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Carolyn Sampson & Joseph Middleton a Century of Song

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Carolyn Sampson & Joseph Middleton a Century of Song Concerts at St Andrew's Presents: Carolyn Sampson & Joseph Middleton A Century of Song PROGRAMME Saturday 26th June 2021, 7.30pm St Andrew’s Church, Bedford WELCOME... “Welcome to Concerts at St Andrew’s. I feel particularly privileged to be Patron of this series of concerts having grown up in Brickhill and Putnoe and even having been a member of the St Andrew’s Girl Guides. Only now I realise how lucky I was with the opportunities I had in Bedford be it at school or in the county music scene taking part in Orchestras, Choirs and Youth Operas! It is testament to Bedfordshire that so many of us went on to make careers in Music (Rachel Nicholls and Rebecca Bottone to name but two). These concerts are so valuable for inspiring everyone: young people, who may be interested in finding their way into music (possibly inspiring future professionals!) and for those loyal St Andrew’s concert audience members who appreciate music and the way it can guide us on our own private journey. These concerts also inspire me and my colleagues being able to sit back and enjoy being inspired by someone else’s music making! For as much as the musicians standing before us are interpreting, so too are we as an audience. The music belongs to each and every one of us. We are so grateful to those who support the concerts as ‘Quavers’ - without your generous financial support, these artists simply could not appear at this venue - thank you. If you’d like information on how to offer your support, details are in this programme. So, I really am thrilled to be able to welcome you, the audience, and of course to welcome the performers here today. I wish you all an inspiring evening sharing music.” Carolyn Sampson - Patron PROGRAMME Dominick Argento: Six Elizabethan Songs: 1. Spring 2. Sleep 3. Winter 4. Dirge 5. Diaphenia 6. Hymn Richard Strauss: Das Rosenband Heimliche Aufforderung Morgen John Anthony Ireland: When I am dead and gone Aaron Copland: Nature, the gentlest mother Dear March, come in! Eric Coates: Birdsongs at eventide INTERVAL Refreshments will not be served, but if you brought some with you please enjoy these in your seats, or if weather allows feel free to make your way outside. Leonard Bernstein: I Hate Music! Penelope Thwaites: The Lord is my Shepherd Cheryl Frances-Hoad: Something more than mortal Poulenc: La dame de Monte-Carlo Stephen Sondheim: Send in the Clowns Jerome Kern: Bill Cole Porter: The Physician Errol Garner: Misty PROGRAMME NOTES Dominick Argento: Six Elizabethan Songs: 1. Spring 2. Sleep 3. Winter 4. Dirge 5. Diaphenia 6. Hymn Dominick Argento was born in 1927 and is considered one of the leading American composers of our day. Argento studied at both the Peabody Conservatory and Eastman School of Music, earning a PhD at Eastman in 1957. The composer has given us 13 operas and was one of the founders of Minnesota Opera. In 1958, Argento was awarded a Guggenheim Fellowship and spent the year in Florence. It was in this year that Six Elizabethan Songs was first published for high voice and piano; the work was revised in 1962 for soprano and Baroque ensemble. The text of the cycle is somewhat unusual for Argento since it is taken from traditional poetry. Other works use diary entries and letters written by various composers. The first of the six pieces is "Spring." The song features an active accompaniment that is punctuated by crisp, detached octaves in the bass. With a charming middle section, this opening piece is exciting and pure fun for the singer and pianist. "Sleep" follows with beautiful harmonies centred in the lower register. An aggressive middle section arrives unexpectedly, marked with sharp and chilling passages in the right hand against a legato vocal line. "Winter," the third piece of the cycle, sounds as though it may be the most virtuosic of the set. The song's opening with an unaccompanied vocal line sets it apart from the others of the cycle. "Dirge" is one of the simpler songs of the cycle. The chords are simple, reminiscent of church bells. The chords reinforce the dissonance between the piano and the voice and seem to make use of tritone relationships throughout. "Diaphenia" returns to the joyful sounds of the opening song; its fast sequential passages are similar to "Spring" and were not that interesting on first hearing. One of the challenges the cycle will present is establishing clear differences of mood between "Spring", "Winter", and "Diaphenia." The closing "Hymn" presents another challenge. With its chordal accompaniment that is often constructed in two-note