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Masters Recital
Alicia Fairbanks, mezzo-sopranoStudent of Dr. Carol Ann Allred
Dr. Mitchell Giambalvo, pianoBrynn Vance, violin
Saturday, December 4, 2021Dumke Recital Hall
Virtual Venue: https://music.utah.edu/libby-live/index.php8:00 p.m.
For the safety of our audiences, artists, and staff, the School of Music asks that all patrons attending performances follow recent CDC guidance, which calls for everyone to wear face masks indoors. We ask that patrons please not attend any show if they have been exposed to COVID-19 or are feeling unwell.
"Laudamus te," from Great Mass in C Wolfgang Amadeus Mozart Minor, K. 427/417a (1756-1791)
"Erbarme dich," from St. Matthew Passion, Johann Sebastian Bach BWV 244 (1685-1750)
Brynn Vance, violin
"O Thou that Tellest Good Tidings to Zion," George Frideric Handel from Messiah, HWV 56 (1685-1759)
La Spagnola Vincenzo Di Chiara(1864-1937)
Greensleeves Roger Quilter(1877-1953)
Hans und Grete Gustav Mahler(1860-1911)
La brise Camille Saint-Saëns(1835-1921)
Соловей (Nightingale) Alexander Alyabyev(1787-1851)
Intermission
Program (Please hold applause until the end of each section
and turn off all electronic devices that could disrupt the concert.)
This recital is presented as partial fulfillment for the requirements for the Master of Music degree.
Beautiful Dreamer Stephen Foster (1826-1864)
Nuit d'Espagne Jules Massenet (1842-1912)
Vergebliches Ständchen Johannes Brahms
(1833-1897)
L'ultima canzona Paolo Tosti (1846-1916)
Пленившись розой, соловей (The Nikolai Rimsky-Korsakov Nightingale and the Rose) (1844-1908)
La danza Gioachino Rossini (1792-1868)
Bolero Charles Gounod
(1818-1893)
Gondolied Fanny Mendelssohn Hensel (1805-1847)
If You’ve Only Got a Moustache Stephen Foster
(1826-1864)
Гопак (Gopak) Modest Mussorgsky (1839-1881)
Program Notes
and
Song Translations
Oratorio Arias
Laudamus te
(We Praise Thee)
From Mass in C minor
Wolfgang Amadeus Mozart (1756-1791)
Premiered: Salzburg, 26 October 1783
We praise Thee
We adore Thee
We bless Thee
We glorify Thee
For composers, the mass was often more than a musical religious service. By the time
Mozart began to make his mark in the world, the mass had for centuries provided opportunity for
composers to display their skills and innovations. Although it is incomplete, Mozart’s Mass in C
Minor is considered to be one of his finest works. This mass was not a commissioned piece.
Some sources claim that Mozart composed it in gratitude for his marriage, another claims that it
was motivated by his wife’s recovery from an illness.
Erbarme Dich
(Have Mercy)
From St. Matthew Passion.
Music: Johann Sebastian Bach (1685-1750)
Libretto: Christian Friedrich Henrici (1700-1764) (Under his pen name “Picander”)
Premiere: Leipzig, April 11, 1727
Have mercy my God
For the sake of my pleading.
See how my heart and eyes
Weep bitterly for Thee.
The passion recounts the final events in Jesus’ life. In this case, the story is drawn from
The Gospel of St. Matthew. However, the text primarily consists of poetic verses rather than
scriptural quotes. The aria Erbarme dich depicts Peter’s despair after he denied knowing the
Christ. To emphasize the anguish in the text Bach utilizes the “pianto”; a pattern of descending
half steps. This motif appears both in vocal and instrumental music to depict weeping. The aria’s
form imitates a da capo aria; the first and a second sections are new material while the third and
final section in a modified version of the first.
O Thou that Tellest Good Tidings to Zion
George Frideric Handel (1685-1759)
Libretto: Charles Jennens (1700-1773)
Composed: 1741
Behold, a virgin shall conceive and bear a Son,
and shall call his name Emmanuel,
God with us.
O thou that tellest good tidings to Zion
Get thee up into the high mountain
O thou that tellest good tidings to Jerusalem
Lift up, thy voice, with strength
Lift it up, be not afraid
Say unto the cities of Judah
Behold your God
O thou that tellest good tidings to Zion
Arise, shine, for thy light is come
And the glory of the Lord
Is risen upon thee
In July 1741 Jennens sent Handel a libretto for an oratorio with a text based on the King
James version of the Bible. Handel composed the music for Messiah in a mere 24 days and at the
end wrote: “SDG” (Soli Deo Gloria - Only to God the glory). The following year Messiah was
performed in several charity concerts. The proceeds were used to pay the debts which freed
people from debtors’ prison. The text for this aria is taken from Isaiah 7:14, 40:9 and 60:1. Here
the prophet Isaiah invites people to joyfully look forward to the Savior’s coming.
