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 psychoacoustics 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/
University Chamber Singers
Richard Cox, conductor
Amy Boger Morris, accompanist
University Women’s Choir
Welborn Young, conductor
Clay Price and Laura Moore, assistant conductors
Laura Moore, accompanist
Sunday, October 21, 2001
3:30 pm
Recital Hall, School of Music
Program:
Lamento d’Arianna Claudio Monteverdi
I. Lasciatemi morire (1567-1643)
II. O Teseo, O Teseo mio
III. Dove, dove è la fede
IV. Ahi, che non pur risponde
Come Again! Sweet Love Doth Now Invite John Dowland
(1563-1626)
Had I Heavens Embroidered Cloths Michael Cleveland
Hymn to the Waters Gustav Holst
(1874-1934)
Clay Price, conductor
intermission
Songs About the End of Love Jack M. Jarrett
I. Love came to us in gone by (b.1934)
II. Rain has fallen all the day
III. Gentle lady
IV. Dear heart, why will you use me so?
V. Now, O now, in this brown land
Les Sirènes Lili Boulanger
(1893-1918)
Crystal Stroupe, soprano
Mira, O Norma adapted W.E. Young
Katie Quinn, soprano
Hilary Webb, soprano
Mary Speaks Daniel Gawthrop
Ave Maria David MacIntyre
University Chamber Singers
Jennifer Ayers Amy Boger Morris
Kemp Baker Jo Ann D. Poston
April Boyett Clay W. Price
Leah Erin Cates Renée Janette Sokol
Warren Coker III Tara Stafford
Jennifer Corbell D. Paul Strickland
Bryan Franklin Rebecca Swingle-Putland
Nate Kling Nick Tamagna
Jeffrey Maggs Paul Tapler
Mary Martin
University Women’s Choir
Shana Adams Erin Moorman
Rachael Beers Barbara Myers
Shantara Benton Vanessa Nickens
Courtney Bowden Sarah Phelps
Andrea Butler Patricia Pineda
Catherine Butler Tommie Potts
Utica Chisholm Clay Price
Dorothy Coltrane Katie Quinn
Meredith Covington Allison Ring
Sara Dougherty Ellen Robbins
Sarah Downey Laura Rummage
Andrea Evans Susie Sanford
Elizabeth Harris Ariya Sawadivong
Melanie Hoffner Jennifer Smith
Erin Holland Amelia Stevens
Bethany Jennings Crystal Stroupe
Danielle Jones Jessica Tarter
Hillary Jones April Thornton
Kelly Krepelka Jayme Updike
Niccolina Mann Meghan Vaughn
Konstantina Marinakos Colleen Walsh
Jennifer Mello Hilary Webb
Brandy Mitchell Jennifer Wynn
Laura Moore Jessica Zakula
Les Sirènes
We are the loveliness that enchants the strongest ones,
the trembling flowers of the sea-foam
and the mist.
Our fleeting kisses are the dream of the dead!
amidst our blonde tresses
water glistens in the silver tears.
Our glances at the changing brightness
are green and blue like the waves.
With a sound like
the delicate shivers
of the harvests,
we hover
without having wings.
we are seeking tender immortal sisters
we are the immortal sisters
offered to the desires of your earthly hearts.
Mira, o Norma from Act II, Scene 2 of Norma.
Norma, druid high priestess, has learned that Pollione, her secret
Roman lover and father of her two children, is rejecting her for
another woman, Adalgisa, her confidant and friend. Norma, in her
despair, is considering killing the children and herself. [Mira, o
Norma] The faithful friend, Adalgisa, begs Norma to reconsider
her actions and to have pity on the children though no pity may she
feel for herself. [Ah! perchè la mia costanza] Norma asks why
Adalgisa is seeking to weaken her resolve since she feels no hope.
[Cedi...deh! cedi!...] and [L’amai...questa’alma sol] Adalgisa
demands that Norma yields and confesses that while she loved
Pollione, her soul feels only her friendship for Norma. [Renderi i
dritti tuoi] Adalgisa offers to Norma what was once hers and
offers to hide herself, with Norma, from God and man forever. [Si,
hai vinto....] Norma proclaims, you have won... Embrace me. [Si
fino all’ore estreme...] They both sing, “Until your dying hour I
shall be your companion.”
