2002-09-19 Artist Faculty Chamber Series Moonstruck [recital program]

              Brooks Whitehouse (BA, Harvard College, MMA and DMA, SUNY
Stony Brook) is UNCG’s new Cello Professor. He comes to Greensboro
from the University of Florida where he spent a year as Assistant
Professor of Cello and Chamber Music. From 1996-2001 he and his
wife, violinist Janet Orenstein, were artists in residence at the University
of Virginia in Charlottesville as members of The Guild Trio. In his
thirteen years as cellist of the Guild Trio Mr. Whitehouse has performed
and taught chamber music throughout the US and abroad, holding
Artists-in-Residence positions at SUNY Stony Brook, the Guild Hall in East Hampton, NY,
and The Tanglewood Music Center. This ensemble was a winner of both the "USIA Artistic
Ambassador" and "Chamber Music Yellow Springs" competitions, and with the group Mr.
Whitehouse has performed throughout the United States and Canada, as well as in
Norway, Turkey, the former Yugoslavia, Belgium, Luxembourg, Germany, Portugal, France
and Australia.
Andrew Willis holds the B.M. from the Curtis Institute of Music, the
M.M. in Accompanying from Temple University, and the D.M.A. in
Historical Performance from Cornell. A former student of Mieczyslaw
Horszowski, Willis has taught at several colleges and universities and at
Tanglewood. Willis played piano and celeste for the Philadelphia
Orchestra for several years and directed that city's 1807 and Friends
Chamber Ensemble. He has appeared as soloist with several major
orchestras and has given recitals and master classes throughout the
United States, often on original historical pianos or replicas. He has recorded a wide range
of solo and chamber repertoire for CRI, Albany, Newport Classics, and Claves.
Welborn Young came from Chicago, Illinois where for five years he was
the Artistic Director and Conductor of Windy City Performing Arts. The
ensembles received enthusiastic reviews in such papers as the Chicago
Sun Times, Chicago Tribune, the Reader, and Windy City Times. During
the summer of 1998, Young was invited to be a featured conductor at
the Concertgebouw in Amsterdam, Netherlands, during an international
cultural and music festival. That same summer he was guest conductor
of Chicago's Grant Park Symphony Chorus and assisted with the
preparation of their first recording. Young has been the Assistant Conductor of the Middle
Tennessee Choral Society and Artistic Director and Conductor of the Augustinian Singers
of Nashville, Tennessee. He has prepared and conducted the Nashville Symphony Chorus,
has appeared as guest conductor with the Nashville Opera Association, and is in high
demand as an adjudicator and clinician for choral festivals. He completed the B.M. and the
M.A. at Middle Tennessee State University and is completing the Doctor of Musical Arts in
Choral Conducting at the University of Illinois Urbana-Champaign.
___________
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact one of the ushers in the lobby.
Artist Faculty Chamber Series
presents
moonstruck
Thursday, September 19, 2002
7:30 pm
Recital Hall, School of Music
Program
Commentary by Elizabeth Keathley
Der Wanderer an den Mond Franz Schubert
An den Mond (1797-1828)
Abendbilder
Erntelied
Ellen Linton, soprano
Andrew Harley, piano
Sonate pour violoncelle et piano Claude Debussy
Prologue: Lent (1862-1918)
Sérénade et Finale
Brooks Whitehouse, violoncello
Andrew Harley, piano
intermission
Pierrot Lunaire Arnold Schönberg
Part I (1874-1951)
Moondrunk
Colombine
The Dandy
A Quite Pallid Laundry Maid
Valse de Chopin
Madonna
The Ailing Moon
Part II
Night
Prayer to Pierrot
Loot
Red Mass
Song of the Gallows
Decapitation
The Crosses
Part III
Nostalgia
Atrocity
Parody
The Moonfleck
Serenade
Journey Home
O Ancient Scent
Carla Lefevre, voice
Andrew Willis, piano
John Fadial, violin
Scott Rawls, viola
Brooks Whitehouse, violoncello
Deborah Egekvist, flute and piccolo
Kelly Burke, clarinet and bass clarinet
Welborn Young, conductor
Elizabeth L. Keathley is an Assistant Professor in the School of Music
at the University of North Carolina at Greensboro, where she teaches
graduate and undergraduate courses in Music History. Dr. Keathley
received the Ph.D. and M.A. in Music History, as well as an Advanced
Certificate in Women’s Studies from the State University of New York at
Stony Brook. Her research addresses issues of modernism and
modernity, how they intersect with musical practices, and how they are
inflected by gender, ethnicity, and other forms of “difference.” She has
published both in the U.S. and in Europe on the works of Arnold Schönberg, and she has
presented scholarly papers on the works of Alma Mahler and Leonard Bernstein, as well as
on the gendered dimensions of rap and electronic pop music. Dr. Keathley is active in the
American Musicological Society, the College Music Society, the Society for American
Music, Gender Research in Music Education, and the International Alliance for Women in
Music.
