Janna Baty & Friends, January 31, 2020

Robert Blocker, Dean

faculty artist series

Janna Baty, mezzo-soprano & Friends Friday, January 31, 2020 | 7:30 pm | Morse Recital Hall in Sprague Memorial Hall This concert will be performed without an intermission.

Franz Schubert 1797–1828

An Sylvia, D. 891 Am Grabe Anselmos, D. 504 Der Musensohn, D. 764 Frühlingsglaube, D. 686 Rastlose Liebe, D. 138 Daniel Hobbs, piano

Hannah Lash b. 1981

Two Songs for mezzo-soprano, violin, and harp (2019) 1. Hope 2.

How Long?

Kate Arndt, violin Hannah Lash, harp

Lori Laitman b. 1955

I Never Saw Another Butterfly (1996) 1.

The Butterfly 2.

Yes, That’s the Way Things Are 3. Birdsong 4.

The Garden 5.

Man Proposes, God Disposes 6.

The Old House Dana Brink, bassoon

Pavel Friedmann Koleba Anonymous Franta Bass Koleba Franta Bass

Program, cont.

Fernando Obradors 1897–1945

Selections from Canciones clásicas españolas (1921) La, mi, sol, la, Laureola Al amor ¿Corazón, porqué pasáis?

Del cabello más sutil El vito Daniel Hobbs, piano

As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

Artist Profiles Janna Baty, mezzo-soprano

Daniel Hobbs, piano

Praised by The Boston Globe for having “a rich, viola-like tone and a rapturous, luminous lyricism,” mezzo-soprano Janna Baty enjoys an exceptionally versatile career.

She has sung with many of the world’s most celebrated ensembles, including the Boston Symphony Orchestra, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, and Royal Philharmonic Orchestra, under the batons of James Levine, Seiji Ozawa, and Robert Spano, among numerous others.

As a soloist, chamber musician, and recitalist, she has performed at prestigious festivals around the world.

Pianist Daniel Hobbs, based in New York City, has performed as a collaborative artist in such diverse venues as Trinity Church, the New York Public Library, and Merkin Concert Hall in New York City, the National Chiang Kai-Shek Culture Center in Taipei, Taiwan, the Tanglewood Music Center, and the Library of Congress and Kennedy Center in Washington, D.C. He is especially in demand for musical preparation and diction coaching for soloists, choruses, orchestras and chamber ensembles, as well as a concert partner for vocalists and instrumentalists. Originally from Nebraska, Mr. Hobbs studied piano and French at Illinois Wesleyan University, and received his Master’s degree from the Manhattan School of Music.

A noted specialist in contemporary music, Baty has worked with many influential composers including John Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec. Baty has enjoyed a long collaboration with the Boston Modern Orchestra Project, with which she made the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin, along with recordings of the critically lauded Vali: Folk Songs (sung in Persian), Lukas Foss’ opera Griffelkin, and Harbison’s Mirabai Songs. Baty is an alumna of Oberlin College and the Yale School of Music. She joined the Yale School of Music faculty in 2008.

Kate Arndt, violin Violinist Kate Arndt, from Boston, Massachusetts, is a full-time student at Yale School of Music, where she is pursuing her master of music degree, studying with Ani Kavafian. She recently graduated from New England Conservatory of Music under teacher Miriam Fried. An avid chamber musician, Kate has attended several intensive chamber music programs including Music@Menlo, Norfolk Chamber Music Festival, Taos School of Music and others.

Her former group, the Isolde Quartet, was featured on NPR’s From the Top for the 15th anniversary taping in Jordan Hall, and the group also received an honorable mention at the Fischoff National Chamber Music Competition. At her former school

Artist Profiles, cont. she was selected to perform as a guest artist with the Borromeo String Quartet as winner of their annual chamber music competition. In addition to her performances in the United States, Kate has been recently active in Europe, where she participated in the IMS Prussia Cove Masterclasses in Cornwall, UK, in April 2018. In the spring of 2017, she was chosen as an active participant in the Kronberg Master Classes and Concerts in Kronberg, Germany, and attended the 2019 Menuhin Festival String Academy in Gstaad, Switzerland.

