4/10 Ava Chenok Junior Recital Program

Home , The Lady Is a Tramp

PROGRAM Occidental College Music Department Che si può fare Barabara Strozzi Junior Recital (1619-1677)

“Gretchen am Spinnrade” Franz Schubert from Faust (1797-1828) Du bist die Ruh Rastlose Liebe

Elle était descendue au bas de la prairie Lili Boulanger from Clairières dans le ciel (1893-1912)

Sombrero Cecile Chaminade (1857-1944)

Hai Luli Pauline Viardot (1821-1910)

Blue Moon Richard Rodgers (1902-1979)

Lover Man Jimmy Davis (1915-1997)

“Gretchen am Spinnrade” Franz Schubert from Faust (1797-1828) Du bist die Ruh Rastlose Liebe

Elle était descendue au bas de la prairie Lili Boulanger from Clairières dans le ciel (1893-1912)

Sombrero Cecile Chaminade (1857-1944)

Hai Luli Pauline Viardot (1821-1910)

Blue Moon Richard Rodgers (1902-1979)

Lover Man Jimmy Davis (1915-1997)

The Lady is a Tramp Richard Rodgers from Babes in Arms (1902-1979) Ava Chenok voice piano accompaniment provided by William Schmidt Saturday, April 10, 2021 4:45 PM Online PROGRAM NOTES Boulanger, “Elle était descendue au bas de la prairie” Often eclipsed by her more famous older sister Nadia, who taught Strozzi, “Che si può fare” some of the 20th century’s most famous composers (from Aaron Barbara Strozzi set multiple poems by 17th-century poet Copland to Philip Glass), Lili Boulanger was a gifted composer, the Gaudenzio Brunacci, who was, along with Strozzi’s father, a first woman to win the Prix de Rome, in 1913. She created a member of the “Academy of the Unknowns,” an intellectual stunning body of work, despite dying young after a lifelong society of noblemen who promoted musical theater. Simpler chronic illness. Francis Jammes’s poem “Elle était descendue au than her later works, “Che si può fare” is, nevertheless, no less bas de la prairie” conveys detached, almost journalistic effective as emotional theater. The repeated descending figure appreciation of the woman or young girl (“jeune fille”) who goes in the bass, called an ostinato (“obstinate”), elegantly down to the meadow. It is Boulanger’s musical setting that results summarizes the singer’s relentless suffering. in a song of mild ecstasy.

Schubert, “Gretchen am Spinnrade” Chaminade, “Sombrero” Excerpted from Goethe’s play Faust, “Gretchen am Spinnrade” shifts Cécile Chaminade was a Parisian composer who wrote tuneful and the focus from Faust’s dilemma to Gretchen’s heartache. The most chromatic music characteristic of late French Romantic music. More prominent feature of the song in the constant whirring of the piano popular song than art song, “Sombrero” has the quick tempo, charm, accompaniment, which evokes the spinning of Gretchen’s spinning and wit of the song text’s “coquette.” Listen for Chaminade’s light wheel. In this accompaniment figure, Schubert captures Gretchen’s word-painting touches, such as a trumpet-like blare on the word constant yearning for Faust, as though she is both chained to her “fanfare.” wheel and imprisoned by her longing and dread. Viardot, “Hai Luli” Schubert, “Du bist die Ruh” Pauline Viardot was both a prolific composer and accomplished Schubert sets Rückert’s serene poem to a simple, sweet performer in 19th century France. She was connected to many familiar melody. Rückert’s text casts romantic love as a religious faces of the time, from being taught piano by Franz Liszt as a girl to experience, with words such as weihe (consecrate) and playing duets with Chopin. George Sand even modeled her protagonist erhellt (radiance). Schubert responds with a musical setting in her 1843 novel Consuelo after Viardot. French writer Xavier de that grows from serene delight to gentle rapture. Maistre’s poem “Hai Luli” comes from his 1825 novel The Prisoners of the Caucus. Viardot’s long relationship with the Russian author Ivan Schubert, “Rastlose Liebe” Turgenev may have been what attracted her to de Maistre’s Russiann Goethe wrote this poem during a snowstorm in 1776, when his tale. Viardot’s poignant and wistful setting became her most popular relationship with Charlotte von Stein was beginning to flourish. composition. Schubert translates the excitement and ferociousness of Goethe’s text as whirling piano accompaniment and urgent vocal line, giving the effect of the music almost rushing past you, like flakes in a snowstorm. PROGRAM NOTES Boulanger, “Elle était descendue au bas de la prairie” Often eclipsed by her more famous older sister Nadia, who taught Strozzi, “Che si può fare” some of the 20th century’s most famous composers (from Aaron Barbara Strozzi set multiple poems by 17th-century poet Copland to Philip Glass), Lili Boulanger was a gifted composer, the Gaudenzio Brunacci, who was, along with Strozzi’s father, a first woman to win the Prix de Rome, in 1913. She created a member of the “Academy of the Unknowns,” an intellectual stunning body of work, despite dying young after a lifelong society of noblemen who promoted musical theater. Simpler chronic illness. Francis Jammes’s poem “Elle était descendue au than her later works, “Che si può fare” is, nevertheless, no less bas de la prairie” conveys detached, almost journalistic effective as emotional theater. The repeated descending figure appreciation of the woman or young girl (“jeune fille”) who goes in the bass, called an ostinato (“obstinate”), elegantly down to the meadow. It is Boulanger’s musical setting that results summarizes the singer’s relentless suffering. in a song of mild ecstasy.

