The University of Texas at San Antonio School of Music Presents
Qualifying Recital
Tuesday, April 30, 2024
5:30 PM Recital Hall
Aufenthalt
Geheimes
Der Tod und das Mädchen
Abraham Gomez, Bass-Baritone
Anna Hakobyan, Piano
Franz Schubert (1797 -1828)
“Per la gloria” from Griselda
“Ho, Capito” from Don Giovanni
Now Sleeps the Crimson Petal
Create in Me a Clean Heart
“La maison grise” from Fortunio
Danse macabre
Giovanni Batista Bon oncini (1670 -1747)
Wolfgang Amadeus Mozart (1756 -1791)
Roger Quilter (1877 -1953)
Carl Frank Mueller (1892 -1982)
André Messager (1853 -1929)
Camille Saint-Saëns (1835 -1921)
Abraham Gomez is a student of Prof. Crystal Jarrell Johnson. This recital is given in partial fulfllment of the requirements for the Bachelor of Music Degree in Music Performance.
Franz Schubert (1797 -1828) is the Austrian composer who brought together the Classical and Romantic eras of music. Perhaps its his recognizable style, or his countless compositions that make him the "go -to" composer for the German lied (or 'art song'). His ability to convey lightness and darkness , oftentimes portrayed like the conversation between singer and pianist, is unlike any other composer.
Schwanengesang, was a collection of his final pieces created by his publisher after his death. Of these pieces, Aufenthalt speaks on the theme of bitter rejection in love. This is emphasized by the stormy accompaniment and intense poetry. The singer performs with dramatic anger to convey his bitterness.
Aufenthalt | Resting Place
Poem by Ludwig Rellstab (1799-1860)
Rauschender Strom, brausender Wald, Starrender Fels mein Aufenthalt.
Wie sich die Welle an Welle reiht, Fliessen die Tränen mir ewig erneut.
Hoch in den Kronen wogend sich’s regt, So unaufhörlich mein Herze schlägt.
Und wie des Felsen uraltes Erz Ewig derselbe bleibet mein Schmerz.
Surging river, roaring forest, immovable rock, my resting place. As wave follows wave, so my tears flow, ever renewed.
As the high treetops stir and heave, so my heart beats incessantly. Like the rock’s age-old ore my sorrow remains forever the same.
For one of the masters of the German lied, it is no surprise to find gems sprinkled throughout their creative history. In particular, Geheimes, or 'Secret', showcases Schubert's elegance in discretion. The music is as flirtatious as the implications of the text. With the help of a singer's legato, Goethe's poetry can come across as sweetly as intended. There are moments where the music repeats in a different manner, which imparts a sense of mystery on the listener as to whom the "secret" is about. Who this is, unbeknownst to the audience, is the singer. The narrator's inner delight is satisfied by observing the people watching the elegant lady. While they wonder why sh e seems to be aglow, he amuses himself in knowing her eyes are for him alone.
Geheimes | Secret
Poem by Johann Wolfgang von Goethe (1749 -1832)Über meines Liebchens Äugeln Stehn verwundert alle Leute; Ich, der Wissende, dagegen, Weiss recht gut, was das bedeute.
Denn es heisst: ich liebe diesen Und nicht etwa den und jenen. Lasset nur, ihr guten Leute, Euer Wundern, euer Sehnen!
Ja, mit ungeheuren Mächten Blicket sie wohl in die Runde; Doch sie sucht nur zu verkünden Ihm die nächste süsse Stunde.
Everyone is astonished at the eyes my sweetheart makes; but I, who understand, know very well what they mean.
For they are saying: he is the one I love, not this one or that one. So cease, good people, your wondering and your longing!
Indeed, she may well look about her with a mightily powerful eye, but she seeks only to give him a glimpse of the next sweet hour.
