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 . 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 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. The majority of the melody is step-wise and in a major key, but the second stanza has a sudden modulation that brings a far more ominous attitude.

Le long du quai les grands vaisseaux, Along the quay the great ships, Que la houle incline en silence, Listing silently with the surge, Ne prennent pas garde aux berceaux Pay no heed to the cradles Que la main des femmes balance. Rocked by women’s hands. Mais viendra le jour des adieux, But the day of parting will come, Car il faut que les femmes pleurent, For it is decreed that women shall weep, Et que les hommes curieux And that men with questing spirits Tentent les horizons qui leurrent. Shall seek enticing horizons. Et ce jour-là les grands vaisseaux, And on that day the great ships, Fuyant le port qui diminue, Leaving the dwindling harbour behind, Sentent leur masse retenue Shall feel their hulls held back Par l’âme des lointains berceaux. By the soul of the distant cradles.

-Translation by Richard Stokes

Mots d’amour Cécile Chaminade (1857–1944)

During the Romantic Era, Chaminade was one of the only female composers living solely off of her compositional revenue and music publishing, despite her father’s early disapproval of pursuing music education. She mainly composed character pieces for piano and salon songs, but her successful performance career launched her recognition in the compositional field. She was the first female composer to receive the highly sought-after French Legion of Honor as recognition for her work. Charles Fuster (1866-1929) was a traditional French poet who founded La : Littéraire et Artistique and wrote three other poems set by Chaminade as French mélodies, which are titled Ronde d’amour, Mon coeur chante, and Espoir. While the melody is fairly simple and not pedagogically difficult, the beautifully slow and elegant accompaniment paints a very expressive picture that contrasts many French melodies of the time.

Quand je te dis des mots lassés, When I say tired words to you, C'est leur douleur qui fait leurs charmes! It is their pain that makes their charms! Ils balbutient, et c'est assez, They stammer, and that's enough, Les mots ont des larmes. Words have tears.

Quand je te dis des mots fougueux, When I say fiery words to you Ils brûlent mon coeur et mes lèvres, They burn my heart and my lips, Ton être s'embrase avec eux, Your being is ablaze with them, Les mots ont des fièvres. Words have fevers.

Mais quels qu'ils soient, les divins mots, But whatever they are, the divine words, Les seuls mots écoutés des femmes, The only words heard by women, Dans leurs soupirs ou leurs sanglots, In their sighs or their sobs, Les mots ont des âmes. Words have souls.

- Translation by Bard Suverkrop V from Schwanegesang Der Doppelgänger (1797–1828)

Schubert is an Austrian composer from the late Classical period, but transitions into the Romantic period later in his life. During his short life, living only thirty-one years, he composed over six-hundred secular vocal pieces as well as seven symphonies. He is best known for the development of the art form of German lieder, starting with his setting of the poet Goethe’s in 1814, three months before his eighteenth birthday. The very popularly known German lyric poet, Heinrich Heine, is the writer of the poem used in this song. He often wrote for composers of German art song, , which includes Robert Schumann along with Schubert. Heine was very political charged and controversial, so many of his writings were banned by the German government for their content, and only boosted his popularity.

Still ist die Nacht, es ruhen die Gassen, The night is still, the streets are at rest; In diesem Hause wohnte mein Schatz; in this house lived my sweetheart. Sie hat schon längst die Stadt verlassen, She has long since left the town, Doch steht noch das Haus auf demselben Platz. but the house still stands on the same spot. Da steht auch ein Mensch und starrt in die Höhe, A man stands there too, staring up, Und ringt die Hände, vor Schmerzens Gewalt; and wringing his hands in anguish; Mir graust es, wenn ich sein Antlitz sehe – I shudder when I see his face – Der Mond zeigt mir meine eigne Gestalt. the moon shows me my own form! Du Doppelgänger! du bleicher Geselle! You wraith, pallid companion, Was äffst du nach mein Liebesleid, why do you ape the pain of my love Das mich gequält auf dieser Stelle, which tormented me on this very spot, So manche Nacht, in alter Zeit? so many a night, in days long past?

-Translation by Richard Wigmore Nacht und Träume

The Viennese poet, Matthäus von Collin, wrote two other popular texts that Schubert , which are Der Zwerg and Wehmut. He is often seen as one of the leading poets in Vienna and a leader in the Romantic movement.

Heil’ge Nacht, du sinkest nieder; Holy night, you sink down; Nieder wallen auch die Träume, dreams, too, float down, Wie dein Mondlicht durch die Räume, like your moonlight through space, Durch der Menschen stille Brust. through the silent hearts of men. Die belauschen sie mit Lust; They listen with delight, Rufen, wenn der Tag erwacht: crying out when day awakes: Kehre wieder, heil’ge Nacht! come back, holy night! Holde Träume, kehret wieder! Fair dreams, return!

-Translation by Richard Wigmore VI from Camelot I Wonder What the King Is Doing Tonight? (1901–1988)

The Austrian-American, Frederick Loewe, born in Germany composed all of the music in the Broadway show Camelot as his last score. He hadn’t even planned to originally work on the project, but rather joined later in the process started by and in 1959. His father, Edmond Loewe was a distinguished star, performing throughout North and South America along with Europe. He developed a good musical ear, teaching himself how to play piano to eventually compose his first songs at the age of seven. Besides Loewe’s work with Lerner on Camelot, other notable musicals they collaborated on include: My Fair Lady, Brigadoon, and a called The Little Prince. In the opening act of Camelot, King Arthur asks his mentor, Merlyn, for advice while preparing for battle against his friend, Sir Lancelot, that has been forced upon him. Merlyn tells him repeatedly “Think, Arthur! Think!” Which prompts the King to recall his wedding night of his arranged marriage with Guenevere whom he now dislikes. The songs lyrics express the King’s concerns through the people of the kingdom as he panics of the night to come.

