CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
LOVE AND COLOR IN THE HIGH SOPRANO VOICE
A Graduate Project submitted in partial fulfillment of the requirements for the degree of Master of Music in Music, Performance
by Brooke Iva Lohman-Janz
December 2018 The abstract of Brooke Iva Lohman-Janz is approved:
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Prof. Shigemi Matsumoto Date
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Prof. Erica Davis Date
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Dr. David Sannerud, Chair Date
California State University, Northridge
ii TABLE OF CONTENTS
Signature page……………………………………………………………………………ii
Abstract…………………………………………………………………………………....iv
Program...... ………………………………………………………1
Notes and Translations...... 3
iii ABSTRACT
LOVE AND COLOR IN THE HIGH SOPRANO VOICE
by
Brooke Iva Lohman-Janz
Master of Music in Music, Performance
The human voice is completely diverse and unique to each individual and the capabilities of each voice type are incredible and marvelous. For the high soprano voice things are exceptionally thrilling, particularly in the coloratura fach. The repertoire in this category can lend itself to using vocal ornaments and figures to create an atmosphere to set the song, or insinuate a wide range of feelings and emotions. For my recital, the cycles and aria included explore the range of the coloratura voice and how the intricate vocal figures add to the color and emotion of the character and story of each piece.
Carrying across the history of music, the sets touch on Baroque, late Classical, Modern, and Post-Modern time periods, and the unifying emotional theme found throughout this program is love.
Written in 1730, Jauchzet Gott in allen Landen, BWV 51 was originally composed for soprano and trumpet and is the only one of Johann Sebastian Bach’s church cantatas to employ that combination. Most often, the higher repertoire was sung by boy sopranos or castrati. The recital’s first depiction of love makes an appearance with this cantata, with its reverence and unrestrained praise towards God, as well as the love that
iv God has given to us. In the opening movement, the text calls for all the lands to join in praising God for standing by at all times of suffering and need. Consistently throughout this fast and celebratory movement, the long runs are on the word Jauchzet (rejoice). The second movement takes a more somber and reverent turn as the recitative text calls for worship at the temple. The word receiving the colored vocal line in this movement is lallen (babble). Bach has captured the mood with its rhythmical changes between the rising and falling 16th, 8th, and tied notes. They create the impression of rambling in response to viewing the wonders of God’s creation and love. The third movement builds on the sense of wonder from the previous piece and states that the morning is renewed daily by God. The aria begins with a stunning sustained E natural followed by an octave leap downward which creates a mysterious air. The text is set off in several areas with figures of motion such as alle Morgen (all mornings), and heißen (are named). The tessitura of this movement resides slightly higher than the others in this cantata, which is fitting for the first word Höchster (Most-High) and lifting our praise to Him. In the fourth movement, the steadfast chorale, the text instructs us on how to show our love to God.
While there are no long melismatic runs included for the singer here, there are trills at the end of several phrases which are traditionally added to give emphasis to selected words.
The nature of the vocal line comes across as faithful and sure over the complicated fugal texture of the underlying accompaniment. The fifth and final movement of the cantata bookends the entire work with its exciting and joyful tone put only on the text Alleluia. It follows the chorale movement immediately, shooting off in a new meter of 2/4. The entire piece is covered with lengthy melismas, signifying unending praise to God for all
He has done.
In the song cycle, Pieśni księżniczki z baśni (Songs of a Fairytale Princess),
Karol Symanowski incorporates vocal elements to tie together the texts for the unnamed
v princess. The texts, all of which tell tales from the princess’ heart, were written by the composer’s sister, Zofia Symanowska. Karol was very influenced by his recent visit to the northern African countries and Sicily, and was about to embark on his musical period that was most known for his exoticism. Each of the movements, save for the last, all begin on a vocal exasperation of some sort – an "ach." While they serve different purposes in the songs, they each signify the beginning of the princess’s story. The vocalizes themselves use the 12-tone scale which evokes a Middle-Eastern quality and are used to create a leitmotif for the princess. In the first song of the cycle Samotny księżyc (Lonesome Moon), the beginning vocal figures create a mysterious atmosphere.
