PROGRAM NOTES, TEXTS, and TRANSLATIONS for the SENIOR RECITAL of M. EVAN MEISSER, BARTIONE

Della guerra amorosa (1709) George Frideric Handel I. Recitativo: Della guerra amorosa (16851759) II. Aria: Non valletti unocchio nero III. Recitativo: Fuggite, si fuggite. Ahi! di quanto veleno IV. Aria: La bellezza come un fiore V. Recitativo/Finale: Fuggite, s fuggite! A chi servo damor George Frideric Handel travelled to Italy sometime in 1706, and by the beginning of 1707 was living and working in Rome. There the Cardinals Carlo Colonna and Benedetto Pamphili were among the influential patrons for whom Handel provided compositions. While his first commissions were sacred works, he was soon composing secular cantatas. By May of 1707, Handel began receiving the patronage of the Marchese Francesco Ruspoli, for whom he was to provide secular cantatas for his weekly musical gatherings. Dalla guerra amorosa is believed to one of those secular cantatas. Dalla guerra amorosa revolves around a lover retreating from love itself, his endeavor with another has left him only pain. The cantatas delicate and distressing premise is illustrated promptly with numerous cautionary warnings in each recitative along with the aria La bellezza come un fiore in which the lover describes the journey of a beautiful flower and how in the end everything turns to dust. 1. Recitativo Dalla guerra amorosa, or che ragion mi chiama, O miei pensieri, fuggite pur, fuggite. Vergognosa non In amor fuga, che sol fuggendo unalma del crudo amor po riportar la palma. 2. Aria Non valletti un occhio nero N i suoi sguardi, lusinghiero, che da voi chieda piet. Che per far le sue vendette, e con arco e con saette, ivi amor nascoso sta. 3. Recitativo Fuggite, si fuggite, ahi! Di quanto veleno, amore asperge i suoi piaceri. Ah! quanto ministra Duol e piante a chi lo segue, e le sue leggi adora.

From the amorous war now reason tells me, O my thoughts, flee now, flee. Flight is not shameful in matters of love, for only in retreat from cruel love can a soul return victorious. Do not be enticed by a dark eye Nor its glances, alluring, that ask mercy of you. For to wreak his vengeance, With both bow and arrow, Love dwells hidden there. Flee, yes flee, Oh! With how much poison Love sprinkles his pleasures. Ah! How much pain and weeping He bestows on he who follows him, And loves his rule.

Se un volto vinnamora, sappiate o pensier miei, che ci che piace in brevora svanisce, e poi dispiace.

If a face infatuates you, know O my thoughts, that that which now pleases in a little vanishes, and then displeases.

4. Aria La bellezza com un fiore, sul mattin vivace e bello, sul mattin di primavera, che la sera langue e more, si scolora e non par quello. 5. Recitativo/Finale Fuggite, s fuggite! A chi servo damor, vive in catena, dubbioso il gioir, certa la pena

Beauty is like a flower, In the morning fresh and fine, on a spring morning, which by evening droops and dies, fades and seems no more. Flee, yes flee! To him who is a servant of love, living enchained, joy is uncertain, pain certain.

Selections from Spanisches Liederbuch (1891) Hugo Wolf I. Geistliche Lieder: (1860-1903) 1.Nun bin ich dein [Juan Ritz] 3. Nun wandre, Maria [Ocaa] Hugo Wolf finished and published the Spanisches Liederbuch in 1891. The Spanisches Liederbuch is comprised of a collection of Spanish poems of the sixteenth and seventeenth centuries, the translations into German were by Paul Heyse and Emanuel Geibel. Only seventeen of the poems had identified authors. During the time Wolf worked on this composition it is apparent that his level of skill had better developed so that he could enable the underlying ideas in each poem. This is clearly seen by the returning rhythmic motives and the more dramatic use of harmony in the accompaniment to support the general sense of each poem. Nun bin ich dein by Juan Ritz was the opening song for the Spanisches Liederbuch Wolf decided to start the lied with the oldest poem in the entire collection of sacred and secular songs. Nun bin ich dein is in an unusual 4/2 meter, slow tempo, and opening harmonies in the first few beats alone help to manifest the mood in which the effect of resolving all that has gone before into an unshakeable certitude. Nun wandre, Maria demonstrates Wolfs ability to recreate a situation. In this case, Joseph speaks to his dear wife who is in need of loving comfort. Wolf emphasizes the indescribable tenderness between the two as if the music was a response to the cries of distress. This tenderness can be seen in the melodic line since it never spans more than a fourth and in the dynamics since it only shifts between pp and mf showing Josephs calm reserved attribute as well as his helpless anxiety.

