School of Music
U N C G
Julie Celona-VanGorden
soprano
Laura Moore, piano
Graduate Recital
Friday, September 14, 2007
5:30 pm
Recital Hall, School of Music
Canciones Españolas
Montañesa Joaquín Nin
El canto de los pájaros (1879-1949)
Paño Murciano
Asturiana
Polo
from El Combat del Somni Federico Mompou
Damunt de tu només les flors (1893-1987)
Jo et pressentia com la mar
from Seis Canciones Eduardo Toldrá
La zagala alegre (1895-1962)
Nadie puede ser dichoso
Cuatro Madrigales Amatorios Joaquín Rodrigo
¿Con qué la lavaré? (1901-1999)
Vos me matásteis
¿De dondé venis amore?
De los álamos vengo, madre
brief intermission
from Seis Canciones Castellanas Jesús Guridi
Allá arriba en aquella montaña (1886-1961)
No quiero tus avellanas
Mañanita de San Juan
Tres Poemas Joaquín Turina
Olas gigantes (1882-1949)
Tu pupila es azul
Besa el aura
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts in Performance
__________
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Joaquin Nin:
Text: Anonymous
Montañesa
Segaba yo aquella tarde
Y ella atropaba la yerba
Y estaba mas colorada, morena, y salada
Que en su sazón la cerezas.
Cuatro pinos tiene tu pinar
Y yo te los cuido,
Cuatro majos los quieren cortar,
No se han atrevido
El canto de los pájaros
Al veurer despuntar
Lo major lluminar
En la nit mes ditxosa
Los aucellets cantant
A festejarlo van
Ab sa veu melodiosa
L’aucell rei del espai
Va pels aires volant,
Cantant ab melodia
Dient: Jesús es nat
Per treure’ns de pecat
I darnos l’alegría
Paño Murciano
Diga usted señor platero
cuánta plata es menester
para en garzar un besito
de boca de mi querer.
Señor platero he pensado
que usted sabe engarzar
por eso le vengo á dar
una obrita de cuidado
A mí un besito me ha dado
mi novio con gran salero
engarzarlo en plata quiero
porque soy su fiel amante
¿Que plata sera bastante?
Diga usted señor platero.
Asturiana
Fuistia la siega y golviesti
Non me trixiste perdones
En viniendo les mayuques
Maldita la que me comes
Non te pares á mió puerta
From the mountains
I was harvesting that afternoon
And she was gathering hay,
And she was most ruddy, dark and charming
Like cherries in season.
Your pine wood has four pines
And I tend them for you
Four majos wish to fell them
But none of them has dared
The song of the birds
In the sight blinded
by its great illumination
In the night most wonderful.
The birds sing
To celebrate the coming
With their voices melodious.
The bird, king of space
Goes through the air flying
Singing with melody
He says: Jesus is born
To take away our sins
And give us happiness.
Cloth from Murcia
Tell me, Mister Silversmith,
how much silver’s needed
to set a little kiss
from my love’s lips?
Mister Silversmith, thinking
that you could set jewels
I’ve come to give you
a little task that needs some care
A most alluring little kiss
my boyfriend gave me,
I’d like to set it in silver,
since I’m his faithful lover
How much silver would it take?
Pray tell me Mister Silversmith.
Asturiana
The harvest is over and your presents
Won’t trick me into forgiving you,
Coming here after the revelry
Accursed she whom you seduced
Do not stop at my door
Non piques col picaporte
Que la neña que non quier
Por más que piquen non oye.
Polo
Cuerpo bueno, alma divina,
qué de fatigas me cuestas!
Despierta si estás dormida,
y alivia por Dios mis penas!
Mira que si no fallezco,
la pena negra me acaba!
Tan solo con verte ahora,
mis pesares se acabáran.
Ay! Qué fatigas!
Ay! Que ya expiro!
Federico Mompou:
El Combat del Somni
Text: Josep Janés (1913-1959)
Damunt de tu només les flors
Damunt de tu només les flors,
Eren com una ofrena blanca
la llum que daven al teu cos
mai més seria de la branca;
Tota una vida de perfume
amb el seu best’era donada.
