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Möge die Strasse Dir entgegenkommen

und der Wind in Deinem Rücken sein,

möge die Sonne Dir warm ins Gesicht scheinen

und der Regen sanft auf Deine Felder fallen.

Und bis wir uns wiedersehen,

halte Gott Dich fest in seiner Hand.

B ei dem Begriff irish blessing denkt jeder zunächst an diese berühmte Strophe. Sie wird in ähnlicher Übersetzung vielfach in die neuen Gesangbücher der evangelischen Kirchen

aufgenommen. Was für ein schöner Segenswunsch, wenn man sich auf eine längere Reise begibt!

Irland ist geprägt von rauen Landschaften mit scharfen Felsen, steilen Klippen und weiten Hügel-landschaften. Wind und Wetter verlangen den Menschen dort viel ab. Aber die geographische Lage Irlands brachte schon früh seine Landsleute dazu, sich als Seefahrer in die Welt aufzumachen, auch wenn dies großen Mut erforderte.

Die Angst, die Heimat und die Lieben nicht mehr wieder zu sehen, zeigt sich in zahlreichen Segenswünschen, deren Textformen alle demselben Wunsch nach Gottes Schutz entspringen: May god hold you in the palm of his hand, may the hand of a friend be always near you, may it be your journey on to light the day. Im Irischen Segen wird mit dem Wort möge/may der Wunsch nach Geborgenheit ausgedrückt, auf Reisen und in allen Situationen des Alltags, und fi ndet dadurch seinen besonderen Charakter.

Wenn man sich vor diesem Hintergrund auf die Suche nach Chorliteratur zu diesem Thema begibt, tut sich eine Vielzahl von Stücken auf, die den Gedanken des Getragenseins auf wunderbare Art vermitteln – in Gebeten und Schlafl iedern, aber auch in traditionellen irischen volksliedartigen Sätzen: I need your arms to carry me, You do not walk alone, Lead me Lord – oder deutschen Texten wie: So bleibe bei uns. Diese Ruhe und Sicherheit vermitteln auch die rein instrumentalen Werke dieser CD, die ihre besondere Klangfarbe den traditionell irischen Instrumenten Flöte und Harfe verdanken.

Bei der Zusammenstellung des Programms für diese CD war ich erstaunt über die Vielzahl der unterschiedlichen Vertonungen von Irish blessings, sodass wir uns auf eine Auswahl beschränken mussten. Sie werden hier Stücken gegenübergestellt, die zwar einen anderen Wortlaut haben, aber den gleichen Gedanken transportieren. Die Warmherzigkeit der Texte und die einnehmenden Kom-positionen haben uns während der Proben tief bewegt und werden den Chor sicherlich noch lange begleiten. Möge diese CD auch Sie berühren und begleiten... until we meet again!

Alexander Gütinger

May the road rise up to meet you.

May the wind be always at your back.

May the sun shine warm upon your face;

the rains fall soft upon your fields

and until we meet again,

may God hold you in the palm of his hand.

The words Irish blessing are sure to make you think of this famous verse. It is found in Ger-man translation in the new hymn books of many Lutheran and Protestant churches. What a

sweet call for blessing before a long journey!

Ireland is shaped by its rugged landscapes with ragged rocks, sheer cliffs and open uplands. Wind and weather take their toll of those who live there. But Ireland’s geographical location has long stirred its people to venture into the world as seafarers, even if this calls for brave hearts.

The fear of never seeing home and loved ones again is expressed in numerous blessing prayers, all prompted by the same wish for God’s protection: May God hold you in the palm of his hand, may the hand of a friend be always near you, may it be your journey on to light the day. The word may in the Irish blessing expresses the wish for safety, when travelling and in all everyday situations, and gains its special character from this connotation.

When we look for choral works that refl ect this general theme, we fi nd a number of pieces that wonderfully convey the idea of being borne up by the Almighty: in prayers and lullabies, but also in traditional Irish lyrics with folk-music character – I need your arms to carry me, You do not walk alone, Lead me Lord – or German texts like So bleibe bei uns (now stay with us).

