carthage music department presents
Morgan Discovers There Is More Than French Art Song A Senior Voice Recital by Morgan Taylor, mezzo-soprano Student of Prof. Elena Batman
Accompanied by Nicholas Renkosik
Sunday, March 7, 2021 | 2 p.m. | Recital Hall
program There is no intermission Ch’io mai vi possa George Frideric Handel (1685–1759) from Siroe rè di Persia Care selve Handel from Atalanta Cara sposa Handel from Rinaldo Süßer Freund from Frauenliebe und Leben Mariä Wiegenlied Von ewiger Liebe Clair de lune L’heure exquise Green
Robert Schumann (1810–1856) Max Reger (1873–1916) Johannes Brahms (1833–1897) Claude Debussy (1862–1918) Reynaldo Hahn (1874–1947) Gabriel Fauré (1845–1924)
At the Ball Pyotr Ilyich Tchaikovsky None but the Lonely Heart Believe It Not My Friend The Stars Looked Tenderly upon Us The Water Is Wide
Go ‘Way from My Window Homeward Bound
(1840–1893) Tchaikovsky Tchaikovsky Tchaikovsky
Scottish Folk Song Arr. Mark Hayes (b. 1953) John Jacob Niles (1892–1980) Arr. Ruth Elaine Schram (b. 1956) Marta Keen Thompson (b. 1953) Arr. by Jay Althouse (b. 1951)
program notes and translations George Frideric Handel is best known for his sacred works like his oratorio the Messiah, but he has an impressive list of operas to his name as well. Handel’s career began in Germany as a church musician and violinist at the Goose Market Theater, but he soon discovered his affinity for composing. The first set on this recital features arias from three different Handel operas-Siroe rè di Persia, Atalanta, and Rinaldo. All three of these operas fall under the category of opera seria, which means they are “serious” in nature but may feature more lighthearted moments to keep the audience engaged. The first, “Ch’io mai vi possa”, from Siroe is from the end of Act III and it is sung by the character Emira. The text is by Nicola Frencesco Haym and it is based on a libretto by Pietro Metastasio. Emira has just been reunited with her lover Siroe after believing him to be dead; he is asking for her forgiveness and she assures him that there is nothing that could ever stop her from loving him. Ch’io mai vi possa Ch’io mai vi possa Lasciar d’amare, No, nol credete, Pupille care; Nè men per gioco V’ingannerò.
That I will ever be able That I will ever be able to stop loving you No, don’t believe it, dear eyes! Not even to joke would I deceive you about this.
Voi foste e siete Le mie faville, E voi sarete, Care pupille, Il mio bel foco Sin ch’io vivrò.
You alone are my sparks, and you will be, dear eyes, my beautiful fire as long as I live, ah!
The next aria, “Care selve”, is a very popular arioso from Atalanta. The librettist is unknown but the story is based on the Greek myth as well as the Italian text La Caccia in Etolia by Belisario Valeriani. “Care selve” is from the opening scene of the opera and establishes the feel-good nature of the entire work; Handel composed the opera for a wedding so the music reflected the occasion. Care selve Care selve, ombre beate, vengo in traccia del mio cor!
Beloved forests Beloved forests, joyous shadows: I come in search of my heart
The final aria, “Cara sposa”, is from Rinaldo which may be one of his most famous operas, with the libretto by Giacomo Rossi. The opera takes place during the First Crusade, but the real conflict is between the knight Rinaldo and a sorceress Armida. “Cara sposa” is sung by Rinaldo near the end of Act I after his love, Almirena, is kidnapped by Armida. Both “Ch’io mai vi possa” and “Cara sposa” are da capo arias, which means they have an ABA form; the repeated music gives the singer liberty to add ornaments to show their skill and also to increase the dramatic effect of the situation they are in. Cara sposa Cara sposa, amante cara, Dove sei? Deh! Ritorna a’ pianti miei!
Beloved spouse Beloved spouse, dearest heart Where art thou? Woe! Return to him who weeps!
Del vostro Erebo sull’ara, Colla face dello sdegno Io vi sfido, o spirti rei!