Tu resplendies de la llum
per l’esguard clos atresorada.
Si hagués pogut ésser sospir
de flor! Donar-me, com un llir,
a tu, perqué la meva vida
s’anés marcint sobre el teu pit.
I no saber mai més la nit,
Que al teu costat fora esvaïda.
Jo et pressentia com la mar
Jo et pressentia com la mar
i com el vent, immense, lliure,
alta, damunt de tot atzar
i tot destí. I en el meu viure,
com el respire. I ara que et tinc
veig com el somni et limitava.
Tu no ets un nom, ni un gest.
No vinc a tu com à l’imatge blava
d’un somni humá. To no ets la mar,
que és presonera dins de platges
Do not irritate with your knock.
The little girl who only wants
Not to hear the sound any more.
Polo
Fine figure, heavenly soul,
oh the torment that you cause me!
Awake, if you be asleep,
and for God’s sake soothe my pain!
Don’t you see, if I do not die,
black torment will end my days!
Merely by seeing you now,
my sorrows themselves would end.
Ah, what torment!
Ah, I die!
Dream Combat
Over you only the flowers
Over you only the flowers.
They were like a white offering:
the light they threw on your body
would never again be the same as that of the
branch;
They gave you a whole life of perfume
with their kisses.
You were resplendent in the light
kept as a treasure by your closed eyes.
If I could have been the sigh
of a flower! Offer myself, as a lily,
To you, so that my life
Would wither over your breast.
And no longer know the night,
That next to you, would have vanished.
I dreamt you were like the sea
I had a premonition of you being like the sea
and the wind: Immense, free
towering over all fate
and all destiny. And in my life
like breathing. And now that I have you
I see how limiting my dream had been.
You are not a name nor a gesture.
Nor do I come to you as one goes to the bluish
image
of a human dream. You are not the sea,
for the sea is a prisoner held captive by
beaches;
tu no ets el vent, prez en l’espai.
Tu no tens limits; no hi ha, encar,
mots per a dir-te, ni paisatges
per sê el teu món – ni hi
seran mai.
Eduardo Toldrá:
Seis Canciones
Text: Pablo de Jérica (1781-c.1831)
La zagala alegre
A una donosa zagala
su vieja madre reñia
cuando pasaba las horas
alegres, entretenidas;
y ella, su amor disculpando,
con eloquencia sencilla,
cantando al son del pandero,
así mil veces decía:
Ahora que soy niña, madre,
ahora que soy niña,
déjeme gozar ahora,
sin que así me riña.
¿Qué mal nos hace Salicio
si cuando pasa me mira,
y me tira de la saya
o en el brazo me pellizca?
No piense, madre, que busca
mi deshonra; no lo diga:
mi gusto solo, y su gusto,
queriéndome así codicia.
Ahora….
Cuando casada me vea
hecha mujer de familia,
me sobrarán mil cuidados,
me falterá mi alegria.
Por eso quisiera, madre,
pasar alegres los días
que me restan de soltera
en bailes, juegos y risas.
Ahora…
Nadie puede ser dichoso
Text by Garcilaso de la Vega (1501-1536)
Nadie puede ser dichoso,
señora, ni desdichado,
sino que os haya mirado.
Porque la gloria de veros
en ese punto se quita
you are not the wind, caught in space.
You have no limits; there are yet
no words to name you, no scenery
to become your world – there
never will be.
Six Songs
The merry shepherdess
A pretty shepherdess
was scolded by her old mother
for spending her time
in pleasure and mirth;
and she defended her love
with simple eloquence,
singing to the tambourine
a thousand times over:
While I am still a girl, mother,
while I am still a girl,
let me enjoy myself
without scolding me so.
What harm does Salicio cause us
if he looks at me as he passes
and tugs at my skirt
or pinches my arm?
Do not think, mother that he seeks
to dishonor me; do not say so:
he craves my pleasure only, and his own,
by loving me like this.
While….
