Michelle Girardot Program Notes, March 27 2021

Masters Recital Program Notes and Translations Michelle Girardot March 27, 2021

From the studio of Cynthia Clayton

Maria Grever (1885-1951), maiden name María Joaquina de la Portilla Torres, was born in Mexico City and showed musical skill at an early age. She was able to study with composers such as Debussy and Lehár1, eventually moving to New York City at the age of 22.2 Grever often penned her own lyrics and composed around 800 songs, many of which are lost or unpublished.

In 1952, the Union of Women selected Maria Grever as “Woman of the Americas.”3 Grever also composed background film music for Paramount Pictures and 20th Century Fox.4 “Te quiero dijiste” was popularized in the U.S. with the English title “Magic is the Moonlight,” and was used in the movie Bathing Beauty.5 It has been covered by artists such as Linda Ronstadt, Nat King Cole, Aretha Franklin, Ana Maria Gonzales, and Jose Carerras, among others. “Júrame,” published in 1928, was her first hit and her second published song in the United States. Both pieces deal with passionate love in different stages of a relationship.

Te quiero, dijiste

I Love You, you said6

“Te quiero”, dijiste.

Tomando mis manos entre tus manitas, de blanco marfil. y senti en mi pecho, un fuerte latido, despues un suspiro y luego el chasquido de un beso febril.

“I Love You”, you said.

Taking my hands into your hands of white ivory and I felt in my chest, a strong pulse, afterwards a sigh, and later a click of a fevered kiss.

1

Helen Holmes, “Today’s Google Doodle Honors María Grever, Who Penned Songs Covered by Frank Sinatra,” The New York Observer (New York, N.Y. 1987), 2021.

2 Andrew Gilbert, “VivaFest! Returns to San Jose for Its 22nd Year,” Oakland Tribune (Oakland, Calif.

1991), 2013.

3 "Maria Grever Honored: Late Mexican Composer Hailed at Musicale in Biltmore," New York Times (1923-Current File), May 05, 1952. http://search.proquest.com.ezproxy.lib.uh.edu/historical-newspapers/mariagrever-honored/docview/112309081/se-2?accountid=7107.

4 “Celebrating María Grever.” Accessed March 12, 2021. https://www.google.com/doodles/celebratingmaria-grever.

5 María Herrera-Sobek, review of María Grever: poeta y compositora, by Maria Luisa Rodriguez Lee, Latin American Music Review / Revista de Música Latinoamericana 18, no. 2 (1997): 330.

6 Translation by Amy Canchola.

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Muñequita linda, de cabellos de oro, de dientes de perla, labios de rubi.

Dime si me quieres, como yo te adoro, si de mi, te acuerdas, como yo de ti.

Y a veces escucho un eco divino, que envuelto en la brisa, parece decir.

“Si te quiero mucho, mucho, mucho, mucho,” Tanto como entonces, siempre hasta el morir.

Little beautiful doll, with golden hair, with teeth of pearls, ruby lips.

Tell me if you love me like I adore you, if you remember me like I remember you.

And sometimes, I hear a divine echo, That comes in with the breeze seeming to say “Yes I love you—very much,” So much so, that I will love you until death.

Júrame

Swear to me7

Todos dicen que es mentira que te quiero, por que nunca me habian visto enamorado, yo te juro que yo mismo no comprendo, el por que el tu mirar me ha facinado.

Everyone says that it is a lie that I love you because they have never seen me in love.

I swear to you that I also do not understand the reason I am fascinated with your gaze.

Cuando estas cerca de mi y estas contento, no quisiera que de nadie te acordaras.

Tengo celos hasta de el pensamiento, que pueda recordarte a otra persona amada.

When you are close to me and you are happy, I do not want you to remember anyone else.

I am jealous at the mere thought of you loving someone else.

Júrame que aunque pase mucho tiempo nunca olvidas Swear to me that however much time passes el momento you will not forget the moment en que yo te conoci, I first met you.

Mírame, pues no hay nada más profundo ni más grande en este mundo que el cariño que te di,

Look at me, there’s nothing more profound, or greater on this earth than the affection I give you.

Bésame, con un beso enamorado, como nadie me ha besado desde el día en que nací.

Kiss me with a passionate kiss like no one else has ever kissed me since the day I was born.

Quiéreme, quiéreme hasta la locura, así sabras la amargura que estoy sufriendo por tí.

Want me, want me insanely until you know the bitterness that I am suffering for you.

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Translation by Amy Canchola.