This figure is sung for several measures until it finally morphs into something more agitated as the princess begins to speak of her anger at the moon. The second song of this set, Złote trzewiczki (Golden Slippers), is actually the third in the cycle. Here, hanging on a high G# and descending down, the princess cries for her lover who has left. In the middle section, the text painting on the line ślad łez na ścieżce (trace of tears on the path) has the voice cry in an octave leap on B flat and winds downward in a chromatic motion, as a meandering path covered in tears. The third song in this set in my recital (and fourth in the cycle) is the dizzying Taniec (Dance). Here, the princess is enraptured by her lover.
This selection gives a sharp contrast to the other movements with its vivace animato tempo marking. Some text painting worth noting includes the rising triplet pattern on skrzydłach (wings), and the back and forth motion of neighbor notes on objęciu
(embrace). The final song in the recital group is the fifth song of the cycle. Pieśń o fali
(Song of the Wave) brings us to a somber place where the princess wishes to be a wave that would carry her lover’s boat. The voice has several chances to create the ocean atmosphere in this piece, ranging from a stunning wave motif, to the sudden arrival of a gale which crashes the lover’s boat, to the returned calmness after the storm.
vi In the opera Il barbiere di Siviglia by Gioachino Rossini, the role of the female lead, Rosina, is usually performed by a mezzo-soprano, or when available, a contralto.
The transposition of the famous aria, Una voce poco fa, up a half step to F major, allowed coloratura sopranos to play the feisty, determined heroine. However, the richness of the lower female voice is still required for the role, making this particular selection a challenging one. In the aria, Rosina sings of her love for Lindoro and her desire to win him. For my recital performance, several ornaments and coloratura added to highlight the higher area of my voice: specifically, the addition of three F6s.
Libby Larsen composed Try Me, Good King: The Last Words of the Wives of
King Henry VIII in 2000 for the Marilyn Horn Competition. The cycle takes its words from the written letters and recorded spoken words of the queens before their deaths. The songs are frequently syllabic in nature, providing a natural flow to the rhythm of the words. Each of the songs employs a bell-toll-like figure, which provides a unifying element through the pieces. The women are completely different in tone, color, and character, thus requiring the singer to switch mood with each of the queens’ unique circumstance. Katherine of Aragon (1485-1536), the first song in the cycle, can be defined as steadfast love. She was Henry’s first wife and queen who reigned close to twenty years at his side. The text, recorded on her deathbed, shows her devotion to the king, even after he humiliated and abandoned her. The continuous repeating eighth notes in the accompaniment propel the song forward with a sense of urgency as time is short for Katherine. The second song of the cycle, and Henry’s second wife, Anne Bolyen, starts off with a fiery, unaccompanied exclamation: “Try me, good king!” Anne’s words here at the beginning of the piece are hurried and desperate as she begs the king to give her a fair trial. Her love has been betrayed and now her life is on the line. The leaps in the vocal line show an agitated color and the repeated words emphasize her confidence in her
vii innocence. As she addresses the audience at her execution, Anne changes her color one last time. While the first portion of the song is a mixture of emotions (fear, betrayal, and also strength), this section is one of desolation, mixed with defiance and humor. Jane
Seymour, Henry’s third and reportedly favorite wife, provides a gentle repose after the fiery Anne. When these words of pure love were recorded, Jane had just given birth to
Henry’s first, and only, son. Sadly, she would not live long after the birth. The song, though sweet in words and reminiscent of a lullaby, has underlying pangs of pain in the accompaniment. Anne of Cleves was only Henry’s wife for a few short months. They were not fond of each other, and came to an agreement to annul the newly-formed, love- less marriage. The song is rhythmically driven in both the accompaniment and voice parts, which gives it a slightly awkward feel. Throughout the piece, the singer is given instructions by Larsen on how to interpret particular phrases such as with irony, as a matter of fact, cheerfully, beaming, outfoxing them, and winking. The cycle concludes with Henry’s fifth wife, Katherine Howard. Here, we meet a terrified woman who is addressing the audience at her execution. As in previous movements, a repeating figure in the piano serves as a bell-toll which tells us that Katherine’s time is short. Throughout the piece, Katherine’s regret is laid bare, as she agonizes over leaving her lover, Thomas
Culpeper, for the king. The singer has the chance to develop vocal colors as they arc from a hushed frightened tone, to agony, and finally ending in strong defiance as Katherine faces eternity.
