1
Senior Voice Recital Tiffany Sau, Soprano Stephen Jones, Piano Resurrection Metropolitan Community Church Tuesday, April 27, 2021, 6:00pm
2
Program Notes and Translations Amiamo (We Love)
Gaetano Donizetti (1797-1848)
Gaetano Donizetti was an Italian composer of the 19th century, most known for his bel cantostyle operas. He wrote over 70 operas- of which, his comedic-style operas were most famous. Amiamo was written by Donizetti for his friend’s daughter. The song speaks of a luxurious way of living that focuses on the pleasures of life. This piece takes the form of a dance that encourages the text- otherwise known as a gigue. Or che l'età ne invita, Cerchiamo di goder. L'istante del piacer passa, passa e non torna. Grave divien la vita Se non si coglie il fior; Di fresche rose amor solo l'adorna. Più bella sei, più devi Ad amor voti e fé; Altra beltà non è che un suo tributo. Amiam ché i dì son brevi; È un giorno senza amore Un giorno di dolor, giorno perduto. Amiam, amiam! Ah! L’istante del piacere, L’istante del piacer passa E non torna. Amiam!
Now that age invites some, We try to enjoy. The moment of pleasure passes, passes and does not come back. Life becomes serious If the flower is not plucked; Love only adorns it with fresh roses. The more beautiful you are, the more you must Ad love, votes and fé; Another beauty is only a tribute to him. We love that the days are short; It is a day without love A day of pain, a lost day. The moment of pleasure passes And does not come back.
Dolente immagine di Fille mia (Sorrowful Image)
Vincenzo Bellini (1801-1835)
Vincenzo Bellini- an Italian opera composer- was nicknamed “The Swan of Cantania” after his birthplace of Cantania, Sicily, and for his sweeping, legato melodies. Bellini was born into a musical family and studied composition at the Naples Conservatory. Bellini’s compositional style focused on the relationship between the text and the music- each informing the other. Dolente immagine di Fille mia is one of three songs in a song cycle by Bellini. The song is a narration by a lover grieving the loss of his beloved and assuring her that their love will not die with her. The constant rising and falling of the melody can suggest an image of the flame of their love persisting. Dolente immagine di Fille mia, perché sì squallida mi siedi accanto?
Sorrowful image of my Phillis, why do you sit so desolate beside me?
3
Che più desideri? Dirotto pianto io sul tuo cenere versai finor.
What more do you wish for? Streams of tears have I poured on your ashes.
Temi che immemore de' sacri giuri io possa accendermi ad altra face? Ombra di Fillide, riposa in pace; è inestinguibile l'antico ardor.
Do you fear that, forgetful of sacred vows, that I might burn by another flame? Shade of Phillis, rest peacefully; the old flame of love cannot be extingushed.
Translation by Richard Stokes
Va Godendo (Pleasure Goes)
George Frideric Handel (1685-1759)
Georg Frideric Handel was a German composer of the Baroque period most known for his operas, oratorios, and instrumental compositions. He studied composition and keyboard performance under Friedrich W. Zachow. He also worked as an organist, violinist, and harpsichordist. He composed the most famous oratorio to date: Messiah, which is still widely popular today. Va Godendo is an arietta from Handel’s opera, Serse. The arietta is sung by the character of Romilda- the love interest of King Serse- in the first act of the opera. Romilda sings about those in love and compares them to free-flowing streams. Va godendo vezzoso e bello Quel ruscello la liberta. E tra l’erbe con onde chiare Lieto al mare correndo va.
Pleasure goes, charming and handsome That streams free-flowing And between the grass with waves clear Gladly to sea, goes running. Translation by Thomas A. Gregg
Punto de Habanera (Habanera Rhythm)
Xavier Montsalvatge (1912-2002)
Xavier Montsalvatge was a Spanish composer and music critic. He studied under Eric Morera and Jaume Pahissa, who taught him modernist compositional techniques, which he applied to his own compositions in a personal way. He also worked as a critic for Barcelona’s weekly Destino. Punto de Habanera is a part of a song cycle by Montsalvatge called, “Cinco Canciones Negras,” which translates to, “Five Black Songs.” The cycle was written as a narrative reflecting the voices of the oppressed minority. It is a representation of how Montsalvatge saw the Spanish people. La niña criolla pasa con su miriñaque blanco. ¡Qué blanco! ¡Hola! Crespón de tu espuma; ¡Marineros, contempladla!
