Giovanni Pergolesi, an Italian Baroque composer, is renowned for his expressive sacred and secular music. His StabatMater , composed in 1736, is one of his most famous works, setting the poignant 13th-century hymn to music. The first duet, "Stabat Mater," features the soprano and alto voices blending in a beautiful, sorrowful harmony, conveying the grief of the Virgin Mary as she witnesses the crucifixion of her son. The delicate and dissonant interplay between the voices with the somber string accompaniment creates a deeply emotional and intimate atmosphere, showcasing Pergolesi’s mastery in capturing human emotion through music.
Stabat Mater dolorosa
Iuxta crucem lacrimosa
Dum pendebat filius
The grieving mother Stood weeping beside the cross Where her Son was hanging (Translated by Francis Browne)
Jesu, der du meine Seele, BMV 78: Wireilenmitschwachen, J.S. Bach (1724)
Johann Sebastian Bach's duet "Wir eilen mit schwachen" from his Cantata BWV 78, "Jesus, der du meine Seele", is a beautiful and expressive example of his mastery in conveying spiritual longing through music. In this duet, the soprano and alto voices sing in a flowing, harmonious dialogue, reflecting the text's themes of weak, yet earnest, steps in their journey towards Christ. The text is based on a 1641 hymn by Johann Rist. Bach’s use of a gently pulsating rhythm in the accompaniment mirrors the fragile yet hopeful determination of the voices. He symbolizes hastening through vocal coloratura. Bach transforms a simple expression of faith into an emotionally resonant experience.
Wir eilen mit schwachen, doch emsigen Schritten
O Jesu, o Meister zu helfen, zu dir.
Du suchest die Kranken und Irrenden treulich
Ach höre, wie wir
Die Stimmen erheben, um Hülfe zu bitten!
Es sei und dein gnädiges Antlitz erfreulich!
We hasten with weak but diligent steps,
Oh Jesus, oh Master of Salvation, to you.
You seek the ailing and erring faithfully,
Ah hear, how we
Raise our voices to plead for help
Let your merciful countenance be gladdening to us.
(Translated by Michael Marissen and Daniel Melamed)
IfMusicbetheFoodofLove,3rdVersion,Henry Purcell, (1695)
Henry Purcell, one of England's most renowned Baroque composers, is celebrated for his ability to blend the expressive depth of the human voice with rich, innovative instrumental accompaniments. His works span a wide range of genres, from operas and church music to chamber music, but his influence on English song is particularly notable. One of Purcell's most famous works, "If Music Be the Food of Love," exists in several versions, with the third version standing out for its virtuosity and emotional depth. Set to words from Shakespeare’s Twelfth Night, this song explores the idea that music, as a form of love, nourishes the soul. The third version includes declarative moments and ornaments that perfectly complements the text's reflection on the power of music and love. Purcell's use continuo writing adds a layer of sophistication to the otherwise simple form, giving the song a timeless quality. The emotional warmth and delicate phrasing in this version invite the listener to experience the transformative power of both love and music
If music be the food of love, Sing on till I am fill’d with joy; For then my list’ning soul you move To pleasures that can never cloy. Your eyes, your mien, 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 treat is only sound, Sure I must perish by your charms, Unless you save me in your arms.
DerWanderer, Franz Schubert (1816)
Franz Schubert is one of the most prolific and influential composers of the early Romantic era. He is renowned for his Lieder (art songs), which beautifully convey both the complexities of human emotion and the poetic richness of the texts he set to music. One of his most striking songs, "Der Wanderer," D. 489, encapsulates his ability to fuse lyrical depth with musical innovation. The song is based on a poem by Georg Philipp Schmidt von Lübeck, and it portrays a solitary wanderer contemplating the harshness of life and the search for inner peace. Schubert’s music reflects this theme of melancholy and yearning, with a restless, undulating piano accompaniment that mimics the wanderer's journey. The vocal line is rich and expressive, capturing the emotional tension of the wanderer's contemplation The song has three distinct melodic and harmonic sections, with each homing in on a specific emotional expression of the narrator. Schubert expresses longing, nostalgia, and isolation throughout this Lied.
