CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
Yaxuan Cui’s
Master’s Vocal Recital
A graduate project submitted in partial fulfillment of the requirements
for the degree of Master of Music
in Music, Performance
By
Yaxuan Cui
August 2021 The graduate project of Yaxuan Cui is approved by:
______
Professor Ketchie-Saar, Diane Date
______
Professor Erica Lazerow Davis Date
______
Dr. Hugo Vera, Chair Date
California State University, Northridge
ii Table of Contents
Signature Page...... ii
Abstract...... iv
Bibliography...... 1
Appendix A: Program...... 3
Appendix B: Texts and Translations...... 5
iii ABSTRACT
Master’s Vocal Recital
By
Yaxuan Cui
Master of Music in Music Performance
This paper will provide background knowledge and insights into the musical works included in my Graduate Recital. The songs and arias represent five languages - Italian,
English, French, German, and Chinese, as well as present unique stylistic challenges.
The first work on my program is an Italian song, “Lungi dal caro bene”, by Antonio
Secchi. Antonio Secchi lived from 1761-1833 and little is known know about his life. The song’s title means Far from my Dear Beloved. The lyrics read, “Far from my dear beloved, I cannot live; I am in a sea of pain; Far from my dear beloved, I feel my heart give way. A sweet dark dream steals over me if she is not near; Light fails me.” This song’s form is ternary, ABA, ending with the opening text. The song starts in F major, modulates to C minor in the B section and then returns to F major. “Lungi dal caro bene” is a beautiful melodic song. When singing this song, the singer needs to pay extra attention to the dynamics. The B section is in C minor and is sung more legato, as if speaking directly from the singer’s heart.
The third section is a repetition of the first section.
The second Italian song is “Tanto Sospirero” by Pietro Paolo Bencini. Bencini was born into a musical family. He became maestro di cappella at several churches in Rome. His compositional output consists mostly of religious music, including several oratorios and cantatas. This song’s lyrics mean, “E’er will I sigh in woe, E’er bitter tears shall flow, Till
iv she at last shall know of love I perish; E’en then my soul shall vow, ‘Dear one, I love thee so!’” “Tanto Sospirero” is an arietta, a short aria, and is also a love song. When singing this song, one needs to focused on producing a legato line. The contrast between the dynamics in this song is very important as the lyrics and melodies are repetitive.
The third piece, “O del mio amato ben”, was written by Stefano Donaudy. “Stefano
Donaudy was a minor, though significant composer, active in the 1890s and the early twentieth century.”1 He is now famous for his collection 36 Arie di Stile Antico and “O del mio amato ben” is a famous piece from that work. His collection, 36 Arie di Stile Antico, was first published by Casa Ricordi in 1918 with revisions in 1922, but using material composed from 1892 onwards. This aria is strophic and has two verses. The text is about a singer’s grief at the loss of his beloved. There are many crescendos and diminuendos and these detailed notations by the composer are very helpful in expressing the longing and sorrow of the text.
The last aria is “Una furtiva lagrima”, from Act II, Scene 2 of the Italian opera L'Elisir d'Amore by Gaetano Donizetti, was an Italian composer, best known for his almost 70 operas. Nemorino is a young peasant in love with Adina. Nemorino thinks that he has consumed a love potion when it actually is nothing but a bottle of wine. Unknown to him, he has inherited a large fortune, so whenever he enters a room, women give him their devoted attention. He becomes confident, thinking that the “love potion” has worked, and ignores everyone, including Adina. She becomes hurt and retreats but she returns at the end of the opera, and when Nemorino realizes that Adina loves him, he sings this aria to express his
1 Robert Cummings, “Stefano Donaudy,” accessed November 2, 2020, https://www.allmusic.com/artist/stefano-donaudy-mn0001208080/biography
v feelings. The lyrics translate to, “A single furtive tear from her eyes sprang. What more need
I look for? She loves me! Yes, she loves me, I see it.” This song has a long introduction and requires the performer to illustrate the depth of Nemorino’s feelings from his new found discovery.
