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Also available: AMERICAN CLASSICS

Charles IVES Songs • 5 Premonitions Requiem 8.559271 8.559272 Rosamunde Slugging a Vampire Soliloquy Get this free download from Classicsonline! Griffes: Three Poems of Fiona McLeod: The Rose of the Night A Son of Gambolier Copy this Promotion Code Nax9YMg3jsR6 and go to http://www.classicsonline.com/mpkey/grif4_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Sunrise http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559273 16 559273 bk Ives US 8/26/08 3:28 PM Page 2

1 Paracelsus (Text: Robert Browning) (1921) 4:06 ^ Rosenzweige (Karl Stieler) (1902) 1:09 Robert Gardner, Baritone • Eric Trudel, Piano Kenneth Tarver, Tenor • Eric Trudel, Piano Also available: 2 Peaks (Henry Bellamann) (1923) 2:04 & Rough Wind (Percy Bysshe Shelley) (1902) 1:09 Michael Cavalieri, Baritone • Douglas Dickson, Piano Ryan MacPherson, Tenor • Douglas Dickson 3 A Perfect Day (Anon.) (1902) 2:41 and Laura Garritson, Piano 4 hands Janna Baty, Mezzo-soprano • Douglas Dickson, Piano * A Scotch Lullaby (Charles Edmund Merrill Jr) 4 Pictures (Monica Peveril Turnbull) (1906) 3:23 (1896) 2:17 Janna Baty, Mezzo-soprano • J. J. Penna, Piano Lielle Berman, Soprano • Eric Trudel, Piano 5 Premonitions ( A Sea Dirge (William Shakespeare) (1925) 2:30 (Robert Underwood Johnson) (1921) 2:10 Patrick Carfizzi, Baritone • Eric Trudel, Piano Mary Phillips, Mezzo-soprano • J. J. Penna, Piano ) The Sea of Sleep (Anon.) (1903) 1:35 6 Qu’il m’irait bien Ian Howell, Countertenor • Douglas Dickson, Piano (Anon., trans. Moreau Delano) (1897) 1:16 ¡ The See’r (Ives) (1920) 0:51 Leah Wool, Mezzo-soprano • J. J. Penna, Piano Robert Gardner, Baritone • J. J. Penna, Piano 7 The Rainbow (So May It Be!) ™ Sehnsucht (Christian Winther, (William Wordsworth) (1921) 1:51 trans. Edmund Lobedanz) (1902) 3:05 Ryan MacPherson, Tenor • Eric Trudel, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano 8 Religion £ September (Folgone da San Gimignano, (Elizabeth York Case / James T. Bixby) (1910) 1:09 trans. Dante Gabriel Rossetti) (1920) 1:05 David Pittsinger, Bass • Douglas Dickson, Piano Ryan MacPherson, Tenor • Eric Trudel, Piano 9 Remembrance ¢ Serenity (James Greenleaf Whittier) (1919) 2:48 (Ives / William Wordsworth) (1921) 0:47 Ian Howell, Countertenor • Douglas Dickson, Piano Kenneth Tarver, Tenor • Douglas Dickson, Piano ∞ The Side Show (Ives) (1921) 0:34 0 Requiem (Robert Louis Stevenson) (1911) 2:16 Leah Wool, Mezzo-soprano • J. J. Penna, Piano Robert Gardner, Baritone • J. J. Penna, Piano § Slow March ! Resolution (Ives) (1921) 0:35 (Ives family / Lynne Brewster) (1887) 1:40 Leah Wool, Mezzo-soprano • Douglas Dickson, Piano David Pittsinger, Bass • Douglas Dickson, Piano @ Rock of Ages ¶ Slugging a Vampire (Ives) (1902) 0:26 (Augustus Montague Toplady) (1892) 4:45 Robert Gardner, Baritone • Douglas Dickson, Piano Mary Phillips, Mezzo-soprano • J. J. Penna, Piano • Soliloquy (Ives) (1916) 1:05 # Romanzo (di Central Park) (Leigh Hunt) (1911) 2:17 Lielle Berman, Soprano • Eric Trudel, Piano Lielle Berman, Soprano • Eric Trudel, Piano ª A Son of a Gambolier (Anon.) (1895) 3:38 $ Rosamunde (1) (Helmine von Chézy) (1898) 2:06 Ryan MacPherson, Tenor • Douglas Dickson, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano Ryan MacPherson, Lielle Berman, Daniel Bircher, 8.559270 % Rosamunde (2) (Helmine von Chézy, Sara Jakubiak, Kazoos • Jooyeon Kong, Violin trans. Pierre Jean de Bélanger) (1901) 2:14 Kelli Kathman, Piccolo • Ryan Johnstone, Cary Parker, Leah Wool, Mezzo-soprano • J. J. Penna, Piano Trombones 8.559273 215 8.559273 559273 bk Ives US 8/26/08 3:28 PM Page 14

