The Ph.D./D.M.A. Programs in Music

October 17, 2006, 7:30 p.m. Baisley Powell Elebash Recital Hall

LIEDERABEND Songs of Franz Schubert (1797-1828)

Emily Albrink, soprano Sara Henry, mezzo-soprano Steven Ebel, tenor Blake Howe, baritone Harry Jensen, piano

“Die Geselligkeit, ” D. 609 (Johann Karl Unger) ensemble

Johann Mayrhofer’s Heliopolis “Heliopolis I (“Im kalten, rauhen Norden….”), D.753 Ms. Henry “Nachtviolen, ” D.752 Mr. Ebel “Lied eines Schiffers an die Dioskuren, ” D.360 Mr. Howe “Heliopolis II” (“Fels auf Felsen... ”), D.754 Ms. Henry

“Das Abendrot, ” D.236 (Ludwig Theobul Kosegarten) Ms. Albrink, Ms. Henry, Mr. Howe

J. W. von Goethe’s Mignon “An Mignon,” D.161 Mr. Ebel “Nur wer die Sehnsucht kennt,” D.877 (op. 62, no. 4) Ms. Albrink “Heiß mich nicht reden,” (op. 62, no. 2) Ms. Albrink “So laßt mich scheinen,” (op. 62. no. 3) Ms. Albrink “Nur wer die Sehnsucht kennt,” (op. 62. no. 1) Ms. Albrink, Mr. Ebel

“Nachtgesang,” D.352 (Matthäus Kasimir von Collin) Ms. Henry, Mr. Howe

INTERMISSION

Heinrich Heine Lieder from Schwanengesang, D.957 Mr. Howe “Das Fischermädchen” “Am Meer” “Die Stadt” “Der Doppelgänger” “Ihr Bild” “Der Atlas”

“Des Tages Weihe,” D.763 (Anonymous) ensemble

Please switch off your cell phones and refrain from taking flash pictures.

Notes on Three Poets

Johann Mayrhofer (1787–1836) shared a Viennese apartment with Schubert for two years, from 1818–20. A depressed individual, Mayrhofer led a double-life as a poet and as a censor for the oppressive Metternich regime—an occupation which surely rankled his fellow liberal intellectuals. He ended his own life by throwing himself out the window of the censorship office where we was employed. While the artistic relationship between Mayrhofer and Schubert proved productive—the composer set nearly fifty of the poet’s works to music, more than any other poet save Goethe—the status of their personal relationship is full of mystery. They may have been involved romantically while they lived together, but what caused their relationship to end is unknown (there are no known points of contact between the two after 1820).

Mayrhofer’s cycle of twenty poems, entitled Heliopolis, is less a narrative cycle and more a philosophic one, exploring the relationships between art and nature. Heliopolis—the Greek land of the Sun—represented an idyllic artistic paradise to Mayrhofer, free from worldly torment. Schubert set four poems from this poetic cycle in 1822, perhaps as a farewell to his alienated colleague. It is fascinating to wonder whether Schubert intended to set only these four poems, or whether he had planned to set the whole cycle before abandoning the project.

J. W. von Goethe (1749–1832), one of the greatest figures in German literature, created the character of Mignon for his didactic novel Wilhelm Meister’s Apprenticeship (1795). Mignon is a sexually indistinct child of incest, kidnapped from foster parents into an abusive traveling circus troupe until Wilhelm (Goethe’s protagonist) buys her freedom. She is an unforgettably haunting figure—a victim of unspeakable horrors who yearns through her four poems for transcendence and acceptance. That Wilhelm deserts her only to find her near death toward the end of the novel (dressed as an angel, singing “So laßt mich scheinen”) only adds to the tragedy. Mignon clearly seems to have haunted Goethe; when reading a poem like “An Mignon,” composed thirteen years after he had written her section of the novel, one wonders who or what inspired such agonized soul searching.

Mignon’s songs are among the most frequently set texts in all of German song literature. Schubert completed twelve different versions of her four songs, not including the many fragments that he abandoned. Sung here are Schubert’s final four settings, from January 1826, as found in his op.62. One of the most notable features of this group is the inclusion of two versions of “Nur wer die Sehnsucht kennt”— first a solo for Mignon and then a duet for Mignon and her father (a blind harper), who, in the novel, haunt Wilhelm as he tries to sleep.