(End of Set)
Songs Influenced by Folk Music
La Spagnola
(The Spanish Girl)
Words and Music: Vincenzo Di Chiara (1864-1937)
Published: 1906
I am the beauty of Spain
I am the queen of love
Everyone calls me “Star”
“Star of vivid splendor.”
Chorus
Closer, closer in the extasy of love
The Spanish girl knows how to love like this
Mouth to mouth night and day
Love with all adore
To whom is sincere with me
My years of vigor
I will soon show
Chorus
Glances that send lightning,
Movements that entice,
The lips are plump.
I’ll make you touch paradise
Chorus
La Spagnola is by far Di Chiara’s best-known composition. It was first performed at the
Festa di Piedigrotta in Naples. The piece is unusual among Di Chiara’s songs in that the
composer wrote the lyrics, and the language is Italian rather than his native Neapolitan dialect.
The music is a catchy cross between two 19th century trendy styles: imitation Spanish folk and
Viennese waltz.
Greensleeves
Music: Roger Quilter (1877-1953)
Lyrics: John Irvine (1903-1964)
Published:1947
Oh who is fair as she is fair
And who can such a grace possess
The rose itself could but compare
Nor rob her of her comeliness
Chorus
Come love be all my joy,
Thou alone art my delight
Come love be my heart of gold,
And who but my Lady Greensleeves?
Oh who is rare as she is rare
And who is such a charming maid
The lute shall tell her my despair
And fill with song the myrtle shade
Chorus
Oh who is kind as she is kind
Her gentle heart could ne’er betray
If Argus prove himself but blind
Yet she would have my constancy
Chorus
The Arnold Book of Old songs consists of Quilter’s arrangements of 16 traditional songs
from various parts of the British Isles. The earliest printed version of Greensleeves was
published in London in 1580 under the title: "A Newe Northen Dittye of ye Ladye Greene
Sleves" The song has sometimes been attributed to King Henry VIII, but musicologists have
since debunked the theory. Quilter’s version contains new lyrics by the Irish poet Irving. Thus
the only resemblance to the original text is the infatuation for the elusive Lady Greensleeves.
Hans und Grete
(Hans and Grete)
Words and Music: Gustav Mahler (1860-1911)
Published: 1892
Round and round in a line
If you are happy come join in
If you have worries leave them at home
How happy is he
Who kisses his love.
Hey Hansel, you have none.
So find yourself one!
A dear love is a fine thing.
Hurray!
Round and round in a line
Hey Gretchen, why do you stand all alone?
Are you looking over at Hansel?
Isn’t May so green?
How the wind blows!
Hey look at dumb Hans!
He runs to the dance!
He was looking for a love
He found one
Hurray!
Round and round in a line.
The song was published as one of 14 in a collection called Lieder und Gesänge and is one
of Mahler’s earliest songs. It is almost identical to a previous song: “Maitanz im Grünen” written
in 1880. Although “Volkslied” is printed under the title, it is not an actual folksong. Both poetry
and music are made to sound very folk-like. The changes in tempo contribute to the rustic
impression. It is also an example of Mahler’s tendency to not use the most sophisticated poetry.
La brise
(The Breeze)
Music: Camille Saint-Saëns (1835-1921)
Lyrics: Armand Renaud (1836-1895)
From Mélodies persanes
Published: 1872 op. 26 no. 1
Like young goats stung by a horsefly,
Dance the beauties of Zabulistan,
With rose their nails are tinted,
None see them but their sultan.
In the hand of each, a sistrum resounds.
Saber in his fist, a turbaned eunuch stands.
But from the pale river where the lilies slumber,
Comes the night wind like a rascal
He goes to charm their hearts and their lips,
Despite watchful eyes and royal decrees.
O dreamer rest assured,
The breeze has taken your verses of love
For a talisman.
19th century Europeans had a fascination with non-European cultures. This influence was
manifest in art, music, literature and even upper-class homes. Saint-Saëns’ collection of songs
Mélodies Persanes is an example of this. La brise is as authentically Persian as Panda Express is
authentically Chinese. It was tailored to appeal to European ears in a way that offered a taste of
something foreign and exotic without deviating too far from what was familiar and acceptable.
