Jessica Golinski Program Notes

Exsultate, jubilate I.

II.

III.

IV.

Exsultate, jubilate - Allegro Exsultate, jubilate, O vos animae beatae!

Dulcia cantica canendo, cantui vestro respondendo, psallant aethera cum me.

I.

Fulget amica dies - Secco recitative Fulget amica dies, Iam fugere et nubila et procellae; Exortus est justis inexspectata quies.

Undique obscura regnabat nox; surgite tandem laeti, qui timuistis adhuc, et iucundi aurorae fortunatae frondes dextera plena et lilia date.

II.

Tu virginum corona - Andante Tu, virginum corona,14 Tu nobis pacem dona.

Tu consolare affectus, Unde suspirat cor.

III.

Alleluia - Molto allegro Alleluia.

IV.

Exult, rejoice Oh you souls blessed, In the singing of sweet songs, Responding to your singing, The heavens resound with me.

A friendly day shines forth, Clouds and thunderstorms have already moved away; Unforeseen peace has come to the righteous.

Darkness was always over the world; Arise joyfully at last You, who were hitherto in fear, And, well-disposed, to the blissful morning light Lavishly present wreaths of leaves and lilies.

You, the Virgin’s garland, Grant us peace.

Dull the grief, Which makes our heart sigh.

Hallelujah.

Mots d’amou Quand je te dis des mots lassés, C’est leur douleur qui fait leur charmes!

Ils balbutient, et c’est assez, Les mots ont des larmes.

When I speak to you with weary words, It is their sadness that gives them charm!

They stammer, and it is enough, The words have tears.

Quand je tes dis des mots fougueux, Ils brûlent mon cœur et mes lèvres, Ton être s’embrase avec eux, Les mots ont des fièvres.

When I speak to you with spirited words, They burn my heart and my lips, Your being is set on fire by them The words have passion.

Mais quel qu’ils soient, les divins mots, Les seuls mots écoutés des femmes, Dans leurs soupirs ou leurs sanglots, Les mots ont des âmes.

But be they what they may, the divine words, The only words that women hear, In their sighs or their sobs, The words have souls.

Mignonne Mignonne, allons voir si la rose, Qui ce matin avait déclose Sa robe de pourpre au soleil, N’a point perdu cette vesprée Les plis de sa robe pourprée Et son teint au votre pareil.

Sweetheart, let us see if the rose, That opened this morning Its crimson robe to the sun, Has lost, at evening The folds of its crimson robe And its color, which is like yours.

Las! Voyez comme en peu d’espace, Mignonne, elle a, dessus la place, Las! Las! Ses beautés laissé cheoir! Ô vraiment marâtre nature, Puisqu’une telle fleur ne dure, Que du matin jusques au soir!

Alas! See how in a short while, Sweetheart, it has, over the place, Alas! Alas! Let its beauties fall!

Nature is truly a cruel mother, When such a flower only lasts, But from morning until the evening!

Donc, si vous m’en croyez, Mignonne: Tandis que votre âge fleuronne Dans sa plus verte nouveauté, Cueilléz, cueilléz vostre jeunesse Comme à cette fleur la vieillesse, Fera ternir votre beauté.

Therefore, if you believe me, Sweetheart: While your age flowers In its most green newness, Gather, gather your youth Old age, as with this flower, Will cause your beauty to fade.

Écrin Tes yeux malicieux Ont la couleur de l'émeraude.

Leurs purs reflets délicieux Egaient I'humeur la plus grimaude.

Dans leurs filets capricieux Ils ont pris mon coeur en maraude . . .

Tes yeux malicieux Ont la couleur de l'émeraude.

Your mischievous eyes Are the color of emeralds.

Their pure, delicious sparkles Cheer the lowest moods.

In their capricious nets They have caught my wandering heart…

Your mischievous eyes Are the color of emeralds.

Tes lèvres de satin Sont un nid de chaudes caresses, Un fruit savoureux qui se teint De rayonnements de tendresse.

Et ton baiser, commne un lutin, Verse d'ineffables ivresses . . .

Tes lèvres de satin Sont un nid de chaudes caresses.

Your lips of satin Are a nest of hot caresses, A tasty fruit flavored With rays of tenderness.

