PROGRAM NOTES; TEXTS & TRANSLATIONS
PreciousLord,TakeMyHand, Thomas A Dorsey (1899-1993)
Thomas Andrew Dorsey was a musician, composer, and Christian evangelist influential in the development of early blues and 20th-century gospel music. Although known for his influence and style in the Blues, Dorsey was very prolific in the styles of Gospel as well. In 1932 Thomas Dorsey founded the National Convention of Gospel Choirs and Choruses, where he began to write more Gospel pieces. Unfortunately, in the same year Dorsey's wife Nettie died in childbirth, then 24 hours later, their son died as well. During his time of mourning Dorsey focused on writing sacred songs, which inspired him to write “Precious Lord, Take My Hand”. “Precious Lord, Take My Hand” became a very famous piece across the world sung in different languages. The piece was inducted into the Christian Hall of Fame in 2007. Successful artists such as Mahalia Jackson recorded this song, for which she received the Grammy Hall of Fame Award.
PRECIOUS LORD, TAKE MY HAND
Precious Lord, take my hand, Lead me on, help me stand, I am tired, I am weak, I am worn; Through the storm, through the night, Lead me on to the light: Take my hand, precious Lord, Lead me home.
Precious Lord, You’re the One That I build my life on, you’re my rock, You’re my hope, you are my song You picked me up and made me strong When my way, when it was wrong Here’s my hand, precious Lord, Lead me home
When my way grows drear, Precious Lord, linger near, When my life is almost gone, Hear my cry, hear my call, Hold my hand lest I fall: Take my hand, precious Lord, Lead me home.
FixMe,Jesus&Ev’ryTimeIFeeldeSpirit,Hall Johnson (1888-1970)
Francis Hall Johnson was an African American arranger and composer of African American spirituals. Johnson, Harry T. Burleigh, and Nathaniel Dett, all had great success performing African American spirituals. Born March 12, 1888, Johnson was the fourth child of six children. He was highly educated, attending Knox Institute, Allen University, Atlanta University, Juilliard School, Hahn School of Music, and the University of Pennsylvania. Johnson was taught piano at an early age by his younger sister, but grew to have great success with playing the violin and viola professionally.
“Fix Me Jesus” expresses the desire for Jesus to fix man to be ready for Heaven. “Fix me for my long white robe,” “fix me for my journey home” are just some of the lyrics throughout this spiritual. This beautiful arrangement starts off with a sweet mellow hum of the main melody of the piece. Hall Johnson arranges this melody to have a slow and strong build up to the climax of the piece. The piece ends with a feeling of closure or “amen,” this is the moment where we know Jesus has acknowledged our cry. We are longing to be with Jesus for eternity, as it is our life goal to live and do right as the Bible instructs us to do. We strive to walk a life according to Jesus' will and way, we want to make it to Heaven to be with Jesus for eternity.
“Ev’ry Time I Feel de Spirit” is an upbeat spiritual that will have you tapping your foot along. This spiritual expresses the excitement and joy of feeling the holy spirit. The spirit moves the heart to pray, gives wisdom, comforts, protects, and guides us. The repetition of text after every verse, has specific dynamic instruction to grow in sound. As the sound grows, the excitement and emotion should match as well. At the end of the piece, we reach the climax where we hear the final “Movin’ in my heart, I will pray!” As we feel the spirit, we will be sure to pray and give praise to the Lord.
