Joys Abiding

Soprano And Baritone Duets By Historical Women Composers

Dana Zenobi soprano
Oliver Worthington baritone
Chuck Dillard piano

Release Date: February 11, 2022
Catalog #: NV6409
Format: Digital & Physical
20th Century
Romantic
Vocal Music
Piano
Voice

Navona Records presents JOYS ABIDING, an album of vocal duets by female composers including previously unpublished duets by British-American composer Rebecca Clarke, the text of which inspired the album title. The extensive track list of duets from the Baroque, Classical, and Romantic periods is performed by Dana Zenobi, soprano, Oliver Worthington, baritone, Chuck Dillard, piano/harpsichord, and David Murray, double bass. JOYS ABIDING aims to elevate the important work of female composers who have historically been excluded from the male-dominated classical duet canon.

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Track Listing & Credits

# Title Composer Performer
01 Sleep* Rebecca Clarke Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 2:55
02 Nacht für Nacht* Rebecca Clarke Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 2:36
03 Hymn to Pan* Rebecca Clarke Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 2:58
04 Die Geisterinsel Johanna Kinkel-Mockel Mathieux Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:10
05 Les langueurs: Nocturne à deux voix Sophie Gail Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:31
06 Die Mitternacht war kalt und stumm Fanny Hensel Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 1:08
07 Ich stand gelehnet an den Mast (Wasserfahrt) Fanny Hensel Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 1:29
08 À Travers Bois: Duetto pour voix inégales Cécile Chaminade Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 4:22
09 Io mi distruggo: Madrigale a due voci Francesca Caccini Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano; David Murray, double bass 5:19
10 The Purple Moor Augusta Mary Rachel Dobson Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:59
11 À Lydie (Horace: Ode IX, Livre III) Augusta Holmès Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 4:56
12 Horazische Ode: Wechselgesang für Sopran, Bariton, und Klavier Ella Adaïewsky Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 6:28
13 Morso e bacio dati in un tempo (Op 2.19) Barbara Strozzi Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano; David Murray, double bass 4:49
14 A Canadian Boat-Song Amy Beach Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:45
15 La Jota - Sérénade des étudiants - duo espagnol Pauline Viardot-García Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:42
16 Habañera Pauline Viardot-García Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 5:54
17 Hör’ es klagt die Flöte: Duettino aus dem Singspiel Die Musikanten Louise Reichardt Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 1:40
18 Belle, viens à moi: Nocturne Maria Malibran Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:57
19 Il ritrovo: Barcarola Maria Malibran Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 2:49
20 O That We Two Were Maying Alice Mary Smith Dana Zenobi, soprano; Oliver Worthington, baritone; Chuck Dillard, piano 3:32

*Copyright © 2003, Christopher Johnson. All rights reserved. rebeccaclarkecomposer.com

Recorded August 14-17, 2021 in The Eidson Duckwall Recital Hall, Butler University in Indianapolis IN
Session Engineer Frank Felice (Mad Italian Brothers Ink)
Mixing by Frank Felice at the Night Annex Studio. Produced by Sheridan Stormes

Mastering by Melanie Montgomery

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil
A&R Danielle Lewis

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Aidan Curran
Content Manager Sara Warner

Artist Information

Dana Zenobi

Dana Zenobi

Soprano

Dana Zenobi has earned national recognition as an interpreter of Art Song by women. She has also garnered operatic success in roles ranging from Mozart and Verdi to Mark Adamo and Philip Glass, appearing with Austin Opera, Lyric Opera Cleveland, The Living Opera, Opera in the Heights, line upon line percussion ensemble, and the Austin Civic Orchestra. Both her performing and her studio teaching have received accolades from The American Prize.

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Oliver Worthington

Baritone

Baritone Oliver Worthington has received international and regional acclaim for performances as an opera singer, oratorio soloist, and recitalist with organizations like Indianapolis Opera, Indianapolis Symphonic Choir, San Antonio Opera, San Antonio Symphony, Hill Country Lyric, Austin Opera, and Lone Star Lyric in roles ranging from Eisenstein to The Duke of Plaza Toro. A champion of living composers, he frequently premieres new works. Worthington is the Vocal Area Coordinator and the Producing Director of Butler Opera Theater at Butler University in Indianapolis.

