'" lf wishes were fairies 1 would not stay, But they would wile my soul away; And peace would creep Into my sleep as soft As a dream at evenfall , J1NlX When the cri ckets sing CoU"',-<e of Fine Arts- Ocparbncnl of Music And the curlews call ; And ' ti s I would wake for no Presents New morrow On the grey round of this World of sorrow. 'Loch Kyoonbawn, the fair, calm lake · Moymalla, the plain of honey Michelle Latour Text by Joseph Cambell ( 1879- 1944) soprano Faculty Recital featuring Weiwei Le, violin Andrew Smith, cello Jennifer Grim, flute Barbara Risl<e, piano Wednesday, March 24, 2010 5:30pm Doc Rando Recital Hall Beam Music Center l l Program """' """' ,...., Notes and Translations,..., from 25 Schottische Lieder, Op. 108 Ludwig van Beethoven from 25 Schottische Lieder, Op. 108 The sweetest lad was Jamie (1770-1827) Sunset Ludwig van Beethoven's folksong settings are among the least familiar of his output, yet he wrote far more of them than any other genre, composing 180 arrangements of Scottish, Irish, and Welsh folksongs for one or more voices with piano, violin, and cello accompaniment between I 809 and 1818. This body of work stemmed from Four Songs for soprano, cello and piano Andre Previn collaboration with George Thomson, a Scotsman who was an avid music lover and Mercy (b. 1929) amateur cellist, and grew out of a movement from the early 18th century to collect Stones folksongs. However, Thomson wanted to make hi s collections surpass his predeces­ The Lacemaker sors in scope, variety, and quality. To do this, he commissioned well-known figures such as Haydn and Beethoven to write complex harmonizations, to compose in­ Shelter strumental introductions and postludes, and to add optional violin and cello parts. Although Beethoven's settings were considered to be of exceedingly high quality, they were too complicated for amateur musicians to play. As a result, none of them Schon lacht der holde Fruhling W.A. Mozart sold well, and were deemed too difficult for their intended public. (1756-1791) The sweetest lad was Jamie The sweetest lad was Jamie, The sweetest, the dearest, Intermission ,...., ,...., And well did Jamie love me, And not a fault has he. Yet one he had it spoke his praise, He knew not woman's wish to tease, Leden Yftezslava Kapnllova He knew not all our silly ways, alas! The woe to me! (1915-1940) For though I loved my Jamie Sincerely and dearly, from Romance-Suite Dmitri Shostakovich Yet often when he wooed me, 1 held my head on high; llecm1 O¢emrn (1906-197 5) And huffed and tossed with saucy air, M.bJ6bJJUfBMeCTe And danc'd with Donald at the fair, ropop, cmrT And plac'd his ribbon in my hair and EypSI Jamie pass'd him by! TaHr!bJe 3HaKH So when the war pipes sounded, My3hiKa Dear Jamie, he left me, And now some other maiden Will Jamie turn to woo. My heart will break, Three Pastoral Songs, Op. 22 Roger Quilter And well it may, I will go with my father a-ploughing (1877-1953) For who would word of pity say Cheny Valley To her who threw a heart away, I wish and I wish So faithful and so true! 2 ... Oh! Knew he how I loved him , Four Songs for soprano, cello, and piano Sincerely and dearly; How I would fly to meet him! Oh! Happy were the day! Four Songs for soprano, cello and piano were written in 1994 by Andre Previn, and Some kind, kind friend, use poems by Toni Morrison. The first song, Mercy, examines how the media looks Oh, come between, at starvation , blood and mi sfortune in settings such as Ethiopia. The traveler and the And tell him of my altered mien! probing camera, as referred to in the poem, attempt to exploit those in this circumstan·ce That Jeanie has not Jeanie been who can only turn away in shame. The poem expresses embarrassment at the way Since Jamie went away. the media invades the privacy of the dying. The musical setting for thi s poem can be described as static, somber, slow and chromatic. The poem used for Stones is based on an old blues song called Rocks in my Bed and was inspired by the blues singer Bessie Sunset Smith. The voice in this poem is a brash, bold woman who is angry at the absence of a man in her life. Only stones warm her bed at night. In The Lacemaker, the character The sun upon the Weirdlaw hill , in the poem is hollow, regretful , and mournful . The lyrics describe a spinster, a