The KATHRINE G. McGOVERN COLLEGE OF THE ARTS and the MOORES SCHOOL OF MUSIC Present
FACULTY RECITAL An Evening with Martial Caillebotte and Friends
DOMINIQUE MCCORMICK, soprano Assisted by KEITH WEBER, piano JEFFREY RAGSDALE, tenor
SUNDAY, OCTOBER 11, 7:30 p.m. MICROSOFT STREAM
About the Moores School Moores School of Music The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.
Moores Society The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year. Please visit uh.edu/kgmca/music/moores-society. For more information, please contact Shannon Langman, Patron Relations Coordinator, at msociety@uh.edu or 713.743.8036.
About the College Kathrine G. McGovern College of the Arts The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse cities. Bringing together the performing and visual arts entities at the University of Houston, the college has the ability to harness the power of the arts to ultimately impact our world. Our award-winning, internationally distinguished faculty provides top-quality instruction to the talented, emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College of the Arts seeks to positively impact the community and to empower our students to use their talents to change the world.
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Moores School of Music
Faculty Recital: Dominique McCormick Program Charles M. Widor
(1844-1937)
Martial Caillebotte (1853-1910)
Sérénade, poem by Théophile Gautier
Pauline Viardot (1821-1910)
Jeffrey Ragsdale, tenor
Sérénade
Jules Philipot (1824-1897)
Sérénade
Martial Caillebotte Jeffrey Ragsdale, tenor Cécile Chaminade
Mignonne, allons voir si la rose
(1857-1944)
Mignonne, allons voir si la rose
Martial Caillebotte
À Lydie, (Horace et Lydie) poem by Alfred de Musset
Jules Massenet
Duet with Jeffrey Ragsdale, tenor
(1842-1912)
Le Nuage, poem by Théophile Gautier
Martial Caillebotte
Attente, poem by L. Gilis
Martial Caillebotte
À Lydie
Martial Caillebotte Duet with Jeffrey Ragsdale, tenor
University of Houston Orchestra
Performers Dominique McCormick, soprano Dominique McCormick is a lyric soprano known for “superlative vocals complimented with wonderful expressiveness and impeccable comic timing” (Houstonia 2018). Teaching and performing have always gone hand in hand along Dominique’s musical career. Dr. McCormick has performed in the United States and in Europe. Roles in opera and operetta include Erste Dame in Die Zauberflöte by Mozart; Iphis in Jephtha by Handel; The Plaintiff in Trial by Jury by Sullivan; Mother in Amahl and the Night Visitors by Menotti; Gretel in Hansel and Gretel by Humperdinck; Laetitia in The Old Maid and the Thief by Gian Carlo Menotti; Susanna in Le Nozze di Figaro, Mozart; Sola Myrrhis, in Coup de Roulis by Messager. Equally, she has performed as a recitalist and soloist with Ars Lyrica in Houston; Opera America in New York City; Music in Midtown Concert Series in Elebash Hall in New York City. Some of her favorite concert works include: The Creation by Haydn; Gloria by Poulenc with Choeur Regional Vittoria d’Île de France under the direction of Michel Piquemal; Recitalist for Les Musicales de Normandie; Dixit Dominus by Handel with L’Ensemble Vocal La Chappelle du Hainaut; Festival Soloist for Les Nuits de Cheronne; Requiem by Mozart with l’Orchestre Nationale des Pays de la Loire, directed by John Axelrod; Requiem by Brahms with Ensemble Laudate Dominum Fontainebleau, France. Dominique is the Co-Founder and Artistic Director for Century Fine Arts, (centuryfinearts.com) a music and fine arts school in Sugar Land TX and adjunct Professor in Voice at University of Houston’s Moores School of Music. Her experience as a vocal performer, teacher, pianist and conductor has provided the skills to create a curriculum that is comprehensive and creative for the community of Fort Bend County. She obtained her Bachelors degree in vocal performance from the Eastman School of Music, followed by a Masters of Music in voice from CUNY Queens College Aaron Copland School of Music. After obtaining her Masters, she furthered her studies in France where she received a post Masters diploma in Musical Analysis and a Performer’s Certificate in voice from the Conservatoire National de Région Boulogne-Billancourt. She recently completed her doctorate in Vocal performance from the CUNY Graduate Center, with her dissertation entitled Martial Caillebotte’s Mélodies and Scènes Lyriques: Analytical Essays and Performance Guide.
