you?

Restless longing!
Heart full of desire,
At all times nothing but tears,
Laments and pain?
I too am conscious of a swelling urge!
Who is finally going to still this driving desire?
Only you can release the spring in my breast,
Only you!

Malcolm Wren, schubertsong.uk

Frühlingssehnsucht

Säuselnde Lüfte
Wehend so mild,
Blumiger Düfte
Atmend erfüllt!
Wie haucht ihr mich wonnig begrüßend an!
Wie habt Ihr dem pochenden Herzen getan?
Es möchte euch folgen auf luftiger Bahn!
Wohin?

Bächlein so munter
Rauschend zumal,
Wollen hinunter
Silbern ins Tal.
Die schwebende Welle, dort eilt sie dahin!
Tief spiegeln sich Fluren und Himmel darin.
Was ziehst du mich, sehnend verlangender Sinn,
Hinab?

Grüßender Sonne
Spielendes Gold,
Hoffende Wonne
Bringest du hold.
Wie labt mich dein selig begrüßendes Bild!
Es lächelt am tiefblauen Himmel so mild
Und hat mir das Auge mit Tränen gefüllt.
Warum?

Grünend umkränzet
Wälder und Höh,
Schimmernd erglänzet
Blütenschnee.
So dränget sich alles zum bräutlichen Licht,
Es schwellen die Keime, die Knospe bricht,
Sie haben gefunden was ihnen gebricht,
Und du?

Rastloses Sehnen,
Wünschendes Herz,
Immer nur Tränen,
Klage und Schmerz?
Auch ich bin mir schwellender Triebe bewusst,
Wer stillet mir endlich die drängende Lust?
Nur du befreist den Lenz in der Brust,
Nur du!

Ludwig Rellstab, 1821-24


To the apple trees where I caught sight of Julia

A holy murmur and the music of a song
Are rustling through your treetops, oh shaded walk,
Where, anxiously and fiercely, first love
Intoxicated my heart in a blessed frenzy.

Like bright gold the evening sun trembled
Through the crimson blossom, trembled like bright gold
Around her breast’s silver veil;
And I dissolved in a shudder of delight.

After a long separation, with an angel’s kiss
Let a faithful lad kiss his beloved wife,
And, in the darkness of this blossom, swear
Eternal devotion to the one he has picked.

May a small flower spring up, after we have died,
Out of this lawn, which her foot touched,
And let each petal bear
The name of my honoured girl.

Malcolm Wren, schubertsong.uk

An die Apfelbäume, wo ich Julien erblickte

Ein heilig Säuseln und ein Gesangeston
Durchzittre deine Wipfel, o Schattengang,
Wo bang und wild der ersten Liebe
Selige Taumel mein Herz berauschten.

Die Abendsonne bebte wie lichtes Gold
Durch Purpurblüten, bebte wie lichtes Gold
Um ihres Busens Silberschleier;
Und ich zerfloss in Entzückungsschauer.

Nach langer Trennung küsse mit Engelskuß
Ein treuer Jüngling hier das geliebte Weib
Und schwör in diesem Blütendunkel
Ew’ge Treue der Auserkornen!

Ein Blümchen sprosse, wenn wir gestorben sind,
Aus jedem Rasen, welchen ihr Fuß berührt,
Und trag auf jedem seiner Blätter
Meines verherrlichten Mädchens Namen.

Ludwig Christoph Heinrich Hölty


The town

On the distant horizon
There appears, as a hazy image,
The town with its towers
Shrouded in evening twilight.

A damp current of wind ruffles
The grey watery track;
Rowing with a mournful rhythm is
The sailor in my boat.

The sun lifts itself up once again
Casting light from the ground upwards,
And it shows me that spot
Where I lost what I most love.

Malcolm Wren, schubertsong.uk

Die Stadt

Am fernen Horizonte
Erscheint, wie ein Nebelbild,
Die Stadt mit ihren Türmen,
In Abenddämmrung gehüllt.

Ein feuchter Windzug kräuselt
Die graue Wasserbahn;
Mit traurigem Takte rudert
Der Schiffer in meinem Kahn.

Die Sonne hebt sich noch einmal
Leuchtend vom Boden empor
Und zeigt mir jene Stelle,
Wo ich das Liebste verlor.

