Master’s Recital Program Notes and Texts and Translations
Evan Cooper Spring 2021 From the Studio of Hector Vasquez
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“Rivolgete a lui lo sguardo” – Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart is known as the most important composer of the classical period. This era of music is defined by many aspects of his compositional style. He wrote in a very clear harmonic structure that, after his death, was analyzed extensively and used to set up the rules of music theory that students still learn in schools today. Mozart was born in Salzburg, Austria. His family went on a three-and-a-half-year tour with extended stays in Paris and London when he was young, and then he spent time in Vienna.1 When he was sixteen he was appointed the unpaid third concertmaster at a court in Salzburg, where he spent eight years. He then received a commission for an opera seria in Munich (Idomeneo) and was able to move back to Vienna as a freelance composer for the remainder of his life. Mozart composed Così fan tutte to a libretto by Lorenzo da Ponte in 1790, which was very late in his short life.2 This aria, originally written for Così fan tutte, is now considered a concert aria. It is now typically replaced in performance with “Non siate ritrosi,” which is a shorter aria that Mozart felt “would not disturb the flow of the action towards its conclusion with the finale of Act 1.”3 The story of the opera is as follows: Two young men, Ferrando and Guglielmo, make a bet with an older man, Don Alfonso, that their girlfriends will stay faithful to them no matter what. To test this sentiment, Ferrando and Guglielmo “go off to war” and then come back disguised as mustached Albanians, each attempting to seduce the other’s girl. In this aria, the disguised Guglielmo attempts to seduce the girls. He celebrates at the end of the aria when the girls are not interested, meaning they’ll stay faithful to the true Guglielmo and Ferrando.
1
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 9th ed. New York, NY: W.W. Norton & Company, 2014, 541. 2 Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca. A History of Western Music 538-544. 3 Nico Castel. The Libretti of Mozart’s Completed Operas: in Two Volumes. Geneseo, N.Y: Leyerle, 1997, 168.
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“Rivolgete a lui lo sguardo”
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“Turn to him your gaze”4
Rivolgete a lui lo sguardo, e vedrete come sta;
Turn your gaze to Ferrando, and you will see how he is;
Tutto dice “Io gelo… io ardo, idol mio pietà.”
Everything in him speaks “I am freezing…I am burning… my beloved have pity on me”.
E voi cara un sol momento il bel ciglio a me volgete,
And you, dearest, for one sole moment turn your lovely eyes to me,
e nel mio ritroverete quel che il labbro dir non sa.
and in my eyes you’ll find what my lips can’t say.
Un Orlando innamorato non è niente in mio confronto;
An Orlando in love isn’t anything compared to me;
D’un Medoro il sen piagato
Compared to Medoro and his wounded breast
verso lui per nulla io conto son di fuoco I miei sospiri, son di bronzo I miei desiri. Se si parla poi di merto, certo io sono, ed egli è certo, che gli uguali non si trovano da Vienna al Canadà.
I count my suffering as nothing. My sighs are of fire, My desires are as hard as bronze. If one talks then of merit, I am certain, and it is true, that an equal to myself cannot be found from Vienna to Canada.
Siam due cresi per ricchezza due Narcisi per bellezza. In amor i Marcantoni verso noi sarian buffoni.
We’re rich like two Croesus’ and beautiful like Narcissus. In love, the Marc Anthony’s compared to us would be buffoons.
Siam più forti d’un Ciclopo
We’re stronger than Cyclops,
letterati al par d’Esopo; Se balliamo, un Pich ne cede, sì gentil e snello è il piede. Se cantiam, col trillo solo facciam torto all’usignolo;
Literate on par with Aesop; When we dance, Pich yields to us, so graceful and slim is our foot. When we sing, with the trill alone we outsing the nightingale.
E qualch’altro capitale abbiam poi che alcun non sa.
And we have some other assets that no one knows about…
Bella, bella! Tengon sodo; se ne vanno ed io ne godo!
Lovely, lovely! They’re holding firm; they’re leaving and I love it!
Eroine di costanca. Specchi son di fedeltà.
Those women are heroines of constancy, true mirrors of fidelity!
Castel, The Libretti of Mozart’s Operas… 168-170.