This peace and security is again conveyed by the purely instrumental works on this CD, which owe their special timbre to the traditional Irish instruments, the fl ute and harp. When I put together the programme for this CD I was amazed at the number of different settings of Irish blessings, and we had to limit ourselves to a selection. They are contrasted here with pieces that have different words but express the same idea. The heartfelt warmth of the lyrics and the captivating charm of the compositions moved us deeply at rehearsals and are sure to remain with the choir for many years to come. May this CD move you and accompany you... until we meet again!

Alexander Gütinger

Old Irish Blessing (Text: trad.; Musik: Denes Agay)

May the road rise to meet you, may the wind be always at your back, the sun shine warm upon your face, the rains fall soft upon your fi elds. ♦ And until we meet again, may God hold you in the palm of his hand. ♦ May the Lord bless you and keep you, may the Lord cause his face to shine upon you and give you peace. ♦ May the road rise to meet you, may the wind be always at your back, the sun shine warm upon your face, the rains fall soft upon your fi elds. ♦ And, until we meet again, May God hold you in the palm of his hand.

May It be aus: „The Lord of the Rings: The Fellowship of the Ring“(Text & Musik: Eithne Ni Bhraonain, Nicky Ryan, Roma Ryan; Arr.: Mark Brymer)

May it be an evening star shines down upon you. May it be when darkness falls, your heart will be true. You walk a lonely road; oh, how far you are from home. ♦ Mornië utúlië. Believe and you will fi nd your way. Mornië alantië. A promise lives within you now. ♦ May it be the shadows call will fl y away. May it be you journey on to light the day. When the night is overcome, you may rise to fi nd the sun. ♦ Mornië utúlië. Believe and you will fi nd your way. Mornië alantië. A promise lives within you now.

Prayer (Text basierend auf Matthäus 6, 9-13; Text und Musik: Lloyd Larson)

Our Father, who art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done on earth as it is in heav’n. Give unto us this day our bread, and forgive us our debts, as we forgive our debtors. And lead us not into temptation, but deliver us from evil; for Thine is the kingdom and the power, and the glory forever, forever and forevermore, amen.

Olde Irish Aire (Musik: George L. O. Strid ; Vierstimmiger Satz: Alexander Gütinger)

The moon shines down from the heavens. A soft wind blows from the sea. I hear a tune that my mother once sang so sweetly to me. ♦ She sang, “Turaluraluralay,” and “Turaluralie.” ♦ It takes me over the ocean to my dear home far away, I miss the friends of my childhood, I long to see them today. ♦ I sing, “Turaluraluralay”, and “Turaluralie”. ♦ There’s one fond wish in my heart no. If that one wish could come true, I’d be back home in Killarney; back home, dear Mother, with you. ♦ We’d sing, “Turaluraluralay”, and “Turaluralie”.

You Do Not Walk Alone (Text: trad.; Arr.: Dominick DiOrio)

You do not walk alone. May you see the light on the path ahead, when the road you walk is dark. May you always hear e’en in your sorrow, the gentle singing of the lark: You do not walk alone. ♦E’en in your hour of sorrow, the gentle singing of the lark, when times are hard: You do not walk alone. ♦ May hardness never turn your heart to stone, May you always remember when the sha-dows fall: You do not walk alone.

So bleibe bei uns gewidmet dem Schwetzinger Kammerchor Quatro Forte (Melodie & Satz: Wolfgang Gütinger)

Wenn der Boden unter meinen Füßen schwankt, so reichst du mir deine Hand und hältst mich fest. Wenn ich keinen Boden mehr unter den Füßen habe, stellst du mich auf festen Grund. Wenn die Erde sich auftut, um mich zu verschlingen, umgibst du mich mit deiner Liebe. ♦ |: So bleibe bei uns mit deinem Segen für Leib und Seele. So bleibe bei uns mit deiner Kraft für Geist und Sinn. So bleibe bei uns auf allen uns’ren Wegen, Herr, bleibe bei uns, Herr, mit deinem Segen. :|

Irish Blessing (Text: trad.; Musik: Philip Stopford)

May the road rise to meet you. May the wind be ever at your back. May the sun shine warm upon your face; the rains fall soft upon your fi elds. And until we meet again may God hold you in the palm of his hand. ♦ May the sun make your days bright. May the stars illuminate your nights. May the fl owers bloom along your path; your house stand fi rm against the storm. And until we meet again may God hold you in the palm of his hand. Amen.