Keith Weber, piano Recent GRAMMY-nominated Producer Keith Weber is a choral and orchestral conductor, vocal coach, choral clinician, organist, pianist, harpsichordist, and collaborator widely known for his musical versatility and excellence. He is currently Director of Music and Organist at Salem Evangelical Lutheran Church in Houston and is Artistic Director of Grace Song, Inc., the Texas 501 (c) 3 organization [www.gracesong.us] that presents captivating concerts of vocal chamber music, helps fine young American singers develop their careers and brings about the creation of exciting new music. A native of western Pennsylvania, he holds a B.M., cum laude, in Organ Performance from Southern Methodist University, an M.M. also from SMU and an M.S.M. from Perkins School of Theology. Keith was the founding Associate Musical Director of the Lyric Opera of Dallas, and was Head Coach with the 2002-2005 Summer Festival, Opera In The Ozarks, and serves as a resource and vocal/career/life coach for dozens of fine singers. As a recital collaborator and accompanist, Keith has worked with singers and instrumentalists across the United States, many in programs for Grace Song, Inc. and maintains ongoing relationships with tenor Vern Sutton (with whom he appeared on Garrison Keillor’s “A Prairie Home Companion” in May of 1999 - celebrating the release of a CD on the Ten Thousand Lakes [Schubert Club of Minnesota] label), sopranos Laura Claycomb and Melissa Givens, mezzo-soprano Natalie Arduino, tenor Dann Coakwell and baritone David Grogan. Keith was invited to bring four singers along and join the fun on the 2013 Prairie Home Companion Cruise of the Mediterranean Sea.
Jeffrey Ragsdale, tenor A native of Houston, Jeffrey Ragsdale, tenor, sings with the Houston Chamber Choir, St. Martin's Episcopal Church, and Congregation Emanu-El. Additionally, he also does music editing and transcription including the new scores for the Caillebotte you hear today.
Moores School of Music
Translations "Sonnet" Poem by: Félix Arvers (1806–1850), from Mes heures perdues (My Lost Hours) Mon âme a son secret, ma vie a son mystère, Un amour éternel en un moment conçu! Le mal est sans espoir, aussi j’ai dû le taire, Et celle qui l’a fait n’en a jamais rien su.
My soul has its secret, my life has its mystery: An eternal love conceived in a moment; The pain is hopeless, so I had to silence it, And she who caused it never knew a thing.
Hélas! j’aurai passé près d’elle inaperçu, Toujours à ses côtés, et pourtant solitaire. Et j’aurai jusqu’au bout fait mon temps sur la terre, N’osant rien demander et n’ayant rien reçu.
Alas! I will have passed close to her unknown, Always at her side, and yet alone; And, to the end, I will have passed my time on earth Not having dared to ask for anything and receiving nothing.
Pour elle, quoique Dieu l’ait faite douce et tendre, Elle suit son chemin, distraite et sans entendre Le murmure d’amour élevé sur ses pas. À l’austère devoir, pieusement fidèle, Elle dira, lisant ces vers tout remplis d’elle : “Quelle est donc cette femme?” Et ne comprendra pas!
As for her, though God made her sweet and tender, She follows her path, distracted and not hearing The murmurs of love rising around her steps. To austere duty, piously faithful, She will say, reading these verses filled with her: “So, who is this woman?” And will not understand.
“Sérénade” Poem by: Théophile Gautier (1811–1872), from España (1840) Sur le balcon où tu te penches Je veux monter, efforts perdus! Il est trop haut, et tes mains blanches N’atteignent pas mes bras tendus.