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“Et in Spiritum Sanctum Dominum” – Johann Sebastian Bach Johann Sebastian Bach, by many scholars, is considered one of the most important composers in the western tradition. Bach came from a large family of musicians from Central Germany. He spent most of his working life as a church organist or composing music for the church. The influence of his compositional style is so grand that some consider his life the beginning of the Common Practice Period, which set up the general rules for music theory and part writing that are still taught and studied today. He assembled the Mass in B Minor late in his life, drawing much of the music for it from works he composed earlier in his life. Thus, the work is an interesting representation of the varying styles Bach used in compositions throughout his life.5 This aria occurs near the end of the second section of the Mass in B Minor, which is the Credo. Scholars have discussed whether this aria was composed as new music for the Mass, or if it was originally a parody of movement six of Bach’s wedding cantata entitled Sein Segen fliesst.6
“Et in Spiritum Sanctum Dominum” Et in Spiritum Sanctum Dominum, Et vivificantem: Qui ex Patre Filioque procedit. Qui ex Patre et Filio Simul adoratur, et conglorificatur: Qui locutus est per Prophetas. Et unam sanctam catholicam Et apostolicam Ecclesiam.
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“And I believe in the Holy Spirit, Lord” And I believe in the Holy Spirit, Lord, And giver of life: Who proceeds from the Father and Son. Who with the Father and Son Is adored and glorified: Who spoke through the Prophets. And in one holy catholic And apostolic Church
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 435-440. Gregory G. Butler, George Stauffer, and Mary Dalton Greer, About Bach. Baltimore: University of Illinois Press, 2008, 73. 6
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“Sommerabend” – Johannes Brahms Johannes Brahms had a massive influence on twentieth century music. By the time he was forty, over three-quarters of the music being performed in orchestral concerts written by dead composers.7 He was well aware that he was composing for audiences who enjoyed the masterpieces of the two previous centuries, and this was part of the reason he was so slow and self-critical in his work. He was born in Hamburg to a modest family. His father played horn and double bass, and Brahms grew up playing piano, cello, and horn. In his music theory and piano lessons, he developed a particular affinity for Bach, Haydn, Mozart, and Beethoven.8 “Sommerabend” and “Mondenschein” are the first and second songs of Brahms’s 6 Lieder, Opus 85. Both songs use texts by the poet Heinrich Heine. Brahms’s vocal music often includes long, full melodic lines that require both delicacy and strength from the singer to perform properly, and these two pieces are no exception. Listen for the main melodic line that is first presented in “Sommerabend” and then reprised in “Mondenschein.” “Sommerabend”
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“Summer Evening”9
Dämmernd liegt der Sommerabend Über Wald und grünen Wiesen; Goldner Mond, im blauen Himmel, Strahlt herunter, duftig labend.
The summer evening spreads twilight over forest and green meadows; Golden moon, in the blue sky, beams down, fragrantly soothing.
An dem Bache zirpt die Grille, Und es regt sich in dem Wasser, Und der Wanderer hört ein Plätschern, Und ein Atmen in der Stille.
By the brook a cricket chirps, and something stirs in the water, and the traveler hears a splashing, and a breathing in the stillness.
Dorten, an dem Bach alleine, Badet sich die Schöne Elfe;
Over there, alone in the brook, A beautiful fairy is bathing;
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 724. Burkholder, Grout, and Palisca, 725-730. 9 Heinrich Heine. “Dämmernd Liegt Der Sommerabend.” Translated by Bard Suverkrop. ipasource, 2008. https://www-ipasource-com.ezproxy.lib.uh.edu/dammernd-liegt-der-sommerabend.html. 8
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Arm und Nacken, weiß und Lieblich, Schimmern in dem Mondenscheine.
arm and neck, white and lovely, shimmer in the moonlight.
“Ständchen” – Franz Schubert Born in 1797, Schubert was raised with music-making both in the home and at school. He grew up studying piano, voice, violin, organ, counterpoint, figured bass, and taking lessons in composition from Antonio Salieri. Many of Schubert’s songs were originally performed in small house gatherings called “Schubertiads,” with Schubert himself at the piano. Schubert’s late life was plagued with illness, and he died when he was only 31, in 1828. Schubert’s song style characterizes the romantic lied, due to the sheer number and quality of Lieder he composed. Franz Schubert wrote over six hundred Lieder, over 140 in the year 1815 alone. “Ständchen,” is the fourth song of Schwanengesang, or “Swan song,” which was Schubert’s final song cycle, published posthumously. “Ständchen”
“Serenade”10
Leise flehen meine Lieder Durch die Nacht zu dir; In den stillen Hain hernieder, Liebchen, komm zu mir!
My songs softly implore through the night to you; to the quiet grove, sweetheart, come down to me!
Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht.