And your kiss, like some mischievous imp, Pours out some indescribable intoxication…

Yours lips of satin Are a nest of hot caresses.

Ton âme est un bijou, Le diamant de ma couronne; C'est le plus délicat joujou De mon amour qu'elle enfleuronne; C'est le parfum qui me rend fou, Le doux charme qui m'environne . . .

Ton âme est un bijou, Le diamant de ma couronne!

Your soul is a jewel, The diamond of my crown; It is the most delicate plaything Of my flower-scented love; It is the perfume that drives me mad The sweet charm that surrounds me…

Your soul is a jewel, The diamond of my crown!

Gretchen am Spinnrade Meine Ruh’ ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr.

My peace is gone, My heart is heavy, I will never find my peace And nevermore.

Wo ich ihn nicht hab’ Ist mir das Grab, Die ganze Welt Ist mir vergällt.

Where I do not have him That is the grave to me, The whole world Has for me turned bitter.

Mein armer Kopf Ist mir verrückt Mein armer Sinn Ist mir zerstückt.

My poor head Has to me gone mad My poor mind Is to me torn apart.

Nach ihm nur schau’ ich Zum Fenster hinaus, Nach ihm nur geh’ ich Aus dem Haus.

I look only for him Out the window, Only for him do I go Out of the house.

Sein hoher Gang, Sein’ edle Gestalt, Seines Mundes Lächeln, Seiner Augen Gewalt,

His superior way of walking, His noble figure, His mouth’s smile, His eyes’ power,

Und seiner Rede Zauberfluss.

Sein Händedruck, Und ach, sein Kuss!

And his speech Magic flow.

His handclasp, And ah, his kiss!

Mein Busen drängt sich Nach ihm hin.

Ach dürft’ ich fassen Und halten ihn.

My bosom presses itself Onward to him.

Ah, might I grasp And hold him.

Und küssen ihn So wie ich wollt’ An seinen Küssen Vergehen sollt’!

And kiss him As much as I want From his kisses I would die!

O könnt ich ihn küssen, So wie ich wollt, An seinen Küssen, Vergehen sollt!

O could I him kiss, As much I want, From his kisses, I would die!

Mignon I Kennst du das Land, wo die Zitronen blühn, Im dunklen Laub die Gold-Orangen glühn, Ein sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht, Kennst du es wohl?

Dahin! Dahin Möcht’ ich mit dir, o mein Geliebter, ziehn.

Know you the land, where the lemon trees blossom, Among the dark leaves the golden oranges glow, A gentle wind from the blue sky wafts, The myrtle silent and high the laurel stands?

Do you know it?

There! There Would I go with you, oh my beloved.

Kennst du das Haus? Auf Säulen ruht sein Dach, Es glänzt der Saal, es schimmert das Gemach, Und Mamorbilder stehn und sehn mich an: Was hat man dir, du armes Kind, getan?

Kennst du es wohl?

Dahin! Dahin Möcht’ ich mit dir, o mein Beschützer, ziehn.

Do you know the house? Its roof rests on pillars, The hall gleams, the room shimmers, And marble statues stand and look me at: What have they done to you, you poor child?

Do you know it?

There! There Would I go with you, oh my protector.

Kennst du den Berg und seinen Wolkensteg?

Das Maultier sucht im Nebel seinen Weg; In Höhlen wohnt der Drachen alte Brut; Es stürzt der Fels und über ihn die Flut!

Kennst du ihn wohl?

Dahin! Dahin Geht unser Weg! o Vater, lass uns ziehn!

Know you the mountain and its cloudy path?

The mule seeks in the mist his way; In caves lives the dragons’ old brood; The cliff falls steeply away and over it the water flows!

Do you know it?

There! There Lies our way! Oh father, let us go!

Mignon III So lasst mich scheinen, bis ich werde, Zieht mir das weisse Kleid nicht aus!

Ich eile von der schönen Erde Hinab in jenes feste Haus.

So let me appear so, until I have become that, Do not force me to take off the white dress!

I hurry from the beautiful earth Down to that solid house.

Dort ruh’ ich eine kleine Stille,

There I will rest for a brief moment,

Dann öffnet sich der frische Blick; Ich lasse dann die reine Hülle, Den Gürtel und den Kranz zurück.

