Robert Blocker, Dean
faculty artist series
Janna Baty, mezzo-soprano Daniel Hobbs, piano Hannah Lash, harp
Saturday, October 7, 2017 • 7:30 pm Morse Recital Hall
yale school of music
Janna Baty, mezzo-soprano October 7, 2017 • Morse Recital Hall
Gioachino Rossini 1792–1686
“La regata veneziana” from Les soirées musicales (1835) I. Anzoleta avanti la regata II. Anzoleta co passa la regata III. Anzoleta dopo la regata
Francesco Maria Piave
Daniel Hobbs, piano Maurice Ravel 1875–1937
Cinq mélodies populaires grecques Chanson de la mariée, M. 9 Là-bas, vers l’église, M. 10 Quel galant m’est comparable, M. 4 Chanson des cueilleuses de lentisques, M. 5 Tout gai!, M. 11 Hannah Lash, harp intermission
Michel Dimitri Calvocoressi
faculty artist series
Antonín Dvořák 1841–1904
Písně milostné, Op. 83 I. O naši lásce nekvete to vytouzené stestí II. V tak mnohém srdci mrtvo jest III. Kol domu se ted’ potácím IV. Já vím, že v sladké naději V. Nad krajem vévodi lehký spánek VI. Zde v lese u potoka VII. V té sladké moci ocí tvých VIII. Ó duše drahá jedinká
Gustav PflegerMoravský
Daniel Hobbs, piano Alberto Ginastera 1916–1983
Cinco canciones populares argentinas, Op. 10 I. Chacarera II. Triste III. Zamba IV. Arrorró V. Gato
Traditional
Daniel Hobbs, piano
As a courtesy to the performers and audience, silence electronic devices. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.
artist profiles
Janna Baty, mezzo-soprano Praised by The Boston Globe for having “a rich, viola-like tone and a rapturous, luminous lyricism,” mezzo-soprano Janna Baty has sung with the Boston Symphony Orchestra, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony Orchestra, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Gil Rose, David Hoose, and Shinik Hahm, among numerous others. As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, including the Aldeburgh and Britten festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood, Norfolk, Monadnock, and Coastal Carolina festivals in the United States. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec on performances of their music. Ms. Baty has enjoyed a long collaboration with the Boston Modern Orchestra Project, and with them recorded the critically lauded Vali: Folk Songs (sung in Persian); Lukas Foss’ opera Griffelkin; the world-premiere recording of Eric Sawyer’s Civil War-era
opera Our American Cousin; and John Harbison’s Mirabai Songs. She joined the faculty of Yale School of Music in 2008. Daniel Hobbs, piano New York City-based pianist Daniel Hobbs has performed as a collaborative artist in such diverse venues as Trinity Church, the New York Public Library, and Merkin Concert Hall in New York City; the National Chiang Kai-Shek Culture Center in Taipei, Taiwan; the Tanglewood Music Center, in Lenox, Massachusetts; and the Library of Congress and Kennedy Center in Washington, D.C. He is especially in demand as a partner in the vocal and instrumental repertory, and regularly provides musical preparation and diction coaching for soloists, choruses, orchestras and chamber ensembles. Originally from Nebraska, Mr. Hobbs studied piano and French at Illinois Wesleyan University and received his master’s degree from the Manhattan School of Music. Hannah Lash, harp/composition Hailed by The New York Times as “striking and resourceful … handsomely brooding,” Hannah Lash’s music has been commissioned by the Fromm Foundation, the Boston Symphony Orchestra, the Alabama Symphony Orchestra, Carnegie Hall, the Library of Congress, Cabrillo Festival of Contemporary Music, Columbia University’s Miller Theatre, the Naumburg Foundation, and the Los Angeles Chamber Orchestra, as well as the Colorado and Aspen Music festivals, among many others.
