Annie Brown, Soprano Junior Recital Program Notes Assisted by Jessica Meyers, Piano Livestream on December 4th, 2020
Program Notes and Translations George Frederic Handel (1685-1759) George Frederic Handel was born in Brandenburg, Germany on February 23, 1685. One of the most famous composers of the Baroque era, Handel wrote approximately two-hundred operas, oratorios, and instrumental compositions in his lifetime as well as music in numerous other styles. His oratorio, L’Allegro, was first performed at the Royal Theatre in London. The oratorio is largely a setting of John Milton’s poem “L’Allegro” where the lyrics of “Come and Trip It” originate. Come and Trip It from the oratorio L’Allegro Come, and trip it as you go, On the light fantastic toe
Franz Schubert (1797-1828) Franz Schubert was born on January 31, 1797 near Vienna, Austria into a family of amateur musicians. As a child, Schubert showed an aptitude for music. He eventually would be known as one of the reformers of Lieder, a musical style which began as far back as the 12th century (Britannica). Influenced by 18th and 19th century Romanticism, Schubert played a key role in transforming the genre into sensitive lyrical settings of German poetry. The following pieces are selections from Schubert’s vast Lieder repertoire. An die Laute To the Lute Leiser, leiser, kleine Laute, Play more softly, little lute, Flüstre, was ich dir vertraute, whisper what I secretly told you Dort zu jenem Fenster hin! to that window there! Wie die Wellen sanfter Lüfte Like the ripple of gentle breezes, Mondenglanz und Blumen düfte, like moonlight and the scent of flowers, Send es der Gebieterin! convey your secret to my mistress. Neidisch sind der Nachbars Söhne, Und im Fenster jener Schöne Flimmert noch ein einsam Licht.
The neighbour’s sons are envious, and at the fair lady’s window a solitary lamp flickers.
Drum noch leiser, kleine Laute: Dich vernehme die Vertraute, Nachbarn aber, Nachbarn nicht!
So play still more softly, little lute: that my beloved may hear you, but the neighbours – no, not the neighbours! Translations by © Richard Wigmore
An die Harmonie To Harmony Schöpferin beseelter Töne! Creator of inspired music! Nachklang dem Olymp enthallt! Echo, sounding from Olympus! Holde, körperlose Schöne, Gracious, disembodied beauty, Sanfte geistige Gewalt, gentle spiritual power Die das Herz der Erdensöhne who boldly uplifts and tenderly envelops Kühn erhebt und mild umwallt! the hearts of mortals; Die in inn’rer Stürme Drange who with soothing magic Labt mit stillender Magie, quells the tempests within us, Komm mit deinem Sühngesange, come with your comforting music, Himmelstochter Harmonie! harmony, daughter of heaven. Seufzer, die das Herz erstickte, Das, mißkannt, sich endlich schloß Thränen, die das Aug’ zerdrückte, Das einst viel umsonst vergoß, Dankt dir wieder der Entzückte, Den dein Labequell umfloß. Der Empfindung zarte Blume, Die manch’ frost’ger Blick versengt, Blüht, erquickt im Heiligtume Einer Brust, die du getränkt.
Ich will von Atreus’ Söhnen, Von Kadmus will ich singen! Doch meine Saiten tönen Nur Liebe im Erklingen. Ich tauschte um die Saiten,
For sighs, suppressed by the heart that, misunderstood, at length became closed; for tears, forced back by eyes that had once wept so much in vain, I thank you again, enraptured, lapped by your healing stream. The tender flower of feeling blighted by many a frozen look, blossoms, refreshed in the shrine of a heart nurtured by you. Translations by © Richard Wigmore
An Die Leier To the Lyre I would sing of Atreus’ sons, of Cadmus, but my strings bring forth only sounds of love. I have changed the strings,
Die Leier möcht ich tauschen! Alcidens Siegesschreiten Sollt ihrer Macht entrauschen!
I should like to change the lyre! Alcides’ victorious march should ring out from its might!
Doch auch die Saiten tönen Nur Liebe im Erklingen! So lebt denn wohl, Heroen! Denn meine Saiten tönen Statt Heldensang zu drohen, Nur Liebe im Erklingen.