The poetry of Heinrich Heine (1797–1856) is marked by tortured irony, subversive wit, and masochistic self-pity. He distanced himself from the previous generation of Romantics by first poking fun at their overwrought indulgence and then intensifying it. Heine would become indispensable to later lieder composers, particularly Robert Schumann, whose Heine settings include Liederkreis, op.24, and Dichterliebe. Schubert composed his six settings sometime within two years of his untimely death; they were published posthumously as the second major component of Schwanengesang. Their fierce intensity and apocalyptic vision of emotional destruction demonstrate a composer working at the peak of his craft; it is one of the great tragedies of music history that this collaboration represented not a beginning but an end.

There has been much debate as to the order of these six Heine songs—and whether they constitute a miniature cycle. Schubert’s order, as preserved in his autograph manuscript (held just a few blocks away at the Pierpont Morgan Library), does not appear to hinge on any narrative continuity or cyclic function. In the early 1970s, musicologist Harry Goldschmidt first proposed a re-ordering of the Heine songs, following the order in which the poems are found in Heine’s volume Die Heimkehr. About a decade later, musicologist Richard Kramer expanded upon Goldschmidt’s proposal, demonstrating the dramatic and musical tautness of this new order. We will be following Goldschmidt’s and Kramer’s re-ordering this evening, in the spirit of further exploring Schubert’s inclinations toward cyclic composition. Blake Howe

Texts and Translations

“Die Geselligkeit” (Johann Karl Unger) “Camaraderie”

Wer Lebenslust fühlet, der bleibt nicht allein, Whoever feels zest for life does not remain alone; allein sein ist öde, wer kann sich da freu’n. to be alone is wretched – how could one be happy? Im traulichen Kreise, beim herzlichen Kuß In intimate circles of friends, with a heartfelt kiss – beisammen zu leben, ist Seelengenuß! to live together is soulful pleasure!

Geselligkeit fesselt die ganze Natur, Camaraderie binds all of nature – in Lüften, im Wasser, auf lachender Flur. in the air, in the water, on the babbling brook. Er selber gebot es, der alles erschuf: God himself ordained it, when he created it all: Beisammen zu leben, ist Menschen beruf. to live together is the duty of man.

“Heliopolis I” (Johann Mayrhofer) Im kalten, rauhen Norden In the cold, rough North Ist Kunde mir geworden news came to me Von einer Sonnenstadt. of a sun-city. Wo weilt das Schiff, wo winkt der Pfad, Where is the ship? Where beckons the path Die mich zu ihren Hallen tragen? that will take me to its halls? Von Menschen konnt’ ich nichts erfragen, — From humans I could ascertain nothing — In Zwiespalt waren sie verloren. in chaos they were lost. Zur Blume, die sich Helios erkoren, To the flowers—which Helios chose Die ewig in sein Antlitz blickt, and which always gaze to his countenance— Wandt’ ich mich nun, — und ward entzückt: I turned around, and was enchanted: “Wende, so wie ich, zur Sonne “Turn your gaze to the sun, as I have! Deine Blicke! Dort ist Wonne, Blissfulness is there, Dort ist Leben; life is there; Treu ergeben, loyally devoted, Pilg’re zu, und zweifle nicht: make the pilgrimage and do not doubt: Ruhe findest Du im Licht; you will find peace in light. Licht erzeuget alle Gluten, — Light generates all flames, — Hoffnungspflanzen, Thatenfluten!” plants of hope, endless deeds!”

“Nachtviolen” (Mayrhofer) “Night Violets” Nachtviolen! Nachtviolen! Night violets! Night violets! Dunkle Augen, seelenvolle, — Dark and soulful eyes, Selig ist es, sich vertiefen how blessed it is to delve myself In das sammt’ne Blau. into the velvety blue.

Grüne Blätter streben freudig Green leaves joyfully aspire Euch zu hellen, euch zu schmücken; to brighten you, to decorate you; Doch ihr schauet ernst und ahnend but seriously and anticipatingly you look In die laue Sommerluft. into the mild summer air.

