: 3 eis : IE-6012

SERAPHIM

“Angels of the highest order”

Complete Opera MODL: RYSANEK - KLOSE - SUTHAUS - FRANTZ - FRICK Vienna Philharmonic Orchestra (Recorded 1954

Wilhelm Furtwangler Richard Wagner Die Walkiire compicte

Recorded in the Musikvereinssaal, Vienna (1954)

: : CAST ; Briinfiilde, 60ptan@ 2.Wa.c. . c4 soe Sates ie as ee os a .MARTHA MODL Sie SHG fe ons obs so pease Canes » tee ONS LUDWIG SUTHAUS Sieglinde, soprano ..........6 bots Solos Ss ayo s 56h. « LEONIE RYSANEK Wotan, baritone .......,. ‘Gere aes tye+eeFERDINAND FRANTZ _ HunGinsbeee | 22. <n es os Bec dae ie dace GOTTLOB FRICK* TUiCka, SQDFANO 2. Fie a wg ee vo ve we . MARGARETE KLOSE Valkyries Gerhild@montano | &. ii.s5 os teseaigs esac os GERDA SCHEYRER Ortlinde, soprano .....6....0000s a Ore JUDITH HELLWIG Waltraute, soprano .........-+05 pe ceeeeeet eee DAGMAR SCHMEDES Schwertleite, contralto ...... cat uk series ....0..2.RUTH SIEWERT Helmwige, soprano ...... aoe To8. ste. +. ee oe ERIKA Kee Sregrune, contralto: & conc... os Sos ee a ss HERTHA TOPPER Grimgerde: contralto ic. rise... ce JOHANNA. BLATTER Rossweisse, contraltO ........00cceseeeeeeues DAGMAR HERMANN

THE VIENNA PHILHARMONIC ORCHESTRA

ANZ; Sine Ys

LIBRETTO ENCLOSED

Photo: Bruce Davidson/ Magnum ~

WILHELM FURTWANGLER, the son of an archaeology pro- fessor, was born in Berlin on January. 25, 1886. By the age of seven he had begun composing and by eight he had commenced the serious study of music in Munich; first as a pupil of famed pedagogue Josef Rheinberger and later with composer-conductor Max von Schillings. |

In 1915, Artur Bodanzky conductor of the esteemed.

Mannheim Orchestra accepted a new appointment with

_ the Society of Friends of Music in New York which neces- sitated the formation of a Mannheim Theatrical Commis-- sion committee to select a suitable successor to Bodanzky..

Among those prospects selected by the committee, the

name Furtwangler appeared. Though it was considered

quite unlikely that the young conductor was ready for such

a major assignment, doubters were soon made believers when the committee travelled to Liibeck in order to hear |

Furtwangler conduct a small theater orchestra. They quickly recognized his unique genius and unanimously de- clared him the perfect person for the position. This event

marked the.beginning of a great career, for not only were ‘his Mannheim operatic and concert productions warmly © “received, but also his successful reigns as conductor of the Tonkiinstler Orchestra of Vienna and the Berlin Staatsoper

Orchestra. But-not until 1922 did Furtwangler prove himself

to.be one of the great musicians of that or any other gen--

eration. It was in that year that he was appointed as the conductor of the famous Gewandhaus concerts at Leipzig

and of the Berlin Philharmonic: Orchestra..

By the year 1924 Furtwangler’s. fame, especially as an interpreter of the 19th century German repertoire, had spread throughout the world and, as a result, he enjoyed sixteen years of guest conducting stints in Europe and America. During these tours he conducted such prestigious

orchestras as the Royal Philharmonic Orchestra, the New

York Philharmonic (where, after his successive 1925-26-27 appearances, he was offered but declined a permanent podium), and his own Berlin Philharmonic.: He also con- ducted Der Ring des Nibelungen at Covent Garden.

““Although he remained in Germany’ and continued to

conduct the Berlin Philharmonic and other.orchestras dur- ing the 1939-45 war years, the Allied Komandatura ab- solved Furtwangler of any Nazi sympathies at the conclu- sion of the war. As a result, he resumed his touring of al- most every major European city (including performances

with the Vienna Philharmonic Orchestra) as well as carrying

on his duties as permanent conductor in Berlin.

Wherever the genius that was Furtwangler travelled, controversy followed. He had his detractors who couldn’t abide his seemingly impulsive readings and eccentric man- nerisms. Likewise, and far more representative, he had his. legions of admirers who credited him (and still do) with being one of the four or five major interpreters of music

_ LEONCAVALLO:

File: OPERA

MONO IE-6012

SERAPHIM

“Angels of the-highest order”

A Seraphim “Classic” playable on stereo and mono phonographs

This ‘classic’ performance was recorded before the perfection of today’s stereophonic techniques, but with the highest fidelity then possible. Recent advances in tape-transfer and disc-cutting techniques make possible greater fidelity of monaural sound

i} than ever before, with no loss of artistic values. Even without

artificially induced channel separation, this recording sounds still better when played through the multiple speakers of today’s stereo equipment...