Hannah Lash, composer/harp Hailed by The New York Times as “striking and resourceful… handsomely brooding,” Hannah Lash’s music has been performed at major venues throughout the United States. In the 2017–2018 season, Jeremy Denk and the Saint Paul Chamber Orchestra premiered Lash’s Piano Concerto No. 1, In Pursuit of Flying; the Atlantic Classical Orchestra debuted Facets of Motion; and Music for Nine, Ringing was performed at the Music Academy of the West. In the 2018–2019 season, Lash’s Songs of Imagined Love was premiered at Carnegie Hall.

Dana Brink, bassoon Bassoonist Dana Brink enjoys a varied musical life of freelancing and private teaching in and around New Haven, Connecticut. Dana earned a master of music degree in bassoon performance from the Yale School of Music as a student of Frank Morelli and dual bachelor’s degrees in bassoon performance and political science from the Eastman School of Music/ University of Rochester, where she studied with George Sakakeeny and John Hunt.

She has performed with ensembles such as the New Haven Symphony Orchestra and the Connecticut Virtuosi Chamber Orchestra and had fellowships at the Norfolk Chamber Music Festival and the Brevard Music Center.

Texts & Translations An Sylvia German translation by Eduard von Bauernfeld

Who is Sylvia?

Original English text by William Shakespeare (“Song” from Two Gentlemen of Verona)

Was ist Silvia, saget an, Dass sie die weite Flur preist?

Schön und zart seh’ ich sie nah’n, Auf Himmels Gunst und Spur weist, Dass ihr alles untertan.

Who is Silvia? what is she, That all our swains commend her?

Holy, fair, and wise is she; The heaven such grace did lend her, That she might admirèd be.

Ist sie schön und gut dazu?

Reiz labt wie milde Kindheit; Ihrem Aug’ eilt Amor zu, Dort heilt er seine Blindheit, Und verweilt in süsser Ruh’.

Is she kind as she is fair?

For beauty lives with kindness.

Love doth to her eyes repair, To help him of his blindness; And, being helped, inhabits there.

Darum Silvia, tön’, o Sang, Der holden Silvia Ehren; Jeden Reiz besiegt sie lang, Den Erde kann gewähren: Kränze ihr und Saitenklang!

Then to Silvia let us sing, That Silvia is excelling; She excels each mortal thing Upon the dull earth dwelling; To her let us garlands bring

Am Grabe Anselmos Text by Matthias Claudius

At Anselmo’s Grave Translation by Janna Baty

Dass ich dich verloren habe, Dass du nicht mehr bist, Ach, dass hier in diesem Grabe Mein Anselmo ist, Das ist mein Schmerz!

Seht, wie liebten wir uns beide, Und so lang ich bin, kommt Freude Niemals wieder in mein Herz.

That I have lost you, That you are no more, Ah! That here in this grave My Anselmo lies, That is my pain! that is my pain!

See how much we loved one another, And so long as I shall live, joy Will never return to my heart.

Texts & Translations, cont.

Der Musensohn Text by Johann Wolfgang von Goethe

The Son of the Muses Translation by Janna Baty

Durch Feld und Wald zu schweifen, Mein Liedchen weg zu pfeifen, So geht’s von Ort zu Ort! Und nach dem Takte reget, Und nach dem Mass beweget Sich alles an mir fort.

Roaming through fields and forests Piping my little song, So I go from place to place!

And with the beat, And according to the measure, Every being goes right along with me.

Ich kann sie kaum erwarten, Die erste Blum’ im Garten, Die erste Blüt’ am Baum.

Sie grüssen meine Lieder, Und kommt der Winter wieder, Sing’ ich noch jenen Traum.

I can scarcely wait for it — The first flower in the garden, The first blossom on the tree.

My song greets them, And when winter returns, I will still sing that dream.

Ich sing’ ihn in der Weite, Auf Eises Läng’ und Breite, Da blüht der Winter schön!

Auch diese Blüte schwindet, Und neue Freude findet Sich auf bebauten Höhn.

I sing them far and wide, Across the width and breadth of the ice, And then the winter blooms beautifully!

That bloom also dwindles, And new happiness is found Upon the newly planted fields.

Denn wie ich bei der Linde Das junge Völkchen finde, Sogleich erreg’ ich sie.

Der stumpfe Bursche bläht sich, Das steife Mädchen dreht sich Nach meiner Melodie.

And so, when beside the linden tree I find young folk, I immediately enliven them!

The dull young man is filled with confidence, The stiff young lady twirls To my melodies!