Heinrich Heine, 1823


all around me (after wilhelm müller)

all around me
grow the flowers called forget-me-nots
from a clear sky they look down on me
they pierce me with their blue light
if I am about to step on one
I step back
every flower sees me
every flower calls to me
every flower begs me for its life
they all look up at me
with a look I know too well
where are the flowers that will forget me?
those are the flowers that I long for
they are not pretty
they are so dark
they have no green leaves
they have no sweet smell
they snake along the ground
in the dark and heavy air
if I try to pick a flower
I will be pulled into the abyss
this is the garden
these are the flowers
the dark flowers
the darkest flowers
in their dark, darkest field
I lock the gate behind me
and I lie down

david lang


Ganymede

In the glow of the morning, how
You are heating things up around me,
Spring, beloved!
With a thousand-fold loving bliss,
Pressing onto my heart is
Your eternal warmth’s
Sacred feeling,
Endless beauty!

If only I could get hold of you
In these arms!

Oh, on your breast
I am lying and languishing,
And your flowers, your grass
Are pushing themselves towards my heart.
You cool the burning
Thirst of my breast,
Lovely morning wind!
The nightingales are calling down
Lovingly towards me out of the misty valley.
I am coming, I am coming!
Where to? Oh, where to?

Up! There is a striving up.
The clouds are floating
Down, the clouds
Are bending down to this yearning love.
To me! To me!
Into your lap,
Upwards!
Embracing embraced!
Upwards to your breast,
All-loving father!

Malcolm Wren, schubertsong.uk

Ganymed

Wie im Morgenglanze
Du rings mich anglühst,
Frühling, Geliebter!
Mit tausendfacher Liebeswonne
Sich an mein Herze drängt
Deiner ewigen Wärme
Heilig Gefühl,
Unendliche Schöne!

Dass ich dich fassen möcht
In diesen Arm!

Ach an deinem Busen
Lieg’ ich, und schmachte,
Und deine Blumen, dein Gras
Drängen sich an mein Herz.
Du kühlst den brennenden
Durst meines Busens,
Lieblicher Morgenwind!
Ruft drein die Nachtigall
Liebend nach mir aus dem Nebeltal.
Ich komm! ich komme!
Wohin? Ach, wohin?

Hinauf! Hinauf strebt’s.
Es schweben die Wolken
Abwärts, die Wolken
Neigen sich der sehnenden Liebe.
Mir! Mir!
In eurem Schoße
Aufwärts!
Umfangend umfangen!
Aufwärts an deinen Busen,
Alliebender Vater!

Johann Wolfgang von Goethe, 1774


The fisher girl

You beautiful fisher girl,
Push the boat onto the land;
Come to me and sit yourself down,
We shall have a loving chat holding hands.

Lay your little head on my heart
And do not be too afraid,
After all you fearlessly take risks
Every day on the wild sea.

My heart is just like the sea,
It has storms, it ebbs and flows,
And lots of beautiful pearls
Are resting in its depths.

Malcolm Wren, schubertsong.uk

Das Fischermädchen

Du schönes Fischermädchen,
Treibe den Kahn ans Land –
Komm zu mir und setze dich nieder,
Wir kosen Hand in Hand.

Leg an mein Herz dein Köpfchen
Und fürchte dich nicht zu sehr,
Vertraust du dich doch sorglos
Täglich dem wilden Meer.

Mein Herz gleicht ganz dem Meere,
Hat Sturm und Ebb’ und Flut,
Und manche schöne Perle
In seiner Tiefe ruht.

Heinrich Heine, 1823


In spring

I am sitting quietly on the hillside,
The sky is so clear,
The breezes are playing in the green valley,
Where, with the first ray of spring sunshine, I
Was once, alas, so happy;

Where I walked by her side
So intimate and so close,
And deep in the dark spring amongst the rocks
I saw the beautiful sky, blue and bright,
And I saw her in the heavens.

Notice how the colourful springtime is already
Looking out of the buds and blossoms!
Not all the blossoms are the same to me,
I would prefer to pick from the branch
From which she picked.

For everything is still how it was then,
The flowers, the fields;
The sun is shining no less brightly,
You can see, no less friendly, swimming in the spring
The blue image of the heavens.

Desire and delusion are subject to change,
Pleasure and conflict change;
Love’s happiness flies off,
And only love remains behind,
Love, and, alas, suffering!

Oh, if only I were a little bird
Over there on that sloping meadow,
Then I would remain on this branch here
And sing a sweet song about her
For the whole of the summer.

Malcolm Wren, schubertsong.uk

Im Frühling

Still sitz ich an des Hügels Hang,
Der Himmel ist so klar,
Das Lüftchen spielt im grünen Tal,
Wo ich beim ersten Frühlingsstrahl
Einst, ach, so glücklich war;

Wo ich an ihrer Seite ging,
So traulich und so nah,
Und tief im dunkeln Felsenquell
Den schönen Himmel blau und hell
Und sie im Himmel sah.