THE SERAPHIM SERIES, a product of ANGEL-RECORDS, is designed » to make available once more some of the very finest and most _ celebrated of Angel’s earlier releases precious recordings that ~ have long been treasured by collectors in their rare original pressings. THE SERAPHIM SERIES also issues outstanding perform- ances hitherto unreleased in America, by famed Angel artists. In both functions, SERAPHIM maintains the highest possible stand- ards of recording, tape transfer, materials and pressing, as estab- ‘lished by*Angel, but at modest cost to the collector. 7

SERAPHIM —‘‘ANGELS OF THE HIGHEST ORDER” 1290 Avenue of the Americas, New York, N. Y. 10019

oo that this deniuiy ae witnessed. Bus. all the more reason “for regretting that: Wilhelm Furtwangler’s eagerly antici-

pated return visit'to the United States with a Furtwangler- wraught Berlin Philharmonic—had to be cancelled because ‘of his death at the age of sixty- -eight in Baden-Baden on November 30, 1954.

OTHER GREAT OPERAS ON SERAPHIM |

(S). indicates Stereo

WEBER: DER FREISCHUTZ. Rudolf Schock, Elisabeth Grimmer, Lisa Otto, Gottlob Frick, Hermann Prey, Karl Kohn; Berlin Municipal Opera Chorus and Berlin Philharmonic Orchestra; conducted by Joseph Keilberth. (S)|B-6010

DONIZETTI: THE ELIXIR OF LOVE. Rosanna Carteri, Luigi Alva, Giuseppe Taddei, Rolando Panerai; Orchestra and Chorus of La Scala, Milan, conducted by Tullio Serafin. (S)IB-6001

: PPAGLIACCI. Beniamino Gigli, Iva Pacetti, Mario _ Basiola; Orchestra and Chorus of La Scala, Milan, conducted by ' Franco Ghione. (Side Four: Italian Songs) |B-6009

MASCAGNI: CAVAELERIA RUSTICANA. Beniamino Gigli, Lina Bruna Rasa, Giulietta Simionato; Orchestra and Chorus of La Scala, Milan, conducted by Pietro Mascagni. (Side Four: Italian Songs) 1B-6008

MOZART: THE MARRIAGE OF FIGARO, Hermann Prey, Anneliese ‘Rothenberger, Hilde Guiden, Walter Berry, Edith Mathis; Dresden State Opera Chorus and Dresden State Orchestra conducted by Otmar Suitner. (sung in German) (S)1C-6002

POULENC: LES MAMELLES DE TIRESIAS. Denise Duval, Jean Girau- deau; soloists, chorus and orchestra of the Paris Opéra-Comique conducted by André Cluytens. 60029

PUCCINI: LA BOHEME. Victoria de los Angeles, Jussi Bjoerling, Lucine Amara, Robert Merrill, Giorgio Tozzi, John Reardon, Fer- nando Corena; conducted by Sir Thomas Beecham. 1B-6000

VERDI: DON CARLO. Antonietta Stella, Elena Nicolai, Mario Filip- peschi, Tito Gobbi, Boris Christoff; Orchestra and Chorus of the Opera House, Rome, conducted by Gabrielle Santini. (S)1C-6004

anes

Eichdhahdhthdhdhahdhahdhahshdhshdhahdhdhahdhahdhdhahshahshshahsh sash

Briinnhilde, soprano ..

Siegmund, tenor Sieglinde, soprano Wotan, baritone

Hunding, bass .. ..

Fricka, soprano

Gerhilde, soprano Ortlinde, soprano

Waltraute, soprano ..

Schwertleite, contralto

Helmwige, soprano ..

Siegrune, contralto

Grimgerde, contralto ..

Rossweisse, contralto

by

CAST

Valkyries

DIE WALKURE

Music and Libretto

RICHARD WAGNER

Conductor: WILHELM FURTWANGLER

Recorded in the Musikvereinssaal, Vienna

M

C{SEE of the highest orde

IE-6012

»

MARTHA MODL LUDWIG SUTHAUS LEONIE RYSANEK.

.. FERDINAND FRANTZ

GOTTLOB FRICK

. MARGARETE KLOSE

GERDA SCHEYRER JUDITH HELLWIG

.. DAGMAR SCHMEDES

.. RUTH SIEWERT ERIKA KOTH HERTHA TOPPER JOHANNA BLATTER

. DAGMAR HERMANN

THE VIENNA PHILHARMONIC ORCHESTRA

TE ee ee ee ee ee ae a a a a a aS aS ae ae fe fe ale

Shihdhshiadhathdhth th titi th th thts th sath ath ttt ath Ash thas aa

FE ET ee ee ee oe ee ee a a a oe a oe ae a eS ae

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3&4

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SERAPHIM

“Angels of the highest order”

3&4

DIE WALKURE

First performed at the Court Theatre, Munich, June 25, 1870

Wagner’s great tetralogy, Der Ring des Nibelungen, consists of the prologue opera Das Rheingold, and the three operas Die Walkiire, Siegfried, and Gotterddmmerung. This tremendous undertaking was carried out at intervals over a period of 28 years. Originally it had been Wagner’s intention to encompass the Nibelungen myth in a single opera, Siegfrieds Tod, but the subject grew under the composer’s hand; he realised that a large amount of antecedent material concerning Siegfried would need to be incorporated in order to place the story in its true perspective. Thus he wrote the libretto of Siegfried, and later of Die Walkiire and Das Rheingold. Siegfrieds Tod became Gétterddmmerung.