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Chuck Dillard

Chuck Dillard

Pianist

Pianist Chuck Dillard is a multi-faceted and sought-after performer, educator, conductor, lecturer, producer, and arranger. Highlights from his 2020-2021 season include performing with Met Opera baritone Damien Geter, producing a virtual production of Menotti’s “The Old Maid and the Thief,” presenting a lecture — “Beyond the Pants Role” — for the College Music Society, and speaking at a Symposium on Transgender and Non-Binary Voice Pedagogy.

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Notes

JOYS ABIDING shines a light on vocal duets by female composers in Italian, French, German, and English from the Baroque, Classical, and Romantic periods of the Western Classical tradition. We hope to expand the traditionally all-male canon to include some of these important works by female composers. We are particularly pleased to be offering recordings of three duets by Rebecca Clarke, a British-American composer and virtuoso violist. The name of our album, JOYS ABIDING, comes from the last line of her duet Sleep. Look for the companion to this recording, our annotated score anthology with Classical Vocal Reprints, which features first publications of all three of the Clarke pieces.

In addition to introducing you to some beautiful music, we hope that this project becomes an additional resource for voice instructors and music directors programming vocal chamber concerts pairing soprano and baritone — or soprano and mezzo — voices. Currently available resources include the anthologized canon of sacred and secular duets (exclusively works by European male composers), a wealth of English-language Art Song vocal duet literature by 20th-century and living composers (including some women and composers from other marginalized communities), and operatic duet literature (almost exclusively by white male composers). We hope this recording will inspire listeners to further explore vocal works by each composer, as this project is only a sampling of the rich body of duet repertoire created by these women.

Our project is a collaborative effort between faculty at Butler University and Portland State University. We would like to acknowledge the support from both schools, in particular a Faculty Research Grant from the Butler Awards Committee. Special thanks also to our Butler administrators Dr. Lisa Brooks, Dean of the Jordan College of the Arts and Professor David Murray, the Director of the School of Music. We would also like to acknowledge the tireless work of our piano technician Mathew Dickerson. Special thanks to Sheridan Stormes, our producer, and to Frank Felice, our engineer and mixer. We would also like to acknowledge the support and assistance of Wayne Wentzel and Eric Peabody during the rehearsal and recording process. Further thanks to the Butler Arts and Events Center staff, especially Aaron Hurd, Kelsey Dunn, and Joey Wever for support and access to the Eidson Duckwall Recital Hall. Finally, our most heartfelt thanks to Christopher Johnson for permission to record and publish Rebecca Clarke’s beautiful duets. Thank you for listening to our recording.

— The artists

Texts

Text by John Fletcher from The Woman Hater

Come, Sleep, and with thy sweet deceiving
Lock me in delight awhile;
Let some pleasing dreams beguile
All my fancies; that from thence
I may feel an influence
All my powers of care bereaving.

Though but a shadow, but a sliding,
Let me know some little joy!
We that suffer long annoy
Are contented with a thought
By an idle fancy wrought:
O let my joys have some abiding!

Text by Richard Dehmel

Still, es ist ein Tag verflossen.
Deine Augen sind geschlossen.
Deine Hände, schwer wie Blei,
liegen dir so drückend ferne.
Um dein Bette schweben Sterne,
dicht an dir vorbei.

Still, sie weiten dir die Wände:
Gieb uns her die schweren Hände,
sieh, der dunkle Himmel weicht –
Deine Augen sind geschlossen –
still, du hast den Tag genossen –
dir wird leicht – –

Quietly, a day has passed.
Your eyes are closed.
Your hands, heavy as lead,
are so distant from you.
Stars float around your bed
right past you.

Quietly, they widen the walls for you:
Give us the heavy hands.
See, the dark sky gives way –
Your eyes are closed –
quiet, you enjoyed the day –
you will rest easy – –

Text by John Fletcher

SING his praises that doth keep
Our flocks from harm.
Pan, the father of our sheep;
And arm in arm
Tread we softly in a round,
As the young spring:
Ever be thy honour spoke

Whilst the hollow neighbouring ground
Fills the music with her sound.
Pan, O great god Pan, to thee
Thus do we sing!
Thou who keep’st us chaste and free
From that place the morn is broke
To that place day doth unyoke!

Text by Heinrich Heine

Mein Liebchen, wir sassen beisammen,
Traulich im leichten Kahn.
Die Nacht war still, und wir schwammen
Auf weiter Wasserbahn.