artist profiles · Notes on the program
Lash has received numerous honors and prizes, including the ASCAP Morton Gould Young Composer Award, a Charles Ives Scholarship (2011) and Fellowship (2016) from the American Academy of Arts and Letters, a Fromm Foundation Commission, the Naumburg Prize in Composition, the Barnard Rogers Prize in Composition, and the Bernard and Rose Sernoffsky Prize in Composition, among others. Recent premieres include Three Shades Without Angles for flute, viola, and harp, by the Boston Symphony Chamber Players, Two Movements for violin and piano, commissioned by the Library of Congress for Ensemble Intercontemporain, a new chamber opera, Beowulf, for Guerilla Opera, and new orchestral works for the Cabrillo Festival of Contemporary Music, the Alabama Symphony Orchestra, and the Los Angeles Chamber Orchestra, as well as two concerti for harp premiered by the American Composers Orchestra and the Colorado Music Festival, both with Lash as soloist. In 2016, Lash was honored with a Composer Portraits Concert at Columbia University’s Miller Theatre. In the 20162017 season, Lash’s major, large-scale orchestral work The Voynich Symphony was premiered by the New Haven Symphony Orchestra. Lash obtained her Ph.D. in composition from Harvard University in 2010. She has held teaching positions at Harvard University (teaching fellow) and Alfred University (guest professor of composition) and currently serves on the composition faculty at the Yale School of Music.
Gioachino Rossini “La regata veneziana” (“The Venetian Regatta”) from Les soirées musicales (1835) Gioachino Rossini did nothing halfway. From bedeviling his long-suffering grandmother as a boy to hitting the big time as a composer at 24 with Il barbiere di Siviglia to his comparatively abrupt silence from 1832 until his death, Rossini’s interests and appetites appear to have run from one extreme to the other. Following the roaring success of his early career, a series of personal losses and political events uprooted his life, interrupted his work, and eventually caused him to all but abandon composition. Later in life, he suffered from fluctuations in his physical and mental health. But amid the turmoil and health worries, the flame of the composer’s wit and brilliance, and his appetite for life, remained. He was an excellent amateur chef as well as a garrulous and popular host, and intimate “soirées musicales” at his home were frequent occurrences. He returned to composition late in his life, authoring what he entitled Péchés de vieillesse (Sins of Old Age), consisting of 14 volumes of music primarily for solo piano but also for voice and chamber ensemble. Volume One, called the Album italiano, contains the three canzonettas grouped together as “La regata veneziana.” Imagine the scene of the songs’ premiere: the composer at the piano, having emerged from the kitchen, untying the strings of his apron, the languid and sated audience settling in with their wine glasses, and the delight of hearing the musical chatter of Anzoleta for the very first time as she cheers
Notes on the program
on her Momolo. They are a simple masterpiece of folk storytelling, three perfect bonbons to conclude the rich meal that was Rossini’s life and career. maurice ravel Cinq mélodies populaires grecques (Five Popular Greek Melodies) Ravel’s Cinq mélodies populaires grecques sprung into existence almost instantly and accidentally. At the behest of a colleague giving a lecture on traditional Greek folk songs, and on three days’ notice, Ravel penned accompaniments to several of what eventually were expanded and revised to become the song cycle you hear this evening. The poems and songs themselves hail from Chios, a large island in the Greek archipelago just off the coast of Turkey. Renowned for great wealth and for a key geographic position enabling good trade and political activity, the island is one of the world’s top producers of aromatic gum mastic. Referred to in the title of the fourth song in the cycle (“Chanson des cueilleuses de lentisques,” or “Song of the Women Gathering Mastic”), mastic is the concentrated resin of an indigenous evergreen shrub, and a key ingredient in many products ranging from foods to perfume to varnishes. Mastic itself has a heady fragrance, penetrating and distinctive, hovering somewhere between the scent of pine resin and the smoke of an open fire. It is deeply evocative of the landscape and ancient worlds from which mastic—and these melodies—spring.