Ich komme vom Gebirge her, Es dampft das Tal, es braust das Meer. Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?
Die Sonne dünkt mich hier so kalt, Die Blüte welk, das Leben alt, Und was sie reden, leerer Schall, Ich bin ein Fremdling überall.
Wo bist du, mein geliebtes Land?
Gesucht, geahnt und nie gekannt!
Das Land, das Land, so hoffnungsgrün, Das Land, wo meine Rosen blühn,
Wo meine Freunde wandeln gehn, Wo meine Toten auferstehn, Das Land, das meine Sprache spricht, O Land, wo bist du?
Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?
Im Geisterhauch tönt’s mir zurück: „Dort, wo du nicht bist, dort ist das Glück!“
I come from the mountains; the valley steams, the ocean roars. I wander, silent and joyless, and my sighs for ever ask: Where?
Here the sun seems so cold, the blossom faded, life old, and men’s words mere hollow noise; I am a stranger everywhere.
Where are you, my beloved land? Sought, dreamt of, yet never known! The land so green with hope, the land where my roses bloom,
Where my friends walk, where my dead ones rise again, the land that speaks my tongue, O land, where are you?
I wander, silent and joyless, and my sighs for ever ask: Where? In a ghostly whisper the answer comes: ‘There, where you are not, is happiness!’
(Translated by Richard Wigmore)
LesBerceaux,Gabriel Fauré (1865)
Gabriel Fauré, is regarded as the composer who solidified the genre of mélodie His song "Les Berceaux," Op. 23, is a beautiful example of his lyrical style and delicate use of piano writing. Set to a poem by Sully Prudhomme, "Les Berceaux" (The Cradles) reflects on the themes of innocence and the passage of time. The song’s text contrasts the peacefulness of a child’s cradle with the inevitability of life's struggles. The rocking motion symbolizes the incessant ocean waves. The rise and fall of the vocal line exaggerate this effect. The vocal line is highly expressive, with heart wrenching musical lines that pierce the soul. Through "Les Berceaux," Fauré captures a poignant, bittersweet moment of reflection, showcasing his ability to marry text and music with exquisite sensitivity and subtle emotional depth.
Les berceaux
Le long du quai les grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux
Que la main des femmes balance.
Mais viendra le jour des adieux, Car il faut que les femmes pleurent, Et que les hommes curieux
Tentent les horizons qui leurrent.
Et ce jour-là les grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue
Par l’âme des lointains berceaux.
Nocturne, César Franck, (1884)
The Cradles
Along the quay the great ships, Listing silently with the surge, Pay no heed to the cradles Rocked by women’s hands.
But the day of parting will come, For it is decreed that women shall weep, And that men with questing spirits Shall seek enticing horizons.
And on that day the great ships, Leaving the dwindling harbour behind, Shall feel their hulls held back By the soul of the distant cradles.
(Translated by Richard Stokes)
César Franck, a Belgian-born composer and organist, is renowned for his contributions to late-Romantic music, particularly in the realms of symphonic, organ, and choral music. His works are characterized by rich harmonic textures, intricate counterpoint, and a deep emotional intensity. As a professor at the Paris Conservatory, Franck influenced a generation of French composers, and his compositions remain central to the French symphonic and organ repertoire. His song Nocturne, is one of his most beloved vocal works and showcases his gift for lyrical and atmospheric music. The song is deeply reflective with a prayer-like quality, with the text by the poet Louis de Fourcaud, evoking a sense of quiet introspection under the cover of night. The vocal line floats over an increasingly complex piano accompaniment, highlighting different emotional qualities of each verse. Nocturne exemplifies Franck’s ability to fuse lyricism with sophisticated harmonic structures, offering a poignant, intimate expression of the human experience.
O fraiche nuit, nuit transparente, Mystère sans obscurité, La vie est noire et dévorante
O fraiche nuit, nuit transparente, Donne-moi ta placidité.
