02.24.2024 SNR Arlen Program Notes

TEXTS & TRANSLATIONS I. The Vagabond Give to me the life I love, Let the lave go by me, Give the jolly heaven above, And the byway nigh me.

Bed in the bush with stars to see, Bread I dip in the river— There’s the life for a man like me, There’s the life for ever.

Let the blow fall soon or late, Let what will be o’er me; Give the face of earth around, And the road before me.

Wealth I seek not, hope nor love, Nor a friend to know me; All I seek, the heaven above, And the road below me.

Or let autumn fall on me Where afield I linger, Silencing the bird on tree, Biting the blue finger.

White as meal the frosty field— Warm the fireside haven— Not to autumn will I yield, Not to winter even!

II. Let Beauty Awake Let Beauty awake in the morn from beautiful dreams, Beauty awake from rest!

Let Beauty awake For Beauty’s sake In the hour when the birds awake in the brake And the stars are bright in the west!

Let Beauty awake in the eve from the slumber of day, Awake in the crimson eve!

In the day’s dusk end When the shades ascend, Let her wake to the kiss of a tender friend, To render again and receive!

III. The Roadside Fire I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night, I will make a palace fit for you and me Of green days in forests, and blue days at sea.

I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom; And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night.

And this shall be for music when no one else is near, The fine song for singing, the rare song to hear!

That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.

IV. Youth and Love To the heart of youth the world is a highwayside.

Passing for ever, he fares; and on either hand, Deep in the gardens golden pavilions hide, Nestle in orchard bloom, and far on the level land Call him with lighted lamp in the eventide.

Thick as stars at night when the moon is down, Pleasures assail him. He to his nobler fate Fares; and but waves a hand as he passes on, Cries but a wayside word to her at the garden gate, Sings but a boyish stave and his face is gone.

V. In Dreams In dreams unhappy, I behold you stand As heretofore: The unremember’d tokens in your hand Avail no more.

No more the morning glow, no more the grace, Enshrines, endears.

Cold beats the light of time upon your face And shows your tears.

He came and went. Perchance you wept awhile And then forgot.

Ah me! but he that left you with a smile Forgets you not.

VI. The Infinite Shining Heavens The infinite shining heavens Rose, and I saw in the night Uncountable angel stars Showering sorrow and light.

I saw them distant as heaven, Dumb and shining and dead, And the idle stars of the night Were dearer to me than bread.

Night after night in my sorrow The stars looked over the sea, Till lo! I looked in the dusk And a star had come down to me.

VII. Whither Must I Wander?

Home no more home to me, whither must I wander?

Hunger my driver, I go where I must.

Cold blows the winter wind over hill and heather: Thick drives the rain and my roof is in the dust.

Loved of wise men was the shade of my roof-tree, The true word of welcome was spoken in the door— Dear days of old with the faces in the firelight, Kind folks of old, you come again no more.

Home was home then, my dear, full of kindly faces, Home was home then, my dear, happy for the child.

Fire and the windows bright glittered on the moorland; Song, tuneful song, built a palace in the wild.

Now when day dawns on the brow of the moorland, Lone stands the house, and the chimney-stone is cold.

Lone let it stand, now the friends are all departed, The kind hearts, the true hearts, that loved the place of old.

Spring shall come, come again, calling up the moorfowl, Spring shall bring the sun and rain, bring the bees and flowers; Red shall the heather bloom over hill and valley, Soft flow the stream through the even-flowing hours.

Fair the day shine as it shone on my childhood— Fair shine the day on the house with open door; Birds come and cry there and twitter in the chimney— But I go for ever and come again no more.

VIII. Bright is the Ring of Words Bright is the ring of words When the right man rings them, Fair the fall of songs When the singer sings them, Still they are carolled and said— On wings they are carried— After the singer is dead And the maker buried.

Low as the singer lies In the field of heather, Songs of his fashion bring The swains together.

And when the west is red With the sunset embers, The lover lingers and sings And the maid remembers.

IX. I Have Trod the Upward and the Downward Slope I have trod the upward and the downward slope; I have endured and done in days before; I have longed for all, and bid farewell to hope; And I have lived and loved, and closed the door.

Vi Ravviso Il mulino... il fonte... il bosco...

E vicin la fattoria!...

The mill ... the source ... the forest ...

And near the farm! ...

(Vi ravviso, o luoghi ameni, In cui lieti, in cui sereni Sì tranquillo i dì passai Della prima gioventù!

Cari luoghi, io vi trovai, Ma quei dì non trovo più!)

(I see you, or pleasant places, In which you are happy, in which you are happy Yes quiet the days passed Of the first youth!

Dear Places, I found you, But those days I cannot find it anymore!)

Tu non sai con quei begli occhi Come dolce il cor mi tocchi, Qual richiami ai pensier miei Adorabile beltà.

Era dessa, qual tu sei, Sul mattino dell'età.

You do not know with those beautiful eyes How sweet the heart touches me, What references to my thoughts Adorable beauty.

It was given, what are you, On the morning of age.

Minnelied

Translation by Arnette Riggs

Wie der Quell so lieblich klinget Und die zarten Blumen küßt, Wie der Fink im Schatten singet Und das nahe Liebchen grüßt!