The second set of songs on my program is in English and the first three songs were written by Roger Quilter, an English composer. “Roger Quilter's output of songs, more than one hundred in total, added to the canon of English art songs that are still sung today. Among the most popular are "Love's Philosophy", "Fair House of Joy", "Come Away Death", "Go,
Lovely Rose", "Weep You No More", "By the Sea", and his setting of "O Mistress Mine".”2
The first song is “Take, o take lips away”. “This text is from Measure for Measure, the only one of Shakespeare’s plays to be set in Vienna, and is sung by a boy to Mariana, the woman whom Angelo promised to marry before he abandons her, thus reneging on his promise. The tone, therefore, is bittersweet, and slightly more on the melancholy side.”3 The lyrics read, “Take, o take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn: But my kisses bring again, Seals of love, but sealed, But sealed in vain!” In “Take, o take those lips away”, there is an “Andante espressivo” written in the score. Andante means “a relatively slow, moderately paced tune”, and “The Italian musical term espressivo is an indication to sing expressively, and may also encourage physical expression by the performer. Espressivo allows a performer to convey the
2 “Roger Quilter,” Wikipedia, accessed November 2, 2020, https://en.wikipedia.org/wiki/Roger_Quilter.
3 “A Short Analysis of the Shakespeare Song ‘Take, Oh Take Those Lips Away’,” Interesting Literature, accessed November 2, 2020, https://interestingliterature.com/2019/07/a-short-analysis-of-the-shakespeare-song-take-oh-take-those-lips-away/ .
vi mood of a musical composition by taking slight liberties with its articulation and dynamics.”4
This song is not technically difficult so the singer should pay special attention to the specific dynamic markings made by the composer.
The second Roger Quilter song is “O Mistress mine”. This song is from a set of Three
Shakespeare Songs, Op.6, along with “Come away, death,” and “Blow, blow, thou winter wind”. This song is sung by Feste from Twelfth Night Act II, scene III. The lyrics are from a poem that has two verses and conveys the idea of carpe diem (“Youth’s a stuff will not endure”, line 12).5 “Quilter’s piano accompaniment is structured with a dotted rhythm melody that serves as a brief introduction, followed by simple chords. The vocal line is equally uncomplicated, built with broken chords and simple rhythms and intervals. The first line of the text is repeated to complete the song, almost as a wistful afterthought.”6 This song is strophic and the first verse begins, “O Mistress mine where are you roaming? O stay and hear, your true love’s coming, That can sing both high and low. Trip no further pretty sweeting. Journeys end in lovers’ meeting, Every wise man’s son doth know.” The author wants to express the positive attitude that the lover is trying to convey to his beloved to stay with him and not run away. The second part is “What is love, ‘tis not hereafter, Present mirth, hath present laughter: What’s to come, is still unsure. In delay there lies no plenty, Then come kiss me sweet and twenty: Youth’s a stuff will not endure.” This poem expresses that
4 Brandy Kraemer, “Espressivo,” last modified June 19, 2017, https://www.liveabout.com/espressivo-definition-2701908.
5 Patricia M., Blanca G. and Claudia M., "Comment on "O Mistress Mine," by William Shakespeare," Marco Polo, accessed November 2, 2020, https://marcopologencana.wordpress.com/2015/12/22/o-mistress-mine-by-william-shakespeare/.
6 Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee: Hal Leonard Corporation, 2006).
vii time flies, and that we should cherish and celebrate love now in the present rather than wait for the future.
The last song of Roger Quilter is “Come away, death.” This song is very different from the previous one because of its emotional depth. “‘Come away death’, is about a man who dies for his uncaring love, and wants to be buried far away anonymously.”7 The song is full of the singer's despair. This song is strophic and consists of two verses. The lyrics begin with, “Come away, come away, death, And in sad cypress let me be laid. Fly away, fly away, breath; I am slain by a fair cruel maid.” The ending text is “Lay me, O, where Sad true lover never find my grave, To weep there!” Shakespeare portrays the character as wanting to spare the feelings of the lover who spurned him, even in the hour of his death.
The last English selection is “Total eclipse” from Samson by Handel. Samson is a three-act oratorio by George Frideric Handel, and is considered to be one of his finest dramatic works. It is usually performed as an oratorio in concert form, but, on occasion, has also been staged as an opera.”8 This oratorio debuted in 1743. Samson is the last of Israel’s judges who draws his supernatural power from his long, uncut hair. His Philistine wife,
Dalila, knows his secret and betrays him by cutting his hair while he is sleeping. Now powerless, he is captured by the Philistines and becomes blind. The aria begins with the words, “Total eclipse! No sun, no moon, all dark amidst the blaze of noon. Oh glorious light!
No cheering ray. To glad my eyes with welcome day! Why thus deprived, Thy prime decree?
7 “Twelfth night: Come away, come away, death,” published August 16, 2010, https://agoldoffish.wordpress.com/2010/08/16/twelfth-night-come-away-come-away-death/.
8 “Samson (Handel),” Wikipedia, accessed November 2, 2020, https://en.wikipedia.org/wiki/Samson_(Handel).
viii Sun, moon, and stars are dark to me”. The haunting vocal line perfectly expresses Samson’s sorrow and feelings of total helplessness.