When you see me wed
with a family,
I shall have a thousand worries
and be deprived of joy.
That is why, mother,
I wish to enjoy
my remaining days as a maiden
with dancing, games and laughter.
While…
None can be happy
None can be happy,
my lady, nor unhappy,
if he has not looked on thee.
For the joy of seeing thee
vanishes as soon as
que se piensa mereceros.
Así que, sin conoceros,
nadie puede ser dichoso,
señora, ni desdichado,
sino que os haya mirado.
Joaquín Rodrigo:
Cuatro madrigales amatorios
Text: Anonymous
I.
¿Con qué la lavaré
la tez de la mi cara?
¿Con qué la lavaré
que vivo mal penada?
Lávanse las casadas
con agua de limones:
lavome yo, cuitada,
con penas y dolores.
¿Con qué la lavaré,
Que vivo mal penada?
II.
Vos me matasteis,
niña en cabello,
vos me habéis muerto.
Riberas de un río
vi moza virgen.
Niña en cabello,
vos me habéis muerto.
Niña en cabello,
vos me matasteis,
vos me habéis muerto.
III.
¿De dónde venís amore?
Bien sé yo de dónde.
¿De dónde venís amigo?
Fuere yo testigo,
Ah!
Bien sé yo de dónde.
IV.
De los álamos vengo, madre,
de ver cómo los menea el aire.
De los álamos de Sevilla,
de ver a mi linda amiga,
De los álamos vengo, madre,
de ver come los menea el aire.
one thinks to deserve thee.
Thus it is, that without knowing thee,
none can be happy,
my lady nor unhappy,
if he has not looked on thee.
Four madrigals of love
I.
With what shall I wash
the skin of my face?
With what shall I wash it?
I live in such sorrow.
Married women wash
in lemon water:
in my grief I wash
in pain and sorrow.
With what shall I wash it?
I live in such sorrow.
II.
You killed me,
girl with hair hanging loose,
you have slain me.
By the river bank
I saw a young maiden.
Girl with hair hanging loose,
you have slain me.
Girl with hair hanging loose,
you have killed me,
you have slain me.
III.
Where hast though been, my love?
I know well where.
Where hast thou been, my friend?
Were I a witness,
Ah!
I know well where!
IV.
I come from the poplars, mother,
from seeing the breezes stir them.
From the poplars of Seville,
from seeing my sweet love,
I come from the poplars, mother
from seeing the breezes stir them.
Jesús Guridi:
Seis Canciones Castellanas
Text: Anonymous
I.
Allá arriba en aquella montaña,
yo corté una caña, yo corté un clavel.
Labrador ha de ser,
labrador,
que mi amante lo es.
No les quiero molinero,
que me da con el maquilandero.
Yo le quiero labrador,
que coja las mulas y se vaya a arar
y a la medianoche me venga a rondar.
Entra labrador si vienes a verme.
si vienes a verme ven por el corral,
sube por el naranjo, que seguró vas.
Entra labrador si vienes a verme.
IV.
No quiero tus avellanas,
tampoco tus alhelíes,
porque me han salido vanas
las palabras que me diste,
yendo por agua a la fuente.
Como eran palabras de amor,
se las llevó la corriente
de las cristalinas aguas,
hasta llegar a la fuente,
donde me diste palabra
de ser mía hasta la muerte.
VI.
Mañanita de San Juan,
levántate tempranito
y en la ventana versa
de hierbabuena un poquito.
Aquella paloma blanca
que pica en el arcipiés,
que por dónde la cogería
que por dónde la cogeré;
si la cojo por el pico
se me escapa por los pies.
Coge niña la enramada,
que la noche está serena
y la musica resuena
en lo profundo del mar.
Joaquín Turina:
Tres Poemas
Text: Gustavo Adolfo Bécquer (1836-1870)
Olas gigantes
Olas gigantes que os rompéis bramando
en las playas desiertas y remotas,
Six Castilian Songs
I.
High up on that mountain
I picked a cane, I picked a carnation.
A ploughman it has to be,
a ploughman
must my lover be.