º Song (Hartley Coleridge) (1897) 1:40 ﬁ The Song of the Dead (Rudyard Kipling) (1898) 2:42 Also available: Kenneth Tarver, Tenor • Laura Garritson, Piano David Pittsinger, Bass • Douglas Dickson, Piano ⁄ A Song – For Anything: a. Hear My Prayer, O Lord ﬂ Songs my Mother Taught Me (Psalm 51, trans. Nahum Tate and Nicholas Brady) (Adolf Heyduk, trans. Natalie Macfarren) (1900) 2:46 (1888) 1:06 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Tamara Mumford, Mezzo-soprano ‡ The South Wind (Harmony Twichell) (1908) 2:24 Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano ¤ A Song – For Anything: Douglas Dickson, Piano b. When the Waves Softly Sigh (Ives) (1888) 1:00 ° Spring Song (Harmony Twichell) (1907) 1:20 Michael Cavalieri, Baritone • Douglas Dickson, Piano Jennifer Casey Cabot, Soprano • Douglas Dickson, Piano ‹ A Song – For Anything: c. Yale, Farewell! · Sunrise (realised by John Kirkpatrick) (Ives) (1888) 0:56 (Ives) (1926) 5:12 Patrick Carfizzi, Baritone • Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano › Song for Harvest Season Douglas Dickson, Piano • Jooyeon Kong, Violin (Greville Phillimore) (1894) 1:49 ‚ Swimmers (Louis Untermeyer) (1915) 1:35 Jennifer Casey Cabot, Soprano • Frederick Teardo, Organ Patrick Carfizzi, Baritone • Eric Trudel, Piano Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Publishers: Merion Music Inc. (tracks 1, 5, 7, 10, 11, 17, 23, 27, 28, 30, 34, 37, 40); Peer International Corporation (tracks 6, 8, 9, 13-16, 20, 22, 25, 26, 29, 31-33, 35, 36, 38); Associated Music Publishers Inc. (tracks 2-4, 12, 18, 19, 21, 24); C.F. Peters Corporation (track 39)

Charles Ives (1874-1954) Songs • 5 When, in 1922, Charles Ives published a volume evolution of American music over the last quarter of the entitled 114 Songs, he was indirectly drawing attention nineteenth and first quarter of the twentieth centuries. to the fact that the genre played a central part in his Although it would be possible to collate Ives’s output. 85 years on and, for all that his wider reputation songs according to type, the alphabetic approach may rest on orchestral, chamber and piano music, songs adopted by this edition ensures each volume (of which represent the heart of his creative thinking. Nor was that this disc is the fifth) contains a representative cross- initial volume comprehensive; Ives having written section of his achievement. A wide range of poets is set, nearly 200 songs, of which this edition includes all those including a number of (mainly early) German settings as he completed. The expressive variety is vast: indeed, the well as forays into French and Italian writers. The 8.559269 gradual evolution of Ives’s songwriting, from those temporal distance (1887-1926) traversed by these songs drawing on Austro-German Lieder and English parlour- is as little compared to their stylistic diversity or their song traditions to ones that evince anarchic humour as emotional range. keenly as others do profound vision, is analogous to the The extent to which Ives reworked songs

