Acknowledgments Artistic Supervision: Michael Pinkerton Recording, Mixing, Mastering: C-Arts Classical Arts - Michael Waldegg & Harald Hajek Recorded January 7, 8, 11 & 12, 2016, Kaisersaal, Vienna, Austria Cover Photo: Stephen Mazujian Partial Funding for this recording comes from the Faculty Development Fund at The Hartt School, The University of Hartford CD Notes: Dr. Kerry Ginger and other works by American composers

Publishers Robert Barefield, baritone Virgil Thomson: G. Schirmer, Inc; Charles Ives: Merion Music, Inc.; Theodore Chanler: Carolyn Hague, piano G. Schirmer, Inc.; Scott Wheeler: Scott Wheeler Music; Marion Bauer: Night in the Woods & A Parable – The Blade of Grass (G. Schirmer, Inc.); Only of Thee & Me & Phillis songs by (Arthur P. Schmidt, Inc.); The Epitaph of a Butterfly (Oliver Ditson Company) Marion Bauer Theodore Chanler Charles Ives WWW.ALBANYRECORDS.COM TROY1625 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 Virgil Thomson TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. Scott Wheeler BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2016 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Virgil Thomson (1896-1989): Mostly about Love Songs To Fill The Void Influential critic and composer Virgil Thomson is best known for his two operatic works on librettos by This collection of American art song honors two intensely personal yet universal Gertrude Stein, Four Saints in Three Acts (1934) and The Mother of Us All (1947). Mostly about Love is aspects of the human experience: love and loss. In entire cultures and in individual the product of a two-year artistic partnership between Thomson and poet Kenneth Koch, which began in 1958 with the premise of creating another opera. Although the collaboration ended suddenly, the lives, loss brings both grief and the opportunity for rebirth. Art, with its unique ebullient Mostly about Love was a happy result. Koch later reflected on his brief relationship with capacity to articulate essential truths about human existence, is a powerful response Thomson, “I had a good ride even though I ended up back in the garage.” Thomson’s own writings, to the destruction of death and the vulnerability of pain. The artists featured here however, underscore the hallowed role of music-making in his life, and in the human experience as a each treat a different facet of life—from earthly joy, to contemplation of the divine, whole: “Musicians working together, hearing together, feeling together, and projecting together, that is the miracle, the experience we prize above all others.” to heady courtship, to the agony of bereavement—but each provides testament that The songs of Mostly about Love reflect Thomson’s famed attention to text setting, which renders poetry and music, the fruits of the creative impulse, are death’s very antithesis. each of these snapshots a natural-sounding monologue with incidental musical features. After all, The centerpiece of this program, Scott Wheeler’s Songs to Fill the Void, is the Thomson considered himself a servant to the text, and his use of musical gesture enhances the character of each oration effectively and efficiently. From the wit of “Love Song” to the exhilaration result of a yearlong collaboration between the composer and poet-vocalist Robert of “Let’s Take a Walk” to the furtive hope of “A Prayer to Saint Catherine,” Thomson’s musical settings Barefield. Barefield’s intimate poetry commemorates his beloved partner, Stephen of Koch’s unpredictable poetry affirm its core truth: “We live because we love.” Mazujian, who passed away in early 2014, while the two vacationed in Cambodia. Even as the poems chronicle Steve’s passing, and the empty space he left behind, Charles Ives (1874-1954): Five Songs they weave a rich tapestry of recollection, contemplation, and deep love. Uniting all Harmony Ives wrote to her husband in 1908, of these elements is music, a “shared language” in the lives of these two men and Inspiration ought to come fullest at life’s happiest moments… but I don’t the medium that now gives full expression to Barefield’s words. believe it’s often done—I think inspiration—in art—seems to be almost a Death plays an integral role in the human experience. So too, however, does that consolation in hours of sadness or loneliness & that most happy moments are put into expression after they have been memories & made doubly which it throws into relief: hope, strength, faith, and above all, love. These songs precious because they are gone. elucidate the profound relationships between humanity’s darkest chapters and its These five songs by Charles Ives—a pioneer of musical modernism and champion of the sweetest hours, between nature’s hard realities and its peaceful solace, between the American musical