The Creole girl goes by in her white crinoline. How white! The billowing spray of your crepe skirt! Sailors, look at her!
4
Va mojadita de lunas que le hacen su piel mulata; Niña no te quejes, tan solo por esta tarde. Quisiera mandar al agua que no se escape de pronto de la cárcel de tu falda. Tu cuerpo encierra esta tarde rumor de abrirse de dalia. Niña no te quejes, tu cuerpo de fruta está dormido en fresco brocado. Tu cintura vibra fina con la nobleza de un látigo, toda tu piel huele alegre a limonal y naranjo. Los marineros te miran y se te quedan mirando. La niña criolla pasa con su miriñaque blanco. ¡Qué blanco!
She passes gleaming in the moonlight which darkens her skin. Young girl, do not complain, only for tonight do I wish the water not to suddenly escape the prison of your skirt. In your body this evening dwells the sound of opening dahlias. Young girl, do not complain, your ripe body sleeps in fresh brocade, your waist quivers as proud as a whip, every inch of you skin is gloriously fragrant with orange and lemon trees. The sailors look at you and feast their eyes on you. The Creole girl goes by in her white crinoline. How white!
Translation by Jacqueline Cockburn and Richard Stokes
Extase (Ecstasy)
Henri Duparc (1848-1933)
Henri Duparc was a French composer of the Romantic period. He is most known for his mélodie, which are French art songs. He studied composition at the Jesuit College of Vaugirard under César Franck. At around age 38, Duparc was diagnosed with neurasthenia which eventually resulted in his complete loss of sight. He then destroyed all of his works composed after his diagnosis, leaving only 17 of his mélodie. Extase is very Romantic and includes a very involved accompaniment, which makes the piece just as much about the piano as it is about the voice. The song compares the feeling of ecstasy to “a slumber sweet like death.” The heavy chromaticism and building accompaniment leads to the climax of the piece and slowly “dies” down, perfectly playing to the text and overarching meaning of the piece. Sur un lys pâle mon cœur dort D’un sommeil doux comme la mort… Mort exquise, mort parfumée Du souffle de la bien-aimée…
On a pale lily my heart is asleep In a slumber sweet like death… Exquisite death, death perfumed By the breath of my beloved…
Sur ton sein pâle mon cœur dort D’un sommeil doux comme la mort…
On your pale bosom my heart is asleep In a slumber sweet like death... Translation by Richard Stokes
5
Vergebliches Ständchen (Futile Serenade)
Johannes Brahms (1833-1897)
Johannes Brahms, a leading composer and pianist of the 19th century, continued the Classical traditions into the Romantic period, becoming one of the greatest composers of the 19th century known mostly for his symphonies and sonata style works. Vergebliches Ständchen is a light narrative between two lovers, in which the woman plays “hard to-get.” The piece is strophic, which allows the listener to pay closer attention to the text. Er: Guten Abend, mein Schatz, guten Abend, mein Kind! Ich komm' aus Lieb' zu dir, Ach, mach' mir auf die Tür, mach' mir auf die Tür!
He: Good evening, my treasure, good evening, sweet girl! I come from love of you, Ah, open the door, open the door for me!
Sie: Meine Tür ist verschlossen, Ich laß dich nicht ein; Mutter, die rät' mir klug, Wär'st du herein mit Fug, Wär's mit mir vorbei!
She: My door is locked, and I won't let you in: My mother has advised me well! If you came in, It would all be over for me!
Er: So kalt ist die Nacht, so eisig der Wind, Daß mir das Herz erfriert, Mein' Lieb' erlöschen wird; Öffne mir, mein Kind!
He: The night is so cold, and the wind so icy that my heart will freeze, and my love will be extinguished! Open for me, sweet girl!
Sie: Löschet dein' Lieb'; lass' sie löschen nur! Löschet sie immerzu, Geh' heim zu Bett, zur Ruh'!
