Program Notes

Che Faro Senza Euridice, Orfeo ed Euridice By Christoph Willibald Gluck (1714-1787)

Orfeo ed Euridice was premiered in 1762 in Vienna. It is marked as the first of Gluck’s reform operas where he tried to recreate the plots and overly complex music of opera seria with “noble simplicity”. The opera follows the story Orfeo (Orpheus in Greek mythology) on his journey through the underworld to retrieve the soul of his wife Euridice. In act 3, on their way back to the mortal world, Euridice laments that Orfeo no longer loves her because he is not looking at her but unbeknownst to her a condition of her soul returning back to the mortal world is that Orfeo must not look at her on their way back, or else she dies. Unable to stand it anymore, Orfeo turns to look at Euridice and she dies again. In the aria “Che Faro Senza Euridice”, Orfeo relates the grief that he feels with the second loss of Euridice and wonders how he can continue without her in his life. In the end, Orfeo resolves to kill himself and reunite with Euridice in the afterlife, however Amour appears, stops him from continuing, and in honor of Orfeo’s continuing love brings Euridice back to life. What I believe is one of the most beautiful lessons can be learned from this opera about how much trust you must have in love.

Recitative Recitative Ahime! Dove trascorsi, ohimè, dove mi Where I spent, oh, where he pushed me spinse A delirium of love! .. Un delirio d'amor!.. Bride! ... Eurydice! ... Sposa!... Euridice!... Eurydice! ... delight! Ah, no longer does he love Euridice!... diletta! Ah più non m'ode, me, Ella è spenta per me! Misero! ed io, She is off for me! Miserable! and me, Io fui che morte a lei recava! Oh legge I was what death she brought! Oh read Spietata! quel martir al mio somiglia! Ruthless! that martyr to my likeness!

Aria Proper Aria Proper Che farò senza Euridice What will I do without Euridice Dove andrò senza il mio ben. Where will I go without my wonderful one. Euridice, o Dio, risponde Euridice, oh God, answer Io son pure il tuo fedele. I am entirely your loyal one. Euridice! Ah, non m´avvanza Euridice! Ah, it doesn´t give me più socorso, più speranza any help, any hope ne dal mondo, ne dal cel. neither this world, neither heaven.

Spirate pur, Spirate By Stefano Donaudy (1879-1925)

Donaudy was a relatively minor Italian composer in the late 19th century, early 20th century. He primarily made his living as a teacher, coach, and accompanist, but actively pursued composing. Most of his compositions were for voice and were divided between opera and song. In 1918, he published his collection 36 Arie di Stile Antico, which remains in print today. These songs reveal an elegant melodic vein and bring us to back to early classicism in music. Spirate, pur spirate, is perfect example of this idea with its ABA and soaring melodic lines.

Spirate pur, spirate attorno a lo mio bene, Breathe, still breathe around my beloved, aurette, e v'accertate Little breezes, and find out s'ella nel cor mi tiene. If she holds me in her heart, Spirate, spirate pur, aurette! If she holds me in her heart. Se nel suo cor mi tiene, v'accertate, Find out, blessed breezes, aure beate, aure lievi e beate! Breezes light and blessed.

Liebst Du um Schoenheit & Warum Willst du and’re Fragen By Clara Schumman (1819-1896)

Clara Schumman was the wife of well-known romantic composer Robert Schumman. Their love went through many trials, including an almost three yearlong court case, before they wed in 1840. These two songs come from their jointly published collection, Zwolfe gedichte aus Friedrich Ruckert’s Liebsfruling, and were composed by Clara as a present for Robert, for their first Christmas as husband and wife. As with many of the texts from this collection, they tell of love, echoing the great love that Clara felt as she was finally married to Robert.

Liebst du um Schoenheit Liebst du um Schönheit, If you love for beauty, O nicht mich liebe! O love not me! Liebe die Sonne, Love the sun, Sie trägt ein gold’nes Haar! She has golden hair!

Liebst du um Jugend, If you love for youth, O nicht mich liebe! O love not me! Liebe den Frühling, Love the spring Der jung ist jedes Jahr! Who is young each year!

Liebst du um Schätze, If you love for riches, O nicht mich liebe! O love not me! Liebe die Meerfrau, Love the mermaid Sie hat viel Perlen klar! Who has many shining pearls!