tradition—reflect the yearning to which Harmony alludes: yearning for rest, mundane and the eternal. Ultimately, these pieces remind us of music’s ineffable for comfort, and for that which is past. In these settings, all drawn from Ives’s monumental 1922 collection, 114 Songs, nature emerges as the great comforter and the lens through which one might capacity to inspire, immortalize, and heal. glimpse the eternal. Ilmenau When Stars are in the Quiet Skies Johann Wilhelm von Goethe (1749-1832) wrote Wanderers Nachtlied II just outside the German resort The poet of When Stars are in the Quiet Skies, Edward George Bulwer-Lytton, is perhaps best known town of Ilmenau, a pastoral, woodsy setting rivaling that of New England’s Walden Pond. Goethe’s for the incipit of his 1830 novel, Paul Clifford: “It was a dark and stormy night.” In music, however, poem, which has since been set over 85 times—most famously by Franz Schubert in 1815—appears his legacy is far grander: his works were the basis for Wagner’s Rienzi (1842) and what is widely here in an English translation by Harmony Ives. Goethe’s brief words capture elegantly that most considered the first American opera, William Henry Fry’s Leonora (1846). Bulwer-Lytton’s “When Romantic of preoccupations: gestillte Sehnsucht, or the promise of fulfilled longing. Ives matches Stars” highlights the interrelatedness of the sacred and the interpersonal. As the poet longs for his Goethe’s literary Romanticism with a setting in a simple, Romantic musical idiom. Occasional “guiding star” under the cover of night, it is unclear whether he speaks to a celestial body or a loved chromatic inflections remind the listener of that which remains, as yet, unfulfilled. one; ultimately, we feel that they are one and the same, the hallowed communion between human My Native Land souls suggesting something of the divine. Ives’s setting of My Native Land, an anonymous translation of a poem by Heinrich Heine (1797-1856), reflects the ambivalence of the original text while departing from it substantially. Heine’s poem, “Ich hatte einst ein schönes Vaterland,” casts the very notion of home into doubt with its bitter refrain, “Es Scott Wheeler (b. 1952): Songs to Fill the Void war ein Traum.” Ives mitigates Heine’s ironic tone with a wistful setting that at times calls to mind Robert Barefield and Carolyn Hague contacted renowned Robert Schumann’s gentle, lyrical Eusebius. Ives’s chosen translation also adds an uplifting second American composer Scott Wheeler in early 2015 to explore the verse that allows for the possibility of returning to one’s past, in dreams. possibility of a commission honoring Barefield’s late partner, Steve. The recipient of numerous awards and commissions, A Night Song Scott Wheeler has received the Stoeger Prize from the Chamber Published as part of the Sentimental Ballads, a subset of the 114 Songs, A Night Song breathes the Music Society of Lincoln Center and is the 2014 winner of exhilaration of stolen nighttime kisses in musical language evocative of both Stephen Foster and Ives’s the Hinrichsen Award from the American Academy of Arts transatlantic fellow folklorist, Ralph Vaughan Williams. The lighthearted text by Irish poet Thomas and Letters, as well as commissions from the Guggenheim Moore (1779-1853) at once celebrates new love and the borrowed nature of our time here on Earth. Foundation and the Metropolitan Opera. His music has been At the River recorded on BMOP Sound, Albany Records, Naxos, and Newport Known for incorporating folk material in his art music, Ives borrowed Robert Lowry’s hymn, The Classics and has received performances throughout the United Beautiful River, for the third movement of his Fourth Violin Sonata, subtitled Children’s Day at the States, China, Europe, and Canada. He is on the faculty at Camp Meeting (1914-1916). Around the same time, he composed this setting of the hymn for voice Emerson College and a founding member of the new-music ensemble Dinosaur Annex. The result of and piano, keeping some of the Sonata’s hallmark traits—most notably, its repetition of the probing Wheeler and Barefield’s collaboration is this triptych, which combines Barefield’s achingly intimate first line at the end of the song. Ives’s inclusion of this characteristic “unanswered question” reflects texts with Wheeler’s captivating musical language, praised for its warmth, clarity, and lyricism. both the hope and uncertainty of the human experience. Ultimately, the intermittent earnestness and Wheeler, who shares the gift of prosody with his onetime teacher, Virgil Thomson, complements playfulness of the song affirm the tenacity of the human spirit in the face of adversity and loss. Barefield’s poetry with a depth of feeling that transcends words alone. Angkor