CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

SEARCH FOR THE BELOVED

An abstract submitted in partial fulfillment of the requirements For the degree of Master of Music In Performance

by

Ernest Michael Quarles

May 2014 The abstract of Ernest Michael Quarles is approved:

______Professor Erica Davis Date

______Dr. David Sannerud Date

______Dr. Deanna Murray, Chair Date

California State University, Northridge

!ii TABLE OF CONTENTS

Signature Page ...... ii

Abstract ...... iv

Program ...... 1

Text and Translations ...... 3

!iii ABSTRACT

SEARCH FOR THE BELOVED

by

Ernest Michael Quarles Master of Music, Performance

The repertoire on this recital illustrates and explores the physical and emotional voyage of one searching for his beloved. Romantic themes — love, pain, nature, and longing — as well as mythological symbols interweave throughout, unifying the six groups of music by creating connections that transcend vernacular boundaries. And though each group sojourns in a new language or place, the intent to find the beloved remains constant.

Three German Lieder comprise the first group of the recital. First is Die

Lotosblume, by poet Heinrich Heine, set by composer Robert Schumann, where

Schumann paints the tranquil, yet eager, lotus amidst the water through repeated chords in the accompaniment coupled by a bass line in octaves. He utilizes vivid text-painting in the vocal phrase, such as the ascent and increasing intensity of both the vocal and piano parts as the lotus unveils her face to her lover, blossoming in ecstasy. Schumann’s song style here is reminiscent of the water songs by Franz Schubert, which leads into the next

Lied, Der Jüngling an der Quelle by poet Johann Gaudenz von Salis-Seewis. Schubert illustrates a serene fount adorned by poplars by using a rippling melodic pattern in the

!iv piano accompaniment. The independent vocal line complements this scene with flowing sighs and feelings of longing for Louise. The element of longing ties into the final Lied of this group, Ludwig van Beethoven’s Op. 98, An die ferne Geliebte, No. 6, “Nimm sie hin denn, diese Lieder.” A connection between nature and longing for the sought beloved is manifest through text-painting in the accompaniment. Beethoven uses themes and variations on material from previous sections of the cycle to unify the Lieder. In this recital, the excerpt serves as a foreshadow and artistic cell to grow and explore further.

The second group consists of three French mélodie, deeply rooted in the elements of yearning, nature, and mythology. First is À Chloris composed by Reynaldo Hahn and written by poet Théophile de Viau which utilizes an independent melody in the piano, embellished with Baroque turns, and short natural vocal phrases to depict breathlessness and longing for Chloris. Next, Amédée-Ernest Chausson's Le colibri, describes the flight of a hummingbird drinking nectar from hibiscus flowers to the point of sweet death as an analogy for erotic love. Though Chausson sets the music in a 5/4 meter, sense of specific meter is obscured by means of rich harmonic textures and rolled cords. The voice and piano share melodic material which augments the portrayal of sensuality. Finally in Émile

Paladilhe’s Psyché, focus is drawn upon the vocal line, and thus the story of Cupid’s infatuation with Psyche, by means of sparse and delicate accompaniment. Hence, the shift from admiration of nature from the previous songs to utter jealousy becomes more apparent.

The third group is the aria, “Vainement, ma bien-aimée,” from the opera, Le roi d’Ys by Édouard-Victoire-Antoine Lalo. Prior to this scene, Mylio gained victory in

!v defending the city of Ys against Karnac and his army, thus earning the King’s favor and

Rozenn’s hand in marriage. It is now the wedding day, and Mylio awaits his bride at her door protected by her guardians. In this bridal song, Lalo alternates between a dancelike, swashbuckler accompaniment to more lush, yet delicate, chordal gestures. This variance helps in perceiving the various facets of Mylio’s conviction and love for Rozenn, from fiery zeal to sweet longing.