antonin dvořák Písně milostné (Love Songs), Op. 83 Whether or not one believes that great art can only come as a result of great suffering, the tale of how Dvořák came to compose his achingly lovely Písně milostné (Love Songs) can only inspire the romantic imagination. In 1865, Dvořák was a young musician perpetually strapped for cash, earning the equivalent of $7.50 a month as a violist (and less still as a composer) and living in a small apartment with five other equally desperate musicians. Dvořák thus began teaching piano lessons, and as a consequence he met and fell passionately in love with his student and theater colleague, Josefína Čermáková. In spite of Dvořák’s intense devotion, Josefína never returned his feelings and went on to marry another man. In what can only be described as an act of romantic self-flaggelation, Dvořák married Josefína’s sister Anna, who had also been his piano pupil. Thus began a lifelong proximity to his unrequited true love—one can only imagine how Anna felt— and near-constant musical expressions of that unrealized desire. Early in their acquaintance, Dvořák composed a rather sprawling set of songs inspired by folk themes entitled Cypřiše (Cypresses), driven by his feelings for Josefína. Unable to abandon the idea of the woman who inspired this rich if underdeveloped body of work, he later incorporated many of the songs into the beloved string quartet of the same name. Finally, quite late in his life, he further distilled the best of the songs to form Písně milostné, perhaps his most overt
Notes on the program
expression of a love that, to quote the first song of the cycle, did “not blossom to its desired happiness.” alberto ginastera Cinco canciones populares argentinas (Five Popular Argentinian Songs), Op. 10 As illustrated by this program of songs infused with international folk idioms, ours is a deep and varied musical world filled with various forms of human expression. Sadly, there have been far too many instances where government policy and creative music-making were deeply at odds, and such is the case of Alberto Ginastera at the time he composed Cinco canciones populares argentinas. The 1930s and 1940s in Argentina were an era of brutal political and artistic repression driven by dictator Juan Perón. Ginastera allied himself with a group of anti-Perón artists that signed a manifesto in defense of artistic freedom and democracy. For his trouble, Ginastera was relieved of his government teaching posts, and in 1943, in defiant response he wrote this song cycle, quite possibly echoing fellow composers’ reactions to repressive political regimes elsewhere in the world (nine years earlier, Bartók had written his Hungarian Folk Songs as “a declaration of war on the cultural policies of the Horthy regime”). The Cinco canciones populares argentinas are not strict transcriptions of folk songs, but rather a parsing of several important traditional song and dance motifs in keeping with the Argentinian compositional move-
ment becoming known as “music of folkloric projection” (as opposed to pure folkloric music, which is by definition anonymous and traditional). Each song title represents a song or dance of a different region: the Chacarera is a dance hailing from the central Pampas region; the Triste is a lament original to the Quechua people of the Andes; the Zamba (unrelated musically to the similar-sounding Brazilian samba) is an 18th century scarf dance of Peruvian heritage; Arrorró is the only strict melodic transcription in the cycle of a universally famous Argentinian lullabye; and the Gato is a remnant of the Spanish colonial-era romanza which took off as an elaborate popular dance throughout Argentina. Ginastera further peppers this mixture with his own style, dashes of dissonance, and references to other composers whose work he revered (listen for a little Sacre du Printemps in Gato). The result of Ginastera’s alchemy is a song-cycle both evocative of the depths of Argentina’s culture and proudly representative of its modern cultural pioneers. Perhaps it’s too obvious to state that the amalgamation of all the diverse elements of humanity and culture are what makes this (and, really, all) music the universal thing that it is. But in this day and age, it couldn’t hurt to say so anyhow. —Janna Baty
text and translations
“La regata veneziana” (“The Venetian Regatta”) from Les soirées musicales (1835)
Poems by Francesco Maria Piave Translations © Paolo Montanari, 2003 Poems are in Venetian dialect.
