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3-28-1997 Senior Recital: Allan Care, baritone Department of Music, University of Richmond
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Recommended Citation Department of Music, University of Richmond, "Senior Recital: Allan Care, baritone" (1997). Music Department Concert Programs. 647. https://scholarship.richmond.edu/all-music-programs/647
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PERKINSON RECITAL HALL
FRIDAY. MARCH 28, 1997, 8:00 PM
Senior Recital Allan Care, baritone
assisted by Denise Roberts, piano and harpsichord Suzanne Bunting, piano
with Jennifer Foster, soprano Jannine Habennan, violin Liz Thompson, cello
This recital is in partial fulfillment of the requirements for a Bachelor ofArts degree
./ ':?:$::::~~;$:::~:::»':S::':$::::.»-:::::':»":::~$::'~m~>~~~;.y-:?:~=">:::::::::=:t:::;:».:::;-s:m::W,»<.t~:?:-'::::l::":'.<-::~::::~::::::s~:#:::::."~.f-::'~ Two Arias Antonio Vivaldi Par Min Dirti (1678-1741) Ti Sento "Wandern" Lieder Das Wandern Franz Schubert (1797-1828) Auf der Wanderschaft Felix Mendelssohn (1809-1847) Der Musikant Hugo Wolf (1860-1903) Wanderlied Robert Schumann (1810-1856) • Intermission • Five Love Duets Johannes Brahms Die Boten der Liebe, op. 61, no. 4 (1833-1897) Die Meere, op. 20, no. 2 KUlnge,op. 66,no. 2 Klosterfrllulein, op. 61, no. 2 Weg der Liebe, op. 20, no. 2 • I Said to Love Gerald Finzi I need not go (1901-1956) At Middle-Field Gate in February Two Lips In five-score Summers For Life I had never cared greatly I Said to Love Program Notes and Translations Two Arias "Wandern" Lieder Though respected in his time more as The concept of Wandern (wandering) a violinist than a composer, Antonio pervades German Romanticism as Vivaldi ranks today as the both a reflection of the importance of quintessential composer of the Italian the Heimat (homeland) and as a Baroque era Vivaldi's vast number of symbol of mankind's mystical compositions, his mastery of the connection with nature. Only in practice of orchestration and his nature can we escape the rigidity and progressive use of harmonies qualify monotony of everyday life; only in him as a pioneer in the Baroque style. nature can we experience the union "Par Min Dirti" exemplifies this between the physical and spiritual innovative style in its use of melodic worlds; only in nature can we tritones and its free exchange between commune with our human origins. the major and minor modes. "Ti Through wandering, through Sento," though perhaps falsely journeying from our homes, we accredited to Vivaldi, nonetheless discover who we are and what we contains the chromaticism typical of love. This compilation of Wandern the composer's style. songs reflects the importance of wandering in the German Romantic movement. In the first piece, "Das Par Min Dirti Wandem," Schubert's strophic setting In my thoughts I whisper to you, and bouncy accompaniment reflect the Hearing your voice, my beloved turning of a water wheel, which the Sighing at your grave young miller parallels with his desire In the deep darkness. to wander. The three subsequent But if in this horror pieces deal with the separation of the Love still has power, wanderer from his homeland. You would feel compassion for me Mendelssohn's "Auf der Thinking of my fate. Wanderschaft" gloomily depicts the last good-bye between a lover and his lass, while Wolfs "Der Musikant" Ti Sento playfully presents the carefree life of a I feel you throbbing in my breast wandering minstrel. The final Flattering hope, selection, Schumann's "Wanderlied," And tell my heavy heart is a roving tale of a young man driven Like a flash of lightning to explore the world, only to find That this torment himself followed by the love of his Will change to everlasting joy. homeland (translations by Waldo Lyman) Das Wandern (Wandering) Though I've considered laboring Wandering is the miller's joy; It just doesn't suit me. Only a bad miller I sing beautiful, old songs, Has never thought to wander. Out in the cold without shoes on, The water has taught us to wander; While I pluck away on the guitar; It doesn't rest, day or night I don't even know where I'll sleep at And always thinks of wandering. night! We see it also in the water wheels; They don't want to stay still, It's a wonder they don't grow tired. Wanderlied (Wandering Song) And the rocks, how heavy they are! "Come, drink more of the sparkling They dance with the quick turn of the wine! wheel Farewell now friends, we must part, And want to go even faster. Farewell now you mountains, my 0 wandering, my joy; father's home, Dear master, leave me in peace to For I am called to go out into the wander. distance." The sun doesn't stay still in the sky, It moves across the land and sea, Auf der Wanderschaft Waves don't cling to the shore, (On the Journey) Storms rage powerfully through the I'm going off into that distant land. land. Once more I looked around, moved The bird moves swiftly with the And saw how she wrinkled her mouth hastening clouds And waved her hand And in the