Die GeisterInsel, die schöne,
Lag dämmrig im Mondenglanz;
Dort klangen liebe Töne,
Dort wogte der Nebeltanz.

Dort klangen lieb und lieber,
Und wogt’ es hin und her;
Wir aber schwammen vorüber,
Trostlos auf weitem Meer.

My darling, we sat together
Comfortably in the little boat.
The night was quiet and we floated
On the watery path.

The ghost island, the beautiful one,
Lay dusky in the moonlight;
There rang out lovely tones
And the dancing mist billowed.

It sounded lovelier and lovelier;
And it swayed to and fro;
But we floated by
Desolate on the wide sea.

Author Unknown

Des langueurs où l’amour me jette,
Loin que je cherche à me sauver,
Je chéris ma peine secrète,
Tout mon bonheur est d’y rêver.

En effet, l’ennui d’un cœur tendre
Est un mal si doux à garder,
Que si l’on pouvait le céder,
M’en laisser prendre, point ne voudrais.

Languors where love throws me,
Far from trying to save myself,
I cherish my secret pain,
All my happiness is to dream there.

Indeed, the boredom of a tender heart
Is such a sweet evil to keep,
That if we could give it up,
Let me take it, no one would do it.

Text by Heinrich Heine

Die Mitternacht war kalt und stumm;
Ich irrte klagend im Wald herum.
Ich habe die Bäum’ aus dem Schlaf gerüttelt;
Sie haben mitleidig die Köpfe geschüttelt.

The midnight was cold and silent;
I wandered plaintively in the forest.
I shook the trees from their slumber;
They shook their heads in pity.

Text by Heinrich Heine

Ich stand gelehnet an den Mast,
Und zählte jede Welle.
Ade! mein schönes Vaterland!
Mein Schiff, das segelt schnelle!

Ich geh’ bei Liebchens Haus vorbei,
Die Fensterscheiben blinken;
Ich guck’ mir fast die Augen aus,
Doch niemand will mir winken.

Ihr Tränen, bleibt mir aus dem Aug’,
Daß ich nicht dunkel sehe.
Du armes Herze brich mir nicht
Vor Übergroßem Wehe.

I stand leaning against the mast
And count every wave.
Goodbye! my beautiful fatherland!
My ship sails fast!

I’ll go to my lover’s house;
The window panes are glittering there.
I strain my eyes staring
But no one waves to me.

You tears, stay away;
Don’t darken my sight.
You poor heart, don’t break
From such overpowering grief.

Text by Edouard Guinand

Que la forêt est calme et solitaire!
Nos pas ont seuls réveillé les échos…
Viens, de la nuit c’est presque le mystère,
Tout va goûter la douceur du repos.
Jamais sous leurs tapis de mousse
Vitons les bois plus embaumés!
Jamais sous leur ombre si douce
Nous ne nous sommes tant aimés!

En s’endormant au sommet de sa branche,
L’oiseau murmure un chant plus langoureux.
En s’enfermant dans sa corolle blanche
La fleur exhale un parfum vaporeux.
Jamais nature plus belle
N’a bercé d’êtres plus charmés,
Jamais sous la feuille nouvelle
Nous ne nous sommes tant aimés!

A travers bois comme un rayon d’opale
La lune glisse avec sérénité…
L’herbe et la feuille, en cette clarté pâle
Semblent baigner dans un lac argenté…
Jamais ce dôme de verdure
N’a vu plus d’astres allumés,
Jamais, dans une nuit plus pure
Nous ne nous sommes tant aimés!

How calm and lonely the forest is!
Our steps alone have awakened the echoes …
Come, it’s almost the mystery of the night
Everything will taste the sweetness of rest.
Never under their moss carpets
Will we see the woods more fragrant
Nor are their shadows so soft.
We never loved each other so much!

Falling asleep at the top of its branch,
The bird whispers a more languid song.
By shutting himself up in his white blossom
The flower exudes a vaporous perfume.
Never has a more beautiful nature
Cradled more charmed beings
Under these new leaves.
We never loved each other so much!

Through the woods like an opal ray
The moon serenely glides…
The grass and the leaf, in this pale light
Seem to bathe in a silver lake…
Never did this dome of greenery
See more twinkling stars,
Never was a purer night.
We never loved each other so much!