I. Anzoleta avanti la regata
Anzoleta Before the Regatta
Là su la machina xe la bandiera, varda, la vedistu, vala a ciapar. Co quela tornime in qua sta sera, o pur a sconderte ti pol andar. In pope, Momolo, no te incantar. Va, voga d’anema la gondoleta, né el primo premio te pol mancar. Va là, recordite la to Anzoleta che da sto pergolo te sta a vardar. In pope, Momolo, no te incantar. In pope, Momolo, cori a svolar.
There on the machina* is the flag, look, can you see it? go for it! Come back with it tonight or else you can run away and hide. Once in the boat, Momolo, don’t gawp! Row the gondola with heart and soul, then you cannot help but win the first prize. Go, think of your Anzoleta, who’s watching you from this balcony. Once in the boat, Momolo, don’t gawp! Once in the boat, Momolo, fly! *machina: a wooden dais adorned with baroque statues where the authorities are seated and prizes presented.
II. Anzoleta co passa la regata
Anzoleta as the Regatta Passes By
I xe qua, i xe qua, vardeli, vardeli, povereti i ghe da drento, ah contrario tira el vento, i gha l’acqua in so favor.
They’re coming, they’re coming, look, look at them, the poor things! They row hard! ah, the wind is against them, but the tide is running their way.
El mio Momolo dov’elo? ah lo vedo, el xe secondo. Ah! che smania! me confondo, a tremar me sento el cuor.
My Momolo, where is he? ah! I see him, he’s in second place, Ah! I’m in a dither! I’m befuddled, I feel my heart trembling.
Su, coragio, voga, voga, prima d’esser al paleto se ti voghi, ghe scometo, tutti indrio ti lassarà.
Come on, row! Row! before you reach the pole, if you keep on rowing, I’ll lay a bet you’ll leave all the others behind.
text and translations
Caro, caro, par che el svola, el li magna tuti quanti meza barca l’è andà avanti, ah capisso, el m’a vardà.
Dear boy, he seems to be flying, he’s beating the others hollow, he’s gone half a length ahead, ah, I understand: he looked at me.
III. Anzoleta dopo la regata
Anzoleta After the Regatta
Ciapa un baso, un altro ancora, caro Momolo, de cuor; qua destrachite che xe ora de sugarte sto sudor.
Have a kiss! Another one, dear Momolo, from my heart; rest here, for it’s high time to dry this sweat.
Ah t’o visto co passando su mi l’ocio ti a butà e go dito respirando: un bel premio el ciaparà,
Ah, I saw you when, as passing, you threw a glance at me and I said, breathing again: he’s going to win a good prize,
sì, un bel premio in sta bandiera, che xe rossa de color; gha parlà Venezia intiera, la t’a dito vincitor.
indeed, the prize of this flag, that is the red one; Venice spoke: she declared you the winner.
Ciapa un baso, benedeto, a vogar nissun te pol, de casada, de tragheto, ti xe el megio barcarol.
Have a kiss, God bless you! no one rows better than you, of all the breeds of gondoliers you’re the best.
Cinq mélodies populaires grecques (Five Popular Greek Melodies)
Traditional Greek texts translated to French by Michel Dmitri Calvocaressi Translations by Janna Baty
I. Chanson de la mariée, M. 9
The Bride’s Song
Réveille-toi, réveille-toi, perdrix mignonne, Ouvre au matin tes ailes. Trois grains de beauté, mon cœur en est brûlé!
Awaken, awaken, my charming partridge, Open your wings to the morning. Three beauty marks, My heart is on fire!
text and translations
Vois le ruban d’or que je t’apporte, Pour le nouer autour de tes cheveux. Si tu veux, ma belle, viens nous marier! Dans nos deux familles, tous sont alliés!
See the golden ribbon I have brought for you. To fasten about your tresses. If you wish, my beauty, let us marry! In our two families, all are allied.
