The UNCG School of Music has been recognized for years as one of the elite
music institutions in the United States. Fully accredited by the National
Association of Schools of Music since 1938, the School offers the only
comprehensive music program from undergraduate through doctoral study in
both performance and music education in North Carolina. From a total
population of approximately 12,700 university students, the UNCG School of
Music serves over 575 music majors with a full-time faculty and staff of sixty.
As such, the UNCG School of Music ranks among the largest Schools of Music
in the South.
The UNCG School of Music now occupies a new 26 million dollar music
building which is among the finest music facilities in the nation. In fact, the
new music building is the largest academic building on the UNCG Campus. A
large music library with state-of-the-art playback, study and research facilities
houses all music reference materials. Greatly expanded classroom, studio,
practice room, and rehearsal hall spaces are key components of the new
structure. Two new recital halls, a large computer lab, a psycho-acoustics lab,
electronic music labs, and recording studio space are additional features of the
new facility. In addition, an enclosed multi-level parking deck adjoins the new
music building to serve students, faculty and concert patrons.
Living in the artistically thriving Greensboro—Winston-Salem—High Point
“Triad” area, students enjoy regular opportunities to attend and perform in
concerts sponsored by such organizations as the Greensboro Symphony
Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In
addition, UNCG students interact first-hand with some of the world’s major
artists who frequently schedule informal discussions, open rehearsals, and
master classes at UNCG.
Costs of attending public universities in North Carolina, both for in-state and
out-of-state students, represent a truly exceptional value in higher education.
For further information regarding music as a major or minor field of study,
please write:
Dr. John J. Deal, Dean
UNCG School of Music
P.O. Box 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/
JESSICA J. VAN ORD, soprano
ANDREW MOCK, piano
present
THE POET’S VOICE
Featuring Composer Jon Anderson
Graduate Recital
Saturday, April 13, 2002
5:30 p.m.
Recital Hall, School of Music
Program
Ada Negri, Italy, 1870-1945
Storia Breve Ottorino Respighi
Nevicata (1879-1936)
Nebbie
Théophile Gautier, France, 1811-1872
Sur les Lagunes Hector Berlioz
from Les Nuits d'Été (1803-1869)
Infidélité Reynaldo Hahn
(1875-1947)
La Caravane Ernest Chausson
(1855-1899)
Gabriela Mistral, Chile, 1987-1954
Canciónes de la Noche Jon Anderson
Con tal que duermas (b. 1976)
Volverlo a ver
La medianoche
intermission
Richard Dehmel, Germany, 1863-1920
Die stille Stadt Alma Schindler-Mahler
(1879-1964)
Tief von Fern Anton Webern
(1883-1945)
Befreit Richard Strauss
(1864-1949)
James Joyce, Ireland, 1882-1941
Brigid’s Song David Diamond
(b. 1915)
Unquiet Heart Vincent Persichetti
(1915-1987)
I Hear an Army Samuel Barber
(1910-1981)
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
The power within the writings of Irish novelist James Joyce (1882-1941) comes not so
much from the topics they explore as from their complex formal structures and language.
His subtle yet frank portrayal of human nature, coupled with his mastery of language and
brilliant development of new literary forms, made him one of the most commanding
influences on novelists of the 20th century. Joyce calls upon his audience to impose
meaning on the text rather than to embrace a specific interpretation dictated by the work
itself; requiring them to seek the pattern hidden by the author under its formal layers.
Brigid’s Song
Set by David Diamond (b. 1946)
Ding dong! The castle bell!
Farewell, my mother!
Bury me in the old churchyard
Beside my eldest brother.
My coffin shall be black,
Six angels at my back,
Two to sing and two to pray
And two to carry my soul away.
Sleep Now
Set by Vincent Persichetti (1915-1987)
Sleep now, O sleep now,
O you unquiet heart!
A voice crying “Sleep now”
Is heard in my heart.
The voice of the winter
Is heard at the door.
O sleep, for the winter
Is crying “Sleep no more.”
