Upcoming Events
CIM applauds KeyBank Foundation for being a top corporate donor to the 2008 –2009 Annual Fund! Bravo!
Thurs. November 19, 7:00 pm, Mixon Hall THE ART OF ENGAGEMENT:
CONNECTING TO AUDIENCES OF ALL AGES Featuring commentary and dialogue
with members of CIM's Chamber Music Faculty CAVANI STRING QUARTET and PETER SALAFF
Program to feature wind , brass and string ensembles, in community
engagement demonstrations including the award -winning LINDEN STRING
QUARTET - CIM's 2009-2010 Apprentice Quartet
Fri. November 20, 8:00 pm, Kulas Hall
THE CIM ORCHESTRA
TITO MUÑOZ, guest conductor
ELIZABETH BRESLIN, viola
BERNSTEIN Candide Overture
BARTÓK Viola Concerto
SHOSTAKOVICH Symphony No. 5, D minor, Op. 47
Live broadcast on WCLV 104.9 FM by AudioTechnica and DTS/DaySequerra
Sun. November 22, 3:00 pm, Kulas Hall
COMMUNITY CONCERT EVENT
THE CLEVELAND INTERNATIONAL PIANO
COMPETITION PRESENTS
A preview of the New York debut recital by the
2009 Cleveland International Piano Competition First Prize Winner
MARTINA FILJAK
Tickets: $15;$10. Call 216. 707.5397.
Sun. November 22 4:00 pm, Mixon Hall
NEW MUSIC SERIES
CIM NEW MUSIC ENSEMBLE
KEITH FITCH, director
New works by CIM composition students
216.791.5000, ext. 411 or visit cim.edu
23 Mon. 8:00 pm, Mixon Hall
CIM PERCUSSION ENSEMBLE
PAUL YANCICH, director
J. S. BACH (1685 - 1750):
"Weichet nur " from Cantata No. 202, Wedding Cantata
"Seufzer, Tränen, Kummer, Not" from Cantata No. 21
"Ich will auf den Herren schau'n" from Cantata No. 93
Jeffrey Rathbun, oboe
FRANZ SCHUBERT (1797 - 1828)
Auf dem Wasser zu singen
Der Jüngling an der Quelle
Im Frühling
FRANZ LISZT (1811 - 1886)
S'il est un charmant gazon
“Comment,” disaient-ils
Oh! Quand je dors
Wednesday, November 18, 2009 - 8:00 pm
Mixon Hall
FACULTY RECITAL JUNG EUN OH, soprano
JEFFREY RATHBUN, oboe
JOHN SIMMONS, piano
Presented in honor of
Program
Attention Patrons: As a courtesy to others, please reduce the volume on
hearing aids and other devices that may produce noise that would detract from
the performance. Infrared Assistive Listening Devices are available
for performances in Mixon Hall.
~ INTERMISSION ~
GUSTAV MAHLER (1860 - 1911)
Frühlingsmorgen
Wer hat dies Liedlein erdacht
Liebst du um Schönheit
HUGO WOLF (1860 - 1903)
Die Spröde
Die Bekehrte
CLAUDE DEBUSSY (1862 - 1918)
Nuit d'étoiles
Paysage sentimental
En Sourdine
CIM applauds KeyBank Foundation for being a top corporate donor to the 2008 –2009 Annual Fund! Bravo!
Tues., Jan. 26
8:00 pm
ALISA WEILERSTEIN, cello
INON BARNATAN, piano
Wed., March 24
8:00 pm
YEFIM BRONFMAN, piano
JUST ANNOUNCED! Fri., April 9 - 8:00 pm
“An Evening of Jazz” ANDRÉ PREVIN, piano
DAVID FINCK, bass
Hall Mixon Masters Series
Order the entire
series now! Tickets are $50 for each recital.
Call 216.791.5000 or online at cim.edu.