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throughout his career is considerable, whether With an epigraph by William Wordsworth (“The Eric Trudel substituting a text or reworking the actual music. To this music in my heart I bore, Long after it was heard no end, songs with a musical or textual connection are more”), Remembrance (1921) sets Ives’ own evocation A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of crosslinked accordingly (i.e. in brackets at the end of the of his father’s playing as heard from across a lake. Music with the highest honours. He won the prestigious Prix d’Europe competition, relevant paragraph). One of the most uncompromising songs of Ives’s which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude One of Ives’s most finely realized later songs, middle years, Requiem (1911) sets Robert Louis Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Paracelcus (1921) is a wide-ranging setting of verse by Stevenson’s ‘poem within a poem’ with a forceful Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Robert Browning on the relationship of human and rhetoric thrown into relief by the echo effects at the end. Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty divine thought; one unfolding in a gradual decrescendo Set to his own lines, Resolution (1921) is among the appointments include the Banff Centre for the Performing Arts, the Conservatoire de as the emphasis alters from opposing strength to mutual shortest of Ives’s later songs, telling of the need for Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université love. Faith to guide one on life’s journey. du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On From among Ives’s last songs, Peaks (1923) sets a One of Ives’s first songs, Rock of Ages (1892) sets CD he can be heard on the CBC and Star labels. poem by Henry Bellamann with an ambivalence in Augustus Montague Toplady’s text as a ‘Sacred Solo’; terms of tonality and texture that serves to point up the with a piano part whose methodical and part-writing essential ambiguity of the author’s vision. suggests that it may have been conceived for organ. With its anonymous text, A Perfect Day (1902) is Setting lines by Leigh Hunt, the ingratiating veneer not a setting of the evergreen Victorian ballad but a song of Romanzo (di Central Park) (1911) belies this satire whose wistful longing combined with undoubted on the ‘commercial’ love-song: one made explicit by Leah Wool melodic poise make it highly appealing in its own right. Ives’s jibe at Victor Herbert in the postscript. To a poem by Monica Peveril Turnbull, Pictures With its expressive vocal line and skilful piano Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the (1906) draws on the text’s abrupt juxtaposition of writing, Ives’s first (German) version of Helmine von United States. In addition to engagements with the Metropolitan Opera and New York images in a setting whose expressive contrasts (with Chézy’s Rosamunde (1898) is a refreshing slant on a text City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, depictions of, respectively, ‘The Cornfield’, ‘The Sea’, made famous by Schubert (see also below, track 15). Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central ‘The Moor’ and ‘Night’) are balanced by the music’s Ives’s second version of Rosamunde (1901), using City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer resourceful motivic unity. Bélanger’s French translation, lowers the tessitura of Night’s Dream at Utah Opera, and Cherubino in Le nozze di Figaro at Yale Opera. The setting of an ominous poem by Robert the voice part and opens out the piano writing for a Concert appearances have included Handel’s Messiah in her Carnegie Hall début, and Underwood Johnson, Premonitions (1921) confronts its richer and more fervent effect (see also above, track 14). Haydn’s Theresienmesse with the New Jersey Symphony. inward fatalism with an outward defiance to a degree The setting of a wistful poem by Karl Stieler, which typifies Ives’ final phase of composition. Rosenzweige (1902) is a limpid and unaffected song in Set to an anonymous text (as translated by Moreau which the voice and piano are deftly intertwined (see Delano), Qu’il m’irait bien (1897) has a wit and also Volume 1, track 5, Naxos 8.559269, and below, insouciance as to confirm that Ives was fully conversant track 22). with the earlier songs of Fauré and Debussy. For this setting of Percy Bysshe Shelley’s Rough An almost improvisatory setting of William Wind (1902), Ives again used the main theme from the Wordsworth, The Rainbow (1921) is best summed up by opening movement of his First Symphony, replete with its subtitle – ‘So May It Be!’ - which underpins a densely chorded piano writing that almost overwhelms reflection on divine providence occasioned by the the often fraught vocal line by the close (see also image. Volume 4, track 27, Naxos 8.559272). Setting an epigram by Elizabeth York Case and To a text by Charles Edmund Merrill Jr (itself likely James T. Bixby, Religion (1910) declaims a ‘belief’ that adapted from traditional verse), A Scotch Lullaby (1896) is felt but not spoken, and with a piano postlude that avoids sentimentality by the elegance of its vocal line gently and yet insistently confirms this conviction. and its equally deft piano writing.