FIX ME, JESUS
Oh, fix me, oh fix me
Fix me Jesus, fix me for my long white robe
Fix me for my starry crown
Fix me for my dyin’ bed
Fix me for my journey home
Fix me, Jesus, fix me
EV’RY TIME I FEEL DE SPIRIT
Oh,Ev’ry time I feel de spirit
Movin’ in my heart I will pray
‘Pon de moutain my Lord spoke, Out his mouth came fire and smoke
In de valley on my knees, ask my Lord, Have mercy please
Jerdn’ river chilly an col’
Chill de body but not de soul
All aroun’ me look so shine
Ask’ my Lord in all was mine
Ain’t but one train on dis track
Runs to Heaven an’ runs right back
Saint Peter’s wainin at de gate
Says, “Come on, sinner, don’t be late
Mattinata,Ruggiero Leoncavallo (1857-1919)
Ruggiero Leoncavallo was an Italian opera composer and librettist, born in Naples on April 23, 1857. Leoncavallo was known for his numerous operas and songs throughout his career, one of his most recognized operas being Pagliacci. One of his more popular songs "Mattinata", was written for the Gramophone Company with opera singer Enrico Caruso's unique voice in mind. Ever since “Mattinata” was composed, the piece has been a concert favorite of tenors. Emilio Pericoli was a famous Italian tenor opera singer who recorded a cover version for Warner Brother Records in 1964. The Costa Rican band Gaviota recorded a Spanish version in 1982 for CBS Indica Records.
MATTINATA
L'aurora di bianco vestita
Già l'uscio dischiude al gran sol
Di già con le rosee sue dita
Carezza de' fiori lo stuol!
Commosso da un fremito arcano
Intorno il creato già par
E tu non ti desti, ed invano
Mi sto qui dolente a cantar
Metti anche tu la veste bianca
E schiudi l'uscio al tuo cantor!
Ove non sei la luce manca
Ove tu sei nasce l'amor
TornaaSurriento, Ernesto De Curtis (1875-1973)
MORNING
The dawn dressed in white already opens the door to the great sun; Day already caresses with his rosy fingers the many flowers!
Moved by a mysterious stirring all around creation now appears; And you don't give yourself, and in vain I am here aching to sing.
You too, put on the white dress and open the door to your singer! Where you are not there's no light Where you are love is born.
Ernesto De Curtis was an Italian composer, born in Naples on October 4, 1875. He studied piano and received a diploma from the Conservatory of San Pietro a Maiella in Naples. His famous pieces are in the traditional genre, such as “Torna a Surriento," which was composed with text from his brother, the poet and painter Giambattista De Curtis. Tradition says that the piece dates to 1902, when the mayor of Sorrento asked his friend Giambattista De Curtis to write the song for the Prime Minister Giuseppe Zanardelli. The piece was meant to celebrate Zanardelli's stay, the song reflects the beauty of the city's great surroundings and the love and passion of its citizens.
TORNA A SURRIENTO
Guarda il mare com'e bello!
Spira tanto sentimento
COME BACK TO SORRENTO
Look at the sea how beautiful it is! It exudes a lot of feeling
Like your sweet accent
Which makes me dream when I'm awake
Come il tuo soave accento
Che me desto fa sognar
Senti come lieve sale
Dai giardini odor d'aranci
Un profumo non v'ha eguale
Per chi palpita d'amore
E tu dicio parto addio
T'allontani dal mio core
Questa terra dell’ amore
Hai la forza di lasciar
Ma non mi fuggir
Non dar mi piu tormento
Torna a Sorrento
Non farmi morir!
Vedi il mare di Sorrento
Che tesori cela infondo
Chi ha girato tutto il mondo
Non lo sa dimenticar
Vedi come le sirene
Or ti guardano incantate
Par che voglia no a tesola
Dolci cose mormorar
Cantique&LeCouteau, Nadia Boulanger (1887-1979)
Feel the light salt
The gardens smell of orange trees
A perfume has no equal
For those who throb with love
And you say goodbye
You move away from my heart
This land of love
You have the strength to leave
But don't run away from me
Don't torment me anymore
Return to Sorrento
Don't make me die!
See the sea of Sorrento
What treasures it hides deep down
Who has traveled all over the world
He can't forget it
See how the sirens
Now they look at you enchanted
It seems he wants no to tesola
Sweet things to murmur
Nadia Boulanger was a French music teacher, conductor and composer. Boulanger taught many of the leading composers and musicians of the 20th century and was a very successful pianist and organist. She was a very accomplished student in school, graduating with honors and other academic achievements. Boulanger taught in the U.S. and England, working with music academies including the Juilliard School and the Royal Academy of Music. Boulanger was the first woman to conduct many major orchestras in America and Europe, including the Boston Symphony and Philadelphia orchestras.