This selection, Der Tod und das Mädchen , is a harrowing tale of a young maiden meeting the character of Death. Schubert sets the scene with a slow accompaniment start, mimicking the motif of a funeral walk. As Death approaches her, the accompaniment becomes anxious as she pleads to be spared. When D eath speaks, the piano reminds us of death's presence with its dark, misty movements. This piece ends on a ma jor chord, which signifies a beautiful release and that a graceful life will meet with a graceful end.
Der Tod und das Mädchen | Death and the Maiden Poem by Matthias Claudius (1740 -1815)
Mädchen:
Vorüber! Ach, vorüber!
Geh wilder Knochenmann!
Ich bin noch jung, geh Lieber
Und rühre mich nicht an.
Tod:
Gib deine Hand, Du schön und zart Gebild
Bin Freund, und komme nicht, zu strafen
Sei gutes Muts! Ich bin nicht wild Sollst sanft in meinen Armen schlafen.
Maiden:
It's all over! alas, it's all over now! Go, wild man of bone!
I am still young - go, savage one And leave me alone.
Death:
Give me your hand, you fair and tender form I am a friend I do not come to punish Be of good cheer! I am not wild You shall sleep softly in my arms.
Giovanni Bononcini (1670 -1747) was born in Modena, Italy and lived to be 76 years before passing away in Vienna, Austria. At the age of 8 he was orphaned. Though his early life was hard, it did not deter him from being a passionate musician. As he grew older, he became largely in -demand. Being born in the Baroque era of music, his works were often compared to Handel (in a positive way). Sadly, after his golden years, he was scammed out of his property, persecuted for plagiarism, and lived out his last few days in poverty and obscurity. His work as a composer, cellist, vocalist, and teacher lives on after him.
In the opera, Griselda, “Per la gloria d'adorarvi ” is sung by the castrato role 'Ernesto' when he finds his love asleep. The text conveys themes of devotion, affection, and suffering. In the Baroque era of music, the idea of love was often written in tandem with sacrifice.
Per la gloria d’adorarvi | For the glory of adoring you Libretto by Paolo Antonio Rolli (1687 -1765) and Apostolo Zeno (1668-1750)
Per la gloria d'adorarvi voglio amarvi, o luci care. Amando penerò, ma sempre v'amerò, sì, sì, nel mio penare, penerò, v'amerò, luci care.
Senza speme di diletto vano affetto è sospirare, ma i vostri dolci rai chi vagheggiar può mai e non, e non v'amare? penerò, v'amerò, luci care!
For the glory of adoring you
I want to love you, oh dear eyes Loving I will suffer, But always I will love you, Yes, yes, in my suffering, I will suffer, I will love you, Dear eyes.
Without hope of delight, Vain affection, it is to sigh, But your sweet rays
Who could ever gaze upon And not, and not love you? I will suffer, I will love you, Dear eyes!
Wolfgang Amadeus Mozart (1756 -1791)’s Don Giovanni is a whimsical and yet tragic grand opera that showcases the composer's ability in each musical idea. Completed in 1787, this opera is just one example of Mozart's prodigious skillset and his quirky characterization in storytelling.
The opera Don Giovanni is a story about the playboy noble and title character, Giovanni, who is on his conquest of all women in Europe. In a comedic situation, he finds a woman he likes in the middle of fleeing from another. In an attempt of foolhardiness, he tries to convince her to run away with him on her wedding day with Masetto.
Masetto's aria Ho Capito is what ensues shortly after. Almost mockingly, Mozart makes his anger sound playful with his ornamentations. Since Masetto is only a peasant to the Don, his insults and anger are met with disinterest. This aria encompasses Masetto's furious rage with the Don, with his fiancée, and the craziness of the situation.
Ho, Capito | I understand Libretto by Lorenza da Ponte (1749 -1838)
Ho capito, signor sì!
Chino il capo e me ne vo. Giacche piace a voi così, Altre repliche non fo.
Cavalier voi siete già.
Dubitar non posso affé; Me lo dice la bontà
Che volete aver per me.
Bricconaccia, malandrina! Fosti ognor la mia ruina!
Vengo, vengo!