The book of Der Ring des Nibelungen was finished in 1853, when the complete poem was privately printed. Immediately Wagner set to work on the first opera of the cycle, Das Rheingold, and finished the work in the following year in record time. Die Walkiire followed, and two years later the full score was ready. Whilst he was occupied with Die Walkiire Wagner’s attention was turned to Tristan und Isolde, and in 1857 he laid aside the Ring project, which was not resumed for twelve years: in that period both Tristan and Die Meistersinger were completed. The complete Ring cycle was finished at last in 1874, and first performed in its entirety at Bayreuth in 1876. Die Walkiire had been given independently at Munich in 1870 and Das Rheingold in 1869.

DIE WALKURE tells the story of the disobedience of Briinnhilde and her punishment at the hands of the god Wotan. It introduces Siegmund and Sieglinde, who are children of Wotan by an earthly mother. Long separated, chance brings them together and they fall in love. Sieglinde ces ne husband, Hunding, with whom she has been forced into marriage, and flies with

iegmund.

Angered by this violation of the sacred bond of marriage, Fricka, Wotan’s wife, forces him to agree to Siegmund’s death. Wotan instructs Briinnhilde to carry the death message to Siegmund but, inspired to compassion, she disobeys Wotan and protects Siegmund in his fight with Hunding. Wotan intervenes and Siegmund is killed. Briinnhilde escapes with Sieglinde and the fragments of the shattered sword, Nothung, but Wotan pursues her and as punishment for her misdeeds banishes her from the company of the gods and causes her to fall asleep on the summit of the mountain, a prey to any passing mortal. In response to her suppli¢ations he surrounds her resting place with a barrier of fire that only a hero would dare to penetrate.

Sieglinde lives on to bring forth her child, the mighty Siegfried, who is to release Briinnhilde from the fiery rock, refashion his father’s sword and regain the ring, as we see in Siegfried, the following opera in the cycle. i

THE RECORDS

ACT I

Side 1—Prelude Scene 1: Siegmund takes shelter in Hunding’s dwelling. Scene 2: Entry of Hunding; Siegmund begins his story.

Side 2—Siegmund finishes his story; Hunding’s challenge; Scene 3: Siegmund’s soliloquy and discovery of the sword.

Side 3—Sieglinde and Siegmund; The Love Duet (‘Winterstiirme wichen dem Wonnemond’); Siegmund plucks the sword from the tree.

ACT I Side 4—Prelude

Scene 1: Wotan and Fricka Side 5—Scene 2: Wotan’s narration to Briinnhilde

Side 6—Briinnhilde alone (‘So sah ich Siegvater nie’). Scene 3: Sieglinde and Siegmund in flight from Hunding. Scene 4: Briinnhilde and Siegmund (‘Siegmund! Sieh auf mich!’).

Side 7—Briinnhilde and Siegmund (conclusion) ((Wunschmédchen walten dort hehr’). Scene 5: Siegmund is slain by Hunding.

ACT Il

Side 8—Scene 1: The Ride of the Valkyries; the assembled Valkyries await Briinnhilde; Briinnhilde’s flight from Wotan.

Scene 2: Wotan overtakes Briinnhilde.

Side 9—Wotan’s decree of punishment (‘Hier bin ich, Vater; gebiete die Strafe!’). Scene 3: Briinnhilde’s vindication (‘War es so schmahlich’).

Side 10-Briinnhilde’s vindication (conclusion); Wotan’s farewell (‘Leb’ wohl, du kiihnes, herrliches Kind’); Wotan invokes Loge, Magic Fire music.

SIDE 1

LIBRETTO

English Version by ERNest NEWMAN

Prelude ACT I

Scene 1

The curtain rises, showing the interior of a dwelling. The room is built round the stem of a

mighty ash tree, which forms its centre.

In the right foreground is the hearth; behind

the hearth is the store room and in the background the great entrance door. On the left towards the back steps lead to an inner chamber. On the same side in the foreground there is a table; behind it a broad bench and in front of it some wooden stools. As the storm subsides Siegmund opens the entrance door. Holding the latch, he looks round the room. He seems exhausted and his general appearance shows signs of hurried flight. Seeing no one he closes the door behind him and sinks exhausted on the rug by the hearth.

StEGMUND: Wess’ Herd dies auch sei, hier muss ich rasten.

SIEGMUND: Whose hearth this may be, here must I rest me.

(Sieglinde comes in from the inner chamber and is surprised to find a stranger stretched out on the hearth)

SIEGLINDE: Ein fremder Mann? Ihn muss ich fragen.

SIEGLINDE: A stranger here? I must address him.

(She advances a few steps)

Wer kam in’s Haus und liegt dort am Herd?

What man is this lies here on the hearth?

(Siegmund does not move as Sieglinde contemplates him)

Miide liegt er von Weges Miih’n. Schwanden die Sinne ihm? Ware er siech? (she listens) Noch schwillt ihm der Atem; das Auge nur schloss er.

Miitig diinkt mich der Mann, sank er miid’ auch hin.

Weary is he by travel worn. Deep in a swoon he seems.

Or is he sick?

I still hear his breathing;

*tis sleep that hath bound him. Fearless seemeth his face, though so faint he lies.

(Siegmund suddenly raises his head)

SIEGMUND: Ein Quell! ein Quell!

SIEGLINDE: Erquickung schaff’ ich.