Author Unknown

Io mi distruggo, ed ardo
Né trovo al mio dolor conforto, e pace,
Ch’un sol pietoso sguardo
Temprar non può d’Amore l’ardente face,
Né sfogar posso in pianto in dolor mio,
Come viver poss’io?
Occhi, deh per pietà, mentre splendete
E dolci saettendo il cor’ m’ardete
Toglietemi la vita
Ch’io vò morir se non mi date aita.

I am destroyed, and I burn!
I cannot find any comfort from my pain, nor peace,
For a single pitying glance
Cannot temper the ardent flame of Love.
I cannot quench my pain by weeping.
How can I continue to live?
Eyes, ah take pity, and as you radiate
And, sending sweet flaming arrows forth, set my heart aflame.
Bring my life to an end
For I wish to die if you do not come to my aid.

Text by Augusta Mary Rachel Dobson

O’er the purple moor we went
In the summer weather,

O’er the purple moor we went
Through the honied heather,

Through the bracken, shoulder high,
Where the brook goes singing,

Paused where blue the harebells grow
Just to hear them ringing.

O what joy, our hears at ease,
Nothing to perplex us;

God seem’d smiling on the earth,
Not a care could vex us.

O’er the purple moor we came
As the day was dying;

Heard along the river’s brink
Crested peewits crying’

Still we laughed for very joy
Still our hearts were cheery

But the thought of home is sweet
When the feet are weary.

Downward sank the great red sun,
Day was swiftly closing,

All the earth seem’d sunk to rest
In God’s love reposing.

Text by Alfred de Musset from Poésies Nouvelles

HORACE
Lorsque je t’avais pour amie,
Quand nul jeune garçon, plus robuste que moi,
N’entourait de ses bras ton épaule arrondie,
Auprès de toi, blanche Lydie,
J’ai vécu plus joyeux et plus heureux qu’un roi.

LYDIE
Quand pour toi j’étais la plus chère,
Quand Chloé pâlissait auprès de Lydia,
Lydia, qu’on vantait dans l’Italie entière,
Vécut plus heureuse et plus fière
Que dans les bras d’un dieu la Romaine Ilia.

HORACE
Chloé me gouverne à présent,
Chloé, savante au luth, habile en l’art du chant;
Le doux son de sa voix de volupté m’enivre.
Je suis prêt à cesser de vivre
Si, pour la préserver, les dieux voulaient mon sang.

LYDIE
Je me consume maintenant
D’une amoureuse ardeur que rien ne peut éteindre,
Pour le fils d’Ornithus, ce bel adolescent.
Je mourrais deux fois sans me plaindre
Si, pour le préserver, les dieux voulaient mon sang.

HORACE
Eh quoi si dans notre pensée
L’ancien amour se rallumait?
Si, la blonde Chloé de ma maison chassée,
Ma porte se rouvrait? Si Vénus offensée
Au joug d’airain nous ramenait?

LYDIE
Calais, ma richesse unique,
Est plus beau qu’un soleil levant,
Et toi plus léger que le vent,
Plus prompt à t’irriter que l’âpre Adriatique;

LYDIE and HORACE
Cependant près de toi, si c’était ton plaisir,
Volontiers j’irais vivre, et volontiers mourir.

HORACE
When I had you as my friend,
When no other young boy, more robust than me,
Dared wrap his arms around your rounded shoulder
By your side, white Lydia,
I lived happily, happier than a king

LYDIE
When I was dearest to you,
When Chloe turned pale next to Lydia,
Lydia, who was praised all over Italy
Lived happily and more proud
Than in the arms of the Roman god Ilia.

HORACE
Chloe rules me now
Chloe, scholar on the lute, skilled in the art of singing;
The sweet sound of her voluptuous voice intoxicates me.
I’m ready to stop living
If, to preserve it, the gods wanted my blood

LYDIE
I’m consumed now
With a loving ardor that nothing can extinguish,
For Ornithus’ son, this handsome teenager.
I would die twice without complaining
If, to preserve it, the gods wanted my blood

HORACE
And what if, in our minds,
Our old love was rekindled?
What if I chased Chloe from my house
And opened my door again to you? What if offended Venus
Forged the yoke binding us back together?

