The D’Angelo Department of Music at Mercyhurst University Presents A Faculty Recital Liederabend: an evening of German and German-American composers Royce Strider, baritone Nathan Hess, piano Walker Recital Hall Wednesday, October 21, 2020 8:00pm www.mercyhurst.edu/music PROGRAM An die Ferne Geliebte, (Op. 98) Ludwig van Beethoven (1770-1827) Auf dem Hügel sitz’ ich spähend Wo die Berge so blau Leichte Segler in den Höhen Diese Wolken in den Höhen Es kehret der Maien, es blühet die Au Nimm sie hin denn, diese Lieder *** Liebst du um Schönheit (Op. 37/12, no. 4) Clara Schumann (1819-1896) Mein Stern Erlkönig Franz Schubert (1797-1828) 10-MINUTE INTERMISSION Es muẞ ein Wunderbares sein (2013) Johnny Salvesen (b. 1993) Wir wandelten Sehnsucht Mein Herz ist schwer *** Mack the Knife (The Threepenny Opera) Kurt Weill (1900-1950) September Song (Knickerbocker Holiday) It Never was You (Knickerbocker Holiday) Please silence all electronic devices. The use of recording devices is strictly prohibited. NOTES An die Ferne Geliebte, (Op. 98) Ludwig van Beethoven (1770-1827) Text by Alois Jeitteles Although best known for his innovations with the symphony, Ludwig van Beethoven’s contribution to the vocal repertoire is actually rather vast, with over 100 songs to his credit. Among them, the cycle An die ferne Geliebte helped establish the foundation for an entire generation of German art song, or lieder, that would be led by Schubert and Schumann. This set of six poems was provided by medical student/amateur poet Alois Jeitteles (1794-1858), and talks of the longing for a “ferne Geliebte” (“distant beloved”), frequently alluding to and addressing nature, brooks, birds, and the like. It is unclear whether Beethoven specifically requested this set of poems from Jeitteles, if he simply came across them in printed form, or if Jeitteles was sent to the composer by their mutual editor, Ignaz Castelli. There are also theories that this song set was composed with Beethoven’s love for philanthropist Antonie Brentano in mind. Whether this piece is truly autobiographical in intention continues to be up for debate. An die ferne Geliebte was published in 1816, in his third compositional “period.” However, the majority of his vocal music tends to be more conservative, compared to his output for large orchestras. It is a very important work as it is considered the first song cycle, not only as a collection of art songs, but as a group of musical material in a literal cyclic form. The cyclic nature of this set is very apparent, as the melody and text of the first song makes a clear appearance at the cycle’s conclusion. It is also an unusual set musically due to the absence of breaks; the music is seamlessly connected and never stops for the performers to regroup, which is standard performance practice for many song recitals. Beethoven’s symphonic innovations, giving every instrument the melody at one time or another, can also be heard throughout this work. This work not only has been established as the first song cycle in its purest form, but continues to gain popularity as a recital centerpiece, with both singer and pianist being equal partners in beautiful artistic creation. I. On the hill sit I, peering Into the blue, hazy land, Toward the far away pastures Where I you, beloved, found. Far am I, from you, parted, Separating us are hill and valley Between us and our peace, Our happiness and our sorrow. Ah! The look can you not see, That to you so ardently rushes, And the sighs, they blow away In the space that separates us. Will then nothing more be able to reach you, Nothing be messenger of love? I will sing, sing songs, That to you speak of my pain! For before the sound of love escapes every space and every time, And a loving heart reaches, What a loving heart has consecrated! II. Where the mountains so blue Out of the foggy gray Look down, Where the sun dies, Where the cloud encircles, I wish I were there! There is the restful valley Stilled are suffering and sorrow Where in the rock Quietly the primrose meditates, Blows so lightly the wind, I wish I were there! There to the thoughtful wood The power of love pushes me, Inward sorrow, Ah! This moves me not from here, Could I, dear, by you Eternally be! III. Light veils in the heights, And you, little brook, small and narrow, Should my love spot you, Greet her, from me, many thousand times. See you, clouds, her go then, Meditating in the quiet valley, Let my image stand before her In the airy heavenly hall. If she near the bushes stands, Now that autumn is