(She takes a drinking horn and goes out.

Labung biet’ ich dem lechzenden Gaumen: Wasser, wie du gewollt!

SrecmMunp: A draught! A draught!

SIEGLINDE: (ll draw thee water. She returns to give it to Siegmund)

Drink I bring thee, thy dry lips to moisten: Water, as thou didst wish.

(Siegmund drinks deeply and hands the horn back to her. He regards her with growing interest)

SIEGMUND: Kiihlende Labung gab mir der Quell,

des Miiden Last machte er leicht:

erfrischt ist der Mut,

das Aug’ erfreut des Sehens selige Lust.

Wer ist’s der so mir es labt?

SIEGLINDE: Dies Haus und dies Weib sind Hundings Eigen;

gastlich gonn’ er dir Rast;

harre, bis heim er kehrt!

SIEGMUND: Waffenlos bin ich:

dem wunden Gast wird dein Gatte nicht wehren.

SIEGLINDE: Die Wunden weise mir schnell!

SIEGMUND (sifting up): Gering sind sie, der Rede nicht wert;

noch fiigen des Leibes Glieder sich fest.

Hatten halb so stark wie mein Arm

Schild und Speer mir gehalten,

nimmer floh’ ich dem Feind;

doch zerschellten mir Speer und Schild

der Feinde Meute hetzte mich miid’,

Gewitter-Brunst brach meinen Leib;

doch schneller als ich der Meute

schwand die Miidigkeit mir:

sank auf die Lider mir Nacht,

die Sonne lacht mir nun neu.

S1gGMUND: Cool and refreshing was the sweet draught,

my weary load hath it made light:

my spirit revives,

mine eyes again rejoice in life and light.

Who is’t that gladdens them so?

SIEGLINDE: This house and this wife call Hunding master:

take thine ease as his guest;

tarry till he return!

SIEGMUND: Weaponless am I; a wounded guest would thy husband not harry.

SIEGLINDE: O quickly show me thy wounds!

SIEGMUND: But slight are they,

not worthy of words; still strong is each sinew, sturdy each limb. If but half so well as my arm shield and spear had availed me, ne’er my foes had I fled; but they shattered my spear and shield, the pack of foemen hunted me hard, by tempest blast bruised was I sore; yet faster than I from foemen flees my weariness now: dark lay the night on my lids, but sunlight laughs on me now.

(Sieglinde goes to the store room and fills the horn with mead)

SIEGLINDE: Des seimigen Metes siissen Trank mégst du mir nicht verschmah’n.

SreEGMUND: Schmecktest du mir ihn zu?

SIEGLINDE: A freshening drink ofhoneyed mead may’st thou not scorn from me.

SIEGMUND: May thy lips touch it first ?

(Sieglinde sips the drink. Siegmund then takes a long draught, all the while gazing at her)

(with emotion) Einen Unseligen labtest du; Unheil wende der Wunsch von dir!

Thou hast solaced an unhappy man: sorrow would he could ward from thee!

(he prepares to go)

Gerastet hab’ ich und stiss geruht: weiter wend’ ich den Schritt.

Now rested am I, my strength restored: forth from here let me fare.

(he goes towards the back) SIEGLINDE: Wer verfolgt dich, dass du schon flieh’st? SrEGLINDE: Who pursues thee, that thou must

SIEGMUND: Misswende folgt mir, wohin ich fliehe;

Misswende nah’t mir, wo ich mich neige: dir, Frau, doch bleibe sie fern! Fort wend’ ich Fuss und Blick.

fly?

SIEGMUND: Ill fate doth follow fast in my footprints;

ill fate o’ertakes me where’er I tarry:

from thee, wife, far may it stay!

Forth from thy house I go.

(he goes to the door and raises the latch. Sieglinde impulsively calls after him)

SIEGLINDE: So bleibe hier! Nicht bringst du Unheil dahin, wo Unheil im Hause wohnt!

SIEGLINDE: Abide thou here! Thou canst no ill fate bring there, where ill fate has made its home!

(Siegmund hesitates, deeply moved. He searches Sieglinde’s face and she lowers her eyes sadly)

SIEGMUND: Wehwalt hiess ich mich selbst; Hunding will ich erwarten.

SIEGMUND: “* Woeful ’’ named I myself: Hunding will I await here.

(He remains by the hearth, and they continue to gaze at one another with growing emotion. Sieglinde suddenly starts and listens. Hunding can be heard outside, leading his horse to the stable)

Scene 2

(She goes to the door and opens it. Hunding, armed with spear and shield, enters, but seeing Siegmund he pauses on the threshold)

SIEGLINDE: Miid’ am Herd fand ich den Mann: Not fiihrt’ ihn in’s Haus.

Hunpinc: Du labtest ihn?

SIEGLINDE: Den Gaumen letzt’ ich ihm; gastlich sorgt’ ich sein!

SreGMuND: Dach und Trank dank’ ich ihr: willst du dein Weib drum schelten?

Hounpinc: Heilig ist mein Herd: heilig sei dir mein Haus.

SIEGLINDE: Faint, this man lay on our hearth: dire need drove him here.

Hunp1nc: Hast tended him?

SIEGLINDE: I gave him cooling drink, tended him as guest!

SIEGMUND: Rest and drink hath she given: wouldst therefore chide the woman?