Carla LeFevre holds the B.M.Ed. in voice and horn from Central
Missouri State University and M.A. and D.M.A. degrees in performance
and pedagogy from the University of Iowa. She has performed
extensively in oratorios and operas, including leading roles in The
Magic Flute, La Bohème, The Turn of the Screw, and Handel's
Agrippina, which she performed at the Festival di Musica Antica in
Urbino, Italy, and the Classical Music Seminar in Eisenstadt, Austria.
An active recitalist, LeFevre was selected as the 1991 National Winner
of the Gertrude Fogelson Cultural and Creative Arts Vocal Competition and has also been a
national finalist in both the National Federation of Music Clubs Young Artist Competition
and the National Opera Association Vocal Competition. In addition to her teaching and
performing experience, she has served as a consultant for the Peoria Ear, Nose, and
Throat Clinic, assisting in the diagnosis and treatment of voice disorders.
Ellen Linton holds the B.M. degree from Oberlin College, the M.M. from
the New England Conservatory, and studied at the Akademie fur Musik und
darstellende Kunst (Mozarteum) in Salzburg, Austria. In 1990 she received
a grant from the National Endowment for the Humanities for advanced
graduate study at the University of Minnesota, and in 1992 earned a
stipend for interdisciplinary study at Reynolda House. Linton has worked
with such coaches and teachers as Gladys Miller, Re Koster, Gerard
Souzay, Dalton Baldwin, and Boris Goldovsky. At UNCG she teachers
history of art song, and French and German Diction for singers, as well as studio voice. She
has performed extensively in opera, oratorio, and recital, and is a former state governor for
the National Association of Teachers of Singing.
Scott Rawls holds the B.M. degree from Indiana University and the M.M.
and D.M.A. from The State University of New York at Stony Brook. His
major teachers have included Abraham Skernick, Gorges Janzer, and
John Graham, to whom he was assistant at SUNY-Stony Brook. A
champion of new music, Rawls has toured extensively as a member of
Steve Reich and Musicians with recent performances in San Francisco,
Milan, and New York. He is a founding member of the Locrian Chamber
Players, a New York City based group dedicated to performing new
music. Rawls is invited frequently as guest artist with chamber ensembles across the
country. He has recorded for CRI, Elektra, Nonesuch, Capstone, and Philips labels. In
addition to serving as viola professor and coordinator of the string area at the University of
North Carolina at Greensboro, Rawls is very active as guest clinician, adjudicator, and
master class teacher at universities and festivals in America and Europe.
Kelly Burke holds the B.M. and M.M. degrees from the Eastman School
of Music and the D.M.A. from the University of Michigan. An active
performer, Burke is the principal clarinetist of the Greensboro Symphony
Orchestra and has appeared in recitals and as a soloist with symphony
orchestras throughout the United States, Canada, Germany, New
Zealand, Australia, and Russia. As a member of the Mallarmé Chamber
Players, the EastWind Trio d'Anches, and the Cascade Wind Quintet,
Burke is frequently heard in chamber music settings. She has recorded for
Centaur, Telarc, and Arabesque labels. Burke has received several
teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of
Music Outstanding Teacher Award, and has been named three times to Who's Who Among
America's Teachers. She is the author of numerous pedagogical articles and the critically
acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist.
Deborah Egekvist earned the B.M. from Lawrence University, the M.M.
at the Eastman School of Music , and the D.M. at Florida State University.