Liebst du um Liebe, If you love for love, O ja, mich liebe! Oh yes, love me! Liebe mich immer, Love me always; Dich lieb’ ich immerdar! I shall love you forever! Translation by: Richard Stokes, author of The Book of Lieder (Faber, 2005)

Warum willst du and’re fragen Warum willst du and’re fragen, Why enquire of others, Die’s nicht meinen treu mit dir? Who are not faithful to you? Glaube nicht, als was dir sagen Only believe what these two eyes Diese beiden Augen hier! Here tell you!

Glaube nicht den fremden Leuten, Do not believe what others say; Glaube nicht dem eignen Wahn; Do not believe strange fancies; Nicht mein Tun auch sollst du deuten, Nor should you interpret my deeds, Sondern sieh die Augen an! But instead look at these eyes!

Schweigt die Lippe deinen Fragen, Are my lips silent to your questions Oder zeugt sie gegen mich? Or do they testify against me? Was auch meine Lippen sagen, Whatever my lips might say; Sieh mein Aug’, ich liebe dich! Look at my eyes; I love you! Translation by: Richard Stokes, author of The Book of Lieder (Faber, 2005)

Wie Melodien zieht es mir By Johannes Brahms (1833-1897)

Brahms was known for composing in many different facets from symphonies to art songs. His song works contain broad melodies and with beautiful long phrases. In life, he was hailed as the champion of traditional forms and opposed the programmatic works emerging in the romantic era. For most of Brahms’ works the music was held at a higher level than the texts which is apparent in this piece through the rampant use of chromaticism, and rich harmonic texture. The text of this song is a beautiful testament to how words cannot capture fleeting feelings.

Wie Melodien zieht es Thoughts, like melodies, Mir leise durch den Sinn, Steal softly through my mind, Wie Frühlingsblumen blüht es Like spring flowers, they blossom Und schwebt wie Duft dahin. And drift away like fragrance.

Doch kommt das Wort und faßt es Yet when words come and capture them Und führt es vor das Aug’, And bring them before my eyes, Wie Nebelgrau erblaßt es They turn pale like grey mist Und schwindet wie ein Hauch. And vanish like a breath.

Und dennoch ruht im Reime Yet surely in rhyme Verborgen wohl ein Duft, A fragrance lies hidden, Den mild aus stillem Keime Summoned by moist eyes Ein feuchtes Auge ruft. From the silent seed. Translation by: Richard Stokes, author of The Book of Lieder (Faber, 2005)

Hôtel & Voyage à Paris, from Banalites By Francis Poulenc (1899-1963)

Banalites is French for trivialities. In this cycle, Poulenc uses the poetry of Apollonaire to express different moods related to trivial things and especially the idea of escaping. This echoes the feelings of Poulenc and his love of Paris. In Hôtel, the second song of the cycle, we explore the want to escape the day to day monotony in favor of relaxation. In Voyage à Paris, the fourth song of the cycle, we escape the boringness of the home for the exciting city of Paris and all that it has to offer.

Hôtel Ma chambre a la forme d’une cage My room is shaped like a cage Le soleil passe son bras par la fenêtre The sun slips its arm through the window Mais moi qui veux fumer pour faire des mirages But I who want to smoke to make mirages J’allume au feu du jour ma cigarette I light my cigarette on daylight's fire Je ne veux pas travailler je veux fumer I do not want to work I want to smoke Translations by Richard Stokes, from A French Song Companion (Oxford, 2000)

Voyage à Paris Ah! la charmante chose Oh! how delightful Quitter un pays morose To leave a dismal Pour Paris Place for Paris Paris joli Charming Paris Qu’un jour That one day Dut créer l’Amour Love must have made Oh! how delightful To leave a dismal Place for Paris Translations by Richard Stokes, from A French Song Companion (Oxford, 2000)

In the Beginning, Of Gods and Cats By Jake Heggie(b.1961)

Jake Heggie is a contemporary composer who is known for both his song and opera compositions. In this short two song cycle, Heggie pulls heavily from the jazz style. The text is a fun retelling of the first few lines of the book of genesis where the cat becomes the divine being.

Euclid & The Haughty Snail King, Songs to the Moon

In Songs to the Moon, Heggie sets the poetry of Vachel Lindsay pulling heavily from jazz stylings. In the cycle, he interprets the poems to be stories told to children and each song is a different story, told by a different character. The first song in the cycle, Once more to Gloriana, is an introduction to the child that the stories are being told to. Euclid, the second song in the cycle, is a story told by the mother to entertain the child. It talks of the mathematician, Euclid, and his many solemn contemporaries. The Haughty Snail King, the third song of the cycle, is the story that Gloriana’s Uncle William told her. In the song, Heggie interprets the uncle as intoxicated with mannerisms that are already built into the score.