Tricia Park, Robin Scott, violin Meagan Brus, soprano Maurycy Banaszek, viola Stephen Swanson, baritone Jay Campbell, Andrew Janss, cello Conor Hanick, Réne Lecuona, Lynda Hakken, piano Emmet Hanick, double bass Jason Weinberger, conductor Emi Ferguson, flute James T. Shields, clarinet Martin Andrews, reader THERE WILL BE NO INTERMISSIONS June 14, 2012 A Schubertiade: Music about Animals A Selection of Songs Die Vogel (The Birds), D. 691 Op. 172, Nr. 6 (1820) Poet: Carl Wilhelm Friedrich von Schlegel Seufzer (Sighs), D. 198 (1815) Poet: Ludwig Christoph Heinrich Holty Der Schmetterling (The Butterfly), D. 633 Op. 57, Nr.1 (ca. 1819) Poet: Carl Wilhelm Friedrich von Schlegel Der Knabe (The Boy), D. 692 (1820) Poet: Carl Wilhelm Friedrich von Schlegel Der Abend (The Night), D. 108 (1814) Poet: Friedrich von Matthisson Wie Ulfru fischt (How Ulfru Fishes), D. 525 Op. 21, Nr. 3 (1817) Poet: Johann Baptist Mayrhofer Die Forelle (The Trout), D. 550 Op. 32 (1817) Poet: Christian Friedrich Daniel Schubart Stephen Swanson, Lynda Hakken Quintet for Piano and String in A Major, Op. 114, D. 667, The Trout I. Allegro vivace II. Andante IIII. Scherzo: Presto IV. Thema: Andantino V. Finale: Allegro giusto Inspired by Schubert’s own song Die Forelle Réne Lecuona, Robin Scott, Maurycy Banaszek, Andrew Janss, Emmet Hanick June 15, 2012 Proust’s Musical World Camille Saint-Saëns Violin Sonata No. 1, Op. 75 (1885) I. Allegro agitato II. Adagio III. Allegretto moderato IV. Allegro molto Tricia Park, Réne Lecuona Gabriel Fauré Piano Quartet in C Minor, Op. 15 (1879) I. Allegro molto moderato II. Scherzo: Allegro vivo III. Adagio IV. Allegro molto Robin Scott, Maurycy Banaszek, Andrew Janss, Réne Lecuona June 16, 2012 Pierrot Lunaire: Celebrating the Centennial of the Premiere Arnold Schoenberg Pierrot Lunaire, Op. 21 (October 16, 1912) Settings of 21 selected poems from Otto Erich Hartleben’s German translation of Albert Giraud’s cycle of French poems of the same name Meagan Brus, Conor Hanick, Tricia Park, Jay Campbell, Emi Ferguson, James T. Shields Jason Weinberger Supporters, Friends and Partners MusicIC is supported by The University of Iowa Office of the Vice President for Research and the Division of Performing Arts, College of Liberal Arts and Sciences. The festival’s friends and partners include Hancher, the Iowa Summer Writing Festival , the Museum of Natural History, Trinity Episcopal Church, Iowa City UNESCO City of Literature, Summer of the Arts and West Music Co. Thanks also to Linn Street Café, Leaf Kitchen, and Deluxe Cakes and Pastries. Thanks to the following individuals: Saffron Henke, Ann Ricketts, Ron McClellen, Steven Parrott, Derek Shonrock, Lisa Pepercorn, Arthur and Miriam Canter, Christianne Knorr, Carol Christensen, and Andrew Hicks and Trinity Episcopal Church. June 14 Program Notes by Arthur Canter international star singers. The Viennese trend was encouraged by an appetite for domestic music-making that coincided with the increas- Franz Schubert (1797-1828) and His Songs ing use of the piano as an instrument in the home. Early in 1817 the twenty-year old Viennese born and bred Franz Schubert was persuaded by friends to leave teaching school and Schubert drew upon the poems of a broad range of poets, whether devote full time to composition. By this time he had already writ- internationally famous, only locally known or among his circle of ten four symphonies, several Singspiele, dozens of piano pieces, a friends. Goethe’s writings impressed him the most and consistently number of sacred choral pieces, works for chamber ensembles and inspired him to write songs of startling power and originality. He over 600 songs. It is a selection of these songs (Lieder, to use their set over 70 of Goethe’s poems to music. However, Schubert was German name) that opens tonight’s concert. quite capable of making a first-rate song out of a mediocre poem, and often did so. His sizeable output of Lieder was remarkable in the Most of Schubert’s Lieder were written for one voice and piano, the range, quality and creative imagination that he brought to the musi- style that became increasingly popular in German-speaking coun- cal setting of poetry. In his works, the piano was no mere accompa- tries beginning in the latter half of the 18th century and extending niment but an equal partner in the expression of the poetic imagery. into the 19th century. The new Lieder were settings of the Ger- These qualities had a profound effect on later composers of songs man Romantic poems written in simple formal structures and with including Schumann, Brahms, Hugo Wolf and Richard Strauss. emphasis on the imagery of nature and the direct expression of The Schubert Lieder display a great range of mood and complexity feelings. This kind of German Lied attracted the growing