Beethoven2020@SHSU | November 20th Concert Program

COLLEGE OF ARTS & MEDIA PRESENTS: CAM ARTIST SERIES

CELEBRATING 250 YEARS OF GENIUS NOVEMBER 20, 2020 | 7:30 P.M.

JAMES AND NANCY GAERTNER PERFORMING ARTS CENTER

CAM ARTIST SERIES The SHSU College of Arts and Media, along with the School of Music, presents Beethoven2020@SHSU. The 250th anniversary of the birth of Ludwig van Beethoven prompts this concert’s celebration of his iconic vocal and keyboard compositions featuring performances by faculty and graduate students from the SHSU School of Music. An artistic force in Vienna and other musical capitals in Europe during his lifetime, Beethoven’s music continues to challenge and inspire performers and audiences alike.

Tonight’s concert is dedicated to the memory of David E. Payne, former SHSU Provost and patron of the School of Music, who passed away on June 12, 2020. To acknowledge his distinctive and transformational contributions to our students and his love of classical music (especially keyboard music), the fortepiano featured in tonight’s concert was purchased to support music majors in the College of Arts and Media and to honor Dr. Payne’s legacy as a cherished friend to the School of Music.

Welcome!

Dr. Ronald E. Shields, Dean College of Arts & Media

FACEBOOK.COM/SHSUCAM Stay tuned for upcoming video content on the on the COLLEGE OF ARTS & MEDIA and SCHOOL OF MUSIC Facebook pages featuring exclusive interviews with faculty performers, and our special guest expert Dr. Michael Rose of Vanderbilt University!

BEETHOVEN 2020@SHSU: CELEBR ATING 250 YEARS OF GENIUS Works by Ludwig van Beethoven (1770 – 1827) Bagatelle in A Minor, WoO 59 (“Für Elise”)

Ludwig van Beethoven

Version 2 (c. 1822), completed by Mario Aschauer

Mario Aschauer, fortepiano

An die ferne Geliebte, Op. 98

Ludwig van Beethoven

Auf dem Hügel sitz ich spähend Wo die Berge so blau Leichte Segler in den Höhen Diese Wolken in den Höhen Es kehret der Maien, es blühet die Au Nimm sie hin denn, diese Lieder

Tony Bout té , tenor Mario Aschauer, fortepiano

PAUSE Folk Song Settings

Ludwig van Beethoven

Music, Love and Wine (25 Scottish Songs Op.108, No.1) O Harp of Erin (12 Irish Songs WoO154, No.2) The Elfin Fairies (12 Irish Songs WoO154, No.1) What Shall I Do to Shew How Much I Love Her? (25 Irish Songs WoO152, No.6) Hide Not Thy Anguish (25 Irish Songs WoO152, No.16) Sally in Our Alley (25 Scottish Songs Op.108, No.25) Constancy (26 Welsh Songs WoO155, No.22) The Miller of the Dee (12 Songs of Various Nationality WoO157, No.5) Sunset (25 Scottish Songs Op.108, No.2) O Swiftly Glides the Bonny Boat (25 Scottish Songs Op.108, No.19) Dermot and Shelah (25 Irish Songs WoO152, No.14) Auld Lang Syne (12 Scottish Songs WoO156, No.11)

Caroline Nardino, soprano | Emily Howes Heilman, mezzo-soprano Wesley Lawrence , tenor | Juan Espino, baritone Ana Done , violin | Adrian Tellez, cello Gabriel Barbieri, piano

TEXT & TRANSLATIONS

An die ferne Geliebte (To the Distant Beloved) On poetry by Alois Jeitteles (1794 –1858) with translation by Barry Cooper

This iconic song cycle by Ludwig van Beethoven has inspired performers, composers and audiences since it first appeared in 1816. It is offered tonight, not only as a way to honor Beethoven, but to inspire and console all of us who have been isolated or far away from our loved ones during this difficult time. Beethoven began writing the music to this text almost as soon as he discovered it. He was writing to a far-off (and unattainable) beloved, but he surely hoped that they would hear his songs and feel his love across the miles. To quote Jeitteles: “Then through these songs, what kept us so far apart gives way. And a loving heart is reached by what a loving heart has consecrated!”

— Tony Boutté

Artistic Coordinator Beethoven 2020

I.

I.

III.

III.

Auf dem Hügel sitz ich spähend In das blaue Nebelland, Nach den fernen Triften sehend, Wo ich dich, Geliebte, fand.

On the hill I sit gazing Into the blue misty land, Looking towards the distant pastures Where, beloved, I found you.

Leichte Segler in den Höhen, Und du, Bächlein klein und schmal, Könnt mein Liebchen ihr erspähen, Grüßt sie mir viel tausendmal.

Light clouds sailing in the sky, And you, brooklet, small and narrow, If you could espy my beloved, Greet her many thousand times from me.