Hunpinc: Sacred is my hearth: sacred hold my house.

(He doffs his armour and gives it to Sieglinde)

Riist uns Mannern das Mahl!

Thou, prepare now our meal!

(Sieglinde hangs the armour on branches of the ash tree. She brings food and drink and prepares the table. Hunding scans Siegmund’s features closely)

(aside) Wie gleicht er dem Weibe! Der gleissende Wurm glanzt auch ihm aus dem Auge.

How like to the woman! In his eyes, too, gleams all the guile of the serpent.

(to Siegmund)

Weit her, traun! kamst du des Weg’s; ein Ross nicht ritt, der Rast hier fand: welch’ schlimme Pfade schufen dir Pein?

SieGmMuND: Durch Wald und Wiese, Haide und Hain,

jagte mich Sturm und starke Not:

nicht kenn’ ich den Weg, den ich kam.

Wohin ich irrte, weiss ich noch minder;

Kunde gewann’ ich dess’ gern.

Far from here cam’st thou, I trow; no horse rode he who rested here: what rugged pathway dealt thee such pain?

SIEGMUND: Through field and forest, bramble and brake,

driven by storm and sorest need.

I know not the way that I came.

Nor can I tell thee whither I’ve wandered:

fain were I now to learn it.

(Hunding sits down at the table, motioning to Siegmund to take a seat)

HuNDING: Dess’ Dach dich deckt dess’ Haus dich hegt,

Hunding heisst der Wirt;

wendest von hier du nach West den Schritt,

in H6fen reich hausen dort Sippen,

die Hundings Ehre behiiten:

gonnt mir Ehre mein Gast,

wird sein Name nun mir genannt.

a The roof and room that harbour thee

Hunding calls his own;

wend thou from here to the west thy way,

in homesteads rich thou find kinsmen,

who Hunding’s honour do cherish:

honour me now, my guest,

and thy name make known unto me.

(Siegmund takes his place at the table. Sieglinde sits next to Hunding and opposite Siegmund, watching him with great attention)

Tragst du Sorge, mir zu vertrau’n, der Frau hier gib doch Kunde; sieh’, wie gierig sie dich fragt!

SIEGLINDE: Gast, wer du bist wiisst’ ich gern.

SIEGMUND: Friedmund darf ich nicht heissen; Frohwalt moécht’ ich wohl sein:

doch Wehwalt muss ich mich nennen. Wolfe, der war mein Vater;

zu zwei kam ich zur Welt,

ein Zwillingsschwester und ich.

Frith’ schwanden mir Mutter und Maid; die mich gebar, und die mit mir sie barg, kaum hab’ ich je sie gekannt.

Wehrlich und stark war Wolfe;

der Feinde wuchsen ihm viel.

Art thou loth to give me thy trust, my wife thou may’st confide in: see, how greedily she asks!

SIEGLINDE: Guest, who art thou I would learn.

SIEGMUND: “‘ Peaceful ’’ may I not call me, ** Joyful ’? would that I were:

but “* Woeful so must I name me.

Wolfe he was my father;

not single was my birth,

for a twin sister had I.

Full soon I lost mother and maid;

scarce have I known her who gave me my life, or her with whom I did twin.

Warlike and strong was Wolfe;

and foes in plenty he found. «

Zum Jagen zog mit dem Jungen der Alte;

von Hetze und Harst einst kehrten wir heim;

da lag das Wolfnest leer.

Zu Schutt gebrannt der prangende Saal,

zum Stumpf der Eiche bliithender Stamm;

erschlagen der Mutter mutiger Leib,

verschwunden im Gluten der Schwester Spur:

uns schuf die heirbe Not der Neidinge harte Schar.

Geichtet floh deer Alte mit mir;

lange Jahre lebtie der Junge mit Wolfe im wilden Wald:

manche Jagd waard auf sie gemacht,

doch mutig welnrte das Wolfspaar sich.

(to Hunding) Eim W6lfing kiindet dir das,

den als ‘‘ Wolfimg mancher wohl kennt.

HunpInGc: Wumder und wilde Mare kiindest du, kihne Gast,

Wehwalt der Wlolfing!

Mich diinkt vom dem wehrlichen Paar,

vernahm ich duinkle Sage,

kannt’ ich auch: Wolfe und Wolfing nicht.

SIEGLINDE: Docth weiter kiinde, Fremder: wo weilt dein Viater jetzt?

SIDE 2

SIEGMUND: Ein :starkes Jagen auf uns

stellten die Neidlinge an:

der Jager viele ffielen den Wolfen,

in Flucht durch: den Wald trieb sie das Wild;

wie Spreu zerstob uns der Feind.

Doch ward ich vom Vater versprengt; seine Spur verlor ich,

je langer ich forrschte;

eines Wolfes Fell nur traf ich im Forst; leer lag das vor’ mir, den Vater fand ich nicht. Aus dem Wald ttrieb es mich fort;

mich drangt es zu Mannern und Frauen. Wie viel ich traff, wo ich sie fand,

ob ich um Freund, um Frauen warb, immer doch war ich geachtet:

Unheil lag auf mir.

Was rechtes je ich riet,

andern diinkte es arg;

was schlimm immer mir schien,

andre gaben ihm Gunst.