Following an intermission, the fourth group is an exploration of the elements of mind and intent within the search for the beloved. In Vincenzo Bellini’s Il fervido desiderio, there is a stark musical contrast between pensive yearning and fervent passion between the two verses. Bellini accents the vocal line of the first verse in a quasi- recitative fashion, creating the sense of wonder and sighing. While later in the accompaniment leading to the second verse, Bellini employs denser chords and more dancelike rhythmic patterns to emphasize burning devotion. Francesco Paulo Tosti also utilizes accompaniment to illustrate changes in the inner mind in L’ultimo bacio. He highlights the dynamic and flowing vocal line by underlining it with a series of simpler, pulsing chords in the accompaniment, which serve as a heartbeat, changing with the flow of emotions associated with yearning for lost love. Searching for the lost beloved ties into

O del mio amato ben by Stefano Donaudy. In contrast to Tosti’s style of bringing out the vocal line by subduing the accompaniment, Donaudy utilizes a lush accompaniment to complement the bold, aria-like vocal phrases.

The fifth group is a study on the physical and spiritual energy toll of the search by means of three English Art Songs. First is From Far, from Eve and Morning by Ralph

!vi Vaughan Williams, which clearly depicts Vaughan William’s compositional style of simple accompaniment and melodies along with impeccable setting of text. In context of this recital, this song represents the extent of time and toil in the search. The exhaust caused by longing and despair necessitates rest, which leads to Ivor Gurney’s Sleep. The song is a strong example of Gurney’s song style. He maintains the mood of anguish by means of repeated rhythmic figures in the piano accompaniment and altered notes in the vocal lines. Deep slumber rouses revitalization and energy which leads to Roger Cuthbert

Quilter’s setting of O Mistress mine. Quilter employs dotted rhythms and simple chords along with an equally straightforward vocal line built with broken chords and simple rhythms. This simplicity of the musical setting complements the lightheartedness of

Shakespeare’s text.

The final set for the recital circles back into to the recurring Romantic elements of love, pain, nature, and yearning through kundiman, a Filipino art song. The first is

Nicanor Sta. Ana Abelardo’s Nasaan Ka, Irog? Though the text depicts the longing for a beloved woman, Nasaan Ka, Irog?, just like many other kundiman, is also actually considered a song of patriotism, stemming from the movement for independence of the

Philippines from Spanish colonial rule. The “woman” sought is actually “the motherland.” Also, in this song, Abelardo demonstrates exemplary text setting of Filipino prosody. The recital concludes with Kundiman by Francisco Santiago. Santiago, just like his contemporary Abelardo, are well-regarded for elevating the kundiman from traditional folk serenade to proper art song form. The first part of the binary form begins in F-sharp minor, adorned with triple-meter, dancelike rhythmic patterns in the accompaniment,

!vii reminiscent of guitar strumming, complementing the melancholy tone of the text. The second half then moves into the relative major key, bringing a brighter musical contrast to the somber text, yet elevating the emotion to deep conviction rather than utter despair.

Thus the search for the beloved has no prejudice to language or borders. Longing, finding, losing, mourning, relishing, or reminiscing are all universal elements deeply rooted and intricately connected to the unending search for the beloved.

!viii PROGRAM

I. Die Lotosblume music by Robert Schumann (1810 – 1856) poetry by Heinrich Heine (1797 – 1856)

Der Jüngling an der Quelle music by Franz Schubert (1797 – 1828) poetry by Johann Gaudenz von Salis-Seewis (1762 – 1834)

Op. 98, An die ferne Geliebte No. 6, “Nimm sie hin denn, diese Lieder” music by Ludwig van Beethoven (1770 – 1827) poetry by Alois Isidor Jeitteles (1794 – 1858)

II. À Chloris music by Reynaldo Hahn (1874 – 1947) poetry by Théophile de Viau (1590 – 1626)

Le colibri music by Amédée-Ernest Chausson (1855 – 1899) poetry by Leconte de Lisle (1818 – 1894)

Psyché music by Émile Paladilhe (1844 – 1926) poetry by Pierre Corneille (1606 – 1684)

III. Vainement, ma bien-aimée from the opera, Le roi d’Ys (1888) music by Édouard-Victoire-Antoine Lalo (1823 – 1892) libretto by Édouard Blau (1836 – 1906)

Intermission

IV. Il fervido desiderio music by Vincenzo Bellini (1944 – 1833) text by unknown author

L’ultimo bacio music by Francesco Paulo Tosti (1888 – 1833) poetry by Emilio Praga (1839 – 1875)