Whispering, slender tree-tops rustle in the moon’s light; of any betrayer’s hostile listening do not fear, lovely one.
Hörst die Nachtigallen schlagen? Ach! Sie flehen Dich, Mit der Töne süß Klagen Flehen sie für mich.
Do you hear the nightingales’ call? Ah, they are imploring you, with the tones of sweet lamentation they plead to you for me.
Sie verstehn des Busens Sehnen,
They understand the heart’s longing,
10
Ludwig Rellstab. “Leise flehen meine Lieder.” Translated by Bard Suverkrop, ipasource, 2008. https://wwwipasource-com.ezproxy.lib.uh.edu/standchen-leise-flehen-meine-lieder.html.
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Kennen Liebesschmerz, Rühren mit den Silbertönen Jedes weiche Herz.
they know love’s pain, they touch, with their silver tones, every tender heart.
Lass auch dir die Brust bewegen, Liebchen, höre mich! Bebend harr’ ich dir entgegen! Komm’, beglücke mich!
Allow also your heart to be moved sweetheart, hear me! Trembling, I await you here! Come, make me happy!
“Mondenschein” – Johannes Brahms “Mondenschein”
“Moonlight”11
Nacht liegt auf dem fremden Wegen, Krankes Herz und müde Glieder;Ach, da fließt, wie stiller Segen, Süßer Mond, dein Licht hernieder;
Night lies on the unfamilar roads; Sick heart and tired limbs;Ah, let your light flow down, sweet moon, like a quiet blessing;
Süßer Mond, mit deinen Strahlen Scheuchest du das nächt’ge Grauen; Es zerrinnen meine Qualen, Und die Augen übertauen.
sweet moon, with your rays frighten away the nocturnal horror; my torment melts away, and my eyes overflow.
Banalités – Francis Poulenc Francis Poulenc was born in 1899 to a rather musical family. His mother played piano and he began piano lessons at age five, but his father was a very successful manufacturer of pharmaceuticals who expected Poulenc to follow in the family business.12 Thus, Poulenc was not allowed to attend college to pursue music. Unfortunately, his parents passed away when he was a teenager, and he studied piano under the mentorship of Ricardo Viñes.13 Poulenc is one of the composers considered in the famous group Les Six, which originated around 1920. Poulenc had a
11
Heine, Heinrich. “Nacht liegt auf den fremden Wegen.” Translated by Bard Suverkrop. ipasource, 2008. https://www-ipasource-com.ezproxy.lib.uh.edu/mondenschein.html. 12 Henri Hell; Translated by Edward Lockspeiser (1959). Francis Poulenc. New York: Grove Press, 2. 13 Hell, 3.
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close performing partnership with baritone Pierre Bernac, who was an influential teacher of many French baritones of the time period. Poulenc’s Banalités is based on text by the French poet Guillaume Apollinaire. The group varies greatly in character both poetically and musically. It begins with a storytelling song, from the point of view of town guards, a cartman, and a vagrant woman. Then follows “Hôtel,” which Pierre Bernac called “The laziest song ever written.”14 The third song refers to “Wallonie,” a part of Belgium in which Apollinaire lived for a time.15 “Voyage a Paris” is a simpler sentiment – that of the name alone. Then finally, the set ends with “Sanglots”. This piece uses quite a complex text which is only further muddled by the fact that there is no punctuation, but the meaning of the poem is clarified by the unique music Poulenc sets to it.
“Chanson d’Orkenise”
“Song of Orkenise”16
Par les portes d’Orkenise Veut entrer un charretier. Par les portes d’Orkenise Veut sortir un va-nu-pieds.
Through the gates of Orkenise A carter wants to enter. Through the gates of Orkenise A vagrant wants to leave
Et les gardes de la ville Courant sus au va-nu-pieds: ‘Qu’emportes-tu de la ville?’
And the town guards Hasten up to the vagrant: “What are you taking away from the town?”
‘J’y laisse mon cœur entier.’
“I leave my whole heart there.”
Et les gardes de la ville Courant sous au charretier: ‘Qu’emportes-tu dans la ville?’
And the town guards: Hasten up to the carter: “What are you bringing into the town?”
‘Mon cœur pour me marier!’
“My heart to be married!”
Que de cœurs dans Orkenise!
What a lot of hearts in Orkenise!
14
Pierre Bernac. The Interpretation of French Song. New York: Norton, 1978, 281. Bernac, 283. 16 Bernac, 280. 15
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Les gardes riaient, riaient. Va-nu-pieds, la route est grise, L’amour grise, ô charretier.