Ihr gebt den Sohlen Flügel Und treibt, durch Tal und Hügel, Den Liebling weit von Haus.

Ihr lieben, holden Musen, Wann ruh’ ich ihr am Busen Auch endlich wieder aus?

You give wings to my feet And drive across valley and hill, Your favorite son far from home. You dear, beloved muses, When again shall I rest Upon her bosom?

Frühlingsglaube Text by Ludwig Uhland

Faith in Spring Translation by Janna Baty

Die linden Lüfte sind erwacht, Sie säuseln und weben Tag und Nacht, Sie schaffen an allen Enden.

O frischer Duft, o neuer Klang!

Nun, armes Herze, sei nicht bang!

Nun muss sich Alles, Alles wenden.

The soothing breezes have awakened They rustle and weave both day and night, Creating all the while.

Oh fresh scent! Oh new sound!

Now, poor heart, do not be afraid.

Now everything must change.

Die Welt wird schöner mit jedem Tag, Man weiss nicht, was noch werden mag, Das Blühen will nicht enden.

Es blüht das fernste, tiefste Tal: Nun, armes Herz, vergiss der Qual!

Nun muss sich Alles, Alles wenden.

The earth becomes lovelier with every day, No one knows what might yet happen, The blossoming seems neverending. The deepest, most remote valley blooms Now, poor heart, forget your anguish! Now everything must change.

Rastlose Liebe Text by Goethe

Restless Love Translation by Janna Baty

Dem Schnee, dem Regen, Dem Wind entgegen, Im Dampf der Klüfte, Durch Nebeldüfte, Immer zu! Immer zu!

Ohne Rast und Ruh!

To the snow, to the rain, To the wind opposed, In dank ravines, Through the scent of mists, Ever onward! Ever onward!

Without rest or peace!

Lieber durch Leiden Wollt’ ich mich schlagen, Als so viel Freuden Des Lebens ertragen.

I would far rather fight through misery Than endure So many of life’s pleasures!

Alle das Neigen Von Herzen zu Herzen, Ach, wie so eigen Schaffet es Schmerzen!

All this yearning Of heart for heart, Ah! How strangely It creates pain!

Wie soll ich flieh’n?

Wälderwärts zieh’n?

Alles vergebens!

Krone des Lebens, Glück ohne Ruh, Liebe, bist du!

How should I flee?

Towards the forest?

It is useless!

The crown of existence, Happiness without peace, This, Love, is you!

Texts & Translations, cont.

Hope Text by Hannah Lash

The Butterfly Text by Pavel Friedmann

Earth moved Mountains fell into sea: water raged and drank more ground, shaken loose.

Let us stand in our rivers and offer sacrifice.

This is our shame.

This is our devastation, our one unchanging thing.

Raging kingdoms collide and melt.

The water will swallow us too, even as we suck each others’ springs dry.

Hope?

The word rings a bell.

It might have been a thing we used up: yesterday’s refuge.

The last, the very last So richly, brightly, dazzlingly yellow.

Perhaps if the sun’s tears would sing against a white stone....

Such, such a yellow Is carried lightly ’way up high.

It went away I’m sure because it wished to kiss the world good-bye.

For seven weeks I’ve lived in here, Penned up inside this ghetto.

But I have found what I love here.

The dandelions call to me And the white chestnut branches in the court.

Only I never saw another butterfly.

That butterfly was the last one.

Butterflies don’t live in here, in the ghetto.

How Long?

Text by Hannah Lash How long?

Forever?

Will you forget me?

Will you hide your face from me?

How long?

Look at me!

Give my eyes the light of yours!

Look at me or night will surely fall, and my soul will stumble and lose itself.

Look at me and I can find hope.

Sing to me and I will follow your voice.

Yes, That’s the Way Things Are Text by Koleba: Miroslav Kosek, Hanus Löwy, Bachner I. In Terezin in the so-called park A queer old granddad sits Somewhere there in the so-called park.

He wears a beard down to his lap And on his head, a little cap.

II. Hard crusts he crumbles in his gums, He’s only got one single tooth.

My poor old man with working gums, Instead of soft rolls, lentil soup.

My poor old greybeard!

Birdsong Text by Anonymous

Man Proposes, God Disposes Text by Koleba

He doesn’t know the world at all Who stays in his nest and doesn’t go out.