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CHANSONS POUR LES OISEAUX Louis Beydts (1895-1953) is a relatively obscure twentieth century French composer. He was one of the last French composers to compose traditional French operetta, and he also composed a great deal of film music. After World War Two, he was particularly influential in Paris' Opera Comique, both as a conductor and administrator. While not much information is available about his compositional career, his major influences came from composers such as Fauré, Debussy, Gounod, Messager, and Ravel. Beydts’ song cycle, Chansons pour les oiseaux (1935), includes four mélodies on a bird theme with poetry by Paul Fort: La Colombe poignardée, Le petit pigeon bleu, L'Oiseau bleu, and Le petit serin en cage.

Paul Fort (1872-1960) was a french poet associated with the Symbolist Movement. Early twentieth century Symbolism was a reaction against both naturalism and realism. In the context of poetry, Fort’s Symbolism correlates poetically to free verse, as well as relying on imagery, or evocative, not descriptive, language. Fort hosted various salons for other poets and artists and is known for his close associations with Cubist visual and poetic artists. Many Cubist influences are present in Louis Beydts’ “L’oiseau bleu,” particularly in his use of divisionism and contrast.

Beydts utilizes compositional techniques such as contrasting use of tonal centers and chromaticism, whole tone and semitone pitch class relationships, and these techniques translate musically through Paul Fort’s Symbolist poetry as well as the Cubist visual techniques in Jean Metzinger’s painting of the same title. The number of Cubist techniques can serve as grounding features in an otherwise chaotic musical texture. While the other three pieces in Chansons pour les oiseaux sound tonal with an element of chromaticism, “L’oiseau bleu” blurs the line between where tonality and chromaticism begin, end, and overlap. In conclusion, the musical techniques that Beydts’ employs in “L’oiseau bleu” are the musical equivalent of the

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destabilizing features inherent to Metzinger’s L’oiseau bleu. These images within the musical realm help us understand the connection between the destabilizing features and the ways that those visual images are destabilized in art.

“La Colombe poignardée” and “Le petit pigeon bleu” are full of biblical imagery and symbolism. “La Colombe poignardée” translates to “the stabbed dove,” with allusions to Jesus’crucifixion, the banishment of Adam and Eve from the garden of Eden, as well as the dove in Noah’s ark. This character is dealing with great suffering but decides that if God had not made the world there would be neither suffering nor joy. The final chord ends on a hopeful note. “Le petit pigeon bleu” describes someone who wishes they could be a little blue bird on top of a thatched roof listening to a mother tell biblical stories to her children. Biblical imagery of paradise returns, likely Adam and Eve in the garden of Eden with “two people”, as well as the “rainbow on the waters” of Noah’s ark. The deep-rooted Symbolism in these two texts evoke general images and ideas rather than specific stories, so the listener can let the music take them wherever they desire.

As previously mentioned, “L'Oiseau bleu” contains the heaviest use of Cubism and Symbolism in the cycle. There is only one verb in the whole song, which is “être” or “to be”. The women’s names include goddesses, muses, queens, fairies, and princesses throughout Greek, Roman, and Middle Eastern cultures, among to name a few. Most notably, “Peau d’Ane,” or “donkey skin,” is a French fairy tale similar to Cinderella, wearing donkey skin as a disguise instead of being covered in cinders, and the prince looking for the woman whose ring was baked into a cake instead of a glass slipper.

“Le petit serin en cage” is based on a French children’s song, La Mère Michel. In the nursery rhyme, a character named Lustucru “steals an old woman’s cat, cooks it, and sells it to

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diners as rabbit,” similar to Mrs. Lovett’s character in the musical Sweeney Todd.8 (Jé Wilson article). In Fort’s poem, a little bird in a cage is asking the cat, Mistigri, to free it and ends up getting eaten instead. The character, Lustucru, has had many permutations throughout history, beginning as a misogynistic blacksmith/brain surgeon who cuts women’s heads off or “fixes” their heads, followed later by the man in La Mère Michel who kidnaps a woman’s cat, and in the early 20th century as the mascot of a French noodle company. The latter was popular in Beydts’ and Fort’s lifetime and would make for interesting subtext through a Symbolist lens. Most importantly, this piece is written whimsically, with the dark absurdism of a children’s nursery rhyme and the humor of a soprano meowing like a cat.

Chansons pour les oiseaux Translations9 1. La Colombe poignardée

The Stabbed Dove

Si Dieu n’avait pas fait le soleil et les mondes, Il n’y aurait pas eu les douleurs, ni ma blonde, Pas de coups, de sang rouge et ni ma bien-aimée.

Il n’y aurait sur terre colombe poignardée.

If God had not made the sun and the worlds, There would not have been suffering, Nor my sweetheart, Nor blows, red blood, or my beloved.