The guards laughed, laughed. Vagrant, the road is hazy, Love makes the head hazy, O carter.
Les beaux gardes de la ville Tricotaient superbement; Puis les portes de la ville Se fermèrent lentement.
The fine-looking town guards knitted superbly; then the gates of the town slowly closed.
“Hôtel” Ma chambre a la forme d’une cage Le soleil passe son bras par la fenêtre Mais moi qui veut fumer Pour faire des mirages J’allume au feu du jour ma cigarette Je ne veux pas travailler Je veux fumer. “Fagnes de Wallonie”
“Hotel”17 My room is shaped like a cage the sun puts its arm through the window But I who would like to smoke To make smoke pictures I light at the fire of the day my cigarette I do not want to work I want to smoke. “Walloon Uplands”18
Tant de tristesses plénières Prirent mon cœur aux fagnes désolées Quand la j’ai repose dans les sapinières Le poinds des kilomètres pendant que râlait le vent d’ouest J’avais quittè le joli bois Les écureuils y son restés Ma pipe essayait de faire des nuages Au ciel Qui restait pur obstinément
Overwhelming sorrow seized my heart in the desolate uplands when I tired, I rested in the fir plantation the weight of the kilometres while blustered the west wind I had left the pretty wood the squirrels stayed there my pipe tried to make clouds in the sky which remained obstinately clear
Je n’ai confié aucun secret sinon une chanson énigmatique Aux tourbières humides
I did not confide in any secret except an enigmatic song to the damp peat bog
Les bruyères fleurant le miel Attiraient les abeilles Et mes pieds endoloris Foulaient les myrtilles et les airelles
The heather, fragrant with honey attracted the bees and my aching feet crushed the bilberries and the blueberries
Tendrement mariée
Tenderly united
17 18
Bernac, 281. Bernac, 282.
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Nord Nord La vie s’y tord En arbres forts E tors La vie y mort La mort A belle dents Quand bruit le vent “Voyage A Paris” Ah! La charmante chose Quitter un pays morose Pour Paris Paris joli Qu’un jour dut créer l’Amour “Sanglots” Notre amour est réglé par les calmes étoiles Or nous savons qu’en nous beaucoup d’hommes respirent Qui virent de très loin et sont un sous nos fronts C’est la chanson des rêveurs Qui s’étaient arraché le cœur Et le portaient dans la main droite Souviens-t’en cher orgueil de tou ces souvenirs Des marins qui chantaient comme des conquérants Des gouffres de Thulé des Tendres cieux d’Ophir Des maladies maudits de ceux qui fuient leur ombre Et du retour joyeux des heureux émigrants De ce cœur il coulait du sang Et le rêveur allait pensant A sa blessure delicate 19 20
Bernac, 283. Bernac, 284.
north north life twists itself there in strong trees and twisted life bites there death ravenously when the wind howls “Trip to Paris”19 Ah! How charming to leave a dreary place for Paris delightful Paris that once upon a time love must have created “Sobs”20 Our love is ordered by the calm stars now we know that in us, many men breathe who came from very far away and are one under our brows it is the song of the dreamers who tore out their heart and carried it in their right hand (remember dear pride all these memories of the sailors who sang like conquerors of the chasms of Thule, of the gentle skies of Ophir of the cursed sick people, of those who fled from their shadow and of the joyous return of the happy emigrants) this heart ran with blood and the dreamer went on thinking of his delicate wound
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Tu ne briseras pas la chaîne de ce causes Et douloureuse et nous disait Qui sont les effets d’aures causes Mon pauvre cœur mon cœur brisé Pareil au cœur de tous les hommes Voici voici nos mains que la vie fit esclaves Est mort d’amour ou c’est tout comme Est mort d’amour et le voici Ainsi vont toutes choses Arrachez donc le vôtre aussi Et rien ne sera libre jusqu’à la fin des temps Laissons tout aux morts Et cachons nos sanglots
(You will not break the chain of these causes and painful and said to us (which are the effects of other causes) my poor heart, my broken heart resembling the heart of all men (here, here are our hands that life enslaved) has died of love, or so it seems has died of love, and here it is Such is the way of all things Tear out your heart also (and nothing will be free until the end of time) let us leave all to the dead and hide our sobs
Don Juan’s Serenade - Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky is known as one of the first Russian composers to make an international impact. Born in 1840 to a family with a history of military service, Tchaikovsky grew up intending to pursue a career as a civil servant. He began taking piano lessons at the age of five but was largely separated from music for his teenage years as he was in boarding school in St. Petersburg.21 For a period of a few years after school he took piano lessons in St. Petersburg, but soon was forced to neglect music again to complete his law studies and work as an employee of the Ministry of Justice. It was not until 1865 that he completed his studies and fully devoted himself to music, serving time as a professor of composition at the Moscow Conservatory.22 Tchaikovsky’s “Don Juan’s Serenade” is the most well-known piece from his Six Romances, Op. 38, which he composed in 1878. The first four songs from this group are based on texts by the Russian poet, novelist, and playwright Aleksey Tolstoy.