On the balcony where you lean I want to climb, wasted efforts! It is too high and your white hands Do not reach my outstretched arms.
Pour déjouer ta duègne avare, Jette un collier, un ruban d’or; Ou des cordes de ta guitare Tresse une échelle, ou bien encor...
To foil your curmudgeon nurse, Throw a necklace, a gold ribbon; Or with the strings of your guitar Braid a ladder, or even more…
Ôte tes fleurs, défais ton peigne, Penche sur moi tes cheveux longs, Torrent de jais dont le flot baigne Ta jambe ronde et tes talons.
Take off your flowers, unfurl your robe, Incline towards me your long hair, Jet-black torrent whose flow runs the length of Your round leg and your heels.
Aidé par cette échelle étrange, Légèrement je gravirai, Et jusqu’au ciel, sans être un ange, Dans les parfums je monterai!
Assisted by this strange ladder Gently I will climb And up to heaven without being an angel, In the perfumes, I will ascend!
Moores School of Music
Translations (Continued) “Mignonne, allons voir si la rose” (Darling, let us see if the rose) Poem by: Pierre de Ronsard (1524–1585) from Premier Livre des Odes (1553) Mignonne, allons voir si la rose Qui ce matin avait déclose Sa robe de pourpre au soleil, A point perdu cette vesprée, Les plis de sa robe pourprée, Et son teint au vostre pareil.
Darling, come let us see if the rose That, this morning, had opened Its crimson dress to the sun Has lost, this evening The folds of its crimson dress And her complexion, so like yours.
Las! voyez comme en peu d’espace, Mignonne, elle a dessus la place Las! las! ses beautéz laissé cheoir! Ô vrayment marastre Nature, Puis qu’une telle fleur ne dure Que du matin jusques au soir!
Alas! See how, in such a short time, Darling, she has at this very place There, there, her beauties let fall. O truly cruel nature! When such a flower will last Only from morning to evening!
Donc, si vous me croyez, mignonne, Tandis que vostre âge fleuronne En sa plus verte nouveauté, Cueillez, cueillez vostre jeunesse: Comme à cette fleur la vieillesse Fera ternir vostre beauté.
So, if you believe me, Darling, While your youth is still in bloom, In its greenest freshness, Gather, gather your youth, Since what old age did to this flower Will tarnish your beauty.
University of Houston Orchestra
Translations (Continued) “À Lydie” (To Lydie) Poem by: Alfred de Musset (1810—1857) from Poésies Nouvelles (1837) Horace: Du temps où tu m’aimais Lydie Lydie: Du temps où j’étais ta maitresse Horace: De ses bras nul autre que moi N’entourait ta gorge arrondie
Horace: The time when you loved me, Lydie Lydie: The time when I was your mistress Horace: Of these arms none other than me Surrounded your round neck
Lydie: Tu me préférais à Chloé! Horace: J’ai vécu plus heureux qu’un roi Lydie: Je m’endormais à ton côté! Plus heuruese qu’une déesse!
Lydie: You preferred me to Chloé! Horace: I lived happier than that of a king Lydie: I would fall asleep at your side More happy than a goddess!
Horace: Chloé me gouverne à present; Savante au luth, habite au chant, La douceur de sa voix m’enivre Je suis prêt à cesser de vivre S’il fallait lui donner mon sang
Horace: Chloé governs me at present; Luth player, lives in singing, The sweetness of her voice intoxicates me I am ready to cease living I am to give her my blood
Lydie: Je me consume maintenant Pour Calaïs, mon jenue amant, Qui dans mon cœur a pris ta place; Je mourais deux fois, cher Horace, S’il fallait lui donner mon sang.
Lydie: I am consumed now For Calaïs, my young lover, Who in my heart has taken your place; I would die two times, dear Horace I am to give him my blood.
