New York Soprano Hayley Boggs and Ukrainian pianist Maryna Buksha perform UND WÜSSTEN'S DIE BLUMEN from FOUR HEINE LIEDER for soprano & piano, Op. 19, No. 3 by American composer Gary Lloyd Noland (1990).

This song (Lied) was premiered on a Seventh Species concert at Mills College on February 21st, 1991 by soprano Josephine Zizzo and pianist Michael Orland. In attendance were composers Alvin Curran and Andrew Imbrie (where the two met for the first time). Also in attendance was my grandmother and a friend of hers I used to have lunch with by the name of Ernie (I don't remember his surname) who was in his mid-nineties at the time (a few years older than my grandmother, who herself was born in Poznan, Poland in 1897, which at the time was part of Germany). Ernie met Gustav Mahler and Bruno Walter while hiking in the woods outside of Vienna when he was only ten years old (!). I love such historical connections, tenuous as they may be, for it connects one with the past. 

Here is the text of Heinrich Heine's famous poem (also set by Schumann):

Und wüssten’s die Blumen, die kleinen,
Wie tief verwundet mein Herz,
Sie würden mit mir weinen,
Zu heilen meinen Schmerz.

Und wüssten’s die Nachtigallen,
Wie ich so traurig und krank,
Sie liessen fröhlich erschallen
Erquickenden Gesang.

Und wüssten sie mein Wehe,
Die goldenen Sternelein,
Sie kämen aus ihrer Höhe,
Und sprächen Trost mir ein.

Sie alle können’s nicht wissen,
Nur eine kennt meinen Schmerz:
Sie hat ja selbst zerrissen,
Zerrissen mir das Herz.

UND WÜSSTEN'S DIE BLUMEN from FOUR HEINE LIEDER for soprano & piano, Op. 19, No. 3

Soprano Hayley Boggs and pianist Maryna Buksha perform EIN FICHTENBAUM STEHT EINSAM for soprano & piano, from FOUR HEINE LIEDER, Op. 19, No. 4, by Gary Lloyd Noland. 

Poem by Heinrich Heine:

Ein Fichtenbaum steht einsam
Im Norden auf kahler Höh.
Ihn schläfert; mit weißer Decke
Umhüllen ihn Eis und Schnee.

Er träumt von einer Palme,
Die, fern im Morgenland,
Einsam und schweigend trauert
Auf brennender Felsenwand.

For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com.

EIN FICHTENBAUM STEHT EINSAM for soprano & piano, from FOUR HEINE LIEDER, Op. 19, No. 4

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Lorelei
Music & arrangement Luben Pavlov, lyrics Heinrich Heine
Dreamers, Vienna - live
February 15th 2024, Vienna
Apostol Milenkov - vocal, Zlato-Lina - piano, Thomas Schön - saxophone, Gerald Grün - trumpet

Lorelei

Dans cet épisode, nous vous invitons à découvrir l'identité sonore de la Maison Heinrich Heine de la Cité Universitaire de Paris. À travers des paysages sonores et des témoignages de ses résidents, nous explorons comment les échos de la culture allemande s'entrelacent avec la vie universitaire dans un environnement international et interculturel. Un portrait sonore qui capture l'essence de cette maison au cœur de Paris en 2024.


In dieser Episode laden wir dich ein, die Klangidentität der Maison Heinrich Heine in der Cité Universitaire in Paris zu entdecken. Durch Klanglandschaften und Zeugnisse ihrer Bewohner erforschen wir, wie die Echos der deutschen Kultur mit dem universitären Leben in einem internationalen und interkulturellen Umfeld verwoben sind. Eine Tonfotografie, die das Wesen dieses Hauses im Herzen von Paris im Jahr 2024 einfängt.