Schubert, “Gretchen am Spinnrade” Chaminade, “Sombrero” Excerpted from Goethe’s play Faust, “Gretchen am Spinnrade” shifts Cécile Chaminade was a Parisian composer who wrote tuneful and the focus from Faust’s dilemma to Gretchen’s heartache. The most chromatic music characteristic of late French Romantic music. More prominent feature of the song in the constant whirring of the piano popular song than art song, “Sombrero” has the quick tempo, charm, accompaniment, which evokes the spinning of Gretchen’s spinning and wit of the song text’s “coquette.” Listen for Chaminade’s light wheel. In this accompaniment figure, Schubert captures Gretchen’s word-painting touches, such as a trumpet-like blare on the word constant yearning for Faust, as though she is both chained to her “fanfare.” wheel and imprisoned by her longing and dread. Viardot, “Hai Luli” Schubert, “Du bist die Ruh” Pauline Viardot was both a prolific composer and accomplished Schubert sets Rückert’s serene poem to a simple, sweet performer in 19th century France. She was connected to many familiar melody. Rückert’s text casts romantic love as a religious faces of the time, from being taught piano by Franz Liszt as a girl to experience, with words such as weihe (consecrate) and playing duets with Chopin. George Sand even modeled her protagonist erhellt (radiance). Schubert responds with a musical setting in her 1843 novel Consuelo after Viardot. French writer Xavier de that grows from serene delight to gentle rapture. Maistre’s poem “Hai Luli” comes from his 1825 novel The Prisoners of the Caucus. Viardot’s long relationship with the Russian author Ivan Schubert, “Rastlose Liebe” Turgenev may have been what attracted her to de Maistre’s Russiann Goethe wrote this poem during a snowstorm in 1776, when his tale. Viardot’s poignant and wistful setting became her most popular relationship with Charlotte von Stein was beginning to flourish. composition. Schubert translates the excitement and ferociousness of Goethe’s text as whirling piano accompaniment and urgent vocal line, giving the effect of the music almost rushing past you, like flakes in a snowstorm. Rodgers, “Blue Moon” This is the only hit of Rodgers and Hart’s collaboration that was not made popular by a Broadway musical or Hollywood film. The memorable tune and lyrics have made it one of the most jazz standards, covered by singers ranging from Frank Sinatra to Cyndi Lauper.

Davis, “Lover Man” This swinging plea for love gained widespread popularity with Billie Holiday’s 1945 orchestrated version. The distinctive timbre and sly lilt of Holliday’s voice suit the song, so much so that her version was inducted into the Grammy Hall of Fame in 1989.