Wat A Shepherd This first song is an intensely personal account of the circumstances surrounding Steve’s death. As In this epitaph, Chanler uses a deliberately simple, harmonically open palate as a backdrop for an austere the narrative progresses, the musical setting illuminates different facets of the story: the ornamental shepherd’s melody. Employing folk-like musical archetypes evocative of the British Isles, the composer delicacy of the temple carvings and foliage around Angkor Wat, Cambodia; the ancient and sacred masterfully recreates the bleakness of the snowy moors and the straightforwardness of Ned Vaughan’s character. ambience of the monuments; Steve’s inquisitiveness; shared moments of love. Throughout, the text A One-eyed Tailor and music return to a familiar motive: “January 7, 2014”—as if the tragedy of that day cannot be This brief vignette is both witty and to-the-point. The voice and piano lines repeat a simple motive, reconciled. Gradually, the motive softens, tempered by the gentle, heavenly aura that seemed to touch like a sewer’s stitch, and then the song, like the tailor’s life, ends in medias res. the couple in that holy place. We Spoke of Music We Spoke of Music celebrates the pivotal role of song in the life of this couple. As the poet sings Theodore Chanler: Three Songs of the silliness and profundity music brought to their lives, Wheeler weaves together the worlds of The Lamb, Memory, and The Children, on texts by William Blake and Leonard Feeney, treat the theme musicians as distinct as cabaret singer Nancy LaMott and the great Franz Schubert (quoting “Das of innocence. From the simple purity of Blake’s “Little Lamb,” to the dreamy pleasantness of the Wandern,” from Die schöne Müllerin). remembered past, to the unblemished youth of a child, these songs offer sources of consolation as Unfathomable we face the hardships and disillusionment of life. For Blake, succor comes from finding the godly in Barefield writes that Unfathomable is “a pure expression of love.” Fittingly, Wheeler sets his words to each human being, represented as both lamb and child. Feeney, on the other hand, locates solace in a monumental passacaglia in the piano, an inexorable pattern that persists as surely as the passage the renewal each new generation of children brings. of time and the steadfastness of partnership. Over it sails a melody that Wheeler describes as a “hymn to nature and constant love.” Marion Bauer (1882-1955): Five Songs Marion Bauer’s career brought her from her family salon in the small town of Walla Walla, Washington, to the Paris composition studio of famed master teacher Nadia Boulanger, whose American pupils Theodore Chanler (1902-1961): Three Epitaphs included Virgil Thomson and Theodore Chanler. For much of her career, Bauer resided in New York Theodore Chanler, a uniquely American “lyric miniaturist,” is best known for his longer work in the City, working as a professional composer, critic, and professor of music. While Bauer is known for epitaph genre, the Eight Epitaphs of 1939. In Three Epitaphs, from the same year, Chanler continues her contributions to American modernism, two of the songs in this program, Only of Thee and Me his exploration of the question: How does one summarize a life? and Phillis, reflect the influence of publisher Arthur P. Schmidt, who favored a more conservative Mistress Hew compositional style. Schmidt turned away the other three Bauer songs on this disc, which helped Walter de la Mare’s compassionate text honors a woman, possibly a nurse or a schoolteacher, who precipitate her break from the publisher and her subsequent artistic freedom. has shaped countless young lives. Chanler uses sparse open fifths and a modal harmonic language to convey emptiness and grief, yet imbues some moments with such lyrical sweetness that the deceased’s kindness—as well as her deeds—is preserved as her legacy. Night in the Woods The Texts To the sound of canoes A simple meditation on peace and rest, Bauer set Edward Rowland Sill’s Night in the Woods in a pan- I planted a maple tree And ev’ry night triadic idiom evident nearly a century later in the works of neo-Romantics like Lee Hoiby. Similar to Virgil Thomson: Mostly About Love Beneath it I studied the cosmos Ives’s Ilmenau, the poet looks to night as a metaphor for the sleep of death, in which all care, doubt, (Kenneth Koch) and longing are quieted. Love Song Down at the docks. Only of Thee and Me I love you as a sheriff searches for a walnut That will solve a murder case unsolved for years Sweet ladies, listen to me. Gentle oscillations in the piano echo the wind, sea, and “wondered whisperings” of the earth in this Because the murderer left it in the snow beside a window The dock is made of wood setting of Louis