I dreamed...

Mir träumt’...

Joseph von Eichendorff (1788-1857)

Mir träumt’...
Mir träumt’, ich ruhte wieder Vor meines Vaters Haus Und schaute fröhlich nieder Ins alte Tal hinaus, Die Luft mit lindem Spielen Ging durch das Frühlingslaub, Und Blütenflocken fielen Mir über Brust und Haupt. Als ich erwacht, da schimmert Der Mond vom Waldesrand, Im falben Scheine flimmert Um mich ein fremdes Land, Und wie ich ringsher sehe: Die Flocken waren Eis, Die Gegend war vom Schnee, Mein Haar vom Alter weiß.
I dreamed...
I dreamed again I rested Outside my father’s home And, joyful, down the valley Allowed my eyes to roam. The breeze in vernal bowers Sported with gentle jest And blossoms shed their petals About my head and breast. I saw the moon that shimmered From where the tall trees stand: In the pale light there glimmered, All round, a foreign land: And as I looked about me, The petals were ice-cold, All snowy was the country, And I was grey and old.

Translation: Copyright © Timothy Adès

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Lost

Verloren

Joseph von Eichendorff (1788-1857)

Verloren
Still bei Nacht fährt manches Schiff, Meerfey kämmt ihr Haar am Riff, Hebt von Inseln an zu singen, Die im Meer dort untergingen. Wann die Morgenwinde wehn, Ist nicht Riff noch Fey zu sehn, Und das Schifflein ist versunken, Und der Schiffer ist ertrunken.
Lost
Quiet night, and boats are roaming, Mermaid on an islet combing, From the reef she starts to sing, Which is sinking, vanishing. Come the gentle winds of dawn, Reef and mermaid both are gone, Boat has shattered on the reef, Boat and sailor come to grief.

Translation: Copyright © Timothy Adès

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Words in the Wood

Waldesgespräch

Joseph von Eichendorff (1788-1857)

Waldesgespräch
Es ist schon spät, es ist schon kalt, Was reit’st du einsam durch den Wald? Der Wald ist lang, du bist allein, Du schöne Braut! Ich führ’ dich heim! „Groß ist der Männer Trug und List, Vor Schmerz mein Herz gebrochen ist, Wohl irrt das Waldhorn her und hin, O flieh! Du weißt nicht, wer ich bin.“ So reich geschmückt ist Roß und Weib, So wunderschön der junge Leib, Jetzt kenn’ ich dich—Gott steh’ mir bei! Du bist die Hexe Loreley. „Du kennst mich wohl—von hohem Stein Schaut still mein Schloß tief in den Rhein. Es ist schon spät, es ist schon kalt, Kommst nimmermehr aus diesem Wald!“
Words in the Wood
‘The hour is late, the glow is gone, And through the wood you ride alone. No friend at hand, the wood is wide, I’ll bring you home, you lovely bride.’ ‘Men have such cunning to deceive. They broke my heart, I burn, I grieve. The wood-horn’s echoes come and go. Flee! I am one you do not know.’ ‘Both horse and lady richly dight, Fair form of youth, a noble sight. I know you now – pray God be nigh! You are the demon Lorelei!’ ‘You know me well! That hall is mine, That waits and broods above the Rhine. The hour is late, the glow is gone, Here you shall stay, my thrall, my own!’

Translation: Copyright © Timothy Adès

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Morning

Morgen

Joseph von Eichendorff (1788-1857)

Morgen
Fliegt der erste Morgenstrahl durch das stille Nebeltal, rauscht erwachend Wald und Hügel: Wer da fliegen kann, nimmt Flügel! Und sein Hütlein in die Luft wirft der Mensch vor Lust und ruft: Hat Gesang doch auch noch Schwingen, nun so will ich fröhlich singen! Der Zusatz Hinaus, o Mensch, weit in die Welt, Bangt dir das Herz in krankem Mut; Nichts ist so trüb in Nacht gestellt, Der Morgen leicht macht's wieder gut.
Morning
Comes the first of morning’s rays Flying through the peaceful haze, Waking forest, vale, and height: All things that can fly, take flight! Throwing hats up in the air, People merrily declare: Songs are going with a swing, Yes, I'm overjoyed to sing! The extra verse - Into the wide world, off you go, Be the heart sick and spirits low: Nothing’s too dismally plunged in night, Morning shall easily put it right.