Mit erhab’nen Wehmuthsstrahlen With elevated rays of wistfulness Trafet ihr sein treues Herz. you have struck his faithful heart, Und so blüht in stummen Nächten and so, in soundless nights, Fort die heilige Verbindung. our holy union blossoms.

“Lied eines Schiffers an die Dioskuren” (Mayrhofer) “Song of a Sailor to the Dioscuri” Dioskuren, Zwillingssterne, Dioscuri – twin stars, Die ihr leuchtet meinem Nachen, that illuminate my ship – Mich beruhigt auf dem Meere you comfort me on the sea Eure Milde, euer Wachen. with your mildness, your watchfulness.

Wer auch fest in sich begründet, Whoever firmly believes in himself Unverzagt dem Sturm begegnet and unswervingly engages the storm, Fühlt sich doch in euren Strahlen feels himself, in your rays, Doppelt mutig und gesegnet. doubly courageous and blessed.

Dieses Ruder, das ich schwinge, This oar – which I brandish Meeresfluten zu zerteilen, to cleave the waves of the sea – Hänge ich, so ich geborgen, I will hang, once I am safe, Auf an eures Tempels Säulen. on the pillars of your temple.

“Heliopolis II” (Mayrhofer) Fels auf Felsen hingewälzet, Rock rolled upon rocks, Fester Grund und treuer Halt; sturdy ground and firm hold; Wasserfälle, Windesschauer, waterfalls, shivering winds, Unbegriffene Gewalt. unfathomable power.

Einsam auf Gebirges Zinne, Alone on the mountain’s pinnacle, Kloster wie auch Burgruine, sits cloister and castle ruins— Grab’ sie der Erinn'rung ein! carve this into your memory! Denn der Dichter lebt vom Sein. For the poet lives through being.

Atme du den heil’gen Äther Breathe in the holy ether Schling die Arme um die Welt, entwine your arms around the world; Nur dem Würdigen, dem Großen only to the dignified, to the great, Bleibte mutig zugesellt. should you bravely be devoted.

Laß die Leidenschaften sausen Let your passions swell Im metallenen Akkord, in metallic harmony; Wenn die starken Stürme brausen, when the strong storms howl Findest du das rechte Wort. you will find the true word.

“Das Abendrot” (Ludwig Theobul Kosegarten) “The Evening Red” Der Abend blüht, The evening blooms, Der Westen glüht! the west glows! Wo bist du, holdes Licht entglommen, Where did you smolder, lovely light? Aus welchem Stern herab gekommen? From which star did you come?

Wie seht so hehr How noble Das düstre Meer, the dusky sea appears; Die Welle tanzt des Glanzes trunken, the splendor’s waves drunkenly dance, Und sprüht lust taumelnd Feuerfunken. and passionately sprinkle tumbling sparks of fire.

Es malt der Strahl The sunbeam paints Das liebe Tal, the lovely valley Das sie bewohnt, der Holden Holde, which the fairest of the fair inhabits mit Rosenglut und mattem Golde. with the glow of roses and faint gold.

Viel schöner blüht, Blooming more beautifully, Viel wärmer glüht glowing warmer, Die blasse Rose ihrer Wangen, the pale rose’s petals Und weckt in brünstiges Verlangen. turn in primal yearning.

“An Mignon” (J. W. von Goethe) “To Mignon” Über Tal und Fluß getragen, Carried over valley and river, Zieht rein der Sonne Wagen. the sun’s chariot continues steadily. Ach, sie regt in ihrem Lauf, Oh, in its course it stirs So wie deine, meine Schmerzen, my sorrows as it does yours, Tief im Herzen, deep in our hearts, Immer morgens wieder auf. newly each morning.

Kaum will mir die Nacht noch frommen, The night hardly brings me any comfort, Denn die Träume selber kommen for it is then my dreams themselves appear Nun in trauriger Gestalt, in mirthless guise, Und ich fühle dieser Schmerzen, and I feel these pains, Still im Herzen quiet in my heart, Heimlich bildende Gewalt. secretly growing in strength.

Schon seit manchen schönen Jahren For many a lovely year Seh ich unten Schiffe fahren, I see the ships sail below. Jedes kommt an seinen Ort; Each one arrives at its destination; Aber ach, die steten Schmerzen, but, oh, these sorrows Fest im Herzen, fixed in my heart, Schwimmen nicht im Strome fort. do not swim away in the current.

