The D’Angelo Department of Music at Mercyhurst University
Presents
A Faculty Recital
Liederabend: an evening of German and German-American composers
Royce Strider, baritone Nathan Hess, piano
Walker Recital Hall Wednesday, October 21, 2020 8:00pm
www.mercyhurst.edu/music
PROGRAM
An die Ferne Geliebte, (Op. 98) Ludwig van Beethoven (1770-1827) 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
***
Liebst du um Schönheit (Op. 37/12, no. 4) Clara Schumann (1819-1896) Mein Stern Erlkönig Franz Schubert (1797-1828)
10-MINUTE INTERMISSION
Es muẞ ein Wunderbares sein (2013) Johnny Salvesen (b. 1993) Wir wandelten Sehnsucht Mein Herz ist schwer
*** Mack the Knife (The Threepenny Opera) Kurt Weill (1900-1950) September Song (Knickerbocker Holiday) It Never was You (Knickerbocker Holiday)
Please silence all electronic devices. The use of recording devices is strictly prohibited.
NOTES
An die Ferne Geliebte, (Op. 98) Ludwig van Beethoven (1770-1827) Text by Alois Jeitteles
Although best known for his innovations with the symphony, Ludwig van Beethoven’s contribution to the vocal repertoire is actually rather vast, with over 100 songs to his credit. Among them, the cycle An die ferne Geliebte helped establish the foundation for an entire generation of German art song, or lieder, that would be led by Schubert and Schumann. This set of six poems was provided by medical student/amateur poet Alois Jeitteles (1794-1858), and talks of the longing for a “ferne Geliebte” (“distant beloved”), frequently alluding to and addressing nature, brooks, birds, and the like. It is unclear whether Beethoven specifically requested this set of poems from Jeitteles, if he simply came across them in printed form, or if Jeitteles was sent to the composer by their mutual editor, Ignaz Castelli. There are also theories that this song set was composed with Beethoven’s love for philanthropist Antonie Brentano in mind. Whether this piece is truly autobiographical in intention continues to be up for debate.
An die ferne Geliebte was published in 1816, in his third compositional “period.” However, the majority of his vocal music tends to be more conservative, compared to his output for large orchestras. It is a very important work as it is considered the first song cycle, not only as a collection of art songs, but as a group of musical material in a literal cyclic form. The cyclic nature of this set is very apparent, as the melody and text of the first song makes a clear appearance at the cycle’s conclusion. It is also an unusual set musically due to the absence of breaks; the music is seamlessly connected and never stops for the performers to regroup, which is standard performance practice for many song recitals. Beethoven’s symphonic innovations, giving every instrument the melody at one time or another, can also be heard throughout this work. This work not only has been established as the first song cycle in its purest form, but continues to gain popularity as a recital centerpiece, with both singer and pianist being equal partners in beautiful artistic creation.
I. On the hill sit I, peering Into the blue, hazy land, Toward the far away pastures Where I you, beloved, found.
Far am I, from you, parted, Separating us are hill and valley Between us and our peace, Our happiness and our sorrow.
Ah! The look can you not see, That to you so ardently rushes, And the sighs, they blow away In the space that separates us.
Will then nothing more be able to reach you, Nothing be messenger of love? I will sing, sing songs, That to you speak of my pain!
For before the sound of love escapes every space and every time, And a loving heart reaches, What a loving heart has consecrated!
II. Where the mountains so blue Out of the foggy gray Look down, Where the sun dies, Where the cloud encircles, I wish I were there!
There is the restful valley Stilled are suffering and sorrow Where in the rock Quietly the primrose meditates, Blows so lightly the wind, I wish I were there!
There to the thoughtful wood The power of love pushes me, Inward sorrow, Ah! This moves me not from here, Could I, dear, by you Eternally be!
III. Light veils in the heights, And you, little brook, small and narrow, Should my love spot you, Greet her, from me, many thousand times.
See you, clouds, her go then, Meditating in the quiet valley, Let my image stand before her In the airy heavenly hall.
If she near the bushes stands, Now that autumn is faded and leafless, Lament to her, what has happened to me, Lament to her, little birds, my suffering!
Quiet west, bring in the wind To my heart's chosen one My sighs, that pass As the last ray of the sun.
Whisper to her of my love's imploring, Let her, little brook, small and narrow, Truly, in your waves see My tears without number!
IV. These clouds in the heights, These birds gaily passing, Will see you, my beloved. Take me with you on your light flight!
These west winds will play Joking with you about your cheek and breast, In the silky curls will dig. I share with you this pleasure!
There to you from this hill Busily, the little brook hurries. If your image is reflected in it, Flow back without delay!