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Kenneth Tarver Among Ives’s last songs, A Sea Dirge (1925) draws notable for its rhythmic animation and a text on one of William Shakespeare’s songs for Ariel from (anonymous but likely by Ives) that occupies only a Kenneth Tarver enjoys a career in the most important international opera theatres and The Tempest in what is surely the darkest and most small part of the music, which ends with a ‘Kazoo festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, forbidding setting these lines have ever received. Chorus’ in which whatever winds and strings are on Hamburg and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, With its gently undulating vocal line and modally- hand can join in. the Liceu in Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the inflected piano part, The Sea of Sleep (1903) is an By contrast, Song (1897) is a ‘parlour’ number – the Festivals of Aix-en-Provence and Edinburgh. His repertoire encompasses rôles by affecting and discreetly resourceful setting of the setting of whose text, by Hartley Coleridge, neatly Mozart, Rossini, Donizetti, Gluck, Verdi and Berlioz as well as repertoire by Bach, anonymous text (see also Volume 6, track 7, Naxos combines sentiment with ardency. Beethoven, Debussy, Shchedrin and Stravinsky. Appearances include Rossini’s La donna 8.559274). A didactic instance of Ives’s self-debunking is A del lago at the Edinburgh Festival and as Don Ottavio in Don Giovanni directed by René Typically scabrous, The See’r (1920) sets Ives’s text Song - For Anything (1888). This began as the teenage Jacobs in Brussels, Cologne and Paris, a rôle which he also performed at the Aix-en- in an evocation of old age where the voice is made composer’s awkward setting of lines from Psalm 51 (in Provence Festival with both Claudio Abbado and Daniel Harding. Other performances secondary to effusive piano writing. the translation by Nahum Tate and Nicholas Brady), as range from Mozart’s Così fan tutte and Die Entführung aus dem Serail, and Berlioz’s Les A winsome setting of Christian Winther (as the (often performed) sacred song Hear My Prayer, O Troyens and Béatrice et Bénédict, to Shostakovich’s The Nose with Mstislav translated by Edmund Lobedanz), Sehnsucht (1902) is Lord; then, thirty years later, Ives decided to illustrate Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Haitink. notably assured in the treatment of its material (see also “how inferior music is inclined to follow inferior words, Volume 1, track 5, Naxos 8.559269, and above, track 16). and vice-versa” by appending his own texts: first, a With its increasingly quixotic vocal line and love-song entitled When the Waves Softly Sigh; Frederick Teardo polytonal piano arpeggios, September (1920) is a secondly, a parting song to one’s college entitled Yale, defiantly individual setting of lines by Folgone de San Farewell!. Frederick Teardo is Associate Organist at Saint Thomas Church, Fifth Avenue in New York Gimignano (in the translation by Dante Gabriel Rossetti). With a text by Greville Phillimore, Song for Harvest City, where he accompanies the church’s renowned Choir of Men and Boys. He received In contrast, the setting of James Greenleaf Season (1894) features a florid vocal line over an organ both the Master of Music and Master of Musical Arts degrees from the Yale School of Music Whittier’s Serenity (1919) features a gently intoned contribution which may in part be replaced by cornet and Institute of Sacred Music, studying organ with Thomas Murray and harpsichord with vocal line and a piano part whose tolling repetition and trumpet (neither included here). Richard Rephann. He received his Bachelor of Music degree with Highest Honors from the make it one of Ives’ most ethereal and mesmeric songs. One of Ives’s most radical earlier songs (which may Eastman School of Music, where he studied organ with David Higgs. His other teachers have Contrast again with The Side Show (1921), a pert explain the reuse of its music), The Song of the Dead included Stephen Roberts and Haskell Thomson. He has also studied improvisation with ditty “in a moderate waltz time” to Ives’s own text and (1898) sets Rudyard Kipling’s poem as a baleful march- William Porter and Jeffrey Brillhart. An avid performer, Frederick Teardo has won first prize whose unassuming demeanour may conceal an ironic past whose dour sentiments clearly struck a keen in numerous competitions. He has performed across the United States, and has also been a intention on the composer’s part. resonance (see also Volume 2, track 8, Naxos 8.559270, featured performer at Regional and National Conventions of the American Guild of Ives’s first song, Slow March (1887) is a simple but and Volume 6, track 17, Naxos 8.559274). Organists and Organ Historical Society, on the NPR program Pipedreams, and in a segment never gauche setting of lines by Lynne Brewster ‘and To a text by Adolf Heyduk (translated by Natalie on the revived interest in the pipe organ on ABC World News Tonight. other Ives family members’ that aptly fulfills its Macfarren), Songs my Mother Taught Me (1900) has a inscription “to the children’s faithful friend”. warmth and intimacy which, devoid of sentimentality, Among the briefest of all Ives’s songs, Slugging a have made it among Ives’s most performed songs. Vampire (1902) sets his own text in what is ostensibly a When setting this music to Heine, Ives made a parody occasioned by a rebuff concerning the use of his parallel setting of verse by Harmony Twichell (Mrs Ives) intended text (see also Volume 6, track 1, Naxos as The South Wind (1908), which exudes a similarly 8.559274). calm melancholy (see also Volume 3, track 31, Naxos A study in polarity, to Ives’s own text on the 8.559271). immutability of nature, Soliloquy (1916) opens with a Another setting of Harmony Twichell, Spring Song half-intoned preface then explodes in music whose (1907) clothes its slight lyric in music of evident sweeping piano arpeggios ideally require two players. freshness and elegance, as well as featuring a tellingly The ‘college song’ A Son of a Gambolier (1895) is literal realization of the poem’s final words.