Irish Blessing (Text & Musik: trad.; Arr.: Bradley Nelson)

May the road rise up to meet you, may the wind be always at your back, may the sun shine warm upon your face, the rains fall soft upon your fi elds. ♦ And until we meet again, May God who loves us all hold you in the palm of His hand. Amen.

May you always (Text: trad.; Arr.: Earlene Rentz)

May you always have work for your hands to do. May your pockets always hold a coin or two. May the sun shine bright on your windowpane. May the rainbow be certain to follow each rain. ♦ May you always forget all the things that made you sad. May you always remember all the things that made you glad. May the hand of a friend be always near you. May love fi ll your heart with gladness. ♦ May you always forget all the things that made you sad. May you always remember all the things that made you glad. May the hand of a friend be always near you. May the sun shine bright, a rainbow come again, may the hand of a friend be always near you. May love fi ll your heart with gladness, with gladness to cheer you.

A King's Irish Blessing (Text: John Jacobson; Musik: Cristi Cary Miller)

O gentle friends, long ol’ Upland stream, were I king, oh what treasures I’d bear. I, being poor, have only my dreams, shivering prayers I might spare. ♦ May the hills of your homeland forever caress you, when sitting with friends by the fi re. May the luck of the Irish continue to bless you and all that your heart may desire. ♦ May your purse be so heavy, your heart be so light, may you live to be one hundred years. And may good luck pursue you each morning and night, may you feel much more laughter than tears. ♦ May the hills of your homeland forever caress you, when sitting with friends by the fi re. May the luck of the Irish continue to bless you and all that your heart may desire. ♦ Oh, too rye loo rye loo lee ay. Oh, too rye loo lee ay. ♦ May the sunshine of each and every day shine bright on your dark window pane. May you always remember to look up above to see rainbows after each rain. ♦ O gentle friend, long ol’ Upland stream, I have no royal treasure, it’s true. I, being poor, have only my dreams, and this humble blessing for you.

Carry me (Text & Musik: Günter Hänssler & Felicia Taylor; Satz: Wolfgang Gütinger)

You carry me when I’m tired and worn, when I’m in pain and my strength is gone. Lead me on, Lord, take a hold of my soul, smoothe my head with your touch, smoothe me until I’m whole. ♦ I needyour arms to carry me and take me on through to you. I want to be so close, so near, just be a part of you, cause you’re of me. ♦ Hear me calling, Lord when storms are moving on, even when I’m lost just don’t know which way I’m going.Touch my hand, my soul or my mind you are all that I know, oh let me come to you. ♦ I need your arms to carry me and take me on through to you. I want to be so close, so near, just be a part of you, ‘cause you’re of me. Oh Lord, my soul, you touch and I’m whole. ♦ I need your arms to carry me and take me on through to you. I want to be so close, so near, just be a part of you. ♦ I need those wings to carry me and take me on through to you. I want to be so close, so near, just be a part of you, ‘cause you’re of me.

Lead me Lord (Text: frei nach Psalm 5; Musik: Will Todd)

Lead me, Lord, in your righteousness. Make your Way clear before my face. Only my Lord brings me safety, so lead me, Lord.

The Gartan Mother's Lullaby (Text: irisches Volkslied; Arr.: Neil Ginsberg)

Sleep, my child, for the red bee hums, the silent twilight falls. The Banshee from the grey rock comes, to wrap the world in thrall. ♦ A lyanvan, o my child, my joy, My love, my heart’s desire, the cricket sings you a lullaby beside the dyin’ fi re. ♦ Dusk is drawn, and the Green Man’s thorn is wreathed in rings of fog. Sheevra sails his boat ‘til morn upon the starry bog. ♦ A lyanvan, o the pale halfmoon, hath brimmed her cusp in dew, and weeps to hear this sad, sleep tune, I sing, my love, to you.