In Fehde fiel ich, wo ich mich fand, Zorn traf mich wohin ich zog;

gehrt’ ich nach Wonne, weckt’ ich nur Weh’: drum muss ich mich Wehwalt nennen; des Wehes waltet’ ich nur.

A-hunting went I as a boy with my father;

one day from the hunt we came to our home:

there lay the Wolf’s nest waste.

The glorious hall to ashes was burnt,

a stump the mighty oak had become;

there dead lay the mother, dauntless of heart,

all trace of the sister was lost in dust:

the Neidings’ cruel host this ruin and woe had wrought.

Then friendless fled my father with me;

year on year the stripling did sojourn with Wolfe in woodlands wild;

many a hunt was made of the twain,

but sturdy war did the Wolf-pair wage.

A Wé6lfing telleth thee this,

whom as “‘ Wolfing ’? many well know.

HUuNDING, Marvels and tales amazing tellest thou, valiant guest,

Woeful the Wolfing!

Methinks of the warrior pair

I’ve heard dark sayings spoken

though I know Wolfe and Wolfing not.

SIEGLINDE: Yet further tell us, stranger, where fares thy father now?

SIEGMUND: A furious onslaught on us

one day the Neidings did make:

the Wo6lfings slew full many a hunter;

in flight through the wood, driven by their game,

like chaff we scattered the foe.

Yet I from my father was torn;

lost were all his traces,

though long I did seek them:

only a wolf skin I found deep in the wood;

there empty it lay, my father found I not.

From the wood forth then I fled;

I hungered for men and for women.

Whate’er I did, where e’er I fared,

if friend I sought or woman wooed,

still was I held in suspicion:

ill-fate lay on me.

Whate’er to me seemed right

others reckoned it ill;

what I held to be foul

others counted as fair.

In feuds I fell wherever I dwelt,

wrath ever ’gainst me I roused;

sought I for gladness, found I but grief:

and so must I ‘* Woeful ”’ call me;

for woe still walks in my wake.

(He glances at Sieglinde who listens sympathetically)

HunpinG: Die sso leidig Los dir beschied, nicht liebte dicm die Norn;

froh nicht griissst dich der Mann,

dem fremd als Gast du nah’st.

SIEGLINDE: Feigse nur fiirchten den,

der waffenlos eiinsam fahrt.

Kiinde noch, Giast, wie du im Kampf zuletzt die Waffe verlor’sst ?

SIEGMUND: Eim trauriges Kind rief mich zum vermahlen wolltte der Magen [Trutz: Sippe dem Maman ohne Minne die Maid. Wider den Zwaing zog ich zum Schutz,

der Dranger Tross traf ich im Kampf,

dem Sieger sank der Feind.

Erschlagen lagem die Briider:

die Leichen umschlang da die Maid,

den Grimm verjjagt’ ihr der Gram.

Mit wilder Tramen Flut

betroff sie weinend die Wal;

um des Mordes. der eig’nen Briider

klagte die unsel”ge Braut.

Der Erschlag’nen Sippen stiirmten daher; lbermiachtig aclhzten nach Rache sie:

rings um die Stiitte ragten mir Feinde. Doch von der Wal wich nicht die Maid; mit Schild und ‘Speer schirmt’ ich sie lang’, bis Speer und Sichild

im Harst mir zerhau’n.

Wund und waffienlos stand ich—

sterben sah ich die Maid:

mich hetzte das; wiitende Heer—

auf den Leichem lag sie tot.

Nun weisst du, fragende Frau,

warum ich Friedmund nicht heisse!

Hunpinc: She who wove thee lot so unblest, she loved thee not, the Norn:

welcome art thou to none,

to whom as guest thou com’st.

SIEGLINDE: Cravens only could fear

a weaponless, lonely man.

Tell us now, guest, in what affray at last thy weapon was lost?

SreGMuND: A child in distress called for my her kinsman brutal in wedlock [help: loveless the heart-broken maiden would bind. Help to the wronged gladly I gave;

the brutal host I met in fight,

the foe before me fell.

There, dead and cold, lay her brothers:

their bodies she clasped in her arms,

her wrath gave way to her grief.

In floods of bitter tears

she bathed the warriors slain;

for her brothers, in death laid low,

lamented the desperate bride.

Then the slain men’s fellows flew to her aid; many they were, and vengeance they lusted for: from every quarter foemen fell on me.

But to the corpse still clung the maid;

my shield and sword sheltered her long,

till spear and shield

were hewn from my hands.

Wounded, weaponless stood I—

saw the maid sink in death:

I fled from the furious host—

on the lifeless she lay dead.

Now know’st thou, questioning wife,

why men may Joyful not call me!

(He rises and walks to the hearth, while Sieglinde, deeply moved, sadly lowers her eyes)

HUNDING (his anger rising): Ich weiss ein wildes Geschlecht,

nicht heilig ist ihm was andern hehr;

verhasst ist es Allen und mir.

Zur Rache ward ich gerufen,

Sithne zu nehmen fiir Sippen-Blut:

Zu spat kam ich und kehre nun heim,

des fliicht’gen Frevlers Spur

im eig’nen Haus zu erspaéh’n.—

Hunpinc: I know a turbulent race;

not sacred it holds what men revere: "tis hated by all and by me.