Jeffrey Rathbun studied oboe with John Mack at CIM from 1981 to
1983, when he received a Master of Music degree. He joined The
Cleveland Orchestra in 1990 as assistant principal oboe, and served as
principal from 2001 to 2003. Previously he had played with the Atlanta,
San Francisco, Oakland and Honolulu Symphony Orchestras. In 2003
Mr. Rathbun was awarded the Distinguished Alumni Award from CIM
in honor of his accomplishments as an oboist and as a composer. He has
had three works performed by the Cleveland Orchestra – Daredevil,
Motions for Cellos (commissioned by TCO) and Three Psalms of
Jerusalem.
John Simmons (Opera Coach & Chorus Master) has appeared in
numerous recitals in Austria, the Czech Republic, Denmark, Germany,
Italy and in the U.S. at Weill Recital Hall and Merkin Hall in New York
City. A student of Yoheved Kaplinsky, he received a Master of Music
degree in piano performance from Peabody Conservatory. He also
holds a diploma in piano performance from the Hochschule für Musik
und Darstellende Kunst in Vienna, Austria, where he studied with Paul
Badura-Skoda. Mr. Simmons has coached, taught and performed at the
American Institute of Musical Studies (AIMS) in Graz, Austria, the
Spoleto Festival USA, the Centro Studi Italiani, the Amalfi Coast
Festival, the Shaker Mountain Festival and the Lincoln Center Festival.
He was on the coaching faculty at the C.W. Post campus of Long Island
University, was appointed music director of the Elysium Festival in
Bernried, Germany in 2004, and was in residence at Rutgers University
as guest professor of collaborative piano for 2004-2005. Mr. Simmons
was music director and pianist for New York Opera Project’s produc-
tion of Samuel Barber’s Vanessa in spring 2004. He has collaborated in
recital with tenor John Aler, and has performed with the London
Symphony Chorus, the Westminster Choir, the Joffrey Ballet of Chi-
cago and was featured as a soloist with the Spoleto Festival Orchestra.
He was on the coaching faculty of Juilliard Opera Center and worked
with tenors John Aler and Jonas Kaufmann.
Text & Translations
“Weichet nur”
from Cantata No. 202
“Wedding Cantata”
Weichet nur, betrübte Schatten,
Frost und Winde, geht zur Ruh
Florens Lust will der Brust
nichts als frohes Glück verstatten,
denn sie träget Blumen zu.
Vanish now, saddened shadows,
Frost and wind, are gone to rest.
Spring’s desire of the heart,
Wants to allow nothing but
cheery fortune,
To befall on the flowers.
“Seufzer, Tränen, Kummer, Not”
from Cantata No. 21
Seufzer, Tränen, Kummer, Not
ängstlich Sehnen,
Furcht, und Tod
nagen mein beklemmtes Herz,
ich empfinde Jammer, Schmerz,
Sighs, tears, trouble, need
Anxious longings,
Terror and death
Beats at my wrenching heart,
I feel sorrow and pain.
“Ich will auf dem Herren schau’n”
from Cantata No. 93
Ich will auf den Herren schau’n,
und stets meinem Gott vertrau’n.
Er ist der rechte Wundermann
der die Reichen arm und bloß
und die Armen reich und groß
nach seinem Willen machen kann.
I will look unto the Lord,
And always trust in my God.
He is a righteous man of
wondrous things
Who makes the rich poor and low
And the poor rich and great
According to his will.
J.S. Bach (1685-1750)
Auf dem Wasser zu singen
Mitten im Schimmer der
spiegelnden Wellen
Gleitet, wie Schwäne, der
wankende Kahn:
Ach, auf der Freude sanftschim
mernden Wellen
Gleitet die Seele dahin wie der
Kahn;
Denn von dem Himmel herab auf
die Wellen
Tanzet das Abendrot rund um den
Kahn.
Über den Wipfeln des westlichen
Haines
Winket uns freundlich der
rötliche Schein;
Unter den Zweigen des östlichen
Haines
Säuselt der Kalmus im rötlichen
Schein;
Freude des Himmels und Ruhe
des Haines
Atmet die Seel im errötenden
Schein.
