Program Notes & Translations
Prepared by Vanessa Segovia and Simone Remandaban
“Nel Cor Più Non Mi Sento” {I no longer feel within my heart} by Giovanni Paisiello
Giovanni Paisiello was an Italian composer born May 9, 1740, near Taranto. He was considered a music prodigy. He studied in Taranto and then transferred to the Conservatory of San Onofrio at Naples when he was recognized for his singing talent. His compositions were church music, but as his reputation grew, he began composing in secular genres. During his lifetime, he composed 94 operas, about 40 masses, and many other works He passed away in the year 1816 but continues to be admired for his musicality to this day.
“Nel Cor Più Non Mi Sento” is one of his most well-known pieces. Composed in the late 18th century, this aria was featured in his opera “La Molinara”. Its purpose is to showcase the composer’s ability to express such dramatic emotions during a scene in which the protagonist is disassociating from their feelings. This piece captures a perfect sense of being broken-hearted and emotionally untouched
Original text by Giuseppe Palomba; Translated text by Andrew Schneider:
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!
I no longer feel within my heart
The accustomed brightness of my youth
O Love, it’s your fault
That I feel so tormented
You pinch me, you poke me
You prick me, you grind me
What is this, alas?
Have pity, I beg!
Love is a certain something
Which arouses in me despair!
3
“Se Florindo È Fedele” {If Florindo is faithful} by Alessandro Scarlatti
Alessandro Scarlatti was also an Italian composer born May 2, 1660, in Sicily, Italy. When sent to Rome at the age of 12, he gained his music knowledge when heavily influenced by other composers like Bernardo Pasquini. Eventually, he started to compose music for operas from Naples. He had traveled to many places due to his talent and followed wherever his music took him. His styles included thematic development and combination style. These were later influenced by other well-known composers such as Mozart and Schubert. He was composing in the late Baroque period, which gave him a wide variety of ideas to input into his pieces. During his lifetime, he composed 115 operas, about 600 cantatas, and a substantial amount of other works. He passed away in the year 1725 but is recognized as one of the most important Italian composers in history.
Composed in the late 17th century, “Se Florindo E Fedele” is an aria featured in his opera “La Donna Ancora È Fedele”. Much like other arias, its purpose was to express the emotions and thoughts of the character performing the piece. During this piece, the protagonist is contemplating how trustworthy Florindo will be in their heart. This piece conveys a sense of love and loyalty.
Original text by Domenico Contini; Translated text by Andrew Schneider:
Se florindo è fedele, io m’innamorerò If Florindo is faithful, I shall fall in love for sure
Potrà ben l’arco tendere il faretrato arcier
Ch’io mi saprò difendere da un guardo lusinghier
Preghi, pianti e querele io non ascolterò
Ma se sarà fedele, io m’innamorerò
The archer, fully equipped, may well draw his bow
But I will know how to defend myself from a seductive glance
Prayers, weeping, complaints: No heed shall I pay to these
But if he remains faithful, I shall fall in love
4
“Già il sole dal Gange” {Already, The Sun From The Ganges} by Alessandro
Scarlatti
Alessandro Scarlatti (May 2, 1660 - Oct 22, 1725) was born in Palermo, Sicily and is considered one of the most important Italian composers of his time. His educational history is unknown, but we do know that he studied Roman music. Scarlatti’s compositions were a major part of promoting Naples within the opera world Due to a change in public opinion of opera, he became well versed in writing church music as well. Scarlatti went wherever the money took him, between different roles as the maestro di cappella and musical director in various Italian cities. He continued to write new operas as well as revivals before retiring, spending the last four years of his life peacefully in Naples.
“Già il sole dal gange” is an aria from Scarlatti’s opera, “L’honestà negli amori”. Although this opera has been lost to time, it lives on through the popularity of this piece with young baritones. Through the lyrics, we experience the awe of the speaker as they watch the sun rise over the Ganges river and spread the sunlight slowly over the blades of grass. They are taken with the beauty of the Earth around them as the rays of the sun reflect upon the dew and create a star-like effect.
Original Text by Anonymous:
Già il sole dal Gange Più chiaro sfavilla, E terge ogni stilla Dell’alba che piange.