She has taught at Marshall University in Huntington, West Virginia, and at
the University of Oklahoma at Norman. Active as a soloist and chamber
musician, Egekvist has performed throughout the United States,
Germany, Canada, and the Asian South Pacific. She has appeared as
soloist with the Minnesota Orchestra, the Green Bay Symphony, the
West Virginia Symphonette, the Aurora Symphony, and the Huntington
Chamber Orchestra. She has also performed as principal flute of the Huntington Chamber
Orchestra, the Greensboro Symphony, and the EastWind Quintet at UNCG. In June 1989,
Egekvist made her New York debut at Carnegie Recital Hall.
John Fadial holds degrees from the North Carolina School of the Arts,
the Eastman School of Music, and the University of Maryland. As a
United States Information Service Artistic Ambassador, he has toured
extensively on four continents. Recent recital appearances have included
performances at the Phillips Collection; the Kennedy Center; the Sale
Poirel, Nancy, France; and the American University in Blagoevgrad,
Bulgaria. A highly successful teacher, his students has been accepted by
such prestigious institutions as Oberlin Conservatory, Peabody Conservatory, the Eastman
School, The Cleveland Institute, and the National Repertory Orchestra. They also have
included winners of the Pittsburgh Symphony Young Artist Solo Competition; and winners
and finalists in the MTNA National Competitions. John Fadial currently serves as
concertmaster of the Greensboro Symphony Orchestra, as well as violinist of the
Chesapeake Trio and the McIver Ensemble. His mentors include Elaine Richey, Charles
Castleman, and Arnold Steinhardt.
Andrew Harley is an Associate Professor in the School of Music at UNCG,
where he is the Director of Accompanying. He received a B.A. and M.A.
from Oxford University, the Artist Diploma from the Royal Northern College
of Music in Manchester and a D.M.A. from the University of Southern
California. Previous appointments have included Occidental College,
University of California Los Angeles, University of Southern California and
the University of California Santa Barbara where he was Head of
Accompanying. In addition to these positions, he has also held numerous
posts at a variety of summer schools. For five years, he was Director of Chamber Music for
the International Institute for Young Musicians and more recently was Associate Faculty at
the Music Academy of the West in Santa Barbara. He has been featured on live radio and
television broadcasts and currently serves as the official accompanist for a number of
national competitions.
Franz Schubert:
The Wanderer’s Address to the Moon
Johann Gabriel Seidl
I on earth, you in the sky,
Both of us travel briskly on;
I solemn and gloomy, you gentle and pure,
What can be the difference between us?
I wander, a stranger, from land to land,
So homeless, so unknown;
Up and down mountains, in and out of forests,
Yet, alas, nowhere am I at home.
But you wander up and down,
From the east’s cradle to the west’s grave,
Travel from country to country
And yet are at home wherever you are.
The sky, infinitely extended,
Is your beloved homeland;
O happy he who, wherever he goes,
Still stands on his native soil!
To the Moon
Johann Wolfgang von Goethe
Once more you silently fill wood and vale
With your hazy gleam,
And at last
Set my soul quite free.
You cast your soothing gaze
Over my fields;
With a friend’s gentle eye
You watch over my fate.
My heart feels every echo
Of times both glad and gloomy.
I hover between joy and sorrow
In my solitude.
Flow on, beloved river!
I shall never be happy:
Thus have laughter and kisses rippled away,
And with them constancy.
Happy he who, without hatred,
Shuts himself off from the world,
Holds on friend to his heart,
And with him enjoys
That which, unknown to
And undreamt of by men,
Wanders by night
Through the labyrinth of the heart.
Evening Scene
Johann Petrus Siebert
In the grove, quietly the dew begins to fall.
Gently the sinister twilight weaves
Through the light of day,
Distorting the green bushes in the fields.
The nightly ravens swoop on distant oaks;
The breeze smells sweet.
Echo tenderly recalls
Philomel’s magic songs.
Hark how the angelus tells the sons of men
To turn their hearts
From earthly joys to heaven
The skies, barred with cloud,
Sparkle with a thousand shining stars.
The moon, mirrored in clear waters,
Scatters its gold afar on field and hill.
In its full light,
The mossy church roof gleams,
While all around cold stones stand guard
Above the sleepers’ limbs.
Rest, beloved, from all travail,
Until at the resurrection God shall call us
Upward to eternal bliss.