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Ives’s last original song, Sunrise (1926) was left as Inimitably Ivesian, Swimmers (1915) treats Louis J.J. Penna a near-illegible sketch and realised after his death by Untermeyer’s text as a paean to human mastery of John Kirkpatrick. Setting the composer’s own text, and natural forces, achieved by a supreme effort of will that J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn featuring a part for violin that mediates between voice is graphically reflected in the seismic piano writing. Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas and piano, its contemplation of decay and renewal is Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard most likely a metaphor for Ives’s failing creativity, at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New while its uniquely rarified intensity places it firmly Richard Whitehouse York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, among the greatest of all his songs. as well as on concert tours throughout the United States, Europe, Asia, the Far East, South America, and the former Soviet Union. He has performed and held fellowships at prestigious festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the Janna Baty Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale University Mezzo-soprano Janna Baty’s versatile career includes engagements with the Boston Photograph: Lisa Kohler School of Music and Westminster Choir College of Rider University. Symphony, Los Angeles Philharmonic, the Daejeon Philharmonic (South Korea), Hamburg State Opera, the Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Mary Phillips Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Opera Theatre of St Louis, Eugene Opera, American mezzo Mary Phillips’s opera appearances include the Metropolitan Opera, Opera North, and Boston Lyric Opera. She has sung under a number of very distinguished Canadian Opera, Barcelona and Edinburgh in rôles of Wagner, Strauss, Handel, Mozart, conductors and has performed at the Aldeburgh and Britten Festivals in England, the Varna Verdi, Bizet and Heggie. Her concert appearances with the New York, Los Angeles, and Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Hong Kong philharmonic and symphony orchestras in Atlanta, Dallas, Honolulu, Houston, Tanglewood and Norfolk festivals in the United States. Winner of several international Indianapolis, Phoenix, and Pittsburgh have included repertoire by Glass, Mahler, competitions, most notably the XXI Concurso Internacional de Ejecución Musical “Dr. Luis Szymanowski, Prokofiev, Bruckner, de Falla and Tchaikovsky. She has appeared in recital at Sigall” (Chile), she has worked with many composers on performances of their music. Her Carnegie Hall, the Marilyn Horne Foundation and New York Festival of Song. recordings include the critically lauded Vali: Flute Concerto / Deylaman / Folk Songs (Set No. 10) with Boston Modern Orchestra Project (Naxos 8.557224), and Chandos’s recording David Pittsinger of Lukas Foss’s opera Grifflekin (as the Mother). American bass David Pittsinger is renowned as a stage performer of the greatest distinction, Lielle Berman appearing in the world’s major opera houses. His Escamillo has been heard at festivals in Montpellier, Santa Fe and Denver. He has received Artist of the Year awards for his portrayals American soprano Lielle Berman’s rôles include Cunégonde in Candide with the of Boito’s Mefistofele, Méphistophélès in Gounod’s Faust at the Pittsburgh Opera, and for New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Zoroastro in Handel’s Orlando, and Figaro in Mozart’s The Marriage of Figaro for New York Cunegonde with the Orchestra Sinfonica di Milano Giuseppe Verdi, Lauretta in City Opera. He has also sung Count Almaviva for L.A. Opera under the Direction of Kent Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis Opera, Nagano, and Count Des Grieux in Manon conducted by Placido Domingo. He has performed at the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia in Lucia di the festivals of Salzburg, Dresden, Macerata, Tanglewood, and Santa Fe, and his other notable Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with the Pittsburgh orchestral engagements have included Frank Martin’s Golgotha with the Vienna Philharmonic,

Opera Center. As a member of the Lyric Opera Center at the Lyric Opera of Chicago Photograph: Christian Steiner Verdi’s Requiem with Zubin Mehta and the L.A. Philharmonic, and staged performances with she performed and covered numerous rôles, including Nannetta in Falstaff, Adèle in the English National Opera. He has sung at the Metropolitan Opera, and can be heard on the Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in The Great Gatsby, and the Virgin Classics recording of Carlyle Floyd’s Susannah, and Cavalli’s La Calisto on the Harmonia Mundi label. Queen of the Night in Die Zauberflöte. She has appeared with the Chicago Symphony Orchestra, the Festival de Musique de St Barth, the Colorado Symphony Orchestra, and the New Haven Symphony Orchestra, among others. Lielle Berman was a 2006 semi-finalist in the Metropolitan Opera National Council Auditions, and received her Master of Music degree at Yale University School of Music in May 2005. 8.559273 6 11 8.559273 559273 bk Ives US 8/26/08 3:28 PM Page 10