She: If your love starts dying, then let it be extinguished! If it keeps dying, go home to bed, and rest!
Gute Nacht, mein Knab'!
Good night, my boy! Translation by Emily Ezust
Allerseelen (All Souls’ Day)
Richard Strauss (1864-1949)
6 Richard Strauss was a German composer, pianist, and violinist. He was a renowned Romantic composer of the late-19th and early-20th centuries. He is most known for his operas and symphonic poems. Born into a musical family, he began composing at age 6. Allerseelen consists of a sweeping melody with a beautiful legato accompaniment. The narrator of the song is reminiscing about a lost love. The first section describes the ceremonial traditions of grieving those lost. The second describes the speaker’s lost lover. The final section reveals that the narrator has set aside a specific day of the year to grieve their lost love. Stell auf den Tisch die duftenden Reseden, Die letzten roten Astern trag herbei Und laß uns wieder von der Liebe reden, Wie einst im Mai.
Place on the table the fragrant mignonettes, Bring here the last of the red asters, And let us speak again of love, As long ago in May.
Gib mir die Hand, daß ich sie heimlich drüke, Und wenn man’s sieht, mir ist es einerlei,
Give me the hand that I may secretly clasp it, And if it is observed by others, I will not mind; Give me one of your sweet glances, As long ago in May.
Gib mir nur einen deiner süßen Blicke, Wie einst in Mai. Es blüht und duftet heut auf jedem Grabe, Ein tag im Jahr ist ja den Toten frei, Komm an mein Herz, daß ich dich weider habe, Wei einst im Mai.
Today each grave is flowering and fragrant, Once a year it is All Souls’ Day, Come to my heart that I again may have you, As long ago in May. Translation by Richard Stokes
Moonfall from The Mystery of Edwin Drood
Rupert Holmes (b. 1947)
Rupert Holmes is a British-American composer, singer, songwriter, dramatist, and author. He is known for his hit singles, “Escape (The Piña Colada Song)” and “Him,” for his musicals, and for his television series, “Remember WENN.” He has won two Tony Award s for his musicals. “Moonfall” is from Holmes’ musical, “The Mystery of Edwin Drood.” The speaker is Rosa Bud, and at this point in the musical, Rosa Bud’s creepy music teacher is in love with her and writes her a song (“Moonfall”) to sing in her lesson. Between the very dead of night and day, Upon a steely sheet of light, I’ll lay, And in the moonfall, I’ll give myself to you, I’ll bathe in moonfall, and dress myself in dew.
7 Before the cloak of night reveals the morn, Time holds its breath while it conceals the dawn, And it the moonfall, all sound is frozen still, Yet warm against me, Your skin will warm the chill of moonfall. I feel its fingers; lingers the veil of nightshade, Light made from stars that all too soon fall, Moonfall that pours from you. Betwixt our hearts let nothing intervene. Before our eyes, the only sight I’ve seen Is lustrous moonfall as it blinds my view, So that soon I only see but you.
If music be the food of love
Henry Purcell (1659-1695)
Henry Purcell was an English composer of the Baroque period. He is most known for writing over 100 songs, a tragic opera (“Dido and Aenas”), and for setting Shakespeare’s “A Midsummer Night’s Dream” to music. He wrote music for a wide range of performances and audiences. “If music be the food of love” by Purcell has three different versions- two of which were set by Benjamin Britten, including this version. This is the third setting of the piece, and it contrasts the first two. While the first two settings are more strophic, this version is not and uses melismas to tell the story instead. The long, winding melismas paint a picture of love and all its complications and beauty. If music be the food of love, Sing on, sing on, till I am fill’d with joy; For then my list’ning soul you move, To pleasures that can never, never cloy; Your eyes, your mein, your tongue declare That you are music ev’rywhere. Pleasures invade both eye and ear, So fierce the transports are, they wound, And all my senses feasted are, Tho’ yet the feast is only sound; Sure I must perish, I must perish by your charms; Unless you save me in your arms.