Weit bin ich von dir geschieden, Trennend liegen Berg und Tal Zwischen uns und unserm Frieden, Unserm Glück und unsrer Qual.

Far am I parted from you; Intervening lie hill and dale, Between us and our peace, Our happiness and our anguish.

Seht ihr, Wolken, Sie dann gehen sinnend in dem stillen Tal, Laßt mein Bild vor ihr entstehen In dem luft’gen Himmels Saal.

You clouds, if you see her go then, Pensively in the quiet valley, Let my image arise before her In the airy vault of heaven.

Ach, den Blick kannst du nicht sehen, Der zu dir so glühend eilt, Und die Seufzer, sie verwehen In dem Raume, der uns teilt.

Oh you cannot see the glance That hurries so ardently to you, And the sighs, they blow away In the space that divides us.

Wird sie an den Büschen stehen, Die nun herbstlich falb und kahl.

Klagt ihr, wie mir ist geschehen, Klagt ihr, Vöglein, meine Qual.

Should she stand by the bushes, Now autumnally pale and bare, Bewail to her what has befallen me, Bewail, you birds, my torment.

Will denn nichts mehr zu dir dringen, Nichts der Liebe Bote sein?

Singen will ich, Lieder singen, Die dir klagen meine Pein!

Will then nothing more press to you, Nothing be love’s messenger?

I will sing, sing songs That bewail to you my pain!

Stille Weste, bringt im Wehen Hin zu meiner Herzenswahl Meine Seufzer, die vergehen Wie der Sonne letzter Strahl.

Calm west winds, bring in your breeze, From here, to my heart’s choice, My sighs, which fade Like the sun’s last ray.

Denn vor Liedesklang entweichet Jeder Raum und jede Zeit, Und ein liebend Herz erreichet Was ein liebend Herz geweiht!

For at the sound of song dissipates All space and all time, And a loving heart is reached by What a loving heart has consecrated!

Flüstr’ ihr zu mein Liebesflehen, Laß sie, Bächlein klein und schmal, Treu in deinen Wogen sehen Meine Tränen ohne Zahl! ohne Zahl!

Whisper to her my love’s pleading, Brooklet, small and narrow, let her Truly see in your ripples My tears without number.

II.

II.

IV.

IV.

Wo die Berge so blau Aus dem nebligen Grau Schauen herein, wo die Sonne verglüht, Wo die Wolke umzieht, Möchte ich sein! möchte ich sein!

Where the mountains so blue Out of the misty grey Look forth, Where the sun fades away, Where the clouds gather round, There would I be!

Diese Wolken in den Höhen, Dieser Vöglein munt’rer Zug, Werden dich, o Huldin, sehen.

Nehmt mich mit im leichten Flug!

These clouds in the sky, This cheerful flock of little birds Will see you, O darling ‘Take me with you in your nimble flight.’

Dort im ruhigen Tal Schweigen Schmerzen und Qual.

Wo im Gestein still die Primel dort sinnt, Weht so leise der Wind, Möchte ich sein! möchte ich sein!

There in the peaceful valley, Pains and anguish are silent.

Where, among the rocks the primrose muses quietly, The wind wafts so gently, There would I be!

Diese Weste werden spielen Scherzend dir um Wang’ und Brust, In den seid’nen Locken wühlen.

Teilt’ ich mit euch diese Lust!

These west winds will play Jocularly around your cheek and bosom, Burrow into your silky locks ‘Let me share this pleasure with you.’

Hinzu dir von jenen Hügeln Emsig dieses Bächlein eilt.

Wird ihr Bild sich in dir spiegeln, Fließ zurück dann unverweilt! ja unverweilt!

From here to you, from those hills, This brooklet hurries busily.

‘If her image is reflected in you, Then flow back without delay!’

‘Yes, without delay!’

Hin zum sinnigen Wald Drängt mich Liebesgewalt, Innere Pein, innere Pein.

Ach, mich zög’s nicht von hier, Könnt ich, Traute, bei dir Ewiglich sein! ewiglich sein!

Away to the pensive wood The power of love drives me, Inner pain.

Oh, nothing would draw me from here, Could I, my dearest, Be with you forever.

FORTEPIANO

TEXT & TRANSLATIONS V.

V.

Es kehret der Maien, es blühet die Au’, Die Lüfte, sie wehen so milde, so lau, Geschwätzig die Bäche nun rinnen.

May returns, the meadow blooms.

The breezes blow so gently, so mild, Babbling now flow the brooks;

Die Schwalbe, die kehret zum wirtlichen Dach, Sie baut sich so emsig ihr bräutlich Gemach, Die Liebe soll wohnen da drinnen.

The swallow returns to her habitable roof, She so diligently builds her bridal chamber; Love shall dwell therein.

Sie bringt sich geschäftig von Kreuz und von Quer Manch’ weicheres Stück zu dem Brautbett hieher, Manch’ wärmendes Stück für die Kleinen.