Sieh, wie der bunte Frühling schon
Aus Knosp’ und Blüte blickt,
Nicht alle Blüten sind mir gleich,
Am liebsten pflückt’ ich von dem Zweig,
Von welchem sie gepflückt.

Denn alles ist wie damals noch,
Die Blumen, das Gefild;
Die Sonne scheint nicht minder hell,
Nicht minder freundlich schwimmt im Quell
Das blaue Himmelsbild.

Es wandeln nur sich Will’ und Wahn,
Es wechseln Lust und Streit,
Vorüber flieht der Liebe Glück,
Und nur die Liebe bleibt zurück,
Die Lieb’ und ach, das Leid.

O wär ich doch ein Vöglein nur
Dort an dem Wiesenhang,
Dann blieb ich auf den Zweigen hier
Und säng ein süßes Lied von ihr
Den ganzen Sommer lang.

Ernst Konrad Friedrich Schulze, 1815


The doppelgänger

The night is quiet, the alleyways are at rest,
My treasure used to live in this house;
She left the town long ago,
But the house is still standing in the same place.

There is a man standing there too and he is staring up high,
And he is wringing his hands as a result of overwhelming pain;
I feel terrified when I see his face, –
The moon shows me my own form.

You doppelgänger, you pale guy!
Why are you aping my love agony,
The pain that tormented me on this spot,
So many nights in the old days?

Malcolm Wren, schubertsong.uk

Der Doppelgänger

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?

Heinrich Heine, 1823


Pigeon post

I have a carrier pigeon working for me,
Which is totally devoted and faithful,
It never comes short of the destination for me
Nor does it ever fly beyond it.

I send it many thousands of times
A day, off on reconnaissance missions,
Past many a dear spot
Until it comes to my beloved’s house.

There it looks through the window secretly
Observing her glances and listening to her steps,
It jokingly passes on my greetings
And brings hers back with it.

I no longer need to write any notes,
I just give it my tears themselves:
Oh it will definitely not lose those,
So eagerly does it serve me.

During the day, at night, awake, dreaming,
It does not matter:
So long as it is travelling, that it is able to travel,
Then it has riches aplenty!

It does not become tired, it does not become faint,
The route is always new to it;
It does not need bribes, it does not need wages,
That pigeon is so faithful to me!

In return I therefore cherish it faithfully at my breast,
Assuring it of the finest reward;
It is called – longing! Do you know it?
The messenger of the most faithful devotion.

Malcolm Wren, schubertsong.uk

Die Taubenpost

Ich hab eine Brieftaub in meinem Sold,
Die ist gar ergeben und treu;
Sie nimmt mir nie das Ziel zu kurz
Und fliegt auch nie vorbei.

Ich sende sie viel tausendmal
Auf Kundschaft täglich hinaus,
Vorbei an manchem lieben Ort,
Bis zu der Liebsten Haus.

Dort schaut sie zum Fenster heimlich hinein,
Belauscht ihren Blick und Schritt,
Gibt meine Grüße scherzend ab
Und nimmt die ihren mit.

Kein Briefchen brauch’ ich zu schreiben mehr,
Die Träne selbst geb’ ich ihr,
Oh, sie verträgt sie sicher nicht,
Gar eifrig dient sie mir.

Bei Tag, bei Nacht, im Wachen, im Traum,
Ihr gilt das alles gleich,
Wenn sie nur wandern, wandern kann,
Dann ist sie überreich.

Sie wird nicht müd, sie wird nicht matt,
Der Weg ist stets ihr neu,
Sie braucht nicht Lockung, braucht nicht Lohn,
Die Taub’ ist so mir treu.

Drum heg ich sie auch so treu an der Brust,
Versichert des schönsten Gewinns;
Sie heißt: die Sehnsucht – kennt ihr sie? –
Die Botin treuen Sinns.