II. Là‑bas, vers l’église
There Below, by the Church
Là-bas, vers l’église, Vers l’église Ayio Sidéro, L’église, ô Vierge sainte, L’église Ayio Costanndino, Se sont réunis, Rassemblés en nombre infini, Du monde, ô Vierge sainte, Du monde tous les plus braves!
There below, by the church, By the church of Ayio Sidéro, The church, oh holy Virgin, The church of Ayio Constanndino, Are again gathered together, Reunited in infinite number, In the world, oh holy Virgin, The best of men in the world!
III. Quel galant m’est comparable
What Gallant Compares to Me
Quel galant m’est comparable, D’entre ceux qu’on voit passer? Dis, dame Vassiliki?
What gallant compares to me, Of those whom you see passing by? Tell me, Lady Vassiliki?
Vois, pendus à ma ceinture, pistolets et sabre aigu... Et c’est toi que j’aime!
See, hanging from my belt, Pistols and a pointed saber… And it is you I love!
IV. Chanson des cueilleuses de lentisques
Song of the Women Who Gather Mastic*
Ô joie de mon âme, Joie de mon coeur, Trésor qui m’est si cher ; Joie de l’âme et du cœur, Toi que j’aime ardemment, Tu es plus beau qu’un ange. Ô lorsque tu parais, Ange si doux Devant nos yeux,
Oh joy of my soul, Joy of my heart, Treasure so dear to me; Joy of the soul and the heart, You whom I ardently love, You who are lovelier than an angel. Oh, ever since you appeared, Angel so sweet, Before our eyes,
text and translations
Comme un bel ange blond, Sous le clair soleil, Hélas ! tous nos pauvres cœurs soupirent!
Like a beautiful blonde angel, Beneath the clear sunshine, Alas! every one of our poor hearts sigh! *Mastic is an aromatic resin gathered from an evergreen tree native to Greece.
V. Tout gai!
Everyone is Festive!
Tout gai! Belle jambe, tireli, qui danse; Belle jambe, la vaisselle danse, Tra la la la la…
Everyone is festive! Lovely legs, tireli, that dance; Lovely legs, even the dishes are dancing, Tra la la la la…
Písně milostné (Love Songs), Op. 83
Poems by Gustav Pfleger-Moravský Translations © 2006 by Djordje Nesic and Hannah Sharene Penn
I. Ó, naší lásce nekvete
Ah, Our Love Does Not Blossom
Ó, naší lásce nekvete to vytoužené štěstí: A kdyby kvetlo, a kdyby kvetlo, nebude dlouho, dlouho kvésti.
Ah, our love does not blossom to its desired happiness: And if it did, it would not last for long.
Proč by se slza v ohnivé Polibky vekrádala? Proč by mne v plné lásce své Ouzkostně objímala?
Why does a tear steal away passionate kisses? Why does, while in love, this anxiety embrace me?
O, trpké je to loučení, Kde naděj nezakyne: Tu srdce cítí ve chvění, Že brzo, ach, brzo bídně zhyne.
Ah, bitter is the parting where hope still lives, For the heart knows the hope is soon to vanish.
text and translations
II. V tak mnohém srdci mrtvo jest
In Many a Heart Death Dwells
V tak mnohém srdci mrtvo jest, Jak v tem né pustině, V něm na žalost a na bolest, Ba, místa jedině.
In many a heart death dwells As in a dark desert. In such a heart, there is only room for sadness and illness.
Tu klamy lásky horoucí V to srdce vstupuje, A srdce žalem prahnoucí, To mní, že miluje.
The burning love enters Into the heart, to deceive it. The sad heart pines And thinks it is in love.
A v tom-to sladkém domnění Se ještě jednou v ráj To srdce mrtvé promění A zpívá, zpívá, starou báj!
In that sweet state, That state of paradise, The dead heart revives again, And sings, sings its old song.
III. Kol domu se ted’ potácím
I Linger by the House of My Beloved
Kol domu se ted’ potácím, Kdes bydlívala dříve, A z lásky rány krvácím, Lásky sladké, lživé!