Col raggio dorato Ingemma ogni stelo, E gli astri del cielo Dipinge nel prato
Already the sun from the Ganges Shines more brightly And wipes every drop of the dawn, which weeps
With the gilded ray It adorns each blade of grass; And the stars of the sky It paints in the field
5
“Come raggio di sol” {See How A Ray Of Sun} attributed to Antonio Caldara
Antonio Caldara (c. 1670 - Dec 28, 1736) was born in Venice, Italy. He sang and learned many instruments in his youth. As an adult, Caldara worked as the maestro di cappella under different royal leaders and later as chamber composer to Charles III, later known as Holy Roman Emperor Charles VI, in Barcelona During his time there, he wrote operas that were the first Italian operas performed in Spain. He moved to various European cities such as Vienna and Salzburg for work and eventually became Vize-Kapellmeister to the Imperial Court in Vienna. In his lifetime, Caldara composed over 70 operas, 30 oratorios, and other works like motets and sonatas.
“Come raggio di sol” is an Italian baroque aria credited to Antonio Caldara. The lyrics highlight the contrasts of life as people may seem outwardly happy even though they are experiencing inner turmoils. We hide our issues behind a smile as the sun’s rays would distract one from the storm building in the sea. This piece is a bittersweet outlook on life with the speaker acknowledging that the positive moments in life are underlined by something horrible going on.
Original Text by Anonymous:
Come raggio di sol mite e sereno, sovra placidi flutti si riposa mentre del mare nel profondo seno sta la tempesta ascosa:
cosi riso talor gaio e pacato di contento, di gioia un labbro infiora, mentre nel suo segreto il cor piagato s’angoscia e si martora.
See how a ray of sun, mild and serene, rests on placid waves while in the deep bosom of the sea the storm is hidden:
so I laughed sometimes cheerful and calm with contentment, a lip flowers with joy, while in secret the wounded heart anguishes and tortures itself
6
“Immer Leiser Wird Mein Schlummer” {My slumber grows evermore peaceful} by Johannes Brahms
Johannes Brahms was a German composer born on May 7, 1833. His education came from his father, but then later Brahms was influenced by Robert Schumann, therefore exploring his musical talents even further. He composed more than 200 songs. Among his compositions were chamber pieces, symphonies, and leider. Coming from the romantic period of music, he showcases emotions through his new ideas of harmonies and melodies. Although he practiced traditional styles, his innovations in music were highly recognized. He passed in the year 1897 and is still recognized for his beautiful, pure melodies.
“Immer Leiser Wird Mein Schlummer” was composed in 1886 and was part of Brahms’ Op. 105 collection. The words are derived from the poetic works of Hermann Lingg. This art song captures how Brahms demonstrates a theme of reflection and the passing of time. During the piece, the text reflects on the speaker’s life and how their slumber is the only peace they have.
Original text by Hermann Lingg; Translated text by Emily Ezust:
Immer leiser wird mein schlummer
Nur wei schleier liegt mein kummer
Zitternd über mir
Oft im traume hör’ ich dich
Rufen draus’ vor meiner tür
Nieman wacht und öffnet dir
Ich erwach’ und weine bitterlich
Ja, ich werde streben müssen
Eine andre wirst du küssen
Wenn ich bleich und kalt
Eh’ die maienlüfte weh’n
Eh’ die drossel singt im walt
Willst du mich noch einmal seh’n
Komm’ o komme bald!
My slumber grows ever more peaceful
And only like a thin veil now does my anxiety
Lie trembling upon me
Often in my dreams I hear you
Calling outside my door
No one is awake to let you in
And I wake up and weep bitterly
Yes, I will have to die
Another will you kiss
When I am pale and cold
Before the may breezes blow
Before the thrush sings in the forest
If you wish to see me once more
Come O come soon!
7
“Vergebliches Ständchen” {Good evening, my treasure}
Johannes Brahms
by
Composed in 1881, “Vergebliches Ständchen” was part of Brahms’ Op. 84 collection. The words are derived from a folk song, also known as Volkslieder. This art song could have the audience capture an amusing story in their minds. The ideal themes he used while composing were rejection and non-acceptance. Brahms contemplated how to convey both the characters' behaviors in the text and ended up delivering a perfect, balanced tone. With his ability to create specific rhythms and movements in his compositions, this piece is very distinguishable and unique. Overall, he expressed the right amount of emotions and a deep understanding of the text.