distance, sings a song Happily, she called out one last from its homeland; friendly word to me The young man is driven through On my sad journey, field and forest But I didn't hear the lovely sound To roam like wandering Mother Because the wind had carried it away. Nature. Is it not enough that I must leave my He is greeted at sea by the familiar happiness, birds You raw, cold gust of wind, Who flew there from his home But that you also tear from me her meadows; last "good-bye"? There, also, are the familiar scents of his homeland, Carried to him on the wind. Der Musikant The birds know his father's home, (The Wandering Minstrel) The flowers are those that he had I love journeying planted And live exactly as I can, To make a bouquet for his love. woods to me. And love follows him where ever How many breezes have blown so he goes; softly from morning 'til night In this way, the most distant land without stopping. Becomes his home. They carried me tender kisses from the (notes and translations cool water. by Allan Care) They carried me tender kisses from my love. How the cornstalks swayed gently Five Love Duets in the springtime mountains. How the ears of com swayed softly In this his centennial year, Brahms through the fields. is remembered for his outstanding They all whispered, "My golden contribution to German lieder, and love, I love you so." here especially, vocal duets. In writing lieder, Brahms chose texts simply for their musical value. The Die Meere (The Seas) pieces are usually strophic and filled The wind is sleeping on the reflection with much word painting in both of the water. vocal and piano lines. Brahms Cool evening shadows cover the followed the German poet, Goethe's weary waves. principle of adapting the melody to The moon veils her face and sways in suit the changing character of each dusky dreams over the water. stanza, while maintaining its basic Everything is quiet on the vast seal character. Brahms' pieces contain Only my heart will not share in its hints of folk song influence with their tranquility. diatonic handling of melody. The In love, the waters are rough and the texts for these duets come from storm will not subside until the various poets including Herder's skiff sinks. Stimmer der Volker (op. 20, no. 2), J. Kerner (op. 61, no. 2), and Groth (op. 66, no. 2). The rest are texts Klinge (Ringing) from traditional Italian or Czech When a weary body is buried, bells literature. Brahms has been credited as ring it to sleep, being one of the truest upholders of And the earth closes its wound with the German tradition, as evidenced in the most beautiful flowers. these five duets. When love is buried, songs sing it to sleep, And from the wound grow lovely Die Boten der Liebe flowers, buried in the grave. (The Messengers of Love) How many of Love's messengers have flown down the path from Klosterfrliulein (Nun) I Said to Love ... O what a poor sister I am! Mother, what have you done? English composer Gerald Finzi said of Lenz passed by my gate and brought the author/poet Thomas Hardy, "I me no flowers. have always loved him so much and O how far down below, two little from the earliest days responded, not sheep walk in the valley. so much to an influence, as to a Good luck, little sheep, you're seeing kinship with him." This kinship was Spring for the first time. founded upon a mutual distrust of O how high above, two little birds dogmas and creeds, as well as a fly in peace. preoccupation with time, chance, and Good luck, little birds, you 're flying continuities. In "I Said to Love," to a better home. Finzi has set texts that reflect these shared sentiments. Songs such as "At Middle-Field Gate in February," "Two Weg der Liebe Lips" and "In Five-score Summers" (The Path or Love) have a reflective, meditative quality Can the eternal ties of love be undone that remind the listener of life's by the mortal hand? transience. Others, such as "I need Why practice deceit, for love will not go" and "For Life I had never withstand your trickery and find cared greatly," convey a self-confident the way. and often smug quest to play the And if the path were blocked or game of chance and make the most of mislabeled, time. In the final piece, which shares And if its name were hidden from the title of the song set, "I Said to view, Love," Finzi mimics the defiant mood Sympathetic winds would blow over of Hardy's poem. Rejecting austerity me and show me the way. of creeds and the notion of eternal O love, if you were far beyond the truth, Hardy writes, " 'Depart then, mountains or far across the sea, Love! Man's race shall perish, I'd brave the rugged mountains threatenest thou, without thy kindling I'd swim cross the sea. coupling-vow? The age to come the If you were a swallow, love, gliding man of now know nothing of? We o'er the brook, fear not such a threat from thee; We I, too, would be a swallow, love, and are too old in apathy! Mankind shall glide to join you there. cease.-So let it be,' I said to Love." (notes by Jennifer Foster, (notes by Allan Care) translations by Allan Care)