My kiss will give peace now
And quiet to your heart –
Sleep on in peace now,
O you unquiet heart!
I Hear an Army
Set by Samuel Barber (1910-1981)
I hear an army charging upon the land,
And the thunder of horses plunging, foam about
their knees:
Arrogant, in black armour, behind them stand,
Disdaining the reins, with flutt’ring whips, the
charioteers.
They cry unto the night their battlename:
I moan in sleep when I hear afar their whirling
laughter.
They cleave the gloom of dreams, a blinding
flame,
Clanging, clanging upon the heart as upon an
anvil.
They come shaking in triumph their long, green
hair:
They come out of the sea and run shouting by
the shore.
My heart, have you no wisdom thus to despair?
My love, my love, why have you left me alone?
Upcoming Vocal Performances
Studio Voice Recital
Monday, April 15 · 5:30 pm
Recital Hall
Hilary Webb, soprano
Saturday, April 20 · 5:30 pm
Recital Hall
Jennifer Odom, soprano
Saturday, April 20 · 7:30 pm
Recital Hall
*Mozart’s Mass in C minor
featuring Chorale, Chamber Singers
Sunday, April 21 · 3:30 pm
Aycock Auditorium
*Fee charged. Please call the University Box Office at (336) 334.4849
Monday-Friday from Noon-5:00 pm to inquire about pricing
German poet Richard Dehmel (1863-1920) exerted a major influence on writers through
his innovations in form and content. He chose naturalistic social themes for his early
works and was one of the first major poets to write about the misery of the working
classes. Influenced by Friedrich Nietzsche, he extolled individualism and a life of
uninhibited instincts and passion, but at the same time he felt drawn to self-sacrifice and
the search for harmonious ethical ideas. This conflict shaped both his tempestuous
personal life and the content and style of his work. Dehmel found a resolution of the
conflict through his belief in the mystical power of love and sex.
Die stille Stadt / The Silent City
Set by Alma Schindler-Mahler (1879-1964)
A town lies in the valley;
A pale day fades.
It will not be long
Before neither moon nor stars
But only night shall rule the heavens.
From all the mountaintops
Mists descend upon the town;
No roof nor yard nor house
Nor sound can pierce the smoke,
Not even a tower or a bridge.
But as the traveler felt fear
A tiny light shone below,
And through the smoke and mist
Began a song of praise
From the mouth of a child.
Tief von Fern / From Far Away
Set by Anton Webern (1883-1945)
From the white billows of evening
A star emerges;
From far away
The youthful moon advances.
From far away,
From the gray billows of morning
The great arc reaches out
For the star.
Befreit / Freed
Set by Richard Strauss (1864-1949)
You will not weep.
Gently you will smile, and as before a journey,
I will return your gaze and your kiss.
Our dear four walls you have helped build;
and I have now widened them for you into the
world.
O joy!
Then you will warmly seize my hands
and you will leave me your soul,
leaving me behind for our children.
You gave me your entire life,
so I will give it again to them.
O joy!
It will be very soon, as we both know—
but we have freed each other from sorrow.
And so I return you to the world!
You will then appear to me only in dreams,
and bless me and weep with me.
O joy!
Italian poet Ada Negri (1870-1945) gained immediate popularity in 1892 with early
socialistic themes in her first book of poetry, Fatalità (Fate), through the use of a highly
rhetorical language that evoked compassion for the daily miseries of the working class.
When Negri turned to more personal aspects, socialists accused her of having betrayed
the political cause. She moved to a more refined language, indicative not only of a better
understanding of the world's ills but also of a more profound knowledge of literary
elegance as practiced by the so-called decadent poets. Most of her poems are
autobiographical. The pain, sensual pleasures, and thoughts of death she experienced
gush forth in the form of a delirium. In maturity, she conceived her art as a mission and
pointed out the sufferings of the destitute, of the old, and, above all, of women, especially
mothers. Her early works, translated into Spanish, influenced Latin-American writers
such as Alfonsina Storni and Gabriela Mistral.
