In Danzig
Dunkle Giebel, hohe Fenster,
Türme, tief aus Nebeln sehn.
Bleiche Statuen wie Gespenster
lautlos an den Türen stehn.
Träumerisch der Mond drauf scheinet,
dem die Stadt gar wohl gefällt,
als lag’ zauberhaft versteinet drunten
eine Märchenwelt.
Ringsher durch das tiefe Lauschen
über alle Häuser weit,
nur das Meeres fernes Rauschen.
Wunderbare Einseimkeit!
Und der Türmer, wie vor Jahren
singet ein uraltes Lied.
Wolle Gott den Schiffer wahren,
der bei Nacht vorüber zieht.
In Gdansk
Dark gables, high windows,
Towers, appear deep in the fog.
Pale statues like ghosts
Stand soundless by the doors.
Dreamily, the moon shines on it all,
Completely pleased by the town,
As below, magically turned to stone,
Lies a fairy-book land.
Everywhere through the deep Listening
Far over all the houses,
Only the sea’s distant roar.
Miraculous Loneliness!
And the towers, as they have for years,
Sing an ancient song.
May God preserve the sailors
Who, at night, pass by.
James Bumgardner
baritone
Dominick Amendum, piano
Tuesday, September 17, 2002
5.30 pm
Recital Hall, School of Music
Artist Faculty Chamber Series
Thursday, September 19 · 7:30 pm
Recital Hall· ℑ
String Studio Recital
Thursday, September 26 · 5:30 pm
Organ Hall
Miles Davis Jazz Studies Program
Jazz Band · Jazz Ensemble
Thursday, September 26 · 7:30 pm
Recital Hall · ℑ
ℑ denotes a ticketed event. Please contact the University Box Office by visiting
Aycock Auditorium or Room 215 of the School of Music weekdays from Noon-5 pm,
or by calling (336) 334-4849.
upcoming performances
Program
Belle dame de mon émoi Darius Milhaud
(1892-1974)
Psyché Émile Paladilhe
(1844-1926)
from Quatre Chansons de Don Quichotte Jacques Ibert
Chanson du Duc (1890-1962)
Chanson à Dulcinée
Weep you no more, sad fountains John Dowland
(1562-1626)
Sleep Ivor Gurney
(1890-1937)
The Cloths of Heaven Thomas Dunhill
(1877-1946)
With Rue my Heart is Laden George
Butterworth
(1885-1916)
Who is Sylvia? Gerald Finzi
(1901-1956)
Intermission
Der verspätete Wanderer Hans Pfitzner
Das Alter (1869-1949)
In Danzig
from Leaves Craig Urquhart
Here the frailest leaves of me (b. 1962)
Among the Multitude
Poem Christopher Berg
(b. 1949)
Carolina Cabin Jean Berger
(b. 1909)
Joy, Shipmate, Joy Lee Hoiby
(b. 1926)
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Chanson à Dulcinée Song to Dulcinée
Ah! Un an me dure la journée Ah! A day lasts a year
Si je ne vois ma Dulcinée if I do not see my Dulcinée.
Mais amour a peint son visage But love has painted her face
A fin d’adoucir ma langueur to sweeten my languor
Dans la fontaine et le nuage, In the fountains and in the clouds,
Dans chaque aurore et chaque fleur. Ah . . . In each breeze and every flower. Ah . . .
Toujours proche et toujours lointaine Always near and yet always far away,
Étoile de mes longs chemins; Star of my long path;
Le vent m’apporte son halaine The breeze carries her breath
Quand il passe sur les jasmins. Ah . . . As it passes across the jasmine. Ah . . .
___________
Der verspätete Wanderer
Wo aber werd' ich sein im künft'gen Lenze?
So frug ich sonst wohl, wenn beim Hüteschwingen
Ins Tal wir ließen unser Lied erklingen,
Denn jeder Wipfel bot mir frische Kränze.
Ich wußte nur, daß rings der Frühling glänze,
Daß nach dem Meer die Ströme leuchtend gingen,
Von fernem Wunderland die Vögel singen,
Da hatt' das Morgenrot noch keine Grenze.
Jetzt aber wirds schon Abend, alle Lieben
Sind wandermüde längst zurückgeblieben,
Die Nachtluft rauscht durch meine welken Kränze,
Und heimwärts rufen mich die Abendglocken,
Und in der Einsamkeit frag ich erschrocken:
Wo werde ich wohl sein im künft'gen Lenze?