To vengeance have I been summoned, blood toll to levy for kinsmen’s blood: too late came I, but when I return,

my flying foeman’s trace

in my own house do I find.

(he goes down the stage)

Mein Haus hiitet, W6lfing, dich heut’;

fiir die Nacht nahm ich dich auf;

mit starker Waffe doch wehre dich morgen; zum Kampfe kies ich den Tag:

fiir Tote zahlst du mir Zoll.

My house holds thee, Wélfing, today;

for the night nought needst thou fear;

but in the morn must thy weapon defend thee; no longer life I allow:

for murder toll will I take.

(Sieglinde anxiously steps between the two men)

HUNDING (to Sieglinde):

Fort aus dem Saal! Saume hier nicht! Den Nachttrunk riiste mir drin

und harre mein’ zur Ruh’.

HUNDING:

Hence from the hall! Dally not here! My night-draught quickly prepare, and wait for me within.

(Sieglinde hesitates, then goes slowly towards the store room. She opens the cupboard and

fills a drinking horn, keeping her eyes on Siegmund who is constantly watching her. By

suggestion, she directs his gaze towards a particular spot in the ash tree’s stem. With a

violent gesture Hunding bids her to leave the room and with a last look at Siegmund she goes into the bedchamber. Hunding takes his weapons from the tree stem)

Hunp1nc: Mit Waffen wahrt sich der Mann. Dich, W6lfing, treffe ich morgen; mein Wort hortest du, hiite dich wohl!

Hunpinc: In weapons man puts his faith. Thee, W6lfing, meet I tomorrow; my word hearest thou, ward thyself well!

(He goes into the chamber, taking his weapons, and is heard within, bolting the door.)

Scene 3

(Siegmund is alone. It is quite dark save for a faint glow from the hearth. He sits on the couch by the fire, in a great state of agitation)

SIEGMUND: Ein Schwert verhiess mir der Vater, ich fand’ es in héchster Not.

Waffenlos fiel ich in Feindes Haus;

seiner Rache Pfand raste ich hier:

ein Weib sah’ ich, wonnig und hehr; entziickend Bangen zehrt mein Herz.

Zu der mich nun Sehnsucht zieht,

die mit siissem Zauber mich sehrt,

im Zwange halt sie der Mann,

der mich Wehrlosen héhnt!

Wilse! Walse! wo ist dein Schwert?

Das starke Schwert, das im Sturm ich schwange, bricht mir hervor aus der Brust,

was wiitend das Herz noch hegt.

SrecmMunbD: A sword my father did pledge me Id find in direst need.

Weaponless fallen in foeman’s house,

as a hostage here vengeance [I wait:

wife saw I, winsome and pure:

with fear and rapture throbs my heart.

But she who my soul desires,

she whose sweet enchantment sears,

in thrall is held by the man

who mocks his weaponless foe!

Wiilse! Walse! Where is thy sword?

The trusty sword that in strife shall serve me, when there shall burst from my breast

the rage that consumes my soul.

(A glow from the fire suddenly strikes a spot in the ash tree that Sieglinde had tried to indicate with her glance. There the hilt of a buried sword is plainly visible)

Was gleisst dort hell im Glimmerschein? Welch’ ein Strahl bricht aus der Esche Stamm? Des Blinden Auge leuchtet ein Blitz:

lustig lacht da der Blick.

Wie der Schein so hehr das Herz mir sengt!

Ist es der Blick der blithenden Frau

den dort haftend sie hinter sich liess,

‘als aus dem Saal sie schied?

What gleameth there amid the gloom?

What a flash breaks from the ash tree’s stem! My blinded eyes are lit by the beam:

lo, it laughs in its glee.

How the glorious gleam doth warm my heart! Is it the look the lovely one threw

and left clinging behind her there,

as from the hall she hied?

(The light from the hearth gradually dies out)

Nachtiges Dunkel deckte mein Aug’;

ihres Blickes Strahl streifte mich da:

Warme gewann ich und Tag.

Selig schien mir der Sonne Licht;

den Scheitel umgliss mir ihr wonniger Glanz—

bis hinter Bergen sie sank.

Noch einmal, da sie schied,

traf mich Abends ihr Schein;

selbst der alten Esche Stamm erglantze in gold’ner Glut:

da bleicht die Bliite, das Licht verlischt;

nachtiges Dunkel deckt mir das Auge:

oe des Busens Berge glimmt nur noch lichtlose

ut.

SIDE 3

Darkening shadows sank on mine eyes;

but her lustrous glance fell on me then:

summer and sunlight it brought.

Blessed then was the sun’s bright light;

its ravishing radiance encircled my head—

till o’er the mountains it sank.

Yet once more, ere ’twas lost,

fell its light on me here;

e’en the ancient ash tree’s stem shone forth with a golden glow:

the flush is fading, the light is low:

darker the shadows fall on my eyelids:

deep in my heart there glimmers now but a faint, dying glow.

(The fire dies out and the room is in complete darkness. The side door opens softly. Sieglinde, in a white garment, goes quickly to the hearth)

SIEGLINDE: Schlafst du, Gast? SIEGMUND (joyfully): Wer schleicht daher?

SIEGLINDE: Ich bin’s, h6re mich an! In tiefem Schlaf liegt Hunding, ich wiirzt’ ihm betéubenden Trank: niitze die Nacht dir zum Heil!