Wie die Lichter zitternd schweifen Und das Gras sich grün erfreut, Wie die Tannen weithin greifen Und die Linde Blüten streut!

How the fountain so lovely sounds and kisses the tender flowers, how the finch in the shade sings and greets the nearby sweetheart!

In der Linde süß Gedüfte, In der Tannen Riesellaut, In dem Spiel der Sommerlüfte Glänzet sie als Frühlingsbraut.

Aber Waldton, Vogelsingen, Duft der Blüten, haltet ein, Licht, verdunkle, nie gelingen Kann es euch, ihr gleich zu sein!

How the lights curve trembling and the grass rejoices in its green, how the firs reach out far and the lime tree strews its blooms!

In the lime tree's sweet fragrance, in the firs loud rustling, in the play of summer air She appears as a spring bride.

But forest sounds, birdsong, Fragance of blooms, cease, light, die away, you can never Be like unto her!

Translation by Richard Stokes

O Kühler Wald O kühler Wald, Wo rauschest du, In dem mein Liebchen geht?

O Widerhall, Wo lauschest du, Der gern mein Lied versteht?

O cool forest, In which my beloved walks, Where are you murmuring?

O echo, Where are you listening, Who love to understand my song?

Im Herzen tief, Da rauscht der Wald, In dem mein Liebchen geht, In Schmerzen schlief Der Widerhall, Die Lieder sind verweht.

Deep in the heart Is where the forest murmurs, In which my beloved walks, The echo Fell asleep in sorrow, The songs have blown away.

Translation by Richard Stokes

Zuigneung Ja, du weißt es, teure Seele, Daß ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank.

Yes, dear soul, you know That I’m in torment far from you, Love makes hearts sick – Be thanked.

Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank.

Once, revelling in freedom, I held the amethyst cup aloft And you blessed that draught – Be thanked.

Und beschworst darin die Bösen, Bis ich, was ich nie gewesen, Heilig, heilig an’s Herz dir sank, Habe Dank!

And you banished the evil spirits, Till I, as never before, Holy, sank holy upon your heart – Be thanked.

Translation by Richard Stokes

Ici-Bas Ici-bas tous les lilas meurent, Tous les chants des oiseaux sont courts, Je rêve aux étés qui demeurent Toujours...

In this world all the lilies die, All the songs of birds are short; I dream of the summers that abide Forever...

Ici-bas les lèvres effleurent Sans rien laisser de leur velours, Je rêve aux baisers qui demeurent Toujours...

In this world lips brush but lightly, And nothing of their velvet remains; I dream of the kisses that abide Forever...

In this world every man is mourning

Ici-bas, tous les hommes pleurent Leurs amitiés ou leurs amours; Je rêve aux couples qui demeurent Toujours...

His friendships or his loves; I dream of the couples who abide Forever...

Translation by Richard Stokes

Kaddish Yithgaddal weyithkaddash scheméh rabba be’olmâ Diverâ ’khire’ outhé veyamli’kh mal’khouté behayyé’khön, ouvezome’khôu ouve’hayyé de’khol beth yisraël ba’agalâ ouvizman qariw weimrou: Amen.

Yithbara’kh Weyischtaba’h weyith paêr weyithromam weyithnassé weyithhaddar weyith’allé weyithhallal scheméh dequoudschâ beri’kh hou, l’êla ule’êla min kol bir’khatha weschiratha touschbehatha wene’hamathâ daamirân ah! Be’olma ah!

We ïmrou: Amen.

May thy glory, O King of Kings, be exalted, O thou who art to renew the world and resurrect the dead.

May thy reign, Adonaï, be proclaimed by us, the sons of Israel, today, tomorrow, for ever. Let us all say: Amen.

May thy radiant name be loved, cherished, praised, glorified.

May it be blessed, sanctified, exalted, thy name which soars above the heavens, above our praises, above our hymns, above all our benisons. May merciful heaven grant us tranquillity, peace, happiness. Ah! Let us all say: Amen.

Translation by Richard Stokes

This Nearly Was Mine One dream in my heart, One love to be living for, One love to be living for— This nearly was mine.

One girl for my dreams, One partner in Paradise, This promise of Paradise— This nearly was mine.

Close to my heart she came, Only to fly away, Only to fly as day Flies from moonlight!

Now, now I’m alone, Still dreaming of Paradise, Still saying that Paradise Once nearly was mine.

So clear and deep are my fancies Of things I wish were true, I’ll keep remembering evenings I wish I’d spent with you.

I’ll keep remembering kisses From lips I’ll never own And all the lovely adventures That we have never known.

PROGRAM NOTES Songs Of Travel, Ralph Vaughan Williams (1872-1958) Ralph Vaughan Williams was an English composer. He wrote operas, ballads, folk songs, and chamber music including nine symphonies. He is most well-known for writing the Sea Symphony, the his 5th Symphony, the London Symphony, and Serenade to Music. “Songs of Travel” is a song cycle that is a series of nine pieces. These pieces talk about different places in the world and different times in a man’s life. Each song shows a different personality, making them interesting to perform.

