A Grand Affair: A Senior Recital featuring Sarah Jenkins

carthage music department presents

A Grand Affair A Senior Recital featuring Sarah Jenkins

Saturday, March 20, 2021 | 1 p.m. | Recital Hall

program There is no intermission Four Songs, Op. 13

A Nun Takes the Veil

Secrets of the Old

Sure on This Shining Night Nocturne Les Cloches (Deux Romances) Clair de lune (Fêtes Galantes) Fantoches (Fêtes Galantes) En Sourdine (Fêtes Galantes) Green Smanie Implacabili (Cosi fan Tutte)

Samuel Barber (1910-1981)

Claude Debussy (1862-1918)

W. A. Mozart (1756-1791)

La speranza al cor mi dice Isabella Colbran (1785-1845) Povero cor tu palpiti Sposa son disprezzata (Bajazet)

Antonio Vivaldi (1678-1741)

Ihr Bildnis Clara Schumann (1819-1896) Mein Stern Liebst du um Schönheit, Op. 37 Lorelei

program notes and translations English Set Four Songs, Op. 13 was composed in 1938 by Samuel Barber (1910-1981). The piece features poetry from several different writers and blends them together to illustrate a story of exploring the dark moments that allow the light to shine so brightly.

The first of the four pieces, “A Nun Takes the Veil”, features a poem by Gerard Manley Hopkins about a nun declaring her commitment to a life free from worldly matters. The piece features a rather bare texture from the piano, allowing the actual words from the poem to shine through and to illustrate the slight loneliness that someone would feel as they take this step into a new chapter of life.

In stark contrast, “The Secrets of the Old”, with poetry by William Butler Yeats, tells the story of an elderly woman recalling stories from her youth with her three sisters. With an uneven meter of ⅝, the piece features a tongue-in-cheek musical texture that suggest the connotations of the stories without explicitly saying them.

The third and most popular from this opus, “Sure on this shining night”, features poetry

by James Agee. The poem describes a reflection upon a clear night sky, looking forward to peace and tranquility with the words “ All is healed, all is health. High summer holds the Earth. Hearts all whole.” The poem, however, takes a contrasting direction that shows fear for the unknown and a sharp return to the present moment, shown in the melodic similarities between the beginning and ending sections with slight alterations, unsettling the listener.

The final piece, “Nocturne”, offers a grandeur ending with poetry by Frederic Prokosch. The texts offer reassurance of peace and release during sleep (perhaps a final sleep), while still acknowledging the chaos from the outside world. The music features wonderfully cadenced phrases while also featuring unexpected harmonies. The accompaniment remains in sextuplets in the right hand while the vocal line is in a duple meter, offering a beautiful, yet unstable texture.

program notes and translations French Set “Les cloches”, one of two songs in Debussy’s Deux Romances evokes a sense of human contemplation with poetry by Paul Bourget(1852-1935). Debussy (1862-1918) creates the sound of bells during the interludes and postludes of the piece, allowing for the melodic line to dance between the tones to further illustrate the contemplative nature of the poetry.

Les cloches Les feuilles s’ouvraient sur le bord des branches, Délicatement.

Les cloches tintaient, légères et franches, Dans le ciel clément.

Rythmique et fervent comme une antienne, Ce lointain appel Me remémorait la blancheur chrétienne Des fleurs de l’autel.

Ces cloches parlaient d’heureuses années, Et, dans le grand bois, Semblaient reverdir les feuilles fanées Des jours d’autrefois.

The Bells The leaves opened upon the edge of the branches, Delicately.

The bells rang, light and free, In the clear sky.

Rhythmically and fervently, like an antiphon, This distant call Reminded me of the Christian whiteness Of altar flowers.

These bells told of happy years, And, in the great forest, Seemed to revive the withered leaves Of days gone by.

“Clair de lune” from Debussy’s Fêtes Galantes sets a poem that is familiar to anybody who has ever listened to impressionist music. The circular motion of the piano introduction takes the listener to a place to bask in ‘the light of the moon.’

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.

Moonlight Your soul is a chosen landscape bewitched by masquers and bergamaskers,

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,

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,

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.