She busily brings from here and there Many a soft piece for her bridal bed, Many a warm piece for the little ones.

Nun wohnen die Gatten beisammen so treu, Was Winter geschieden, verband nun der Mai, Was liebet, das weiß er zu einen.

Now the couple live so faithfully together, What winter separated, May now rejoins; It knows how to unite those who love.

Es kehret der Maien, es blühet die Au’, Die Lüfte, sie wehen so milde, so lau, Nur ich kann nicht ziehen von hinnen.

May returns, the meadow blooms.

The breezes blow so gently, so mild, I alone cannot leave from here;

Wenn alles, was liebet, der Frühling vereint, Nur unserer Liebe kein Frühling erscheint, Und Tränen sind all ihr Gewinnen.

Ja all ihr gewinnen.

When spring unites everything that loves, For our love alone no spring appears, And tears are our only reward.

Yes, our only reward.

VI.

VI.

Nimm sie hin denn, diese Lieder, Die ich dir, Geliebte, sang, Singe die dann abends wieder Zu der Laute süßem Klang.

Take them hence then, these songs Which I sang to you, beloved; Then sing them again in the evening, To the lute’s sweet sound.

Wenn das Dämm’rungsrot dann zieht Nach dem stillen, blauen See, Und sein letzter Strahl verglühet Hinter jener Bergeshöh.

When the red twilight draws Towards the calm blue lake, And its last ray dies out Behind those mountain tops;

Und du singst, und du singst, Was ich gesungen, was mir aus der vollen Brust Ohne Kunst gepräng’ erklungen, Nur der Sehnsucht sich bewußt.

And you sing what I sang, What sounded from my full heart, Without show of art, Conscious only of longing:

Dann vor diesen Liedern weichet, Was geschieden uns so weit, Und ein liebend Herz erreichet, Was ein liebend Herz geweiht!

Then before these songs, What kept us so far apart gives way, And a loving heart is reached by What a loving heart has consecrated!

This gorgeous fortepiano is modeled after an original by Walter & Sohn, circa 1805. It has a moderator, sustaining knee levers, a five and a half octave range from FF to c4, and was expertly crafted out of walnut by world-renowned maker Paul McNulty. His instruments are famous for their performance quality and are housed in the most prestigious concert halls, opera houses and educational institutions.

all of which were praised for their quality by famous musicians including Mozart, who bought a Walter in 1782, and Beethoven, who nearly succeeded in buying one in 1802. Apart from extending the keyboard range, all basic proportions and tonal concepts of the instruments were retained until Walter’s death in 1826. His improvements in the Viennese pianoforte action remained the standard for many years.

Anton Walter was born near Stuttgart in 1752 and became active in Vienna in the early 1770s.

He held the titles of Chamber Organ Builder and Instrument Maker in Vienna and was the most famous fortepiano maker of his time.

“What is most remarkable is the wing-shaped Pianoforte for which my father had a special preference to such a degree that he not only wanted to have it in his study all the time, but exclusively used this and no other instrument in all his concerts, regardless of whether they took place in court, in the palaces of noblemen, in theatres, or in other public places.” - Mozart’s son, Carl

His stepson joined the company in 1800, changing the firm name to Anton Walter & Sohn.

Walter built about 700 instruments in his lifetime,

BOARD OF REGENTS THE TEXAS STATE UNIVERSITY SYSTEM William F. Scott, Chairman..........................Nederland David Montagne, Vice Chairman...................Beaumont Charlie Amato, Regent...............................San Antonio Duke Austin, Regent........................................Houston Garry Crain, Regent........................................The Hills Dr. Veronica Muzquiz Edwards, Regent......San Antonio Don Flores, Regent............................................El Paso Nicki Harle, Regent..............................................Baird Alan L. Tinsley, Regent.............................Madisonville Amanda Lee, Student Regent..........................Huntsville

“The harp is hushed! Let me call it so! For he was an artist, and all that was his, was his through art alone.”

- Franz Grillparzer, Beethoven’s Eulogy

“Like many composers of his time and later, he cobbled together a living from this and that, and he was deeply involved in the skills and traditions of his trade. The main difference is how thoroughly he mastered those skills, on the foundation of a gigantic inborn talent. … The often shocking incompetence of the rest of his life was familiar to history, to his friends, and to himself. That too was the incompetence of a man, not a myth.”

- Jan Swafford, BEETHOVEN: ANGUISH AND THE TRIUMPH, A BIOGRAPHY

“In looking back through the course of Beethoven’s life as a man, what may be most astonishing about him is that he survived the burden of being Beethoven.

So much weighed on him: so much music roiled inside, so much rage, so much delusion, so much anguish physically and mental. No wonder his time called him superhuman. … As one of the defining figures of a revolutionary age, he witnessed and spoke for all of us a new vision of what it means to be human.”

- Jan Swafford, BEETHOVEN: ANGUISH AND TRIUMPH, A BIOGRAPHY