Chansons de Ronsard is a stunning collection of pieces for high soprano and piano or orchestra. Darius Milhaud expertly set the texts of French poet Pierre de
Ronsard in each of the songs, beautifully capturing the surface and underlying meaning of the words. The songs were written for the famous French coloratura soprano Lilly
Pons. Pons was renowned for her light, high, and agile voice, so Milhaud wrote the cycle
viii to show off those qualities. As with the rest of my recital, the theme that binds the songs together is love – love of nature, reluctant love, and frustrated love. The first song of the cycle, À une fontaine (To a Fountain), is a joyful waltz filled with love for life. Here, the meaning of the text is brought out in the music as it encapsulates the airy, dancing quality of the words. À Cupidon (To Cupid), the second song of the cycle, also utilizes the music to capture the emotions found in the words rather than being specific with text painting.
As the poetry later reveals, the character is plagued by the burning desire of love which will not subside. As the color of the accompaniment changes, so does the voice with painful exclamations. The held high notes on those lines, along with the powerful chords in the accompaniment create a stunning and heartbreaking moment of beautiful anguish.
Tais-toi, Babillarde Arondelle (Hush Yourself, Babbling Swallow), the third song of the cycle, bounces between two characters - a babbling swallow, happily singing a lovely legato coloratura line, and an annoyed, desperate lover who sings rapid angry words to the bird. After all, the poor lover only wants to stay in bed with his dear Casandra between his arms – the swallow’s morning song means his dream must end and Casandra will leave. The piece ends with one final call from the bird, who seems to have the last word in the argument. The final song of the cycle, Dieu vous gard (God You Protect), provides a complimentary bookend to the joyous opening movement, À une fontaine.
Here, the singer makes her way through all of the elements of Spring she loves, blessing every one of them. The vocal color is one of excitement and hurried wonder. The singer’s revelry continues through the entire song, except for the final few bars. Here, the mood changes as we find out the reality of the situation - our cheerful lover of Spring is actually stuck inside her house due to winter storms! Perhaps reliving the pleasures of
Spring helps to pass the dreary hours.
ix The poetry of Clemens Wenzeslaus Brentano (1778-1842) serve as the literary foundation for Richard Strauss’s Sechs Lieder, Op. 68, often referred to as the Brentano
Lieder. The fifth song of the cycle, and the last song of my recital, Amor, is a wild and fantastic, yet short, ride through Strauss’s mastery of writing for the soprano voice. The song embodies a playful nature and perfectly sets the idea of love striking when one least expects it.
The songs in my recital show the diversity of colors available to the human voice and the way they are represented in vocal ornaments and coloratura. While all written for a high and flexible voice, each present its own set of challenges for the singer, requiring them to bring a different view to each piece. Each composer used coloratura to both highlight the voice, and to enhance the meaning of the words they used. Additionally, the linking theme of the pieces, love, is a complex emotion. Upon analyzing the characters in these songs, I was able to extract a spectrum of love ranging from worshipful love, empathic love, devastated love, sensual love, confidant love, betrayed love, content love, forced love, regretful love, reluctant love, and new love. Each of these variations of love provides a special way to look at the piece, creating something individual for the performer and the audience. Coupled with the colors of the voice, this range of emotions which stems from a single facet - love - provides a truly magical and rewarding experience for both the listener and performer.