The next set is in French and the first three songs are all art songs composed by
Gabriel Fauré. “Gabriel Fauré was one of the great composers of French mélodies who, with
Duparc and Debussy, perfected the mélodie as a true art song form. In his 100 mélodies ,
Fauré created an extraordinary range of songs—all original in conception, constantly developing in style, and pointing the way toward future works.”9 These three songs are from his early period, 1860-65. “Fauré’s mélodies from this period retain the tuneful sentimentality of early French song, but begin to take on characteristics that look to his mature style. Most of these songs are in strophic form, with figures in the accompaniment built from scales and triads (which Fauré retained throughout his mélodies ).”10
The first song is “Après un rêve”. “It is Italianate in conception and atmosphere; the piano accompaniment is definitely subordinate to the voice. Fauré wrote long, lyrical vocal lines, set over an accompaniment of repeated chords. The softly percussive accompaniment creates and perpetuates intensity and passion but never sacrifices elegance. ‘Après un rêve’ is in A A B form.”11 The poet of this song is Romain Bussine. He was a French poet and voice teacher who lived during the 19th century. The poem, based on an Italian poem titled "Levati sol che la luna è levata," is a soliloquy about a rapturous dream of a passionate encounter to which the dreamer longs to return, even though the dream is a lie. The lyrics refer to a
9 Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee: Hal Leonard Corporation, 2006).
10 Ibid.
11 Ibid.
ix magical and perfect dream in which the lover is transported to another world. The final words express the desire for the dream, which has vanished, to please return, “Alas, alas, sad awakening from dreams! I summon you, O night, give me back your delusions; Return, return in radiance, Return, O mysterious night!”12 The song begins with the singer dreaming about the happiness of being with their beloved. In the B section, the singer wakes up and finds that everything was only a dream, leaving him feeling miserable and helpless.
The second song of Fauré is “Ici-bas”, which means down here. The poet of this song is Sully Prudhomme. He was a French poet and essayist. Prudhomme was the first winner of the Nobel Prize in Literature in 1901. During his career, he gradually shifted from the sentimental style of his first works towards a more personal style. This shift allowed him to explore his interest in philosophical topics. The lyrics begin with, “Down here all lilacs are dying, all the songs of the birds are short; I dream of the summers which last Forever... Down here lips touch without parting with any of their velvet; I dream of the kisses which last
Forever... Down here all men weep for their friendships or their loves; I dream of the couples who last Forever...” The three paragraphs connect the ephemeral with the eternal by means of contrast and express the author's memory of his lost love. Before singing the song, the singer should imagine that his or her lover is dead or dying, which means that the song should be sung sadly. One interesting thing is that the first two parts of the song are marked “piano”, and the final part is “mezzo-forte”.
The third song in my set is “Lydia”. This song contains the characteristic features of his early songs, such as, “a smooth vocal line constructed of narrow intervals; strophic
12 Richard Stokes, A French Song Companion (Oxford University Press, 2000).
x form; and a mixture of tonality and modality in the harmony (F major and the Lydian mode).”13 The poem for this song was written by Leconte de Lisle. He identified with the
Parnassian movement which provided a kind of bridge between the Romantic and Symbolist periods. As well as poetry, Leconte de Lisle produced a number of theatrical plays, as well as wrote historical works. Lydia is a strophic song and the vocal melody and accompaniment move in unison. The opening text begins with a description of the beloved. The song ends with “I love you and am dying, o my loves! My soul is ravished by kisses. O Lydia, give me back my life, that I might die eternally!”14 As in other poems by Leconte de Lisle, this poem has an an exotic feel. It is a perfect love song, and exudes a sense of calm.
The last French selection is an aria, “Vainement, ma bien-aimee”, from Le Roi d’Ys
(The King of Ys) by Edouard Lalo. This aria is from Act III, which takes place in a gallery in the palace of the King of Ys. The singer is Mylio and it is the day of his wedding to the
King’s daughter, Rozenn. According to Breton custom, the bride’s door is guarded by female attendants barring entry by the groom’s men. Just before the bridal procession, Mylio sings this charming melody, accompanied by a female chorus outside of Rozenn’s chamber. The lyrics begin with “Since one can not sway those jealous protectresses, ah, let me tell my sorrows and my feeling! In vain, my beloved, they think they are making me desperate; near your closed door I still wish to dwell!” The aria ends with “If Rozenn does not come soon,
13 Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee: Hal Leonard Corporation, 2006).