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.

playing the lute and dancing and almost sad beneath their fanciful disguises.

program notes and translations A sharp contrast in this first book from Fêtes Galantes, “Fantoches” features a more disjointed accompaniment to convey a light story told by marionette puppets. With mocking lines of “la la la,” this piece is sure to evoke a playful and mischievous mood.

Fantoches Scaramouche et Pulcinella Qu’un mauvais dessein rassembla Gesticulent, noirs sous la lune.

Fantoches Scaramouche and Pulcinella Drawn together by some evil scheme, Gesticulate, black beneath the moon.

Cependant l’excellent docteur Bolonais cueille avec lenteur Des simples parmi l’herbe brune.

Meanwhile the excellent doctor From Bologna is leisurely picking Medicinal herbs in the brown grass.

Lors sa fille, piquant minois, Sous la charmille, en tapinois, Se glisse, demi-nue, en quête

Then his daughter, pertly pretty, Beneath the arbour, stealthily, Glides, half-naked, in quest

De son beau pirate espagnol, Dont un amoureux rossignol Clame la détresse à tue-tête.

Of her handsome Spanish pirate, Whose grief a lovelorn nightingale Proclaims as loudly as he can.

The third and final piece of the first book from the cycle is titled “En Sourdine.” In similarity with “Green,” this poem sets a scene of two lovers in a serene and secluded setting. Enraptured in each other, they succumb to the breezes that rock the tall grasses and trees. The piece ends with a somber outlook, the nightingale singing a song of their despair.

En sourdine Calmes dans le demi-jour Que les branches hautes font, Pénétrons bien notre amour De ce silence profond.

Muted Calm in the twilight Cast by loft boughs, Let us steep our love In this deep quiet.

Mêlons nos âmes, nos cœurs Et nos sens extasiés, Parmi les vagues langueurs Des pins et des arbousiers.

Let us mingle our souls, our hearts And our enraptured senses With the hazy languor Of arbutus and pine.

Ferme tes yeux à demi, Croise tes bras sur ton sein, Et de ton cœur endormi Chasse à jamais tout dessein.

Half-close your eyes, Fold your arms across your breast, And from your heart now lulled to rest Banish forever all intent.

Laissons-nous persuader Au souffle berceur et doux Qui vient, à tes pieds, rider Les ondes des gazons roux.

Let us both succumb To the gentle and lulling breeze That comes to ruffle at your feet The waves of russet grass.

Et quand, solennel, le soir Des chênes noirs tombera Voix de notre désespoir, Le rossignol chantera.

And when, solemnly, evening Falls from the black oaks, That voice of our despair, The nightingale shall sing.

program notes and translations “Green” features poetry from Paul Verlaine (1844-1896). The poetry sets a scene of two lovers in a green garden; content with love and the stillness of which they find in each other. The return of melodic content from the first section to the last section evokes a sense of closure.

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.

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.

Green 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.

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.

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.

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.

Italian Set “Smanie implacabili” comes from Act 1 Scene 3 from Mozart’s Cosi fan tutte. In this aria, the character of Dorabella is lamenting over her husband leaving for war and becomes slightly hysterical. A few wonderful instances of text painting occur while Dorabella is “hyperventilating” during a descending line of paired arpeggiations.

Smanie implacabili Smanie implacabili Che m’agitate, Entro quest’anima Più non cessate Fin che l’angoscia Mi fa morir.

Implacable pangs Implacable pangs Which torment me, Do not subside Within my being Until my anguish Brings me death.

Esempio misero D’amor funesto Darò all’Eumenidi, Se viva resto, Col suono orribile De’ miei sospir.

If I remain alive I will furnish the Furies With a wretched example Of tragic love With the dreadful sound Of my sighs.

program notes and translations “Povero cor, tu palpiti” and “La speranza al cor mi dice” feature poems by Pietro Metastasio.

Both are set by Isabella Colbran, a Spanish soprano and first wife of Gioachino Rossini.

Colbrain grew up working with great composers and musicians both in and out of her family and made her concert debut in Paris in 1801 at the court of Napoleon. She continued to perform and began to be a muse for Rossini who, in turn, composed 18 operas for her. Though these songs are rather simple, her operatic influence allows for the simplicity to shine.