But these strings, too, bring forth only sounds of love! Farewell, then, heroes! For my strings, instead of threatening with heroic songs, bring forth only sounds of love. Translations by © Richard Wigmore
An die Musik To Music Du holde Kunst, Beloved art, in wieviel grauen Stunden, in how many a bleak hour, Wo mich des Lebens wilder Kreis when I am enmeshed in life’s umstrickt, tumultuous round, Hast du mein Herz zu warmer Lieb have you kindled my heart to the entzunden, warmth of love, Hast mich in eine beßre Welt and borne me away to a better world! entrückt, Oft hat ein Seufzer, deiner Harf entflossen, Ein süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du holde Kunst, ich danke dir dafür,
Often a sigh, escaping from your harp, a sweet, celestial chord has revealed to me a heaven of happier times. Beloved art, for this I thank you! Translations by © Richard Wigmore
Samuel Barber (1910-1981) Born in West Chester, Pennsylvania, Samuel Barber was an integral part of 20 century classical music. Unique for contemporary classical music, Barber composed in a lyrical style rather than a strictly experimental style. “With rue my heart is laden” is taken from his song cycle Three Songs, Op. 2. This song sets the poetry of A.E. Housman and was composed rather early in Barber’s career. th
With rue my heart is laden With rue my heart is laden For golden friends I had, For many a rose-lipt maiden And many a lightfoot lad. By brooks too broad for leaping The light-foot boys are laid; The rose-lipt girls are sleeping In fields where roses fade
Dominick Argento (1927-2019) Dominick Argento was born on October 27th, 1927 to Sicilian immigrant parents. His early musical education was mostly from his own teachings. After being drafted into the Army during WWII, Barber attended the Peabody institute in Baltimore where he studied music (Page). “Dirge” is third in his song cycle, Six Elizabethan Songs. It is a setting of a song from Shakespeare’s comedy, Twelfth Night. Dirge Come away, Come away, Death, And in sad cypress let me be laid; Fly away, Fly away, breath; I am slain by a fair cruel maid. My shroud of white stuck all with yew, O prepare it! My part of death, no one so true Did share it. Did share it. Not a flower, not a flower sweet On my black coffin let there be strown; Not a friend, Not a friend greet My poor corpse, where my bones shall be thrown A thousand thousand sighs to save,
Lay me, O where sad true lover never find my grave, To weep there.
Gian Carlo Menotti (1911-2007) Gian Carlo Menotti was born Cadegliano, Italy into a music-loving family. He took piano, violin, and cello lessons from his mother as a child. Eventually, Menotti immigrated to the Unites States, where he would become one of the most influential composers of his time. His horror opera, The Medium originally premiered in New York City in 1947. Set in Budapest, the opera tells the story of a con woman called Madame Flora who tricks paying customers into believing she can communicate with the dead. The story also includes Madame Flora’s daughter, Monica, and a mute servant boy named Toby. “The Black Swan” takes place during the first act of the opera after Madame Flora has a glimpse of the paranormal, sending her into a psychotic episode. Monica calms her mother’s manic state by singing the twisted lullaby, “The Black Swan.” The Black Swan from The Medium The sun has fallen and it lies in blood. The moon is weaving bandages of gold. O black swan, where, oh, where is my lover gone? Torn and tattered is my bridal gown, And my lamp is lost, and my lamp is lost. With silver needles and with silver thread, The stars stitch a shroud for the dying sun. O black swan, where, oh, where has my lover gone? I had given him a kiss of fire, And a golden ring, and a golden ring. Don't you hear your lover moan? Eyes of glass and feet of stone, Shells for teeth and weeds for tongue, Deep, deep, down in the river's bed, He's looking for the ring. Eyes wide open, never asleep, He's looking for the ring, looking for the ring.
The spools unravel and the needles break, The sun is buried and the stars weep. O black wave, O black wave, take me away with you. I will share with you my golden hair, And my bridal crown, and my bridal crown. Oh, take me down with you Take me down to my wand'ring lover With my child unborn, with my child unborn.
