Srtseniornotes, Texts, and Translations
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Notes, Texts, and Translations I from Semele, HWV 58 George Frideric Handel Endless Pleasure (1685-1759) George Frideric Handel is one of the main figures from the baroque era and arguably the most important when it comes to vocal music of that era. Though German he lived in both Italy and England. He was truly a cosmopolitan composer, and became a British citizen through an act of parliament in 1727. It is because of this familiarity with both cultures that he was able to master the Italian operatic tradition and create the English oratorio. In his prolific career he wrote forty two operas and twenty nine oratorios. “Endless Pleasure” is from Handel’s Semele. This musical drama is often grouped with Handel’s oratorios, but that might have more to do with how and when it was premiered than its substance or form. Oratorios are lightly staged musical dramas based on sacred texts. Even though it was premiered as part of Handel’s lenten season at Covent Garden, which was almost entirely composed of oratorio, Semele is based on a secular text. It is based on a pre-existent opera libretto by William Congreve written around 1705, and tells the story of the Roman gods and goddesses in Ovid’s Metamorphosis. Many viewers decried it as baudy and profane. This aria “Endless Pleasure” comes at the end of the first act out of three. Semele is rejoicing that she has been carried away on eagle’s wings to be with Jupiter, her lover. Handel uses his exquisite knowledge of the voice to set an ornate and florid love song in modified ABA form that captures Semele’s bliss through all of her long melismas. Endless pleasure Endless pleasure, endless love, Semele enjoys above! On her bosom Jove reclining, useless now his thunder lies; to her arms his bolts resigning, and his lightning to her eyes. II from Matthäus-Passion, BWV 244 Johann Sebastian Bach Erbarme dich, mein Gott (1685-1750) Johann Sebastian Bach was, among many things, a church musician in the lutheran tradition. He lived in Germany during a time that was being heavily affected by the protestant reformation. One of the many changes made during this time was making worship more accessible to the people, and they accomplished this through the use of chorales. Chorales are hymn tunes and Bach harmonized hundreds of them. These chorales are important because they were written in German, the language of the people, rather than in latin. Bach then would expound on these chorales and turn them into cantatas, including florid polyphony which was a trait of the baroque period. The Matthäus-Passion is one of his most complex and breathtaking cantatas and represents a culmination of Bach’s sacred creations. The libretto was written by Christian Friedrich Henrici in 1727 under the pen name Picander, and it covers the material of the Gospel of Matthew chapters twenty-six and twenty-seven. In this cantata Bach explores the idea of intertwining musical lines. Although “Erbarme dich, mein Gott” is labeled an aria it would be more aptly described as a duet for violin and voice. In this piece a solo violin and voice duet against the backdrop of the orchestra. They trade Bach’s heartbreaking melody and through their individual ornamentation they paint a picture of the weeping described in the text. Erbarme dich, mein Gott, Have mercy, my God, um meiner Zähren willen! for my tears sake! Schaue hier, herz und auge See here, heart and eye weint vor dir bitterlich. weep for you bitterly. Erbarme dich, mein Gott. Have mercy, my God. — translation by Pamela Dellal III from Die Zauberflöte, K. 620 Wolfgang Amadeus Mozart Ach, Ich fühl’s (1756-1791) Wolfgang Amadeus Mozart was a great operatic composer of the classical period, writing twenty-two operas over the span of his relatively short life. While he was skilled in the Italian operatic tradition, he would occasionally write the german style Singspiel. A Singspiel is a German light opera where spoken dialogue is dispersed between the musical numbers. Writing in this style allowed Mozart to experiment and try new things that wouldn’t have been as acceptable if he wrote them in the Italian tradition. It also allowed him to write in his native tongue which opened up more opportunities for wit and humour, even though he was fluent in Italian. Die Zauberflöte is Mozart’s best known Singspiel, and it takes place in two acts. It premiered in 1791 with a libretto written by Emanuel Schikaneder. When people think of this opera it is usually either for its hilarious and fast paced numbers like Papageno’s aria and the Papageno/papagena duet or for the stunning vocal coloratura of the Queen of the Night. However Pamina’s aria shouldn’t be discounted. It is a rare serious moment in this comic opera where Pamina is begging for Tamino to listen to her heart breaking. Instead of patter and extreme vocal acrobatics this aria consists of intense legato and loud outbursts. The most coloratura that occurs is on the word ‘herze.’ The staccato notes leading into the upper range give the effect of sobs breaking free. The piece reaches its climax as Pamina exclaims for the second time “fühlst du nicht?” and resigns herself to achieving peace only in death. Ach, ich fühl’s, es ist verschwunden, Ah, I feel-it, it has disappeared, ewig hin der liebe glück! forever gone love’s happiness! Nimmer kommt ihr, wonnestunde, Never come you, hours of bliss, meinem herzen mehr zurück! to-my heart evermore back! Sieh’ Tamino, diese tränen See Tamino, these tears fließen, trauter, dir allein! flowing, beloved, for-you alone! Fühlst du nicht der liebe sehnen? Do you not feel love’s longing? So wird ruh’ im tode sein! Then my peace will be only in death! — translation by Bard Suverkrop IV from La Wally Alfredo Catalani Ebben? Ne andrò lontana (1854-1893) Alfredo Catalani grew up in Italy in a family of musicians, and soon knew he wanted to compose. By this time the purity of Italy’s musical tradition was starting to dissolve, replacing composers like Gioachino Rossini and Gaetano Donizetti with international names like Franz Liszt and Richard Wagner. Catalani was especially drawn to Wagner, although his own style was more influenced by Jules Massenet. He composed several operas that all fell relatively flat, until he composed La Wally. La Wally is loosely based on Wilhelmine von Hillern’s novel Die Geierwally (Wally, the vulture girl). It was Catalani’s last and best opera, and premiered at La Scala in 1892. Although the entire opera is not performed frequently on the modern stage, this aria has made its way into the standard soprano repertoire. Its lyrical lines are reminiscent of Giacomo Puccini, a contemporary of Catalani. The libretto was written by Luigi Illiaca who also wrote the libretti for well known operas by Puccini such as Tosca, La Bohème, and Madame Butterfly. This aria comes at a critical moment in the opera for Wally where she is deciding what to do after being banished from her home. Like the character in Wilhelmine’s novel, she decides to leave with her dignity and venture off alone. Ebben! Ne andrò lontana, Well then! I shall go far away, come va l’eco della pia campana, as far as the pious tones of the church bell carry, là fra la neve bianca; là fra le nubi d’or; there amid the white snow; there amid the clouds of gold; laddóve la speranza è rimpianto, è dolor! there, where all hope is only regret and sorrow! O della madre mia casa gioconda, Oh, from my mother’s cheerful home La Wally ne andrà da te lontana assai, La Wally will go very far away, e forse a te, non farà mai più ritorno, perhaps never to return to you, nè più la rivedrai! Mai più! and you will never see her again! Never again! Ne andrò sola e lontana, I shall go away alone, come l’eco della pia campana là, to the echo of the pious church bell, fra la neve bianca; amid the white snow; ne andrò sola e lontana e fra le nubi d’or! I shall go alone and far and among the clouds of gold! Ma fermoil piè! And resolute are my feet! Ne andiam, che lunga è la via! Let us go, the journey will be long! — translation by Bard Suverkrop V L'Invitation au Voyage Henri Duparc Sérénade Florentine (1848-1943) Extase Duparc only has sixteen songs in the french mélodie catalogue, because of an extreme over critical nature towards his compositions. He would often destroy songs he didn’t want published, leaving us with the few we have today. However, even though he published so few they still made a large impact on the french art song tradition. He wrote piano accompaniments that were as complex and lush as if they were being written for orchestra, and instead of older poems he chose texts by living poets. He also had strong opinions on vocal exhibitionism once stating “If I had known what some singers would do to them, I would never have put any rallentandi in my songs.” Instead, he wanted emphasis on legato and purity of tone. L’invitation au Voyage “L’invitation au voyage” is in a modified strophic form. Charles Baudelaire wrote the poem for this piece in 1857. He wanted to portray the idyllic nature of the Netherlands where he had gone on summer holiday. Although the piano is primarily playing arpeggios for much of the piece, it sets the mood that Baudelaire also set out to capture and evokes a feeling of sun raining down on a landscape.