Published in 1909, “Cantique” is known to be religiously inspired. This piece has a simple sense of reassurance and sweet reminder that love conquers all. With sparse chords in the piece to resemble the twinkling of starlight, the simple melody of the piece brings focus to the emotional expression.
In 1910, Nadia Boulanger composed “Le Couteau,” known for its dark and heavy colors of sound. The song speaks of the hurt and confusion that love can cause. The protagonist has been hurt so badly by their lover; it feels as if a knife has been stabbed in their heart. The only way for the protagonist to feel any relief is through their lover's kiss. Unfortunately, the lover has died therefore the protagonist wants the knife to remain in their heart to remember their lover. Some researchers argue this piece might have been in dedication to Nadia’s sister, Lili Boulanger, who passed away at a very young age.
CANTIQUE
A toute âme qui pleure, A tout péché qui passe, J’ouvre au sein des étoiles Mes mains pleines de grâces.
Il n’est péché qui vive, Quand l’amour a parlé, Il n’est âme qui meure, Quand l’amour a pleuré.
Et si l’amour s’égare
Aux sentiers d’ici-bas, Ses larmes me retrouvent Et ne s’égarent pas.
LE COUTEAU
J'ai un couteau dans l' cœur
-Une belle, une belle l'a plantéJ'ai un couteau dans l' cœur
Et ne peux pas l'ôter.
C' couteau, c'est l'amour d'elle
-Une belle, une belle l'a plantéTout mon cœur sortirait
Avec tout mon regret.
Il y faut un baiser.
-Une belle, une belle l'a planté -
Un baiser sur le cœur
Mais ell' ne veut l' donner.
Couteau, reste en mon cœur
Si la plus belle t'y a planté!
J' veux bien me mourir d'elle,
Mais j' veux pas l'oublier!
CANTICLE
To all weeping souls, To all fleeting sins, I open, cradled by stars, My hands full of grace.
No sin can live
When Love has spoken, No soul can die
When Love has wept.
And if Love goes astray
On terrestrial paths, Its tears will find me
And not go astray.
Translation by Richard Stokes
THE KNIFE
I have a knife in my heartPlanted by her fair handI have a knife in my heart And cannot extract it.
This knife is her lovePlanted by her fair handMy whole heart would fain escape
With all my sorrow.
A kiss is needed.
Her fair mouth planted itA kiss on my heart
But she will not give it.
Knife - remain in my heart, Since the fairest hand planted it there! I wish so much to die of her
But do not wish to forget her!
Translation by Richard Stokes
Night,Spring,&SongtotheDarkVirgin,Florence Price (1887-1953)
Florence Beatrice Smith (Price) was born April 9,1887 in Little Rock, Arkansas. She was one of three children in her family. Her father was African American, and her mother was argued to be white with mixed European, African and Cherokee ancestry Florence started studying piano at an early age with the support and teaching of her mother. While in school she continued her studies of piano with Charlotte Andrews Stephens, an Oberlin Conservatory-trained professional Florence then enrolled herself at the New England Conservatory of Music in Boston, where she majored in organ performance and piano teaching. Before getting into the Conservatory, Price initially passed as Mexican to avoid racial discrimination against African Americans, listing her hometown as "Pueblo, Mexico.” While studying under George Whitefield Chadwick, she began to explore African American folk music in her compositions. As her interest and love for African American folk music grew, her mother worried that anything pertaining to a black racial identity could preclude her daughter’s success.
In the year 1946, Florence composed the piece “Night”, with poetry from Louise C. Wallace. This piece is mostly tonal, with some strong chromatic chords. The chromatic chords are thought to be used as emphasis of the sensuality of nighttime and possibly the enveloping embrace of the poet. The text symbolically equates the rich, dark beauty of the nighttime sky with the beauties and riches of black culture.