!1 O del mio amato ben music by Stefano Donaudy (1879 – 1925) text by Alberto Donaudy (1880 – 1941)

V. From Far, from Eve and Morning from the song cycle, On Wenlock Edge music by Ralph Vaughan Williams (1872 – 1958) words by Alfred Edward Housman (1859 – 1936)

Sleep music by Ivor Gurney (1890 – 1937) words by John Fletcher (1579 – 1625)

O Mistress mine music by Roger Cuthbert Quilter (1877 – 1953) words by William Shakespeare (baptized 1564 – 1616)

VI. Nasaan Ka, Irog? music by Nicanor Sta. Ana Abelardo (1893 – 1934) words by Narciso S. Asistio (fl. c. 1922 – c. 1946)

Kundiman music by Francisco Santiago (1889 – 1947) words by Deogracias A. Rosario (1894 – 1936)

!2 TEXTS AND TRANSLATIONS

Die Lotosblume The Lotus Flower Die Lotosblume ängstigt The lotus flower is afraid Sich vor der Sonne Pracht, Before the sun’s splendor, Und mit gesenktem Haupte And with a bowed head Erwartet sie träumend die Nacht. She dreamily awaits the night.

Der Mond, der ist ihr Buhle, The moon, he is her lover. Er weckt sie mit seinem Licht, He rouses her with his light Und ihm entschleiert sie freundlich And to him she happily unveils Ihr frommes Blumengesicht. Her pious flower face.

Sie blüht und glüht und leuchtet, She blooms and glows and shines Und starret stumm in die Höh; And stares silently toward the heavens; Sie duftet und weinet und zittert She exhales and weeps and trembles Vor Liebe und Liebesweh. For love and love's pain.

Der Jüngling an der Quelle The Youth at the Fount Leise rieselnder Quell! Quietly trickling fount! Ihr wallenden flispernden Pappeln! Your flowing, whispering poplars! Euer Schlummergeräusch Your slumber sound Wecket die Liebe nur auf. Awakens only love.

Linderung sucht' ich bei euch I sought relief with you Und sie zu vergessen, die Spröde. And to forget, unyielding. Ach, und Blätter und Bach Oh, and a leaf and brook Seufzen, Luise, Dir nach! Sigh, Louise, after you!

!3 An die ferne Geliebte To the Distant Beloved Nimm sie hin denn, diese Lieder, Take, then, these songs Die ich dir, Geliebte, sang, That to you, beloved, I sang Singe sie dann abends wieder Sing them again in the evenings Zu der Laute süßem Klang. As the lute of sweet sound

Wenn das Dämmrungsrot dann zieht Then when the twilight moves Nach dem stillen blauen See, Toward the calm blue sea Und sein letzter Strahl verglühet And his last beam burns up Hinter jener Bergeshöh; Behind that hilltop

Und du singst, was ich gesungen, And you sing what I sang Was mir aus der vollen Brust What from myself wholehearted Ohne Kunstgepräng erklungen, Without artlessly resounding Nur der Sehnsucht sich bewußt: Only the yearning itself witting

Dann vor diesen Liedern weichet Then from these songs depart Was geschieden uns so weit, What separates us so far Und ein liebend Herz erreichet And a loving heart reaches Was ein liebend Herz geweiht. What a loving, devoted heart.

À Chloris To Chloris S'il est vrai, Chloris, que tu m'aimes, If it is true, Chloris, that you love me, (Mais j'entends, que tu m'aimes bien,) (But I understand that you love me well,) Je ne crois pas que les rois mêmes I believe that not even kings Aient un bonheur pareil au mien. Have happiness such as mine.

Que la mort serait importune That death would be unwelcome A venir changer ma fortune If it came to exchange my fortune Pour la félicité des cieux! With the joy of heaven!

Tout ce qu'on dit de l'ambroisie All that they say of ambrosia Ne touche point ma fantaisie Does not touch my fantasy Au prix des grâces de tes yeux. With the prize of the graces of your eyes.

!4 Le colibri The Hummingbird Le vert colibri, le roi des collines, The green hummingbird, the king of the hills, Voyant la rosée et le soleil clair Seeing the dew and bright sun Luire dans son nid tissé d'herbes fines, Glistening upon his nest woven of fine grasses, Comme un frais rayon s'échappe dans Like a fresh ray escaping through the l’air. air.