The Overdue Wanderer
But where will I be in the coming spring?
So I had asked at other times, when swinging our hats
We let our songs ring out in the valley,
Because each tree-top offered me fresh garlands.
I only desired that all surrounding the spring shone,
That the streams went shining to the sea,
From the distant wonderland the birds were singing,
There the sunrise still had no limit.
Now, however, evening falls, all the dear ones
Tired from traveling have stayed behind.
The night air rustles through my wilted wreaths,
And from home the evening bells call to me,
And in the loneliness I ask, terrified:
Where will I be in the coming spring?
Das Alter Old Age
Hoch mit den Wolken geht der Vögel Reise, High up in the clouds the birds journey,
Die Erde schläfert, kaum noch Astern prangen, The earth sleeps, hardly any asters are still in bloom,
Verstummt die Lieder, die so fröhlich klangen, The songs that sounded so cheerful are silenced,
Und trüber Winter deckt die weiten Kreise. And dismal winter covers the whole realm.
Die Wanduhr pickt, im Zimmer singen leise The wall clock ticks, in the room still softly sings
Waldvöglein noch, so du im Herbst gefangen. The little forest bird that you caught in the fall.
Ein Bilderbuch scheint alles, was vergangen, A picture book shows all that has happened,
Du blätterst drin, geschützt vor Sturm und Eise. You there in the pages, safe from storm and ice.
So mild ist oft das Alter mir erschienen: Old age has often seemed so mild to me:
Wart nur, bald taut es von den Dächern wieder But wait, once again the dew melts from the roof
Und über Nacht hat sich die Luft gewendet. And over night the air has changed.
Ans Fenster klopft ein Bote mit froher Mienen, At the window knocks a cheerful messenger,
Du trittst erstaunt heraus und kommst nicht wieder, Amazed, you step outside and don’t come back
Denn endlich kommt der Lenz, der nimmer endet. Because finally comes the spring that never ends.
This recital might well be subtitled “Unsung Heroes.” All the composers here included
seem—for one reason or another—not to be as well-represented in the mainstream of
modern song recitals as their talents might deserve.
Though his Trois Chansons de Troubadour (Paris, 1936) employ a rather archaic modality,
Darius Milhaud was a progressive composer, being in fact the first to formally analyze
polytonality. A member of the famous (and infamous) Les Six, Milhaud was an avowed
expressionist and sought to portray the state of the soul rather than any sort of
psychological development.
Émile Paladilhe wrote over 100 songs in addition to a smattering of both small and large
scale pieces in various genres. He taught at the Paris Conservatory and won the Prix de
Rome in 1860 for his cantata Le Czar Ivan IV. Paladilhe’s songs have been criticized for
their lack of originality and reliance upon formulae; nonetheless, they are attractive and not
at all unsympathetic to their text.
Although Jacques Ibert wrote profusely in almost every imaginable genre, he composed
only around 25 songs. He won the Prix de Rome for his cantata Le Poète et la fée. The
Chansons de Don Quichotte, from which Chanson du Duc and Chanson à Dulcinée are
here excerpted, were composed for the score of the 1932 film Don Quichotte.
John Dowland was the most popular composer of his time, his songs being sung in
innumerable households on a daily basis. These lute songs are here sung with piano, the
modern-day equivalent of the then-ubiquitous lute.
Shortly after having won a scholarship in composition to the Royal College of Music in
London, Ivor Gurney was called into the service of his country in World War I. After being
shot and badly gassed, he began to express himself in the form of poetry (Severne and
Somme, 1917) as well as composition. He published a second book of poetry (War’s
Embers, 1919) and wrote over 300 songs, and was regarded as one of England’s most
promising poets and composers. However, manic depression coupled with disfigurement
and constant pain from the gassing began to overwhelm him, and he was institutionalized
in the City of London Mental Hospital for the last 15 years of his life, ultimately dying there.
Thomas Dunhill is an unsung hero even though he has left us a mere two songs; both are
true jewels (the other song is titled To the Queen of Heaven).
George Butterworth would surely have taken his place alongside Vaughan Williams as
one of Britain’s greatest composers had he not been killed in the Battle of the Somme on 5
August 1915. Butterworth was perhaps the greatest interpreter of the poetry of A. E.
Housman (1859-1936), his settings brilliantly and simply illuminating Housman’s poignant
juxtaposition of the idyllic and the bitterness of war and loss. With Rue my Heart is Laden
is from Butterworth’s settings of A Shropshire Lad.