Vincenzo Bellini (1801-1835) The eldest of seven children, Vincenzo Bellini was born on November 3, 1801. He composed during the “Bel canto” period, an Italian operatic style with intense lyricism and flowing, legato lines that was popular during the 19th century. “Malinconia, Ninfa Gentile” is the tenth song in Bellini’s fifteen-song cycle, Composizioni da Camera. The piece is a setting of a poem by Ippolito Pindemonte, an Italian poet born in the 18th century. Malinconia, Ninfa Gentile Melancholy, Gentle Nymph Malinconia, Ninfa gentile, Melancholy, gentle nymph, la vita mia consacro a te; I devote my life to you. i tuoi piaceri chi tiene a vile, One who despises your pleasures ai piacer veri nato non è. Is not born to true pleasures. Fonti e colline chiesi agli Dei; I asked the gods for fountains and hills; m'udiro alfine, pago io vivrò, They heard me at last; I live satisfied né mai quel fonte co' desir miei, Even though, with my desires, I never né mai quel monte trapasserò. Go beyond that fountain and that mountain. Translations by Oxford Lieder
Giovanni Paisiello (1740-1816)
Giovanni Paisiello was born on May 9th, 1740 in Apulia, Italy. He sang in the choir in his hometown before moving to Naples where he began his formal music training. In his lifetime, Paisiello composed over eighty operas, approximately forty masses, and fifty-one instrumental pieces. “Nel cor più non mi sento” comes from his opera, La molinara. The piece was originally sung as a duet but has since been adapted into a solo. It is sung in the second act of the opera by two sets of characters, Rachelina and Collandro, and later Rachelina and Pistofolo (Paton). Nel cor più non mi sento from La molinara In my heart I no longer feel Nel cor più non mi sento Brillar la gioventù; cagion del mio tormento, amor sei colpa tu. Mi pizzichi, mi stuzzichi, mi pungichi, mi mastichi; che cosa è questo ahimè? pietà, pietà, pietà! amore è un certo che, che disperar mi fa.
In my heart no longer I feel The sparkle of youth; Reason for my torment, Love, you are to blame. You poke me, you gnaw me, You pierce me, you pinch me; What is this, alas? Mercy, mercy, mercy! Love is a certain something, that makes me despair! Translations by Pamela Dellal
Luigi Arditi (1822-1903) Luigi Arditi was born on July 22nd, 1822 in Crescentino, Italy. In his early career, he played the violin but eventually began conducting and composing. Arditi wrote a handful of operas throughout his lifetime but also wrote stand-alone pieces and vocal waltzes, such as “Il Bacio.” In 1859, Arditi was requested to compose a vocal waltz for Marietta Piccolòmini, a prominent Italian soprano at the time. Gottardo Aldighieri, a famous high baritone in the 1800s, offered to write lyrics for Arditi’s song, since the composer was having great difficulty fitting words to the music. Arditi’s wife, Virginia, suggested a kiss as the song’s subject. And now “Il Bacio” has become one of Arditi’s most lasting works. (Paton) Il Bacio The Kiss
Sulle labbra se potessi dolce un bacio ti darei. Tutte ti direi le dolcezze dell'amor. Sempre assisa te d'appresso, mille gaudii ti direi, Ed i palpiti udirei che rispondono al mio cor. Gemme e perle non desio, non son vaga d'altro affetto. Un tuo sguardo è il mio diletto, un tuo bacio è il mio tesor. Ah! Vieni! ah vien! più non tardare a me! Ah vien! nell'ebbrezza d'un amplesso ch'io viva sol d’amor!
On the lips, if I could, A sweet kiss to you I would give. All to you I would say The sweetness of love. Always seated beside you, A thousand joys to you I would say, And the palpations I would hear That answer to my heart. Gems and pearls not I desire. I desire other affection; Your glance is my delight, Your kiss is my treasure. Come, ah, do not delay! Come, ah, come to me close! Come in the exhilaration of an embrace, So that I may life only from love. Translations by Luigi Marzola
Bibliography Glenn Paton, John. 26 Italian Songs and Arias: An Authoritative Edition Based on Authentic Sources. Van Nuys: Alfred Publishing, 1991. Page, Tim. “Dominick Argento, composer who was a modern master of opera, dies at 91.” The Washington Post. Feb. 21, 2019. www.washingtonpost.com/local/obituaries/dominick-argento-composerwho-was-a-modern-master-of-opera-dies-at-91/2019/02/21/909b7f90-35f311e9-854a-7a14d7fec96a_story.html Cudworth, Charles. “George Frederic Handel.” Britannica. April 10, 2020. Encyclopædia Britannica. www.britannica.com/biography/George-FridericHandel. Accessed Nov. 22, 2020. Holland, Bernard. “Gian Carlo Menotti, Composer of ‘Amahl’ and Other Popular Operas, Dies at 95.” The New York Times. Feb. 2, 2007. https://www.nytimes.com/2007/02/02/arts/music/02menotti.html. The Editors of Encyclopaedia Britannica. “Giovanni Paisiello.” Britannica. June 1, 2020. www.britannica.com/biography/Giovanni-Paisiello. Accessed Nov. 22, 2020. The Editors of Encyclopaedia Britannica. “Lied.” Britannica. Nov. 28, 2014. Encyclopædia Britannica. www.britannica.com/art/lied. Accessed Nov. 22, 2020.