14 Christopher Goldsack, “Fauré - Lydia,” Melodie Treasury, accessed November 2, 2020, http://www.melodietreasury.com/translations/song14_Lydia.html?LMCL=DpgJ8s.
xi alas, I am going to die!” This aria is in ABAB form. The lively piano accompaniment is a wonderful partner to the beautiful legato line of the singer.
The fourth language featured in this recital is German. I chose the works of composers W.A. Mozart, Schubert, and Brahms, from the classical and Romantic periods.
The first aria is “O wie ängstlich” from Die Entführung aus dem Serail (The Abduction from the Seraglio) by Mozart and is sung by the character Belmonte. He looks for his betrothed,
Constanze, who with her English servant Blondchen has fallen into the hands of pirates and been sold to Pasha Selim. The opera takes place in the country house of the Pasha in 16th century Turkey and revolves around Belmonte rescuing his lover, Constanze, from the seraglio of Pasha Selim. This aria is in the last scene of Act I, when Belmonte sneaks into the palace to see Constanze and sing to her. The lyrics translate to, “Constanze, to see you again, you!? Oh how fearfully, oh how fervently My heart is beating, full of love! And the tears shed at seeing her again. Are recompense for the bitter pain of parting. I tremble, I falter,
I hesitate, I shrink, My heart swells and beats faster. Is that her whisper? Anxiety fills me.
Was that her sigh? My cheeks are afire. Did love deceive me? Was it a dream?” The anxiety of the beloved is perfectly portrayed in Mozart’s vocal line and orchestral accompaniment.
The second German song is “Wanderers Nachtlied” by Franz Schubert. “Wanderer's
Nightsong II ("Über allen Gipfeln") is often considered the most perfect poem in the German language.”15 “Goethe probably wrote it on the evening of September 6, 1780, onto the wall
15 Alan P. Cottrell, Goethe's view of evil and the search for a new image of man in our time (Edinburgh: Floris Books, 1982), 35.
xii of a wooden gamekeeper lodge on top of the Kickelhahn mountain near Ilmenau where he, according to a letter to Charlotte von Stein, spent the night.”16The lyrics read, “O'er all the hilltops Is quiet now, In all the treetops hearest thou hardly a breath; The birds are asleep in the trees: Wait, soon, like these, Thou too shalt rest.”17 “The second poem was also set by
Franz Schubert, in 1823. As Goethe wrote to Carl Friedrich Zelter, he revisited the cabin more than 50 years later on August 27, 1831, about six months before his death. The poet recognized the writing on the wall as his own wall-writing and reportedly broke down in tears.
After 1831 the handwritten text vanished, and has not been preserved.”
The last German art song is “Sonntag” by Johannes Brahms. This is one of the composer’s most charming songs, which, to quote Friedlander, “breathes all the naivete and piquancy of true folksong.” It was written in Hamburg in 1860 in A-flat major but appeared in G major when published in 1876. The lyrics translate to, “For a whole week now I haven’t seen my love; I saw her on a Sunday, standing at her door: my loveliest girl, my loveliest sweet, would to God I were with her today! Yet I’ll still be able to laugh all week; I saw her on a Sunday, as she went to church: my loveliest girl, my loveliest sweet, would to God I were with her today!”18 It tells the story of a secret admirer and has two parts, the first part describing the singer's disappointment when he is unable to meet with the girl he has a crush on and the second describing the singer's happy mood when he indeed sees the beautiful girl again.
16 Erich Trunz, Goethes Werke (Hamburger Ausgabe, 1996), 555.
17 “Wanderer’s Nightsong,” Wikipedia, accessed November 2, 2020, https://en.wikipedia.org/wiki/Wanderer%27s_Nightsong#cite_note-4. 18 Richard Stokes, “Sonntag (Op. 47 No.3),” Oxford Lieder, accessed November 2, 2020, https://www.oxfordlieder.co.uk/song/4975.
xiii The last set on my recital is in Chinese. The first song’ name is “How Can I Rid My
Mind of Her” (or How Could I Help Thinking of Her ) by Yuen Ren Chao. “He was a
Chinese-American linguist, educator, scholar, poet, and composer, who contributed to the modern study of Chinese phonology and grammar. ”19 He composed this song in the 1930s in China. The song’s lyrics are, “Light cloud drift above in the sky, over the land wafts a light breeze. The light breeze stirs my hair, how can I rid my mind of her? Moonlight loves the sea, the sea delights in the moonlight. On such a silvery night, sweet as honey, how can I rid my mind of her? Fallen blossoms slowly drift across the waters as fish swim in their depths.