There would not be on earth a stabbed dove.

Si Dieu n’avait pas fait la lune et les orages, Il n’y aurait pas eu de pleurs aux doux visages, Ni de couteau farouche et ni ma bien-aimée…

Il n’y aurait sur terre colombe poignardée…

If God had not made the moon and the storms, There would not have been tears on sweet faces, Nor a fierce knife, nor my beloved…

There would not be on earth a stabbed dove…

Si Dieu n’avait pas fait les jours après le jour, Il n’y aurait pas eu d’amour, ni mon amour !

Il n’y aurait sur terre colombe poignardée, at ni, Seigneur ! Ma bien-aimée.

If God had not made the days after the day, There would not have been love, nor my love!

There would not be on earth a stabbed dove, Nor, oh God, my beloved.

8

Jé Wilson, “Lustucru: From Severed Heads to Ready-Made Meals,” The Public Domain Review, accessed March 14, 2021, https://publicdomainreview.org/essay/lustucru-from-severed-heads-to-ready-made-meals/.

9 Translation by Sarah Neal.

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2. Le petit pigeon bleu

The Little Blue Pigeon

Je voudrais être petit pigeon bleu Sur le toit de ta chaumière Pour t’écouter remuer les assiettes et mettre des pommes de pin au feu.

I would like to be a little blue pigeon On the roof of your thatched cottage To listen to you stir the dishes And put pinecones on the fire.

J’écouterais aussi la belle histoire Que tes enfants écoutent chaque soir.

C’est toi qui la contes, je serais heureux Tout comme un ange écoutant le bon Dieu.

I would also listen to the beautiful story That your children listen to each evening.

It is you who tells it, and I would be as happy As an angel listening to the Good Lord.

Oui la belle histoire du paradis, Quand les oiseaux s’aimaient entre eux, Les arbres aussi, les poissons aussi, Les chênes, les carpes, les hochequeues, Les pins parasols, les écureuils, Les zéphyrs, les roseaux, les roses, Les arcs-en-ciel sur les eaux, Les gouttes de rosée et deux personnes.

Yes, the beautiful story of heaven, When the birds loved one another, the trees also, the fishes also, The oak trees, the carps, the wagtail birds, The umbrella-like pines, the squirrels, The breezes, the reeds, the roses, The rainbows on the waters, The drops of dew And two people.

Sur le toit de ta chaumière, Je voudrais être petit pigeon bleu.

J'écouterais entre les pailles, heureux, Tout comme un ange écoutant le bon Dieu !

On the roof of your thatched cottage, I would like to be a little blue pigeon.

I would listen between the straws, as happy As an angel listening to the Good Lord!

3. L'Oiseau bleu

The Blue Bird

Aliénor, Eléonor, Genièvre, Ilse, Nausicaa, Viviane, Eve, Blancheflor, Urgèle et Gwendoloéna, Carotte, Céphise, Amalthée, Rosalys, Rosalinde rose, Eunice, Eione, Galatée, Sylphes, nymphes, apothéose, Muses, Musette, Mélusine, Musidora, Muse adorée, Germaine Tourangelle, Ondine, Calliope, Clio dorée, Vénus Anadyomède, Irène, Roxane, Io, reines, impératrices, fées, voix heureuses d'être fées, Ah,

Alienor, Eleanor, Genevieve, Ilse, Nausicaa, Viviane, Eve, Blancheflor, Urgele, Gwendolyn, Carrot, Cephise, Amalthea, Rosalys, pink Rosalinde, Eunice, Eione, Galatea, Sylphs, nymphs, apotheosis, Muses, Musette, Melusine, Musidora, adored muse, Germaine Tourangelle, Ondine, Calliope, golden Clio, Venus, Anadyomene, Irene, Roxanne, Io, Queens, empresses, fairies, voices happy to be fairies, Ah,

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Nourdjebane, Badoulboudour, la Sulamite et la Sultane, Yseut, Isoline, Peau d’Ane, Amour.

Nourdjebane, Badoulboudour, the Shulamite and the Sultan, Iseult, Isoline, Donkey Skin, Love.

4. Le petit serin en cage

The Little Canary in a Cage

Il était un p’tit jaune tout habillé de gris, canari, Qui demandait l'aumône aux chats et aux souris, canari, toto canaro, canari.

He was a little yellow one all dressed in grey, canari, Who asked the cats and mice for alms, Canari, toto canaro, canari.

Compère, Mistigri, le lairras-tu, le lairras-tu souffri ?

Comrade, Mistigri, will you leave him to suffer?