The piece can be described as a humorous narrative. The text explains a dilemma between a man and a woman he loves, but she refuses to accept his proposal for love. Brahms characterized this piece with sensibility and a balance of contrasting emotions.
Original text is a Volkslieder; Translated text by Emily Ezust:
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!
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!
So kalt ist die nacht
So eisig der wind
Dass mir das herz erfriert
Mein’ lieb’ erlöschen wirt
Öffne mir mein kind!
Löschet dein’ lieb’
Lass’ sie löschen nur!
Löschet sie immerzu,
Geh’ heim zu bett, zur ruh’!
Gute nacht, mein knab’!
Good evening my treasure
Good evening sweet girl!
I come from love of you
Ah, open the door
Open the door for me!
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!
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!
If your love starts dying, Then let it be extinguished!
If it keeps dying, Go home to bed, and rest!
Good night, my boy!
8
“C’est mon ami” {That is My Friend} attributed to Marie Antoinette
Arr. Jesse Reece
Marie Antoinette (Nov 2, 1755 - Oct 16, 1793) was born in Vienna, Austria. She was infamous for her uncaring way of ruling as the last queen of France before the French Revolution ended the monarchy. Marie Antoinette was trained in music through her education as a member of the nobility, studying under composers Christoph Willibald Gluck in Austria and Joseph Boulogne, Chevalier de Saint-George, known as “le Mozart noir” in France. She died by execution with a guillotine as a result of the revolution.
“C’est mon ami” is a pastoral song credited to Marie Antoinette The tradition of pastoral songs began with Giovanni Battista Guarini’s Pastor Fido (The Faithful Shepherd) in 1590 and was kept alive with seventeenth century performers in French salons who liked to pretend they were shepherds and shepherdesses The verses describe someone with many great qualities, such as charming, gentle, or jollity, and then claim ownership of them. The lyrics sound possessive, but the music suggests prideful bragging about a friend rather than wanting to keep the friend away from others. It is believed that she composed the music and then Jean-Pierre Claris de Florian set lyrics to her music.
Original Text by Jean-Pierre Claris de Florian:
Ah! s’il est dans votre village, Un berger sensible et charmant, Qu’on chérisse au premier moment, Qu’on aime ensuite d’avantage:
C’est mon ami, rendezle moi!
J’ai son amour, il a ma foi!
Si, par sa voix tendre et plaintive, Il charme l’écho de vos bois;
Si les accents de son hautbois Rendent la bergère pensive,
C’est encore lui, rendezle moi!
J’ai son amour, il a ma foi.
Si passant près de sa chaumière, Le pauvre, en voyant son troupeau, O se demander un agneau
Et qu’il obtienne encor la mère
Oh! c’est bien lui, rendezle moi!
J’ai son amour, il a ma foi.
Ah, if there is in your village
A shepherd who is sensitive and charming Whom everyone cherishes from the first moment And loves even more thereafter:
That’s my friend, give him back to me!
I have his love, he has my word
If with his gentle and plaintive voice
He charmes the echo of your woods
If the accents of his oboe
Make shepherdesses pensive
That’s my friend, give him back to me!
I have his love, he has my word.
If when passing by his hut
A poor man on seeing his flock
Dares to ask for a lamb
And is given the mother as well
Oh! That’s definitely him, give him back to me
I have his love, he has my word.
9
“Trop aimable Sylvie” {Sylvie, Thou Art My Dearest} by Jean-Baptiste Weckerlin Arr. Jesse Reece
Jean-Baptiste Théodore Weckerlin (Nov 9, 1821 - May 20, 1910) was born in Guebwiller, which is now known as Grand Est, France. He started his studies of singing and composition at the Paris Conservatory in 1844 and began writing big works such as symphonies and operas by 1847. He is famous for his choral works and piano arrangements of traditional French songs, especially the bergerette.