Rodgers, “The Lady is a Tramp” Originally from Rodgers and Hart’s 1937 musical Babes in Arms, “The Lady Is a Tramp” enjoyed popularity for 20 years, with covers by Lena Horne, Rosemary Clooney, Anita O’Day, and Ella Fitzgerald, among others. It became an even bigger hit after it appeared in the 1957 film adaptation of Rodgers and Hart’s 1940 musical, Pal Joey, where Frank Sinatra sang it. This song that spoofs New York high society became a signature song for Sinatra, and has since been covered by over a hundred different singers, including a recent popular duet version with Tony Bennett and Lady Gaga. TRANSLATIONS Gretchen am Spinnrade cont. Gretchen at the Spinning Wheel cont. Sein hoher Gang, His high bearing Che si può Fare What can I do? Sein edle Gestalt, His noble form, Seines Mundes Lächeln, His smiling lips, Che si può fare? What can I do? Seiner Augen Gewalt. His powerful eyes, Le stelle ribelle non The stars have no pity and work against hanno pietà; me; Und seiner Rede And his words se ‘l cielo non dà un influsso if heaven will give me no gesture Zauberfluss. Magically flowing, di pace al mio penare, of peace for my pain, Sein Händedruck, His handclasp, che si può fare? what can I do? Und ach, sein Kuss! And ah, his kiss! Che si può dire? What can I say? Dagl’astri disastri mi piovano The heavens are raining disasters Mein Busen drängt sich My bosom ognor; on me; Nach ihm hin. Yearns for him. se perfido amor un respiro if love will not grant me a moment of Ach dürft ich fassen Ah, if I could grasp diniega breath Und halten ihn, And hold him, al mio martire, to relieve all my suffering, che si può dire? what can I say? Und küssen ihn And kiss him So wie ich wollt, As I please, Gretchen am Spinnrade Gretchen at the Spinning Wheel An seinen Küssen And in his kisses Vergehen solt I should perish! Meine Ruh ist hin, My peace is gone Mein Herz ist schwer, My heart is heavy; Ich finde sie nimmer I will find it never Du bist die Ruh You are peace Und nimmermehr. And nevermore. Du bist die Ruh, You are repose, Der Friede mild. and gentle peace. Where I do not have him, Wo ich ihn nicht hab Die Sehnsucht du, You are longing Is to me the grave; Ist mir das Grab, Und was sie stillt. and what stills it. Die ganze Welt The whole world Ist mir vergällt. Is spoiled for me. Ich weihe dir Full of joy and grief Voll Lust und Schmerz I consecrate to you Mein armer Kopf My poor head Zur Wohnung hier my eyes and my heart Mein Aug’ und Herz. as a dwelling place. Ist mir verrückt Is crazed, Mein armer Sinn My poor mind Kehr’ ein bei mir, Come in to me, Is shattered. Ist mir zerstückt. Und schliesse du and softly close Still hinter dir the gate Nach ihm nur schau ich It’s only for him Die Pforten zu. behind you. Zum Fenster hinaus, I look out the window, Nach ihm nur geh ich It’s only for him Treib andern Schmerz Drive all other grief Aus dem Haus. I go out of the house. Aus dieser Brust. from my breast. TRANSLATIONS Gretchen am Spinnrade cont. Gretchen at the Spinning Wheel cont. Sein hoher Gang, His high bearing Che si può Fare What can I do? Sein edle Gestalt, His noble form, Seines Mundes Lächeln, His smiling lips, Che si può fare? What can I do? Seiner Augen Gewalt. His powerful eyes, Le stelle ribelle non The stars have no pity and work against hanno pietà; me; Und seiner Rede And his words se ‘l cielo non dà un influsso if heaven will give me no gesture Zauberfluss. Magically flowing, di pace al mio penare, of peace for my pain, Sein Händedruck, His handclasp, che si può fare? what can I do? Und ach, sein Kuss! And ah, his kiss! Che si può dire? What can I say? Dagl’astri disastri mi piovano The heavens are raining disasters Mein Busen drängt sich My bosom ognor; on me; Nach ihm hin. Yearns for him. se perfido amor un respiro if love will not grant me a moment of Ach dürft ich fassen Ah, if I could grasp diniega breath Und halten ihn, And hold him, al mio martire, to relieve all my suffering, che si può dire? what can I say? Und küssen ihn And kiss him So wie ich wollt, As I please, Gretchen am Spinnrade Gretchen at the Spinning Wheel An seinen Küssen And in his kisses Vergehen solt I should perish! Meine Ruh ist hin, My peace is gone Mein Herz ist schwer, My heart is heavy; Ich finde sie nimmer I will find it never Du bist die Ruh You are peace Und nimmermehr. And nevermore. Du bist die Ruh, You are repose, Der Friede mild. and gentle peace. Where I do not have him, Wo ich ihn nicht hab Die Sehnsucht du, You are longing Is to me the grave; Ist mir das Grab, Und was sie stillt. and what stills it. Die ganze Welt The whole world Ist mir vergällt. Is spoiled for me. Ich weihe dir Full of joy and grief Voll Lust und Schmerz I consecrate to you Mein armer Kopf My poor head Zur Wohnung hier my eyes and my heart Mein Aug’ und Herz. as a dwelling place. Ist mir verrückt Is crazed, Mein armer Sinn My poor mind Kehr’ ein bei mir, Come in to me, Is shattered. Ist mir zerstückt. Und schliesse du and softly close Still hinter dir the gate Nach ihm nur schau ich It’s only for him Die Pforten zu. behind you. Zum Fenster hinaus, I look out the window, Nach ihm nur geh ich It’s only for him Treib andern Schmerz Drive all other grief Aus dem Haus. I go out of the house. Aus dieser Brust. from my breast. Du bist die Ruh cont. You are peace cont. Elle était descendue au bas de la prairie She had gone down to the bottom of Voll sei dies Herz Let my heart cont. the meadow cont. Von deiner Lust. be full of your joy. fleurie flowers de plantes dont la tige aime à pousser that like to grow Dies Augenzelt The temple of my eyes dans l'eau, in the water, Von deinem Glanz is lit ces plantes inondées je les avais I had gathered the drowned plants. Allein erhellt, by your radiance alone, cueillies. O füll’ es ganz. O, fill it wholly! Bientôt, s'étant mouillée, elle gagna le Soon, because she was wet, she came haut de cette back to the top Rastlose Liebe Restless Love prairie-là qui était toute fleurie. of that flowery meadow. Elle riait et s'ébrouait avec She laughed and moved with the lanky Dem Schnee, dem Regen, Into the snow, the rain, la grâce grace Dem Wind entgegen, and the wind, dégingandée qu'ont les jeunes filles trop of girls who are too Im Dampf der Klüfte, Through steamy ravines, grandes. tall. Durch Nebeldüfte, Through mists, Elle avait le regard qu'ont les fleurs de She looked the way lavender flowers do. Immer zu! Immer zu! Onwards, ever onwards! lavande. Ohne Rast und Ruh! Without respite!