As had Ivor Gurney, Gerald Finzi found his primary emotional outlet in the composition of
songs; in fact, two-thirds of his entire musical output is in the form of solo song. Much as
Butterworth had found kinship with Housman, Finzi found a soul mate in the bleak fatalism
of Thomas Hardy (1840-1928). Having witnessed the death of parents and siblings during
his youth, Finzi possessed a fragile personality. He chose to spend most of his life alone
with his wife in relative solitude, growing endangered apple trees and writing music on his
large rural estate. Who is Sylvia is excerpted from Finzi’s Shakespeare cycle, Let us
Garlands Bring.
Though Hans Pfitzner was a self-proclaimed conservative (he referred to Arnold
Schoenberg and the other innovators of the Second Viennese School as “wild New
Germans”), his songs exhibit many progressive aspects. Expressionistic dissonance, linear
textures, and almost minimalistic ostinati permeate many of the songs (In Danzig), yet the
vocal line remains Romantically lyrical. Perhaps at his best when setting the quintes-sentially
Romantic poetry of Josef von Eichendorff (1788-1857), Pfitzner manages to
reinforce words into poetic landscapes (all three songs here represented are to texts of
Eichendorff).
The last group of songs on this recital is a mixed bag of American provenance. As all four
of the represented composers are still living, it is perhaps too early to tell whether or not
they will become “unsung heroes.” The poetry is distinctly American, including settings of
Whitman by Urquhart and Hoiby, Langston Hughes by Jean Berger, and Frank O’Hara by
Chris Berg. These songs are characterized by an immediacy of textual declamation, the
music truly being the servant of the text.
________
Belle dame de mon émoi Beautiful lady of my agitation
Belle dame de mon émoi, qui peut entendre votre voix Beautiful lady of my agitation, who is able to hear your voice
Ou regarder vos yeux sans être amoureux fou or to look at your eyes without being wildly in love
De tout votre être? Hélas, votre coeur est si froid with your whole being? Alas, your heart is so cold
Qu’il ne donne à personne son émoi. Mais je supporte that it gives its excitement to no one. But I endure
Mon mal même puisque tout homme qui vous aime my familiar misfortune, since every man who loves you
Doit souffrir comme moi. has to suffer like me.
Nulle dame n’aura mon coeur si fragile dans sa riguer No lady could fail to have my fragile heart;
Je la vois joyeuse et volage accessible à tous les hommages I see her happy and willing to receive homage from all
Au lieu de garder ses faveurs au seul homme in place of keeping her favors for the only man
Qu’elle nomme dans son coeur. that she names in her heart.
J’aime mieux la savoir rebelle I love better this wild knowledge
Plutôt que de devoir près d’elle partager mon bonheur. than the need to be near her to share my happiness.
Psyché Psyché
Je suis jaloux, Psyché, de toute la nature! I am jealous, Psyché, of all nature!
Les rayons du soleil vous baisent trop souvent. The rays of the sun kiss you far too often.
Vos cheveux souffrent trop des caresses du vent Your locks too often allow the wind to caress them.
Quand il le flatte, j’en murmure! When the wind blows your hair, I am jealous of it!
L’air même que vous respirez Even the air you breathe
Avec trop de plaisir passe sur votre bouche. passes over your lips with too much pleasure.
Votre habit de trop près vous touche! Your garment touches you too closely.
Et sitôt que vos soupirez, And whenever you sigh,
Je ne sais quoi tui m’effarouche I do not know what grips me with fear;
Craint, parmi vos soupirs, des soupirs égarés! Perhaps, that of all your sighs, one may escape me.
Chanson du Duc Song of the Duke
Je veux chanter ici la dame de mon songes I wish to sing to the lady of my dreams,
Qui m’exalte au dessus de se siecle de bou. who lifts me out of this age of darkness.
Son coeur de diamont est vierges de mensonges; Her heart of diamond is pure of lies;
Le rose s’obscurcis au regard de sa joue. The rose is obscured when compared to her cheek.
Pour elle j’ai tenté les hautes aventure. For her I have undertaken high adventure.
Mon bras à délivré le princesse en servages. My arm has delivered the princess from slavery.
J’ai vaincu l’enchenteurs, confondu les parjures, I have vanquished sorcerers and confounded liars,
Et ployé l’univers à lui rendre l’hommages. and have bowed down the universe that it may pay
her homage.