O belle nuit, nuit étoilée, Vers moi tes regards sont baissés, Éclaire mon âme troublée,
O fresh night, transparent night, mystery without darkness, life is black and all-devouring o fresh night, transparent night, give to me your peace.
O beautiful night, starry night, towards me your gazes are lowered, throw light on my troubled soul
O belle nuit, nuit étoilée, Mets ton sourire en mes pensers.
O sainte nuit, nuit taciturne, Pleine de paix et de douceur, Mon cœur bouillonne comme une urne, O sainte nuit, nuit taciturne, Fais le silence dans mon cœur.
O grande nuit, nuit solennelle, En qui tout est délicieux, Prends mon être entier sous ton aile, O grande nuit, nuit solennelle, Verse le sommeil en mes yeux.
o beautiful night, starry night, place your smile in my thoughts.
O sacred night, taciturn night, full of peace and gentleness, my heart is frothing like an cauldron, o holy sacred, taciturn night, make silence within my heart.
O great night, solemn night, in which all is delicious, take my whole being under your wing, o great night, solemn night, pour sleep into my eyes.
(Translated by Christopher Goldsack)
ChansonTriste, Henri Duparc (1868)
Henri Duparc was a prominent French composer in the late 19th century, known for his profound contributions to the French art song (mélodie) tradition. His works, though few in number, are highly regarded for their emotional depth, sophisticated harmonies, and the seamless integration of music with the poetic texts of French writers. Duparc's melodies are often characterized by their lush, expressive quality, using the voice and piano to create intimate, evocative atmospheres. One of his most celebrated songs, Chanson Triste, was composed in 1882 and is a prime example of his lyrical and emotional prowess. Set to a poem by the French poet Jean Lahor, Chanson Triste reflects a sense of melancholy and longing, with the text contemplating the sadness of love lost. The song’s rich, flowing piano accompaniment mirrors the reflective nature of the lyrics, while the vocal line is beautifully expressive, weaving through poignant harmonies that accentuate the sorrowful mood. Duparc’s masterful use of chromaticism and nuanced dynamics in Chanson Triste evokes a sense of introspection, making it one of his most poignant and enduring works.
Chanson Triste
Dans ton cœur dort un clair de lune,
Un doux clair de lune d’été, Et pour fuir la vie importune, Je me noierai dans ta clarté.
J’oublierai les douleurs passées, Mon amour, quand tu berceras
Mon triste cœur et mes pensées
Dans le calme aimant de tes bras.
Tu prendras ma tête malade, Oh! quelquefois sur tes genoux, Et lui diras une ballade
Qui semblera parler de nous;
Et dans tes yeux pleins de tristesses, Dans tes yeux alors je boirai
Tant de baisers et de tendresses
Que peut-être je guérirai.
Sad Song
Moonlight slumbers in your heart, A gentle summer moonlight, And to escape the cares of life
I shall drown myself in your light.
I shall forget past sorrows, My sweet, when you cradle
My sad heart and my thoughts
In the loving calm of your arms.
You will rest my poor head, Ah! sometimes on your lap, And recite to it a ballad
That will seem to speak of us;
And from your eyes full of sorrow, From your eyes I shall then drink
So many kisses and so much love
That perhaps I shall be healed.
(Translation by Richard Stokes)
Encountertenor, Jake Heggie (1995)
Jake Heggie is a contemporary American composer known for his compelling contributions to opera and art song. His works often explore deep emotional themes and complex human experiences, blending modern harmonic language with lyrical, accessible melodies. Heggie has gained widespread recognition for his operas such as Dead Man Walking and Moby-Dick, as well as for his extensive output of vocal music. His ability to write for the voice with great sensitivity and understanding of vocal technique has made him a prominent figure in contemporary classical music. Encountertenor is a song cycle that explores the intimate connection between a man and the life-altering experiences he encounters. This work was originally commissioned by countertenor Brian Asawa in 1995. The cycle's opening song captures the profound emotional journey of a countertenor explaining the extravagance and timelessness of countertenors. Through inventive piano accompaniment and lyrical vocal lines, Heggie explores themes of vulnerability, self-reflection, and transformation. The work is deeply expressive and provocative, offering the performer a range of emotional landscapes.