Swallow, what are you saying? How can I rid my mind of her? Withered trees shake in the cold wind, while a grass fire burns at dust. Sparse sunset clouds linger in the western sky, how can I rid my mind of her?”20 This song has four parts, ABCD, and there are descriptions of the scenery of the four seasons in a year, to highlight the nostalgia for the motherland and their loved ones.
The second Chinese song is “Edelweiss” from the film Xiao Hua (little flower) by
Ming Wang. Set in 1930s China, a poor family is forced to sell their children, who are less than a year old, to save their own lives. By chance, the girl and her biological brother both join the revolution and she saves her biological brother without knowing him. After several twists and turns, they finally recognize each other. This song is very popular in China, and is based on folk songs. The lyrics are, “There is a beautiful flower in the world, It's youth, steadfast and unyielding. Bleed it red. Ah! Edelweiss, Edelweiss! Ah! Along the way the
19 “Yuen Ren Chao,” Wikipedia, accessed November 2, 2020, https://en.wikipedia.org/wiki/Yuen_Ren_Chao. 20 “How Can I Rid My Mind of Her,” Lizhi, accessed November 2, 2020, https://www.lizhi.fm/1263040/2658382682630386694.
xiv fragrance covered the cliff. There is a hero's flower in the world. It is the radiance of youth.
Flowers carry loved ones to the mountains. Meet the rosy clouds indomitably. Ah! Edelweiss,
Edelweiss! Ah! Along the way the fragrance covered the cliff.”
Each set in this program contains distinct musical and narrative elements. My song choices were initially inspired by their musical complexity along with their diversity when compared to other selections in the program. The concert features a variety of genres. I wanted to try to acquaint myself with as many different styles of music as possible within the limitations of a recital.
xv Bibliography
“A Short Analysis of the Shakespeare Song ‘Take, Oh Take Those Lips Away’.” Interesting Literature. Accessed November 2, 2020. https://interestingliterature.com/2019/07/a-short-analysis-of-the-shakespeare-song-tak e-oh-take-those-lips-away/.
Cottrell, Alan P. Goethe's view of evil and the search for a new image of man in our time. Edinburgh: Floris Books, 1982.
Cummings, Robert. “Stefano Donaudy.” Accessed November 2, 2020. https://www.allmusic.com/artist/stefano-donaudy-mn0001208080/biography.
Goldsack, Christopher. “Fauré - Lydia.” Melodie Treasury. Accessed November 2, 2020. http://www.melodietreasury.com/translations/song14_Lydia.html?LMCL=DpgJ8s.
“How Can I Rid My Mind of Her.” Lizhi. Accessed November 2, 2020. https://www.lizhi.fm/1263040/2658382682630386694.
Kimball, Carol. Song: A Guide to Art Song Style and Literature. Milwaukee: Hal Leonard Corporation, 2006.
Kraemer, Brandy. “Espressivo.” Last modified June 19, 2017. https://www.liveabout.com/espressivo-definition-2701908.
M., Patricia, Blanca G. and Claudia M. "Comment on "O Mistress Mine," by William Shakespeare." Marco Polo. Accessed November 2, 2020. https://marcopologencana.wordpress.com/2015/12/22/o-mistress-mine-by-william-sha kespeare/.
“Roger Quilter.” Wikipedia. Accessed November 2, 2020. https://en.wikipedia.org/wiki/Roger_Quilter.
“Samson (Handel).” Wikipedia. Accessed November 2, 2020. https://en.wikipedia.org/wiki/Samson_(Handel).
Stokes, Richard. A French Song Companion. Oxford University Press, 2000.
Stokes, Richard. “Sonntag (Op. 47 No.3).” Oxford Lieder. Accessed November 2, 2020. https://www.oxfordlieder.co.uk/song/4975.
Trunz, Erich. Goethes Werke. Hamburger Ausgabe, 1996.
“Twelfth night: Come away, come away, death.” Published August 16, 2010. https://agoldoffish.wordpress.com/2010/08/16/twelfth-night-come-away-come-away- death/.
“Wanderer’s Nightsong.” Wikipedia. Accessed November 2, 2020. https://en.wikipedia.org/wiki/Wanderer%27s_Nightsong#cite_note-4.
１ “Yuen Ren Chao.” Wikipedia. Accessed November 2, 2020. https://en.wikipedia.org/wiki/Yuen_Ren_Chao.