Schön in Kleidern muß ich kommen, I must appear in fine clothes; Aus dem Schrank sind sie genommen, they are taken from my closet Weil es heute Festtag ist; because today is a holiday. Niemand ahnet, daß von Schmerzen No one guesses that, Herz im Herzen in my heart of hearts, Grimmig mir zerrissen ist. I am brutally torn up by pain.

Heimlich muß ich immer weinen, In secret, I must always weep, Aber freundlich kann ich scheinen though I can appear to be happy – Und sogar gesund und rot; even healthy and bright. Wären tödlich diese Schmerzen Were this pain Meinem Herzen, in my heart fatal, Ach, schon lange wär ich tot. oh, I would have died long ago.

“Nur wer die Sehnsucht kennt” (Goethe) Nur wer die Sehnsucht kennt Only he who knows yearning Weiß, was ich leide! knows what I grieve! Allein und abgetrennt Alone and severed Von aller Freude, from all happiness, Seh ich am Firmament I look into the firmament Nach jener Seite. in that direction.

Ach! der mich liebt und kennt, Oh! he who loves and knows me Ist in der Weite. is in the distance. Es schwindelt mir, es brennt I am dizzy—my guts Mein Eingeweide. are burning. Nur wer die Sehnsucht kennt Only he who knows yearning Weiß, was ich leide! knows what I grieve!

“Heiß mich nicht reden” (Goethe) Heiß mich nicht reden, heiß mich schweigen, Do not bid me speak; bid me be silent, Denn mein Geheimnis ist mir Pflicht, for I am bound to secrecy. Ich möchte dir mein ganzes Innre zeigen, I would like to show you my complete inner self, Allein das Schicksal will es nicht. but fate will not allow it.

Zur rechten Zeit vertreibt der Sonne Lauf At the right moment, the sun’s course drives away Die finstre Nacht, und sie muß sich erhellen, the dark night, and it must grow light. Der harte Fels schließt seinen Busen auf, The hard rock opens up its bosom, Mißgönnt der Erde nicht die tiefverborgnen Quellen. begrudges not the earth its deep hidden springs.

Ein jeder sucht im Arm des Freundes Ruh, Everyone, in a friend’s arms, seeks peace. Dort kann die Brust in Klagen sich ergießen, There the heart can unleash in complaint. Allein ein Schwur drückt mir die Lippen zu, But a vow seals my lips shut, Und nur ein Gott vermag sie aufzuschließen. and only a god can unlock them.

“So laßt mich scheinen” (Goethe) So laßt mich scheinen, bis ich werde, So let me seem, until I become. Zieht mir das weiße Kleid nicht aus! Don’t take away my white clothing! Ich eile von der schönen Erde I hurry from the lovely earth Hinab in jenes feste Haus. down to the hard dwelling.

Dort ruh’ ich eine kleine Stille, There I will rest a little in quiet— Dann öffnet sich der frische Blick; then the fresh vision will open up. Ich laße dann die reine Hülle, I will then leave the pure mantle, Den Gürtel und den Kranz zurück. the girdle, and the crown behind.

Und jene himmlischen Gestalten And these heavenly entities Sie fragen nicht nach Mann und Weib, do not concern themselves with “masculine” or “feminine,” Und keine Kleider, keine Falten and no clothes, no wrinkles Umgeben den verklärten Leib. surround this transfigured body.

Zwar lebt’ ich ohne Sorg’ und Mühe, I have indeed lived without worries and troubles, Doch fühlt’ ich tiefen Schmerz genung. but I feel deep pain anyway. Vor Kummer altert’ ich zu frühe; From suffering I have aged too early; Macht mich auf ewig wieder jung! make me young again forever!

“Nachtgesang” (Matthäus Kasimir von Collin) “Night Song” Liebe ist ein süßes Licht. Love is a sweet light. Wie die Erde strebt zur Sonne As the earth strives for the sun Und zu jenen hellen Sternen and for every bright star In den weiten blauen Fernen, in the wide blue yonder, Strebt das Herz nach Liebeswonne; the heart strives for the joy of love – Denn sie ist ein süßes Licht. for it is a sweet light.

