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Abstract Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Performance

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Abstract Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Performance 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
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