x California State University, Northridge Mike Curb College of Arts, Media and Communication Department of Music Presents:
Brooke Iva Lohman Soprano
with Carol Roberts, Pianist
In her Master Vocal Recital
From the studio of Shigemi Matsumoto and Dr. Deanna Murray
In partial fulfillment of the Masters of Music degree in Vocal Arts
September 23, 2018 4:30pm Cypress Recital Hall
Program
Jauchzet Gott in allen Landen, BWV 51 Johann Sebastian Bach Jauchzet Gott in allen Landen (1685-1750) Wir beten zu dem Tempel an Höchster, mache deine Güte Sei Lob und Preis mit Ehren Alleluja
Pieśni księżniczki z baśni, op. 31 Karol Szymanowski Samotny księżyc (1882-1937) Złote trzewiki Taniec Pieśń o fali
Una voce poco fa Gioachino Rossini (1792-1868) from Il barbiere di Siviglia
Intermission
Try Me, Good King Libby Larsen (b. 1950) Katherine of Aragon Anne Boleyn Jane Seymour Anne of Cleves Katherine Howard
Chansons de Ronsard Darius Milhaud (1892-1974) À une fontaine À Cupidon Tais-toi, Babillarde! Dieu vous garde
Amor Richard Strauss
from Brentano-Lieder, Op.68 (1864-1949) Notes and Translations Jauchzet Gott in allen Landen, BWV 51 J. S. Bach composed this cantata for general use in the church and with no specific feast or day attributed to it. Though written for general use, it was premiered on September 17th, 1730 for the 15th Sunday after Trinity. It is unique in that it is his only church cantata written for soprano and trumpet and requires great virtuosity in both parts. There are 5 movements in the work, which include two arias, a recitative, a choral, and an ending alleluia. The outer pieces are very joyous in nature and the middle piece is very contemplative and reverent in mood. The text from each of the movements is by an unknown author who drew inspiration from various portions of the Bible, most notably from the Book of Psalms, and reflects the act of praising God for all of his gifts. As usual in Bach’s works, he incorporated a stanza from a Lutheran hymn, this time being “Nun lob, mein Seel, den Herren” which was composed by Johann Gramann in 1525, into the choral movement. Jauchzet Gott in allen Landen! Exult in God in every land! Was der Himmel und die Welt Whatever creatures are contained An Geschöpfen in sich hält, by heaven and earth Müssen dessen Ruhm erhöhen, must raise up this praise, Und wir wollen unserm Gott and now we shall likewise Gleichfalls itzt ein Opfer bringen, bring an offering to our God, Daß er uns in Kreuz und Not since He has stood with us Allezeit hat beigestanden. at all times during suffering and necessity
Wir beten zu dem Tempel an, We pray at your temple, Da Gottes Ehre wohnet, where God’s honor dwells, Da dessen Treu, So täglich neu, where this faithfulness, daily renewed, Mit lauter Segen lohnet. is rewarded with pure blessing. Wir preisen, was er an uns hat getan. We praise what He has done for us. Muß gleich der schwache Mund Even though our weak mouth must Von seinen Wundern lallen, gape before His wonders, So kann ein schlechtes our meager praise is still pleasing to Him.
Höchster, mache deine Güte Highest, renew Your goodness Ferner alle Morgen neu. every morning from now on. So soll vor die Vatertreu Thus, before this fatherly love, Auch ein dankbares Gemüte a thankful conscience shall display, Durch ein frommes Leben weisen, through a virtuous life, Daß wir deine Kinder heißen. that we are called Your children.
Sei Lob und Preis mit Ehren Glory, and praise with honor Gott Vater, Sohn, Heiligem Geist! be to God the Father, Son, and Holy Spirit! Der woll in uns vermehren, He will increase in us Was er uns aus Gnaden verheißt, what He has promised us out of grace, Daß wir ihm fest vertrauen, so that we trust fast in Him, Gänzlich uns lass’n auf ihn, abandon ourselves completely to Him, Von Herzen auf ihn bauen, rely on Him within our hearts, Daß uns’r Herz, Mut und Sinn so that our heart, will, and mind Ihm festiglich anhangen; depend strongly on Him; Drauf singen wir zur Stund: therefore we sing at this time: Amen, wir werdn’s erlangen, Amen, we shall succeed, Glaub’n wir aus Herzensgrund. if we believe from the depths of our hearts. Alleluja! Alleluia!! Pieśni księżniczki z baśni, op. 31 Upon returning to Poland from his travels abroad, Karol Szymanowski began looking for texts that would embody the essence of the exotic places he had fallen in love with. Songs of a Fairy-Tale Princess became one of the first pieces in his second period of work that tried to capture the mysterious and foreign world of Northern Africa, Sicily, and the Middle East. Coming from a family where all of the children were encouraged to follow their creative passions, so Karol’s own sister, Zofia Szymanowska, a talented poet, provided the texts for all six songs in the cycle. Other than the themes of love and the chromatics of the vocal lines indicating her likely Middle Eastern heritage, the princess has no defining features to suggests she is the same woman throughout the cycle. The chromatic vocal lines of this cycle proved to be an important compositional technique for Szymanowski. It utilized the whole-tone scale, and would later be adapted and used in some of his most important instrumental works, most notably Masques and Piano Sonata No. 3. The cycle itself was completed in 1915, with Szymanowski returning to it in 1933 to orchestrate movements I, II, and IV. The remaining movements were later orchestrated in 2012 by Samotny księżyc Lonesome Moon Czasem mnie gniewa księżyc srebrnólicy, Sometime the silver-faced moon angers me, co w noc wiosenną skrada się z za chmur, which on a spring night creeps up from behind by nam miłosne wydrzeć tajemnice! clouds, to snatch love secrets from us! Lecz gdy pomyślę, że biedny samotnik But when I think that the poor recluse spending w zimnej gwiazd ciszy, tęskne pędząc noce, his yearning nights in the cold silence of the stars, nigdy płomieniem nie gorzał miłości! has never burnt with the flame of love! Tak mi go żal! Tak żal! I am so sorry for him! So sorry!