O guilty spirits from thy Erebus altar My face on of complete contempt, I defy thee, wicked spirits
program notes and translations The next set on this recital features three German art songs, all of which could be considered Lieder. This style of art song developed in Germany during the Romantic period and is written for solo voice with piano accompaniment; the tradition has a strong focus on narrative poetry being set to virtuosic accompaniment-- although the latter is not always a requirement. Robert Schumann’s song cycle Frauenliebe und Leben based on Adelbert von Chamisso’s collection of poems by the same name is a classic example of Lied because of how the text and the music itself contribute to the storytelling. Schumann was inspired to use this text because of his personal life and relationship with Clara Wieck, who eventually became his wife. The cycle is told from a woman’s perspective about the course of her relationship from their first meeting to his death. “Süßer Freund” is the sixth of eight and portrays the moment when the woman tells her husband she is expecting a child; it begins with nerves around his potential reaction but ends tenderly with his approval. This is reflected in the music with limited accompaniment and repeated melodies. Süßer Freund Süßer Freund, du blickest Mich verwundert an, Kannst es nicht begreifen, Wie ich weinen kann; Laß der feuchten Perlen Ungewohnte Zier Freudenhell erzittern In den Wimpern mir.
Sweet Friend Sweet friend, thou gazest upon me in wonderment, thou cannst not grasp it, why I can weep; Let the moist pearls’ unaccustomed adornment tremble, joyful-bright, in my eyes.
Wie so bang mein Busen, Wie so wonnevoll! Wüßt’ ich nur mit Worten, Wie ich’s sagen soll; Komm und birg dein Antlitz Hier an meiner Brust, Will in’s Ohr dir flüstern Alle meine Lust.
How anxious my bosom, how rapturous! If I only knew, with words, how I should say it; come and bury thy visage here in my breast, I want to whisper in thy ear all my happiness.
Weißt du nun die Thränen, Die ich weinen kann? Sollst du nicht sie sehen, Du geliebter Mann; Bleib’ an meinem Herzen, Fühle dessen Schlag, Daß ich fest und fester Nur dich drücken mag.
Knowest thou the tears, that I can weep? Shouldst thou not see them, thou beloved man? Stay by my heart, feel its beat, that I may, fast and faster, hold thee.
Hier an meinem Bette Hat die Wiege Raum, Wo sie still verberge Meinen holden Traum; Kommen wird der Morgen, Wo der Traum erwacht, Und daraus dein Bildniß Mir entgegen lacht.
Here, at my bed, the cradle shall have room, where it silently conceals my lovely dream; the morning will come where the dream awakes, and from there thy image shall smile at me.
program notes and translations The next song on the program is actually a Christmas song, “Maria Wiegenlied” by Max Reger, about Mary putting Jesus to sleep; it logically follows “Süßer Freund” on this program since it is a lullaby and “Süßer Freund” was about having a baby. It has the elements of a standard lullaby with its lilting 6/8 time signature and delicate melody. Reger is known for his vocal works like Lieder, choral, and chamber music. Mariä Wiegenlied Maria sitzt im Rosenhag Und wiegt ihr Jesuskind, Durch die Blätter leise Weht der warme Sommerwind. Zu ihren Füßen singt Ein buntes Vögelein:
Mary’s Lullaby Mary sits by the rose bower And rocks her little Jesus, Softly through the leaves The warm wind of summer blows. A brightly coloured bird Sings at her feet:
Schlaf, Kindlein, süße, Schlaf nun ein!
Go to sleep, sweet child, It’s time to go to sleep!
Hold ist dein Lächeln, Holder deines Schlummers Lust, Leg dein müdes Köpfchen Fest an deiner Mutter Brust!
Your smile is lovely, Your happy sleep lovelier still, Lay your tired little head Against your mother’s breast!
Schlaf, Kindlein, süße, Schlaf nun ein!
Go to sleep, sweet child, It’s time to go to sleep!
The next song on the program is actually a Christmas song, “Maria Wiegenlied” by Max Reger, about Mary putting Jesus to sleep; it logically follows “Süßer Freund” on this program since it is a lullaby and “Süßer Freund” was about having a baby. It has the elements of a standard lullaby with its lilting 6/8 time signature and delicate melody. Reger is known for his vocal works like Lieder, choral, and chamber music. Mariä Wiegenlied Maria sitzt im Rosenhag Und wiegt ihr Jesuskind, Durch die Blätter leise Weht der warme Sommerwind. Zu ihren Füßen singt Ein buntes Vögelein:
Mary’s Lullaby Mary sits by the rose bower And rocks her little Jesus, Softly through the leaves The warm wind of summer blows. A brightly coloured bird Sings at her feet:
Schlaf, Kindlein, süße, Schlaf nun ein!
Go to sleep, sweet child, It’s time to go to sleep!