Le chat d’la Mèr’ Michel, canari, ses moustach’s comme un gril, canari, A fait la courte échelle aux rats et aux souris, canari, toto canaro, canari !

Ah! Père Mistigri, me lairras-tu mouri ?

Mother Michel’s cat, canari, his whiskers like a grill, canari, Climbed the short ladder to the rats and mice, Canari, toto canaro, canari!

Ah! Father Mistigri will you leave me to die?

Tu t’en iras au ciel, canari, croqué par les souris, canari, les rats, (c’est rationnel) te croqu’ront bien aussi, canari, toto canaro, canari.

You will leave off to heaven, canari, nibbled by the mice, canari, the rats, (it’s rational) will nibble you also, Canari, toto canaro, canari.

Et Mistigri chéri croqu’ra le tout, miaou !

And dear Mistigri will eat the rest, meow!

Le chaton, qui l’eut cru ?

C’est le père Lustucru, ce vieux monstre malotru, qui l’a croqué tout cru.

The kitten, who would have believed it?

He’s the father Lustucru, this old deformed monster, Who ate [the canary] completely raw.

THREE SCHUBERT LIEDER (AND THEIR COUNTERPARTS BY MARK BULLER) Franz Schubert (1797-1838) is an Austrian composer of the Romantic Period, known as the “father” of German Lieder. He was extremely prolific, composing over 600 songs and 1500 total works in his brief lifetime. Schubert was meticulous in his compositional style. Romantic poetry was at its height during this time period, and Schubert’s musical writing acts a

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commentary on and underscoring of the poems. According to Carol Kimball, Schubert’s Lieder “display an extraordinary range of musical characterizations, moods and styles.”10(Kimball 52) “Du bist die Ruh” utilizes Schubert’s skilled tone painting with simple yet affecting tenderness.

Mark Buller (b. 1986) is a Houston-based composer, a DMA graduate of the University of Houston, and my undergraduate theory TA. Buller is known for writing music that “blends rich lyricism with bold gestures and striking rhythms.”11 (website) His Schlechtesübersetzunglieder (2017) uses source material of three Schubert Lieder with poetry by Rückert and Goethe. Buller ran the text through Google Translate multiple times, keeping grammatical and typographical mistakes as he finds them. Even the title of the song cycle itself is misspelled by design. He then set these new texts to music with comical, nonsensical, and some poignant results. The first piece in the cycle, “You’re Back”, is the most coherent of the translations, with only “the nurse” and “drag other paints” highlighting the farce.

Franz Schubert’s “Erlkönig” is based on a poem of the same title by Johann Wolfgang von Goethe. It features multiple characters such as the father, the son, the Erl-king, and the narrator. Generally sung by a low male voice, this Lied features Sturm und Drang aesthetics that were becoming popular during the Romantic Period and seems quite operatic in its emotional and compositional intensity. In “El Koenig”, Mark Buller’s interpretation maintains much of Schubert’s dramatic intensity, occasionally undercut by bizarre translations such as “my son is FOGSTRIP”, which, according to Buller, came out in all caps in Google Translate.

Schubert was only seventeen years old when he composed “Gretchen am Spinnrade.”

The text is taken from Goethe’s Faust, and both Goethe’s play and Schubert’s art song were

10

Carol Kimball, Song: A Guide to Art Song Style and Literature (Hal Leonard Corporation, 2006), 52.

Mark Buller, “Biography,” Mark Buller Composer, accessed March 12, 2021, https://www.markbullercomposer.com.

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revolutionary works in their time. “Gretchen am Spinnrade” features mimetic accompaniment, wherein the bass line of the piano was written to evoke the sound of a spinning wheel. This kind of treatment of piano accompaniment was never used like this (or to this extent) before and reflects the underlying emotions of the character. This figure remains constant throughout most of the piece, underpinning Gretchen’s inner tension, and only stops when she is dreaming of Faust’s kiss. In Goethe’s Faust Gretchen is infatuated and obsessed with Faust, who has made a deal with the devil. Gretchen is very innocent, and this is her first time in love. She compares life without Faust to death. Some scholars allude to the French “little death” concept with sexual connotations, particularly in the context of Goethe’s play, in which she has already been seduced

by Faust.

In Mark Buller’s “Dismembered Heart,” Buller sets the stage in the score, saying “Rather than spin at her loom, Gretchen here sits at a piano and belts out a Joni Mitchell-esque ballad.” A gorgeous ballad turns even more nonsensical at the return of the A section melody, with spoken text mixing pronouns and ending abruptly with a jarring twist.