Resta, resta.
È una cosa molto onesta!
Faccia il nostro cavaliere cavaliera ancora te.
Oh of course, Sir, I perceive! At your wish I'm deaf and dumb, I will humbly take my leave, Surely no objections from me no, nevermore.
You're a gentleman, I know, That to doubt were wrong indeed, You speak of kindness Vulgar intentions you have,
Rouge, rascal, You were always my ruin,
I am going!
You stay. 'Tis a situation most honest! Go with the cavalier, He will make a cavalieress of you.
Roger Quilter (1877-1953) may perhaps be the most compelling romantic composer in English art song history. He is not particularly well-known outside of the music world, and biographical texts mention his perfectionist trait when it came to composing. His choice of poetry combined with the elegance of his orchestration is nothing short of graceful.
The piece, Now Sleeps the Crimson Petal, is a majestic storytelling of love. Quilter uses flowery language to depict, like a lily in a lake, a lover in his arms. His choice of words and use of passionate musical lines are what allows this piece to flow gently into the ears of his listeners.
Now Sleeps the Crimson Petal Poem by Alfred Tennyson (1809 -1892)
Now sleeps the crimson petal, now the white; Nor waves the cypress in the palace walk; Nor winks the gold fin in the porphyry font: The fire-fly wakens: waken thou with me.
Now folds the lily all her sweetness up, And slips into the bosom of the lake: So fold thyself, my dearest, thou, and slip Into my bosom and be lost in me.
Carl Frank Mueller (1892 -1982) led a faithful long life in service of the church. He was the founder-director of the Montclair A Capella Chorale up until receiving his fellowship. After he received his fellowship in choral composition, he went on to teach at a sacred school. Though his principal instrument was the organ, he composed 6 art songs to be performed at the First Presbyterian Church in New Jersey. His most popular selection is Create in Me a Clean Heart .
Taken right out of Psalms 51:10-13, the text for Create in Me a Clean Heart is uttered from the mouth of King David. Rather than praying for forgiveness of his sins, he sorrowfully asks for purity of heart and to remain able of sensing God’s presence within himself. Take note of the choice of words David uses . He asks to restore the “joy” of salvation. Since we are all promised salvation, it implies King David was undergoing a depression due to his sins and requested that God upholds that joy of what he is promised. Only a clean heart would allow him to truly preach God’s nature to others.
Create in Me a Clean Heart
From Psalms 51:10 -13
Create in me a clean heart, O God, And renew a right spirit within me. Cast me not away from Thy presence And take not Thy Holy Spirit from me.
Restore unto me the joy of Thy salvation And uphold me, uphold me with Thy free Spirit .
Then will I teach transgressors Thy ways, And sinners will be converted unto Thee. Create in me a clean heart, O God.
André Messager (1853 -1929) is considered to be the last of the great French opérette composers. None of his ancestors had a cell of musicianship, but he learned piano despite this. He was met with opposition from his father about music, and thus was sent to boarding school. In a sudden deal of misfortune, or fortune, his family couldn't afford to keep him there. Upon seeing an ad for a church organist position with a salary however, they agreed to let him pursue his life's work. Throughout his time in the field of music, he became friends with many well-known French composers such as Fauré. He played an important role in establishing updates to copyright laws before passing away to illness. He is buried among the graves of Debussy and his friend, Fauré.
Not much is known about the piece La maison grise , despite Messager's success in France. Debuting in the opera of Fortunio , it is a perfect example of André's elegance and personal brand of music. His ability to employ the feeling of nostalgia right into the heart of the listener is evident thanks to the vocal line and piano.
La maison grise | The gray house Libretto by Gaston Arman de Caivallet (1869 -1915) and Robert de Fleurs (1872 -1927)
J’aimais la vieille maison grise
Où j’ai grandi près du foyer
Les jours y coulaient sans surprise Sous les branches du vieux noyer
Les choses m’y sont familières Elles m’accueillaient doucement Et dans leurs réseaux, les lierres Enlaçaient mon âme d’enfant
Hélas, mon âme s’est reprise D’autres pensers m’ont envahi
Déjà s’efface dans l’oubli
Ma pauvre vieille maison grise.