Lieber durch Leiden I would sooner fight my way Hai Luli Hai Luli Wollt’ ich mich schlagen, Through suffering Als so viel Freuden Than endure so much Je suis triste, je m'inquiète, I am sad, I am troubled, Des Lebens ertragen. Of life’s joy. Je ne sais plus que devenir. I no longer know what will happen! Mon bon ami devait venir, My lover ought to come, Alle das Neigen This affection Et je l'attends ici seulette. And I await him here alone. Von Herzen zu Herzen, Of one heart for another, Hai luli, hai luli, Hai luli, hai luli Ach, wie so eigen Ah, how strangely Où peut donc être mon ami? Could I have lost my love? Schaffet es Schmerzen! It creates pain! Je m'assieds pour filer ma laine, Alas, I languish in waiting, Wie soll ich flieh’n? How shall I flee? Le fil se casse dans ma main: And the ingrate enjoys himself far from Wälderwärts zieh’n? Into the forest? Allons! me! Alles vergebens! It is all in vain! je filerai demain, Perhaps he betrays his oath to me Aujourd'hui je suis trop en peine. Beside a new lover. Krone des Lebens, Crown of life, Hai luli, hai luli, Hai luli! Glück ohne Ruh, Happiness without peace – Qu'il fait triste sans son ami! Ah! how sad it is without my love. Liebe, bist du! This, O love, is you! Si jamais il devient Ah! if it is true; if it is true that he is village faithless, Elle était descendue au bas de la prairie She had gone down to the bottom of S'il doit un jour m'abandonner, If one day he should abandon me, the meadow Le village n'a qu'à brûler The only thing is for the village to burn Et moi-même avec le village! And myself with the village. Elle était descendue au bas de la She had gone down to the bottom of the Hai luli, hai luli, Hai luli! prairie, meadow, À quoi bon vivre sans ami? What use is it to live without my love? et, comme la prairie était toute and because the meadow was full of Du bist die Ruh cont. You are peace cont. Elle était descendue au bas de la prairie She had gone down to the bottom of Voll sei dies Herz Let my heart cont. the meadow cont. Von deiner Lust. be full of your joy. fleurie flowers de plantes dont la tige aime à pousser that like to grow Dies Augenzelt The temple of my eyes dans l'eau, in the water, Von deinem Glanz is lit ces plantes inondées je les avais I had gathered the drowned plants. Allein erhellt, by your radiance alone, cueillies. O füll’ es ganz. O, fill it wholly! Bientôt, s'étant mouillée, elle gagna le Soon, because she was wet, she came haut de cette back to the top Rastlose Liebe Restless Love prairie-là qui était toute fleurie. of that flowery meadow. Elle riait et s'ébrouait avec She laughed and moved with the lanky Dem Schnee, dem Regen, Into the snow, the rain, la grâce grace Dem Wind entgegen, and the wind, dégingandée qu'ont les jeunes filles trop of girls who are too Im Dampf der Klüfte, Through steamy ravines, grandes. tall. Durch Nebeldüfte, Through mists, Elle avait le regard qu'ont les fleurs de She looked the way lavender flowers do. Immer zu! Immer zu! Onwards, ever onwards! lavande. Ohne Rast und Ruh! Without respite!