1. Nun bin ich dein Nun bin ich dein, Du aller Blumen Blume, Und sing allein Allstund zu deinem Ruhme; Will eifrig sein, Mich dir zu weihn Und deinem Duldertume. Frau auserlesen, Zur dir steht all mein Hoffen, Mein innerst Wesen

Now I am yours, Flower of all Flowers, and sing solely at all times to your praise; I will be zealous, dedicate myself to you and to your sufferance. Lady Elect, in you is all my hope, my innermost being

Ist allezeit dir offen. Komm, mich zu lsen, Vom Fluch des Bsen, Der mich so hart betroffen! Du Stern der See, Du Port der Wonnen, Von der im Weh Die Wunden Heil gewonnen, Eh ich vergeh, Blick aus der Hh, Du Knigin der Sonnen! Nie kann versiegen Die Flle deiner Gnaden; Du hilfst zum Siegen Dem, der mit Schmach beladen. An dich sich schmiegen, Zu deinen Fen liegen, Heilt allen Harm und Schaden. Ich liede schwer Und wohlverdiente Strafen. Mir bangt so sehr, Bald Todesschlaf zu schlafen. Tritt du einher, Und durch das Meer O fhre mich zum Hafe!

is forever open to you. Come, free me from the curse of the Evil One who has so sore afflicted me! Star of the Sea, Haven of Delights, From whom, in agony, The afflicted have found salvation, Before I pass away, Look from on high, Queen of Suns! Never can the abundance Of your mercy run dry; you help towards triumph him who is laden with shame. To cling to you, to lie at your feet, heals all infirmity and grief. I suffer severe and well-merited punishments. I am in such dread Of sleeping soon deaths sleep. Come forth, And through the sea, Bring me, oh, to harbor!

3. Nun wandre, Maria Nun wandre, Maria, Nun wandre nur fort. Schon krhen die Hhne, Und nah ist der Ort. Nun wandre, Geliebte, Du kleinod mein, Und balde wir werden In Bethlehem sein. Dann ruhest du fein Und schlummerst dort. Schon krhen die Hhne Und nah ist der Ort. Wohl seh ich, Herrin, Die Kraft dir schwinden; Kann deine Schwerzen, Ach, kaum verwinden. Getrost! Wohl finden Wir herberg dort. Schon krhen die Hhne

Onward, now, Mary, just onward, now, on, the cocks are crowing, and the place is near. Onward now, beloved, my jewel, and soon shall we be in Bethlehem. Then shall you rest well there, and slumber. The cocks are crowing, and the place is near. Well I see, Lady, your strength is waning; your pains I cannot, alas, subdue. Take heart! We shall find lodging there. The cocks are crowing

Und nah ist der Ort. Wr erst bestanden Dein Stndlein, Marie, Die gut Botschaft, Gut lohnt ich sie. Das Eselein hie Gb ich drum fort! Schon krhen die Hhne, Komm! Nah ist der Ort.

and the place is near. Would it were over, Mary, your hour, those good tidings would I reward well. The donkey here would I give for that! The cocks are crowing, come! The place is near

[Translation: Dietrich Fischer- Dieskau]