Соловей
(Nightingale)
Music: Alexander Alyabyev 1787-1851
Lyrics: Anton Delvig (1798-1831)
Composed: 1827
Nightingale, my nightingale
Loud-voiced nightingale!
To where are you flying,
Where you will sing through the night?
Chorus
Nightingale, my nightingale
Loud-voiced nightingale!
Can someone poor like me,
Listen to you all night
Not closing eyes
That are drowning in tears?
Chorus
You fly my nightingale
Even to the end of the earth
Even across the blue sea
On a foreign shore.
Chorus
Ever since the reforms brought about by Peter the Great, Russia had imitated western
Europe. Russian culture and language were considered lower class. The seeds of change were
planted during the Napolianic war in which Alyabyev fought. This clashing encounter with the
west made Russians began to evaluate and embrace their unique cultural heritage. Nightingale
exemplifies this trend with its obvious Russian folk-style. It is the composer's most famous work
and helped to solidify him as one of the fathers of Russian art song.
(End of Set)
Serenades
Beautiful Dreamer
Music and Lyrics: Stephen Foster (1826-1864)
Published 1864
Beautiful Dreamer, wake unto me,
Starlight and dewdrops are waiting for thee;
Sounds of the rude world heard in the day,
Lull'd by the moonlight have all passed away!
Beautiful dreamer, queen of my song,
List while I woo thee with soft melody;
Gone are the cares of life's busy throng
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!
Beautiful dreamer, out on the sea,
Mermaids are chanting the wild Lorelei;
Over the stream let vapors are borne,
Waiting to fade at the bright coming morn.
Beautiful dreamer, beam on my heart,
E'en as the morn on the streamlet and sea;
Then will all clouds of sorrow depart,
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!
Published a few months after Foster’s sudden death, Beautiful Dreamer is one of the last
songs composed by the man who has been hailed as “the father of American music”. His tuneful
songs so naturally captured the simplicity of everyday life that some people are surprised to learn
that they are not folk songs. During Foster’s life the copyright laws in the United States did little
to protect a composer’s work. This meant that although his songs were popular and publishers
sold thousands of copies, the composer received almost nothing in royalties.
Nuit d'Espagne
(Spanish Night)
Music: Jules Massenet (1842-1912)
The air is fragrant
The night is serene
And my soul is full of joyous thoughts
O dear one
Come! O beloved
Here is the moment of love
In the deep woods
The flowers are sleeping
The fountains are singing
Quickly let’s run away!
See, the moon is shining
And smiles at us in the sky.
Indiscrete eyes are not to be feared
Come, o dear one
The night will protect your blushing brow
The night is serene.
Appease my heart!
Come! O my dear.
This is the hour of love!
In the dark blue
The gold stars part their veils
To see you pass
O dear one
Come beloved
This is the moment of love
I saw it open
Your gauze curtain
You hear me, cruel
And you don’t come!
Look, the road is dark
Under the entwined branches
Your youthful years
Are at the peak of their splendor
Come! For the hour is short
The daylight will leave the flowers of spring
The night is serene
Appease my heart!
Come! O beloved!
This is the hour of love!
Although primarily known for his operas, Massenet composed over 140 songs for voice
and piano. His mélodies span a wide range of styles and sometimes show the influence of other
composers. Nuit d'Espagne imitates the rhythmic strumming of a guitar in the piano part to give
the impression of a Spanish serenade. Even though Spain is geographically close to France, it
was still viewed as foreign and exotic.
Vergebliches Schendchen
(Futile Little Serenade)
Johannes Brahms (1833-1897)
Lyrics: Lower Rhine folk song
Published: 1882
He
Good evening my dear
Good evening my girl
I come to you out of love
Ah! Open the door to me.
She
My door is locked
I’ll not let you in.
Mother advises me wisely
If you were by chance found here
It would be over with me
He
So cold is the night
So icy is the wind
My heart will freeze to death
My love will be extinguished
Open to me my girl
She
Erase your love
Let it be lost!
Keep erasing it
Get home to bed to rest
Good night my kiddo!
This humorous little piece was composed during the time that Brahms was reaching the
height of his career. Several collections of songs were interspersed between larger works such as
his second and third symphonies, as well as a number of concertos and overtures. The song harks
back to three decades earlier when the composer published several large collections of folk
songs. One could surmise that this may have been a genre that Brahms personally enjoyed.
L'ultima canzona
(The Last Song)
Sir Francesco Paolo Tosti (1846-1916)
Francesco Cimmino (1862-1938)
Published: 1905
They told me that tomorrow
Nina, you will be married
And again, I sing a serenade to you
There in the desert planes
There in the shady valleys
Oh how many times I have sung to you!