middle but in simple settings, whereas most other composers of the time class of Vienna but with changes to suit the preferences of its wrote highly dramatic and emotionally tense works not suitable for citizens. They sought to have songs written in a direct, simple and the average amateur performers for their Haus Musik. It is ironic naturally lyrical style. In part this was in reaction to the “Sturm und that despite his talent, except for relatively few songs published Drang” (“Storm and Stress”) that was characteristic of so much of shortly after they were composed, most of Schubert’s songs were not the German Romanticists and in part to the complexity and artifice known by a public that would have enjoyed them, had they been of the Italian opera aria with its elements of florid display and its published before his premature death. Carl Wilhelm Friedrich von Schlegel, Die Vogel Wie lieblich und fröhlich, How delightful and exhilarating it is Zu schweben, zu singen; to soar and to sing, Von glänzender Höhe to look down on the earth Zur Erde zu blicken! from the radiant heights! Die Menschen sind töricht, Men are foolish: Sie können nicht fliegen; they cannot fly. Sie jammern in Nöten, They lament in their distress; Wir flattern gen Himmel. we fly up to the heavens. Der Jäger will töten, The huntsman whose fruit we Dem Früchte wir pickten; pecked wants to kill us; Wir müssen ihn höhnen, but we should mock him Und Beute gewinnen. and snatch our spoils. Friedrich von Schlegel (1772-1829) English: Richard Wigmore © 2005 Ludwig Christoph Heinrich Holty, Seufzer Die Nachtigall The nightingale Singt überall sings everywhere Auf grünen Reisen on green boughs Die besten Weisen, her loveliest songs Dass ringsum Wald that all around woods Und Ufer schallt. and river banks resound. Manch junges Paar Many young couples Geht dort, wo klar stroll where Das Bächlein rauschet the limpid brook murmurs. Und steht, und lauschet They stop and listen Mit frohem Sinn joyfully Der Sängerin. to the songstress. Ich höre bang’ But gloomily Im düstern Gang on the dark path Der Nachtigallen I hear the nightingales’ Gesänge schallen; echoing song. Denn ach! allein For alas, I wander Irr’ ich im Hain. alone in the grove. Ludwig Heinrich Christoph Hölty (1748-1776) English: Richard Wigmore © 2005 Carl Wilhelm Friedrich von Schlege, Der Schmetterling Wie soll ich nicht tanzen, Why should I not dance? Es macht keine Mühe; It costs me no effort, Und reizende Farben and enchanting colours Schimmern hier im Grünen. shimmer here amid the verdure. Immer schöner glänzen Ever lovelier Meine bunten Flügel, my brightly-coloured wings glisten; Immer süsser hauchen ever sweeter is the scent Alle kleinen Blüten. from each tiny blossom. Ich nasche die Blüten, I sip from the blossoms; Ihr könnt sie nicht hüten. you cannot protect them. Wie gross ist die Freude. How great my joy, Sei’s spät oder frühe, be it early or late, Leichtsinnig zu schweben to flit so blithely Über Tal und Hügel. over hill and dale. Wenn der Abend säuselt, When the evening murmurs Seht ihr Wolken glühen; you see the clouds glow; Wenn die Lüfte golden, when the air is golden Scheint die Wiese grüner. the meadows are more radiantly green. Ich nasche die Blüten, I sip from the blossoms; Ihr könnt sie nicht hüten. you cannot protect them. Friedrich von Schlegel (1772-1829) English: Richard Wigmore © Carl Wilhelm Friedrich von Schlegel, Der Knabe Wenn ich nur ein Vöglein wäre, If only I were a bird, Ach, wie wollt’ ich lustig fliegen, ah, how joyfully I would fly, Alle Vögel weit besiegen. far outstripping all other birds. Wenn ich so ein Vogel bin, If I were a bird Darf ich, alles haschen, I could get everything Und die höchsten Kirschen naschen; and nibble the highest cherries. Fliege dann zur Mutter hin. Then I’d fly back to mother. Ist sie bös in ihrem Sinn, If she were angry Kann ich lieb mich an sie schmiegen, I could nestle sweetly up to her Ihren Ernst gar bald besiegen. and soon overcome her sternness. Bunte Federn, leichte Flügel Coloured feathers, light wings, Dürft’ ich in der Sonne schwingen, I could flap them in the sunlight, Dass die Lüfte laut erklingen, so that the air resounded loudly, Weiss nichts mehr von Band und Zügel. I would no longer be curbed and shackled. Wär’ ich über jene Hügel, If I were beyond those hills, Ach, dann wollt’ ich lustig fliegen, ah, how joyfully I would fly, Alle Vögel weit besiegen. far outstripping all other birds. Friedrich von Schlegel (1772-1829) English: Richard Wigmore © Friedrich von Matthisson, Der Abend Purpur malt die Tannenhügel The pine-covered hills are painted with purple Nach der Sonne Scheideblick, after the sun’s parting glance; Lieblich strahlt des Baches Spiegel the brook’s mirror reflects Hespers Fackelglanz zurück. the lovely gleaming torch of Hesperus.