I know what my people are thinking tonight, You wonder what the king is wishing tonight? As home through the shadows they wander. He's wishing he were in Scotland fishing tonight. Everyone smiling in secret delight, What occupies his time while waiting for the bride? They stare at the castle and ponder. He's searching high and low for some place to hide. Whenever the wind blows this way, You can almost hear everyone say: And oh, the expectation, the sublime anticipation He must feel about the wedding night to come. I wonder what the king is doing tonight? Well, I'll tell you what the king is feeling tonight, What merriment is the king pursuing tonight? He's numb, he shakes, he quails, he quakes The candles at the court, they never burned as bright. And that's what the king is doing tonight! I wonder what the king is up to tonight? How goes the final hour as he sees the bridal bower Being regally and legally prepared? Well, I'll tell you what the king is doing tonight He's scared, he's scared!

You mean that a king who fought a dragon, Hacked him in two and fixed his wagon, Goes to be wed in terror and distress? Yes! A warrior who's so calm in battle, Even his armor doesn't rattle, Faces a woman petrified with fright? Right! You mean that appalling clamoring, That sounds like a blacksmith hammering, Is merely the banging of his royal knees? Please!

from Kiss Me, Kate Cole Porter Where is the Life that Late I Led? (1891–1964)

Born into a very wealthy American family, Cole Porter rebelled from his Grandfathers desires, and pursued music as a full-time job. Once Porter gained some momentum in the , he began receiving widespread recognition as one of the most talented songwriters on Broadway due to his unique ability of writing lyrics with his own music. In 1937, a serious horseback riding accident left Porter permanently disabled and in constant pain, but nevertheless continued to work. In 1949, Porter’s most popular musical, Kiss Me, Kate won the first ever “Best Musical” Tony award, forever affirming the success of the composer and show. Many scholars see Porter’s writing of the musical as a response to the revolutionary duo of Rodgers & Hammerstein who had just debuted the ever-popular Oklahoma! in 1943.

Since I reached the charming age of puberty In dear Milano, where are you, Momo, And began to finger feminine curls, Still selling those pictures of the Scriptures Like a show that's typically Shuberty in the Duomo? I have always a multitude of girls, And, Carolina, where are you, Lina, But now that a married man, at last, am I, Still peddling your pizza in the streets o' Taormina? How aware of my dear, departed past am I. And in Firenze, where are you, Alice, Still there in your pretty, itty-bitty Pitti Palace? Where is the life that late I led? And sweet Lucretia, so young and gay-ee? Where is it now? Totally dead. What scandalous doin's in the ruins of Pompeii! Where is the fun I used to find? Where has it gone? Gone with the wind. Where is the life that late I led? A married life may all be well, Where is it now? Totally dead. But raising an heir Where is the fun I used to find? Could never compare Where has it gone? Gone with the wind. With raising a bit of hell, The marriage game is quite all right, So I repeat what first I said, Yes, during the day Where is the life that late I led? It's easy to play But, oh, what a bore at night, So I repeat what first I said Where is the life that late I?

VII from Songs William Bolcom Song of Black Max (As told by the de Kooning Boys) (b. 1938)

The twenty first century composer William Bolcom has published works for solo voice and piano, choir, symphony, and many more types of compositional styles. He often collaborates with his wife Joan Morris, who is a mezzo-soprano in the style of cabaret songs, show tunes, and American popular songs of the twentieth century. The story of Black Max, written by Arnold Weinstein, is based on the true recollection of Willem de Kooning, along with other painters in the post-WWII era, collectively referred to as the de Kooning Boys. While Willem was in Amsterdam he heard of an illusive character known as Black Max who roamed the streets, but was rarely ever encountered. The text creates a dark atmosphere by listing the infamous description and actions associated with him.

He was always dressed in black And there were looks for sale Long black jacket, broad black hat The art of the smile -- Sometimes a cape (Only certain people walked that mystery mile: And as thin, and as thin as rubber tape: Artists, charlatans, vaudevillians Black Max Men of mathematics, acrobatics and civilians) There was knitting-needle music He would raise that big black hat From a lady organ-grinder To the big shots of the town With all her sons behind her Who raised their hats right back Marco, Vito, Benno Never knew they were bowing to (Was he strong! Though he walked like a woman) Black Max And Carlo, who was five He must be still alive! I'm talking about night in Rotterdam When the right night people of all the town Ah, poor Marco had the syph, and if Would find what they could You didn't take the terrible cure those days In the night neighborhood of You went crazy and died and he did Black Max And at the coffin Before they closed the lid There were women in the windows Who raised his lid? With bodies for sale Black Max! Dressed in curls like little girls In little dollhouse jails I was climbing on the train When the women walked the street One day going far away With the beds upon their backs To the good old U.S.A Who was lifting up his brim to them? When I heard some music Black Max! Underneath the tracks Standing there beneath the bridge Long black jacket, broad black hat Playing the harmonica, one hand free To lift that hat to me:

Black Max Black Max Black Max