Rose petals,
Flowers of amaranth,
Though you get married
I will always be near you.
Tomorrow you will be surrounded
By festive smiles and flowers
Never thinking of our past love
But always, night and day
Full of passion
My song will come sighing to you
Leaves of mint
Pomegranate blossoms
Nina, remember the kisses that I gave you!
With their memorable melodies and sentimental lyrics Tosti’s songs were in high demand
during his lifetime. Many of his Italian and Neapolitan songs show the influence of folk styles.
The off-beat accompaniment in this piece contributes to its slightly rustic, peasant impression.
The composer also spent a good share of his career in England as reflected by his numerous
English songs.
Пленившись розой, соловей
(The Nightingale and The Rose)
Melody: Nikolai Rimsky-Korsakov (1844-1908)
Piano Part: Mily Balakirev (1837-1910)
Lyrics: Aleksey Koltsov (1809–1842)
Published: 1866
A nightingale enamored with a rose
Sings over her both day and night
But the rose silently hears the songs
So it is with another singer,
With a lyre he sings to a young girl.
But the sweet girl doesn’t know
To whom he sings
And why his song is so sad
In 1865 the young Rimsky-Korsakov returned from a two-year naval voyage. He found
himself disinterested in music, and intrigued by foreign lands. Thankfully his mentor, Balakirev,
worked diligently to rekindle Rimsky-Korsakov's musical pursuits. The exoticism of this piece is
particularly noticeable in the nightingale's plaintive song which is heard in the piano at the
beginning, and echoed by the singer at the end.
(End of Set)
Songs Based on Dances
La danza
(The Dance)
Music: Gioachino Rossini (1792-1868)
Lyrics: Carlo Pepoli: (1796-1881)
Published: 1835
Already the moon is in the midst of the sea
Mama mia! it will jump!
The light is beautiful for dancing
Who is in love will not fail.
Quickly in the dance
Around and around
My ladies, come here!
A fun handsome boy
Will have a turn with each
As long as a bright star is in the sky
And the moon is splendid,
The most handsome will dance all night
With the most beautiful.
Mama mia!
The moon is in the midst of the sea
Mama mia! It will jump.
O me, o my! O my, o me o!
Mama mia! it will jump!
Skip, skip, turn, turn,
Every couple goes around.
They advance and retreat
Then advance again
Evening, evening
With a blond, or a brunette
Dance here and there
With a redhead dance twice
With a wallflower stand firm.
Long live the ball!
Round and round
I’m a king, I’m a lord
The most beautiful pleasure in the world
Is the dear voluptuousness
Mama mia!
The moon is in the midst of the sea
Mama mia! It will jump.
O me, o my! O my, o me o!
Mama mia! it will jump!
The Tarantella developed in Italy between the 15th and 17th centuries. People believed
that if a person was bitten by a tarantula they could be cured of the venom by vigorous dancing.
Whether it was due to the upbeat nature of the music or an incredibly high number of spiders, the
Tarantella became Italy’s most popular folk dance. Each region has its own style. The best
known version comes from Napoli. Thus, unlike La danza which has lyrics in standard Italian,
most of the songs that were composed to sound like tarantellas are in the Neapolitan dialect.
Boléro
(Bolero)
Charles Gounod (1818-1893)
Jules Barbier (1825-1901)
Published: 1871
Ah how I pity your flame
Dear treasure of my soul
If by the cold of evening
You come beneath my window
To sing your sweet hope,
This may be hard on you.
You come here and sit
Guard of the dark sky
The voice that sighs
Accuses me of stubbornness
But I just laugh,
You can keep your heart.
Ah how I pity your flame
Dear treasure of my soul
Ah how I pity your flame
Dear treasure of my soul
If by the cold of evening
You come beneath my window
To sing your sweet hope
This may be hard on you.
You come here and sit
Guard of the dark sky
Whoever loves you
Is a slave to your crazy love
Me, I want to enjoy my days of beauty
Without restraint
Ah how I pity your flame
Dear treasure of my soul
Ah how I pity your flame
Dear treasure of my soul
If by the cold of evening
You come beneath my window
To sing your sweet hope
This may be hard on you.
You come here and sit
Guard of the dark sky
While this song’s rhythmic music unmistakably imitates Spanish musical styles it is a
bolero in name only. The actual bolero dance is much slower. The dance emerged in the 18th
century as an offshoot of the seguidilla. Although this song is musically entertaining it is one of
his lesser-known works. It is dedicated to the great opera singer Pauline García Viardot who was
of Spanish descent. She had been instrumental in development Gounod’s career by facilitating
the creation of his first opera.