Translation: Copyright © Timothy Adès

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Hibernia nostra

Let Erin Remember

Thomas Moore (1779-1852)

My Latin
Let Erin Remember
Let Erin remember the days of old, Ere her faithless sons betray'd her; When Malachi wore the collar of gold, Which he won from her proud invader, When her kings, with standard of green unfurl'd, Led the Red-Branch Knights to danger! Ere the emerald gem of the western world Was set in the crown of a stranger. On Lough Neagh's bank as the fisherman strays, When the clear cold eve's declining, He sees the round towers of other days In the wave beneath him shining: Thus shall memory often, in dreams sublime, Catch a glimpse of the days that are over; Thus, sighing, look through the waves of time, For the long-faded glories they cover.
Hibernia nostra
tempora lapsa diu memorentur, Hibernia nostra, queis te tradiderat nondum tua perfida proles. supremum regem signaverat aurea torques, invasore truci victorem in lite superbo: tempore quo viridi regum vexilla colore audendis equites rutilos duxere periclis, Hesperiae necdum Smaragditia gemma iacebat capta per externos, aliena inserta corona. est lacus insignis: ripa piscator in alta, solis ad occasum deerrans per frigus et umbram, viderit antiquas torres praestare rotundas, surgere fulgentes et aqua lucere profunda. sic etiam referent sublimia somnia menti grandia tempora, lapsorum simulacra dierum: vanescunt refugis aevis moribunda per undas, in queis iamdudum se pristina gloria condit.

Translation: Copyright © Timothy Adès

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Venice -The Little Boat

Venezia - La Barcheta

Pietro Burratti (1772-1832)

Translation for Helen Glaisher Hernandez
Venezia - La Barcheta
La note è bela Fa presto, o Nineta Andemo in barcheta I freschi a ciapar! A Toni g’ho dito Ch’el felze el ne cave Per goder sta bava Che supia dal mar Ah! Che gusto contarsela Soleti in laguna E al chiaro de luna Sentirse a vogar! Ti pol de la ventola Far senza, o mia cara Chè zefiri a gara Te vol sventolar Ah! Se gh’è tra de lori Chi tropo indiscreto Volesse dal pèto EI velo strapar No bada a ste frotole Soleti za semo E Toni el so’ remo Lè a tento a menar Ah!
Venice -The Little Boat
It’s a beautiful night Come quickly Ninetta Let’s go in the boat To take the fresh air. I have told Toni To row to the cave: We’ll rejoice in the breezes Blown in from the wave. Ah! What joy to describe it! Alone, the lagoon, The sound of his rowing, The light of the moon. And as for your fan, No need of it here: The zephyrs will hasten To fan you, my dear. Ah! If there is among them One too indiscreet Who’d wish from your bosom The cover to tear, Don’t heed such tall tales, We’re alone, no-one’s there, And Toni our oarsman Shall guide us with care. Ah!
Set to music and sung by Reynaldo Hahn

Translation: Copyright © Timothy Adès

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The Gods of Greece

Die Götter Griechenlands

Friedrich von Schiller (1759-1805)

Die Götter Griechenlands
Schöne Welt, wo bist du? Kehre wieder Holdes Blütenalter der Natur! Ach, nur in dem Feenland der Lieder Lebt noch deine fabelhafte Spur. Ausgestorben trauert das Gefilde, Keine Gottheit zeigt sich meinem Blick, Ach, von jenem lebenwarmen Bilde Blieb der Schatten nur zurück.
The Gods of Greece
Most beauteous world, where may you be? Nature’s bright springtime, come again! Only in fairy minstrelsy Your storied memories remain. The field has faded and is keening, No god reveals to me his form: Only the shadow still remaining, The vision once alive and warm.
Set by Schubert: Ian Bostridge https://www.youtube.com/watch?v=CdkDyMs7xXM (or other singers))

Translation: Copyright © Timothy Adès

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Birth of Christ, with comment on the Bee.

Nacimiento de Cristo, en que se discurrió la abeja.

Sor Juana de la Cruz (1648-95)

Nacimiento de Cristo, en que se discurrió la abeja.
De la más fragante Rosa nació la Abeja más bella, a quien el limpio rocío dio purísima materia. Nace, pues, y apenas nace, cuando en la misma moneda, lo que en perlas recibió, empieza a pagar en perlas. Que llore el Alba, no es mucho, que es costumbre en su belleza; mas ¿quién hay que no se admire de que el Sol lágrimas vierta? Si es por fecundar la Rosa, es ociosa diligencia, pues no es menester rocío después de nacer la Abeja; y más, cuando en la clausura de su virginal pureza, ni antecedente haber pudo ni puede haber quien suceda. Pues a ¿qué fin es el llanto que dulcemente le riega? Quien no puede dar más Fruto, ¿qué importa que estéril sea? Mas ¡ay! que la Abeja tiene tan íntima dependencia siempre con la Rosa, que depende su vida de ella; pues dándole el néctar puro que sus fragancias engendran, no sólo antes la concibe, pero después la alimenta. Hijo y madre, en tan divinas peregrinas competencias, ninguno queda deudor y ambos obligados quedan. La Abeja paga el rocío de que la Rosa la engendra, y ella vuelve a retornarle con lo mismo que la alienta. Ayudando el uno al otro con mutua correspondencia, la Abeja a la Flor fecunda, y ella a la Abeja sustenta. Pues si por eso es el llanto, llore Jesús, norabuena, que lo que expende en rocío cobrará después en néctar.
Birth of Christ, with comment on the Bee.
From the sweet-scented Rose is born the lovely Bee, to whom the bright dew gave its essence and purity. No sooner is he born than in the same currency what he received in pearls in pearls he starts to repay. If the Dawn weeps, that’s nothing, just its habit, being beautiful; but that the Sun sheds tears, don’t we all find it incredible? If it’s to water the Rose, that’s a tender care forlorn, for there’s no need of dew after the Bee is born; he is intact in his purity like a nun in a cloister: he had no predecessor and can have no successor. Then what good is the weeping that gently plies him with water? He can bear no more Fruit and is barren, but does that matter? But oh! the Bee relies for his life on her, the Rose: his dependence is always so intimate and close: for by giving him pure nectar that her sweet scents deliver, she gives him life, conceives him, and feeds him too, thereafter. Mother and son, in such sacred and wondrous obligations, neither is left indebted and both of them are grateful. He pays her for the dew, the Bee whom the Rose conceives: and she gives him in return the same food she receives. Giving aid to one another in mutual symmetry, the Bee enriches the Flower and the Flower sustains the bee. If that is the cause of weeping, weep, Jesus, and best of luck! whatever you spend in dew, in nectar you’ll reap it back.
Published in 'A Very Mexican Christmas', New Vessels Press, New York.