Dame, pour qui je vais seul dessus cette terre, Lady, for whom I go alone on this earth,
Qui ne sois prisonnier de la fause apparences; who is no prisoner to false appearances;
Je soutiens contre tous chevalier timéraire I hold up against all unworthy knights
Votre éclat non pareil, et votre précellence. your unparalleled clarity and your excellence.
This recital might well be subtitled “Unsung Heroes.” All the composers here included
seem—for one reason or another—not to be as well-represented in the mainstream of
modern song recitals as their talents might deserve.
Though his Trois Chansons de Troubadour (Paris, 1936) employ a rather archaic modality,
Darius Milhaud was a progressive composer, being in fact the first to formally analyze
polytonality. A member of the famous (and infamous) Les Six, Milhaud was an avowed
expressionist and sought to portray the state of the soul rather than any sort of
psychological development.
Émile Paladilhe wrote over 100 songs in addition to a smattering of both small and large
scale pieces in various genres. He taught at the Paris Conservatory and won the Prix de
Rome in 1860 for his cantata Le Czar Ivan IV. Paladilhe’s songs have been criticized for
their lack of originality and reliance upon formulae; nonetheless, they are attractive and not
at all unsympathetic to their text.
Although Jacques Ibert wrote profusely in almost every imaginable genre, he composed
only around 25 songs. He won the Prix de Rome for his cantata Le Poète et la fée. The
Chansons de Don Quichotte, from which Chanson du Duc and Chanson à Dulcinée are
here excerpted, were composed for the score of the 1932 film Don Quichotte.
John Dowland was the most popular composer of his time, his songs being sung in
innumerable households on a daily basis. These lute songs are here sung with piano, the
modern-day equivalent of the then-ubiquitous lute.
Shortly after having won a scholarship in composition to the Royal College of Music in
London, Ivor Gurney was called into the service of his country in World War I. After being
shot and badly gassed, he began to express himself in the form of poetry (Severne and
Somme, 1917) as well as composition. He published a second book of poetry (War’s
Embers, 1919) and wrote over 300 songs, and was regarded as one of England’s most
promising poets and composers. However, manic depression coupled with disfigurement
and constant pain from the gassing began to overwhelm him, and he was institutionalized
in the City of London Mental Hospital for the last 15 years of his life, ultimately dying there.
Thomas Dunhill is an unsung hero even though he has left us a mere two songs; both are
true jewels (the other song is titled To the Queen of Heaven).
George Butterworth would surely have taken his place alongside Vaughan Williams as
one of Britain’s greatest composers had he not been killed in the Battle of the Somme on 5
August 1915. Butterworth was perhaps the greatest interpreter of the poetry of A. E.
Housman (1859-1936), his settings brilliantly and simply illuminating Housman’s poignant
juxtaposition of the idyllic and the bitterness of war and loss. With Rue my Heart is Laden
is from Butterworth’s settings of A Shropshire Lad.
As had Ivor Gurney, Gerald Finzi found his primary emotional outlet in the composition of
songs; in fact, two-thirds of his entire musical output is in the form of solo song. Much as
Butterworth had found kinship with Housman, Finzi found a soul mate in the bleak fatalism
of Thomas Hardy (1840-1928). Having witnessed the death of parents and siblings during
his youth, Finzi possessed a fragile personality. He chose to spend most of his life alone
with his wife in relative solitude, growing endangered apple trees and writing music on his
large rural estate. Who is Sylvia is excerpted from Finzi’s Shakespeare cycle, Let us
Garlands Bring.
Though Hans Pfitzner was a self-proclaimed conservative (he referred to Arnold
Schoenberg and the other innovators of the Second Viennese School as “wild New
Germans”), his songs exhibit many progressive aspects. Expressionistic dissonance, linear
textures, and almost minimalistic ostinati permeate many of the songs (In Danzig), yet the
vocal line remains Romantically lyrical. Perhaps at his best when setting the quintes-sentially
Romantic poetry of Josef von Eichendorff (1788-1857), Pfitzner manages to
reinforce words into poetic landscapes (all three songs here represented are to texts of
Eichendorff).
The last group of songs on this recital is a mixed bag of American provenance. As all four
of the represented composers are still living, it is perhaps too early to tell whether or not
they will become “unsung heroes.” The poetry is distinctly American, including settings of
Whitman by Urquhart and Hoiby, Langston Hughes by Jean Berger, and Frank O’Hara by
Chris Berg. These songs are characterized by an immediacy of textual declamation, the
music truly being the servant of the text.