SIEGMUND: Heil macht mich dein Nah’n!

SIEGLINDE: Eine Waffe lass mich dir weisen:

Oo, wenn due sie gewdnn’st!

Den hehrsten Helden diirft’ ich dich heissen:

dem Stiarksten allein ward sie bestimmt.

O merke wohl, was ich dir melde!

Der Manner Sippe sass hier im Saal,

von Hunding zur Hochzeit geladen:

er freite ein Weib, das ungefragt,

Schicher ihm schenkten zur Frau.

Traurig sass ich, wahrend sie tranken;

ein Fremder trat da herein:

ein Greis in grauem Gewand;

tief hing ihm der Hut, der deckt’ ihm der Augen eines;

doch des andren Strahl, Angst schuf es allen,

traf die Manner sein macht’ges Drau’n:

SIEGLINDE: Sleep’st thou, guest ? SIEGMUND: Who steals to me?

SIEGLINDE: ’Tis I, list thou to me! In deepest sleep lies Hunding,

I mingled a drug with his draught: fly in the night for thy life!

SIEGMUND: Life find I with thee!

SIEGLINDE: Here a sword of might will I

could’st thou but make it thine! [show thee:

The noblest hero then might I name thee:

the strongest alone this steel may win.

O heed thou well what I now tell thee!

My husband’s kinsman sat in this hall

and drank at the wedding of Hunding:

he wedded a maid by him unwooed,

shamefully sold him for wife.

Sad I sat while they were drinking,

a stranger strode through the hall:

an old man; grey was his garb;

so low hung his hat that one of his eyes was hidden;

but the other’s flash fear struck through all men

when its menacing message they marked.

mir allein weckte das Auge siiss sehnenden Tranen und Trost zugleich. (Harm, Auf mich blickt’ er und blitzte auf jene,

als ein Schwert in Handen er schwang;

das stiess er nun in der Esche Stamm,

bis zum Heft haftet’ es drin:—

Dem sollte der Stahl geziemen,

der aus dem Stamm es zég’.

Der Manner alle, so kiihn sie sich miihten, die Wehr sich keiner gewann;

Gaste kamen und Giste gingen,

die Starksten zogen am Stahl—

keinen Zoll entwich er dem Stamm:

dort haftet schweigend das Schwert.

Da wusst’ ich, wer der war

der mich Gramvolle gegriisst:

ich weiss auch, wem allein

im Stamm das Schwert er bestimmt.

© fand’ ich ihn heut’ und hier, den Freund; kam’ er aus Fremden zur armsten Frau: was je ich gelitten in grimmigem Leid,

was je mich geschmerzt in Schande und Schmach, stisseste Rache siihnte dann Alles!

Erjagt hatt’ ich, was je ich verlor,

was je ich beweint

war’ mir gewonnen,

fand’ ich den heiligen Freund,

umfing’ den Helden mein Arm!

I alone felt ’neath that look a sweet yearning sadness and solace in one. [and pain, At me glancing, he glowered at the others

as a sword he swung in his hands;

he struck it deep in the ash tree stem,

to the haft he buried the blade:—

to him should the sword be given

whose strength could draw it forth.

But no man there, though all mightily

could make the weapon his own; _ [laboured, guests came hither and guests departed,

the strongest tugged at the steel

but no whit the weapon did stir:

there bides in silence the sword.

Then wist I who he was

who did greet me in my grief:

I know too who is he

for whom the weapon doth wait.

O might I today find here that friend,

come from afar to the ill-fated wife:

I have borne in my bitterest woe

whate’er I have suffered in shame and disgrace, sweetest of vengeance soon should I know Retrieved then were whate’er I had lost, [then! again I would win

all I have wept for,

found I this holiest friend

and folded the hero to me!

(Siegmund embraces Sieglinde passionately)

SIEGMUND: Dich, selige Frau,

halt nun der Freund, dem Waffe und Weib bestimmt!

Heiss in der Brust brennt mir der Eid,

der mich dir Edlen vermahlt.

Was je ich ersehnt, ersah ich in dir;

in dir fand ich, was je mir gefehlt!

Littest du Schmach, und schmerzte mich Leid,

war ich gedchtet, und warst du entehrt:

freudige Rache lacht nun den Frohen!

Auf lach’ ich in heiliger Lust,

halt’ ich dich, Hehre, umfangen,

fiihl’ ich dein schlagendes Herz!

SIEGMUND: Thee, woman most blest,

hold now the friend who weapon and wife shall win!

Hot in my breast burns now the vow

that weds me, fair one, to thee.

Whate’er I have sought, in thee now I see;

in thee find I what long I lacked! [smart:

Once thou wert shamed, and I knew sorrow’s

I was despised and dishonoured wert thou:

joy of vengeance gladdens our hearts now!

So laugh I in highest delight,

holding thee noblest and dearest,

feeling the beat of thy heart!

(The great door flies open)

SIEGLINDE (alarmed): Ha, wer ging? wer kam herein?

SIEGLINDE: Ha, who passed? who entered here?

(The door remains open; outside is a glorious spring night. The full moonlight floods into the room, throwing its brief light on them)

SIEGMUND (ecstatically): Keiner ging, doch Einer

siehe, der Lenz lacht in den Saal! [kam:

SIEGMUND: No one passed, but one has come:

.see