Jooyeon Kong Patrick Carfizzi

A member of the Saint Louis Symphony Orchestra since 2006, violinist Jooyeon Kong has also American bass-baritone Patrick Carfizzi is a regular performer with the Metropolitan been active as a chamber musician and performer of new music. Her festival appearances include Opera. He recently sang Schaunard in La Bohème, Masetto in Don Giovanni, Haly in Banff, Bellingham, Yellow Barn and Academia de Santander in Spain. She has had the L’Italiana in Algeri, Peter Quince in A Midsummer Night’s Dream and Antonio in Le opportunity to collaborate with some of today’s great artists including Franz Helmerson, Boris nozze di Figaro. Other engagements include Papageno in Die Zauberflöte and Don Berman and Vivian Hornik Weilerstein. She received her degrees at Rice and Yale Universities, Magnifico in La Cenerentola with Houston Grand Opera, Leporello in Don Giovanni studying primarily with Kathy Winkler and Peter Oundjian. with Minnesota Opera, Figaro in Le nozze di Figaro with Michigan Opera Theatre, Bartolo in Il barbiere di Siviglia with the Canadian Opera Company and Opera Theatre of St Louis, Pandolfe in Cendrillon with Central City Opera and Frank in Die Fledermaus with Seattle Opera. Additional credits in North America include engagements with the Seattle Symphony, San Francisco Symphony and the Tanglewood Ryan MacPherson Festival. A graduate of the Yale University School of Music, Patrick Carfizzi is the winner of seven prestigious awards, most recently the 2002 Richard Tucker Career Grant Award and the 2001 George London Award. Ryan MacPherson has toured the United States twice with San Francisco Opera, and completed a lengthy tour of Japan with the New York City Opera. Some of the tenor’s Jennifer Casey Cabot venues have included the Kennedy Center, New York City Opera, Opéra National de Paris – Bastille, Opéra de Nice, Central City Opera, Opera Theatre of St Louis, Opera Memphis, Photograph: Christian Steiner Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: Violetta, Opera Omaha, Toledo Opera, Long Beach Opera, Western Opera Theatre and Dublin Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and Konstanze with Ireland’s National Concert Hall. He has performed at numerous summer festivals, including the following opera companies: Boston Lyric Opera, Washington Opera, New York City San Francisco Opera’s Merola Program, Santa Fe Opera’s Apprentice Program for Singers Opera, Calgary Opera, Florida Grand Opera and Central City Opera among others. She has and the Aspen Music Festival. Performance highlights include: Faust (Faust), Rodolfo (La appeared with the National Symphony under Leonard Slatkin, in the Athens Concert Hall Bohème), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni), Rinuccio (Gianni with Sir Neville Marriner and with the New York Philharmonic with Alan Gilbert. Her Schicchi), Eisenstein and Alfred (Die Fledermaus), Fenton (Falstaff), Vodemon (Iolanta), Sam (Susannah) concert career has included Strauss’ Four Last Songs, Villa Lobos’ Bachianas Brazileiras Flamand (Capriccio), Laurie (Little Women), Henry (Die schweigsame Frau), Anatol (Vanessa), Ruggero (La No. 5, Mahler’s Fourth and Eighth Symphonies, Mozart’s Exsultate Jubilate and Mass in C rondine) and many others. He received his Master of Music and Artist Diploma from Yale University and his Minor, Handel’s Messiah, and Beethoven’s Ninth. In the 2007-2008 season she joined the Bachelor’s Degree from the University of Missouri-Columbia. Metropolitan Opera for Mozart’s Le nozze di Figaro and La traviata and returned to the National Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Tamara Mumford Oper Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a BM from Oberlin College and an MM from the Yale School of Music. The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Laura in Luisa Miller. Other opera performances include the title rôles in The Rape of Lucretia under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La Cenerentola at Michael Cavalieri Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica di Milano Giuseppe Verdi, and appearances in War and Peace, Manon Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, at the Metropolitan Opera. In Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, concert she has appeared in major venues, making her Carnegie Hall début in 2005. A native the Orchestra Sinfonica di Milano Giuseppe Verdi, and the Chicago Symphony Orchestra. of Sandy, Utah, Tamara Mumford studied at Utah State and at Yale before joining the Lindemann Young Artist Development Program at the Metropolitan Opera. She has received top awards in the Opera Index, Palm Beach Opera, Sullivan Foundation, Connecticut Opera Guild and Joyce Dutka Foundation Competitions.