I: Countertenor’s Conundrum
This note from my throat
Conjures imagined memories
Of altered males that stood upon a stage
And with their scales and trills
Sang stories of heroic deeds
That seemed to satisfy the needs
Of listeners long dead and gone
Now we are here
To carry on
This note from my throat
Causes creative fantasies
Of times gone by when pampered neuters sang
And they would try to move their audience
With grace and art
Still mindful of that missing part
That changed their lives and made their song
So precious rare, and yet, so wrong!
The songs they sang I’ll sing again
A modern echo of those men
I’ll train my voice stylistically correct
And hope these threads of tissue in my throat connect
With something of those spirit voices
Trilling soft and sweet
Now here am I to carry on
Ah!
This note, this note ah! From my throat
You understand the history that sets my voice apart
Now let me share the mystery
This note, ah!
This note, ah!
This note comes from my heart.
II: The Trouble with Trebles in Trousers
La la la la
Ah!
It wasn’t long ago that people laughed when I would sing
They weren’t uncomfortable with what I had to say
But when I tried it to a tune
They all would look away
The smirk upon their faces taught me this small thing
Pitch can be a bitch!
My post-pubescent peer group in a touring schoolboy choir
Would never mention it but I could clearly see
Their smug and spotty faces singing parts marked “T” or “B”
But when I tried to baritone, I was a liar
Pitch can be a bitch!
Even teachers who specialize in voices
Believed I had some choices
When they heard me
They’d shake their heads and wonder “How did it get so much like a mezzo?”
I have to smile when I think back to those days in the past
For now those very notes are what I’m paid to sing
We men who sing these higher notes
Are few and far between
You’ve heard it said that laughter’s best when it is last
Pitch can be a bitch!
But so can I!
III: A Gift to Share
Are my song numbered
By some account Norn
Who keeps a score
Of every note I utter
My every vocal flutter
Til’ I can sing no more?
Should I be stingy
And number every note
That you will hear a vocal inventory
Becomes an allegory
For what I really fear
Silence! It is the silence
That in some future time
Will come to me
Now makes my song ring clearer
And your attention dearer
Let’s make a memory!
So, look around you
Remember who you’re with And if you dare,
Recall just how you’re feeling
For music can be healing
And songs are meant to share
AsWeStumbleAlong(TheDrowsyChaperone), Lisa Lambert and Greg Morrison (1998)
In The Drowsy Chaperone, "As We Stumble Along" is a lighthearted and ironic song performed by the Drowsy Chaperone in the second act. As she sings, she reflects on her own life, filled with misadventures and a sense of uncertainty. The song is set against the show's wacky, over-the-top plot, where characters stumble through romantic entanglements and misunderstandings. Despite its humorous, carefree tone, the song also subtly conveys themes of resilience and embracing life's imperfections, adding depth to the Drowsy Chaperone's character and providing a moment of levity in the midst of the show's more dramatic twists.
As we stumble along on life’s funny journey as we stumble along into the blue
We look here, and we look there seeking answers anywhere never sure of where to turn or what to do still we bumble our way through life’s crazy labyrinth barely knowing left from right, or right from wrong and the best that we can do is hope a bluebird will sing his song as we stumble along. It's a dismal little world in which we live it can bore you til’ you've, nothing left to give.
7 over-rated wonders
7 underwhelming seas
6 excruciating continents Antarctica... oh please. Still, you mustn’t let it lick you this planet, oh so bland
Keep your eyeball, on the highball, in your hand
As we stumble along cross life’s crowded dancefloor as we push and we shove we live and we learn. And when we finally leave the bar and we see that morning star we pull our bootstraps up and homeward turn. Then we stumble away through dawns blinding sunbeams barely knowing right from right, nor left from wrong! but as long as we can hear that little bluebird there'll be a song as we stumble along as we stumble bumble fumble plumble! As we stumble along!!