Think of Me and Remember (Text & Musik: Joel Raney)

Take this wine I pour, take this bread I break. Search your heart and remember the sacrifi ce I make. ♦ Come and follow me. I will hold you forever. My life I give so you may live. Think of me and remember. ♦ When your feet grow tired, and your fl esh is weak, think of me and remember. I am the rest you seek. ♦ Come and follow me, I will hold you forever. My life I give, so you may live. Think of me and remember. ♦ Remember how I prayed at Gethsemane, “Father, let this cup please pass from me.” Remember how the soldiers captured me, then led the Son of Man to Calvary. ♦ As you close the day, as you sing and pray, search your heart and remember the debt I came to pay. ♦ Come and follow me, I will hold you forever. My life I give so you may live. Think of me and remember.

10.000 Reasons (Text & Musik: Jonas Myrin & Matt Redman; Arr.: Lloyd Larson)

Bless the Lord, O my soul, O my Soul; worship his holy name. Sing like never before, O my soul; I’ll worship your holy name. ♦ The sun comes up, it’s a new day dawning, it’s time to sing your song again. Whatever may pass, and whatever lies before me, let me be singing when the evening comes. ♦ Bless the Lord, O my soul, O my soul; worship his holy name. Sing like never before, O my soul; I’ll worship your holy name. ♦ You’re rich in love and you’re slow to anger. Your name is great and your heart is kind. For all your goodness, I will keep on singing; ten thousand reasons for my heart to fi nd. ♦ Bless the Lord, O my soul, O my soul; worship his holy name. Sing like never before, O my soul; I’ll worship your holy name. ♦ And on that day when my strength is failing, the end draws near and my time has come; still my soul will sing your praise unending ten thousand years and then forever more! ♦ Bless the Lord, O my soul, O my soul; worship his holy name. Sing like never before, O my soul; I’ll worship your holy name.

Quatro Forte Der Schwetzinger Kammerchor Quatro Forte, „zwei Dutzend Kehlen“, die „wahrlich (…) so be-

rückend“ singen, „als halte der Chor unsere Herzen in Händen (…)“ (Schwetzinger Zeitung), wurde 1991 gegründet. Heute hat der Schwetzinger Kammerchor einen anerkannten Platz im Kulturleben der Metropolregion Rhein-Neckar und erarbeitete sich im Laufe seines über 25jährigen Bestehens ein vielseitiges Repertoire. Mit bis zu 16-stimmigen Werken von der Renaissance bis zur Moderne, sowohl a cappella als auch mit Orchesterbegleitung, weist der Kammerchor eine große musikali-sche Bandbreite auf. Ein besonderes Augenmerk liegt neben dem homogenen und einfühlsamen Chorklang auf der wortgetreuen Interpretation des Textes in die Musik.

Seit dem Jahr 2008 führt Alexander Gütinger die musikalische Leitung des Ensembles. Seiner Energie und Vision verdankt der Chor die Entwicklung seines homogenen Stimmgefüges und den daraus resultierenden Zuspruch des Publikums.

Die nun aufgenommene CD wurde im Franz-Danzi-Saal Schwetzingen mit freundlicher Unter-stützung der Stadt sowie der Musikschule Schwetzingen eingespielt.

Quatro Forte The Schwetzingen chamber choir Quatro Forte, “two dozen voices” that “truly sing as bewit-

chingly as if the choir had our hearts in their hands” (Schwetzinger Zeitung), was founded in 1991. These days, the Schwetzingen choir has a privileged place in the cultural life of the Rhein-Neckar metropolitan region, having developed a varied repertoire in the course of its twenty-seven-year existence. With works for up to 16 parts from the Renaissance to modern times, both unaccom-panied and with orchestral accompaniment, the chamber choir displays great musical versatility, with special emphasis on singing the music so as to express the full meaning of the words while achieving a smoothly balanced, sensitive choral sound.

Alexander Gütinger has been musical director of the ensemble since 2008. It is to his energy and vision that the choir owes its homogeneous balance of voices and its consequent audience recognition.