(continued, next page)
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
part I
chamber series
artist faculty
Harvest Song
Ludwig Heinrich Christoph Hölty
Sickles echo,
Ears of corn fall
To the sound of the sickles,
On the girls’ bonnets
Blue flowers quiver;
Joy is everywhere.
Sickles resound,
Girls sing
To the sound of the sickles;
Until, bathed in moonlight,
The stubble shimmers all around,
And the harvest song rings out.
All leap about,
All who can utter a sound
Sing out.
At the harvest feast
The farmer and his labourer
Eat from the same bowl.
Then every man teases
And hugs
His sweetheart.
When the tankards are empty
They go off
Singing and shouting with joy.
—————
Arnold Schönberg:
Pierrot Lunaire
Albert Giraud
Part I
1. Moondrunk
The wine which through the eyes we drink
Flows nightly from the moon in torrents,
And as a spring tide overflows
The far and distant land.
Desires terrible and sweet
Unnumbered drift in floods abounding.
The wine which through the eyes we drink
Flows nightly from the moon in torrents.
The poet, in an ecstasy,
Drinks deeply from the holy chalice,
To heaven lifts up his entranced
Head, and reeling quaffs and drains down
The wine which through the eyes we drink.
2. Columbine
The pallid buds of moonlight
Those pale and wondrous roses,
Bloom in the nights of summer —
O could I pluck but one!
My heavy heart to lighten,
I search in darkling river
The pallid buds of moonlight,
Those pale and wondrous roses.
Fulfilled would be my longing
If I could softly gather,
With gentle care besprinkle
Upon your dark brown tresses
The moonlight’s pallid blossoms.
3. The Dandy
A phantasmagorial light ray
Illumines tonight all the crystalline flasks
On the holy, sacred, ebony wash-stand
Of the taciturn dandy of Bergamo.
In sonorous bronze-enwrought chalice
Laughs brightly the fountain’s metallic sound,
A phantasmagorial light ray
Illumines tonight all the crystalline flasks.
Pierrot with countenance waxen
Stands musing and thinks how he tonight
will paint.
Rejecting the red and the green of the east
He bedaubs all his face in the latest of styles
With a phantasmagorial moonbeam.
4. A Quite Pallid Laundry Maid
A quite pallid laundry maid
Washes nightly white silk garments;
Naked, snow-white silvery forearms
Stretching downward to the flood.
Through the glen steal gentle breezes,
Softly playing o’er the stream.
A quite pallid laundry maid
Washes nightly white silk garments.
And the gentle maid of heaven,
By the branches softly fondled,
Spreads on the dusky meadows
All her moonlight-woven linen —
A quite pallid laundry maid.
17. Parody
Knitting needles, bright and polished,
Set in her graying hair,
Sits the duenna, mumbling,
In crimson costume clad.
She lingers in the arbor,
She loves Pierrot with passion,
Knitting needles, bright and polished,
Set in her graying hair.
But, listen, what a whisper,
A zephyr titters softly:
The moon, the wicked mocker,
Now mimics with light rays
Bright needles, spic and span.
18. The Moonfleck
With a snowy fleck of shining moonlight
On the shoulder of his black silk frock-coat
So walks out Pierrot this languid evening,
Seeking everywhere for love’s adventure.
But what! something wrong with his
appearance!
He looks round and round and then he finds
it —
Just a snowy fleck of shining moonlight
On the shoulder of his black silk frock-coat.
Wait now — thinks he — ‘tis a piece of
plaster,
Wipes and wipes, yet cannot make it
vanish.
So he goes on, poisoned with his fancy,
Rubs and rubs until the early morning
Just a snowy fleck of shining moonlight.
19. Serenade
With a giant bow grotesquely
Scrapes Pierrot on his viola;
Like a stork on one leg standing
Sadly plucks a pizzicato.
Now here comes Cassander fuming
At this night-time virtuoso.
With a giant bow grotesquely
Scrapes Pierrot on his viola.
Casting then aside the viola,
With his delicate left hand he
Grips the bald head by the collar —
Dreamily he plays upon him
With a giant bow grotesquely.
20. Journey Home
The moonbeam is the rudder,
Waterlily serves as boat
On which Pierrot goes southward,
The wind behind his sails.
In deep tones hums the river
And rocks the light canoe,
The moonbeam is the rudder,
Waterlily serves as boat.