V. May returns, the meadow blooms, The breezes they blow so softly, so mildly, Chattering, the brooks now run.
The swallow, that returns to her hospitable roof, She builds, so busily, her bridal chamber, Love must dwell there.
She brings, so busily, from all directions, Many soft pieces for the bridal bed, Many warm pieces for the little ones.
Now live the couple together so faithfully, What winter has separated is united by May, What loves, that he knows how to unite.
May returns, the meadow blooms, The breezes they blow so softly, so mildly, Only I cannot go away from here.
When all that loves, the spring unites, Only to our love no spring appears, And tears are our only consolation.
VI. Take, then, these songs, That I to you, beloved, sang, Sing them again in the evenings To the sweet sounds of the lute!
When the red twilight then moves toward the calm, blue lake, And the last ray dies behind that hilltop;
And you sing, what I have sung, What I, from my full heart, Artlessly have sounded, Only aware of its longings.
For before these songs yields, What separates us so far, And a loving heart reaches For what a loving heart has consecrated.
Liebst du um Schönheit (Op. 37/12, no. 4) Clara Schumann (1819-1896) Text by Fredrich Rückert
Mein Stern Text by Friedericke Serre
Clara Schumann was a pianist, teacher, and the wife of composer Robert Schumann. As a gift for their first Christmas together in 1840, Clara gave Robert a set of three songs. The notion of a husband and wife publishing music together as equals illustrated a marriage that was far ahead of its time. Their joint composition, Liebesfrühling (Spring of Love), was his Opus 37, her Opus 12, and sets a poetic cycle by Fredrich Rückert on the blisses of married love. The collection included three songs by Clara, “Liebst du um Schönheit” being among them. Clara was a pianist first, like her husband, and many of her songs include a significant postlude, giving the pianist “the last word” in this warm, intimate piece. While the text is strophic, Schumann uses subtle melodic and rhythmic nuances to give each stanza its own unique value and color.
Robert and Clara Schumann were longtime friends with Major Friedrich Anton Serre and his wife, poet Friedricke Serre. In gratitude for their admiration and support, Clara wrote two songs to Friedricke Serre’s tests: “Mein Stern” and “Beim Abschied”. “Mein Stern” was not published in Germany during her lifetime, but first appeared in London with the English translation: “O Thou My Star.” The piano part is rich, sparkling, and celestial, while Schumann’s text setting is melodic and soaring. Once again, the postlude suggests her primary instrument, as the pianist gets the final say in the music-making.
If you love for beauty If you love for beauty, O love not me! Love the sun, She has golden hair! If you love for youth, O love not me! Love the spring Who is young each year! If you love for riches, O love not me! Love the mermaid Who has many shining pearls! If you love for love, Oh yes, love me! Love me always; I shall love you forever!
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 you my star, From afar You bring me tidings of love, Let me passionately kiss your rays In fearful night.
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.
Erlkönig Franz Schubert (1797-1828) Text by Johann Wolfgang Goethe
Franz Schubert is one of the most prolific composers of lieder, with over 600 secular vocal works to his name. His skill in text setting makes him an easy favorite to program in song recitals. He has written many large song cycles, but his most famous standalone song is arguably his setting of the ballad of Erlkönig. The Erlkönig also called the “Erlking” or “Elf-King,” is a supernatural being who is known to kill children who stay out in the forest too late. The poem by Johann Wolfgang Goethe is the most famous story of the Erlkönig, and has been set by numerous composers. It tells the story through four characters - four different perspectives: the narrator, the father riding through the woods, his son, and the Erlkönig himself. The galloping triplets are relentless, and the interpretive demands of the text make this song a tour de force for singer and pianist alike.
The Erlking Who rides so late through the night and wind? It is the father with his child. He has the boy in his arms; he holds him safely, he keeps him warm.
‘My son, why do you hide your face in fear?’ ‘Father, can you not see the Erlking? The Erlking with his crown and tail?’ ‘My son, it is a streak of mist.’
‘Sweet child, come with me. I’ll play wonderful games with you. Many a pretty flower grows on the shore; my mother has many a golden robe.’
‘Father, father, do you not hear what the Erlking softly promises me?’ ‘Calm, be calm, my child: the wind is rustling in the withered leaves.’
‘Won’t you come with me, my fine lad? My daughters shall wait upon you; my daughters lead the nightly dance, and will rock you, and dance, and sing you to sleep.’
‘Father, father, can you not see Erlking’s daughters there in the darkness?’ ‘My son, my son, I can see clearly: it is the old grey willows gleaming.’
‘I love you, your fair form allures me, and if you don’t come willingly, I’ll use force.’ ‘Father, father, now he’s seizing me! The Erlking has hurt me!’
The father shudders, he rides swiftly, he holds the moaning child in his arms; with one last effort he reaches home; the child lay dead in his arms.