Złote trzewiki Golden Slippers Od wrót mojego pałacu From the gates of my palace odszedł ten, co mnie milował, has gone he who loved me, brnąc boso w jesiennej mgle... wading barefoot through the autumn fog... W trzewiczkach złotych chodzę, I walk in slippers of gold, w trzewiczkach złotych, lecz stopy moje pali in slippers of gold, but my feet are scored by ślad łez na ścieżce, the trace of tears on the path, którą na wieki odszedł ten, by which has gone forever he, co mnie miłowal, ten, co mnie miłowal! who loved me, who loved me! Highest, renew Your goodness every morning from now on. Thus, before this fatherly love, Taniec Dance a thankful conscience shall display, Gdy w twym objęciu, kochanku mój, When in your embrace, oh my lover, through a virtuous life, na skrzydłach miłości, on the wings of love, that we are called Your children. jako ptak lekka pląsam w krag, like a bird I dance around, to wszystkie, wszystkie kwiaty w moim ogrodzie then all, all the flowers in my garden wraz z nami radosny wiodą tan! perform a joyful dance together with us! Glory, and praise with honor be to God the Father, Son, and Holy Spirit! He will increase in us Pieśń o fali Song of a Wave what He has promised us out of grace, Chciałabym srebrną być falą, I would like to be a silver wave so that we trust fast in Him, co burt twej łodzi całuje. which kisses the sides of your boat. abandon ourselves completely to Him, Na harflie rozwianych grzyw On the harp of wind-blown crests rely on Him within our hearts, tęskne śpiewałabym pieśni. I would sing mournful songs. so that our heart, will, and mind depend strongly on Him; A gdyby gniewne wichry And if angry gales therefore we sing at this time: twą łódź rozbiły oskałę, crashed your boat on a rock Amen, we shall succeed, na mej piersi białej, on my white breast if we believe from the depths of our hearts. ukołysałabym cię I would rock you na wieczny sen! to eternal sleep! Una voce poco fa from Il barbiere di Siviglia Rosinni’s opera, Il barbiere di Siviglia first introduces the audience to it’s strong female lead, Rosina, with this aria. Originally composed for contralto, the aria is most frequently performed by mezzo-sopranos. However, it became popular to transpose it up to the key of F for coloratura sopranos to incorporate high-flying vocal fireworks. In this aria, Rosina speaks of her desire and love for Lindoro, who, unbeknown to her, is really the Count Almaviva. After he serenaded at her window, she decides that Lindoro will be hers! Unfortunately, Rosina is the ward of Dr. Bartolo, who intends to marry her once she is old enough. Still, she is determined to get her way - after all she can be gentile and obedient, but if provoked, she can hold her own and play a hundred different tricks to help her be victorious.