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Douglas Dickson Ian Howell

The pianist Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. Praised by The New York Times for his “…clear voice and attractive timbre,” countertenor from the Yale School of Music. He has performed in the United States, Europe, Asia, and South Ian Howell has performed on major concert stages across the United States, Europe, South America, in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum. While still in America, Mexico, Canada, Japan and Taiwan. In 2006 he took First Prize at the American college he was the accompanist for the American Boychoir. As part of Duodecaphonia, a prize- Bach Soloists International Solo Competition and Third Prize at the Oratorio Society of winning piano duo, he has performed at the Kennedy Center and elsewhere. Douglas Dickson has New York’s Competition. He can be heard with the all male chamber choir Chanticleer on been music director for productions at Quinnipiac University, the Yale School of Drama, Opera one DVD and seven CDs, including the GRAMMY award-winning Lamentations and Theater of Connecticut, and Connecticut Experimental Theater. He was music director and Praises. In recent seasons, he has performed the rôles of Endimion in Cavalli’s La Calisto, conductor for Yale Opera’s production of Britten’s The Rape of Lucretia, and he conducted a Oberon in Britten’s A Midsummer Night’s Dream, and in several Handel operas including concert featuring Yale Opera with the Orchestra Sinfonica di Milano Giuseppe Verdi. He has Hercules (Lichas), Semele (Athamas), Solomon (Solomon) and Belshazzar (Daniel). He has served for fourteen years on the faculty of Quinnipiac University, and joined the Yale faculty in appeared as a soloist with such groups as the American Bach Soloists, the Oratorio Society 1998. He recently made his Carnegie début in an all Ives concert at Weill Recital Hall. of New York, Musica Sacra, the Berkshire Choral Festival, the Portland Baroque Orchestra, the Amherst Early Music Festival, and the Choir of St Thomas Fifth Ave. Robert Gardner Sara Jakubiak The baritone Robert Gardner has appeared with numerous opera houses and orchestras in the Photograph: Eric Mull United States, Europe, and Asia, including New York City Opera, Washington National The young American soprano Sara Jakubiak has performed the rôle of Giorgetta in Il Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Spoleto Festival, the tabarro and appeared in Purcell’s Fairy Queen with the Orchestra Sinfonica Giuseppe Munich Philharmonic, and the major orchestras in Pittsburgh, Dallas, Denver, San Diego, Verdi di Milano, Italy, as well as both the Countess in Le nozze di Figaro and Blanche in Santa Rosa, New Haven, and Kansas City. His recent opera débuts include Marcello in La Dialogues des Carmélites with the Cleveland Institute. As a studio artist at Central City Bohème, Sharpless in Madama Butterfly, Zurga in The Pearl Fishers, and Robert Storch in Opera she appeared in a program of opera scenes as the title rôle in Floyd’s Susannah and Intermezzo. His recent concert performances include Ein deutches Requiem with the Dallas Elettra in Idomeneo and performed the rôle of Musetta in concert excerpts with Paul Nadler Symphony Orchestra, and Mendelssohn’s Elijah. Robert Gardner has been named the 2007 and the Southwest Florida Symphony. Her concert performance credits include appearing winner of the Lili Boulanger Memorial Award by the foundation started in 1936 by Nadia as soloist in Britten’s War Requiem, Mahler’s Symphony No. 2, and Penderecki’s Credo Boulanger. He is the third singer to win the award in its prestigious history. A 2001 Pro conducted by the composer with the Yale Philharmonic, as well as Beethoven’s Mass in C Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation at the Beethoven Festival in Warsaw and Messiaen’s Poèmes pour Mi in recital at Yale. Award, the 2000 Gerda Lissner Award, and the 2000 Denver Lyric Opera Guild Competition. He trained at Yale Opera of the Yale University School of Music and participated in young artist programmes with Santa Fe Opera, the Sumi Kittelberger Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago. Sumi Kittelberger studied voice with Roland Hermann in Karlsruhe and with Doris Yarick Laura Garritson Cross at Yale University. In 2006 she became a member of the International Opera Studio in Zürich. In the 2007/08 season she joined the ensemble of the Luzern Theater, singing Laura Garritson is pursuing a Doctor of Musical Arts degree in piano performance at The Hartt Olympia in Les contes d’Hoffmann and Nanetta in Falstaff. She has sung with the School at University of Hartford, where she is an assistant to internationally-renowned pianist, Luiz de Kammeroper in Frankfurt am Main as well as with the Theater in Ulm. In 2006 she sang the Moura Castro. She has made solo and concerto appearances in over ten countries. In the United States child in L’enfant et les sortilèges and Lauretta in Gianni Schicchi as well as she has performed in venues such as Weill Recital Hall at Carnegie Hall in New York and The Merlina/Silberklang in the Italian première of Le disavventure teatrali with the Orchestra Sheldon in St Louis. Abroad she has been a featured soloist in the Liszt Festival in Brazil and the Sinfonica di Milano Giuseppe Verdi. In concert she has appeared with the Musica Angelica International Arts Festival in Venezuela, as well as festivals throughout Europe. A prizewinner in Baroque Orchestra at the Schwetzingen Festival and in Carnegie Hall. many competitions, she has won the Emerson String Quartet Competition at The Hartt School and the Artist Presentation Society Competition in St Louis, among others. She holds Bachelor and Master of Music degrees from The Hartt School and an Artist Diploma from Yale University. Her major teachers include Luiz de Moura Castro, Boris Berman, the late Jane Allen, and Laura Schindler. 8.559273 89 8.559273 559273 bk Ives US 8/26/08 3:28 PM Page 8