Translation: Copyright © Timothy Adès

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Song

Chanson

Pierre Corneille (1606-84)

Chanson
Si je perds bien des maîtresses, J’en fais encor plus souvent, Et mes voeux et mes promesses Ne sont que feintes caresses, Et mes voeux et mes promesses Ne sont jamais que du vent. Quand je vois un beau visage, Soudain je me fais de feu, Mais longtemps lui faire hommage, Ce n’est pas bien mon usage, Mais longtemps lui faire hommage, Ce n’est pas bien là mon jeu. J’entre bien en complaisance Tant que dure une heure ou deux, Mais en perdant sa présence Adieu toute souvenance, Mais en perdant sa présence Adieu soudain tous mes feux. Plus inconstant que la lune Je ne veux jamais d’arrêt; La blonde comme la brune En moins de rien m’importune, La blonde comme la brune En moins de rien me déplaît. Si je feins un peu de braise, Alors que l’humeur m’en prend, Qu’on me chasse ou qu’on me baise, Qu’on soit facile ou mauvaise, Qu’on me chasse ou qu’on me baise, Tout m’est fort indifférent. Mon usage est si commode, On le trouve si charmant, Que qui ne suit ma méthode N’est pas bien homme à la mode, Que qui ne suit ma méthode Passe pour un Allemand.
Song
I lose many mistresses, Gain more, to spare. My vows and my promises, Kisses, just ruses: My vows and my promises, Wind, light as air. I see a sweet visage, I’m quickly aflame But drawing out homage Just isn’t my usage, But drawing out homage Just isn’t my game. I’ll join in complaisance For one or two hours, But losing her presence It’s bye-bye remembrance, But losing her presence, Farewell all my fires. I’m a moon of no constance, I don’t stop or stall, Brunettance or blondance I feel no repugnance, Brunettance or blondance, Reluctance, at all. I act a bit steamy When feeling inclined: They shoo me or woo me, Turn dreadful or dreamy, They shoo me or woo me, I simply don’t mind. So neat is my custom They all find it charming. You don't do my system? You’ve no savoir faire, man! You don't do my system? You’d pass for a German.

Translation: Copyright © Timothy Adès

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Sonnet XIV

Sonnet XIV

Louise Labé (1524-66)

Sonnet XIV
Tant que mes yeux pourront larmes épandre A l’heur passé avec toi regretter : Et qu’aux sanglots et soupirs résister Pourra ma voix, et un peu faire entendre : Tant que ma main pourra les cordes tendre Du mignard Luth, pour tes grâces chanter : Tant que l’esprit se voudra contenter De ne vouloir rien fors que toi comprendre : Je ne souhaite encore point mourir. Mais quand mes yeux je sentirai tarir, Ma voix cassée, et ma main impuissante, Et mon esprit en ce mortel séjour Ne pouvant plus montrer signe d’amante : Prierai la mort noircir mon plus clair jour.
Sonnet XIV
As long as I can sit with streaming eyes And want to spend another hour with you; As long as I can stifle sobs and sighs And use my voice to get a message through; As long as I’ve a hand can tune the strings Of my guitar, to sing a song of you; As long as I’ve no heart for other things But only want to get the hang of you: There’s no way I’ll be lying down to die. No, but the day I feel my eyes run dry, My voice crack up, my hand with zero power, My heart, too close to earth, no longer giving Signals that lovers give: then, I’ll quit living… Death, turn my daylight black, that very hour!
Carolyne Cannella video: start time 3' 07".

Translation: Copyright © Timothy Adès

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