To Bergamo, his homeland,
Pierrot returns once more,
Soft gleams on the horizon,
The orient gleam of dawn.
— The moonbeam is the rudder.
21. O Ancient Scent
O ancient scent of fairy times,
Intoxicate once more my senses!
A merry swarm of idle thoughts
Pervades the gentle air.
A happy whim makes me aspire
To joys which I too long neglected.
O ancient scent of fairy times,
Intoxicate me again.
Now all my sorrow is dispelled,
And from my sun-encircled window
I freely view the lovely world
And dream beyond the fair horizon.
O ancient scent of fairy times!
future afcs events:
angels and devils
thursday, november 7, 2002
all that jazz
thursday, january 30, 2003
music goes to the movies
thursday, march 27, 2003
tickets available at the university box office,
school of music room 215
or by calling (336) 334.4TIX (4849)
part III
5. Valse de Chopin part II
As a lingering drop of blood
Stains the lips of a consumptive,
So this music is pervaded
By a morbid deathly charm.
Wild ecstatic harmonies
Disguise the icy touch of doom
As a lingering drop of blood
Stains the lips of a consumptive.
Ardent, joyful, sweet and yearning,
Melancholic sombre waltzes,
Coursing ever through my senses
Staying always in my mind’s eye
Like a lingering drop of blood!
6. Madonna
Rise, O mother of all sorrows,
From the altar of my verses!
Blood pours forth from thy lean bosom
Where the sword of frenzy pierced it.
Thy forever gaping gashes
Are like eyelids, red and open.
Rise, O mother of all sorrows,
From the altar of my verses.
In thy lacerated arms
Holdst thou thy Son’s holy body,
Manifesting Him to mankind —
Yet the eyes of men avoid the sight,
O mother of all sorrows!
7. The Ailing Moon
You ailing, death-awaiting moon,
High upon heaven’s dusty couch,
Your glance, so feverish overlarge,
Lures me, like strange enchanting song.
With unrequited pain of love
You die, your longing deep concealed,
You ailing, death-awaiting moon,
High upon heaven’s dusty couch.
The lover, stirred by deep desire
Who reckless seeks for love’s embrace,
Exults in your bright play of light,
Your pale and pain-begotten flood,
You ailing, death-awaiting moon.
Part II
8. Night
Heavy, gloomy giant black moths
Massacred the sun’s bright rays;
Like a close-shut magic book
Broods the distant sky in silence.
From the mists in deep recesses
Rise up scents, destroying memory.
Heavy, gloomy giant black moths
Massacred the sun’s bright rays.
And from heaven earthward bound
Downward sink with sombre pinions
Unperceived, great hordes of monsters
On the hearts and souls of mankind…
Heavy, gloomy giant black moths.
9. Prayer to Pierrot
Pierrot! My laughter
I have forgot!
The image of spendor
Dissolves.
Black flies the flag now
Now from my mast.
Pierrot! My laughter
I have forgot!
Oh, once more give me,
Healer of spirits,
Snowman of lyrics,
Monarch of moonshine,
Pierrot — my laughter!
10. Loot
Ancient royalty’s red rubies,
Bloody drops of aged glory,
Slumber in the hollow coffins
Buried in the vaulted caverns.
Late at night with boon companions
Pierrot descends to ravish
Ancient royalty’s red rubies,
Bloody drops of aged glory.
But there every hair a-bristle,
Livid fear turns them to statues;
Through the murky gloom, like eyes —
Glaring from the hollow coffins,
Ancient royalty’s red rubies.
11. Red Mass
To fearsome grim communion
Where dazzling rays of gold gleam,
And flickering light of candles,
Comes to the altar Pierrot.
His hand, with grace invested,
Rends through the priestly garments,
For fearsome grim communion
Where dazzling rays of gold gleam.
With signs of benediction
He shows to frightened people
The dripping crimson wafer:
His heart — with bloody fingers
In fearsome grim communion.
12. Song of the Gallows
The haggard harlot
With stretching throat
Will be
His ultimate paramour.
Through all his thoughts
There sticks like a nail
The haggard harlot
With scraggy gizzard.
Thin as a rake,
Round her neck a pigtail,
Lustfully she will embrace
The rascal,
The haggard harlot!