Hold ist dein Lächeln, Holder deines Schlummers Lust, Leg dein müdes Köpfchen Fest an deiner Mutter Brust!
Your smile is lovely, Your happy sleep lovelier still, Lay your tired little head Against your mother’s breast!
Schlaf, Kindlein, süße, Schlaf nun ein!
Go to sleep, sweet child, It’s time to go to sleep!
program notes and translations The final piece in this German set is “Von ewiger Liebe” by Johannes Brahms with text by August Heinrich Hoffmann von Fallersleben. This work is another clear example of Lied, as the music clearly matches and establishes the feelings of the text and narrative. There is virtuosity in the accompaniment with constantly changing harmonies and moods. Another element of Lied that is present in “Von ewiger Liebe” is the multiple characters who have their own distinct musical textures. The piece starts with a narrator who sets the scene of a dark forest in which a boy is walking his sweetheart home. The boy tells the girl that if people do not approve of their relationship then he wouldn’t want her to suffer that shame-- the music is frantic as he says this; the music shifts significantly as the girl speaks to reassure the boy that their love can not be broken. Von ewiger Liebe Dunkel, wie dunkel in Wald und in Feld! Abend schon ist es, nun schweiget die Welt.
Eternal Love Dark, how dark in forest and field! Evening already, and the world is silent.
Nirgend noch Licht und nirgend noch Rauch, Nowhere a light and nowhere smoke, Ja, und die Lerche sie schweiget nun auch. And even the lark is silent now too. Kommt aus dem Dorfe der Bursche heraus, Gibt das Geleit der Geliebten nach Haus,
Out of the village there comes a lad, Escorting his sweetheart home,
Führt sie am Weidengebüsche vorbei, Redet so viel und so mancherlei:
He leads her past the willow-copse, Talking so much and of so many things:
“Leidest du Schmach und betrübest du dich, ‘If you suffer sorrow and suffer shame, Leidest du Schmach von andern um mich, Shame for what others think of me, Werde die Liebe getrennt so geschwind, Schnell wie wir früher vereiniget sind.
Then let our love be severed as swiftly, As swiftly as once we two were plighted.
Scheide mit Regen und scheide mit Wind, Schnell wie wir früher vereiniget sind.”
Let us depart in rain and depart in wind, As swiftly as once we two were plighted.’
Spricht das Mägdelein, Mägdelein spricht: “Unsere Liebe sie trennet sich nicht!
The girl speaks, the girl says: ‘Our love cannot be severed!
Fest ist der Stahl und das Eisen gar sehr, Unsere Liebe ist fester noch mehr.
Steel is strong, and so is iron, Our love is even stronger still:
Eisen und Stahl, man schmiedet sie um, Unsere Liebe, wer wandelt sie um?
Iron and steel can both be reforged, But our love, who shall change it?
Eisen und Stahl, sie können zergehn, Unsere Liebe muß ewig bestehn!”
Iron and steel can be melted down, Our love must endure for ever!’
program notes and translations Similar to the German tradition of the Lied, the next set is a sampling of the French tradition of mélodie. The two traditions are similar in that lyric poetry is at the forefront with programmatic accompaniment to match and tell the story. All three pieces are settings of poems by French poet Paul Verlaine; Verlaine’s poems were instrumental in the development of the genre of mélodie because of their inherent musicality and Romantic sensibilities. Claude Debussy was infatuated with his poems and he set many of them to music. He was so inspired by the poem “Clair de lune” in particular that he wrote two vocal settings and the ever-so-famous solo piano piece by the same name. The poem is about a moonlit scene filled with melancholy and unattainable love; Debussy’s setting portrays the changing moods of the poem with a soaring melody and accompaniment that never repeats. Clair de lune Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune, Ils n’ont pas l’air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres.
Moonlight Your soul is a chosen landscape bewitched by masquers and bergamaskers, playing the lute and dancing and almost sad beneath their fanciful disguises. Singing as they go in a minor key of conquering love and life’s favours, they do not seem to believe in their fortune and their song mingles with the light of the moon, The calm light of the moon, sad and fair, that sets the birds dreaming in the trees and the fountains sobbing in their rapture, tall and svelte amid marble statues
program notes and translations The next poem, “L’heure exquise” also features moonlight but is simpler in structure as it has four-syllable verses. Hahn capitalized on this simplicity and portrays a calm appreciation of the “exquisite hour” in his accompaniment as the voice meanders above. Whereas Debussy takes an interpretive approach to the text, Hahn’s approach to Verlaine’s poems is always literal and sensitive to the context in which it was written. L’heure exquise La lune blanche Luit dans les bois; De chaque branche Part une voix Sous la ramée…
Exquisite hour The white moon Gleams in the woods; From every branch There comes a voice Beneath the boughs…
Ô bien aimée.