Douglas Dickson Ian Howell

Jooyeon Kong Patrick Carfizzi

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Also available: AMERICAN CLASSICS

CMYK CMYK NAXOS Playing Charles Time: IVES 80:00 (1874-1954) compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. Disc made in Canada. Printed and assembled USA. 8.559273 Songs • 5 AMERICAN CLASSICS 1 Paracelsus (1921) 4:06 3 4 2 Peaks (1923) 2:04 Janna Baty, Soprano 3 A Perfect Day (1902) 2:41 Lielle Berman, Soprano # * • 4 Pictures (1906) 3:23 Patrick Carfizzi, Baritone ( ‹ ‚ 5 Premonitions (1921) 2:10 › ° 6 Qu’il m’irait bien (1897) 1:16 Jennifer Casey Cabot, Soprano 7 The Rainbow (So May It Be!) (1921) 1:51 Michael Cavalieri, Baritone 2 ¤ 8 Religion (1910) 1:09 Robert Gardner, Baritone 1 0 ¡ ¶ 9 Remembrance (1921) 0:47 0 Requiem (1911) 2:16 Ian Howell, Countertenor ) ¢ ! Resolution (1921) 0:35 Sumi Kittelberger, Soprano $ ™ & @ Rock of Ages (1892) 4:45 7 & £ ª

Ryan MacPherson, Tenor # Romanzo (di Central Park) (1911) 2:17 IVES:

2008 Naxos Rights International Ltd. $ Rosamunde (1) (1898) 2:06 Tamara Mumford, Mezzo-soprano % Rosamunde (2) (1901) 2:14 ⁄ ‡ · ^ Rosenzweige (1902) 1:09 5 @ fl & Rough Wind (1902) 1:09 Mary Phillips, Mezzo-soprano * A Scotch Lullaby (1896) 2:17 David Pittsinger, Bass 8 § fi ( A Sea Dirge (1925) 2:30 Kenneth Tarver, Tenor 9 ^ º Songs • 5 ) The Sea of Sleep (1903) 1:35 ¡ The See’r (1920) 0:51 Leah Wool, Mezzo-soprano 6 ! % ∞ Songs • 5 ™ Sehnsucht (1902) 3:05 Jooyeon Kong, Violin ª · £ September (1920) 1:05 ¢ Serenity (1919) 2:48 Kelli Kathman, Piccolo ª ∞ The Side Show (1921) 0:34 Ryan Johnstone, Trombone ª § Slow March (1887) 1:40 Cary Parker, Trombone ª ¶ Slugging a Vampire (1902) 0:26 IVES: • Soliloquy (1916) 1:05 Frederick Teardo, Organ › ª A Son of a Gambolier (1895) 3:38 Douglas Dickson, Piano º Song (1897) 1:40 ⁄ A Song – For Anything: 2 3 8 9 ! & ) ¢ § ¶ ª ⁄-‹ fi ‡-· a. Hear My Prayer, O Lord (1888) 1:06 Laura Garritson, Piano & º ¤ b. When the Waves Softly Sigh (1888) 1:00 4 6 0 @ % ¡ ∞ fl ‹ c. Yale, Farewell (1888) 0:56 J.J. Penna, Piano - › Song for Harvest Season (1894) 1:49 Eric Trudel, Piano fi The Song of the Dead (1898) 2:42 1 7 # $ ^ * ( ™ £ • ‚ fl Songs my Mother Taught Me (1900) 2:46 ‡ The South Wind (1908) 2:24 Includes Free Downloadable Bonus Track ° Spring Song (1907) 1:20 · Sunrise (1926) 5:12 at www.classicsonline.com ‚ Swimmers (1915) 1:35 Please see inside booklet for full details 8.559273 A detailed track list can be found on pages 2 and 3 www.naxos.com 8.559273 of the booklet • Available sung texts may be accessed at www.naxos.com/libretti/559273.htm Cover photograph: Fall Foliage by Xuguang Wang (Dreamstime.com) NAXOS