Johann Gabriel Seidl

RICHARD GOODE, PIANO
(PSC RESIDENT ARTIST)
& ITAMAR ZORMAN, VIOLIN

MANN series
saturday, october 25 at 7:30 PM at public high school*

virtual concert available MONday, OCTOBER 27 -
sATURDAY, november 1

*Mann and Arens Series concert locations will be announced this fall, at Washington Irving (40 Irving Pl & 16th St) or Fashion Industries (225 W 24th St & 7th Ave)

click here to buy MANN series tickets
SINGLE TICKETS GO ON SALE AFTER 9/22/25

Resident Artist Richard Goode and acclaimed violinist Itamar Zorman open our historic 125th Anniversary Season with duo and solo works by Mozart, Bach and Brahms

Bio: 

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, masterclasses in person or online, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following. Read more…

Itamar Zorman is one of the most soulful, evocative artists of his generation, distinguished by his emotionally gripping performances and gift for musical storytelling. Since his emergence with the top prize at the 2011 International Tchaikovsky Competition, he has wowed audiences all over the world with breathtaking style, causing one critic to declare him a “young badass who’s not afraid of anything.” His youthful intensity and achingly beautiful sound shine through in every performance, earning him the title of the “virtuoso of emotions.” Read more…

richardgoodepiano.com
itamarzorman.com

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Photo credits: Steve Riskind (Goode) and Jiyang Chen (Zorman)

PAUL LEWIS, PIANO
SCHUBERT CYCLE IV

ARENS series
saturday, november 16 at 7:30 PM
AT HIGH SCHOOL OF FASHION INDUSTRIES*

virtual concert available on subscription only
for RENEWED & ny area in-person & virtual subscribers
thursday, november 21 - sunday, november 24

buy arens series tickets
Buy 11/16 Single Tickets (Starting at $20 general admission)

*Please note this performance has been relocated from Washington Irving to High School of Fashion Industries located at 225 W 24th Street between 7th & 8th Aves

As part of its celebration in 2024-2025, of the 125th season of Peoples Symphony Concerts, the series is honored to present the only New York performance of Paul Lewis’ Schubert Cycle.

PROGRAM:

Schubert: Piano Sonata No. 19 in c minor, D. 958
Schubert:
Piano Sonata No. 20 in A Major, D. 959
~ intermission ~
Schubert: Piano Sonata No. 21 in B-Flat Major, D. 960

Schubert’s completed piano sonatas take us on a unique and heart-wrenching journey through the last 12 years of his life. From the charming lyricism of the early sonatas to the transcendent creativity of the late masterpieces, via harrowing moments of despair as his health started to decline.

Schubert’s sonatas express with directness and sincerity some of the most fundamental elements of human experience - longing, consolation, despair, joy, loss, nostalgia, and hope. In our time, his music is as essential and poignant as ever.

- PAUL LEWIS, PIANO

Bio: 

Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Annee, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours. Read more…

paullewispiano.co.uk

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Photo credit: Kaupo Kikkas

DOVER QUARTET

MANN series
saturday, november 9 at 7:30 PM at
HIGH SCHOOL OF FASHION INDUSTRIES*

virtual concert available FROM MONDAY, NOVEMBER 11 - SATURDAY, NOVEMBER 14

BUY MANN SERIES TICKETS
Buy 11/09 Single Tickets (Starting at $20 general admission)

*Please note this performance has been relocated from Washington Irving to High School of Fashion Industries located at 225 W 24th Street between 7th & 8th Aves

"One of the greatest quartets of the last 100 years" (BBC), Dover Quartet performs Mozart Quartet in D, K 575, Mendelssohn Quartet in e minor, and Tchaikovsky Quartet in D Major.

PROGRAM:

W. A. Mozart: String Quartet in D Major, K. 575
Felix Mendelssohn:
String Quartet in e minor, Op. 44, No. 2
~ intermission ~
P. I. Tchaikovsky: String Quartet in D Major, Op. 11

Dover Quartet
Joel Link, violin
Bryan Lee, violin
Julianne Lee, viola
Camden Shaw, cello

Bio: 

Named one of the greatest string quartets of the last 100 years by BBC Music Magazine, the two-time GRAMMY-nominated Dover Quartet is one of the world’s most in-demand chamber ensembles. The Dover Quartet is the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music and holds additional residencies at the Bienen School of Music at Northwestern University and the Walton Arts Center’s Artosphere festival. The group’s awards include a stunning sweep of all prizes at the 2013 Banff International String Quartet Competition, grand and first prizes at the Fischoff Chamber Music Competition, and prizes at the Wigmore Hall International String Quartet Competition. Its honors include the prestigious Avery Fisher Career Grant, Chamber Music America’s Cleveland Quartet Award, and Lincoln Center’s Hunt Family Award. Read more…

doverquartet.com

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Photo credit: Roy Cox

The Dover Quartet is the Penelope P. Watkins Ensemble-in-Residence at Curtis Institute of Music