There is good news and bad news about Monteverdi’s opera
Arianna, first performed in Mantua in 1608. The bad news is that
nothing remains of this opera except the heroine’s final lament,
familiar to all voice students as “Lasciatemi morire.” The good
news is that Monteverdi arranged this final lament for SSATB as
the first four madrigals in his Sixth Book of Madrigals, published
in 1614 in the form of partbooks for Canto, Alto, Tenore, Basso,
Quinto, and Basso continuo. These madrigals illustrate the highly
expressive text-setting that characterizes Monteverdi’s late works
in this genre. The lamentation “O Teseo mio” appears several
times in madrigals II, III, and IV; each time, the direction of the
notes suggests weeping. Strong contrast is evident in several
places. At the end of No. II, the joys that await Theseus on his
return to Athens are sharply contrasted with Ariadne’s lonely
suffering on Naxos. At the beginning of No. III, Ariadne’s
outburst as she asks about the promised crowns and jewels is
followed by a highly chromatic passage as she complains about
what she has received instead. In No. IV, the imprecations hurled
at Theseus are expressed in rapidly repeated notes in a high range,
followed by a long slow descent as Ariadne regrets her outburst.
King Minos of Crete has decreed that every nine years Athens
must send seven young men and seven maidens to Crete to be
devoured by the Minotaur, a monster half-man and half-bull living
at the center of an unfathomable labyrinth. Theseus, son of the
Athenian king, has volunteered to go, hoping to kill the Minotaur.
He seduces Minos’s daughter, Ariadne, and she helps him to
dispose of the monster and to escape from the labyrinth. Ariadne
expects to accompany Theseus back to Athens, but he abandons
her midway on the island of Naxos, which is where we find her
lamenting her fate. Dr. Joan Catoni Conlon prepared the following
translation for her inclusion in her book on Monteverdi, published,
like this edition of the Lamento d’Arianna, by Hinshaw Music:
I. Leave me to die;
and who do you think can bring me comfort
in such a difficult fate,
in such a great martyrdom?
Leave me to die!
II. Oh Theseus, my Theseus
yes, yes I want to tell you that you are still mine
even though you flee, cruel one
Ah, Theseus, turn toward my eyes, Oh God
turn back to gaze at the one who left her
country and kingdom for you
and still on these sands
is to be left for merciless and cruel
wild animals that will leave only her bare bones.
Oh, my Theseus, if only you knew,
alas, the fate of
this poor Ariadne,
perhaps, perhaps repented,
you would turn your bow to this shore
but you go to the merry seamaids and I stay
here crying;
and for you, all Athens prepares
joyous celebrations, and I remain
food for wild beasts on this lonely shore
You will embrace your elderly parents,
and I will never again see you,
nor my mother, nor my father.
III. Where, where is that deep devotion
That you swore to me?
Is this how you place me on the high
Pedestal with our forefathers?
Are these the crowning jewels
That adorn my locks?
Are these the scepters?
Are these the gems and the gold?
And soon shall love dissolved be
When over us the wild winds blow --
But you, dear love, too dear to me,
Alas! why will you use me so?
V. Now, O now, in this brown land
Where love did so sweet music make
We two shall wander, hand in hand,
Forbearing for old friendship’ sake,
Nor grieve because our love was gay
Which now is ended in this way.
A rogue in red and yellow dress
Is knocking at the tree;
And all around our loneliness
The wind is whistling merrily.
The leaves – they do not sigh at all
When the year takes them in the fall.
Now, O now, we hear no more
The villanelle and the roundelay!
Yet will we kiss, sweetheart, before
We take sad leave at close of day.
Grieve not, sweetheart, for anything –
The year, the year is gathering.
Coming Events:
* Choral Ensemble Reunion
Singing, Social Time
Saturday, November 10 · 1:00 pm · Aycock Auditorium
* A Tribute to Richard Cox
Musical tributes, testimonies, skits!
Saturday, November 10 · 7:30 pm · Aycock Auditorium
* Giuseppe Verdi’s Falstaff
Alumni cast; concert version, in Italian with English supertitles
Friday, November 9, 7:30 pm · Sunday, November 11, 2:00 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.
Will you abandon me
To the wild beasts that will rip me apart
and devour me?
Ah, my Theseus, will you leave me to die,
Weeping in vain, the crying for help in vain,
The poor Ariadne who
Trusted you, and who gave you glory and life?
IV. Alas, he does not even respond,
alas, he is more deaf than an asp to my laments.
Oh, clouds, oh, storms, oh, winds,
sweep him under the waves;
be swift you whales and giant monsters,;
fill the sea’s deep abysses
with his unworthy limbs!
Ah, what am I saying, what is this raving?
Wretched me, for what do I ask?
Oh, Theseus, my Theseus,
it is not I, it is not I,
who has set free these words.
My wounds and my pain spoke,
and my tongue spoke, yes, but not my heart.
The Songs About the End of Love are settings of five poems from
James Joyce’s collection entitled Chamber Music. Jack Jarrett was
a member of the UNCG music faculty for a number of years in the
late 60s and early 70s, and composed a great deal of music for
performance here, most notably the opera Cyrano de Bergerac,
which was performed locally in 1972. He is currently a member of
the faculty at the Berklee School of Music in Boston. These pieces
were written when he was a composer-in-residence in Oshkosh,
Wisconsin, under the sponsorship of the Ford Foundation’s
Contemporary Music Project.