Horace: Eh quoi! Si dans notre pensée L’ancien amour se ranimait? Si ma blonde était délaissée? Lydie: Calaïs est jeune et l’idèle Et toi, poëte, ton désir Est plus léger que l’hirondelle, Plus inconstant que le zephyr.
Horace: And what! If in your thoughts The old love re awakens If my blond was forsaken? Lydie: Calaïs is young and idle And you, poet, your desire Is more light than a swallow And more fickle than a zephyr.
Horace: Si demain Vénus offensée A ta porte me ramenait? Lydie: Pourtant, s’il t’en prenait envie Lydie/Horace: Avec toi j’aimerais la vie, Avec toi je voudrais mourir! on
Horace: If tomorrow Venus trespasses At your door that I return to you? Lydie: Nevertheless, if you have the desire Lydie/Horace: With you, I would love the life With you, I would like to die And more fickle than a zephyr. Horace: If tomorrow Venus trespasses At your door that I return to you? Lydie: Nevertheless, if you have the desire Lydie/Horace: With you, I would love the life With you, I would like to die
Moores School of Music
Translations (Continued) “Le Nuage” (The Cloud) Poem by: Théophile Gautier (1811–1872) from La Comédie de la Mort (The Comedy of Death) (1838) Dans son jardin la sultane se baigne; Elle a quitté son dernier vêtement Et déliverés des morsures du peigne, Ses grands cheveux baisent son dos charmant.
In her garden the sultaness bathes; She has taken off her last garment And, freed from its combs, Her beautiful hair falls down her back.
Par son vitrail le sultan la regarde, Et caressant sa barbe avec sa main Il dit: “L’eunuque en sa tour fait la garde Et nul hors moi ne la voit dans son bain.”
By his window the sultan watches her, And caressing his beard with his hand, He says: “The eunuch in his tower stands watch And no one but me sees her in her bath.”
“Moi, je la vois!” lui répond, chose étrange! Sur l’arc du ciel un nuage accoudé “Je vois son sein vermeil comme l’orange Et son beau corps de perles inondé.” Ahmed devint blême comme la lune Prit son kandjar au manche ciselé Et poignarda sa favorite brune; Quant au nuage, il s’était envolé!
“Me, I see her!” replies (a strange thing!) A cloud, resting upon the rainbow. “I see her bosom, ruby-colored like an orange And her beautiful pearly-white body drenched.” Ahmed turns pale as the moon Takes his dagger with chiseled handle And stabs his favorite brunette; As for the cloud, it flies away!
“Attente” (The waiting) Poem by: L. Gilis O Mohamed, le soleil baisse sur le douar silencieux, Déjà l’ombre descend épaisse, La nuit bientôt ferme mes yeux.
O Mohamed, the sun sets on the silent village, Already the thick shadow falls, The night will soon close my eyes,
Et la voix du Muezzin retentit au lointain Appelant au lieu saint Les fils d’Allah pour la prière. Tout est calme au désert, Tout est calme sur la terre.
And muezzin’s voice resounds in the distance Calling to the holy place Allah’s sons for the [evening] prayer. Everything is calm in the desert, Everything is calm on the earth.
O mon époux, o mon amant! O toi, mon bien suprême, Un fou désir brûle mes sens, Je te veux, viens, viens, je t’aime!
O my husband, o my lover! O you, my supreme good, A mad desire burns my senses, I want you, come, come, I love you!
Oh Mohamed, lion dédaigneux, De moi tu détournes les yeux; Tes sens, rêvent d’une infidèle, Tes désirs s’excitent pour elle;
O Mohamed, disdainful lion, You turn your eyes away from me; Your senses, dreaming of an infidel, Your desires arise for her;
Tu veux ses blonds cheveux et sa peau sans couleur, Oubliant ma tendresse. Oh! je voudrais avec ivresse Sur ta lèvre aspirer tout le sang de son cœur!
You want her blond hair, her colorless skin, Forgetting my tenderness, Oh! I wish with drunken abandon To take from your lips all the blood of her heart!