Lieber durch Leiden I would sooner fight my way Hai Luli Hai Luli Wollt’ ich mich schlagen, Through suffering Als so viel Freuden Than endure so much Je suis triste, je m'inquiète, I am sad, I am troubled, Des Lebens ertragen. Of life’s joy. Je ne sais plus que devenir. I no longer know what will happen! Mon bon ami devait venir, My lover ought to come, Alle das Neigen This affection Et je l'attends ici seulette. And I await him here alone. Von Herzen zu Herzen, Of one heart for another, Hai luli, hai luli, Hai luli, hai luli Ach, wie so eigen Ah, how strangely Où peut donc être mon ami? Could I have lost my love? Schaffet es Schmerzen! It creates pain! Je m'assieds pour filer ma laine, Alas, I languish in waiting, Wie soll ich flieh’n? How shall I flee? Le fil se casse dans ma main: And the ingrate enjoys himself far from Wälderwärts zieh’n? Into the forest? Allons! me! Alles vergebens! It is all in vain! je filerai demain, Perhaps he betrays his oath to me Aujourd'hui je suis trop en peine. Beside a new lover. Krone des Lebens, Crown of life, Hai luli, hai luli, Hai luli! Glück ohne Ruh, Happiness without peace – Qu'il fait triste sans son ami! Ah! how sad it is without my love. Liebe, bist du! This, O love, is you! Si jamais il devient Ah! if it is true; if it is true that he is village faithless, Elle était descendue au bas de la prairie She had gone down to the bottom of S'il doit un jour m'abandonner, If one day he should abandon me, the meadow Le village n'a qu'à brûler The only thing is for the village to burn Et moi-même avec le village! And myself with the village. Elle était descendue au bas de la She had gone down to the bottom of the Hai luli, hai luli, Hai luli! prairie, meadow, À quoi bon vivre sans ami? What use is it to live without my love? et, comme la prairie était toute and because the meadow was full of Sombrero Sombrero Sombrero cont. Sombrero cont. Qu'elle était troublée, inquiète, Still I see her, I dream of her yet Qu'elle était mutine et coquette, Was there ever such a gay little coquette La fillette Tho’ past is gone many a year La fillette as she Du vieux Pédro. There with her quaint mantill archly set Du vieux Pédro! Or one so willful and dear! Elle avait mis sur son oreille Above her dainty ear! Elle avait mis sur son oreille There with her quiet mantilla archly set Si vermeille Si vermeille Above her dainty ear! Un sombrero. Un sombrero.

Elle avait un petit air crâne Oh her madcap air and her delicate face De Diane The wild unturor’d light of her eyes Courant le cerf; The perfect arch of neck and poise of L'æil indompté d'une cavale grace Qui détale Such life in each sweet curve lies! Dans le désert.

Autour de sa taille serrée Was there ever such a sweet waist Et cambrée So rounded and slender Son corset noir Or curves so rare Reluisait comme une cuirasse, Or a bodice that seemed to lend her Claire glace, Light to mirror a form so fair Vivant miroir.

Elle avait pris son ton farouche But ah! her face so petulant Et sa bouche, As of doubting, is growing now Rose clairon, Her soft lips are pouting Sonnait une brève fanfare, And she strangely knits, Et, bizarre, Knits her brow. Plissait le front.

Elle frappait contre la dalle Lightly, quickly, beat on the path her Sa sandale light feet Fiévreusement. A sudden anger shines in her eyes, Elle attendait impatiente, Her little heart begins defiant to beat Défiante, That oft her lover sighs! Son jeune amant.

Il ne viendra pas, songeait-elle, “He will come now” now, she is saying L'infidèle, Il est trop tard! “He is late, or false has been” Elle tenait dans sa main blanche, Stealthily grasping in her white hand Par le manche, Trembling, watching her dagger keen! Son fin poignard. Sombrero Sombrero Sombrero cont. Sombrero cont. Qu'elle était troublée, inquiète, Still I see her, I dream of her yet Qu'elle était mutine et coquette, Was there ever such a gay little coquette La fillette Tho’ past is gone many a year La fillette as she Du vieux Pédro. There with her quaint mantill archly set Du vieux Pédro! Or one so willful and dear! Elle avait mis sur son oreille Above her dainty ear! Elle avait mis sur son oreille There with her quiet mantilla archly set Si vermeille Si vermeille Above her dainty ear! Un sombrero. Un sombrero.