Notes, Texts, and Translations I from Messiah, HWV 56 G.F. Handel For behold, darkness shall cover the earth (1685–1759) The people that walked in darkness George Frideric Handel, the German-English composer maintains a reputation as one of the greatest composers of the Baroque period. He began his music studies at a young age, learning to play the clavichord, harpsichord, violin, organ, and oboe. Eventually, he financed his way to Italy to master the Italian opera style and compose oratorios (sacred opera). By 1710, Handel was an international icon for his Italian operas and received high-ranking musician positions in England, where he permanently established his new home. England’s declining interest in operas led Handel to pioneer the English oratorio style; the biblical inspiration for oratorios complemented the British monarchy and the national religion of England and contributed to the great popularity of Handel’s Messiah. Unlike many of Handel’s oratorios, Messiah’s libretto was completely based on verses from the Bible, both Old and New Testaments, and the Book of Common Prayer. Additionally, the only characters are Angels and the crowd at the crucifixion. Some critics argue that Handel’s Messiah isn’t dramatic enough to be in the category of oratorio, but rather is a collection of sacred hymns. On the contrary, other oratorios featured action limited to time and space, whereas Messiah has action that transcends time and space with the incredible fulfillment of man’s deliverance from the tyranny of Satan, sin, and death by the long-promised Messiah. Handel uses tonal contrast throughout Messiah to paint a picture of a world filled with darkness and broken people, who received a gift of hope in the form of Jesus, the light that shines through the darkness. In this aria, the bass sings a reflection on the words of the prophet Isaiah, who had pronounced the Immanuel oracle referenced in Matthew 1:23 as a sign the God will not forsake his people. The accompaniment creates a dark, slow, and heavy atmosphere and drops lower into a “darkness which may be felt” (Exodus 10:21), but the music rises and expands with the dawn of light of the Messiah that “shineth in darkness; and the darkness comprehended it not” (John 1:5). Thus, the Bible begins with the creation of light and ends with the establishment of light eternal for the servants of God in Heaven; in between is the story of salvation and God bringing light into the darkness. For, behold, darkness shall cover the earth. and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light. and kings to thy brightness of thy rising. The people that walked in darkness have seen a great light. And they that dwell in the land of the shadow of death, upon them hath the light shined II from Let Us Garlands Bring Gerald Finzi O Mistress Mine (1901–1956) Come Away, Come Away, Death The Britain-born composer and lover of poetry, Gerald Finzi, often set the texts of his favorite poems to music and is most often recognized for his instrumental and choral music. Finzi faced many tribulations in his early life, losing his father at the age of seven and all three of his brothers shortly after. One of Finzi’s most popular compositional themes involve the naivety of youth being corrupted by adult situations. During his time in London, he was able to meet influential composers such as a Gustav Holst, R.O. Morris, and Ralph Vaughan Williams; the latter being able to reserve a teaching position at the Royal Academy of Music for Finzi. Perhaps the most influential and well-known English writer in the world, William Shakespeare, is responsible for the text set for this song cycle. The two songs selected from this cycle are also popularly adapted in the Quilter cycle of 3 Shakespeare songs, and come from the second act of Shakespeare’s romantic comedy Twelfth Night, also known as What You Will. The excerpts from the play adaptations are both songs sung by a character titled “Fool” in the midst of a love triangle with plenty of drama. O Mistress mine where are you roaming? Come away, come away, death, O stay and hear, your true love's coming, And in sad cypress let me be laid. That can sing both high and low. Fly away, fly away, breath; Trip no further pretty sweeting. I am slain by a fair cruel maid. Journeys end in lovers' meeting, My shroud of white, stuck all with yew, Every wise man's son doth know. O, prepare it! My part of death, no one so true What is love, 'tis not hereafter, Present mirth, hath present laughter: Did share it. What's to come, is still unsure. In delay there lies no plenty, Not a flower, not a flower sweet, Then come kiss me sweet and twenty: On my black coffin let there be strown. Youth's a stuff will not endure. Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there! III from Die Zauberflöte W. A. Mozart O Isis und Osiris (1756–1791) One of the most prolific composers of Western music history, Wolfang Amadeus Mozart is an Austrian composer from the Classical period. He was a part of the First Viennese School with Haydn and Beethoven. Extremely universal in his approach, Mozart composed for every genre of his time, and in various languages like Italian and German. At age three, Mozart was already playing chords on the harpsichord, and with the help of his father began touring all over Europe at an early age of five. The Magic Flute is a singspiel, or commonly now seen as an opera, written by the librettist Emanuel Schikaneder (1751-1812) who was also the director of the opera house that debuted the opera. It is called a singspiel because it includes spoken German dialogue in between the arias. Right before this aria, King Sarastro has just come face to face with Pamina who attempted to assassinate him by order of the Queen. The sustained half notes and pickups in the accompaniment and voice imply a sense of regality and create a gentle texture. The melody line drives most of the momentum as the accompaniment mainly moves with the melody phrasing, outside of the introduction and interlude. O Isis und Osiris, schenket. O Isis and Osiris, give Der Weisheit Geist dem neuen Paar! The spirit of wisdom to the new pair. Die ihr der Wand'rer Schritte lenket, She who links to her the wanderer's steps, Stärkt mit Geduld sie in Gefahr. Strengthens them with patience in danger. Lasst sie der Prüfung Früchte sehen; Let them see the fruits of the test; Doch sollten sie zu Grabe gehen, But, if they should go to the grave, So lohnt der Tugend kühnen Lauf, Then, the valient course of virtue rewarded, Nehmt sie in euren Wohnsitz auf. Receive them in your abode. -Translation by Leah F. Fray from Don Giovanni Ho capito, signor sì! Regarded as one of Mozart’s great masterpieces in the operatic repertoire, Don Giovanni is a two-act opera buffa that blends elements of comedy, melodrama, and the supernatural. The librettist is Lorenzo Da Ponte who is responsible for the other massively known Mozart operas of Le Nozze di Figaro and Cosi fan tutte. The character in this aria is Masetto who is a servant of the title character, Don Giovanni. In this scene, Don Giovanni has invited Masetto’s fiancée, Zerlina, to join in a feast with drinking, but does not extend the same invitation to Masetto. Ho capito, signor sì! Oh yes, I understand, sir! Chino il capo e me ne vo. I bow my head and go. Giacch´ piace a voi così, Since you will it so, Altre repliche non fo. I won't say anything. Cavalier voi siete già. You're a gentleman, Dubitar non posso affé; Of that I'm in no doubt, indeed: Me lo dice la bontà That's clear from the gracious favour Che volete aver per me. You bestow on me. Bricconaccia, malandrina! Wanton hussy! Fosti ognor la mia ruina! You've undone me! Vengo, vengo! I'm coming! I'm coming! Resta, resta. Stay then! È una cosa molto onesta! There's a fine thing! Faccia il nostro cavaliere Let my lord make cavaliera ancora te. A lady of you! -Translation by Camila Argolo Freitas Batista IV Les berceaux Gabriel Fauré (1845–1924) Gabriel Fauré is a French, late-romantic composer who established a lot of the beginnings of modern French music. With over 100 songs, Fauré pushed the limits of expression by suddenly modulating to new tonal centers and innovative harmonic progressions throughout all of his musical works. Similarly to Ludwig van Beethoven, Gabriel Fauré experienced loss of hearing that led to some of his greatest works being composed during his time of struggle. French poet Paul-Armand Silvestre (1837-1901) has had Fauré musically set many of his poems as songs. Initially, Silvestre’s plan was to join the army when studying at the École polytechnique. He is most often recognized as being a part of the Parnassian literary style. The sustained notes in the accompaniment against the short articulations and sixteenths in the voice part create a forward driving motion and interplay between the accompaniment and melody.