Liebeslieder Walzer, Op. 52
“Lovesong Waltzes”
Georg Friedrich Daumer, trans.

Rede, Mädchen, allzu liebes, Op. 52, No. 1

“Rede, Mädchen, allzu liebes,
“Speak, maiden, all too dear,
Das mir in die Brust, die kühle,
who to me into the breast the coolHat geschleudert mit dem Blicke
has hurled with the glance
Diese wilden Glutgefühle!”
these wild passionate feelings!”

“Willst du nicht dein Herz erweichen;
“Want you not your heart to soften?
Willst du, eine überfromme,
Want you, a super-pious,
Rasten ohne traute Wonne,
to rest without true delight?
Oder willst du, daß ich komme?”
Or would you that I come?”

“Rasten ohne traute Wonne—
“Rest without true delight—
Nicht so bitter will ich büßen.
not so bitterly want I to suffer.
Komme nur, du schwarzes Auge,
Come only, you dark eye,
Komme, wenn die Sterne grüßen!”
come when the stars greet!”

Speak, Dearest Maiden
“Speak, dearest maiden,
you whose glance has hurled into my cool heart
these wild, passionate feelings!”

“Don’t you want to soften your heart?
Do you want, you overly pious one, to rest without true delight?
Or do you want me to come?”

“Rest without true delight—
I don’t want to suffer so bitterly.
Do come, you dark-eyed maid,
come when the stars appear!”

Am Gesteine rauscht die Flut, Op. 52, No. 2

Am Gesteine rauscht die Flut,
Upon rocks rushes the high tide,
Heftig angetrieben;
vehemently driven.
Wer da nicht zu seufzen wieß,
Who there not to sigh knows
Lernt es unter’m Lieben.
learns it by loving.

Upon the Rocks the High Tide Breaks
Upon the rocks the high tide breaks,
hurled by a mighty force.
The one who knows not how to sigh
learns it by loving.

O die Frauen, Op. 52, No. 3

O die Frauen, o die Frauen,
Oh the women, oh the women,
Wie sie Wonne tauen!
how they delight bestow!
Wäre lang ein Mönch geworden,
[I] would have long a monk become
Wären nicht die Frauen!
were [it] not the women!

Oh Women
Oh women, oh women,
how they do delight!
I would’ve become a monk long ago
were it not for women!

Ein kleiner, hübscher Vogel, Op.52, No. 6

Ein kleiner, hübscher Vogel nahm den Flug
A little, pretty bird took—flight
Zum Garten hin, da gab es Obst genug.
to the garden here, there was—fruit enough.
Wenn ich ein hübscher, kleiner Vogel wär’,
If I a pretty, little bird were,
Ich säumte nicht, ich täte so wie der.
I would delay not; I would do so as he.

Leimruten-Arglist lauert’ an dem Ort;
Bird-lime’s malice lies in the place;
Der arme Vogel konnte nicht mehr fort.
the poor bird could not more away.
Wenn ich ein hübscher, kleiner Vogel wär’,
If I a pretty, little bird were,
Ich säumte doch, ich täte nicht wie der.
I would delay —; I would do not as he.

Der Vogel kam in eine schöne Hand,
The bird came into a beautiful hand;
Da tat es ihm, dem Glücklichen, nicht
and. there harm—to him, the happy one, not —.
Wenn ich ein hübscher, kleiner Vogel wär’,
If I a pretty, little bird were,
Ich säumte nicht, ich täte doch wie der.
I would delay not; I would do—as he.

A Pretty Little Bird Flew
A pretty little bird flew
to the garden where fruit was plentiful.
If I were a pretty little bird,
I’d not delay; I’d do just as he did.

Treacherous, sticky sap lies in ambush;
the poor bird could not escape.
If I were a pretty little bird,
I’d definitely delay; I’d not do as he did.

The bird was freed by a lovely hand;
no harm came to the happy little bird.
If l were a pretty little bird,
I’d not delay; I’d certainly do as he did.