Tanzlied des Pierrot Erich Wolfgang Korngold from Die tote Stadt (1920) (18971957) Erich Wolfgang Korngolds Die tote Stadt was based off of Georges Rodenbach short novel Bruges-la-Morte. The three act opera first premiered on December 4, 1920, in both Hamburg and Cologne. Die tote Stadts theme of overcoming the loss of a loved one resonated with all audiences after the pain and grief of World War I. Korngolds style throughout the opera is heavily related to a mix of Puccini, Strauss, and Mahler from the marvelous orchestration that pours out emotions and the memorable melodic lines. Tanzlied des Pierrot begins in the second act when Mariettas troupe comes to visit, the clown Fritz starts the celebration with a beautiful aria followed by a toast. Much like the theme of the entire opera, Tanzlied des Pierrot helps to tell Fritzs story and describes his passion and love lost. The melodic lines of the entire aria help to illustrate the joy, pain, and deceit that have followed him in his journey for love and adventure. Mein sehnen, mein whnen, Es trumt sich zurck. Im Tanze gewannich, verlor ich mein Glck. Im tanze am Rhein, bei Monden khein, gestand mirs aus Blauaug ein inniger Blick, gestand mirs ihr bittend Wort: o bleib, o geh mir nicht fort, bewahre der heimat still blhendes Glck. Mein Sehnen, mein Whnen es trumt sich zurck. Zauber der Ferne warf in die Seele den Brand, Zauber der des Tanzes lockte, ward komdiant. Folgt ihr, der wundersen, lernt unter Trnen ken. Rausch und Not Wahn und Glck: Ach, das ift Gauklers Geschick. Mein Sehnen, mein Whnen es trumtsich zurck.

My yearning, my mad wanderlust Go far back in my dreams. In dancing, I knew happiness, Now Ive lost it. While dancing by the Rhine in the moonlight The loving look in her blue eyes told me everything. Her glance confessed her plea. Oh stay Dont go far away from me. Cherish the happiness you know in your native land. My longing, my mad wanderlust Go far back in my dreams. The magic of things far away Still bring a burning to my soul. The magic of dance lured me And I became Pierrot, the clown. I followed my beloved muse, and learned to through my tears Ecstasy and pain madness and joy That is a clowns destiny My yearning, my mad wanderlust Go far back in my dreams.

[Translation: Nico Castel]

vin, dissipe la tristesse Ambroise Thomas from Hamlet (1868) [M. Carr/J. Barbier] (18111896) Ambroise Thomas' Hamlet was one of many attempts during the nineteenth century to adapt a Shakespearean play into a dramatic opera. Most efforts to this end met with little or no success, but Thomas' work endured at the Paris Opera until the early twentieth century. The work's premiere on March 9, 1868, was met with critical and public acclaim; audiences particularly loved Ophelia's mad scene, which Thomas had specifically adapted to the talents of the Swedish soprano Christine Nilsson. Critics hailed the opera as a masterpiece, and it was viewed as the composer's greatest work to that point. Hamlet's success came on the heels of acclaim for Thomas' Mignon (1866), and this one-two musical punch catapulted the composer into the first ranks of French opera. The rest of the opera sticks to the original plot in the clear dramatic intensity that is evoked. The aria vin, dissipe la tristesse begins when the players or actors enter to mime the play The Murder of Gonzago. In order to cause no suspicion toward Claudius and Gertrude, Hamlet begins a drinking song, and act foolishly thus the leading the chorus into an uproar. vin, dissipe la tristesse Oh wine, dissipate the sadness Qui pse sur mon coeur! that lies heavy upon my heart! A moi les rves de l'ivresse To me give the dreams of intoxication Et le rire moqueur! and the mocking laughter! O liqueur enchanteresse, O enchanting liqueur, Verse l'ivresse pour drunkeness Et l'oubli dans mon coeur! and forget fulness into my heart! Douce liqueur! Sweet liqueur! La vie est sombre Life is somber; Les ans sont courts; The years are short. De nos beaux jours Of our beautiful days Dieu sait le nombre God knows the number. Chacun hlas! Porte ici-bas Each person, alas! Carries here Sa lourde chane! his heavy chain Cruels devoirs, Cruel duties, Longs dsespoirs Slow despairs De l'me humaine! Of the human soul! Loin de nous, noirs prsages! Away from us, black omens! Ah! Ah! [Translation: Nico Castel]