Sieh, wie hoch in stiller Feier Look how high in the quiet celebration Droben helle Sterne funkeln: the bright stars sparkle above. Von der Erde fliehn die dunkeln, From the earth flees the darkness – Schwermutsvollen trüben Schleier. the dejected, murky fog. Wehe mir, wie so trübe Woe is me! How troubled Fühl' ich tief mich im Gemüte, I feel deep in my mind, Das in Freuden sonst erblüte, that once bloomed in happiness – Nun vereinsamt, ohne Liebe. now desolate, without love.

Liebe ist ein süßes Licht. Love is a sweet light. Wie die Erde strebt zur Sonne As the earth strives for the sun Und zu jenen hellen Sternen and for every bright star In den weiten blauen Fernen, in the wide blue distance, Strebt das Herz nach Liebeswonne: the heart strives for the joy of love: Liebe ist ein süßes Licht. love is a sweet light.

“Das Fischermädchen” (Heinrich Heine) “The Fishermaiden” Du schönes Fischermädchen, Dear fishermaiden, Treibe den Kahn ans Land; lead your boat to the shore. Komm zu mir und setze dich nieder, Come to me and sit down— Wir kosen Hand in Hand. we’ll cuddle, hand in hand.

Leg an mein Herz dein Köpfchen Lay your little head on my heart, Und fürchte dich nicht zu sehr; and don’t be too afraid; Vertraust du dich doch sorglos daily you trust yourself fearlessly Täglich dem wilden Meer. to the wild sea.

Mein Herz gleicht ganz dem Meere, My heart is exactly like the sea – Hat Sturm und Ebb’ und Flut, it has storms and ebbs and flows, Und manche schöne Perle and many a beautiful pearl In seiner Tiefe ruht. rest in its depths.

“Am Meer” (Heine) “On the Sea” Das Meer erglänzte weit hinaus The sea glistened far and wide Im letzten Abendscheine; in the final rays of the evening; Wir sassen am einsamen Fischerhaus, We sat by the lonely house of the fisherman; Wir sassen stumm und alleine. we sat, in silence and alone.

Der Nebel stieg, das Wasser schwoll, The fog rose, the water swelled, Die Möwe flog hin und wieder; the seagulls flew back and forth. Aus deinen Augen liebevoll From your love-filled eyes, Fielen die Tränen nieder. tears fell down.

Ich sah sie fallen auf deine Hand I saw them fall on your hand. Und bin aufs Knie gesunken; and I sank to my knee; Ich hab von deiner weißen Hand from your white hand, Die Tränen fortgetrunken. I drank the tears away.

Seit jener Stunde verzehrt sich mein Leib, Since that hour, my body is consumed, Die Seele stirbt vor Sehnen; my soul dies of longing; Mich hat das unglücksel’ge Weib the unfortunate woman Vergiftet mit ihren Tränen. poisoned me with her tears.

“Die Stadt” (Heine) “The City” Am fernen Horizonte On the distant horizon, Erscheint, wie ein Nebelbild, there appears, like a foggy vision, Die Stadt mit ihren Türmen, the city with its towers, In Abenddämmrung gehüllt. covered in twilight.

Ein feuchter Windzug kräuselt A damp draught of wind ruffles Die graue Wasserbahn; the grey waterway; Mit traurigem Takte rudert with mournful rhythm, Der Schiffer in meinem Kahn. the boatman rows in my boat.

Die Sonne hebt sich noch einmal The sun luminously raises itself aloft once more Leuchtend vom Boden empor, from the earth, Und zeigt mir jene Stelle, and shows me the very place Wo ich das Liebste verlor. where I lost my beloved.

“Der Doppelgänger” (Heine) “The Double” Still ist die Nacht, es ruhen die Gassen, The night is quiet, the alleys are resting— In diesem Hause wohnte mein Schatz; in this house lived my treasure. Sie hat schon längst die Stadt verlassen, She has long since left the city, Doch steht noch das Haus auf demselben Platz. But the house stands in the very same place.

Da steht auch ein Mensch und starrt in die Höhe, A man stands there, too; he looks to the heavens Und ringt die Hände vor Schmerzensgewalt; and wrings his hands in the grip of anguish. Mir graust es, wenn ich sein Antlitz sehe – I tremble, when I see his face – Der Mond zeigt mir meine eigne Gestalt. the moon shows me my own image.