“Spring” was composed in 1913, with Price’s own. This piece is known to be light and buoyant, expressing the excitement of springtime coming in. There is the use of ornamentation and rubato throughout the accompaniment that helps punctuate new ideas. The buoyant accompaniment and dance-like rhythm underneath the vocal line adds a folk-feeling to the piece.
Around the year 1935, Florence Price composed “Song to the Dark Virgin” with poetry from Langston Hughes. Themes of racial self-hatred, concealment, and destruction that seem to be expressed in the poetic text. Some scholars suggest this piece is about a "black woman who is addressing her lover.” The word “annihilate” could even be a “representation of pleasure from tension.” Other scholars suggest the word may refer to the violence the black body would experience through beating and oppression.
NIGHT
Night comes, a Madonna clad in scented blue. Rose red her mouth and deep her eyes, She lights her stars, and turns to where, Beneath her silver lamp the moon, Upon a couch of shadow lies A dreamy child, The wearied Day.
SPRING
There are promise and pleasure and hope in the spring, that beckon and reckon the future. I know. The bud and the bee, swaying low on the lea,
The dove cooing late. To his nesting mate. In a dream of ecstasy
There are laughter and magic and joy in the spring, that capture, enrapture my heart. I know. A lilt on the breeze, That is tossed by the trees, Which doth for me weave like a thrush above
A song of ecstasy. Ah! There are madness and gladness and nothing of sadness. That will me and thrill me and fill me I know
Life and its weal are to give and to feel the soul that can ache, the heart that can break. With a pain of ecstasy.
SONG TO THE DARK VIRGIN
Would
That I were a jewel, A shattered jewel, That all my shining brilliants Might fall at thy feet, Thou dark one.
Would
That I were a garment, A shimmering, silken garment, That all my folds Might wrap about thy body, Absorb thy body, Hold and hide thy body, Thou dark one.
Would
That I were a flame, But one sharp, leaping flame To annihilate thy body, Thou dark one.
There’saBoatDat’sLeavin’SoonforNewYork,George Gershwin (1898-1937)
George Gershwin was born September 26, 1898, in New York City. Gershwin was the son of Russian-Jewish immigrants. Gershwin developed an early interest in music through his exposure to the popular and classical compositions he heard at school and in penny arcades. Gershwin is best known for his songs that have become jazz
standards ("Embraceable You" and "I Got Rhythm,”) orchestral works (Rhapsody in Blue, An American in Paris,) and the opera Porgy and Bess. Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody Gershwin started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. Due to his advances in other styles, a few famous music educators denied teaching him classical music. Gershwin eventually moved to California to continue composing standards and orchestral works. Unfortunately, Gershwin passed away July 11, 1937, at the age of thirty-eight, due to a brain tumor.
Porgy and Bess, the opera by George Gershwin premiered September 30, 1935. This opera premiered in Boston before it moved to Broadway in New York City. Porgy and Bess is an English-language opera with a libretto written by author DuBose Heyward and lyricist Ira Gershwin. Porgy and Bess featured all classically- trained African- American singers, which was a bold choice for Gershwin to make. The opera stemmed from Dorothy Heyward and DuBose Heyward's play, Porgy. The libretto of Porgy and Bess tells the story of Porgy, a disabled black street beggar living in the slums of Charleston. Porgy attempts to rescue Bess from the clutches of Crown, her violent and possessive lover, and Sportin' Life, her drug dealer. Some may recognize the famous piece “Summertime” from this opera as well.
“There’s a Boat Dat’s Leavin’ Soon” is also a piece from the opera Porgy and Bess. This piece is all about the charatcter Sportin’ Life trying to convince Bess to move with him to New York. Porgy has been sent to jail and will be there for a very long time, which opens the opportunity for Sportin’ Life to take Bess for himself. Although very upset, Bess eventually agrees to go with him and start a new life. This piece has an upbeat jazz feel to it as Sportin’ Life is dancing around trying to show Bess a good time.