La speranza al cor mi dice La speranza al cor mi dice Che sarò felice ancor Ma la speme inganna trice Poimi dice il mio timor

Hope tells my heart Hope tells my heart That I will know joy again.

But love’s deceit appears, and with it, fears Yet hope comes again and foretells joy to come.

Povero cor tu palpiti Povero cor tu palpiti ne a torto in questo di tu palpiti cosi povero core si tratta o dio di perdere per sempre il caro ben che di sua mano in sen m’impresse amore

My poor heart you flutter My poor heart you flutter, How right you are to tremble.

You throb so, poor heart For fear of losing forever Of losing forever that beloved image That love’s hand Has engraved into my heart.

“Sposa son disprezzata” is an aria composed by Geminiano Giacomelli. However, it rose to prominence when it appeared in Vivaldi’s Bajazet. This work is a pasticcio– an opera composed of works from different composers that may or may not have been working together, like an operatic melting pot. The bare texture of the piano accompaniment offers a quality that could not be found otherwise; the loneliness and sorrow of a woman that has had her world whisked away from her in an instant. The second stanza is not commonly performed thanks to an 1880’s adaption by Alessandro Parisotti, popularized by popular mezzo-soprano Cecilia Bartoli.

Sposa son disprezzata Sposa son disprezzata fida, son altraggiata, cieli, che feci mai?

E pur eglíѐ il mio cor, il mio sposo, il mio amor, la mia speranza

I am a scorned wife I am a scorned wife, faithful, yet insulted.

Heavens, what did I do? yet he is my love, my husband, my beloved, my hope.

program notes and translations German Set Clara Schumann (1819-1896) was one of the greatest pianists during the Romantic period. She grew up in a musical home and began touring at the age of 11 and composing piano music as well. As her success grew in Paris and Vienna, she married composer Robert Schumann and began to compose vocal works. In these vocal works, it is imperative to note the nature of the piano accompaniment and how fluid and lush the textures become. From the frantic momentum in Lorelei to the continuous rolling waves in Mein Stern, there are hidden gems within the interludes of each vocal line.

“Ihr Bildnis”, a setting of the poem “Ich stand in dunklen Träumen” by Heinrich Heine, is the second of 2 versions that were composed by Schumann. The poem describes a lover longingly looking at a portrait of his beloved, saddened by the fact that they are not together. This song was composed as part of a Christmas present for Robert, as it illustrated the times apart that the couple had been through. The first version ends with a recapitulation from the introductory material and ends with a rather happy mood. This second version, however, arguably better illustrates the sorrowful undertone of the poem. The last ending note is raised a half step, creating a deceptive cadence and a recapitulation with slightly altered notes. The ending chord between the two versions is the same and gives the listener the same satisfaction.

Ihr Bildnis Ich stand in dunklen Träumen Und starrte ihr Bildnis an, Und das geliebte Antlitz Heimlich zu leben begann.

Her Picture I stood darkly dreaming And stared at her picture, And that beloved face Sprang mysteriously to life.

Um ihre Lippen zog sich Ein Lächeln wunderbar, Und wie von Wehmutstränen Erglänzte ihr Augenpaar.

About her lips A wondrous smile played, And as with sad tears, Her eyes gleamed.

Auch meine Tränen flossen Mir von den Wangen herab – Und ach, ich kann’s nicht glauben, Dass ich dich verloren hab!

And my tears flowed Down my cheeks, And ah, I cannot believe That I have lost you!

program notes and translations Additionally, “Mein Stern”, with poetry by Friedrich Anton Serre, features a rolling piano texture. The Serre family was quite close with and were admirers of the Schumann family.

This piece was actually never published in Clara’s lifetime but was later published in London as an english translation “O thou my star” in 1848.

Mein Stern O du mein Stern, Schau dich so gern, Wenn still im Meere die Sonne sinket, Dein gold’nes Auge so tröstend winket In meiner Nacht!

My star O you my star, I love to observe you, When the sun slips quietly into the sea, And your golden gaze beckons so consolingly In my night!

O du mein Stern, Aus weiter Fern’, Bist du ein Bote mit Liebesgrüßen, Laß deine Strahlen mich durstig küssen In banger Nacht.