O my beloved.
L’étang reflète, Profond miroir, La silhouette Du saule noir Où le vent pleure…
The pool reflects, Deep mirror, The silhouette Of the black willow Where the wind is weeping…
Rêvons, c’est l’heure.
Let us dream, it is the hour.
Un vaste et tendre Apaisement Semble descendre Du firmament Que l’astre irise…
A vast and tender Consolation Seems to fall From the sky The moon illumines…
C’est l’heure exquise.
Exquisite hour.
program notes and translations The final example of mélodie on this program is Fauré’s setting of the poem “Green”. This poem is riddled with veiled references to Verlaine’s turbulent marriage and complicated affair with Arthur Rimbaud, but Fauré’s setting holds out hope for reconciliation; it is in a major key and the repeated melodies in the accompaniment and vocal line signify comfort in the toxic relationship. Green Voici des fruits, des fleurs, des feuilles et des branches Et puis voici mon cœur qui ne bat que pour vous. Ne le déchirez pas avec vos deux mains blanches Et qu’à vos yeux si beaux l’humble présent soit doux.
Here are flowers, branches, fruit, and fronds, And here too is my heart that beats just for you. Do not tear it with your two white hands And may the humble gift please your lovely eyes.
J’arrive tout couvert encore de rosée Que le vent du matin vient glacer à mon front. Souffrez que ma fatigue à vos pieds reposée Rêve des chers instants qui la délasseront.
I come all covered still with the dew Frozen to my brow by the morning breeze. Let my fatigue, finding rest at your feet, Dream of dear moments that will soothe it.
Sur votre jeune sein laissez rouler ma tête Toute sonore encore de vos derniers baisers; Laissez-la s’apaiser de la bonne tempête, Et que je dorme un peu puisque vous reposez.
On your young breast let me cradle my head Still ringing with your recent kisses; After love’s sweet tumult grant it peace, And let me sleep a while, since you rest.
program notes and translations Pyotr Ilyich Tchaikovsky was a Russian Romantic composer most known for his contributions to world-renowned ballet repertoire. His output of vocal works is significant and he played an important role in popularizing his own take on traditional Russian art songs that had a more global reach than his contemporaries who were somewhat opposed to Western music traditions. Romantic art song tradition in Russia is exemplified in the genre of romance which is closely related to a French precursor to mélodie. The four pieces in this set are all written by Tchaikovsky and display elements of this genre. They appear in this order on the recital to set up a narrative arc throughout the set. The first, “At the Ball” is a poem by Aleksey Konstantinovich Tolstoy that tells the beginning of an innocent love story as the narrator meets a stranger and they dance together at the ball; the identity of the stranger is unknown but the narrator is convinced that she is in love. Средь шумного бала Средь шумного бала, случайно, В тревоге мирской суеты, Тебя я увидел, но тайна Твои покрывала черты.
At the ball In the midst of a noisy ball, by chance, Among the tumultuous whirl of life, I caught a glimpse of you, but mystery Veiled your features.
Лишь очи печально глядели, А голос так дивно звучал, Как звон отдалённой свирели, Как моря [играющий]1 вал.
Your eyes betrayed your sadness, But your voice rang out divinely, Like the sound of distant pipes, Or like the dancing waves of the sea.
Мне стан твой понравился тонкий И весь твой задумчивый вид, А смех твой, и грустный, и звонкий, С тех пор в моём сердце звучит.
I was entranced by your slender form, Your pensive expression, And your laughter, both sad and ringing, Since then, echoes in my heart.
В часы одинокие ночи Люблю я, усталый, прилечь; Я вижу печальные очи, Я слышу веселую речь,
During the lonely hours of night I love to lie down, to rest; I see those sad eyes, I hear that merry laugh,
И грустно я, грустно так засыпаю, И в грёзах неведомых сплю... Люблю ли тебя, я не знаю, Но кажется мне, что люблю!