I loved the old gray house
Where I grew up near the hearth
The days flowed there without surprise Under the branches of the old walnut tree
Things are familiar to me
They welcomed me gently And in their networks, ivy Hugged my child's soul
Alas, my soul has reprised Other thoughts have invaded me Already fades into oblivion My poor old gray house.
Camille Saint-Saëns (1835-1921) set a new precedent for composers throughout the course of his life. He is regarded as one of the most progressive and scholarly musicians of the Romantic era. As a young prodigy, he was offered a spot at the Paris Conservatoire, then branched into church service of music. He only ever took up one teaching position throughout his life. One of his students would be Gabriel Fauré who cites him as a master. He enjoyed taking vacations as he got older and giving performances for war charities. At the age of 86 would he give his last concert, which observers would remark his playing "as vivid and precise as ever".
Danse macabre demonstrates Saint-Saëns originality. The setting of Danse macabre 's story takes place at midnight. The character of death begins playing violin while he taps on the graves to wake skeletons to dance. Now, whether king or peasant, countess or baron, the skeletal figures dance until the sunrise. Saint-Saëns musically evoked this selection from the painting, The Dance of Death (1493), by Michael Wolgemut. The alerting start of this piece features the ominous tritone and carnival melody. The song's ending is facetious, remarking how poor the state of the world is to fear the night.
Danse macabre | Dance of death
Poem by Henri Cazalis (1840 -1909)
Zig et zig et zig, la mort en cadence Frappant une tombe avec son talon, La mort à minuit joue un air de danse, Zig et zig et zag, sur son violon.
Le vent d’hiver souffle, et la nuit est sombre, Des gémissements sortent des tilleuls; Les squelettes blancs vont à travers l’ombre Courant et sautant sous leurs grands linceuls,
Zig et zig et zig, chacun se trémousse, On entend claquer les os des danseurs, Un couple lascif s’asseoit sur la mousse Comme pour goûter d’anciennes douceurs.
Zig et zig et zag, la mort continue De racler sans fin son aigre instrument. Un voile est tombé! La danseuse est nue! Son danseur la serre amoureusement.
La dame est, dit-on, marquise ou baronne. Et le vert galant un pauvre charron Horreur! Et voilà qu’elle s’abandonne Comme si le rustre était un baron!
Zig et zig et zig, quelle sarabande! Quels cercles de morts se donnant la main! Zig et zig et zag, on voit dans la bande Le roi gambader auprès du vilain!
Mais psit! tout à coup on quitte la ronde, On se pousse, on fuit, le coq a chanté…
Oh! La belle nuit pour le pauvre monde!
Et vive la mort et l’égalité!
Tap, tap, tap Death rhythmically, Taps a tomb with his heel, Death at midnight plays a gigue, Tap, tap, tap, on his violin.
The winter wind blows, the night is dark, The lime-trees groan aloud; White skeletons flit across the gloom, Running and leaping beneath their huge shrouds
Tap, tap, tap, everyone’s astir, You hear the bones of the dancers knock, A lustful couple sits down on the moss, As if to savor past delights.
Tap, tap, tap, Death continues, Endlessly scraping his shrill violin
A veil has slipped! The dancer’s naked! Her partner clasps her amorously.
They say she’s a baroness or ma rquise, And the callow gallant a poor cartwright. What horror ! And now she’s giving herself, As though the bumpkin were a baron!
Tap, tap, tap, what a saraband! Circles of corpses all holding hands! Tap, tap, tap, in the throng you can see King and peasant dancing together!
But shh! Suddenly the dance is ended, They jostle and take flight the rooster has crowed… Oh! Nocturnal beauty shines on the poor world! And long live death and equality!
Translation citations: Lieder.net, Oxfordsong.org, IPA Source, Abraham Gomez