I linger by the house of my beloved, The house where love once lived. I still bleed from love’s wounds, Those sweet wounds, from loving you in vain.
A smutným okem nazírám, Zdaž ke mně vedeš kroku: A vstříc ti náruč otvírám, Však slzu cítím v oku!
With veiled eyes I feel your footsteps coming towards me! I open my arms to embrace you, But only feel tears in my eyes.
Ó, kde jsi, drahá, kde jsi dnes, Což nepřijdeš mi vstříce? Což nemám v srdci slast a ples, Tě uzřít nikdy více?
Oh, where are you, my dear, where, That you do not come to my embrace? Will I never again feel in my heart, The happiness of holding you? I know, with sweet hope
text and translations
IV. Já vím, že v sladké naději
I Know, With Sweet Hope
Já vím, že v sladké naději Tě smím přec milovat; A že chceš tím horoucněji Mou lásku pěstovat.
I know, with sweet hope, that I can offer you my love; That you will cherish my love with ardor.
A přec, když nazřím očí tvých V tu přerozkošnou noc A zvím jak nebe lásky z nich Na mne snáší moc:
And yet, when I look into your eyes on this opulent night, And see there all the power that love brings from the sky,
Tu moje oko slzamí, Tu náhle se obstírá, Neb v štěstí naše za námi Zlý osud pozírá!
Suddenly my eyes well up with tears of sadness -Above our happiness, cruel fate looms.
V. Nad krajem vévodí lehký spánek
Over the Landscape Ruled By Care-Free Dreams
Nad krajem vévodí lehký spánek Jasná se rozpjala májová noc; Nesmělý krade se do listí vánek, S nebes se schýlila míru moc.
Over the landscape ruled by care-free dreams, Clear May night is outstretched. Gently a breeze steals through the leaves, From the skies, calmness descends.
Zadřímlo kvítí, poto-kem šumá Tišeji nápěvů tajemných sbor. Příroda v rozkoši blaženě dumá, Neklidných živlů všad utichl vzpor.
Flowers slumber, and through the woods, Like a secretive choir, the brook sings. Opulent nature muses blissfully, Nothing remains that would bring conflict.
Hvězdy se sešly co naděje světla, Země se mění na nebeský kruh. Mým srdcem, v němž-to kdys blaženost kvetla, Mým srdcem táhne jen bolesti ruch!
Stars are assembled to bring the light, The earth is melding into the heaven’s orb. But in my heart, where once blessedness blossomed, Now only illness remains.
text and translations
VI. Zde v lese u potoka já
In the Woods by the Stream
Zde v lese u potoka já Stojím sám a sám; A ve potoka vlny V myšlenkách pozírám.
In the woods by the stream I stand all alone, And lost in my thoughts I gaze into the stream’s eddy.
Tu vidím starý kámen, Nad nímž se vlny dmou; Ten kámen stoupá a padá Bez klidu pod vlnou.
There I see an old stone, Over which the water rolls. And that stone beneath the waves, Always rises and falls.
A proud se oň opírá, Až kámen zvrhne se. Kdy vlna života mne ze světa Odnese, kdy, ach, vlna života mne odnese?
The stone battles the waves, And finally overturns. When will the waves of life finally Sweep me away from this world?
VII. V té sladké moci očí tvých
I Would Gladly, Gladly Perish
V té sladké moci očí tvých Jak rád, jak rád bych zahynul, Kdyby mě k životu jen smích Rtů krásných nekynul.
I would gladly, gladly perish By the sweet power of your eyes, If your beautiful smile did not Bring me back to life.
Však tu smrt sladkou zvolím hned S tou láskou, s tou láskou ve hrdí: Když mě jen ten tvůj smavý ret K životu probudí.
I would always happily choose that sweet death With this love, this love in my breast: But only if I knew that your sweet lips Would wake me from my rest.