Untermeyer’s intimate text. Like Bulwer-Lytton’s “When Stars are in the Quiet Skies,” Through which he saw her head connecting with The maple tree’s not made of wood Untermeyer’s poem takes place under the cover of night, when it seems as though the entire world Her shoulders by a neck, and laid a red It is wood revolves around lovers. Bauer offers a glimpse of the inherent divinity of human love with tender yet Roof in her heart. For this we live a thousand years; Wood comes from it compelling Romantic harmonies. For this we love, and we live because we love, we are not As music comes from me And from this mandolin Phillis Inside a bottle, thank goodness! I love you as a Kid searches for a goat; I am crazier than shirttails I’ve made This lighthearted poem by Charles Rivière Dufresny (1648-1724) follows the pastoral characters Out of the maple tree. of Phillis and Damon through the thrills and disappointments of flirtation and carnal pleasure. In the wind, when you’re near, a wind that blows from The big blue sea, so shiny so deep and so unlike us; Dufresny’s account of the bargaining inherent in romantic relationships bears a strong resemblance Jealous gentlemen, study how to his own life: for his second marriage, he was allegedly forced to wed his washerwoman to settle I think I am bicycling across an Africa of green and white fields Wood comes from the maple a debt. The debacle was eventually adapted into a comic vaudeville called Charles Rivière Dufresny, Always, to be near you, ev’n in my heart Then devise your love ou le mariage impromptu. When I’m awake, and also I believe that you So that it seems The Epitaph of a Butterfly Are trustworthy as the sidewalk which leads me to To come from where Thomas Walsh’s poem presents nature as the great comforter in the face of inevitable death. The The place where I again think of you. All is it yet something more White spring flow’rs and leafy bough dazzling display of fall fades to winter, and as the butterfly meets her end, she is cradled by leaves, I love you as the sunlight leads the prow of a ship Jealous gentlemen waves, and light. To complement Walsh’s imagery, Bauer employs the sumptuous harmonies of which sails From Hartford to Miami, and I love you Impressionism, likely gleaned during her 1906 stay at the French villa of pianist Raoul Pugno, whose Arrogant little waves frequent guests included Nadia Boulanger and Claude Debussy. Best at dawn, when ev’n before I am awake the sun Receives me. Knocking at the dock A Parable: The Blade of Grass It’s for you I’ve made this chanson Those who knew Steve Mazujian will recognize one of his most endearing and defining traits in Stephen Down at the docks For you and the big dark blue. Crane’s blade of grass: quiet humility. Bauer’s setting fits the tiny leaf’s character precisely: the musical Down at the docks language is simple, with an element of the unexpected that underscores the blade’s astonishing modesty. Where everything is sweet and inclines —Kerry Ginger, Durango, Colorado, February 2016 At night Let’s take a walk I went to Siena to Saint Catherine’s own church My Native Land (Traditional) The beautiful, beautiful river, Let’s take a walk (It is impossible to deny this) My native land now meets my eye, Yes, we’ll gather at the river that flows by the throne In the city To pray to her to cure me of my heartache and shyness, The old oaks raise their boughs on high, of God. Till our shoes get wet Which she can do, because she is a great saint. Violets greeting, violets greeting seem, Shall we gather? Shall we gather at the river? And when Other saints would regard my pray’r as foolish. Ah! ‘tis a dream, Ah! ‘tis a dream. We see the traffic Saint Nicholas, for example. He would chuckle When Stars are in the Quiet Skies (Edward Bulwer-Lytton) Lights and the moon “God helps those who help themselves, And when in distant lands I roam, When stars are in the quiet skies, Let’s take a smile Rouse yourself! Get out there and do something about it!” My heart will wander to my home; Then most I long for thee. Off the ash-can, let’s walk Or Saint Joanna. She would say, “It is not shyness While these visions, while these fancies teem, O bend on me thy tender eyes, Into town That bothers you. It is sin. Still let me dream, still let me dream. As stars look down upon the peaceful sea. Let’s take a walk Pray to Catherine of Siena.” But that is what I have done. For thoughts like waves that glide by night Into the river (I can even do that And that is why I have come here to cure my heartache. A Night Song (Thomas Moore) Are stillest when they shine; Tonight) where The young may moon is beaming, love, All my love lies hushed in light If I kiss you please Saint Catherine of Siena, The glowworm’s lamp is gleaming, gleaming, Beneath