２ Appendix A: Program
I. Italian
1. Lungi dal caro bene Antonio Secchi (1761-1833)
2. Tanto Sospirero Pietro Paolo Bencini (1700-1755)
3. O del mio amato ben Stefano Donandy (1879-1925)
4. Una furtiva lagrima G. Donizetti (1797-1848)
II. English
1. Take, o take those lips away Roger Quilter (1877-1953)
2. O Mistress mine
3. Come away, death
4. Total eclipse George Frideric Handel (1685-1759)
III. French
1. Après un rêve Gabriel Fauré (1845-1924)
2. Ici-bas
3. Lydia
4. Vainement, ma bien-aimee Edouard Lalo (1823-1892)
Intermission
IV. German
３ 1. O wie ängstlich W.A. Mozart (1756-1791)
2. Wanderers Nachtlied Franz Schubert (1797-1828)
3. Sonntag Johannes Brahms (1833-1897)
V. Chinese
1. How Can I Rid My Mind of Her Yuen Ren Chao (1892-1982)
2. Edelweiss Ming Wang (1934-1997)
４ Appendix B: Texts and Translations
Lungi dal caro bene Lungi dal caro bene Lungi dal caro bene, Far from my dear beloved, Vivere non poss'io; I cannot live; Sono in un mar di pene; I am in a sea of pain; Lungi dal caro bene, Far from my dear beloved, Sento, sento mancarmi'l cor. I feel my heart give way. Un dolce estremo sonno, A sweet dark dream, Se lei mirar non ponno, steals over me if she is not near; Mi chiuda, mi chiuda i lumi ancor. Light fails me.
Tanto Sospirero E’er will I sigh in woe Tanto Sospirero, E’er will I sigh in woe, Tanto mi lagnerò, E’er bitter tears shall flow, Che intender le faro, Till she at last shall know, Che per lei moro! of love I perish; Pur l'alma le dirà: E’en then my soul shall vow, "Cara, t'adoro!" “Dear one, I love thee so!”
O del mio amato ben Oh, lost enchantment of my dearly O del mio amato ben perduto incanto! beloved! Lungi è dagli occhi miei Oh, lost enchantment of my dearly beloved! chi m'era gloria e vanto! Far from my eyes is he Or per le mute stanze who was, to me, glory and pride! sempre lo cerco e chiamo Now through the empty rooms con pieno il cor di speranze? I always seek him and call him Ma cerco invan, chiamo invan! with a heart full of hopes? E il pianger m'è sì caro, But I seek in vain, I call in vain! che di pianto sol nutro il cor. And the weeping is so dear to me, that with weeping alone I nourish my heart. Mi sembra, senza lui, triste ogni loco. Notte mi sembra il giorno; It seems to me without him, sad everywhere. mi sembra gelo il foco. The day seems like night to me; Se pur talvolta spero the fire seems cold to me. di darmi ad altra cura, If, however, I sometimes hope sol mi tormenta un pensiero: to give myself to another cure, Ma, senza lui, che farò? one thought alone torments me: Mi par così la vita vana cosa But without him, what shall I do? senza il mio ben. To me, life seems a vain thing Far from my dear beloved without my beloved.
5 Una furtiva lagrima A single secret tear Una furtiva lagrima A single secret tear negli occhi suoi spuntò: What more searching need I do? Quelle festose giovani as if she envied all the youths invidiar sembrò. that laughingly passed her by. Che più cercando io vo? What more searching need I do? Che più cercando io vo? What more searching need I do? M'ama! Sì, m'ama, lo vedo. Lo vedo. She loves me! Yes, she loves me, I see it. I Un solo instante i palpiti see it. del suo bel cor sentir! For just an instant the beating I miei sospir, confondere of her beautiful heart I could feel! per poco a' suoi sospir! As if my sighs were hers, I palpiti, i palpiti sentir, and her sighs were mine! confondere i miei coi suoi sospir... The beating, the beating of her heart I could Cielo! Si può morir! feel, Di più non chiedo, non chiedo to merge my sighs with hers... Ah, cielo! Si può! Si, può morir! Heavens! Yes, I could die! Di più non chiedo, non chiedo. I could ask for nothing more, nothing more. Si può morire! Si può morir d'amor. Oh, heavens! Yes, I could, I could die! I could ask for nothing more, nothing more. Yes, I could die! Yes, I could die of love.
6 O Mistress mine Total eclipse O mistress mine, where are you roaming? Total eclipse! No sun, no moon, O stay and here! Your true love's coming All dark, all dark amidst the blaze of noon. That can sing both high and low; Oh glorious light, no cheering ray Trip no further, pretty sweeting, To glad my eyes with welcome day. Journeys end in lovers meeting, Total eclipse! No sun, no moon, Every wise man's son doth know. All dark amidst the blaze of noon. What is love? 'Tis not hereafter; Why thus deprived thy prime decree? Present mirth hath present laughter; Sun, moon and stars are dark to me. What's to come is still unsure: Sun, moon and stars are dark to me. In delay there lies no plenty; Sun, moon and stars, Then come kiss me, Sweet-and-twenty, Sun moon and stars are dark to me. Youth's a stuff will not endure.