VIII. Ó, duše drahá, jedinká
Oh, You, My Soul’s Only Dear One
Ó, duše drahá, jedinká, Jež v srdci žiješ dosud: Má oblétá tě myšlenka, Ač nás dělí zlý osud.
Oh, you, my soul’s only dear one, Who will live in my heart forever: My thoughts circle around you, Even though cruel fate separates us.
text and translations
Ó, kéž jsem zpěvnou labutí, Já zaletěl bych k tobě; A v posledním bych vzdechnutí Ti vypěl srdce v mdlobě.
Oh, if I were a singing swan, I would fly to you, and with my last breath, Sing my heart out to you, Ah, with my last breath.
Cinco canciones populares argentinas, (Five Popular Argentinian Songs), Op. 10
Traditional texts, adapted by the composer. Translations by Janna Baty
I. Chacarera
Chacarera
A mí me gustan las ñatas Y una ñata me ha tocado Ñato será el casamiento Y más ñato el resultado.
I like snub-nosed girls, And a snub-nosed girl is what I got. The wedding will be snub-nosed And more snub-noses will be the result.
Cuando canto chacareras Me dan ganas de llorar Porque se me representa Catamarca y Tucumán.
When I sing chacareras It always makes me cry Because they remind me Of Catamarca and Tucumán*. *Neighboring provinces in the arid northwest of Argentina
II. Triste
Sad
Ah! Debajo de un limón verde Donde el agua no corría Entregué mi corazón A quien no lo merecía.
Ah! Beneath a green lime tree Where the waters never flow I surrendered my heart To one who didn’t deserve it.
Triste es el día sin sol Triste es la noche sin luna Pero más triste es querer Sin esperanza ninguna.
Sad is the day without sunshine. Sad is the night without moonlight. But sadder still is to love With no hope. *Triste is both the name of a traditional dance and the Spanish word for sad.
text and translations
III. Zamba
Zamba
Hasta las piedras del cerro Y las arenas del mar Me dicen que no te quiera Y no te puedo olvidar.
Even the stones on the hill And the sands of the sea Tell me not to love you, And yet I cannot forget you.
Si el corazón me has robado El tuyo me lo has de dar El que lleva cosa ajena Con lo suyo ha de pagar
If you have stolen my heart, You must give me yours: The person who takes something belonging to another has to repay in kind.
IV. Arrorró
Lullabye
Arrorró mi nene, Arrorró mi sol, Arrorró pedazo De mi corazón.
Arrorró my baby, Arrorró my sunshine, Arrorró little morsel Of my heart.
Este nene lindo Se quiere dormir Y el pícaro sueño No quiere venir.
This beautiful baby Wants to fall asleep But that rascal sleep Won’t come.
V. Gato
Gato*
El gato de mi casa Es muy gauchito Pero cuando lo bailan Zapateadito.
The cat around my house Is a little tough guy, But when the dancing starts, He’s very light on his feet.
Guitarrita de pino Cuerdas de alambre. Tanto quiero a las chicas, Digo, como a las grandes.
A little guitar made of pine, With wire strings, I like small ones Just as much as I like big ones.
text and translations
Esa moza que baila Mucho la quiero Pero no para hermana Que hermana tengo.
That girl dancing over there I really love her, But not as a sister: I already have one of those.
Que hermana tengo Si, pĂłnte al frente Aunque no sea tu dueĂąo, Digo, me gusta verte.
Yes, I already have a sister. Come on over here! I may not yet have captured your heart, But I sure like looking at you! *Gato is both the name of a traditional dance and the Spanish word for cat.
Robert Blocker, Dean
JOIN US FOR THE 20 1 7–2018 SE ASO N More than 200 concerts every year, many of which are free and streamed live, online! PETE
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Come see and hear our distinguished faculty, gi�ed students and alumni, and acclaimed guest artists in extraordinary solo, chamber, vocal, and orchestral performances of repertoire ranging from early to new music.