“Trop aimable Sylvie” is from J.B. Weckerlin’s collection of French songs and romances from the eighteenth century, Bergerettes. This piece was likely derived from the village dances of Provence, a region in France, although the elegance of the piece says otherwise. Sylvia is a person who is very dear to the speaker. When she is around, they feel happy and in love. When she is gone, however, they feel time dragging and are just waiting to see her again. This feeling of yearning for Sylvia is easily remedied by her return, where the speaker gets to see her shining eyes and experience happiness once again.
Original Text by Anonymous:
Trop aimable Sylvie
Plus content d’ètre sous ta loi
Que si j’étais sans toi Roi!
Rien ne me fait envie; Charmé des lieux
Où je vois briller tes yeux, Je crois qu’on n’est pas dans les cieux Mieux!
Non! Rien n’est égal à la souffrance
Que me cause la moindre absence:
Un jour est un siècle à mon impatience,
Mais hélas? Aus sitòt
Que je revois tes appas, Oh! Dieux!
Que je trouve les jour Courts!
Too kind Sylvia I am happier to be under your law
That if I were without you Ruler!
Nothing makes me want; Charmed by the places
Where I see your eyes shine, I believe we are not in the heavens, (but) Better!
No! Nothing is equal to the suffering
That the slightest absence does cause me: A day is a century to my impatience,
But unfortunately? As soon as I see your charms again, Oh! Gods!
How I find everyday
Short!
10
“Philis plus avare que tendre” {Phyllis, Grasping, Ne’er Would Philander} by Jean-Baptiste Weckerlin
Arr. Jesse Reece
“Philis plus avare que tendre” is from J.B. Weckerlin’s collection of French songs and romances from the eighteenth century, Bergerettes. The lyrics were set to music by the French dramatic poet Dufresny. Sylvander is trying to court Phyllis, giving multiple dowries of different amounts of sheep just for a single kiss. Over the next few days, Phyllis finds herself yearning for Sylvander, more than willing to give thirty kisses just for one sheep One day when she was waiting for his payment, she found out he was courting another woman, Lizette, instead.
Original Text by Charles Dufresny:
Philis, plus avare que tendre, Ne gagnant rien, à refuser,
Un jour exigea de Sylvandre
Trente moutons pour un baiser.
Le lendemain, nouvelle affaire: Pour le berger le troc fut bon, Car il obtint de la bergère
Trente baisers pour un mouton
Le lendemain, Philis plus tendre, Craignant de déplaire au berger, Fut trop heureuse de lui rendre
Trente moutons pour un baiser
Le lendemain, Philis, peu sage, Aurait donné moutons et chien Pour un baiser que le volage
A Lizette donnait pour rien
Phyllis, more stingy than tender
Gaining nothing by refusing, One day demanded of Sylvander
Thirty sheep for one kiss.
The next day, new affair: For the shepherd the barter was good Because he obtained from the shepherdess
Thirty kisses for one sheep
The next day, Phyllis more tender, Fearing to displease the shepherd Was too happy to give back to him
Thirty sheep for one kiss
The next day, Phyllis, unwise, Would have given sheep and dog
For a kiss that the fickle
Lizette gave for nothing.
11
“Belle nuit, ô nuit d'amour” from Tales of Hoffmann by Jacques Offenbach
Jacques Offenbach was a German-born composer who created the light burlesque French comic opera, the opérette, one of his time's more defining artistic products. He was the son of a cantor at the Cologne Synagog, and he moved his family to Paris when Offenbach was young, as they were much more tolerant of Jewish people. He enrolled as a cello student at the Paris Conservatoire in 1833 and became a performing cellist and conductor. In 1855, he opened his theatre, the Bouffes-Parisiens, where many of his famed operettas were performed. Through his operettas and other theatre performances, he could direct his works in Germany, Austria, and even toured the United States. Offenbach is remembered for his fluent and elegant writing style and a sense of characterization and satire. He wrote over 100 stage works in his time that continue to be performed and remembered in the 21st century.
Original text by Jules Barbier:
Belle nuit, ô nuit d'amour, souris à nos ivresses!
Nuit plus douce que le jour, ô, belle nuit d'amour!
Le temps fuit et sans retour emporte nos tendresses, loin de cet heureux séjour. Le temps fuit sans retour.
Zéphyrs embrasés versez-nous vos caresses, Zéphyrs embrasés donnez-nous vos baisers!