21 22
Philip R. Bullock, Pyotr Tchaikovsky. London: Reaktion Books, Limited, 2016, 22-24. Bullock, 35.
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Don Juan’s Serenade The golden countryside of Alpujarra Is fading out in the distance Come out, my darling, To the inviting sound of my guitar! Anyone who claims That another can compare With your beauty, I call to mortal combat. The heavens are shining in moonlight glow, Oh, come Nisetta, promptly to your balcony. From Seville to Grenada, In the quiet darkness of the night The serenades are heard, So is the clanking of the swords. Many songs and much blood Is being poured for the beautiful ladies, I, to the one who is prettier than all, Will offer my songs and my blood. The heavens are shining in moonlight glow, Oh, come Nisetta, promptly to your balcony. English translation courtesy of Anton Belov23
Rachmaninoff - Opus 4, Numbers 1, 2, 3, and 5 Sergei Rachmaninoff was born in 1873 to a family of high social class on an estate outside of Novgorod. Novgorod is the oldest city in Great Russia and it has many medieval churches and monasteries, meaning that hearing church bells was a common accompaniment to both his childhood and his compositions later in life.24 Amateur music making was common in his family, and his family recognized his talent early, getting him started with piano lessons at age four. Rachmaninoff was a pupil of Nikolai Sergeyevich Zverev, growing up in his home and
23
Belov, Anton. “Translations and Phonetic Transcriptions of Songs by Pyotr Ilyich Tchaikovsky.” Russian Art Song. Accessed April 9, 2021. https://www.russianartsong.com/tchaikovsky. 24 Richard D. Sylvester. Rachmaninoff's Complete Songs: A Companion with Texts and Translations. Bloomington: Indiana University Press, 2014, 1.
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learning the “Russian Pianistic Method.”25 At the age of nineteen, Rachmaninoff graduated early from the Moscow Conservatory by writing Aleko¸ his one act opera based on the narrative poem The Gypsies by Alexander Pushkin. Soon after leaving the conservatory, the music publisher Karl Gutheil offered Rachmaninoff 500 rubles to publish Aleko, along with two pieces for cello and piano, Op. 2, and his first set of songs, Op. 4.26 Composed in 1893, this set of songs is remarkable as a first set by the composer, as they were all well-received and are still performed commonly today. “Oh no, I pray, don’t leave!” was written in one sitting, as an improvisation on the piano, with text by Dimitry Merezhkovsky.27 Rachmaninoff found the text published in a literary magazine in 1890.28 “Morning,” was perhaps translated from a French poem, but the author of the text is unknown. The third song of the set, “In the silence of the secret night,” uses a text by Afanasy Fet. Rachmaninoff composed the song when he was seventeen and revised it when he was nineteen.29 “Oh you, my field,” is the fifth song of the set. The text is a poem written by Aleksei Tolstoy in which the speaker laments a failed crop, which would have been a real and common tragedy in both Tolstoy and Rachmaninoff’s time. The song is in the common lament folk style, with many drawn out melismas.30
25
Sylvester, 6. Sylvester, 28. 27 Richard D. Sylvester. Rachmaninoff's Complete Songs… 31. 28 Sylvester, 31. 29 Sylvester, 35. 30 Sylvester, 42. 26
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“Oh, no, I pray, don’t leave!” Oh no, I pray, don’t leave! The greatest pain is nothing compared to separation, I am too happy by this torment, Firmly press me to your breast, And say that you love me. I came again, Sick, emaciated, and pale, Look how weak I am, how impoverished How much I need your love... New torments ahead of me, I await like sweet caresses and kisses, And in my anguish I only pray: Oh, stay with me, don’t leave!
“Morning” “I love you!” - the dawn whispered to the day And embracing the heavens, blushed because of her admission, And the ray of the sun, illuminating all around, With a smile sent her his passionate kisses. And the day, not believing Into the fulfillment of its secret desires, Was descending upon the earth, with a smile wiping out the rows of diamond tears that sparkled all around.