And oh so wistfully, I drift off, And sink into mysterious dreams... Do I love you? I don’t know, But it seems like I do!
program notes and translations The next song, “None but the Lonely Heart”, is a poem by Lev Aleksandrovich Mey and it continues this feeling of longing for the unknown love. The narrator’s love is either unknown or far away but the feeling of longing is prominent. Нет, только тот, кто знал None but the lonely heart Нет, только тот, кто знал No, only one who has known Свиданья, жажду, What it is to long for one’s beloved Поймёт, как я страдал Can know how I have suffered И как я стражду. And how I suffer still. Гляжу я вдаль... нет сил, Тускнеет око... Ах, кто меня любил И знал - далеко!1 Вся грудь горит... Кто знал Свиданья жажду, Поймёт, как я страдал И как я стражду.
I gaze into the distant – but my strength fails me, My sight grows dim… Ah, the one who loved me And knew me is far away now! My breast is all aflame – whoever has known What it is to long for one’s beloved Can know how I have suffered And how I suffer still.
The third piece in the set, “Believe It Not, My Friend”, is also a poem by Tolstoy. There is somewhat of a turning point here and the mood is more pleading as the narrator is trying to tell their love that no matter what happens between them or even if they seem bitter they will always be in love. Не верь, мой друг, не верь Не верь, мой друг, не верь, когда в порыве горя. Я говорю, что разлюбил тебя — В отлива час не верь, не верь измене моря, Оно к земле воротится, любя. Уж я тоскую, прежней страсти полный, Свою свободу вновь тебе отдам — И уж бегут с обратным шумом волны Издалека к любимым берегам. Не верь, мой друг, не верь, Когда в порыве горя. Я говорю, что разлюбил тебя — В отлива час не верь, не верь измене моря, Оно к земле воротится, любя
Do not believe it, my friend Do not believe it, my friend, when in bitter torment I say that I do not love you any more! Do not believe the deception of the sea as it ebbs away, It will return to the land, loving once again. I long for you once more, full of my former passion, And again I will yield to you my freedom. And once again, the loud waves rush back From far away to their beloved shores. Do not believe it, my friend, when in bitter torment I say that I do not love you any more! Do not believe the deception of the sea as it ebbs away, It will return to the land, loving once again.
program notes and translations The final piece in this Russian set is “The Stars Looked Tenderly upon Us”, a poem by Aleksey Pleshcheyev. This returns to the juvenile feelings of love from “At the Ball” but with a nostalgic reminiscence of days that have passed; the narrator asks, when the stars have faded away and the flowers have withered, will the feelings of love be forgotten? Нам звёзды кроткие сияли The stars looked tenderly upon us Нам звёзды кроткие сияли, Gentle stars were shining upon us, чуть веял тихий ветерок, A light breeze was breathing, кругом цветы благоухали, The flowers were perfuming the surrounding и волны ласково журчали air у наших ног. And the waves were tenderly murmuring at our feet. Мы были юны, мы любили, и с верой в даль смотрели мы; We were young, we were in love, в нас грёзы радужные жили, And with hope we were looking into the и нам не страшны вьюги были distance; седой зимы. We were full of rosy dreams And we feared not the blizzards Где ж эти ночи с их сияньем, of gray-haired winter. с благоухающей красой и волн таинственным [ронтаньем]1, Where are those nights with their radiance, надежд, восторжённых мечтаний Fragrant beauty где светлый рой? And mysterious whispering of the waves, The bright flock of hopes and ecstatic dreams Померкли звёзды, и уныло where is it? поникли блеклые цветы... Когда ж, о сердце, все, что было, The stars have faded away что нам весна с тобой дарила, And the wilted flowers have withered... забудешь ты? When, oh heart, all that happened, All the gifts of the spring, Will you forget?
There is less of a narrative arc in this final set that features some classic folk songs in English, but there is love, lost love, and a hopeful return of a loved one. “The Water is Wide” is a Scottish folk song that has been adapted many times. This arrangement by Mark Hayes maintains the well-known melody in the voice but takes a unique approach to the accompaniment-- it is expansive and sweet all at the same time. The lyrics portray the challenges of love and maintaining a healthy relationship past the honeymoon phase. The next piece, “Go ‘Way From My Window” was written by John Jacob Niles in 1907 but it was not performed until 1930. The song was adapted from a line he heard being sung by his father’s African American farmworker; he dedicated it to a girl he was fond of who was not keen on his advances. This setting by Ruth Elaine Schram allows the singer freedom to soar while the piano steadily supports the voice. The song “Homeward Bound” by Marta Keen Thompson is emblematic of folk America as it is in pentatonic mode and the lyrics talk of pastures, plows, sparrows, and crops; these are all images associated with country life in the United States. This arrangement by Jay Althouse is evocative of the longing for returning home and the nostalgic aches for familiarity.