Vos baisers! Vos baisers! Ah!
Beautiful night, oh, night of love
Smile upon our intoxication!
Night much sweeter than the day
Oh, beautiful night of love!
Time flies and there is no return
Take away our tenderness
Far from this happy stay
Time flies without return
Blazing Zephyrs
Shower us with your caresses, Blazing Zephyrs
Give us your kisses!
Your kisses! Your kisses! Ah!
12
“Le Réveil De La Mariée” {The song to the bride} by Maurice Ravel
Maurice Ravel was a French composer born on March 7, 1875, in Cibourne, France. He was blessed with artistic talent, and his father highly recognized and encouraged him for it. At the age of 14, he attended the Paris Conservatoire where he enhanced his music skills, including his composing. Isaac Albéniz, a Spanish composer, influenced him to start his composing journey. He was admired for many things but was most recognized for being an impressionist Although he had a few setbacks during his time in the Conservatoire, he continued to strive as many others supported him. His works consisted of piano pieces, chamber pieces, operas, and more. He lived a very simple life with no intentions of exciting plans. He passed in the year 1937 but is known as one of the best composers from France.
“Le Réveil De La Mariée” is the first song of the Cinq Mélodies Populaires Grecques collection composed from 1904-1906, also known as Five Greek Folk Melodies These pieces were later translated into French, therefore giving Ravel a chance to capture the excitement and anticipation about weddings in general. The context behind this piece is that it is the morning of a bride’s wedding, and she has just woken up. The text progresses by the process of her morning and how she is getting ready for her special day.
Original text by Michel Calvovoressi; Translated text by Emily Ezust:
Réveille-toi, réveille-toi, perdrix mignonne
Oeuvre au matin tes ailes
Trois grains de beauté
Mon cœur en est brûlé!
Vois le ruban d’or que je t’apporte
Pour le nouer autour de tes cheveux
Si tu veux, ma belle, viens nous marier
Dans nos deux familles, tous sont alliés!
Awake, awake, my darling partridge
Open to the morning your wings
Three beauty marks
My heart is on fire!
See the ribbon of gold that I bring
To tie round your hair
If you want, my beauty, we shall marry!
In our two families, everyone is related!
13
“La Bàs Vers L’eglise” {Yonder by the church} by Maurice
Ravel
“La Bàs Vers L’eglise” is the second song in the Cinq Mélodies Populaires Grecques collection. Connecting to the previous song, this is from the point of view of a person looking at a church from a distance where people are gathered for a wedding. The theme for this piece is contemplating nature and life. Ravel’s composing style consisted of elegance and perfect craftsmanship. This piece is a perfect example of showcasing these styles The melancholy emotions are well-expressed with the enriching melody and harmonic progressions.
Original text by Michel Calvovoressi; Translated text by Emily Ezust: Là-bas, vers l’eglise
Vers l’eglise ayio Sidéro
L’eglise, ô vierge sainte
L’eglise ayio Costanndino
Se sont réunis
Rassemblés en nombre infini
Du monde ô vierge sainte
Du monde tous les plus braves!
Yonder, by the church
By the church of Ayio Sideros
The church, o blessed Virgin
The church of Ayio Costanndino
There are gathered
Assembled in numbers infinite
The world’s, o blessed Virgin
All the world’s most decent folk!
“Quel Galant M’est Comparable?” {What gallant compares with me?} by Maurice Ravel
“Quel Galant M’est Comparable?” is the third song in the Cinq Mélodies Populaires
Grecques collection. Utterly unrelated to the first two songs, this piece is about a confident and self-absorbed man who is attracted to this lady. He decides to pursue her in the end. The theme of this piece is boldness and persuasion. Ravel captured an amusing and entertaining tone.
Original text by Michel Calvovoressi; Translated text by Emily Ezust:
Quel galant m’est comparable
D’entre ceux qu’on voit passer?
Dis, dame Vassiliki?
Vois, pendus à ma ceinture
Pistolets et sabre aigu
Et c’est toi que j’aime!
What gallant compares with me
Among those one sees passing by?
Tell me, lady Vassiliki?
See, hanging on my belt
My pistols and my curved sword
And it is you whom I love!