Du Doppelgänger, du bleicher Geselle! My double, you pallid companion! Was äffst du nach mein Liebesleid, Why do you ape at the sorrows of my love, Das mich gequält auf dieser Stelle which have tormented me at this very place So manche Nacht, in alter Zeit? so many a night, in times long ago?

“Ihr Bild” (Heine) “Her Image” Ich stand in dunkeln Träumen I stood in dark dreams und starr ihr Bildnis an, and stared at her image, und das geliebte Antlitz and her beloved face Heimlich zu leben begann. strangely came to life.

Um ihre Lippen zog sich Around her lips Ein Lächeln wunderbar, a wondrous smile outlines itself, Und wie von Wehmutstränen and, as though from melancholy tears, Erglänzte ihr Augenpaar. her two eyes glistened.

Auch meine Tränen flossen My tears also flowed Mir von den Wangen herab - down on my cheeks— Und ach, ich kann’s nicht glauben, and, oh, I can’t believe Daß ich dich verloren hab! that I have lost you!

“Der Atlas” (Heine) “Atlas” Ich unglücksel’ger Atlas! Eine Welt, I, an unfortunate Atlas! A world, Die ganze Welt der Schmerzen muß ich tragen, the whole world of suffering I must bear. Ich trage Unerträgliches, und brechen I bear the unbearable, and Will mir das Herz im Leibe. my heart wants to break within my body.

Du stolzes Herz, du hast es ja gewollt! Proud heart, you wished it so! Du wolltest glücklich sein, unendlich glücklich, You wanted to be happy, forever happy, Oder unendlich elend, stolzes Herz, or forever miserable, proud heart— Und jetzo bist du elend. and now you are miserable!

“Des Tages Weihe” (anonymous) “Consecration of the Day” Schicksalslenker, blicke nieder, Ruler of destiny, look down Auf ein dankerfülltes Herz; upon a thankful heart; Uns belebt die Freude wieder, joy revives us, Fern entfloh'n ist jeder Schmerz. every pain is far removed.

Und das Leid, es ist vergessen, And sorrow – it is forgotten. Durch die Nebel strahlt der Glanz Through the clouds streams the light Deiner Größe unermessen, of your unmeasurable greatness, Wie aus hellem Sternenkranz. as if from a bright garland of stars.

Liebevoll nahmst du der Leiden Lovingly you took the sorrow’s Herben Kelch von Vaters Mund; Bitter cup from a father’s lips; Darum ward in Fern und Weiten This made known, far and wide, Deine höchste Milde kund. Your supreme benevolence.

Emily Albrink, soprano, a native of Louisville, KY, is currently pursuing a Professional Studies degree at Manhattan School of Music where she obtained her master of music degree in May of 2006. A strong proponent of art song, Ms. Albrink’s studies have included such programs as Songfest; the German for Singers Program at Middlebury College; the Franz-Schubert-Institut in Baden-bei-Wien, Austria; as well as being a vocal fellow at the Tanglewood Music Center. While at Tanglewood, she performed the role of Parasha in Mavra and Die Vertraute in Elektra, both conducted by James Levine. In 2005, Emily was the soprano soloist in Mozart’s Vespers with the Louisville Orchestra. Ms. Albrink has also appeared with the Ann Arbor Symphony, as a featured soloist in their Best of Broadway concert; as well as in a production of Candide conducted by Martin Katz. In addition, she has worked with composers Ricky Ian Gordon and Jake Heggie on concerts featuring their work. Ms. Albrink received her BFA in Musical Theatre from the University of Michigan where she was student of Martha Sheil. At the Manhattan School of Music, she has appeared in productions of A Month in the Country, Florencia en el Amazonas (Rosalba), Cendrillon (Noémie), and will play Susanna in scenes from Le Nozze di Figaro. Emily is a student of Cynthia Hoffmann.