phrases, it will require some careful planning to insure that the piano's melodic line remains in tact despite the interruptions that occur due to rests and/or sound decay. Perhaps the most challenging ensemble issue for Six Elizabethan Songs will be found in the attempt to maintain the desirable balance between voice and piano. Whether because of the rapid passages, low piano registers, or thickly textured chords, constant attention will need to be given to the piano's dynamics in relation to the singer. Richard Strauss: Das Rosenband Heimliche Aufforderung Morgen During his lifetime Richard Strauss wrote around two hundred songs, many bound as Lieder albums. They were usually composed with certain singers in mind, his wife being the most notable. They are taxing to the singer and require good breath control to cope with the extended phrasing. In today’s colleges they continue to be part of a singer’s curriculum and are popular as a result. Das Rosenband in A (The Rose Garland) is a setting of a poem by Klopstock, used previously by Schubert. It was conceived first as an orchestral song, before Strauss made his own transcription for voice and piano. Any detail lost in the transition is made up for by the intimacy of the relationship between the two, especially when they intertwine during the final bars. The song Heimliche Aufforderung in B flat (Secret Invitation) is one of a volume of four given to Pauline de Ahna on their wedding day. It refers to a secret sign which the lovers wait to receive for their tryst in the garden. The well known, Morgen in G (Tomorrow) is believed to be one of Strauss’s most beautiful songs. Its rapturous and dreamy evocation of love’s bliss with harp ornament is quite enchanting. Das Rosenband The Rose Garland Im Frühlingsschatten fand ich sie; I found her in the spring shade, Da band ich Sie mit Rosenbändern: And bound her fast with a rose garland: Sie fühlt’ es nicht und schlummerte. Oblivious, she slumbered on. Ich sah sie an; mein Leben hing I gazed on her; with that gaze Mit diesem Blick an ihrem Leben: My life became entwined with hers: Ich fühlt’ es wohl, und wußt’ es nicht. This I sensed, yet did not know. Doch lispelt’ ich ihr sprachlos zu, I murmured wordlessly to her Und rauschte mit den Rosenbändern: And rustled the garland of roses: Da wachte sie vom Schlummer auf. Then she woke from slumber. Sie sah mich an; ihr Leben hing She gazed on me; with that gaze Mit diesem Blick’ an meinem Leben, Her life became entwined with mine, Und um uns ward Elysium. And Paradise bloomed about us. Heimliche Aufforderung Secret invitation Auf, hebe die funkelnde Schale Come, raise to your lips empor zum Mund, the sparkling goblet, Und trinke beim Freudenmahle And drink at this joyful feast dein Herz gesund. your heart to health. Und wenn du sie hebst, so winke And when you raise it, give mir heimlich zu, me a secret sign, Dann lächle ich, und dann trinke Then I shall smile, and drink ich still wie du ... as quietly as you ... Und still gleich mir betrachte And quietly like me, look um uns das Heer around at the hordes Der trunknen Schwätzer—verachte Of drunken gossips—do not sie nicht zu sehr. despise them too much. Nein, hebe die blinkende Schale, No, raise the glittering goblet, gefüllt mit Wein, filled with wine, Und laß beim lärmenden Mahle And let them be happy sie glücklich sein. at the noisy feast. Doch hast du das Mahl genossen, But once you have savoured the meal, den Durst gestillt, quenched your thirst, Dann verlasse der lauten Genossen Leave the loud company festfreudiges Bild, of happy revellers, Und wandle hinaus in den Garten And come out into the garden zum Rosenstrauch,— to the rose-bush,— Dort will ich dich dann erwarten There I shall wait for you nach altem Brauch, as I’ve always done. Und will an die Brust dir sinken And I shall sink on your breast, eh’ du’s gehofft, before you could hope, Und deine Küsse trinken, And drink your kisses, wie ehmals oft, as often before, Und flechten in deine Haare And twine in your hair der Rose Pracht— the glorious rose— O komm, du wunderbare, Ah! come, O wondrous, ersehnte Nacht! longed-for night! Morgen! Tomorrow! Und morgen wird die Sonne wieder And tomorrow the sun will shine again scheinen And on the path that I shall take, Und auf dem Wege, den ich gehen It will unite us, happy ones, again, werde, Amid this same sun-breathing earth ... Wird uns, die Glücklichen, sie wieder And to the shore, broad, blue-waved, einen We shall quietly and slowly descend, Inmitten dieser sonnenatmenden Erde ... Speechless we shall gaze into each Und zu dem Strand, dem weiten, other’s eyes, wogenblauen, And the speechless silence of bliss Werden wir still und langsam shall fall on us ..
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