Calligrammes (1948) [Guillaume Apollinaire] Francis Poulenc I. Lespionne (18991963) II. Mutation III. Vers le sud IV. Il pleut V. La grace exile VI. Aussi bien que les cigales VII. Voyage Francis Jean Marcel Poulenc composed the music for Guillaume Apollinaires collection of poems later in his life in 1948. The name of Apollinaires collection is called Poems of War and Peace: 1913-1916 which was first published in 1918. Each poem is set in the form of visual poetry specifically a calligram in which the spatial arrangement and typeface of the words on the page play just as much of a role in the meaning of each poem as the words themselves. Poulenc composed in multiple genres was inspired by several periods of inspiration and experimentation throughout his career. I. Lespionne I. The spy Ple espionne de l'Amour Ma mmoire peine fidle N'eut pour observer cette belle Forteresse qu'une heure un jour Tu te dguises ta guise Mmoire espionne du coeur Tu ne retrouves plus l'exquise Ruse et le coeur seul est vainqueur Mais la vois-tu cette mmoire Les yeux bands prte mourir Elle affirme qu'on peut l'en croire Mon coeur vaincra sans coup frir

Pale spy of Love My memory scarcely faithful Had to observe this beautiful Fortress only one hour one day You disguise yourself In your guise Spying memory of the heart You will no longer find again the exquisite Trick and the heart alone is victorious But do you see this memory Eyes blindfolded, ready to die It affirms that one can believe in it My heart will conquer without bloodshed.

II. Mutation II. Mutation Une femme qui pleurait Eh! Oh! Ha! Des soldats qui passaient Eh! Oh! Ha! Un clusier qui pchait Eh! Oh! Ha! Les tranches qui blanchissaient Eh! Oh! Ha! Des obus qui ptaient Eh! Oh! Ha! Des allumettes qui ne prenaient pas Et tout A tant chang En moi

Et tout a tant chang Tout Sauf mon amour. A woman who was crying Eh! Oh! Ha! Soldiers who were passing by Eh! Oh! Ha! A lockkeeper who was fishing Eh! Oh! Ha! The trenches that were turning white Eh! Oh! Ha! Shells that were exploding Eh! Oh! Ha! Matches that were not taking

And all Has changed so much In me

And everything has changed so much Everything Except my love.

Eh! Oh! Ha! Eh! Oh! Ha! III. Vers la sud III. Toward the South Znith Tous ces regrets Ces jardins sans limites O le crapaud module un tendre cri d'azur La biche du silence perdu passe vite Un rossignol meurtri par l'amour chante sur Le rosier de ton corps dont j'ai cueilli les roses Nos coeurs pendent ensemble au mme grenadier Et les fleurs de grenade en nos regards closes En tombant tour tour ont jonch le sentier

Zenith All these regrets These gardens without limits Where the toad varies a tender azure cry The doe of the boundless silence passes quickly A nightingale wounded by love sings on The rosebush of your body from which I have picked the roses Our hearts hang together on the same pomegranate tree And the pomegranate flowers in our dawning glances While falling by turns have littered the path.

IV. Il pleut IV. It rains Il pleut des voix de femmes comme si elles taient mortes mme dans le souvenir c'est vous aussi qu'il pleut merveilleuses rencontres de ma vie gouttelettes et ces nuages cabrs se prennent hennir tout un univers de villes auriculaires coute s'il pleut tandis que le regret et le ddain pleurent une ancienne musique coute tomber les liens qui te retiennent en haut et en bas.

It is raining of the voices of women as if they were dead even in memory It is you also that it rains marvelous meetings of my life, oh little drops And these reared-up clouds take themselves to neighing an entire universe of auricular cities Listen if it rains while regret and disdain cry an ancient music Listen to the falling of the bonds that restrain you from top to bottom.