Then my gaze will open up refreshed; I will then remove my pure garment, Leaving behind belt and wedding wreath.

Und jene himmlischen Gestalten, Sie fragen nicht nach Mann und Weib, Und keine Kleider, keine Falten Umgeben den verklärten Leib.

And those heavenly beings They do not ask if one is a man or a woman, And no clothes, no robes Surround the transfigured body.

Zwar lebt’ ich ohne Sorg’ und Mühe, Doch fühlt’ ich tiefen Schmerz genung.

Vor Kummer altert’ ich zu frühe; Macht mich auf ewig wieder jung!

It is true I have lived without care and toil, Yet I have felt deep pain enough.

I grew to early old from sorrow; Make me forever young again!

Exsultate, jubilate Exsultate, jubilate was written by Wolfgang Amadeus Mozart in 1773. Although Mozart termed this work a motet, it only has one recitative - whereas motets typically have two recitatives. This three-movement religious motet was originally created for Venanzio Rauzzini, a castrato singer, to sing. The text is liturgical, coming from Psalm 100 that discusses encouragement to rejoice and to come before Him with singing. This was composed for the soprano voice, so that it could soar, as though it were reaching for the heavens. The third movement presents this vision, as it is the most difficult section of the motet, where the singer has to sing strenuous and ornate passages, while maintaining a visual of pure joy.

I Hate Music Leonard Bernstein composed the song cycle I Hate Music in 1942, where he dedicated the work to his friend, Edys Merril. This is because Merrill supposedly voiced the phrase, "I hate music," because of her irritation with Bernstein's constant piano playing and coaching of singers during their time of living together. I Hate Music is a song cycle consisting of five songs sung from the perspective of a ten year-old girl, Barbara. At the beginning of the song cycle, Bernstein states, “In the performance of these songs, coyness is to be assiduously avoided. The natural, unforced sweetness of child expressions can never be successfully gilded; rather will it come through the music in proportion to the dignity and sophisticated understanding of the singer.”

This work reflects the spontaneity of a child singing by introducing inflections and hints to improvisation that a child would typically insert lightheartedly. The lyrics provide the thoughts that a ten year-old child would have, and how fast-changing they are, and Berstein provides a satirical way of showing what it is like to be at this young age.

Mots d’amour Mots d’amour, composed by Cécile Chaminade, translates into “words of love.”

Chaminade, who was an extremely prolific composer, composed around 125 songs, and typically chose texts that revolved around contemporary poetry. This work depicts the different ways in which feelings can be expressed through words - such as weary, spirited, and divine words. The poem personifies these words in order to portray how the character is feeling indirectly.

Mignonne Mignonne was composed by Cécile Chaminade, and the poem was written by Pierre de Ronsard. This poem is taken from "Les Amours de Cassandre". It is the name of a collection of French poems intended for a young girl, Cassandre Salvati, with whom Ronsard was in love at the age of 20. In this poem, Ronsard describes the youth that passes like that of a flower; he compares the youth and beauty that a rose has in full bloom versus that of when it withers in the evening, referring to old age. Ronsard thus describes the short-lived beauty that a flower has, and how it is the same to that of a young girl’s beauty. Because of this, the poet advises the girl to enjoy and relish in her youth and present moment, before it is too late.

Ecrin Écrin was set to a text by René Niverd, and consists of three stanzas with six lines each.

In this poem, the character explains their feelings for their lover in an extremely flirtatious manner. This is done by describing the lover’s “mischievous eyes,” “satin lips,” as well as their soul being a jewel. These are all playful phrases that allow the character to portray how they see their lover, and what each part of them does to the persona. The musical form for this text is ABA’, where the music in the final verse is slightly altered from the first verse in order to match the text.

Gretchen am spinnrade “Gretchen am spinnrade” was Schubert’s first successful lied - which was written in 1814. The text was written by the poet Göethe, which follows the storyline of a character, Gretchen, who is singing of her undying love for a man named Faust. The intensity of this love has caused a great inability to continue on living within the confines of the environment that she has known all of her life. The accompaniment in this piece provides a mimic of the spinning wheel that continues to move as Gretchen is voicing her thoughts. The minor key represents the amount of distress that Gretchen feels due to her love for Faust, and only shifts to a major key when she begins thinking about all of the aspects she loves about him. This piece provides great representation of symbolic auditory imagery, and provides the audience with a way of visualizing the storyline with more than the lyrics.