14
“Auf dem Meere” {On the Ocean} by Robert Franz
Robert Franz (Jun 28, 1815 - Oct 24, 1892) was born in Halle, Germany. He is considered to be one of the most prominent composers of the time along with Franz Schubert and Robert Schumann. He developed deafness around 1843, when he first began publishing songs, but he still continued with music. He worked as organist, conductor, and finally as musical director at Halle University where he also became a doctor of music in 1861. He retired in 1868 due to his condition and was supported by singer Arnold von Pilsach for the rest of his life, as well as from concerts for his benefit arranged by prominent musicians of the time. While retired, he arranged works by Bach, Handel, Mozart, and Schubert. In his life, he made about 350 songs known for their sensitivity and relation to the poems he utilized.
“Auf dem Meere” is the first of Franz’ Op. 36 Sechs Gesänge, a collection of six songs, written during the Romantic era The lyrics describe how the love the speaker has for the person they are singing to is greater than the sky and the ocean, and, while these two things are large, their heart is larger. The stars in the sky and the pearls in the ocean may shine bright, but their love is brighter.
Original Text by Heinrich Heine:
Das Meer hat seine Perlen
Der Himmel hat seine Sterne
Aber mein Herz, mein Herz
Mein Herz hat seine Liebe
Groß ist das Meer und der Himmel
Doch größer ist mein Herz
Und schöner als Perlen und Sterne
Leuchtet und strahlt meine Liebe
The sea hath its pearls
The heaven hath its stars;
But my heart, my heart, My heart has its love.
Great are the sea and the heaven,
Yet greater is my heart, And fairer than pearls and stars
Shines and beams my love
15
“Du bist die ruh” {You are the Quiet}
by Franz Schubert
Franz Peter Schubert (Jan 31, 1797 - Nov 19, 1828) was born in Himmelpfortgrund, Austria. His whole family was musical, and Franz was no different as he learned the viola and the organ and sang in choir. He studied under composer Antonio Salieri and had many leadership roles like conducting before becoming a schoolmaster. Schubert had many works of different kinds, all showcasing his originality and imagination. His unfinished works give evidence that he was melodically focused, with harmonization and modulation following the melodic contour. He also included imagery expression, showcasing his contribution to the development of the romantic style from the classical era. His pieces were highly popular then and now, being performed at concert parties entirely dedicated to his works. Although his popularity declined as he aged, he is still considered the last of the great composers.
“Du bist die ruh” D.776; Op. 59, No. 3 is a Lied, or a setting of poetry to classical music to create an art song. It is the third poem in a set of four by Friedrich Rückert set to music by Schubert for solo voice and piano. The melody is simple but difficult in its need for a peaceful, smooth legato line all throughout. The lyrics express this peaceful air as the speaker longs for someone, perhaps a deity, to come to them and fill them with joy as they look upon the deity with eyes of worship.
Original Text by Friedrich
Rückert:
Du bist die Ruh, der Friede mild, die Sehnsucht du, und was sie stillt.
Ich weihe dir voll Lust und Schmerz zur Wohnung hier mein Aug und Herz.
Kehr ein bei mir, und schließe du still hinter dir die Pforten zu.
Treib andern Schmerz aus dieser Brust!
voll sei dies Herz von deiner Lust.
Dies Augenzelt, von deinem Glanz allein erhellt, o füll es ganz!
You are the quiet, the peace is mild, you are the longing, and what satisfies it.
I consecrate you full of joy and pain to the dwelling here my eyes and heart
Come to me, and close silently behind you the gates.
Drive other pain from this breast!
Let this heart be full of your joy
This tent of eyes, from your splendor alone illuminates, oh fill it completely!
16
“After All White Horses Are In Bed” by Gwyneth Walker
Gwyneth Walker is an American composer born in New York on March 22, 1947, and raised in Connecticut. She started composing at a young age and continues to do so today. Her compositions have been featured and enjoyed by many audiences from around the country. She was educated at Brown University and graduated with three degrees in composition. She worked at the Oberlin College Conservatory but later resigned to become a full-time composer She has composed over 400 commissioned works and still works hard with her talent.