Come away, death Come away, come away, death. And in sad Cyprus let me be laid. Fly away, fly away, breath. I am slain by a fair cruel maid. My shroud of white, stuck all with you. O prepare it. My part of death no one so true. Did share it. Come away, come away, death. Not a flower, not a flower, sweet. On my black coffin, let there be strewn. Not a friend, not a friend, greet. My poor corpse, where my bones shall be thrown. A thousand thousand sighs to say. Lay me over. Sad true lover never find my grave. To weep there.
Take, o take those lips away Take, oh take those lips away, That so sweetly were forsworn, And those eyes: the breake of day, Lights that do mislead the Morn; But my kisses bring again, bring again, Seals of love, but sealed in vain, sealed in vain.
7 Après un rêve After a dream Dans un sommeil que charmait ton image In sleep made sweet by a vision of you, Je rêvais le bonheur, ardent mirage, I dreamed of happiness, fervent illusion, Tes yeux étaient plus doux, ta voix pure et Your eyes were softer, your voice pure, sonore, You shone like a sky that was lit by the Tu rayonnais comme un ciel éclairé par dawn; l’aurore;
Tu m’appelais et je quittais la terre You called me and I departed the earth. Pour m’enfuir avec toi vers la lumière, To flee with you toward the light, Les cieux pour nous entr’ouvraient leurs the heavens parted their clouds for us, nues, We glimpsed unknown splendours, celestial Splendeurs inconnues, lueurs divines fires. entrevues.
Hélas! hélas, triste réveil des songes, Alas, alas, sad awakening from dreams! Je t’appelle, ô nuit, rends-moi tes I summon you, O night, give me back your mensonges; delusions;
Reviens, reviens, radieuse, Return, return in radiance, Reviens, ô nuit mystérieuse! Return, O mysterious night!
Ici-bas Down here Ici-bas tous les lilas meurent, Down here all lilacs are dying, Tous les chants des oiseaux sont courts; all the songs of the birds are short; Je rêve aux étés qui demeurtent I dream of the summers which last Toujours... Forever...
Ici-bas les lèvres effleurent Down here lips touch Sans rien laisser de leurs velours; without parting with any of their velvet; Je rêve aux baisers qui demeurent I dream of the kisses which last Toujours... Forever...
Ici-bas tous les hommes pleurent Down here all men weep for Leurs amitiés ou leurs amours; their friendships or their loves; Je rêve aux couples qui demeurent toujours I dream of the couples who last Toujours... Forever...
8 Lydia (Leconte de Lisle) Lydia sur tes roses joues, Lydia, over your rosy cheeks, Et sur ton col frais et si blanc, and over your neck, so fresh and white, Roule étincelant sparkling, rolls L'or fluide que tu dénoues. the fluid gold that you untie.
Le jour qui luit est le meilleur: The day which is gleaming is the best: Oublions l'éternelle tombe. let us forget the eternal tomb. Laisse tes baisers de colombe Let your dove's kisses Chanter sur ta lèvre en fleur. sing on your blossoming lips.
Un lys caché répand sans cesse A hidden lily ceaselessly diffuses Une odeur divine en ton sein: a divine scent in your breast: Les délices, comme un essaim, like a swarm, delights Sortent de toi, jeune Déesse! escape from you, young Goddess!
Je t'aime et meurs, ô mes amours! I love you and am dying, o my loves! Mon âme en baisers m'est ravie. My soul is ravished by kisses. O Lydia, rends-moi la vie, O Lydia, give me back my life, Que je puisse mourir toujours! that I might die eternally!
9 Vainement, ma bien-aimee In vain, my beloved Puisqu’on ne peut flechir ces jalouses Since these jealous guardians will not be gardiennes, moved to mercy, Ah! laissez-moi conter mes peines ah, let me tell you of my anguish Et mon emoi! and my torment!
Vainement, ma bien-aimee, In vain, my beloved, On croit me desesperer : do I seem to despair: Pres de ta porte fermee. next to your closed door Je veux encor demeurer! I am determined to stay!
Les soleils pourront s’eteindre, Suns may be extinguished, Les nuits remplacer les jours, nights replace days, Sans t’accuser at sans me plaindre, but without blaming you and without La je resterai toujours! complaining, I shall stay here for ever! Je le sais, ton ame est douce, I know that you have a kind heart, Et l’heure bientot viendra, and the hour will soon come Ou la main qui me repousse. when the hand which now pushes me away. Vers la mienne se tendra! will reach out towards mine!