THERE’S A BOAT DAT’S LEAVIN’ SOON FOR NEW YORK
There's a boat dat's leavin' soon for New York
Come wid me
Dat's where we belong, sister
You an' me kin live dat high life in New York
Come wid me
Dere you can't go wrong, sister
I'll buy you de swellest mansion
Up on upper Fi'th Avenue
An' through Harlem we'll go struttin'
We'll go a-struttin'
An' dere'll be nuttin'
Too good for you
I'll dress you in silks and satins
In de latest Paris styles
And de blues you'll be forgettin'
You'll be forgettin'
There'll be no frettin'
Jes nothin' but smiles
Come along wid me
Dat's de place
Don't be a fool, come along, come along
There's a boat dat's leavin' soon for New York
Come wid me
Dat's where we belong, sister
Dat's where we belong!
Come on, Bess!
DiesBildnisistbezauberndschön,Wolfgang Amadeus Mozart (1756-1791)
Mozart was born January 25, 1756, in Salzburg Austria. He was known for being a child prodigy in the field of music. He unfortunately lived a short life, passing away at the age of thirty-five. Mozart was a prolific and influential composer of the Classical period, even now his legacy still lives. He was easily known to be to be one of the greatest composers of music because of his rich harmonies and elegant melodic lines. At the early age of five, Mozart was already advanced at piano, violin, and had begun to compose and perform. In his teenage years, Mozart became a musician at the Salzburg court before traveling looking for more work opportunities. Mozart held positions in Paris, Mannheim, Munich, and Salzburg, during which he wrote his five violin concertos and sacred pieces and masses. In 1781, Mozart traveled to Vienna where he had many successes composing different works. Throughout his Vienna years, Mozart composed over a dozen piano concertos, which are known as some of his greatest achievements. In the final years of his life, Mozart wrote many of his best-known works, including his last four operas Le nozze di Figaro, Don Giovanni, Così fan tutte and The Magic Flute and his Requiem.
Dies Bildnis ist bezaubernd schön is an aria from Mozart‘ s Opera The Magic Flute, composed in the year 1791. This opera is in two acts was written to a German libretto by Emanuel Schikaneder This opera is also in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue. This was the very last opera Mozart composed, and it was premiered two months before his death. The Magic Flute is a fairy tale about Prince Tamino and his companion Papageno on a quest to rescue Pamina, the daughter of the Queen of the Night.
Dies Bildnis ist bezaubernd schön is sung by the character Tamino in the first act and first scene of the opera. Three ladies show Tamino a picture of Pamina – the daughter of the Queen of the Night, after they have rescued him from a giant serpent. Tamino instantly falls in love with Pamina just by looking at a picture of her. Throughout the aria he tries to put into words the love he has for her. He becomes excited about the thought of her seeing her in person.
DIES BILDNIS IST BEZAUBERND SCHÖN
Dies Bildnis ist bezaubernd schön, wie noch kein Auge je gesehn. Ich fühl' es, wie dies Götterbild mein Herz mit neuer Regung füllt.
Dies Etwas kann ich zwar nicht nennen, doch fühl' ich's hier wie Feuer brennen; soll die Empfindung Liebe sein? Ja, ja, die Liebe ist's allein.
THIS PORTRAIT OF MAGICAL BEAUTY
This portrait of magical beauty, Like never an eye seen before I can feel, how this godlike effigy Fills my heart with new motion
This certain something I can't really name Yet I can feel it burn like a fire
Should this sensation be love?
Yes, none but love it must be..
O wenn ich sie nur finden könnte!
O wenn sie doch schon vor mir stünde.
ich würde warm und rein –was würde ich?
Ich würde sie voll Entzücken an diesen heißen Busen drücken, und ewig wäre sie dann mein.
O if I could but find her O wish that she already stood in front of me I'd be so pure and warm
What would I do?
I would with great delight
Press her against my bosom
And she’d mine forever
Translation by Ian Sidden
Allerseelen&DumeinesHerzensKrönelein,Richard Strauss (1864-1949)
Richard Strauss was an outstanding German Romantic composer of the late 19th and early 20th centuries, best known for his tone poems and operas. Strauss received most of his musical upbringing from his father, the principal horn player of the Munich Court Orchestra. Strauss composed more than 140 works, including 59 lieder and various chamber and orchestral works. In 1885 Strauss composed “Allerseelen”.