13. Decapitation
The moon, a polished scimitar
Upon a black and silken cushion,
So strangely large hangs menacing
Through sorrow’s gloomy night.
Pierrot wandering restlessly
Stares upon high in anguished fear
Of the moon, a polished scimitar
Upon a black and silken cushion.
Like leaves of aspen are his knees,
Swooning he falters, then collapses.
He thinks: the hissing vengeful steel
Upon his neck will fall in judgment,
The moon, a polished scimitar.
14. The Crosses
Holy crosses are the verses
Where the poets bleed in silence,
Blinded by the peck of vultures
Flying round in ghostly rabble.
On their bodies swords have feasted,
Bathing in the scarlet bloodstream.
Holy crosses are the verses
Where the poets bleed in silence.
Death then comes; dispersed the ashes —
Far away the rabble’s clamor,
Slowly sinks the sun’s red splendor,
Like a royal crown of glory.
Holy crosses are the verses.
Part III
15. Nostalgia
Sweetly plaintive is the sigh of crystal
From the old Italian pantomimers,
Sadly mourning that Pierrot so modern
And so sickly sentimental is now.
And it echoes from his heart’s waste desert,
Muted tones which wind through all his
senses,
Sweetly plaintive, like a sigh of crystal
From the old Italian pantomimers.
Then Pierrot rejects the tragic manner.
Through the pallid fireshine of moonlight,
Through the foaming light-flood mounts his
longing,
Surging high towards his native heaven,
Sweetly plaintive, like a sigh of crystal.
16. Atrocity
Through the bald pate of Cassander,
As he rends the air with screeches
Bores Pierrot in feigning tender
Fashion with a cranium driller.
He then presses with his finger
Rare tobacco grown in Turkey
Through the bald pate of Cassander,
As he rends the air with screeches.
Then screwing a cherry pipe stem
Right in through the polished surface,
Sits at ease and smokes and puffs the
Rare tobacco grown in Turkey
From the bald pate of Cassander.
part II
part III
5. Valse de Chopin
As a lingering drop of blood
Stains the lips of a consumptive,
So this music is pervaded
By a morbid deathly charm.
Wild ecstatic harmonies
Disguise the icy touch of doom
As a lingering drop of blood
Stains the lips of a consumptive.
Ardent, joyful, sweet and yearning,
Melancholic sombre waltzes,
Coursing ever through my senses
Staying always in my mind’s eye
Like a lingering drop of blood!
6. Madonna
Rise, O mother of all sorrows,
From the altar of my verses!
Blood pours forth from thy lean bosom
Where the sword of frenzy pierced it.
Thy forever gaping gashes
Are like eyelids, red and open.
Rise, O mother of all sorrows,
From the altar of my verses.
In thy lacerated arms
Holdst thou thy Son’s holy body,
Manifesting Him to mankind —
Yet the eyes of men avoid the sight,
O mother of all sorrows!
7. The Ailing Moon
You ailing, death-awaiting moon,
High upon heaven’s dusty couch,
Your glance, so feverish overlarge,
Lures me, like strange enchanting song.
With unrequited pain of love
You die, your longing deep concealed,
You ailing, death-awaiting moon,
High upon heaven’s dusty couch.
The lover, stirred by deep desire
Who reckless seeks for love’s embrace,
Exults in your bright play of light,
Your pale and pain-begotten flood,
You ailing, death-awaiting moon.
Part II
8. Night
Heavy, gloomy giant black moths
Massacred the sun’s bright rays;
Like a close-shut magic book
Broods the distant sky in silence.
From the mists in deep recesses
Rise up scents, destroying memory.
Heavy, gloomy giant black moths
Massacred the sun’s bright rays.
And from heaven earthward bound
Downward sink with sombre pinions
Unperceived, great hordes of monsters
On the hearts and souls of mankind…
Heavy, gloomy giant black moths.
9. Prayer to Pierrot
Pierrot! My laughter
I have forgot!
The image of spendor
Dissolves.
Black flies the flag now
Now from my mast.
Pierrot! My laughter
Have I unlearnt!
Oh, once more give me,
Healer of spirits,
Snowman of lyrics,
Monarch of moonshine,
Pierrot — my laughter!
10. Loot
Ancient royalty’s red rubies,
Bloody drops of aged glory,
Slumber in the hollow coffins
Buried in the vaulted caverns.