Ach, es entschwindet mit tauigem
Flügel
Mir auf den wiegenden Wellen
die Zeit;
Morgen entschwinde mit
schimmerndem Flügel
Wieder wie gestern und heute
die Zeit,
Bis ich auf höherem strahlendem
Flügel
Selber entschwinde der
wechselnden Zeit
In the midst of the shimmer of the
reflecting waves
glides, like swans, the wavering
boat;
Ah, on joy's soft shimmering
waves
glides the soul along like the boat;
Then from Heaven down onto the
waves
dances the glow of the sunset
around the boat.
Over the treetops of the western
grove
waves to us, friendly, the reddish
gleam;
Under the branches of the eastern
grove
murmur the reeds in the reddish
light;
Joy of heaven and the peace of
the grove,
breathes the soul in the reddening
light.
Ah, for me, time vanishes on
dewy wing
on these rocking waves;
Tomorrow, time will vanish with
shimmering wings,
again, as yesterday and today,
Until I, on higher more radiant
wing,
myself vanish with the changing
time.
Franz Schubert (1797-1828) About the Performers
Jung Eun Oh, voice, has appeared as a soloist at the Kennedy Center,
with Red {an orchestra} as Der Engl in Heinrich Schutz's A Christmas
Story and with the CIM Orchestra in performances of Mahler's Fourth
Symphony and Robert Beaser's The Heavenly Feast. She has also been
featured in compositions of CIM composers at the Cleveland Museum
of Natural History and has been a guest artist as Susanna in Le nozze di
Figaro in Music, Modern and Moving, presented by ideastrem and PBS.
Ms. Oh has performed as a guest artist in recitals with members of The
Cleveland Orchestra. She has performed as the Sandman and the Dew
Fairy in Humperdink's Hansel and Gretel with Duke University
Symphony, as Pamina in Mozart's Die Zauberflöte, as Mademoiselle
Silverpeal in Der Schauspieldirector and in the title roles of Igor Stra-
vinsky's Le Rossignol and Mozart's La finta giardiniera. She was
praised by The Plain Dealer for portraying Stravinsky's Nightingale
with "silvery-timbre, crystal-clear sense of pitch, and vocal agility." For
La finta giardiniera, The Plain Dealer lauded her "expressive enchant-
ment" and "exceptional accuracy and taste." Ms. Oh holds a master's
degree from CIM, as well as an Artist Diploma in vocal performance.
At CIM, she has been the recipient of the Irvin Bushman Prize, the
Boris Goldovsky Prize in Opera, the Pauline Thesmacher Award, the
2006-2007 Scholarship of The Music and Drama Club of Cleveland and
the Helen Curtis Webster Award, among others. In 2006, she won first
place in the Leopoldskron vocal competition in Salzburg, Austria and
subsequently performed in Schloss Leopoldskron and Schloss Mirabell.
Ms. Oh has also sung in master classes of Martin Katz, Frederica von
Stade, Helen Donath, Thomas Hampson, Warren Jones, Elly Ameling
and José van Dam. Before coming to Cleveland, she appeared in Har-
vard University productions of The Magic Flute and Purcell's Dido and
Aeneas, while completing the Bachelor of Arts degree program in
economics. Formerly trained as a pianist, Ms. Oh premiered two origi-
nal compositions while at Harvard. In addition, she won numerous
vocal competitions while in the Boston area. Ms. Oh was appointed to
the CIM faculty in 2008.
La mort de tout sinon de toi que
j'aime tant.
Et sinon du bonheur dont mon âme
est comblée,
Bonheur qui dort au fond de cette
âme isolée,
Mystérieux, paisible et frais comme
l'étang
Qui pâlissait au fond de la pâle
vallée.
The death of all, except you, whom
I love
and except for happiness which fills
my heart,
happiness which lies at the bottom
of this lonely soul,
mysterious, peaceful, and cool as
the pond
which fades in the depths of the pale
valley.
En Sourdine
Calmes dans le demi-jour
Que les branches hautes font,
Pénétrons bien notre amour
De ce silence profond.
Fondons nos âmes, nos coeurs
Et nos sens extasiés,
Parmi les vagues langueurs
Des pins et des arbousiers.
Ferme tes yeux à demi,
Croise tes bras sur ton sein,
Et de ton coeur endormi
Chasse à jamais tout dessein.