On mon époux, o mon amant! O toi, mon bien suprême, Un fou désir brûle mes sens, Je te veux, viens, viens, je t’aime!
Oh my husband, o my lover! O you, my supreme good, A mad desire burns my senses I want you, come, come, I love you!
University of Houston Orchestra
Program Notes
The Modern Rediscovery of Martial Caillebotte’s Music Composer, pianist and photographer, Martial Caillebotte (1853–1910) was the unknown younger brother of famous Impressionist painter, Gustave Caillebotte (1848–1894). Martial studied harmony and piano at the Paris Conservatory from 1870–1874 under the tutelage of Théodore Dubois (1837¬–1924) and Antoine Marmontel (1815– 1898). Martial created a substantial number of musical compositions including mélodies, scènes lyriques, operas, symphonic poems, as well as sacred choral and symphonic works. Born into a wealthy Parisian family, he did not need to work for a living and did not self-promote, therefore his musical works, after his death, were left in family archives. In the late 1990’s a rebirth of interest in the Caillebotte name (both Gustave and Martial) and artistic contributions led to the rediscovery of Martial Caillebotte’s music and current research. While there are not many sources that give a clear picture of Martial’s position as musician in the Parisian society during the late 1800’s, documentary evidence from newspapers and music magazines indicate that he participated fully in Paris’s musical life. Paris of the Third Republic was a fertile ground for music-making. While official symphonic societies were scarce, there were a number of private chamber music societies. The Société nationale de musique (SNM) was founded in 1871 after the Franco-Prussian War, providing performance opportunities for young and unknown composers and performing artists. Coming at a time when French pride needed a boost after the siege of Paris and defeat at the hands of the Prussians, SNM was founded for the explicit purpose of showcasing French composers and only allowed French members until 1880. The first meeting of the organizing committee included Franck, Saint-Saëns, Massenet, and Fauré, as well as Martial Caillebotte’s teacher Théodore Dubois. The SNM organized concerts featuring newly composed works performed by up-and-coming musicians. Today, his works have gained greater recognition recently thanks to the efforts of French baritone Benoît Riou (b. 1968). Riou has had a successful career as soloist, historian and antique book collector. In 1998, he was approached by his childhood friend Gilles Perrot, the director of culture of Yerres and the manager of the historic Caillebotte family property at that time, to give a recital at the Caillebotte family home. Searching for music that would reflect the artistic talent of his older and more famous brother, Gustave Caillebotte, Riou happened upon a recording of four of Martial Caillebotte’s mélodies (“Sonnet”, “Le Nuage”, “Mignonne allons voir si la rose” et “Chanson”) by celebrated French baritone Mario Hacquard and pianist Claude Collet, on an album entitled Mélodies Françaises oubliées. In preparation for the recital, entitled “Autour de Martial Caillebotte” (About Martial Caillebotte), Riou was allowed access to the Caillebotte family archives in search of the mélodie. The Caillebotte descendants possessed many of Martial’s original compositions, which were packed away in boxes in a storage space. From these holdings, Riou extracted some of the mélodies and pieces for piano that were ultimately performed at the recital, which took place on February 7, 1999.
1 Michel Duchesneau, L’avant Garde Musicale à Paris de 1871-1939 (Liège: Mardaga Editeur, 1977), 16. 2 Mélodies Françaises oubliées, Mario Hacquard (baritone), Claude Collet (piano), CD, Alienor 1075, 1997. Other composers featured on this recording are Valentin Neuville (1863-1941), Alfred Bruneau (1857-1934), Louis Durey (1888-1979), Henri Tomasi (1901-1971), and Jean Hubeau (1917-1992). Hacquard was born in Paris in 1953. He studied at the Paris Conservatory and at the young artists studio at the Bastille Opera. He is considered to be a French mélodie specialist.