the heav’n of thine. Remember with your shoes off If this song pleases you, then be good enough to How sweet to rove through Morna’s grove, You’re so beautiful like answer the pray’r it contains. When the drowsy world is dreaming, dreaming love! There is an hour when holy dreams A lifted umbrella orange Make the person that sings this song less shy than Then awake! The heav’ns look bright, my dear, Through slumber fairest glide. And white we may never that person is, ’Tis ne’er too late for delight, And in that mystic hour it seems, Discover the blue over- And give that person some joy in that person’s heart. And best of all the ways to lengthen days Thou shouldn’t be ever, ever at my side. Coat maybe never O blind Is to steal a few hours from the night, my dear, The thoughts of thee too sacred are With this (love) let’s walk Charles Ives To steal a few hours from the night, For daylight’s common beam. Into the first Ilmenau - Over All the Treetops When the drowsy world is dreaming, dreaming, love! I can but know thee as my star, Rivers of morning as you are seen (Johann Wolfgang von Goethe - translation by Harmony My guiding star, my angel and my dream. To be bathed in a light white light Twitchell Ives) At the River (Robert Lowry) Come on. Over all the treetops is rest, Shall we gather at the river, A gentle breeze scarcely stirs their waving crest; Where bright angel feet have trod, A Prayer to Saint Catherine All the birds are silent each in his quiet nest. With its crystal tide forever flowing by the throne of God? If I am to be preserved from heartache and shyness So my heart, waiting, soon will rest, will rest, will rest. gather at the river! By Saint Catherine of Siena, Yes, we’ll gather at the river, I am praying to her that she will hear my pray’r And treat me in every way with kindness. I took five steps to find our next path through the maze, Our musical language altered and united us. And in an instant, from that immense Heaven of Sills made you cry and I sang along with Nancy LaMott. Stone, you flew. When you asked me to sing only for you, You were the best audience I will ever know. Stephen Mazujian No longer touching your arm or whispering in your ear, I sing for you still and, as surely as before, Our songs fill the void you’ve left And our hearts are the same as when we met.

Unfathomable (2001) I have seen castles and mountains, monuments to time and durability, I have heard the ocean crashing on the shore, Scott Wheeler: Songs To Fill The Void January 7, 2014 creating an eternal music, (Robert Barefield) As we walked the causeway toward Angkor Wat, it I have seen the stars, farther from me than I can Angkor Wat seemed to hover above the earth. understand. Angkor Wat – January 7, 2014 Silent, we contemplated this place, what it meant Our day began among labyrinthine Khmer temples: to those who built it and what it said to us now. I have felt your love, which is strong and lasting like Angkor Thom had seductive carvings Ta Prohm was Later, we climbed to the top level and stood among a mountain, overrun by freakish trees. shadows of vast lotus towers. We Spoke of Music Which you express with a music that is yours alone, I watched you explore, like a human teddy bear. Our guide described it as a depiction of Heaven – When we met we spoke of Music. And which is as unfathomable as the stars. Suddenly, I just had to tell you, and this is still true: sacred beyond words. You said to you it was essential. “You are more beautiful than Michelangelo’s David.” For us it will always be so. That was true then and it’s true now: Theodore Chanler: Three Epitaphs For us, a shared language of secret joys and daily vows. (Walter de la Mare) January 7, Angkor Wat January 7. January 7… Mistress Hew At midday we relaxed in relief from the sun, My last words to you were mundane, I’m afraid: We composed our own tunes about stupid things, Sleep sound, Mistress Hew! No nap for you – you wanted to write. “Where is the staircase down?” Laughing, we sang them over and over. Birds sing over you; Your words were a gift to me, and they still give: I have tried again and again to remember your You came up with new lyrics to Mozart and Schubert The sweet flowers flourish “It has been such a powerful experience to walk response, but I cannot. I can’t. And sang the Miller’s song with a resonance all your own. Your own hands did nourish; among these ruins. Words don’t much matter, of course. Love shared in And many’s the child by their beauty beguiled. I feel a sense of peace and wonder here.” that moment is all that endures. They prattle and play till night call them away; In shadow and dew: Sleep sound, Mistress Hew! A Shepherd Memory (William Blake) Marion Bauer Phillis (Charles Riviere Defresny) A shepherd, Ned