Il se hâte et vole aux sources voisines, He hastens and flies to nearby springs, Où les bambous font le bruit de la mer, Where bamboos make sea sounds Où l'açoka rouge, aux odeurs divines, Where red hibiscus, divinely perfumed, S'ouvre et porte au coeur un humide Manifests and bears in its heart éclair. sparkling dew.

Vers la fleur dorée il descend, se pose, Towards the golden flower he descends, he reposes, Et boit tant d'amour dans la coupe rose And drinks so much love from the rosy chalice Qu'il meurt, ne sachant s'il l'a pu tarir. That he dies, not knowing if he was able to deplete it.

Sur ta lèvre pure, ô ma bien-aimée, On your pure lips, o my beloved, Telle aussi mon âme eût voulu mourir Such also my soul had wanted to die Du premier baiser qui l'a parfumée! Of the first kiss which perfumed it!

!5 Psyché Psyche Je suis jaloux, Psyché, de toute la I am jealous, Psyche, of all nature! nature! Les rayons du soleil vous baisent trop The rays of sun kiss you too often souvent; Vos cheveux souffrent trop les caresses Your hair suffers too many caresses of du vent: the wind: Quand il les flatte, j'en murmure; When he strokes them, I demur; L'air même que vous respirez The air you respire Avec trop de plaisir passe sur votre With too much pleasure pass through bouche; your mouth; Votre habit de trop près vous touche; Your garment touches you too closely; Et sitôt que vous soupirez, And as soon as you sigh, Je ne sais quoi qui m'effarouche I do not know what frightens me Craint, parmi vos soupirs, des soupirs Fear, among your sighs, of sighs lost. égarés.

Vainement, ma bien-aimée In Vain, My Beloved Puisqu'on ne peut fléchir ces jalouses Since we cannot sway these jealous gardiennes, guardians, Ah! laissez-moi conter mes peines Ah! Let me recount my distress Et mon émoi! And my passion!

Vainement, ma bien-aimée, In vain, my beloved, On croit me désespérer; They think they can daunt me; Près de ta porte fermée. Near your shut door Je veux encor demeurer! I am determined to stay! Les soleils pourront s'éteindre, The stars may fade, Les nuits remplacer les jours, The nights replace the days, Sans t'accuser et sans me plaindre, Without blaming you and without pitying me, Là je resterai toujours! There I shall stay always!

Je le sais, ton âme est douce, I know it, your soul is sweet, Et l'heure bientôt viendra, And the hour will soon come Où la main qui me repousse, Where the hand which now rejects me Vers la mienne se tendra! Towards mine will reach out! Ne sois pas trop tardive Do not take too long À te laisser attendrir! To let yourself be moved! Si Rozenn bientôt n'arrive, If Rozenn does not arrive soon, Je vais, hélas! mourir! Alas, I shall die!

!6 Il fervido desiderio The fervent desire Quando verrà quel dì When will that day come Che riveder potrò That I can see again Quel che l'amante cor tanto desia? That loving heart full of desire?

Quando verrà quel dì When will that day come Che in sen t'accoglierò, That in your bosom welcomed Bella fiamma d'amor, anima mia? Beautiful flame of love, my soul?

L’ultimo bacio The Last Kiss Se tu la vedi le dirai che l'amo, If you see her, tell her that I love her, Che l'amo ancora come ai primi dì, That I love her as much as on the first day, Che nei languidi sogni ancor la chiamo, That I still call to her in my dreams, La chiamo ancor come se fosse qui. I call to her as if she were still here. E le dirai che colla fè tradita And tell her that although she betrayed my trust Tutto il gaudio d’allora non mi rapì; She has not taken all my former joy from me; E le dirai che basta alla mia vita And tell her that it is enough for my whole life, L'ultimo bacio che l'addio finì. Her last kiss farewell.

Nessun la toglie dalla bocca mia Nothing can remove it from my lips L'ultimo bacio che l'addio finì; Her last kiss farewell; Ma se vuol darle un altro in compagnia But if she wants to give me its companion Dile che l’amo, e che l'aspetto qui Tell her I love her, and that I wait for her here Dile che l’amo. Tell her I love her.