V. La grce exile V. Grace in exile Va-t-'en va-t'en mon arc-en-ciel Allez-vous-en couleurs charmantes Cet exil t'est essentiel Infante aux charpes changeantes. Et l'arc-en-ciel est exil Puisqu'on exile qui l'irise Mais un drapeau s'est envol Prendre ta place au vent de bise.

Go away, go away, rainbow. Go away, charming colours. You need this exile, Princess with the many-hued scarves. And the rainbow went into exile, as those who lend their colours are exiled, but a flag flew off to take its place in the wind.

VI. Aussi bien que les cigales VI. As well as the cicadas Gens du midi gens du midi vous n'avez donc pas regard les cigales que vous ne savez pas creuser que vous ne savez pas vous clairer ni voir Que vous manque-t'il donc pour voir aussi bien que les cigales Mais vous savez encore boire comme les cigales gens du midi gens du soleil gens qui devriez savoir creuser et voir aussi bien pour le moins aussi bien que les cigales Eh quoi! vous savez boire et ne savez plus pisser utilement comme les cigales le jour de gloire sera celui o vous saurez creuser pour bien sortir au soleil creusez voyez buvez pissez comme les cigales gens du midi il faut creuser voir boire pisser aussi bien que les cigales pour chanter comme elles La joie adorable de la paix solaire.

People of noon people of noon you have not thus watched the cicadas that you do not know how to dig that you do not know how to illuminate yourselves nor to see So, what are you missing [that you need] to see as well as the cicadas But you still know how to drink like the cicadas oh people of noon people of the sun people who must know how to dig and see as well as for the least as well as the cicadas And what! You know how to drink and no longer know how to urinate usefully like the cicadas The day of glory will be the one when you know how to dig in order to go out well into the sun You dig you see you drink you piss like the cicadas People of noon you must dig see drink piss As well as the cicadas to sing as they do The lovable joy of the peace of the sun.

VII. Voyage VII. Journey Adieu Amour nuage qui fuis et n'a pas chu pluie fconde refais le voyage de Dante. Tlgraph Oiseau qui laisse tomber ses ailes partout O va donc ce train qui meurt au loin Dans les vals et les beaux bois frais du tendre t si ple? C'est ton visage que je ne vois plus.

Goodbye love cloud that flees and has not dropped fertile rain Make again the voyage of Dante. Telegraph Bird that lets fall its wings everywhere Where goes then this train that dies far away In the valleys and the beautiful cool woods of the tender summer so pale? The sweet night, moonlit and full of stars, It is your face that I no longer see.

[Translations: Winifred Radford]

Despite and Still, Op. 41 (1969) Samuel Barber I. A Last Song [Robert Graves] (19101981) II. My Lizard [Theodore Roethke] III. In the Wilderness [Robert Graves] IV. Solitary Hotel [James Joyce] V. Despite and Still [Robert Graves]

Despite and Still was composed in June 1968 and was first premiered on April 27, 1969, by Leontyne Price in New York. The cycle although originally criticized for its unrelated poetry was soon understood as the themes of lost love, loneliness, and reclusion which could all considered as glimpses into the later years of Barbers life. A Last Song the first song in the cycle can be interpreted as expressing the feelings of an artist being pushed to continually produce creative works even in old age. The second song, My Lizard, is from a poem by Theodore Roethke, the light texture throughout the song helps to illustrate the hopes that his love lives long and happily after he is gone. In the Wilderness by Graves shows Barbers curiosity into religion during the later years of his life the subject of the song being the suffering of Jesus. Solitary Hotel is paragraph from James Joyces Ulysses the piece helps to illustrate the loneliness and separation of an old man. Solitary Hotel is driven by the flavorful tango accompaniment and the confusion between a man and a woman. Despite and Still is the final song in the cycle; the song describes two lovers who couldnt be together because of their personal differences and desirers. Despite and Stillalong with A Last Song and In the Wildernessare connected by Barbers emotions in which he harmonically blurred the songs with multiple chords being played on top of each other and rapid modulations disrupting the tonality of each piece.