Vaughan, Memory, hither come, And tune your merry notes; Night in the Woods (Edward Rowland Sill) Phillis somewhat hard by nature, ‘Neath this tombstone do bide, And, while upon the wind, Your music floats, Night in the woods, night, Would not an advantage miss; His crook in his hand, and his dog him beside. I’ll pore upon the stream, Where sighing lovers dream, Peace, peace on the plain; She asked Damon, greedy creature, Bleak and cold fell the snow on Marchmallysdon Steep, And fish for fancies as they pass Within the wat’ry glass. The last red sunset beam Thirty sheep for one small kiss, For a kiss. And folded both sheepdog and shepherd in Sleep. I’ll drink of the clear stream, And hear the linnet’s song; Belts the tall beech with gold; And there I’ll lie and dream The day along: The quiet kine are in the fold Lovely Phillis, on the morrow, A One-eyed Tailor And, when night comes I’ll go, To places fit for woe, And stilly flows the stream. Cannot her advantage keep: Here’s an old Tailor, rest his eye: Walking along the darkened valley Soon shall we see the stars again, She gives Damon, to her sorrow, Needle and thread put by. With silent Melancholy. For one more day down to its rest has lain, Thirty kisses for one sheep, For one sheep. And all its cares have taken flight, Theodore Chanler The Children (Leonard Feeney) And all its doubts and pain. On the morrow grown more tender, The Lamb (William Blake) We are the children who play in the park Night in the woods, Peace. Phillis ah! has come to this: Little Lamb, who made thee? Dost thou know who All the day long from the dawn till the dark, Thirty sheep she will surrender made thee? We are the children. Only of Thee and Me (Louis Untermeyer) For a single loving kiss, Loving kiss. Gave thee life, and bid thee feed, By the stream, We will grow older, as everyone knows, Only of thee and me the night-wind sings, and o’er the mead, And when we grow older, what do you suppose Only of us the sailors speak at sea, Now another day is over, Gave thee clothing of delight, Softest clothing, Will become of the children? The earth is filled with wondered whisperings, Damon, sheep and dog might get, wooly, bright, Will there be children again, Only of thee and me. For the kiss that he, the rover! Gave thee such a tender voice, Making all the vales When we who are children are women and men? Gave for nothing to Lisette! rejoice? Yes! Surely the world will love children no less; Only of thee and me the breakers chant, Little Lamb, who made thee? Dost thou know who Children will come when we children are gone, Only of us the stir in bush and tree; The Epitaph of a Butterfly (Thomas Walsh) made thee? Out of the darkness and into the dawn, The rain and the sunshine tell the eager plant; As one by one she saw the leaves of red and yellow Taking our places, Only of thee and me. wafted slowly to the ground, Little Lamb, I’ll tell thee, Little Lamb, I’ll tell thee: Bearing our brightness and lightness of limbs, Hope buoy’d her heavy wings of flame, and said, He is called by thy name, For He calls Himself a Lamb. And our laughter and love in their faces. Only of thee and me, ‘till all shall fade; That ‘mong them still some comrade might be found. He is meek, and He is mild; He became a little child. Only of us the whole world’s thoughts can be But when o’er all the autumn hills a pall of gold I a child, and thou a lamb, We are called by His name. For we are Love, And God himself is Made - was drawn before her glazing eye, Little Lamb, God bless thee! Little Lamb, God bless thee! Only of thee and me. Yon mirror’d pool made ready for her fall A grave as lovely as her native sky. A Parable - The Blade of Grass (Stephen Crane) In Heav’n, some little blades of grass stood before God. The Performers “What did you do?” Baritone has performed as soloist with organizations throughout the United Then all save one of the little blades Robert Barefield States and in Europe, including the New Orleans Opera, the Mississippi Symphony, the Arizona Opera, Began eagerly to relate the merits of their lives. This one stayed a small way behind, Ashamed, ashamed. the Dorian Opera Theatre, the Central City Opera, the Ohio Light Opera, Chattanooga Symphony, Presently God said: “And what did you do?” Connecticut Concert Opera, and Operafestival di Roma in Italy. Operatic roles have included Danilo in The little blade answered: “Oh, my Lord, mem’ry is The Merry Widow, Figaro in Il Barbiere di Siviglia, Sid in Albert Herring, Eisenstein in Die Fledermaus, bitter to me, John Proctor in Robert Ward’s The Crucible and the title roles in Don Giovanni and Gianni Schicchi. As For if I did good deeds, I know not of them.” an oratorio soloist, Barefield’s performances have included Carmina Burana, the Fauré Requiem, The