Storia breve / A short story
Set by Ottorino Respighi (1879-1936)
She seemed a poet's dream,
She always dressed in white, carrying on her
face
the quietness of a Eastern Sphinx.
Down her hips long silky curls would descend;
in her songs a brief smile would thrill,
her body was beautiful as a statue.
She loved but was not loved. Deep in her heart,
though calm on her face, she kept hidden
the cruel flame of that unspoken secret romance.
But that same desire consumed her
At the time of an October sunset she passed
away
as verbena when it misses the sun.
Nevicata / Snowfall
Over the fields and over the streets,
silently and gently,
circling graciously the snow
falls.
The white flake dances and makes
many a joke in the boundless sky.
Then, it lies down on the ground,
wearied.
In a thousand immobile shapes
on the roofs and on the chimney stacks
on the stone walls and in the garden
it sleeps.
All around it is peaceful:
closed up in a deep oblivion
the careless world
is silent,
But in the vast stillness
my heart goes back to memories
and of a dormant love
it thinks.
Nebbie / Fogs
I suffer. Far away
the slumbering fog
arises from the silent
fields.
Sharply the crows croak,
flying with their black wings
and cross over the moorland
angrily.
To the cruel bits of the air
the suffering trees,
as a prayer, offer their branches,
naked.
I am so cold! I am alone;
pushed through the grey sky
the cry of the dead
flies;
And it repeats to me: Come,
dark is the valley.
O sad, unloved one,
Come!
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
The influence of poet, novelist, critic, and journalist, Théophile Gautier (1811-1872)
was strongly felt in the period of changing sensibilities in French literature--from the
early Romantic period to the aestheticism and naturalism of the end of the 19th century.
His friends included the successful writers of the time; contemporary painters, sculptors,
and playwrights courted Gautier as the newspaper reviewer in the best position to
promote their works. Gautier also enjoyed respect as a poet. He was a leader in the "art
for art's sake" movement, with its uncompromising claim that art in whatever form has no
other aim and no other morality than the creation of beauty. He devoted himself to a
form of literary miniature painting, attempting to make something aesthetically valid out
of subjects deliberately chosen for their triviality. Exoticism, the trials of the individual
seeker, and the human subjection to time and its ravages are common features of his
writings.
Sur les lagunes / On the lagoons
Set by Hector Berlioz (1803-1869)
My beautiful love is dead,
I shall weep always;
Into the tomb, she has taken
My soul and my love.
Without waiting for me,
She has returned to heaven.
The angel which took her there
Did not want to take me.
How bitter is my fate!
Ah! without love, to go to sea!
The white creature
Is lying in the coffin;
How all in nature
Seems bereaved to me!
The forgotten dove
Weeps and dreams of the one who is absent;
My soul cries and feels
That it has been abandoned.
How biter is my fate,
Ah! without love, to go to sea!
Above me the immense night
Spreads itself like a shroud;
I sing my romanza
That heaven alone hears.
Ah! how beautiful she was,
And how I loved her!
I will never love
Another woman as much as I loved her;
How bitter is my fate!
Ah! without love, to go to sea!
Infidelité / Infidelity
Set by Reynaldo Hahn (1875-1947)
Here is an elm that sways
Its shadow on the path;
Here is the young wild rose,
The woods where silence sleeps;
The stone bench where, at evening,
We would love to sit.
Here is the fragrant canopy
Of ebony and lilac trees,
Where, when we were tired,
Together, my beloved,
Beneath garlands of flowers,
We would let the heat waft by!
The air is pure, sweet the grass ...
Nothing has changed but you!
La caravane / The Caravan
Set by Ernest Chausson (1855-1899)
The human caravan in the Sahara of the world,
on this road of years where there is no returning,
plods on with dragging feet, burned by the heat
of the day;
the people drink from their arms the sweat that
drenches them.
The great lion roars and the tempest rumbles;
on the receding horizon there is no minaret or
tower.
The only shadow to be had is that of the vulture
as it crosses the sky seeking its unclean prey.