“In the Silence of the Night” Oh, at length shall I, in the silence of the mysterious night, Your cunning whisper, your smile, or a passing glance The strain of your hair to your obedient fingers, Chase away from my thoughts and again recall. I shall whisper and correct the former aspects Of our awkward conversations, And intoxicated, against all reason, I shall awake the darkness with your sacred name.
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“Oh, you, my field!” Oh, you field, my field! One cannot harvest you in one fell swoop, One cannot gather you in one sheaf. Oh, you thoughts, my thoughts! One cannot shake you off easily, One cannot express you all in one sentence. Over you, my field the wind flew, It bent the ears of wheat down to the ground It scattered your ripe grain all around. Far and wide you, my thoughts, have scattered, Wherever a thought fell, There grew the evil grass of sadness, Sprang up the sorrow inconsolable! English translations for this set courtesy of Anton Belov31
Samuel Barber – Three Songs, Opus 10 Samuel Barber was born in 1910 near Philadelphia. His mother played piano, and had him start music lessons early, first on the cello, and then on the piano soon after.32 His father was a doctor. His mother knew many Irish songs, and even provided Barber with a libretto for an unfinished opera The Rose Tree, which he set at age ten with the heroine’s part written for his sister.33 Barber was a year ahead of his class in high school, and was often called upon to play his own compositions on piano or organ for various programs.34 Barber attended the Curtis Institute beginning in 1924 and majored in piano, voice, and composition, and also studied
31
Belov, Anton. “Translations and Phonetic Transcriptions of Songs by S. Rachmaninoff.” Russian Art Song. Accessed April 9, 2021. https://www.russianartsong.com/rachmaninoff. 32 Dickinson, Peter. Samuel Barber Remembered: A Centenary Tribute. Rochester: University of Rochester Press, 2010, 5. 33 Dickinson, 6. 34 Dickinson, 7.
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languages.35 He is known for his neo-romantic style, continuing to compose in a tonal realm while many composers were leaving tonality. One can hear his style as romantic, but through a “modernist” lens. These songs were composed in 1936 based on texts by James Joyce. “Rain has Fallen” “Sleep Now” “I Hear an Army”
35
Dickinson, 11.
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Bibliography Belov, Anton. “Translations and Phonetic Transcriptions of Songs by S. Rachmaninoff.” Russian Art Song. Accessed April 9, 2021. https://www.russianartsong.com/rachmaninoff. Belov, Anton. “Translations and Phonetic Transcriptions of Songs by Pyotr Ilyich Tchaikovsky.” Russian Art Song. Accessed April 9, 2021. https://www.russianartsong.com/tchaikovsky. Bernac, Pierre. The Interpretation of French Song. New York: Norton, 1978. Bullock, Philip R. Pyotr Tchaikovsky. London: Reaktion Books, Limited, 2016. Accessed April 8, 2021. ProQuest Ebook Central. Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 9th ed. New York, NY: W.W. Norton & Company, 2014. Butler, Gregory G., Stauffer, George, and Greer, Mary Dalton, About Bach. Baltimore: University of Illinois Press, 2008, 73. Castel, Nico. The Libretti of Mozart’s Completed Operas: in Two Volumes. Geneseo, N.Y: Leyerle, 1997. Dickinson, Peter. Samuel Barber Remembered: A Centenary Tribute. Rochester: University of Rochester Press, 2010. Accessed April 8, 2021. ProQuest Ebook Central. Heine, Heinrich. “Nacht liegt auf den fremden Wegen.” Translated by Bard Suverkrop. ipasource, 2008. https://www-ipasource-com.ezproxy.lib.uh.edu/mondenschein.html. Heine, Heinrich. “Dämmernd Liegt Der Sommerabend.” Translated by Bard Suverkrop. ipasource, 2008. https://www-ipasource-com.ezproxy.lib.uh.edu/dammernd-liegt-dersommerabend.html. Hell, Henri; Edward Lockspeiser (trans) (1959). Francis Poulenc. New York: Grove Press. OCLC 1268174. Rellstab, Ludwig. “Leise flehen meine Lieder.” Translated by Bard Suverkrop. ipasource, 2008. https://www-ipasource-com.ezproxy.lib.uh.edu/standchen-leise-flehen-meine-lieder.html. Sylvester, Richard D. Rachmaninoff's Complete Songs: A Companion with Texts and Translations. Bloomington: Indiana University Press, 2014. Accessed April 8, 2021. ProQuest Ebook Central.