Wohl schön bewandt war es vorehe, Op. 52, No. 7

Wohl schön bewandt
Really well formed
War es vorehe
was it before,
Mit meinem Leben,
with my life
Mit meiner Liebe;
with my love;
Durch eine Wand,
Through a wall,
Ja, durch zehn Wände,
yea, through ten walls,
Erkannte mich
recognized me
Des Freundes Sehe;
the friend’s eye.
Doch jetzo, wehe,
Yet now, alas,
Wenn ich dem Kalten
If I to the cold
Auch noch so dicht
—ever—so closely
Vor’m Auge stehe,
before eye stand,
Es merkt’s sein Auge,
—notices it his eye,
Sein Herze nicht.
his heart not.

How Very Pleasant it Used to Be
How very pleasant
it used to be,
both with my life
and with my love;
through a wall,
even through ten walls,
my friend’s eye
noticed me.
Yet now, alas,
even if l stand
right in front
of the cold one’s eye,
his eye, his heart
notice me not.

Wenn so lind dein Auge mir, Op. 52, No. 8

Wenn so lind dein Auge mir
When so gently your eye on me
und so lieblich schauet—
and so fondly gazes,
Jede letzte Trübe flieht,
every last sorrow flees,
Welche mich umgrauet.
that me had troubled.

Dieser Liebe schöne Glut,
This love’s beautiful glow—
Laß sie nicht verstieben!
let is not die!
Nimmer wird, wie ich, so treu
Never will, as I so faithfully
Die ein Andrer lieben.
You—another—love.

When Your Eyes So Gently Gaze
When your eyes so gently
and so fondly gaze on me,
every last sorrow flees
that once had troubled me.

This beautiful glow of our love—
 do not let it die!
Never will another love you
as faithfully as I.

Am Donaustrande, da steht ein Haus, Op.52, No. 9

Am Donaustrande, da steht ein Haus,
On the Danube bank, there stands a house,
Da schaut ein rosiges Mädchen aus.
there gazes a rosy maiden out.
Das Mädchen, es ist wohl gut gehegt,
The maiden, she is quite well protected;
Zehn eiserne Riegel sind vor die Türe gelegt.
ten iron bars have been before the door laid.

Zehn eiserne Riegel— das ist ein Spaß;
Ten iron bars— that is a joke!
Die spreng’ ich, als wären sie nur von Glas.
these break I, as were they only of glass.

On the Danube’s Bank There Stands a House
On the Danube’s bank there stands a house,
and there a rosy maiden gazes out.
The maiden is quite well protected;
ten iron bars block her door.

Ten iron bars—that’s a joke!
I’ll break them as if they were only glass.

Nein, es ist nicht auszukommen, Op. 52, No. 11

Nein, es ist nicht auszukommen
No, it is not to get along
Mit den Leuten;
with the people;
Alles wissen sie so giftig
everything know they so maliciously
Auszudeuten.
to interpret!

Bin ich heiter, hegen soll ich
Am I merry, harbor am said to I
Lose Triebe;
frivolous desires;
Bin ich still, so heißt’s, ich wäre
Am I silent, so means it, I were
Irr aus Liebe.
mad with love.

No, It is Impossible to Get Along
No, it is impossible to get along
with such people;
they know how to interpret everything
so maliciously!

If I’m merry, I’m said to have
frivolous desires;
if I’m silent, then supposedly I’m
mad with love.

Schlosser auf, und mache Schlösser, Op. 52, No. 12

Schlosser auf, und mache Schlösser,
Locksmith come, and make locks,
Schlösser ohne Zahl!
locks without number,
Denn die bösen Mäuler will ich
because the evil mouths want I
Schließen allzumal.
to close forever!

Locksmith, Come and Make Locks
Locksmith, come and make locks,
innumerable locks,
because I want to close their evil mouths
once and for all!

Vögelein durchrauscht die Luft, Op. 52, No. 13

Vögelein durchrauscht die Luft,
Little bird rushes through the air
Sucht nach einem Aste;
looking for a branch;
Und das Herz, ein Herz begehrt’s,
and the heart—a heart yearns it
Wo es selig raste.
where it blissfully rests.

A Little Bird Rushes Through the Air
A little bird rushes through the air
looking for a branch;
and the heart—it yearns for a heart
where it may blissfully rest.

Sieh, wie ist die Welle klar, Op. 52, No. 14

Sieh, wie ist die Welle klar,
See, how are the waves clear
Blickt der Mond hernieder!
gazes the moon down!
Die du meine Liebe bist,
Who you my love are,
Liebe du mich wieder!
love you me again!