He doesn’t know what birds know best Nor what I want to sing about, That the world is full of loveliness.

When dewdrops sparkle in the grass And earth’s aflood with morning light, A blackbird sings upon a bush To greet the dawning after night.

Then I know how fine it is to live.

Hey, try to open up your heart To beauty; go to the woods someday And weave a wreath of memory there.

Then if the tears obscure your way You’ll know how wonderful it is To be alive.

I. Who was helpless back in Prague, And who was rich before, He’s a poor soul here in Terezin, His body’s bruised and sore.

II. Who was toughened up before, He’ll survive these days.

But who was used to servants Will sink into his grave.

The Garden Text by Franta Bass A little garden Fragrant and full of roses.

The path is narrow And a little boy walks along it.

A little boy, a sweet boy, Like that growing blossom.

When the blossom comes to bloom, The little boy will be no more.

The Old House Text by Franta Bass Deserted here, the old house stands in silence, asleep.

The old house used to be so nice, before, standing there, it was so nice.

Now it is deserted, rotting in silence– What a waste of houses, a waste of hours.

Texts & Translations, cont.

La mi sola Laureola Text by Juan Ponce

My only Laureola Translation by Janna Baty

La mi sola, Laureola La mi sola, sola, sola.

My own Laureola, Mine alone, alone, alone.

Yo el cautivo Leriano Aunque mucho estoy ufano Herido de aquella mano Que en el mundo es una sola.

I, the captive Leriano, Even though I am so proud, I am wounded by that hand That is, in this world, without equal.

La mi sola, Laureola La mi sola, sola, sola.

My own Laureola, Mine alone, alone, alone.

Al Amor Text by Cristobal de Castillejo

To Love Translation by Janna Baty

Dame, Amor, besos sin cuento Asido de mis cabellos Y mil y ciento tras ellos Y tras ellos mil y ciento Y después...

De muchos millares, tres!

Y porque nadie lo sienta Desbaratemos la cuenta Y... contemos al revés.

Give me, Love, kisses without number, As many as I have have hairs on my head, And a thousand plus a hundred more And after those a hundred plus a thousand more, And after many thousands, three more!

And just so nobody feels hurt, Let’s throw out the tally And start counting backwards.

Corazón, porqué pasáis la noches ...

Text by Anonymous

Heart, why do you spend the nights...

Translation by Janna Baty

¿Corazón, porqué pasáis Las noches de amor despierto Si vuestro dueño descansa En los brazos de otro dueño?

My heart, why do you spend The nights of love awake, If your owner rests In the arms of another owner?

Del cabello más sutil Folk poem

Of the softest hair…

Translation by Janna Baty

Del cabello más sutil Que tienes en tu trenzado He de hacer una cadena Para traerte a mi lado.

Una alcarraza en tu casa, Chiquilla, quisiera ser, Para besarte en la boca, Cuando fueras a beber.

Of the softest hair Of which you made your braid, I must make a chain To pull you to my side.

A water jug in your house, My little one, is what I want to be, So that I may kiss you on your mouth When you came to drink.

El vito Traditional Song/Dance from Andalusia

The Vito Translation by Janna Baty

Una vieja vale un real y una muchacha dos cuartos, [y yo, como]1 soy tan pobre me voy a lo más barato.

Con el vito, vito, vito, con el vito, vito, va.

No me haga ‘usté’ cosquillas, que me pongo ‘colorá’.

An old woman is worth a silver coin, And a girl worth two copper coins.

But because I’m so poor, I go for the least expensive.

On with the vito, vito, vito With the vito, vito, go on!

Don’t tease me like that, mister, Or I’ll turn red!

Upcoming Events feb 2

feb 2

Wendy Sharp & Friends Faculty Artist Series Chamber music by Mozart, Mendelssohn, and Amy Beach, with violinist Julie Kim, violist Marka Gustavsson, and cellist Mimi Hwang.

2:00 pm | Morse Recital Hall free

feb 6

Inspired by Song Collection of Musical Instruments Stefan Temmingh, recorders Dorothee Mields, soprano Michael Ducker, lute Domen Marincic, viola da gamba Wiebke Weidanz, harpsichord 3:00 pm | Morse Recital Hall Tickets $30, Museum Associates & Seniors & Yale Faculty/Staff $25, Students $15

feb 9

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12:30 pm | Morse Recital Hall

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feb 9

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