The present CD was recorded in the Franz-Danzi-Saal in Schwetzingen with the generous sup-port of the City of Schwetzingen and its Music School.

Randolf Stöck studierte Klavier bei Prof. Andreas Pistorius (Staatl. Hochschule für Musik Mannheim) und Martin Canin (The Juilliard School, New York), sowie Dirigieren bei Prof. Klaus Arp und Prof. Georg Grün. Er besuchte Meisterkurse bei Yvgeni Malinin (Moskau), Elisabeth Leonskaja, Rudolf Buchbinder und Geoffrey Parsons. Während seiner Studienzeit nahm er mehrfach erfolgreich an internationalen Musikwettbewerben teil. So gewann er u.a. 1995 den 1. Preis beim „Internationalen Johannes Brahms-Wettbewerb“ der Stadt Pörtschach, Österreich. Er erhielt ein Vollstipendium der Juilliard School (New York) und schloss seine dortigen Stu-dien 1998 mit Auszeichnung ab. Auch war er Stipendiat der Yamaha Music Foundation Europe (YMFE) und der Domhof-Stiftung, deren Kuratorium er seit 2015 angehört. Seine Konzerttätigkeit als Solist und Klavierbegleiter führten ihn in verschiedene europäische Länder, in die Vereinigten Staaten bis in den asiatischen Raum (Nord- und Südkorea / China). Er ist ständiger Gast bei den Kammermusikreihen des SR und des SWR und spielt in verschiedenen Kammermusikformationen mit international renommierten Musikern, wie z.B. den Cellisten Jens-Peter Maintz und Manuel Fischer-Dieskau, dem Bratschisten Hartmut Rohde und der Flötistin Roswitha Staege. Immer wie-der sucht er die Zusammenarbeit mit Musikern aus der Jazzszene; so brachte er z.B. die Jazzsuite „The Haunted Ballroom“ für klassisches Klavierquartett des Saarbrücker Pianisten und Arrangeurs Christoph Mudrich im Rahmen des 16. Heidelberger Kammermusikfestivals 2006 zur Urauffüh-rung. 2007 wurde das Stück vom Saarländischen Rundfunk gesendet.

Randolf Stöck studied piano with Prof. Andreas Pistorius (Mannheim College of Music) and Martin Canin (The Juilliard School, New York) and conducting with Prof. Klaus Arp and Prof. Georg Grün. He attended master classes by Yevgeny Malinin (Moscow), Elisabeth Leonska-ja, Rudolf Buchbinder and Geoffrey Parsons. While studying he enjoyed success in a number of

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international music competitions, winning fi rst prize in the 1995 International Johannes Brahms Competition at Pörtschach in Austria. He was awarded a full scholarship at the Juilliard School, graduating with distinction in 1998. He was also supported by the Yamaha Music Foundation Euro-pe (YMFE) and by the Domhof-Stiftung, whose governing body he joined in 2015. His concert work as soloist and accompanist have taken him to numerous European countries, the United States and Asia (North and South Korea / China). He is a regular guest of the chamber music series given by German broadcasters SR and SWR and plays in various chamber formations with musicians of international standing such as the cellists Jens-Peter Maintz and Manuel Fischer-Dieskau, violist Hartmut Rohde and fl autist Roswitha Staege. He is always keen to work with artists from the jazz scene, premiering “The Haunted Ballroom” for classical piano quartet by the Saarbrücken pianist and arranger Christoph Mudrich at the 16th Heidelberg Chamber Music Festival in 2006. The work was broadcast by Saarland Radio in 2007.

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Duo Arpeggio (Flöte & Harfe) Anke Palmer aus Heilbronn und Angela Holzschuh aus Mannheim lernten sich bereits während des Studiums an der Staatlichen Musikhochschule Hei-delberg-Mannheim kennen. Anke Palmer unterrich-tet seit 1992 hauptamtlich an den Musikschulen in Sinsheim und Hockenheim, Angela Holzschuh seit 1996 an der Städtischen Musikschule in Weilheim /Obb. Unter dem Namen „Duo arpeggio“ musizieren sie gemeinsam seit 1996 und konzertieren regel-mäßig im In- und Ausland. Als letzte gemeinsa-me kammermusikalische Produktion nahmen die beiden im Jahr 2011 die CD „Rose de Noel“ mit Weihnachtsmusik für Flöte und Harfe auf. Zuvor entstanden 2001 die erste CD „arpeggio“ und 2006 die zweite „con anima“.