Laissons-nous persuader
Au souffle berceur et doux
Qui vient, à tes pieds, rider
Les ondes des gazons roux.
Et quand, solennel, le soir
Des chênes noirs tombera
Voix de notre désespoir,
Le rossignol chantera.
Calm in the half light
That the high branches make,
Let us penetrate our love
With this profound silence.
Let us melt our souls together,
our hearts and our ecstatic senses,
Among the vague languors
Of the pine and strawberry trees.
Close your eyes half-way;
Fold your arms across your breast,
And from your sleepy heart
Drive away all cares forever.
Let us be persuaded
By the gentle, rocking wind,
That comes to your feet to ripple
The waves of russet grass.
And when solemnly the evening
Shall fall from the dark oaks,
Voice of our despair,
The nightingale will sing.
Der Jüngling an der Quelle
Leise rieselnder Quell!
Ihr wallenden flispernden
Pappeln!
Euer Schlummergeräusch
Wecket die Liebe nur auf.
Linderung sucht' ich bei euch
Und sie zu vergessen, die Spröde.
Ach, und Blätter und Bach
Seufzen, Luise, dir nach!
Softly, trickling spring!
The churning, rustling poplars!
Your sounds of slumber
will only awaken my love.
Balm I sought from you
And to forget her indifference.
Ah, the brook and each tree
Sigh for Luise, for thee.
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 dunklen 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.
Quietly I sit at the hill's slope,
The sky is so clear;
A breeze plays in the green valley.
Where I was at Spring's first sunbeam
once - ah, I was so happy!
When I was walking at her side,
So intimate and so close,
and deep in the dark rocky spring
was the beautiful sky, blue and bright;
and I saw her in the sky.
Look how colorful Spring already
looks out from bud and blossom!
Not every blossom is the same to me:
I like best to pick from the branch
from which she picked hers!
For all is as it was:
the flowers, the field;
the sun does not shine less brightly
nor seem less friendly, as reflected in
the spring,
the blue image of the sky.
(continued next page)
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.
Will and delusion only change:
Joys and quarrels alternate,
the happiness of love flies past,
and only the love remains -
The love and, alas, the sorrow.
Oh, if only I were a little bird,
there, on the meadow's slope,
then I would remain here on these
branches,
and sing a sweet song about her
the whole summer long.
S’il est un charmant gazon
S'il est un charmant gazon
Que le ciel arrose,
Où brille en toute saison
Quelque fleur éclose,
Où l'on cueille à pleine main
Lys, chèvre-feuille et jasmin,
J'en veux faire le chemin
Où ton pied se pose!
S'il est un rêve d'amour,
Parfumé de rose,
Où l'on trouve chaque jour
Quelque douce chose,
Un rêve que Dieu bénit,
Où l'âme à l'âme s'unit,
Oh! j'en veux faire le nid
Où ton coeur se pose!
If there's a lovely grass
watered by the sky
where in every season shines
some blossoming flower,
where one can freely gather
lilies, woodbines and jasmines,
I wish to make it the path
on which you place your feet.
If there is a dream of love
scented with roses,
where one finds each day
something gentle,
a dream blessed by God
where soul is joined to soul...
oh, I wish to make it the nest
in which you rest your heart.
Franz Liszt (1811-1886)
Nuit d’étoiles
Nuit d'étoiles, sous tes voiles,
sous ta brise et tes parfums,
Triste lyre qui soupire,
je rêve aux amours défunts.
La sereine mélancolie vient éclore
au fond de mon coeur,
Et j'entends l'âme de ma mie
Tressaillir dans le bois rêveur.
Je revois à notre fontaine
tes regards bleus comme les cieux;
Cettes rose, c'est ton haleine,
Et ces étoiles sont tes yeux.
Starry night, beneath your canopy,
beneath your breeze, your perfume,
and sigh of the sad lyre,
I dream of a love long past.
The serene melancholy fills
the depths of my heart.
And I hear your dear soul,
my darling,
Quivering in the dreamy wood.