“Allerseelen” is an art song for voice and piano. The text of the piece is from a poem by the Austrian poet Hermann von Gilm from his collection Letzte Blätter. This piece is the last in a collection of eight songs which were all settings of Gilm poems from the same volume entitled Acht Lieder aus Letzte Blätter “Allerseleen” is a part of the first collection of songs Strauss ever published as Op. 10 in 1885, including other famous pieces "Zueignung," “Die Zeitlose,” “Nichts,” and "Die Nacht " Singers and composers have argued this piece is portraying a character trying to take advantage of “All Soul’s Day” to revive an old love affair which, from a partner who has now passed away.
About two years after composing “Allerseelen,” Strauss composed a new set of six songs, one of which was “Du meines Herzens Krönelein.” Strauss combined all six pieces to create Op. 21. The text is from German law professor, author, poet and historian Felix Dahn. This piece is known for its unique melodies that Strauss joins in a tender and loving embrace.
ALLERSEELEN
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.
Gib mir die Hand, daß ich sie heimlich drücke, Und wenn man’s sieht, mir ist es einerlei, Gib mir nur einen deiner süßen Blicke, Wie einst im Mai.
Es blüht und duftet heut auf jedem Grabe, Ein Tag im Jahr ist ja den Toten frei, Komm am mein Herz, daß ich dich wieder habe, Wie einst im Mai.
ALL SOULS’ DAY
Set on the table the fragrant mignonettes, Bring in the last red asters, And let us talk of love again As once in May.
Give me your hand to press in secret, And if people see, I do not care, Give me but one of your sweet glances As once in May.
Each grave today has flowers and is fragrant, One day each year is devoted to the dead; Come to my heart and so be mine again, As once in May.
Translation by Richard Stokes
DU MEINES HERZENS KRÖNELEIN
Du meines Herzens Krönelein, du bist von lautrem Golde, Wenn Andere daneben sein, dann bist du noch viel holde. Die Andern tun so gern gescheut, du bist gar sanft und stille; Daß jedes Herz sich dein erfreut, dein Glück ist’s, nicht dein Wille.
Die Andern suchen Lieb’ und Gunst mit tausend falschen Worten, Du ohne Mund- und Augenkunst bist wert an allen Orten, Du bist als wie die Ros’ im Wald, sie weiß nichts von ihrer Blüte, Doch Jedem, der vorüberwallt, erfreut sie das Gemüte.
YOU, MY HEARTS CORONET
You, my heart’s coronet, you are of pure gold, When others stand beside you, you are more lovely still. Others love to appear clever; you are so gentle and quiet; That every heart delights in you, is your fortune not your will.
Others seek love and favors with a thousand false words, you, without artifice of mind or eye, are esteemed in every place, you are like the rose in the forest, knowing nothing of its flowers, Yet rejoicing the heart of every passer-by.
Translation by Richard Stokes
GospelMedley,Kurt Carr, Israel Houghton, Carl Boberg, Richard Smallwood
“For Every Moutain,” “Alpha and Omega,” “How Great Thou Art,” and “Total Praise,” are all songs of the Gospel music genre. Each song expresses Gods goodness, grace, and mercy in its own unique way. “For Every Moutain” by Kurt Carr has a beautiful yet challenging melody that serves as a reminder of how good God is. The message throughout this piece is an encouragement of how God continues to keep us through trials and tribulations. “Alpha and Omega” by Israel Hughton is an expression of worship and praise. This song instructs us to give all the glory and honor to God, because God has been so good and merciful towards us. The hymn “How Great Thou Art” by Carl Boberg, opens our eyes to see the world the Lord has created. We are encouraged to remember how great the Lord and all he has done and given to us. “Total Praise” by Richard Smallwood is a Gospel piece with classical music influence. This unique and powerful selection expresses the beauty of total sunderance onto God. If we put God first in our lives and seek him in all our ways, we can do all things through Christ that gives us strength!