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Duo Arpeggio (Flute & Harp)

Anke Palmer from Heilbronn and Angela Holzschuh from Mannheim got to know each other while stu-dying at the Heidelberg-Mannheim State College of Music. Anke Palmer has been a member of the teaching establishment since 1992 at the music schools in Sinsheim and Hockenheim, Angela Holz-schuh since 1996 at the Municipal School of Music in Weilheim, Upper Bavaria. They have been perfor-ming together as “Duo arpeggio” since 1996 and are regularly to be heard in concert at home and abroad. Their last chamber recording together was the 2011 CD “Rose de Noel” with Christmas music for fl ute and harp, following their 2001 debut CD “arpeggio” and “conanima” in 2006.

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Alexander Gütinger, geboren 1976 in Oberfranken, erhielt bereits im Alter von 6 Jahren Klavierunterricht. Während seiner achtjährigen Zeit als Mitglied des Windsbacher Knabenchores erhielt er eine umfassende musikalische Ausbildung in Gesang, Klavier und Orgel. Mit 17 Jahren übernahm er die Leitung des Gesangvereins Wolframs-Eschenbach. Nach einem Auslandsaufenthalt in Amiens (Frankreich) studierte er in Mannheim Lehramt Musik und Fran-zösisch. Seine Schwerpunkte bildeten Klavier (Kai Adomeit) und Gesang (Marie-Paule Hallard). Den Diplomstudiengang Dirigieren bei Prof. Klaus Eisenmann (Orchesterleitung) und Prof. Georg Grün (Chor) schloss er mit sehr gutem Erfolg ab. In seinem Abschlusskonzert im Januar 2004 mit den Baden-Badener Philharmonikern dirigierte er unter anderem Mendelssohns 5. Sinfonie.

Alexander Gütinger, born in Upper Franconia in 1976, took piano less-ons from the age of six. His eight years in the Windsbach Boys’ Choir gave him an all-round musical education in singing, piano and organ. At 17 he assumed the direction of the Wolframs-Eschenbach Choral Society. After a stay abroad in Amiens (France) he studied music and French for a teaching qualifi cation in Mannheim, his special subjects being piano (Kai Adomeit) and voice (Marie-Paule Hallard). He graduated from his diploma course in conducting under Prof. Klaus Eisenmann (orchestra direction) and Prof. Georg Grün (choir) with excellent results. His closing concert in January 2004 with the Baden-Baden Philharmonic featured him as the conductor of Mendelssohn’s 5th Symphony. He advanced his musical studies in master classes given by Dmitri Kitayenko, Lutz Herbig and Martin Studer (conducting) and as Lieder accompanist with Dietrich Fischer-Dieskau. Alexander Gütinger has been teaching music and French at the Lessing-Gymna-sium in Mannheim since September 2005. During his education and employment, he remained a member of the KammerChor Saarbrücken. Since December 2007 he has sung in the VoxpoP vocal ensemble (Nancy). In January 2008 he assumed musical direction of the Schwetzingen chamber choir Quatro Forte.

Ergänzt wurden seine musikalischen Studien durch Meisterkurse bei Dmitri Kitayenko, Lutz Herbig und Martin Studer (Dirigieren) sowie bei Dietrich Fischer-Dieskau als Liedbegleiter. Seit September 2005 unterrichtet Alexander Gütinger die Fächer Musik und Französisch am Lessing-Gymnasium Mannheim. Parallel zu seiner Ausbildung und berufl ichen Tätigkeit war er langjähriges Mitglied im KammerChor Saarbrücken. Seit Dezember 2007 ist er Sänger im Vokalensemble VoxpoP (Nancy). Im Januar 2008 übernahm er die musikalische Leitung des Schwetzinger Kammerchores Quatro Forte.

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