Es muẞ ein Wunderbares sein Johnny Salvesen (1993) Text by Oskar von Redwitz-Schmölz Wir wandelten Text by Georg Friedrich Daumer Sehnsucht Text by Detlev von Liliencron Mein Herz ist schwer Text by Emanuel Geibel
The following excerpts are from a cycle composed in my junior year of undergraduate for a school project. They are taken from a cycle of 10 lieder entitled Gefunden und Verloren (Found and Lost) set to texts by various German poets of the Romantic era. The cycle tells the narrative of a young lover who discovers the wonders of love in his partner, but then loses them through a sudden separation. The lover, however, finds happiness in himself and in his surroundings at the end of the cycle, moving on from the heartbreak he experienced through the found relationship. The first two lieder (“Es muss ein Wunderbares sein” and “Wir wandelten”) come from the “Gefunden” portion of the cycle and the second two (“Sehnsucht” and “Mein Herz ist schwer”) from the “Verloren”. Notice the stark change in colors and mood between them. One overall leitmotif is developed throughout the cycle that is introduced repeatedly in “Es muss ein Wunderbares sein”. This motif appears whenever the lover thinks of his lover. Other aspects of previous lieder appear, especially in the latter half of the cycle, when the lover reflects on his past relationship. - Johnny Salvesen
John Salvesen is currently the Director of Worship and pianist/organist at New Life Lutheran Church in Pearland, TX. He also has a full studio of piano and music theory students and sings with Houston Grand Opera when their season allows. He obtained his Bachelor’s from Texas Christian University in Fort Worth, TX and his Master’s from the University of Houston. His very reduced list of favorite composers and artists include Wagner, Schumann, Verdi, Nina Simone, and Elton John.
How wonderous it must be How wondrous it must be When two souls love each other, Locking each other wholly in, Never concealing a single word, And sharing with each other Joy and sorrow, weal and woe; Talking only of love From the first kiss unto death.
We were walking We were walking, we two together; I so silent and you so silent; I would give much to know What you were thinking then.
What was I thinking—let it remain Unspoken! One thing only I shall say: All my thoughts were so beautiful, So heavenly and serene.
The thoughts in my mind Chimed like golden bells: So wondrously sweet and lovely Is no other sound on earth.
Longing I walked along the lonely road, As I’m wont to do each day alone. The heath is silent, not a soul in the fields, Merely the wind in the hedge before me. The road stretches far ahead. My heart yearned for you, you alone. And were you to come, it would be a miracle, I should bow down before you: I love you. And a single glance from you as we met Would be my life’s happiest moment. And were you to gaze at me coldly, I’d defy you, my girl: I love you. But if your lovely eyes smile in welcome, Like a sun in my dark night, I should quickly embrace your sweet heart And gently whisper: I love you.
My Heart is Heavy My heart is heavy, my eyes keep watch, The wind goes sighing through the night; The tree-tops murmur far and wide, Murmuring of times now past.
Murmuring of times now past, Of great happiness and heartache, Of the castle and the maiden within— Where has all this, all this fled?
Where has all this, all this fled, Grief, love and joy and youth? The wind goes sighing through the night, My heart is heavy, my eyes keep watch.
Mack the Knife (The Threepenny Opera) Kurt Weill (1900-1950) Text by Bertolt Brecht, English lyrics by Michael Feingold
Before moving to the United States in 1935, Kurt Weill had fruitful artistic relationship with playwright Bertolt Brecht. Their most famous collaboration was The Threepenny Opera, an adaptation of John Gay’s 18th-century work, The Beggar’s Opera. Since its 1928 premier in Berlin, songs from the show have become standards throughout the world, with “Mack the Knife” being recorded by Louis Armstrong, Frank Sinatra, Tony Bennet, Bing Crosby, and Michael Bublé. In the context of the opera, this song serves as a moritat, a murder-ballad, that opens and closes the drama concerning Macheath, the notorious criminal and antihero. In the tradition of the moritat, the original staging saw this number sung by a street singer, accompanied by barrel organ. At the premiere, however, the barrel organ malfunctioned, and the jazz band had to quickly improvise an accompaniment for this opening number.
September Song (Knickerbocker Holiday) It Never was You Text by Maxwell Anderson
Kurt Weill’s Knickerbocker Holiday, while brimming with allegory and political criticism, is flush with lyrical melodies that have also found themselves in the pop standard cannon like “Mack the Knife.” This romantic comedy (premiered in 1938) centers around the love triangle of the dictatorial Peter Stuyvesant, the young and impulsive Brom Broeck, and Tina Tienhoven. Stuyveant’s “September Song” calls attention to his age, the autumn of his life, as he pleads against the waiting game that younger lovers play. “It Never Was You,” on the other hand, was originally a duet between the young lovers, Brom and Tina. Both songs are easily excerpted from there dramatic contexts, and can easily be performed as solo numbers on the radio. Such was the style of early 20th century American musical theatre, and many musicals by Cole Porter, George Gershwin, and Iring Berlin follow the same model of dramatic songwriting.