Franz Schubert Translations Du bist die Ruh

You Are Repose12

Du bist die Ruh, Der Friede mild, Die Sehnsucht du, Und was sie stillt.

You are repose, Gentle peace, You are longing And what stills it.

Ich weihe dir Voll Lust und Schmerz Zur Wohnung hier, Mein Aug und Herz.

I consecrate to you, Full of pleasure and pain, As a dwelling place here, My eyes and heart.

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Translation by Michelle Girardot

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Kehr ein bei mir, Und schließe du Still hinter dir Die Pforten zu.

Treib andern Schmerz Aus dieser Brust.

Voll sei dies Herz Von deiner Lust.

Come in to me, And close Quietly behind you The gates.

Drive other pain from this breast.

May this heart be full Of your joy.

Dies Augenzelt, Von deinem Glanz Allein erhellt, O füll es ganz.

The temple of these eyes From your radiance Alone is illuminated; Oh, fill it completely.

Erlkönig

Erl-king13

Wer reitet so spät durch Nacht und Wind?

Es ist der Vater mit seinem Kind: Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.

Who rides so late through night and wind?

It is the father with his child.

He has the boy in his arms; he holds him securely, he keeps him warm.

„Mein Sohn, was birgst du so bang dein Gesicht?“ „Siehst, Vater, du den Erlkönig nicht?

Den Erlenkönig mit Kron’ und Schweif?” „Mein Sohn, es ist ein Nebelstreif.”

“My son, why do you hide your face so fearfully?”

“Father, don’t you see the Erl-king, the Erl-king with crown and train?”

“My son, it is a streak of mist.”

„Du liebes Kind, komm, geh mit mir!

Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.”

“You dear child, come, go with me!

Very fine games I will play with you; many colorful flowers are along the shore; my mother has many golden garments.”

„Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” „Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.”

“My father, my father, don’t you hear what the Erl-king softly promises me?”

“Be calm, stay calm, my child; in the dry leaves whispers the wind.”

„Willst, feiner Knabe, du mit mir gehn?

Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.”

“Will you, fine lad, go with me?

My daughters will wait on you nicely; my daughters lead the nightly dance and will rock you and dance you and sing you to sleep.”

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Translation by Martha Gerhart

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„Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” „Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.” „Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” „Mein Vater, mein Vater, jetzt fasst er mich an!

Erlkönig hat mir ein Leids getan!”

“My father, my father, can’t you see there the Erl-king’s daughters in that gloomy spot?”

“My son, my son, I see it clearly; the ancient willows glimmer so grey.”

“I love you, your fair form charms me; and if you are not willing then I will use force.”

“My father, my father, now he is seizing me!

The Erl-king has hurt me!”

Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.

The father is horrified; he rides swiftly; he holds in his arms the moaning child.

He reaches the courtyard with effort and strain; in his arms the child was dead.

Gretchen am Spinnrade

Gretchen at the Spinning Wheel14

Meine Ruh ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr.

My peace is gone, my heart is heavy, I will find it never and never more.

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

Wherever I do not have him, is for me the grave; the whole world is loathsome to me.

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

My poor head is deranged, my poor mind is shattered.

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

For him only do I gaze out from the window; For him only do I go out of the house.

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

His fine gait, his noble stature, his mouth's smile, his eyes' power,

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Translation by Martha Gerhart

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Und seiner Rede Zauberfluss.

Sein Händedruck, Und ach, sein Kuss!

And, of 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 yearns for him; ah, could I embrace him and hold him,

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

and kiss him, as much as I wish, In his kisses I should perish.

THE GIRL IN 14 G Jeanine Tesori (b. 1961) is an extremely successful composer of musical theater, opera, and film, with work such as Fun Home, Shrek the Musical, Mulan II, and The Lion, The Unicorn, and Me. She frequently collaborates with Dick Scanlan (name spelling and dates), most notably earning a Tony Award for Thoroughly Modern Millie in YEAR. “The Girl in 14G” is a standalone song written for Christen Chenoweth and based on her move to New York City as a young artist. The narrator is looking for a quiet apartment and finds herself in raucous cacophony between herself (musical theater), an opera singer, and a jazz singer. “The Girl in 14G” showcases these three genres with musical quotations from Tristan und Isolde and The Magic Flute, as well as nods to Ella Fitzgerald and Ethyl Merman. I hope it resonates with anyone managing apartment living during the pandemic.

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"Maria Grever Honored: Late Mexican Composer Hailed at Musicale in Biltmore." New York Times (1923-Current File), May 05, 1952. http://search.proquest.com.ezproxy.lib.uh.edu/historical-newspapers/maria-greverhonored/docview/112309081/se-2?accountid=7107.

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