I see again, at our fountain,
your blue eyes like the heavens;
This rose, it is my dear hope,
And these fair stars are your eyes.
Paysage sentimental
Le ciel d'hiver, si doux, si triste,
si dormant,
Où le soleil errait parmi des vapeurs
blanches,
Etait pareil au doux, au profond
sentiment
Qui nous rendait heureux mélan-
coliquement
Par cet après-midi de baisers sous les
branches.
Branches mortes qu'aucun souffle ne
remuait,
Branches noires avec quelque feuille
fanée.
Ah! que ta bouche s'est à ma bouche
donée
Plus tendrement encore dans ce
grand bois muet,
Et dans cette langueur de la mort de
l'année,
The winter sky, so sweet, so sad, so
still
where the sun wanders through the
white vapors
it appeared so sweet, of deep sentiment
which gave back to us happiness,
wistfully
in this afternoon of kisses under the
branches.
Lifeless branches, which no breath
could stir,
dark branches with some withered
leaves.
Ah! that your lips gave themselves to
mine
so tenderly again, in this great, silent
woods,
and in this languor of the year’s death.
(continued next page)
Claude Debussy (1862-1918)
Die Spröde
An dem reinsten Frühlingsmorgen
Ging die Schäferin und sang,
Jung und schön und ohne Sorgen,
Daß es durch die Felder [klang]2,
So lala! Lerallala!
Thyrsis bot ihr für ein Mäulchen
Zwei, drei Schäfchen gleich am
Ort,
Schalkhaft blickte sie ein Weil-
chen;
Doch sie sang und lachte fort:
So lala! Lerallala!
Und ein Andrer bot ihr Bänder,
Und der Dritte bot sein Herz;
Doch sie trieb mit Herz und
Bändern
So wie mit den Lämmern Scherz,
Nur lala! Lrallala!
On the clearest of spring mornings
the shepherdess went walking and
singing,
young and fair and carefree,
so that it resounded through the
fields -
So lala! Lerallala!
Thyrsis offered her, just for one
kiss,
two lambkins, three, on the spot.
She looked at him roguishly for a
while,
but then went on singing and
laughing:
So lala! Lerallala!
And another offered her ribbons,
and the third his heart;
but she jested with heart and
ribbons
as with the lambs:
Die Bekehrte
Bei dem Glanz der Abendröte
Ging ich still den Wald entlang,
Damon saß und blies die Flöte,
Daß es von den Felsen klang,
So la la! . . .
Und er zog mich an sich nieder,
Küßte mich so hold und süß.
Und ich sagte: Blase wieder!
Und der gute Junge blies,
So la la! . . .
Meine Ruhe ist nun verloren,
Meine Freude floh davon,
Und ich höre vor meinen Ohren
Immer nur den alten Ton,
In the red glow of sunset
I walked quietly through the wood.
Damon sat and blew his flute
so that the rocks resounded:
So la la! . . .
And he drew me down to him
and kissed me so gently, so sweetly,
and I said "play again"
and the good-hearted lad piped:
So la la! . . .
My peace has now been lost,
my joy has flown away,
and I hear in my ears
only ever those old tones,
So la la, le ralla! . . .
Hugo Wolf (1860-1903)
“Comment” disaient-ils…
Comment, disaient-ils,
Avec nos nacelles,
Fuir les alguazils?
Ramez, disaient-elles.
Comment, disaient-ils,
Oublier querelles,
Misère et périls?
Dormez, disaient-elles.
Comment, disaient-ils,
Enchanter les belles
Sans philtres subtils?
Aimez, disaient-elles.
"How then," asked he
"with our boat
flee the Alguazils?"
"Row," she replied.
"How then," asked he,
"forget the quarrels,
strife, misery?"
"Sleep," she replied.
"How then," asked he,
"charm the beautiful ones
without disguised potions?"
"Love," she replied.
Oh! Quand je dors
Oh! quand je dors,
viens auprès de ma couche,
comme à Pétrarque apparaissait
Laura,
Et qu'en passant ton haleine me
touche...
Soudain ma bouche s'entrouvrira!