faded and leafless, Lament to her, what has happened to me, Lament to her, little birds, my suffering! Quiet west, bring in the wind To my heart's chosen one My sighs, that pass As the last ray of the sun. Whisper to her of my love's imploring, Let her, little brook, small and narrow, Truly, in your waves see My tears without number! IV. These clouds in the heights, These birds gaily passing, Will see you, my beloved. Take me with you on your light flight! These west winds will play Joking with you about your cheek and breast, In the silky curls will dig. I share with you this pleasure! There to you from this hill Busily, the little brook hurries. If your image is reflected in it, Flow back without delay! V. May returns, the meadow blooms, The breezes they blow so softly, so mildly, Chattering, the brooks now run. The swallow, that returns to her hospitable roof, She builds, so busily, her bridal chamber, Love must dwell there. She brings, so busily, from all directions, Many soft pieces for the bridal bed, Many warm pieces for the little ones. Now live the couple together so faithfully, What winter has separated is united by May, What loves, that he knows how to unite. May returns, the meadow blooms, The breezes they blow so softly, so mildly, Only I cannot go away from here. When all that loves, the spring unites, Only to our love no spring appears, And tears are our only consolation. VI. Take, then, these songs, That I to you, beloved, sang, Sing them again in the evenings To the sweet sounds of the lute! When the red twilight then moves toward the calm, blue lake, And the last ray dies behind that hilltop; And you sing, what I have sung, What I, from my full heart, Artlessly have sounded, Only aware of its longings. For before these songs yields, What separates us so far, And a loving heart reaches For what a loving heart has consecrated. Liebst du um Schönheit (Op. 37/12, no. 4) Clara Schumann (1819-1896) Text by Fredrich Rückert Mein Stern Text by Friedericke Serre Clara Schumann was a pianist, teacher, and the wife of composer Robert Schumann. As a gift for their first Christmas together in 1840, Clara gave Robert a set of three songs. The notion of a husband and wife publishing music together as equals illustrated a marriage that was far ahead of its time. Their joint composition, Liebesfrühling (Spring of Love), was his Opus 37, her Opus 12, and sets a poetic cycle by Fredrich Rückert on the blisses of married love. The collection included three songs by Clara, “Liebst du um Schönheit” being among them. Clara was a pianist first, like her husband, and many of her songs include a significant postlude, giving the pianist “the last word” in this warm, intimate piece. While the text is strophic, Schumann uses subtle melodic and rhythmic nuances to give each stanza its own unique value and color. Robert and Clara Schumann were longtime friends with Major Friedrich Anton Serre and his wife, poet Friedricke Serre. In gratitude for their admiration and support, Clara wrote two songs to Friedricke Serre’s tests: “Mein Stern” and “Beim Abschied”. “Mein Stern” was not published in Germany during her lifetime, but first appeared in London with the English translation: “O Thou My Star.” The piano part is rich, sparkling, and celestial, while Schumann’s text setting is melodic and soaring. Once again, the postlude suggests her primary instrument, as the pianist gets the final say in the music-making. If you love for beauty If you love for beauty, O love not me! Love the sun, She has golden hair! If you love for youth, O love not me! Love the spring Who is young each year! If you love for riches, O love not me! Love the mermaid Who has many shining pearls! If you love for love, Oh yes, love me! Love me always; I shall love you forever! My Star O you my star, I love to observe you, When the sun slips quietly into the sea, And your golden gaze beckons so consolingly In my night! O you my star, From afar You bring me tidings of love, Let me passionately kiss your rays In fearful night. O you my star, Linger gladly, And smilingly on the wings of light Escort once more the angel of dreams to your friend In his night. Erlkönig Franz Schubert (1797-1828) Text by Johann Wolfgang Goethe Franz Schubert is one of the most prolific composers of lieder, with over 600 secular vocal works to his name. His skill in text setting makes him an easy favorite to program in song recitals. He has written many large song cycles, but his most famous standalone song is arguably his setting of the ballad of Erlkönig.