LYDIE
Calais, my special treasure,
Is beautiful like a rising sun.
But you are lighter than the win.
You are as stormy as the harsh Adriatic;

LYDIE and HORACE
However, near you, if it was your pleasure,
Gladly I would go to live, and willingly die.

Text by Quintus Horatius Flaccus (Horace)

I. Horaz
Donec gratus eram tibi
Nec quisquam potior brachia candidae
Cervici iuvenis dabat:
Persarum vigui rege beatior.

II. Lydia
Donec non alia magis
Arsisti neque erat Lydia post Chloën,
Multi Lydia nominis:
Romana vigui clarior Ilia.

III. Horaz
Me nunc Thressa Chloë regit
Dulces docta modos et citharae sciens,
Pro qua non metuam mori,
Si parcent animae fata superstiti.

IV. Lydia
Me torret face mutua
Thurini Calaïs filius Ornyti,
Pro quo bis patiar mori,
Si parcent puero fara superstiti.

V. Horaz
Quid, si prisca redit Venus
Diductosque iugo cogit aëneo?
Si flava excutitur Chloë?
Reiectaeque patet ianua Lydiae?

VI. Lydia und Horaz
Quamquam sidere pulchrior
Ille est, tu levior cortice et improbo
Iracundior Hadria,
Tecum vivere amem, tecum obeam libens.

I. Horaz
When I loved you
And did let not any of the more powerful white arms
Of a young man enfold your neck::
I was happier than a Persian king.

II. Lydia
Unfortunately, only
You loved not Lydia after Chloe came,
Lydia named;
Ilia’s Roman fame.

III. Horaz
I now am ruled by Chloe
Her sweet verses and skill on the lyre;
For whom I would not be afraid to die,
If the Fates required it.

IV. Lydia
I burn the same for
Calais, son of Ornytus
I would die twice;
If you require to spare the boy.

V. Horaz
What if our former love returns,
The pair who has been parted with a bronze?
If I banished Chloe?
Would the door open for Lydia?

VI. Lydia und Horaz
You are even more beautiful than a star
You are lighter than cork and as
Tempestuous as the Adriatic,
I would love to live with you. I will gladly be with you.

Author Unknown

Precipitosamente,
Amore e sdegno
Corrono su’l mio labro.
Sdegno è di morsi.
Amor di baci è fabro
Confitto insieme e consolato io vegno.

Mordami il dente quando
Bella bocca mi baci.
Che mordendo e baciando
Bella bocca mi piaci.

Mordimi sdegno, mordi
Grida lieto il mio core
Pur che teco si accordi
Dolce bacio d’amore.

Pene, care e soavi
No, no, che non mai gravi
Del tuo bel dente le punture sono:
Offendimi così che tel’ perdono.

Precipitously
Love and disdain
Run upon my lips.
Disdain is made of bites;
Love is made of kisses.
Mix them together and I am consoled.

The tooth of disdain bites me when
A beautiful mouth kisses me.
For biting and kissing
I like a beautiful mouth.

Bite me disdain, bite!
Shouts my heart happily
As long as you agree,
Sweet kiss of love.

Pains, dear and sweet!
No no, your beautiful bite marks
Are never serious.
Offend me so that I can forgive you.

Text by Thomas Moore

Faintly as tolls the evening chime
Our voices keep tune and our oars keep time.
Soon as the woods on shore look dim,
We’ll sing at St. Anne’s our parting hymn.
Row, brothers, row, the stream runs fast,
The Rapids are near and the daylight’s past!

Why should we yet our sail unfurl?
There is not a breath the blue wave to curl;
But, when the wind blows off the shore,

Oh! sweetly we’ll rest our weary oar.
Blow, breezes, blow, the stream runs fast,
The Rapids are near and the daylight’s past!

Utawa’s tide! this trembling moon
Shall see us float over thy surges soon.
Saint of this green isle! hear our prayers,
Oh, grant us cool heavens and favouring airs.
Blow, breezes, blow, the stream runs fast,
The Rapids are near and the daylight’s past!

Text by Louis Pomey

O belle qui sous ton voile
Des nuits fais pâlir l’ètoile,
Faut il que jusqu’a l’aurore
Ma voix tremblante t’implore?