Una voce poco fa A voice, a little while ago qui nel cor mi risuonò; echoed here in my heart; il mio cor ferito è già, my heart is wounded now, e Lindor fu che il piagò. and it was Lindoro who inflicted the wound. Sì, Lindoro mio sarà; Yes, Lindoro shall be mine; lo giurai, la vincerò. I swear it, I will win. Il tutor ricuserà, My guardian will object. io l’ingegno aguzzerò. I, quick-witted, will be sharp. Alla fin s’accheterà In the end he will acquiesce, e contenta io resterò. and I shall rest content. Io sono docile, son rispettosa, I am docile, I’m respectful, sono obbediente, dolce, amorosa; I’m obedient, gentle, loving; mi lascio reggere, mi fo guidar, I let myself be ruled, I let myself be guided, Ma, se mi toccano But, if they touch me dov’è il mio debole on my weak spot, sarò una vipera, I’ll be a viper e cento trappole and a hundred tricks prima di cedere farò giocar. I’ll play before I yield. Try Me, Good King Libby Larsen has always had a fascination with King Henry VIII and his six wives. Upon receiving a commission which she decided would fit her long-brewing idea, she composed the song cycle Try Me, Good King: The Last Words of the Wives of King Henry VIII for the Marilyn Horn Foundation in 2000. It contains five songs, and while there are six women who were married to Henry, Larsen chose to focus on the first five to highlight “the intimate crisis of the heart”. Larsen also has a great interest in folk music and often incorporates traditional songs into her music. For this cycle, she wove an Elizabethan lute song into every movement. Each of these traditional lute songs comments on the plight of each woman and their internal emotional struggle. John Dowland’s “In Darkness Let Me Dwell” makes an appearance at the very beginning of the cycle with Kathrine of Aragon, and returns at the end of the cycle with the last bars of Kathrine Howard. For Anne Boleyn, “If My Complaints,” also by John Dowland, makes its appearance when Anne recounts the love letters Henry once sent her. For Jane Seymour, “Low, how a Rose E’er Blooming” by Michael Praetorius is used, along with the lyrics “I love the rose both red and white, to hear of them is my delight, Joyed may we be our prince to see and roses three,” which refers to the War of the Roses and the feuding houses of Lancaster and York, and the resulting house of Tudor, Henry’s family line. Anne of Cleves is paired with Thomas Campion’s “I Care Not for these Ladies”, which hints at her desire to be out of her marriage to Henry. Katherine of Aragon Jane Seymour
My most dear lord, king, and husband Right, Trusty, and Well Beloved, the hour of my death now drawing on, we greet you well, for as much as be the tender love I owe you forces me to commend the inestimable goodness of Almighty God, myself unto you and to put you in remembrance we be delivered of a prince. of the health and welfare of your soul. I love the rose both red and white, My most dear lord, king, and husband, to hear of them, is my delight. you have cast me into many calamities Joyed may we be, our prince to see, and yourself into many troubles. and roses three.
For my part, I pardon you everything and I wish to devoutly pray God Anne of Cleves that He will pardon you also. For the rest, I commend unto you our daughter, I have been informed by certain lords Mary, beseeching you to be a good father unto her. of the doubts and questions which have been found in our marriage. Lastly, I make this vow, It may please your majesty to know that, that my eyes desire you above all things. though this case be most hard and sorrowful, I have and do accept the clergy for my judges. Anne Boleyn So now, the clergy hath given their sentence. Try me, good king, let me have a lawful trial I approve. and let not my enemies sit as my accusers and judges. I neither can nor will repute myself for Try me, good king, let me receive and open trial your graces wife, yet it may please your for my truth shall fear no open shame. highness to take me for your sister, Never a prince had a wife more loyal in all duty, for which I most humbly thank you. in all true affection, than you have found in Anne Boleyn. Your majesty’s most humble sister, Anne, daughter of Cleves. You have chosen me from low estate to be your wife and companion. Do you not remember the words of your own true hand? Katherine Howard “My own darking, I would you were in my arms for I think it long since I kissed you, God, have mercy on my soul my mistress and my friend.” Good people, I beg you pray for me. Do you not remember the words By the journey upon which I am bound, of your own true hand? I have not wronged the King. Try me, good king. Brothers, I have not wronged the King. But it is true that long before the If ever I have found favor in your sight, King took me, I loved Thomas Culpeper. if ever the name of Anne Boleyn I wish to God I had done as he wished me, has been pleasing to your ears, for at the time the King wanted me, let me obtain this request Culpeper urged me to say and my innocence shall be known. that I was pledged to him. Let me obtain this request If I had done as he wished me, and my innocence shall be cleared. I should not die this death, nor would he.