See How the Waves are Clear
See how the waves are clear
when the moon gazes down!
You who are my love,
love me again!

Nicht wandle, mein Licht, Op. 52, No. 17

Nicht wandle, mein Licht, dart außen
Do not wander, my light, there outside
Im Flurbereich!
in the fields!
Die Füße würden dir, die zarten,
—your feet would be—, the delicate,
Zu naß, zu weich.
too wet, too soft.

All überströmt sind dort die Wege,
All flooded are there the roads,
Die Stege dir;
the paths for you—
So überreichlich tränte dorten
so profusely shed tears there
Das Auge mir.
—my eyes—.

Don’t wander, my light
Don’t wander, my light,
over there in the fields!
Your dainty feet would become
too wet, too soft.

All the roads are flooded there,
all your paths—
so profuse were the tears
that flowed from my eyes.

Es bebet das Gesträuche, Op. 52, No. 18

Es bebet das Gesträuche,
—tremble the bushes,
Gestreift hat es im Fluge
brushed did it in flight
Ein Vögelein.
a little bird.
In gleicher Art erbebet
In same way trembles
Die Seele mir, erschüttert
—my soul—, shaken
Von Liebe, Lust und Leide,
by love, joy, and sorrow,
Gedenkt sie dein.
thinks it of you.

The Bushes Tremble
The bushes tremble,
brushed during the flight
of a little bird.
In the same way
my soul trembles; shaken
by love, joy, and sorrow,
it thinks of you.

Vier Quartette, Op. 92
Four Quartets

O schöne Nacht, Op. 92, No. 1
Georg Friedrich Daumer

O schöne Nacht!
Oh lovely night!
Am Himmel märchenhaft
In the sky fairy tale-like
Erglänzt der Mond in seiner ganzen Pracht,
shines the moon in its full splendor;
Um ihn der kleinen Sterne liebliche Genossenschaft.
around it the little stars pleasant company.

Es schimmert hell der Tau
—glistens brightly the dew
Am grüen Halm; mit Macht
on the green stem; with power
Im Fliederbusche schlägt die Nachtigall;
in the lilac bush sings the nightingale;
Der Knabe schleicht zu seiner Liebsten sacht—
the youth sneaks to his beloved quietly.
O schöne Nacht!
Oh lovely night!

Oh Lovely Night
Oh lovely night!
In the sky, magically,
the moon shines in all its splendor;
around it is the pleasant company of little stars.

Dew glistens brightly on green stems;
in the lilac bush, the nightingale sings lustily.
The youth steals away quietly to his love.
Oh lovely night!

Warum?, Op. 92, No.4
Johann Wolfgang von Goethe

Warum doch erschallen
Why then resound
Himmelwärts die Lieder?
heavenwards the songs?
Zögen gerne nieder Sterne,
Would draw gladly down stars
Die droben blinken und wallen,
that above twinkle and sparkle;
Zögen sich Lunas lieblich Umarmen,
would draw the warm, blissful days
Seliger Götter gern uns herab!
of blessed gods gladly upon us down!

Why?
Why then do songs
resound heavenwards?
They would fain draw down the stars
that twinkle and sparkle above;
they would draw to themselves
the moon’s lovely embrace;
they would fain draw the warm, blissful days
of the blessed gods down upon us.

Matthew Swope, conductor
May Festival Conducting Fellow

Matthew Swope is a doctoral student in choral conducting at the University of Cincinnati College-Conservatory of Music.

Swope received his M.M. in Voice Performance and Pedagogy and B.A. degrees in Music and in Classics and Ancient Mediterranean Studies from The Pennsylvania State University. In 2021, he was awarded second place in the high school chorus division of the American Prize Dale Warland Award in Choral Conducting.

Ensembles under Swope’s direction have performed for regional and state American Choral Directors Association (ACDA) conferences, the Florida Music Education Association (FMEA), National A Cappella Convention, and the International Championship of High School A Cappella Finals. He has presented sessions for ACDA, FMEA, and the National Association for Music Education (NAfME).

He currently serves on the music staff at Knox Pres- byterian Church and on the Board of Directors for the A Cappella Education Association.

The May Festival is grateful to Ginger Warner for her generous support of the Conducting Fellowship.