O you my star, From afar You bring me tidings of love, Let me passionately kiss your rays In fearful night.

O du mein Stern, Verweile gern, Und lächelnd führ’ auf des Lichts Gefieder Der Träume Engel dem Freunde wieder In seine Nacht.

O you my star, Linger gladly, And smilingly on the wings of light Escort once more the angel of dreams to your friend In his night.

“Liebst du um Schönheit” is a wonderful strophic love song with poetry from Friedrich Rückert. The rolling piano and simple line highlights the plea of the poet; love me for me.

Schumann’s setting allows the vocal line to caress the texture underneath and lean into the chromatisms to allow each verse of the poem to be different.

Liebst du um Schönheit Liebst du um Schönheit, O nicht mich liebe!

Liebe die Sonne, Sie trägt ein goldnes Haar.

If you love for beauty If you love for beauty, O love not me!

Love the sun, She has golden hair.

Liebst du um Jugend, O nicht mich liebe!

Liebe den Frühling, Der jung ist jedes Jahr.

If you love for youth, O love not me!

Love the spring Which is young each year.

Liebst du um Schätze, O nicht mich liebe!

Liebe die Meerfrau, Sie hat viel Perlen klar.

If you love for riches, O love not me!

Love the mermaid Who has many shining pearls.

Liebst du um Liebe, O ja, mich liebe!

Liebe mich immer, Dich lieb’ ich immerdar.

If you love for love, Ah yes, love me!

Love me always, I shall love you ever more.

program notes and translations “Lorelei” is a poem additionally by Heinrich Heine. The poem tells a tale of a mermaid that leads sailors to their death by her song as the boats succumb to the treacherous rocks and waves of the Rhine. The constant drone of eight notes in the piano illustrates the ebb and flow of the Rhine river, while the vocal line tells the tale.

Lorelei Ich weiß nicht, was soll es bedeuten, Daß ich so traurig bin; Ein Märchen aus alten Zeiten, Das kommt mir nicht aus dem Sinn.

Loreley I do not know what it means That I should feel so sad; There is a tale from olden times I cannot get out of my mind.

Die Luft ist kühl und es dunkelt, Und ruhig fließt der Rhein; Der Gipfel der Berge funkelt Im Abendsonnenschein.

The air is cool, and twilight falls, And the Rhine flows quietly by; The summit of the mountains glitters In the evening sun.

Die schönste Jungfrau sitzet Dort oben wunderbar, Ihr goldnes Geschmeide blitzet, Sie kämmt ihr goldenes Haar.

The fairest maiden is sitting In wondrous beauty up there, Her golden jewels are sparkling, She combs her golden hair.

Sie kämmt es mit goldenem Kamme Und singt ein Lied dabei, Das hat eine wundersame, Gewalt’ge Melodei.

She combs it with a golden comb And sings a song the while; It has an awe-inspiring, Powerful melody.

Den Schiffer im kleinen Schiffe Ergreift es mit wildem Weh; Er schaut nicht die Felsenriffe, Er schaut nur hinauf in die Höh’.

It seizes the boatman in his skiff With wildly aching pain; He does not see the rocky reefs, He only looks up to the heights.

Ich glaube, die Wellen verschlingen Am Ende Schiffer und Kahn; Und das hat mit ihrem Singen Die Loreley getan.

I think at last the waves swallow The boatman and his boat; And that, with her singing, The Loreley has done.

upcoming events for carthage community Student Recital: Liz Weiland Saturday, March 20 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Women on the Verge of a Nervous Breakdown March 25-26 • 7:30 p.m.

March 27 • 1 p.m. & 7:30 p.m.

March 28 • 3 p.m.

Wartburg Theatre • Tickets required Student Recital: Michael Freeman Monday, March 29 • 7:30 p.m.

Recital Hall • Tickets required Jazz Band Concert Wednesday, March 31 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Performing Arts Series: Reginald Mobley featuring Solideo Quartet Thursday, April 8 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Spring Band Concert Friday, April 9 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Away from the Mirror April 10 • 7:30 p.m.

April 11 • 3 p.m.

Pre-Recorded Spring Choral Concert Monday, April 12 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Opera Workshop Friday, April 16 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required

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