Hailed by the Jerusalem Post as “a magnificent dramatic voice,” mezzo-soprano Sara Henry has charmed audiences around the world. Ms. Henry began her formal vocal studies at La Scuola di Musica di Sesto, in Florence, Italy and went on to graduate from Sarah Lawrence College, where she made her debut as the contralto soloist in J.S. Bach’s Weihnachts Oratorio. On the operatic stage, she has performed a wide variety of leading roles, including Rosina (Il Barbiere di Siviglia) Orfeo (Orfeo ed Euridice), the title role in Carmen, and a trio of Handelian heroes: Ariodante (Ariodante), Ruggiero (Alcina), and Arsamene (Xerxes). Later this season, she will appear as Virtue in Handel’s The Choice of Hercules with Opera Harmonia.

Steven Ebel just returned to New York from a summer as a Tanglewood Vocal Fellow where he performed the music of Schubert, Strauss, Flanders & Swann and Jolas. Regarding his recent performance in Pirates of Penzance, with the Opera Delaware, he was noted for his “clear and strong singing”. Mr. Ebel sang the role II Postiglione in La Fanciulla del West with the New York City Opera; and Tito in La clemenza di Tito with New York Opera Studio. He has performed two solo recitals in New York: “A Tenor's Songbook” and a program of music by Benjamin Britten entitled “Sonnets and Songs of the Isles.” Mr. Ebel is a graduate of University of Wisconsin-Madison where he performed the role of Nanki-Poo in The Mikado; Orpheus in Orpheus in the Underworld; Arturo in Lucia Di Lammermoor; and Dr. Miracle in Dr. Miracle. While in Wisconsin, he performed as The Prince in a touring version of Rusalka (A Mermaids Tale) with Opera for the Young. Recently, Mr. Ebel took second place in the 2005 New York Oratorio Society Solo Competition and won first prize for the Long Island Masterworks Paul Straney Award in June. Upcoming performances include two concerts this spring with New Music New York.

Blake Howe is a second-year doctoral student in musicology at the Graduate Center of the City University of New York. As a baritone, he has participated in many vocal institutes and festivals, including the Aspen Opera Theater Center; the Franz-Schubert-Institut in Baden-bei-Wien, Austria; Songfest in Malibu, California; the Internationale Sommerakademie of the Mozarteum in Salzburg; and the Amherst Early Music Festival in Bennington, Vermont. In addition to being a committed recitalist, Mr. Howe is also frequently engaged in Baroque music, having performed the Handelian roles of Elviro (Serse) and Consalvo (Almira), and the Bach cantatas Ich habe genug (BWV 82) and Der Friede sei mit dir (BWV 158); this spring, he will sing Jesus in Bach’s St. John Passion. A 2005 graduate of Vassar College, Mr. Howe co-founded and co-directed the Vassar Camerata, an early-music ensemble. His teachers include Irene Gubrud and Drew Minter.

Harry Jensen graduated with degrees in cello performance from Northwestern University and taught at SUNY-New Paltz for 38 years. He retired several years ago and is now enjoying his life and music. He studied piano In New York City with Richard Goode for almost 25 years, and has played hundreds of concerts both as a soloist and in chamber music settings. Mr. Jensen particularly loves the song repertoire and is very happy to be collaborating with these four fine singers.

Concert Office 212-817-8607 [email protected]

UPCOMING EVENTS FALL 2006

October 19 Music in Midtown – Paul Houghtaling, bass-baritone; Eduardo Lopez-Dabdoub, clarinet; Miho Zaitsu, cello; and Gloria Shih, piano (1:00pm) 23 Soon-Young Kim, soprano 25 Wei-Ti Lin, violin 31 Composers’ Alliance

November 2 Music in Midtown – Robert White, tenor; Norman Carey, piano (1:00pm) 2 Paul Houghtaling, baritone 6 Michael Shinn, piano 15 Soyoung Lee, piano 20 Sequenza21 22 Eduardo Lopez-Dabdoub & Miho Zaitsu, chamber 28 Gary Hammond, violin 30 Music in Midtown – Prometheus Piano Quartet (1:00pm) 30 Composers’ Alliance

December 4 Kinan Azmeh, clarinet 6 Contemporary Ensemble 12 Quynh Nguyen, piano 14 Music in Midtown – Cygnus Contemporary Chamber Ensemble (1:00pm) 14 Haeeun Kim, piano 20 Jeeyoung Son, piano

Unless otherwise noted, all events are FREE and begin at 7:30pm For more information contact the Concert Office or visit our website at: http://web.gc.cuny.edu/Music/events/concerts/html