“Vi Ravviso” from La Sonnambula, Vincenzo Bellini (1801-1835) Vincenzo Bellini was an Italian composer, who was known for his beautiful flowing lines. He was well known for writing bel canto music, which translates to beautiful singing. Some of his well-known operas include Norma, La sonnambula, and Zaira. “Vi Ravviso” is an aria of Count Rodolpho who talks about the days of his youth. Bellini uses beautiful flowing melodic lines, as well as cadenzas which are used to demonstrate virtuosity.

Minnelied, Felix Mendelssohn (1809-1847) Felix Mendelssohn was a German composer, pianist, organist, and conductor of the Early Romantic Period. Mendelssohn's compositions include several symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture to A Midsummers Night’s Dream, the Italian Symphony, the Scottish Symphony, and Elijah. “Minnelied” talks about love, and the poem explains that that the beauty of nature is lovely, but it can never be like her lover. The piece uses an eighth note accompaniment pattern which adds a sense of excitement, flow and a huge contrast of emotion.

O Kühler Walt, Johannes Brahms (1833-1897) Johannes Brahms was a German composer, pianist, and conductor of the Mid Romantic Period. He was Born in Hamburg, Germany where he would spend the bulk of his career. He is often grouped with Bach, and Beethoven as one of the Three B’s of music. Some of Brahms most well-known works include “Wiegenlied”, Hungarian Symphonies, and a German Requiem. “O Kühler Walt” sets the text of a narrator who is in the forest trying to find his long-lost love. Brahms uses a lot of syncopation, and hemiolas to help tell the story.

Zueignung, Richard Strauss (1864-1949) Richard Strauss was a German composer who was best known for his operas, and art songs He is considered a leading composer of the Late Romantic Era. He is considered a successor to Richard Wagner, Franz Liszt. Along with Gustav Mahler he represents German Romanticism in which orchestration are combined with an advanced thematic harmonic style. Zueignung is a highly emotional piece that talks about dedication, it uses a two against three polyrhythms, and shifts subdivisions which gives the piece a sublime, beautiful flowing feel. It features a wide range of tone colors and emotions which gives the piece a thematic feel.

Ici Bas, Gabriel Fauré (1845-1924) Gabriel Fauré was a French composer, organist, pianist, and teacher. He was widely considered to be one of the best French composers of his generation, and his musical style influenced many 20thcentury composers. His best-known works include his requiem, Cantique de Jean Racine, and his string quartet. “Ici Bas” expresses the desire to keep the love of life forever. The accompaniment uses a broken chord style patterns in a lyrical nature throughout the piece to express the poetry.

Kaddish, Maurice Ravel (1875-1937) Maurice Ravel was considered to be one of the best French composers of the day. He is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. Ravel was born to a music family where he attended France's premier music college, the Paris Music Conservatory. Kaddish comes from Ravel’s Deux Mélodies Hebraïques, or Two Hebrew Songs. Kaddish uses a wide range of emotion represented in the rhythmic freedom and intricacy. The end of the emotional journey is punctuated with a cadenza.

This Nearly Was Mine from South Pacific, Richard Rodgers (1902-1979) Richard Rodgers was an American composer who worked primarily in musical theater. With 43 Broadway musicals and over 900 songs, he was one of the most well-known names of the 20th century, and his compositions had a significant influence on popular music. “This Nearly Was Mine” comes from the musical South Pacific and in the song the character Emile de Becque grieves for the love-filled life he might have known when losing the love of his life. This piece uses a ternary ABA form which uses 3 sections, the A and the A' sections are the same, while the B section is different, showing different emotions.

ABOUT THE ARTIST

David Arlen, Bass Baritone When David was diagnosed with an autism spectrum disorder, doctors told his parents that they should lower their expectations for his future. David has spent the last 22 years proving them wrong.

After “finding his voice” in middle school, David studied under Katherine Mallon-Day, whose guidance helped him earn places in the Conestoga High School Camerata and Voice Males a cappella choir. He also competed in the PMEA District, and Region Choir festivals. He was the school’s recipient of the National High School Choral Award. David is currently a senior vocal performance major at West Chester University’s Wells School of Music, where he has been studying under Dr. Nicholas Provenzale for four years. There, he has performed with the University’s Chamber Choir, Concert Choir, and Mastersingers, as well as four operas and five honors recitals. Most recently, David performed the role of Melisso in the university’s production of Handel’s Alcina, and the Father in Vittorio Gianni’s Beauty and the Beast. He has won several awards from the National Association of Teachers of Singing including a recent first place prize from the Greater Philadelphia Chapter at the University of Delaware. He’s living proof that autism doesn’t just speak… it sings.

ACKNOWLEDGEMENTS I want to thank my voice teacher from high school Katherine Mallon- Day, for helping me to develop my voice, and making me a better person.

I also want to thank my current voice teacher Nicholas Provenzale for helping to unlock new techniques for my range and making me a much better singer and person.

Finally, I want to thank my exceptional collaborator, Christine McCloskey. She has been a huge asset to all my performing at West Chester University. She is also very enthusiastic, and a good mentor.