I. Love came to us in time gone by
When one at twilight shyly played,
And one in fear was standing nigh –
For Love at first is all afraid.
We were grave lovers. Love is past,
That had his sweet hours many a one;
Welcome to us now at the last
The ways that we shall go upon.
II. Rain has fallen all the day.
O come among the laden trees:
The leaves lie thick upon the way
Of memories.
Staying a little by the way
Of memories shall we depart.
Come, my beloved, where I may
Speak to your heart.
III. Gentle lady, do not sing
Sad songs about the end of love;
Lay aside sadness and sing
How love that passes is enough.
Sing about the long deep sleep
Of lovers that are dead, and how
In the grave all love shall sleep:
Love is aweary now.
IV. Dear heart, why will you use me so?
Dear eyes, that gently me upbraid,
Still are you beautiful – but O,
How is your beauty raimented!
Through the clear mirror of your eyes,
Through the soft cry of kiss to kiss,
Desolate winds assail with cries
The shadowy garden where love is.
Will you abandon me
To the wild beasts that will rip me apart
and devour me?
Ah, my Theseus, will you leave me to die,
Weeping in vain, the crying for help in vain,
The poor Ariadne who
Trusted you, and who gave you glory and life?
IV. Alas, he does not even respond,
alas, he is more deaf than an asp to my laments.
Oh, clouds, oh, storms, oh, winds,
sweep him under the waves;
be swift you whales and giant monsters,;
fill the sea’s deep abysses
with his unworthy limbs!
Ah, what am I saying, what is this raving?
Wretched me, for what do I ask?
Oh, Theseus, my Theseus,
it is not I, it is not I,
who has set free these words.
My wounds and my pain spoke,
and my tongue spoke, yes, but not my heart.
The Songs About the End of Love are settings of five poems from
James Joyce’s collection entitled Chamber Music. Jack Jarrett was
a member of the UNCG music faculty for a number of years in the
late 60s and early 70s, and composed a great deal of music for
performance here, most notably the opera Cyrano de Bergerac,
which was performed locally in 1972. He is currently a member of
the faculty at the Berklee School of Music in Boston. These pieces
were written when he was a composer-in-residence in Oshkosh,
Wisconsin, under the sponsorship of the Ford Foundation’s
Contemporary Music Project.
I. Love came to us in time gone by
When one at twilight shyly played,
And one in fear was standing nigh –
For Love at first is all afraid.
We were grave lovers. Love is past,
That had his sweet hours many a one;
Welcome to us now at the last
The ways that we shall go upon.
II. Rain has fallen all the day.
O come among the laden trees:
The leaves lie thick upon the way
Of memories.
Staying a little by the way
Of memories shall we depart.
Come, my beloved, where I may
Speak to your heart.
III. Gentle lady, do not sing
Sad songs about the end of love;
Lay aside sadness and sing
How love that passes is enough.
Sing about the long deep sleep
Of lovers that are dead, and how
In the grave all love shall sleep:
Love is aweary now.
IV. Dear heart, why will you use me so?
Dear eyes, that gently me upbraid,
Still are you beautiful – but O,
How is your beauty raimented!
Through the clear mirror of your eyes,
Through the soft cry of kiss to kiss,
Desolate winds assail with cries
The shadowy garden where love is.
University Chamber Singers
Richard Cox, conductor
Amy Boger Morris, accompanist
University Women’s Choir
Welborn Young, conductor
Clay Price and Laura Moore, assistant conductors
Laura Moore, accompanist
Sunday, October 21, 2001
3:30 pm
Recital Hall, School of Music
Program:
Lamento d’Arianna Claudio Monteverdi
I. Lasciatemi morire (1567-1643)
II. O Teseo, O Teseo mio
III. Dove, dove è la fede
IV. Ahi, che non pur risponde
Come Again! Sweet Love Doth Now Invite John Dowland
(1563-1626)
Had I Heavens Embroidered Cloths Michael Cleveland
Hymn to the Waters Gustav Holst
(1874-1934)
Clay Price, conductor
intermission
Songs About the End of Love Jack M. Jarrett
I. Love came to us in gone by (b.1934)
II. Rain has fallen all the day
III. Gentle lady
IV. Dear heart, why will you use me so?
V. Now, O now, in this brown land
Les Sirènes Lili Boulanger
(1893-1918)
Crystal Stroupe, soprano
Mira, O Norma adapted W.E. Young
Katie Quinn, soprano
Hilary Webb, soprano
Mary Speaks Daniel Gawthrop
Ave Maria David MacIntyre
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