CIUP : Maison Heinrich Heine

Einblicke in das lyrische Werk eines „Skandaldichters“: Heinrich Heine, der scharfzüngige, leichte und „moderne“ Meister der Lyrik und Prosa schrieb Reiseberichte, Essays, Gedichte, Im GEDICHT DER WOCHE rezitiere ich im Januar 2025 Gedichte u.a. aus dem „Buch der Lieder“.


Heinrich Heine "Ich glaub nicht an den Himmel"

Aus den Frühlingsliedern von 1822 ein bitterer Text von Heine, dem Schöpfer spöttischer und doch so zarter Verse - gelesen im GEDICHT DER WOCHE auf TIDE.radio 

Heinrich Heine "Sie haben mich gequälet"

Eines der zarten Liebesgedichte von Heine aus dem "Buch der Lieder" von 1827 im GEDICHT DER WOCHE

Heinrich Heine "Es stehen unbeweglich"

Typisch Heine: Ganz lyrisch, zart und melancholisch und dann ein kleiner profaner Stoß am Ende; aus dem "Herbstzyklus" von 1822

Heinrich Heine "Wenn zwei voneinander scheiden"

Westfalen – mehr als Schinken, Pumpernickel, Wildpferde und das alte Ruhrgebiet: Poetische Anmerkungen über das Land zwischen Ruhr und Emscher, Lippe und Weser, das so wenig mit dem Rheinland zu tun hat, rezitierte Kornelia Kirwald im GEDICHT DER WOCHE im März; hier hören Sie Heinrich Heine mit seiner leicht ironischen Würdigung des westfälischen Menschenschlages.

Heinrich Heine "Die lieben guten Westfalen"

DREAMERS, Vienna

Apostol Milenkov – Vocal, Zlato Lina – Piano, Thomas Schoen – Clarinet & Saxophone, Gerald Gruen – Trumpet

Soul, Rhythm and Blues, Swing, Jazz…easy listening

The band DREAMERS, Vienna was founded in November 2022 by the established opera singer Apostol Milenkov and the long-time jazz pianist, composer and arranger Luben Pavlov. To them joined the virtuosos Thomas Schoen (saxophone and clarinet) and Gerald Gruen (trumpet). The group began with very successful concerts, and in May 2023 Zlato Lina (Zlatolina Semova) succeeded Luben Pavlov on the piano. She is not only an experienced jazz pianist, but also an equally talented composer and arranger. Naturally, the idea for a first album of the formation arose, on which, in addition to wonderful arrangements by Elvis, Sinatra, Tom Jones, Celentano, etc., the focus is on the new, own compositions. This is how Zlato Lina's songs were created based on the lyrics of Lucy Slaneva "Did you call me" and "Una canasta de albaricoques" and "Poem for BDZh" (lyrics by Apostol Milenkov), and Lyuben Pavlov wrote the music for "When I dreamed you up" (Damyan Damyanov) and "Little Song", "Wings", "Again" and "Night" based on lyrics by Apostol Milenkov.

Listen to the title track: https://www.youtube.com/watch?v=VSzoiDeE28M 

The album is called Little Song, the first of the new songs, and its official presentation took place on May 19, 2024 at the prestigious Jazz Brunch at the Wimberger Hotel in Vienna and then in June – on tour in Bulgaria.

In addition to the enormous stylistic diversity, DREAMERS, Vienna also offer exceptional musical interpretations in the person of Zlato Lina, who meticulously exploits the full musical potential of her instrument, Thomas Schoen and Gerald Gruen complement the sound with their phenomenal skills and shine in their solos. The deep bass timbre and vocal mastery of Apostol Milenkov fill the palette of the musical picture.

You can find the album at https://www.artistcamp.com/dreamers-vienna/little-song/9008798618361/index.html 

More about the band:
https://www.youtube.com/@Dreamers-Vienna 
https://soundcloud.com/search?q=dreamersvienna2021 
https://www.facebook.com/TheDreamersVienna 

Contact:
Apostol Milenkov
+43 69910783187, apostol.milenkov@gmx.at

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

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