Gondellied
(Gondola Song)
Music: Fanny Mendelson Hensel
Lyrics: Emanuel von Geibel (1815-1884) Based on "Oh, come to me when daylight sets" by
Thomas Moore (1779-1852)
O come to me, if though the night
The stary hosts roam,
When the moon floats in its splendor
The gondola is over the sea
The air is gentle as a loving joke
The golden light shimmers softly
The zither plays and tugs at your heart
In a pleasant way.
O come to me, if though the night
The stary hosts roam,
When the moon floats in its splendor
The gondola is over the sea.
That is the blessed hour for love
Dearest, o come and see;
The blue dome of the sky is so peaceful,
The blue sea sleeps
And as it sleeps, a glance says
What the lips dare not speak
The eyes do not withdraw,
Neither does the soul.
O come to me, if though the night
The stary hosts roam,
When the moon floats in its splendor
The gondola is over the sea.
Fanny Mendelson Hensel was a gifted musician and prolific composer. However, both
her brother Felix and her father were opposed to the publication of her compositions. Fanny’s
husband and mother were of the opposite opinion and at their encouragement a few of her pieces
were published during her lifetime. In this song the composer maintains the feeling of a waltz
with rippling arpeggios rather than using heavy 1-2-3 beat. The waltz originated as a peasant
dance in Germany and Austria and dominated the ballroom during the 19th century.
If You’ve Only Got a Moustache
Music: Stephen Foster (1826-1864)
Lyrics: George Cooper (1840-1927)
Published: 1864
Oh! all of you poor single men,
Don't ever give up in despair,
For there's always a chance while there's life
To capture the hearts of the fair,
No matter what may be your age,
You always may cut a fine dash,
You will suit all the girls to a hair
If you've only got a moustache,
A moustache, a moustache,
If you've only got a moustache.
Your head may be thick as a block,
And empty as any foot-ball,
Oh! your eyes may be green as the grass
Your heart just as hard as a wall.
Yet take the advice that I give,
You'll soon gain affection and cash,
And will be all the rage with the girls,
If you'll only get a moustache,
A moustache, a moustache,
If you'll only get a moustache.
My friend was in sorrow and tears
Because he was jilted you know,
So right down to the river he ran
To quickly dispose of my woe,
As a good friend he gave me advice
And timely prevented the splash,
Now he’s got a fine wife and ten heirs,
And all through a handsome moustache,
A moustache, a moustache,
And all through a handsome moustache.
Like many 19th century Americans, Foster was of Scots-Irish ancestry. Thus, it is no
surprise that he would choose to set this little jingle to a jig, a dance that came over from the
British Isles. Since selling songs through music publishers proved to be unprofitable for
composers, many of Foster’s upbeat songs were sold to minstrel shows as a way to increase
exposure and hopefully revenue. Unfortunately for this was only partially true, and the man
who’s songs were sung all over the country died alone and impoverished.
Гопак
(Gopak)
Music: Modest Mussorgsky 1839-1881
Lyrics: Taras Shevchenko 1814-1861
Published: 1866
Goy! Gop gop gopak!
I fell in love with a Cossack.
Only he’s old and incapable
He’s redhead and clumsy
And that is my lot for now!
Goy!
Fate follows after longing
And you old one, go after water
As for me I’m off to the tavern
Yes, I’ll grab myself a spot
Then clink glasses again and again
The first drink stings
But the second flies
The woman goes to dance
And the man follows
The redhead calls to the woman
But she gives him a gesture
Since you married me satan
Go get the millet
You need to sympathize with children
Feed and clothe them.
Be the provider
Or I’ll do it myself!
Provide old redhead
Provide shameless
Only old, don’t sin
Rock the cradle (like this)
The cradle is old rock it (like this)
When I was young
Yes flaterer,
I hung my apron
Over the window
And nodded through the window
In a hoop, embroidered silk
Hey Semyons, Ivans
Put on your kaftans
Come on, go with me!
We’ll sit down, we’ll sing!
Goy!
Goy! Gop gop gopak!
I fell in love with a Cossack.
Only he’s old and incapable
He’s redhead and clumsy
And all is right for now!
Goy!
Gopak (or Hopak) is a lively Ukrainian Cossack dance which often contains contrasting fast and
slow sections. The song portrays the frustrations and complaints of an elderly person who is an
apparent alcoholic. Mussorgsky himself was struggling with alcoholism at the time he composed
the music for this piece. The emancipation of the serfs had decimated the family fortune a few
years before, and his mother had recently died.
(End of Recital)
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