They trudge always onward. And now someone
sees
something green and points it out with a finger!
It is a cypress grove with white stones planted in
it.
God, to give you rest, in the desert of time
has placed, like oases, cemeteries.
Lie down and sleep, panting travelers!
Chilean poet, educator, and diplomat, Gabriela Mistral, (1863-1920) was the first Latin
American—male or female—to win the Nobel Prize for Literature (1945). Born Lucila
Godoy Alcayaga, her reputation as a poet was established in 1914 when she won a
Chilean prize for three Sonetos de la muerte (Sonnets of Death). They were signed with
the name by which she has since been known, which she coined from those of two of her
favorite poets, Gabriele D'Annunzio and Frédéric Mistral. Her simple, yet extraordinarily
passionate verse, is frequently colored by figures and words peculiarly her own and is
marked by warmth of feeling and emotional power, evoking a sense of mystery and
isolation. Love, death, childhood, maternity, and religion remained her principal themes.
Canciónes de la Noche / Songs of the Night
Set by Jon Anderson (b.1976)
Con tal que duermas /
If you’ll only go to sleep
The crimson rose
plucked yesterday,
the fire and cinnamon
of the carnation,
the bread I baked
with anise seed and honey,
and the goldfish
flaming in its bowl.
All these are yours,
baby born of woman,
if you’ll only
go to sleep this one time.
A rose, I say!
And a carnation!
Fruit, I say!
And honey!
And a sequined goldfish,
and still more I’ll give you
if you’ll only sleep
until morning.
Volverlo a ver / To see him again
And shall it never be again, never?
Not on nights filled
with trembling of stars, or by the pure light
of virginal dawns, or on afternoons of
immolation?
Never, at the edge of any pale pathway
that borders the field, or beside any
tremulous fountain white under the moon?
Never, beneath the entangled tresses of the forest
where, calling out to him, night descended on me?
Nor in the cavern that returns my echoing outcry?
Oh, no! Just to see him again, no matter where–
in little patches of sky or in the seething vortex,
beneath placid moons or in livid horror!
And, together with him, to be all springtimes
and all winters, entwined in one anguished knot
around his blood-stained neck!
La medianoche / Midnight
Delicate, the midnight
I hear the nodes of the rosebush:
upthrust of sap ascending to the rose.
I hear
the scorched stripes of the royal tiger:
they do not let him sleep.
I hear the verse of someone.
It swells in the night
like a dune.
I hear
my mother sleeping,
breathing two breaths.
(In her I sleep,
a child of five years.)
I hear the Rhone’s rush
that falls and carries me like a father
blind with blind foam.
And then I hear nothing,
but am falling, falling
among the walls of Arles
resplendent with sun.
JESSICA J. VAN ORD, soprano
ANDREW MOCK, piano
present
THE POET’S VOICE
Featuring Composer Jon Anderson
Graduate Recital
Saturday, April 13, 2002
5:30 p.m.
Recital Hall, School of Music
Program
Ada Negri, Italy, 1870-1945
Storia Breve Ottorino Respighi
Nevicata (1879-1936)
Nebbie
Théophile Gautier, France, 1811-1872
Sur les Lagunes Hector Berlioz
from Les Nuits d'Été (1803-1869)
Infidélité Reynaldo Hahn
(1875-1947)
La Caravane Ernest Chausson
(1855-1899)
Gabriela Mistral, Chile, 1987-1954
Canciónes de la Noche Jon Anderson
Con tal que duermas (b. 1976)
Volverlo a ver
La medianoche
intermission
Richard Dehmel, Germany, 1863-1920
Die stille Stadt Alma Schindler-Mahler
(1879-1964)
Tief von Fern Anton Webern
(1883-1945)
Befreit Richard Strauss
(1864-1949)
James Joyce, Ireland, 1882-1941
Brigid’s Song David Diamond
(b. 1915)
Unquiet Heart Vincent Persichetti
(1915-1987)
I Hear an Army Samuel Barber
(1910-1981)
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