“After all white horses are in bed” was also composed in 1979 and is part of the collection from “Tough love be a day.” The theme of the piece is beauty in nature and admiration. Gwyneth’s composition differs from the original poem due to some missing words, but it resulted in a beautiful concept. The story can be portrayed at nighttime when a character walks alongside nature and resonates with the beauties of this whimsical setting
Original text by E.E. Cummings:
After all white horses are in bed
Will you walking beside me, my very lady
Touch lightly my eyes
And send life out of me and the night absolutely into me
After all white horses are in bed
My very lady
Touch lightly my eyes
17
“Maggie and Milly and Molly and May” by Gwyneth Walker
“Maggie and Milly and Molly and May” was composed in 1979 and is a part of a collection, “Tough love be a day,” derived from poems by E.E. Cummings. The poem behind the piece describes these four individual girls going to the beach and experiencing their own encounters.
Original text by E.E. Cummings:
Maggie and Milly and Molly and May went to the beach to play one day. And Maggie discovered a shell that sang so sweetly she couldn't remember her troubles.
And Milly?
And Milly befriended a stranded star whose rays fire languid fingers were. And Molly was chased by a horrible thing which raced sideways while blowing bubbles!
And May?
And May came home with a smooth round stone as small as a world and as large as alone.
For whatever we lose like a you or me, it’s always ourselves we find in the sea.
Maggie and Milly and Molly and May.
Maggie and Molly and Milly and May.
Maggie and Milly and Molly and May.
18
“Come Ready and See Me” by Richard Hundley
Richard Hundley (Sept 1, 1931 - Feb 25, 2018) was born in Cincinnati, Ohio. He began piano lessons at a young age and studied music at the Cincinnati Conservatory of Music
After moving to New York City in his late teens, he attended school but dropped out and
was even selected for the Metropolitan Opera Chorus. While he was there, Hundley developed his songwriting skills as well as built connections with singers through the chorus and playing as an accompanist for lessons. The Metropolitan singers would sing the songs he showed to them on stage which caught the attention of the General Music Publishing Company, who published seven of his songs after hearing them live. In 1987, he was declared one of the standard American composers for vocalists by the International American Music Competition.
“Come Ready and See Me” is an art song by Richard Hundley. As an art song, it was written to be performed classically but the story has no connection to an opera as an aria would. This leaves the true meaning of the song up to interpretation. The speaker is inviting people, likely loved ones, to visit them before it is too late. Although they are willing to wait, they warn the people they are inviting that time is fleeting and if they are going to come by it must be soon.
Original Text by
James Purdy:
Come ready and see me,
No matter how late
Come before the years run out,
I’m waiting with a candle
No wind will blow out,
But you must haste
By foot or by sky
For no one can wait forever
Under the bluest sky
I can’t wait forever
For the years are running out.
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“When I Have Sung My Songs to You” by Ernest Charles
Ernest Grosskopf, later changed to Charles, (Nov 21, 1895 - Apr 16, 1984) was born in Minneapolis, Minnesota. He attended the University of Southern California and studied singing with Charles Modini Wood. Afterward, he moved to New York City, changed his name, and started his career as a professional singer in both vaudeville and Broadway reviews. He is most famous for his art songs, known for their rubato, sweeping melodies, and being very melodic overall. Charles also joined the American Society of Composers, Authors and Publishers (ASCAP) in 1934 and was an Assistant Executive Secretary of the American Guild of Musical Artists from 1937-1966. After he stopped composing regularly in 1950, he lived in New York City with his wife, a fellow singer, and produced the radio program "Great Moments in Music".
“When I Have Sung My Songs to You” is one of Ernest Charles’ most famous solo songs and is a common closing song for vocal recitals. The music features expressive melodies with liberal usage of rubato that combine elements of popular and classical style The speaker of the song is singing to a person they love. They both share the same dreams, likely about music or performing and have become successful together through great effort. This person is so important to the speaker that they would rather die than have to sing for or with anybody else. It is a strong declaration of love, shown by the declaration that they "will never sing again" unless it is for this person.
Original Text by Ernest
Charles:
When I have sung my songs to you, I’ll sing no more. ‘Twould be a sacrilege to sing at another door. We’ve worked so hard to hold our dreams, just you and I. I could not share them all again I’d rather die With just the thought that I had loved so well, so true, That I could never sing again, That I could never sing again, except to you.
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