woman In Ettrick's vale is sinking sweet; who has settled for less in life. Her vocation as a lacemaker has prevented her from The westland wind is hush and sti ll , committing 'crimes' in her life- that is, passions that she has left unexplored . The The lake lies sleeping at my feet. music reflects this intense sadness and di sappointment. The vocal line is segmented Yet not the landscape to mine eye and simple, while the cello and pi ano are hi ghlighted throughout. In thi s way, Previn 's Bears those bright hues that once it bore; music is hi ghly representative of the poem; underscoring a woman who has lived an Tho' Ev'ning, insignificant and lackluster life. The final song,Shelter, is about a woman who is having With her richest dye, a good time in her imagination. She thinks about her man and of the challenges, both Flames o'er the hulls on Ettrick's shore. mythical and metaphorical , that she can overcome with him. With li stless look along the pl ain , I see Tweed's silver current glide; Mercy And coldly mark the holy fane of Melrose ri se in ruin 'd pride. I could watch heads The quiet lake, the balmy air, turn from the traveler's look The hill , the stream, the tower, the camera's probe The tree, are they still bear the purity of their Such as once they were, shame Or is the dreary change in me? hear mute desolation in syll abl es anci ent as Alas the warp'd and broken board , death. How can it bear the painters dye? I could do these things if only if only The harp of strain 'd and tuneless chord, l knew that when milk How to the minstrel's skill reply? spi li s To aching eyes and hearts stop Each land scape lowers, underheel To feverish pulse each gale blows chill: some small thing gone And Araby's or Eden's bowers, chill Were barren as this moorland hill. is ri ght to warm toward a touch because mercy Text by George Thompson ( 1757 - 1821) li es in wait like a shore. Mercy like a shore. 3 4 In this soft pl ace Under your wings I don't need no man I will fi nd shelter telling me I ain 't one. From ordinary things. My trigger fin ger strong as hi s on a shot gun . Tex t by Toni Morrison (b. 193 1) Buttercake and roses smooth stones in my bed . Handmade quilts cover stones in my bed. I don't need no man Schon lacht der holde Friihling telling me I ain 't one. My backbone ai n' t like hi s but at least I got one. W.A. Mozart's Schon lacht der holde Friihling is full of coloratura wri ting ­ High-heeled slippers break pyrotechnic runs, leaps, and ornaments in the upper range of the soprano voice. lt stones in my bed. is a free-standing concert aria that does not come from a Mozart opera, although it Games pl ayed at ni ght tri ck is commonl y included in the less-than-famous !l barbiere di Siviglia by Giovanni stones in my bed . Paisiello . Stones in my bed . Stones. I don't need no man telling me. Schon lacht der holde FrUhling Already fa ir Spring smiles Auf blumenreichen Matten, On fl owerdight meadows, The Lacemaker Wo sich Zephire gatten Where west winds mate Unter geselligem Scherze. ln convivial sport. I am as you see Wenn auch auf allen Zweigen Although young blossoms appear what most becomes me; Sich junge BlU ten zeigen, On every branch, miles skipped Kehrt doch kein Ieiser No gentle consolation cancelled trips Trost in dieses arme Her Returns to thi s poor heart. masters yet unmet. Da sitze ich und weine Here 1 sit and weep Lace alone is loyal , sacred , royal, Einsam auf der Flur Alone in the lea in control Ni cht urn mein verl ornes Schafchen, But it is not for my lost lamb, of crimes stopped Nein , urn den Schafer Lindor nur. No, it is for the shepherd Llndoro that I weep. by pattern s of blood bred to best behavior. Anonymous text Translation by S. Spencer As you see I am what has become of me. Shelter Leden In thi s soft place Under your wings In her short li fe, Vitezslava Kapralova showed every sign of becoming a major I will find shelter mu sical fi gure in the 20'h century, studying with prominent composition and From ordinary things. conducting teachers, winning presti gious internati onal composition pri zes , and even conducting the BB C Orchestra in London in 1938. She composed in all Here are the mounta ins genres yet mai nta ined a special place in her heart fo r the art song. Leden was written I want to scale in 1933.