Mignon I This piece, composed Hugo Wolf, came from the poem Kennst du das Land, written by Göethe. The poem is based upon a series of novels that Göethe wrote called Wilhelm Meisters Lehrjahre. The story is set with a mysterious woman, Mignon, who is singing this poem expressing her inner emotional life. Mignon is singing this poem to Wilheim, who she views as a father figure, where she presents her wanting of tenderness and protection, as well as her longing for her homeland. This is the piece that represents Mignon’s paternal neglect, and her longing and questions become more urgent as the song progresses. Many composers have set this poem to music, however, Wolf provides one of the best portrayals of longing by inserting complex musical texture, and varying the phrases subtly from one stanza to the next.

Mignon III “Mignon III”, also composed by Hugo Wolf, came from another poem written by Göethe, where Mignon and several other children are putting on a play for the Inn guests. Mignon plays the part of an angel, dressed in white with a gold crown and wings. Other children try to ask questions about her costume, and eventually tries to take it off - but Mignon refuses. Her reply is “So lasst mich scheinen,” where she describes her wanting to be an angel; where she could be pure and lovely, but also dead and free from the burdens that her life has given her. Her wish for a peaceful death infers her not-so-joyous life, as she explains that she would no longer need to worry about earthly clothing or whether she is a man or a woman. She would be “young forevermore.” Wolf sets this piece in a minor setting, with the dynamics remaining low throughout the piece in order to convey the feeling of dying away. The only phrase that expresses a loud dynamic is when Mignon exclaims, “Make me forever young again!” which suggests that this is Mignon’s last request before her death. Wolf communicates Mignon’s feelings through his harmonic ambiguity and his fragmentation in all parts of the music.

Lift Thine Eyes “Lift Thine Eyes” is apart of a two and a half hour work written by Felix Mendelssohn, Elijah. This enormous work depicts events in the life of the Prophet Elijah as the stories were told in the books 1 Kings and 2 Kings of the Old Testament. In the second part of the work, Elijah visits King Ahab and Queen Jezebel, and accuses them of angering God for worshiping Baal, a god of fertility and weather. The Queen, angered by this, turns the Israelites against Elijah by accusing him of being the reason for the famine in Israel. Elijah is then forced to flee for his life, where he is enraged by the people of Israel. Three treble voice, portraying angels, appear and sing the oratorio, “Lift Thine Eyes” in order to comfort the prophet. During performances of oratorios, it is practice to use the score, as it will be done in this piece.

O, Lovely Peace “O, Lovely Peace” is a duet that is within the work Judas Maccabeus by George Frideric Händel, which tells the story of Hanukkah. The work depicts the story of the Maccabean Revolt

(167-160 B.C.), which began when Judea was ruled by the Seleucid Empire, and was determined to destroy the Jewish religion. An elderly priest, Mattathias, was one who defied the empire, and sought to fight for their faith. Judas Maccabeus takes place after Mattathias’s death, who the Jewish people viewed as their leader. Judas Maccabeus assumes the role as leader, in order to maintain hope for freedom, and continues on with war. “O, Lovely Peace” describes the elated feeling that the Jewish people have once they have won the war. They celebrate the victory they have achieved, and emphasizes the importance of acknowledging God’s power in the deliverance of His people. During performances of oratorios, it is practice to use the score, as it will be done in this piece.

What is this Feeling?

This musical theatre piece comes from the musical Wicked. Towards the beginning of the first act, it opens with two girls, Galinda and Elphaba, who are writing letters to their parents in order to complain about their new rooming situation. During this piece, Galinda and Elphaba provide graphic details about their mutual loathing towards each other. In the theatre version, students of the university side with Galinda - in which they express their respect of how she can even tolerate Elphaba. Stephen Schwartz, who wrote the piece, intended for there to be an indication of irony by using phrases that are typically used in love songs for hate. Examples of this can be heard in “my pulse is rushing,” “I felt the moment I laid eyes on you,” “fervid as a flame,” and so on. In this performance, Jessica Golinski will be playing the part of Elphaba, and Emily Zank will be Galinda.