Good Christian people, I come hither to die, I die a queen, and by the law I am judged to die. but I would rather die the wife of Culpeper. I pray God save the King. I hear the executioner’s good, and my neck is so little. Chansons de Ronsard The work of Pierre de Ronsard, a 16th century French poet, serves as the lyric foundation for Darius Milhaud’s Chansons de Ronsard, four songs for solo high voice and piano or orchestra. This song cycle is the second of the composer’s works that featured the texts of Ronsard, the first beingLes Amours de Ronsard, for vocal quartet with small chamber orchestra. Milhaud composed the cycle for his fellow French native, the famous coloratura soprano Lily Pons, in 1941, and it received its premier in December of that year by Pons herself. The cycle was written in Oakland, CA while Milhaud was serving as a visiting professor of music at Mills College after escaping from his French homeland which was occupied by Nazi powers. The texts themselves touch on the subjects of love and nature in a variety of ways, ranging from the love of Spring, to the burning fever of love that can sometimes be unwelcome. Milhaud, a member of the French group Les Six, had the remarkable skill of composing a piece without hinting at the internal turmoil he may have been going through. The songs in this cycle are generally light-hearted and do not show evidence of his worry and heartache for family and country during the war, but rather, embody the meaning of the exquisite texts faithfully.
À une fontaine To a fountain Écoute moi , fontaine vive, Listen to me, living fountain, En qui j’ai rebu si souvent, from whom I oft have drunk, Couché tout plat dessus ta rive, flat on my belly overlooking your bank, Oisif à la fraîcheur du vent, lazy in the cool breeze Quand l’été ménager moissonne While the summer harvests Le sein de Cérès dévêtu, Ceres’ unclad breast Et l’aire par compas résonne and the air whimpers Gémissant sous le blé battu. beneath the beaten wheat. Ainsi toujours puisses-tu être. So may you always be En religion à tous ceux in religion to all those Qui te boiront ou feront paître who drink from you or who pasture Tes verts rivages à leurs bœufs their cattle on your green banks. Ainsi toujours la lune claire So may nymphs Voie à minuit au fond d’un val forever dance Les nymphes près de ton repaire around you A mille bonds mener le bal! in the moonlit midnights.
À Cupidon To Cupid
Le jour pousse la nuit, et la nuit sombre Day pushes night, and dark night Pousse le jour qui luit d’une obscure ombre. pushes the glimmering day with an obscure shadow. L’Automne suit l’Été, et l’âpre rage Autumn follows Summer, and the winds Des vents n’a point été après l’orage. no longer rage after the storm. Mais la fièvre d’amours qui me tourmente But the love fever that torments me Demeure en moi toujours et ne s’alente. burns in me forever unabated. Ce n’était pas moi, Dieu, qu’il fallait poindre; It wasn’t me, god, at whom you should have aimed. Ta flèche en d’autre lieu se devait joindre. Your arrow should have had another target. Poursuis les paresseux et les amuse, Pursue the lazy and amuse them, Mais non pas moi, ni ceux qu’aime la Muse... but not me nor those who love the Muse. Tais-toi, Babillarde Arondelle! Hush-yourself, Babbling Swallow
Tais-toi, babillarde arondelle, Hush-yourself, babbling swallow, Ou bien, je plumeray ton aile or if I get my hands on you Si je t’empongne, ou d’un couteau I’ll tear the feathers from your wing Je te couperay la languette, or cut out your tongue. Qui matin sans repos caquette In the morning, your endless cackling Et m’estourdit tout le cerveau. makes my head turn.
Je te preste ma cheminée, You can sing all day, Pour chanter toute la journée, all evening, all night De soir, de nuict, quand tu voudras. in my chimney if you want, Mais au matin ne me reveille, but in the morning don’t wake me up Et ne m’oste quand je sommeille when I’m dozing Ma Cassandre d’entre mes bras. with my Cassandra in my arms.