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ONEPPO CHAMBER MUSIC SERIES Inspired performances by the Brentano and Takács string quartets, the Academy of St. Martin in the Fields Chamber Ensemble, and a new trio featuring Soovin Kim, Paul Watkins, and Gloria Chien HOROWITZ PIANO SERIES Recitals by YSM’s faculty pianists and renowned guest artists Angela Hewitt and Marc-André Hamelin BREN
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YALE PHILHARMONIA Concerts led by principal conductor Peter Oundjian and guest conductors David Robertson, Ignat Solzhenitsyn, and Marin Alsop, and the world premiere of the International Bruckner Society’s new edition of the composer’s Eighth Symphony, re-edited by Paul Hawkshaw
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ELLINGTON JAZZ SERIES A series launched with a historic convocation in 1972 that brings established and emerging jazz artists to Yale
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NEW MUSIC NEW HAVEN Contemporary works by award-winning Yale faculty and students, and guest composers
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YALE OPERA Ascendant vocalists present fully staged performances at the Shubert Theater and Morse Recital Hall along with programs of opera scenes
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YALE IN NEW YORK Dynamic collaborations between Yale’s remarkable faculty, students, and alumni in Weill Recital Hall at Carnegie Hall FACULTY ARTIST SERIES Members of the School’s esteemed faculty perform solo and chamber music programs COLLECTION OF MUSICAL INSTRUMENTS Historically informed performances by early music specialists in an intimate setting Contemporary works by award-winning Yale faculty and students, and guest composers
music.yale.edu
Upcoming Events Rolston String Quartet october 8 YSM Ensembles The Rolston String Quartet, YSM’s fellowship quartet-in-residence, performs music by Beethoven, Debussy, and Tchaikovsky Morse Recital Hall | Sunday | 3 pm free admission Sir Jonathan Mills october 9 Talks and Master Classes Sir Jonathan Mills, Trumbull Fellow, presents “Artists and Communities — Performing the City,” the third of four public lectures that address issues related to “Culture, Creativity, and Community” Yale School of Architecture, Hastings Hall Monday | 6:30 pm free admission Angela Hewitt, piano october 11 Horowitz Piano Series Pianist and acclaimed Bach performer Angela Hewitt, whom The New York Times has described as “an artist of consummate technical skill and refinement,” plays Bach’s monumental “Goldberg” Variations Pre-concert talk by Associate Professor of Music History Paul Berry at 6:30 pm. Morse Recital Hall | Wednesday | 7:30 pm Tickets start at $21 • Students $11
David Robertson, guest conductor october 13 Yale Philharmonia Guest conductor David Robertson leads the Yale Philharmonia and violinist Laura Park, a winner of the 2017 Woolsey Hall Concerto Competition, in a performance of Walton’s Violin Concerto, on a program that also includes Rouse’s Rapture and Strauss’ breathtaking tone poem Ein Heldenleben Woolsey Hall | Friday | 7:30 pm Tickets start at $10 • Yale Faculty/Staff $8 Students $5 $3 surcharge for purchases at the door Wendy Sharp, violin october 15 Faculty Artist Series A performance by the School’s director of chamber music, violinist Wendy Sharp Morse Recital Hall | Sunday | 3 pm free admission Central Conservatory of Music Opera Concert october 17 Special Events Students from the Central Conservatory in Beijing, China, perform a program of Western opera selections with piano accompaniment Morse Recital Hall | Tuesday | 7:30 pm free admission
concert programs & box office Krista Johnson, Kate Gonzales, Michael Zuber-Zander communications Katie Kelley, David Brensilver operations Tara Deming, Chris Melillo piano curators Barbara Renner, Robert Crowson, Brian Daley, William Harold media production Matthew LeFevre, Travis Wurges
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If you do not intend to save your program, please recycle it in the baskets at the exit doors. Robert Blocker, Dean