!7 O del mio amato ben Oh, My Dear Beloved O del mio amato ben perduto incanto! O lost charm of my beloved! Lungi è dagli occhi miei Distant from my eyes chi m'era gloria e vanto! Is she who was my glory and pride! Or per le mute stanze Now through the silent rooms sempre la cerco e chiamo I always seek and call her con pieno il cor di speranze Wholeheartedly and with hope Ma cerco invan, chiamo invan! But I seek in vain, call in vain! E il pianger m'è sì caro, And weeping is dear to me che di pianto sol nutro il cor. For only tears nourish the heart.

Mi sembra, senza lei, triste ogni loco. Without her, every place seems forlorn Notte mi sembra il giorno; Night seems like day to me mi sembra gelo il foco. To me, ice seems like fire Se pur talvolta spero Even though at times I hope di darmi ad altra cura, To concern myself with other matters sol mi tormenta un pensiero: A single thought torments me: Ma, senza lui, che farò? Without her, what will I do? Mi par così la vita vana cosa It seems to me that life is pointless senza il mio ben. Without my beloved.

!8 Nasaan Ka, Irog? Where Are You, Beloved? Nasaan ka, Irog at dagling naparam ang Where are you, beloved and at once iyong pag-giliw? your affection ceased? Di baga sumpa mong ako'y mamahalin? Did you not promise to love me? Iyong itatangi, iyong itatangi You cherish, you cherish as far as the magpahanggang libing grave Subalit nasaan ang gayong pagtingin? But where is such favor?

Nasaan ka Irog at natitiis mong ako'y Where are you beloved and you endure mangulila that I am alone At hanap-hanapin ikaw sa alaala? And searching for you in recollection? Nasaan ang sabi mong ako'y iyong Where is that of which you spoke, that I ligaya’t am your joy and Ngayong nalulungkot, ngayong Now forlorn, now forlorn that I cannot nalulungkot ay di ka makita? find you?

Irog ko'y tandaan! My beloved keep in mind!

Kung ako man ay iyong ngayo'y If I am now oppressed by you siniphayo, Mga sumpa't lambing pinaram mong The promises and tenderness you cease buo, entirely Ang lahat sa buhay ko ay hindi Everything in my life will not fade maglalaho't away and magsisilbing bakas ng nagdaan 'tang will be a servant to traces of past pagsuyo. affection.

Tandaan mo Irog, Irog ko'y tandaan. Keep in mind beloved, my beloved keep in mind

Ang lahat sa buhay ko ay hindi Everything in my life will not fade maglalaho't away and magsisilbing bakas ng nagdaan 'tang will be a servant to traces of past pagsuyo. affection Nasaan ka irog! Nasaan ka Irog? Where are you beloved! Where are you beloved?

!9 Kundiman Kundiman Ako'y anak ng dalita I am a child of misery At tigib ng luha And rife with tears Ang naritong humihibik This supplication Na bigyan ng awa To grant compassion Buksan mo ang langit Open up heaven At kusa mong pakinggan And heed your volition Ang aking ligalig My distress Saka pagdaramdam As well as my bitterness

Ay, kung hindi ka mahahabag Ah, if you will not take pity Sa lungkot kong dinaranas Upon the grief that I am experiencing Puso't diwang nabibihag Heart and mind held captive Sa libing masasadlak By exacerbating burial Magtanong ka kung 'di tunay Ask if it is not true Sa kislap ng mga tala To the twinkling of the stars Magtanong ka rin sa ulap Even ask the clouds Ng taglay kong dalita Of the misery I bear

Sa dilim ng gabi In darkness of eve Aking nilalamay My night vigil Tanging larawan mo Only your image Ang nagiging ilaw Becomes light Kung ikaw ay mahimbing If you are downright Sa gitna ng dilim At the core of darkness Ay iyong ihulog Deliver Puso mo sa akin Your heart to me

Tanging larawan mo Only your image Ang nagiging ilaw Becomes light Ay iyong ihulog Deliver Puso mo sa akin Your heart to me Ang iyong ihulog, ang iyong ihulog Deliver, deliver Buhay, pag-asa, pag-asa Life, hope, hope!

!10