Listen to me, living fountain, from whom I oft have drunk, Dieu vous gard God be with you flat on my belly overlooking your bank, lazy in the cool breeze Dieu vous gard’, messagers fidèles God be with you, faithful messengers While the summer harvests Du Printemps, gentes hirondelles, of Spring, swallows, Ceres’ unclad breast Huppes, coucous, rossignolets, hoopoes, cuckoos, little nightingales, and the air whimpers Tourtres, et vous oiseaux sauvages turtledoves and wild birds beneath the beaten wheat. Qui de cent sortes de ramages who make the greenwood Animez les bois verdelets. lively with a hundred sorts of warbles. So may you always be in religion to all those Dieu vous gard’, belles pâquerettes, God be with you, lovely daisies, who drink from you or who pasture Belles roses, belles fleurettes, beautiful roses, pretty little flowers, their cattle on your green banks. Et vous boutons jadis connus and you buds, once known So may nymphs Du sang d’Ajax et de Narcisse, as the blood of Ajax and Narcissus. forever dance Et vous thym, anis et mélisse, And you thyme, anise, wild cherry. around you Vous soyez les bien revenus. Welcome back. in the moonlit midnights. Dieu vous gard’, troupe diaprée God be with you, multi-colored troop Des papillons, qui par la prée of butterflies sucking Les douces herbes suçotez; the sweet grasses of the field, Et vous, nouvel essaim d’abeilles, and you, new swarm of bees Day pushes night, and dark night Qui les fleurs jaunes et vermeilles kissing the yellow pushes the glimmering day with an obscure shadow. De votre bouche baisotez. and red flowers. Autumn follows Summer, and the winds no longer rage after the storm. Cent mille fois je resalue A hundred thousand times I salute Votre belle et douce venue. your sweet return. But the love fever that torments me Ô que j’aime cette saison Oh, how I love this season burns in me forever unabated. Et ce doux caquet des rivages, and the sweet cackling on the banks It wasn’t me, god, at whom you should have aimed. Au prix des vents et des orages after the winds and storms Your arrow should have had another target. Qui m’enfermaient en la maison! that have kept me shut in the house! Pursue the lazy and amuse them, but not me nor those who love the Muse. Brentano-Lieder, Op.68 Richard Strauss composed his six songs for Op. 68 using the poetry of Clemens Brentano, a famous German novelist and poet who played a great role in German Romanticism. The cycle was completed in 1918 once Strauss had returned to composing Lied, or German art song, after a long hiatus during which he focused solely on opera. Originally for soprano and piano, the cycle was later orchestrated starting in 1933 and finishing in 1940. “Amor”, the fifth song in the cycle, speaks of Cupid, in the form of a young boy, as he cunningly tricks a shepherdess into falling in love. The vocal trills, leaps, and runs signify Cupids laugh, his wings beating, and the burning fire which he sits by and plays with. The singer acts as a narrator for the scenario, commenting on the actions of both Cupid and the shepherdess, in addition to adding warnings and scoldings to each of them.
Amor Cupid An dem Feuer saß das Kind By the fire sat the child, Amor, Amor Cupid, Cupid, Und war blind; and he was blind; Mit dem kleinen Flügel fächelt With his little wings he fanned the flames In die Flammen er und lächelt, And he laughed. Fächle, lächle, schlaues Kind. Fanning, laughing, clever child.
Ach, der Flügel brennt dem Kind! Oh, the fire burnt the child Amor, Amor Läuft geschwind! Cupid ran quickly. O wie ihn die Glut durchpeinet! O, how the pain ran through him! Flügelschlagend laut er weinet; Beating his wings, loudly he wept. In der Hirtin Schoß entrinnt Into the Shepherdess’ lap he runs Hülfeschreiend das schlaue Kind. Crying help - the clever child.
Und die Hirtin hilft dem Kind, And the Shepherdess helped him, Amor, Amor Bös und blind. Cupid, wicked and blind. Hirtin, sieh, dein Herz entbrennet, Shepherdess, see how your heart is on fire, Hast den Schelmen nicht gekennet. Did you not recognize the rogue? Sieh, die Flamme wächst geschwinde. See how quickly the flames grow. Hüt dich vor dem schlauen Kind! Beware, beware of the clever child! Fechelt, lechelt, schlauen Kind! Fanning, smiling, clever child! Thank you To everyone who has supported me on the journey to obtain my Masters Degree, I owe limitless gratitude which I will never be able to fully express. I would like to mention the following people, in particular, for their dedication to my wellbeing and growth as a musician and performer: Michael Janz; Carol Roberts; Shigemi Matsumoto; Dr. Deanna Murray; Brenda Reinebach; my family; S.K. And to the Lord for giving me a gift to share.
Brooke Iva Lohman is a recipient of: The CSUN Arts Council Scholarship - 2017 The Southern California Opera Guild Scholarship - 2018