Moores School of Music
Program Notes (Continued) Now determined to make Martial Caillebotte’s compositions his professional mission, Riou received permission to return to the Caillebotte family property in Yerres to examine more of Martial Caillebotte’s music. In the storage space, he unearthed many more original and unedited scores hidden away in old chests. Riou found manuscripts to operas, scènes lyriques, mélodies, symphonic scores, and the original manuscript of the orchestral score to Caillebotte’s Messe Solennelle de Pâques for soloists, choir and orchestra. On March 24, 2011, Riou first introduced Caillebotte’s works to a Parisian audience, on the occasion of the opening of a Gustave Caillebotte retrospective at Paris’s André-Jacquemart Museum, which featured Martial’s photography paired with Gustave’s paintings. Although Gustave’s celebrity ultimately was the main attraction for this exhibition, it brought to light the manifold talents of Martial as both photographer and composer. For the opening, Riou organized a performance of works by the composer. He sang some of Martial Caillebotte’s mélodies and pianist Michel Geoffroy performed Airs de Ballet, nos. 2 and 4. In the program notes, Riou described Caillebotte’s music as a cross between the Germanic and French styles of the end of the nineteenth century. Soon after this exhibit, Riou joined forces with Maestro Michel Piquemal to record Caillebotte’s choral music with the Chœur Régional Vittoria Île-de-France and produced a CD of Caillebotte’s Messe Solenelle de Pâques. (2012). Riou provided the historical background and liner notes for the CD jacket and assisted on the recording. In 2012, I was in Paris, having lived, studied, and worked there for over ten years. During the 2012-13 season, I had the opportunity to work as soloist with Chœur Vittoria when I was asked to perform as soprano soloist in the twenty-first century premiere of two of Caillebotte’s sacred works, Dies Irae (1882) and Psaume 132 (1887). Singing through the scores, I was immediately taken by Caillebotte’s compositional style and marveled at the complex harmonies, well-developed thematic elements, wandering tonalities, and evasive cadences. I found Caillebotte’s music reminiscent of the compositions of Duparc, Chausson, and Massenet, with a touch of Wagner, all in one sweep. I participated in the Chœour Vittoria’s tour of France in 2013. Caillebotte’s works were featured prominently in these programs, and his music was introduced to audiences all over the country. Thanks to these performances, Martial Caillebotte’s musical talents were brought to light in a realm apart from his brother Gustave’s influence and celebrity. The Chœur Vittoria went on to make another recording of Dies Irae, Une Journée and Psaume 132 (2014). Benoît Riou, attended one of the concerts in which I sang, and we struck up a friendship. When I told him that I was interested in Caillebotte’s melodies, he kindly directed me to the collection of Caillebotte’s Scènes et Mélodies, published by Hartmann in 1884. I opened the score and recognized the significance of this composer and his works. It now became my mission and passion to present Caillebotte to a larger audience and bring his works back to life. This recital represents the culmination of seven years of research and the completion of my dissertation (Martial Caillebotte’s Mélodies and Scènes Lyrique: Analytical Essays and Performance Guide) for my doctoral degree in vocal performance from the CUNY Graduate Center in NY. I hope that you enjoy the textural musical paintings of Caillebotte’s works as we present them in this recital. Programming his music in juxtaposition to the mélodies of his contemporaries creates an ambiance reminiscent of the Parisian musical salons of the Belle Époque. Enjoy!
3 The exhibition, “Dans l’intimité de frères Caillebotte Peintre et Photographe,” took place May 25- July 11, 2011. 4 Michel Piquemal (cond.), Choeur Vittoria, Pasdeloup Orchestra and soloists Mathilde Vérolles (soprano), Patrick Garayt (tenor), Eric Martin-Bonnet (bass), Mathias Lecomte (organ), Martial Caillebotte Messe Solennelle de Pâques (SISYPHE020 2012). It received a ffff rating from Télérama (the highest rating from the magazine) and 4 stars from the online journal Diapason.
University of Houston Orchestra
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University of Houston Orchestra
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