8
The year’s at the spring
Amy Beach (1867-1944)
Amy Beach was an American composer and pianist. She was born in New Hampshire and was a child prodigy, memorizing about 40 songs by age 1. She began composing waltzes by age 4 and began studying piano with her mother at age 6. She was the first female composer in America to successfully compose large-scale art music. “The year’s at the spring” is the first of three pieces in Beach’s set, Three Browning Songs, songs based on the poems of Robert Browning- an English poet and playwright. “The year’s at the spring” is in connection with one of Browning’s monologues for a character named Pippa, who walks through life alone, leaving without a trace, but ultimately, having an effect on everyone she meets. This song expresses Pippa’s naivety and happiness. The year’s at the spring, And day’s at the morn; Morning’s at seven; The hillside’s dew pearled; The year’s at the spring, And day’s at the morn; The lark’s on the wing; The snail’s on the thorn; God’s in His heaven, All’s right, All’s right with the world!
Mein Herr Marquis (My Lord Marquis)
Johann Strauss II (1825-1899)
Johann Strauss II was an Austrian composer. He was known for his Viennese watlzes and operettas and was nicknamed, “The Waltz King.” His father, Johann Strauss I, did not approve of him following a musical career, but he studied music secretly, and when his father passed, he organized an orchestra that consisted of his own players and his father’s and toured across Europe. Mein Herr Marquis- sometimes referred to as, “Adele’s Laughing Aria”- is from the second act of Johann Strauss II’s opera, “Die Fledermaus.” At this point in the opera, Adele, Rosalinda’s chambermaid, runs into Rosalinda’s husband at a party and is trying to convince him that she couldn’t possibly be a chambermaid by naming features such as her small waist, Grecian profile, and dainty hands. She tries to convince him that the mere thought of her being a chambermaid is laughable.
9
Mein Herr Marquis, ein Mann wie Sie Sollt besser das verstehn Darun rate ich, ja genauer sich Die Leute anzusehn!
My lord Marquis, a man like you Should better understand that, Therefore I advise you To look more accurately at people!
Die Hand ist doch wohl gar zu fein, ah, Dies Füsschen, so zierlich und klein, ah, Die Sprache, die ich führe, Die Taille, die Tour nüre,
This hand is surely far too fine, ah, This foot so dainty and small, ah, In a manner of speaking My waist, my bustle,
Dergleichen finden Sie bei einer Zofe nie! Gestehen müssen Sie fürwahr, Sehf komisch dieser Irr tum war!
The likes of things you’ll never find on a maid! You really must admit, This mistake was very funny!
Ja, sehr komisch, ha, ha, ha, Ist die Sache, ha, ha, ha, Drum verziehn Sie, ha, ha, ha, Wenn ich lache, ha, ha, ha, ha, ha, ha, Sehr komisch, Herr Marquis, sind Sie!
Yes, very funny, ha, ha, ha, The thing is, ha, ha, ha, You’ll have to forgive me, ha, ha, ha, If I laugh, ha, ha, ha, ha, ha, ha, Very comical, Marquis, you are!
Mit dem profil im griechischem Stil Beschenkte mich Natur, Wenn nicht dies Gesicht schon genügend spricht, So sehn Sie die Figur!
With this profile in Grecian style, Being a gift of nature, If this face doesn’t give it away,
Shaun durch die Lorgnette Sie dann, ah. Sich diese Toilette nur an, ah, Mir scheine wohl die Liebe Macht ihre Augen trübe,
Just look through the eye-glass then, ah, At this outfit I am wearing, ah, It seems to me that love Has clouded your eyes,
Der schönen Zofe Bild hat ganz Ihr Herz erfüllt, Nun sehen Sie sie überall, Sehr komisch ist fürwahr der Fall!
The chambermaid image Has fulfilled all your heart! Now you see her everywhere, Very funny indeed, is this situation!
Ja sehr komisch, ha, ha, ha, Ist die Sache, ha, ha, ha, Drum verziehn Sie, ha, ha, ha, Wenn ich lache, ha, ha, ha, ha, ha, ha!
Yes, very funny, ha, ha, ha, The thing is, ha, ha, ha, You’ll have to forgive me, ha, ha, ha, If I laugh, ha, ha, ha, ha, ha, ha!
Just look at my figure!
Translation by Aaron Green