Ne sois pas trop tardive Do not delay too long A te laisser attendrir! in allowing yourself to be won Si Rozenn bientot n’arrive, over by your tender feelings! Je vais, helas! mourir! If Rozenn does not appear soon soon, I, alas, shall die!
10 O wie ängstlich O how eagerly Konstanze, dich wiederzusehen, dich! Constanze, to see you once more!
O wie ängstlich, o wie feurig O how eagerly, o how ardently Klopft mein liebevolles Herz! my lovesick heart is beating! Und des Wiedersehens Zähre But the glad tears of our reunion Lohnt der Trennung bangen Schmerz. will erase the anxious pain of separation.
Schon zittr' ich und wanke, I already tremble and waver, Schon zag' ich und schwanke; quake and falter; Es hebt sich die schwellende Brust! my breast swells to bursting!
Ist das ihr Lispeln? Is that her whisper? Es wird mir so bange! I'm all on fire. War das ihr Seufzen? Was that her sigh? Es glüht mir die Wange! My cheeks are aglow. Täuscht mich die Liebe? Does love deceive me? War es ein Traum? Was it a dream?
Wanderers Nachtlied Wanderer’s nightsong Über allen Gipfeln Over every mountain-top Ist Ruh’, Lies peace, In allen Wipfeln In every tree-top Spürest du You scarcely feel Kaum einen Hauch; A breath of wind; Die Vögelein schweigen im Walde. The little birds are hushed in the wood. Warte nur, balde Wait, soon you too Ruhest du auch. Will be at peace.
Sonntag Sunday So hab' ich doch die ganze Woche This whole week, I have not Mein feines Liebchen nicht geseh'n, Seen my delicate sweetheart. Ich sah es an einem Sonntag I saw her on Sunday, Wohl vor der Türe steh'n: Standing in front of the door: Das tausendschöne Jungfräulein, That thousand-times beautiful girl, Das tausendschöne Herzelein, That thousand-times beautiful heart, Wollte Gott, wollte Gott, ich wär' heute bei Would, God, I were with her today! ihr!
So will mir doch die ganze Woche This whole week, my laughing Das Lachen nicht vergeh'n, Has not ceased; Ich sah es an einem Sonntag I saw her on Sunday,
11 Wohl in die Kirche geh'n: Going to church: Das tausendschöne Jungfräulein, That thousand-times beautiful girl, Das tausendschöne Herzelein, That thousand-times beautiful heart, Wollte Gott, wollte Gott, ich wär' heute bei Would, God, I were with her today! ihr!
12 教我如何不想她 How Can I Rid My Mind of Her 天上飘着些微云， Light cloud drift above in the sky, 地上吹着些微风。 over the land wafts a light breeze. 啊！ Alas! 微风吹动了我的头发， The light breeze stirs my hair, 教我如何不想她？ how can I rid my mind of her?
月光恋爱着海洋， Moonlight loves the sea, 海洋恋爱着月光。 the sea delights in the moonlight. 啊！ Alas! 这般蜜也似的银夜。 On such a silvery night, sweet as honey, 教我如何不想她？ how can I rid my mind of her?
水面落花慢慢流， Fallen blossoms slowly drift across the 水底鱼儿慢慢游。 waters 啊！ as fish swim in their depths. 燕子你说些什么话？ Alas! 教我如何不想她？ Swallow, what are you saying? How can I rid my mind of her? 枯树在冷风里摇， 野火在暮色中烧。 Withered trees shake in the cold wind, 啊！ while a grass fire burns at dust. 西天还有些儿残霞， Alas! 教我如何不想她？ Sparse sunset clouds linger in the western sky, how can I rid my mind of her?
绒花 Edelweiss 世上有朵美丽的花 There is a beautiful flower in the world, 那是青春吐芳华 It's youth, steadfast and unyielding. 铮铮硬骨绽花开 Bleed it red. 沥沥鲜血染红它 Ah! 啊~ Edelweiss, Edelweiss! 绒花绒花 Ah! 啊~ Along the way the fragrance covered the 一路芬芳满山崖 cliff.
世上有朵英雄的花 There is a hero's flower in the world. 那是青春放光华 It is the radiance of youth. 花载亲人上高山 Flowers carry loved ones to the mountains. 顶天立地迎彩霞 Meet the rosy clouds indomitably. 啊~ Ah! 绒花绒花 Edelweiss, Edelweiss! 啊~ Ah!
13 一路芬芳满山崖 Along the way the fragrance covered the cliff.
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