BIOGRAPHIES Royce Strider is best known throughout the U.S.A. as a versatile and charismatic singer and performer. The 2020/2021 season will see Royce in new recordings of Le nozze di Figaro and Street Scene as part of the inaugural season with Social Distance Opera, an extension of Barn Opera. He will also begin his third season on the roster of the Pittsburgh Camerata. With an affinity for early music, Royce recently completed training in Baroque performance at the Cincinnati College - Conservatory of Music Baroque Collective program. He was also named a National Finalist for the 2018-2019 American Prize in Art Song/Oratorio Performance. In the spring of 2018, he made his Mississippi debut with the Natchez Festival of Music as Carl-Magnus Malcolm (A Little Night Music), as well as his Pittsburgh debut as part of the Ensemble for Disney’s The Little Mermaid with Pittsburgh Musical Theater.
In 2017, Royce made his debut with Painted Sky Opera, covering Sacristan (Tosca). For the summers of 2015, 16, and 17, he worked with the Ohio Light Opera, performing an array of operetta and musical theater, including Oliver Hix (The Music Man), Prime Minister von Mark (The Student Prince), Prince Ulrich (The Lady of the Slipper), Second Gunman (Kiss Me Kate), Detective Baker (Jerome Kern’s Have A Heart). His concert work includes the Baritone and Bass solos for Brahms's Requiem, Fauré’s Requiem, Mozart’s Coronation Mass, and numerous Bach cantatas. Other opera and theatre roles include Capulet (Roméo et Juliette), the Mayor (John Musto’s The Inspector), Reverend Hale (The Crucible), Prince Yashvin (David Carlson’s Anna Karenina), Guglielmo (Così fan tutte), Brétigny (Manon), the Baker (Into the Woods), Betto (Gianni Schicchi), Henry Davis (Street Scene), Le Superintendent des plaisirs (Cendrillon), Starveling (A Midsummer Night’s Dream), Kromov (Die Lustige Witwe), and Lillas Pastia (La tragédie de Carmen).
With roots in Norman, OK, he completed his Bachelor of Music at the University of Missouri - Kansas City and his Masters at the University of Houston. Royce is currently based in the Pittsburgh area, and loves good food, good wine, and his not- so-good cats, Hamlet and Horatio.
Nathan Hess has appeared regularly in solo, chamber, and concerto settings throughout the United States and abroad. He has soloed with the Manassas Symphony Orchestra, Erie Philharmonic, Erie Chamber Orchestra, Western New York Chamber Orchestra, and York Symphony Orchestra, among others. Recent recital appearances and masterclasses have included the American Liszt Society Festival; The Americas Society in New York City; College Music Society Northeast Regional Conference; The Second Sunday Recital Series in Binghamton, NY; The Southwest String Quartet in Tucson, AZ; University of Wisconsin Eau Claire; Duke University; Bowling Green State University; West Chester University; Morgan State University; Buffalo Piano Teachers Forum; Randolph College; Duquesne University; the Steinway Society of Western Pennsylvania; and the High School for the Creative and Performing Arts in Pittsburgh. Hess holds the Doctor of Musical Arts and Master of Music degrees from the University of Cincinnati College-Conservatory of Music, and the Bachelor of Music degree from James Madison University, where he was named a Presser Scholar. He has performed in chamber music settings with members of orchestras such as the Metropolitan Opera Orchestra, Cincinnati Symphony Orchestra, Rochester Philharmonic, Tucson Symphony Orchestra, and Buffalo Philharmonic. For five years Hess chaired the piano program at the Pennsylvania Governor’s School for the Arts, teaching piano to some of the state's most talented pre-college students. He performed in and produced a set of recordings for the textbook Harmony in Context, published by McGraw-Hill and written by Miguel Roig-Francoli. In addition to teaching and performing, Dr. Hess is active in Music Teachers National Association and also adjudicates frequently throughout the region and East Coast. Dr. Hess is the Mary A. Spadafor Endowed Chair of Music and Associate Professor of Music in the D’Angelo Department of Music at Mercyhurst University. He coordinates the piano area and the Roche Guest Artist Series. In 2018 he received an award for excellence in faculty scholarship. Each summer he teaches on the piano faculty at Rocky Ridge Music Center in Estes Park, Colorado. He can be heard on the Centaur label in a recording with flutist Susan Royal and in a recent recording of Bach arias produced by the International Trumpet Guild.
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