Sur mon front morne où peutêtre
s'achève
Un songe noir qui trop longtemps
dura,
Que ton regard comme un aster
se lève...
Soudain mon rêve rayonnera!
Puis sur ma lèvre où voltige une
flamme,
Éclair d'amour que Dieu même épura,
Pose un baiser, et d'ange deviens
femme...
Soudain mon âme s'éveillera!
Oh, when I sleep,
Come, approach my bed,
as Laura appeared to Petrach;
And as you pass, touch me with
your breath...
Suddenly my lips will part!
On my gloomy face, where
perhaps
a dark dream remained for too
long a time,
let your gaze lift it like a star...
at once my dream will be radiant!
Then on my lips, where brilliance
shines
a flash of love that God has kept
pure,
place a kiss, and transform from
angel into woman... Suddenly my
soul will awaken!
Frühlingsmorgen
Es klopft an das Fenster der
Lindenbaum.
Mit Zweigen blütenbehangen:
Steh' auf! Steh' auf!
Was liegst du im Traum?
Die Sonn' ist aufgegangen!
Steh' auf! Steh' auf!
Die Lerche ist wach, die Büsche
weh'n!
Die Bienen summen und Käfer!
Steh' auf! Steh' auf!
Und dein munteres Lieb' hab ich
auch schon geseh'n.
Steh' auf, Langschläfer!
Langschläfer, steh' auf!
Steh' auf! Steh' auf!
The lindentree taps at the window
With blossom-heavy branches;
Get up! Get up!
Why do you lie dreaming?
The sun has come up!
Get up! Get up!
The lark is up, the bushes blow!
The bees buzz, and the beetles!
Get up! Get up!
And your happy lover, I have al-
ready seen!
Get up, sleepyhead!
Sleepyhead, get up!
Get up! Get up!
Wer hat das Liedlein erdacht?
Dort oben am Berg, in dem hohen Haus,
Da gucket ein fein's lieb's Mädel heraus,
Es ist nicht dort daheime,
Es ist des Wirts sein Töchterlein,
Es wohnet auf grüner Heide.
"Mein Herze ist wund,
komm Schätzle mach's gesund!
Dein schwarzbraune Äuglein,
Die hab mich vertwundt!
Dein rosiger Mund
Macht Herzen gesund.
Macht Jugend verständig,
Macht Tote lebendig,
Macht Kranke gesund."
Up there on the mountain, in a high-
up house,
a lovely, darling girl looks out of
the window.
She does not live there:
she is the little daughter of the inn
keeper,
and she lives on the green meadow.
"My heart is sore!
Come, my treasure, make it well
again!
Your dark brown eyes
have wounded me.
Your rosy mouth
makes the soul healthy.
It makes youth wise,
brings the dead to life,
gives health to the ill." (continued next page)
Gustav Mahler (1860-1911)
Wer hat denn das schöne Liedlein
erdacht?
Es haben's drei Gäns übers Wasser
gebracht,
Zwei graue und eine weiße;
Und wer das Liedlein nicht singen
kann,
Dem wollen sie es pfeifen.
Ja!
Who has thought up this pretty little
song then?
It was brought over the water by three
geese -
two greys and one white -
and if you cannot sing the little song,
they will whistle it for you!
Ja!
Liebst du um Schönheit
Liebst du um Schönheit,
O nicht mich liebe!
Liebe die Sonne,
Sie trägt ein gold'nes Haar!
Liebst du um Jugend,
O nicht mich liebe!
Liebe den Frühling,
Der jung ist jedes Jahr!
Liebst du um Schätze,
O nicht mich liebe.
Liebe die Meerfrau,
Sie hat viel Perlen klar.
Liebst du um Liebe,
O ja, mich liebe!
Liebe mich immer,
Dich lieb' ich immerdar.
If you love for beauty,
Oh, do not love me!
Love the sun,
She wears golden hair!
If you love for youth,
Oh, do not love me!
Love the spring;
It is young every year!
If you love for treasure,
Oh, do not love me!
Love the mermaid;
She has many clear pearls!
If you love for love,
Oh yes, do love me!
Love me ever,
I'll love you evermore!