Et veux-tu qu’en mon délire
Devant ta porte j’expire!
Quand d’un coeur l’amour s’empare
Aisément la tête s’égare,

La mort me paraît moins dure
Que la peine que j’endure!
Sois donc moins rebelle,
Beauté trop cruelle,
Et q’une parole
Du moins me console.

O beautiful, under your veil
Starry nights pale.
Must it be until dawn
My trembling voice pleads with you?

And do you want me in my delirium
To die outside your door!
When love takes hold of a heart
The head is easily lost,

To me death seems less tortuous
Than the pain I endure!
So be less rebellious,
Cruel beauty,
For a single word
Would at least console me.

Author Unknown

Vente, niña, conmigo al mar,
Que en la playa tengo un bajel,
Vogaremos a dos en él,
Que allí sólo se sabe amar.
Ay, rubita, si tu supieras,
Dame, dame tu amor.

Come, girl, with me to the sea,
I have a boat there on the beach,
We two will fly in it,
And only there will we learn to love.
Oh, dear one, if you only knew,
Give me, give me your love.

Text by Clemens Maria Wenzeslaus von Brentano

Hör es klagt die Flöte wieder
Und die kühlen Brunnen rauschen,
Holder wehn die Töne nieder,
Stille, stille, laß uns lauschen!

Holdes Bitten, mild Verlangen,
Wie es süß zum Herzen spricht!
Durch die Nacht die mich umfangen,
Blickt zu mir der Töne Licht.

Listen, the flute plays again
And the cool fountains murmur,
The sweet tones drift down,
Silence, quiet, let us listen!

Lovely longings, dear desires,
How they speak sweetly to the heart!
Through the enveloping night
Glimmers the light of music.

Text by Marceline Desbordes-Valmore

Entends-tu les gondoles
S’égarer sur les flots;
Les douces barcarolles
Des jeunes matelots?

Partout tendre désir
Éveille plaisir,
Belle! viens à moi,
Je rame ici vers toi!

Au son des mandolines,
Que de cœurs palpitants!
Là-bas sur les collines,
Que de couples contents!

Partout tendre désir…

Voici l’heure charmante
Où l’on chante plus bas;
Et de ma jeune amante
Je sens frémir les pas!

Partout tendre désir…

Do you hear the gondolas
Wandering on the waves;
The soft barcarolles
Of the young sailors?

Everywhere tender desire
Awakens pleasure,
Sweetheart! come to me,
I am rowing toward you!

At the sound of mandolins,
Hearts begin racing!
Over there on the hills,
So many happy couples!

Everywhere there is tender desire…

Here is the charming hour
When everyone sings more softly;
And of my young lover
I can hear the footsteps!

Everywhere there is tender desire…

Author Unknown

Di già notte oscura sul prato stende il vel:
È l’ora sicura del mio pastor fedel.
Non muovasi un accento
Che può tradirci il vento: ei tosto giungerà.
Tra la la etc

Lesbin del villaggio chiude il più gentil cor;
Fra tutti egli è il più saggio e il più felice ancor.
Io già parlar lo sento
E domandar contento un bacio ch’egli avrà.
Tra la la etc

Ma l’ora s’avanza ed ei non giunge ancor.
Ah! Che vêr questa stanza più non lo spinge amor.
Come mi batte il petto
Per tema e per sospetto lo vedo: eccolo là; ei viene qua.
Tra la la etc

Already dark night spreads a veil over the lawn
It is surely time for my faithful shepherd..
Not a hint of movement
Or the wind may betray us: he will arrive soon.
Tra, la, la etc

Lesbin of the village keeps his gentlest heart closed.
Still, he is the wisest and the happiest of all.
I can already hear him speak and ask for a kiss that he will happily have.
Tra, la, la etc

But the hour advances and he is still not here.
Ah! Could it be true this room no longer moves him to love?
See how my chest beats from fear and suspicion: here he is; here he comes.
Tra, la, la etc

Text by The Rev Charles Kingsley from The Saint’s Tragedy

O that we two were maying
Down the steam of the soft spring breeze,
Like children with violets playing
In the shade of the whisp’ring trees.
O that we two were maying
In the shade of the whisp’ring trees.

O that we two sat dreaming
On the sward of some sheep-trimm’d down,
Watching the white mist stealing
Over river, mead, and town.
O that we two sat dreaming
On the sward of some down.