Late at night with boon companions
Pierrot descends to ravish
Ancient royalty’s red rubies,
Bloody drops of aged glory.
But there every hair a-bristle,
Livid fear turns them to statues;
Through the murky gloom, like eyes —
Glaring from the hollow coffins,
Ancient royalty’s red rubies.
11. Red Mass
To fearsome grim communion
Where dazzling rays of gold gleam,
And flickering light of candles,
Comes to the altar Pierrot.
His hand, with grace invested,
Rends through the priestly garments,
For fearsome grim communion
Where dazzling rays of gold gleam.
With signs of benediction
He shows to frightened people
The dripping crimson wafer:
His heart — with bloody fingers
In fearsome grim communion.
12. Song of the Gallows
The haggard harlot
With stretching throat
Will be
His ultimate paramour.
Through all his thoughts
There sticks like a nail
The haggard harlot
With scraggy gizzard.
Thin as a rake,
Round her neck a pigtail,
Lustfully she will embrace
The rascal,
The haggard harlot!
13. Decapitation
The moon, a polished scimitar
Upon a black and silken cushion,
So strangely large hangs menacing
Through sorrow’s gloomy night.
Pierrot wandering restlessly
Stares upon high in anguished fear
Of the moon, a polished scimitar
Upon a black and silken cushion.
Like leaves of aspen are his knees,
Swooning he falters, then collapses.
He thinks: the hissing vengeful steel
Upon his neck will fall in judgment,
The moon, a polished scimitar.
14. The Crosses
Holy crosses are the verses
Where the poets bleed in silence,
Blinded by the peck of vultures
Flying round in ghostly rabble.
On their bodies swords have feasted,
Bathing in the scarlet bloodstream.
Holy crosses are the verses
Where the poets bleed in silence.
Death then comes; dispersed the ashes —
Far away the rabble’s clamor,
Slowly sinks the sun’s red splendor,
Like a royal crown of glory.
Holy crosses are the verses.
Part III
15. Nostalgia
Sweetly plaintive is the sigh of crystal
From the old Italian pantomimers,
Sadly mourning that Pierrot so modern
And so sickly sentimental is now.
And it echoes from his heart’s waste desert,
Muted tones which wind through all his
senses,
Sweetly plaintive, like a sigh of crystal
From the old Italian pantomimers.
Then Pierrot rejects the tragic manner.
Through the pallid fireshine of moonlight,
Through the foaming light-flood mounts his
longing,
Surging high towards his native heaven,
Sweetly plaintive, like a sigh of crystal.
16. Atrocity
Through the bald pate of Cassander,
As he rends the air with screeches
Bores Pierrot in feigning tender
Fashion with a cranium driller.
He then presses with his finger
Rare tobacco grown in Turkey
Through the bald pate of Cassander,
As he rends the air with screeches.
Then screwing a cherry pipe stem
Right in through the polished surface,
Sits at ease and smokes and puffs the
Rare tobacco grown in Turkey
From the bald pate of Cassander.
Artist Faculty Chamber Series
presents
moonstruck
Thursday, September 19, 2002
7:30 pm
Recital Hall, School of Music
Program
Commentary by Elizabeth Keathley
Der Wanderer an den Mond Franz Schubert
An den Mond (1797-1828)
Abendbilder
Erntelied
Ellen Linton, soprano
Andrew Harley, piano
Sonate pour violoncelle et piano Claude Debussy
Prologue: Lent (1862-1918)
Sérénade et Finale
Brooks Whitehouse, violoncello
Andrew Harley, piano
intermission
Pierrot Lunaire Arnold Schönberg
Part I (1874-1951)
Moondrunk
Colombine
The Dandy
A Quite Pallid Laundry Maid
Valse de Chopin
Madonna
The Ailing Moon
Part II
Night
Prayer to Pierrot
Loot
Red Mass
Song of the Gallows
Decapitation
The Crosses
Part III
Nostalgia
Atrocity
Parody
The Moonfleck
Serenade
Journey Home
O Ancient Scent
Carla Lefevre, voice
Andrew Willis, piano
John Fadial, violin
Scott Rawls, viola
Brooks Whitehouse, violoncello
Deborah Egekvist, flute and piccolo
Kelly Burke, clarinet and bass clarinet
Welborn Young, conductor