Then God in all His splendor Arose from His throne: Sea Symphony and Dona Nobis Pacem of Vaughan Williams and Handel’s Messiah. An accomplished “Oh best little blade of grass,” He said. recitalist, Robert Barefield’s wide-ranging repertoire has encompassed works such as Schubert’s Winterreise and Die Schöne Müllerin, Vaughan Williams’ Songs of Travel and premiere performances of works by contemporary composers such as Simon Sargon, Lowell Liebermann, Robert Maggio and David Conte. His European recital performances have included venues in Austria, Germany and Spain. In 2008 Barefield performed the role of Bishop Zumarraga in the world premiere of James DeMars’ opera, Guadalupe – Our Lady of the Roses. These performances were recorded and released by Canyon Records. His other recordings include Two Plus One with soprano Carole FitzPatrick and pianist Eckart Sellheim (Cavalli Records) and Occident Meets Orient with FitzPatrick and pianist Russell Ryan (Albany Records). He has made presentations at national conferences of leading music organizations and his articles on voice-related topics have appeared in The Journal of Singing, The American Music Teacher, and The Music Educator’s Journal. Barefield received the Doctor of Musical Arts degree from the Cincinnati College-Conservatory of Music, where he was a Corbett Opera Scholar. He is Associate Professor at The Hartt School in Connecticut, having also served on music faculties at Arizona State University, Southern Methodist University and others. His summer activities have included performing and teaching at the Fairbanks Summer Arts Festival, Operafestival di Roma, the Vianden International Music Festival in Luxembourg and the Institute for European Studies in Vienna, Austria. His current and former voice students are active as performers and educators throughout the country. Carolyn Hague has been an active member of the musical community in Vienna, Austria for more than 30 years. Ms. Hague heads the Master’s program in Lied und Oratorio for singers and pianists at the Musik und Kunst Privatuniversität der Stadt Wien. Prior to her appointment at this institution in 2001, she was a faculty member of the Wiener Universität für Musik und darstellende Kunst for 13 years. She served as vocal coach, pianist, and assistant to Kammersänger Walter Berry. After Berry’s retirement, she became the pianist/assistant to Kammersänger Robert Holl. Dr. Hague was the principal coach of the Wiener Kammeroper from 1984 to 1987. During this time she served as pianist and coordinator of all the staff pianists for the Belvedere International Competition for Opera Singers. Her summer teaching and performing activities have included the Internationales Jugendfestspieltreffen in Bayreuth, the Fairbanks Summer Arts Festival, and the German for Singers and Vocal Coaches program at Middlebury College. Recent activities have included master classes for the “Vienna – Language of Lieder” program sponsored by the Westminster Choir College of Rider University. In July of 2015, she was invited to be on the faculty of the first “Vienna International Masterclass for Lied Pianists” organized by the World Culture Networks. With her husband, Michael Pinkerton, and Dr. Robert Barefield, she created and taught an “Intensive Music Performance Course for Vocalists and Collaborative Pianists” for the IES Center in Vienna. Carolyn Hague is a frequent guest artist for Austrian National Radio and Television and numerous other concert venues in Europe and the United States. Her recital partners include(d) distinguished artists such as Ks. Walter Berry, Ks. Angelika Kirchschlager, Ks. Birgid Steinberger, Ruxandra Donose, Linda Watson, Florian Boesch, Mathias Hausmann, Peter Matzka, and Rene Staar. Songs to Fill The Void Robert Barefield,

Robert Barefield, baritone Carolyn Hague, piano TROY1625

and other works by American composers

Virgil Thomson Theodore Chanler Mostly About Love Three Epitaphs 1 Love Song [2:22] 13 Mistress Hew [2:03] bariton e

2 Down at the docks [2:16] 14 A Shepherd [:59] piano

3 Let’s take a walk [1:28] 15 A One-eyed Tailor [:30] Carolyn Hague, 4 A Prayer to Saint Catherine [2:44] 16 The Lamb [2:13] Charles Ives 17 Memory [2:11] 5 Ilmenau (Over all the Treetops) [1:55] 18 The Children [1:11] 6 My Native Land [1:33] 7 A Night Song [1:21] Marion Bauer Carolyn Hague, piano 8 At the River [2:06] 19 Night in the Woods [2:54]

9 When Stars are in the Quiet Skies [2:53] 20 Only of Thee and Me [2:09]

bariton e 21 Phillis [1:56] Scott Wheeler 22 The Epitaph of a Butterfly [1:49] Songs To Fill The Void 23 A Parable - The Blade of Grass [2:26] 10 Angkor Wat [5:25] 11 We Spoke of Music [3:28] Total Time = 50:56 12 Unfathomable [2:52]

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