Heather MacPhail, piano

Heather MacPhail has been the accompanist for the May Festival Chorus since 1990. In addition, she currently serves as Music Assistant to Robert Porco, Director of Choruses. She is a frequent keyboardist with the Cincinnati Symphony Orchestra, performing on all keyboard instruments and has been organ soloist for the Saint-Saëns Organ Symphony in several performances. MacPhail has been Staff Accompanist at Miami University since 1997. There, she supervises and coaches students in accompanying, teaches organ, and performs with faculty and guest artists. MacPhail has performed as piano soloist with the Oxford String Quartet, Miami University Orchestra and Central Ohio Symphony Orchestra. She performs regularly on local concert series, such as Christ Church Glendale Music at Noon, Holy Trinity Episcopal Noon Series and Westwood First Concert Series.

Heather MacPhail is Organist/Director of Music Ministries at Westwood First Presbyterian Church in Cincinnati. She maintains a private teaching studio for piano and organ, with students active in competitions and recitals. She holds a Master of Music degree in Accompanying and a Bachelor of Music degree in Piano Performance from the University of Cincinnati College-Conservatory of Music.

David Kirkendall, piano

David Kirkendall has served as assistant director and accompanist for the May Festival Youth Chorus since 2006. He was choral director at Princeton High School in Cincinnati from 1980 to 2013, and for three years he served as choral director at Mount Saint Joseph University.

After earning his undergraduate degree, Kirkendall continued at the University of Cincinnati College-Conservatory of Music (CCM), receiving a master’s degree in Choral Conducting. He received a fellowship to attend the Choral Conducting Institute at the Aspen Music Festival, and has also completed studies for the Doctor of Musical Arts degree in Choral Conducting at the University of Illinois. His keyboard reductions and continuo realizations appear in the Roger Dean edition of the Vivaldi Gloria, and he has had an SSA arrangement published with Alfred Music Publishing.

Kirkendall served as rehearsal pianist for the Vocal Arts Ensemble of Cincinnati at the time of its founding in 1978. For the next 10 years he performed with the Vocal Arts Ensemble (VAE) as pianist, harpsichordist and organist with conductor Elmer Thomas and also served as rehearsal pianist for various choral rehearsals of Michael Gielen, Jesús López Cobos, James Conlon, John Nelson and Robert Shaw. For the 1988–89 season, Kirkendall was Assistant Conductor for VAE with Earl Rivers.

MEMBERS OF THE MAY FESTIVAL CHORUS

Robert Porco, director
Matthew Swanson, Associate Director of Choruses
Heather MacPhail, Accompanist
Matthew Swope, Conducting Fellow
Kathryn Zajac Albertson, Chorus Manager
Bryce Newcomer, Chorus Librarian

The May Festival Chorus has earned acclaim locally, nationally and internationally for its musicality, vast range of repertoire and sheer power of sound. The Chorus of 125 professionally trained singers is the core artistic element of the Cincinnati May Festival as well as the official chorus of the Cincinnati Symphony Orchestra and Cincinnati Pops. Throughout a typical season the chorus members collectively devote more than 40,000 hours in rehearsals and performances.

Founded in 1873, the annual May Festival is the oldest, and one of the most prestigious, choral festivals in the Western Hemisphere. The annual Festival, now under the artistic leadership of Principal Conductor Juanjo Mena, boasts the May Festival Chorus—with choral preparation by Robert Porco—and Cincinnati Symphony Orchestra as anchors, hosts an international array of guest artists and presents two spectacular weekends of dynamic programming. James Conlon, who in 2016 brought to a close an unprecedented 37-year tenure as May Festival Music Director, was named Music Director Laureate upon his retirement. Many important choral works have received their World and American pre- mieres at the May Festival, including Johann Sebastian Bach’s Magnificat, Gustav Mahler’s Symphony No. 3, Benjamin Britten’s Gloriana, Gian Carlo Menotti’s The Death of the Bishop of Brindisi and Robert Nathaniel Dett’s The Ordering of Moses. 

The May Festival Chorus is endowed by the Betsy & Alex Young Chair.

Members of the May Festival Chorus
Dawn Bruestle
Sarah Fall
Amanda Gast
Anita Greer
Carolyn Hill
Mark Hockenberry
Beth Huntley
Tyler Johnson
Megan Lawson
Daniel Parsley
Justin Peter
Lauren Peter
Brian Reilly
Jeffrey Stivers
Matthew Swanson