________
Belle dame de mon émoi Beautiful lady of my agitation
Belle dame de mon émoi, qui peut entendre votre voix Beautiful lady of my agitation, who is able to hear your voice
Ou regarder vos yeux sans être amoureux fou or to look at your eyes without being wildly in love
De tout votre être? Hélas, votre coeur est si froid with your whole being? Alas, your heart is so cold
Qu’il ne donne à personne son émoi. Mais je supporte that it gives its excitement to no one. But I endure
Mon mal même puisque tout homme qui vous aime my familiar misfortune, since every man who loves you
Doit souffrir comme moi. has to suffer like me.
Nulle dame n’aura mon coeur si fragile dans sa riguer No lady could fail to have my fragile heart;
Je la vois joyeuse et volage accessible à tous les hommages I see her happy and willing to receive homage from all
Au lieu de garder ses faveurs au seul homme in place of keeping her favors for the only man
Qu’elle nomme dans son coeur. that she names in her heart.
J’aime mieux la savoir rebelle I love better this wild knowledge
Plutôt que de devoir près d’elle partager mon bonheur. than the need to be near her to share my happiness.
Psyché Psyché
Je suis jaloux, Psyché, de toute la nature! I am jealous, Psyché, of all nature!
Les rayons du soleil vous baisent trop souvent. The rays of the sun kiss you far too often.
Vos cheveux souffrent trop des caresses du vent Your locks too often allow the wind to caress them.
Quand il le flatte, j’en murmure! When the wind blows your hair, I am jealous of it!
L’air même que vous respirez Even the air you breathe
Avec trop de plaisir passe sur votre bouche. passes over your lips with too much pleasure.
Votre habit de trop près vous touche! Your garment touches you too closely.
Et sitôt que vos soupirez, And whenever you sigh,
Je ne sais quoi tui m’effarouche I do not know what grips me with fear;
Craint, parmi vos soupirs, des soupirs égarés! Perhaps, that of all your sighs, one may escape me.
Chanson du Duc Song of the Duke
Je veux chanter ici la dame de mon songes I wish to sing to the lady of my dreams,
Qui m’exalte au dessus de se siecle de bou. who lifts me out of this age of darkness.
Son coeur de diamont est vierges de mensonges; Her heart of diamond is pure of lies;
Le rose s’obscurcis au regard de sa joue. The rose is obscured when compared to her cheek.
Pour elle j’ai tenté les hautes aventure. For her I have undertaken high adventure.
Mon bras à délivré le princesse en servages. My arm has delivered the princess from slavery.
J’ai vaincu l’enchenteurs, confondu les parjures, I have vanquished sorcerers and confounded liars,
Et ployé l’univers à lui rendre l’hommages. and have bowed down the universe that it may pay
her homage.
Dame, pour qui je vais seul dessus cette terre, Lady, for whom I go alone on this earth,
Qui ne sois prisonnier de la fause apparences; who is no prisoner to false appearances;
Je soutiens contre tous chevalier timéraire I hold up against all unworthy knights
Votre éclat non pareil, et votre précellence. your unparalleled clarity and your excellence.
James Bumgardner
baritone
Dominick Amendum, piano
Tuesday, September 17, 2002
5.30 pm
Recital Hall, School of Music
Program
Belle dame de mon émoi Darius Milhaud
(1892-1974)
Psyché Émile Paladilhe
(1844-1926)
from Quatre Chansons de Don Quichotte Jacques Ibert
Chanson du Duc (1890-1962)
Chanson à Dulcinée
Weep you no more, sad fountains John Dowland
(1562-1626)
Sleep Ivor Gurney
(1890-1937)
The Cloths of Heaven Thomas Dunhill
(1877-1946)
With Rue my Heart is Laden George
Butterworth
(1885-1916)
Who is Sylvia? Gerald Finzi
(1901-1956)
Intermission
Der verspätete Wanderer Hans Pfitzner
Das Alter (1869-1949)
In Danzig
from Leaves Craig Urquhart
Here the frailest leaves of me (b. 1962)
Among the Multitude
Poem Christopher Berg
(b. 1949)
Carolina Cabin Jean Berger
(b. 1909)
Joy, Shipmate, Joy Lee Hoiby
(b. 1926)
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