I do not want a miller
who treats me like his corn.
I want a ploughman
To take his mules to plough
And at midnight serenade me.
Enter, ploughman, if you come to see me.
If you come to see me come through the yard,
Climb the orange tree and you’ll be safe.
Enter Ploughman, if you come to see me.
IV.
I do not want your hazelnuts,
nor your gillyflowers—
for they’ve turned out to be empty,
the promises you made,
as I fetched water from the fountain.
Since they were words of love,
the water bore them away,
the crystal-clear water,
down to the fountain,
where you gave me your word
to be mine until death.
VI.
Early on St. John’s day,
be up with the lark,
and in the window you’ll see
a little sprig of mint.
That white dove
which pecks the window sill,
where might I catch it?
where shall I catch it?
If I grasp it by the beak
Its feet are still free to run.
Pick up the garlands, my lass,
for the night is clear
and music resounds
from the depths of the sea.
Three Poems
Vast waves
Vast waves, breaking with a roar
on deserted and distant strands
envuelto entre la sábana de espumas,
Llevadme con vosotras!
Ráfagas de huracán que arrebatáis
del alto bosque las marchitas hojas,
arrastrado en el ciego torbellino,
Llevadme con vosotras!
Nubes de tempestad que rompe el rayo
y en fuego ornáis las desprendidas orlas,
arrebatado entre la niebla oscura,
Llevadme con vosotras!
Llevadme por piedad a donde el vertigo
con la razón me arranque la memoria.
Por piedad! Tengo miedo de quedarme
con mi dolor a solas!
Tu pupila es azul
Tu pupila es azul y cuando ríes
su claridad suave me recuerda
el trémulo fulgor de la mañana
que en el mar se refleja.
Tu pupila es azul y cuando lloras
las transparentes lágrimas en ella
se me figuran gotas de rocío
sobre una violeta.
Tu pupila es azul y si en su fondo
como un punto de luz radia una idea
me parece en el cielo de la tarde
una perdida estrella. Ah!
Besa el aura
Besa el aura que gime blandamente
las leves ondas que jugando riza;
el sol besa a la nube en occidente
y de púpura y oro la matiza;
Ah!
La llama en derredor del tronco ardiente
por besar a otra llama se desliza
y hasta el sauce inclinándose a su peso
al río que le besa, vuelve un beso.
shroud me in a sheet of foam,
bear me away with you!
Hurricane gusts, snatching
the tall wood’s withered leaves,
dragging all along in dark turbulence,
bear me away with you!
Storm clouds rent by lightning
with your edges bordered in fire,
snatch me up in a dark mist,
bear me away with you!
Bear me away, I beg, to where vertigo with a
razor eradicates my memory and reason.
Have mercy! I am afraid of being left
alone with my grief!
Your pupil is blue
Your pupil is blue and when you laugh
their gentle radiance reminds me
of the trembling glow of dawn
reflected in the sea.
Your pupil is blue and when you weep
their transparent tears
seem to me like dew-drops
on a violet
Your pupil is blue and if in their depths
like a point of light gleams an idea
they seem to me in the evening sky
like stars adrift. Ah!
The breeze, softly moaning, kisses
The breeze, softly moaning, kisses
the gentle waves it ripples in jest;
the sun kisses the cloud in the west,
tingeing it with purple and gold;
Ah!
The ardent flame slips round the tree
to kiss another flame
and even the willow, bowing beneath its weight
returns the river’s kiss.
Program Notes
When one thinks of Spanish music it is inevitable that images and sounds of flamenco dancers,
guitars, ornamentation, driving rhythms and passionate cries of ‘olé!’ and ‘ay!’ come to mind.
These idioms have strong connections with the cante jondo and cante flamenco traditions of
Andalusia, a region in southern Spain whose music is Arabic and Moorish in origin. This music is
an earthy, guttural, and passionate art form that is strongly tied to dance. The rhythmic integrity
of this music is often propelled by the dancers in their shoe tapping, heel tapping, and hand
clapping. Rhythms of the accompaniment (usually guitar) accentuate the dance influence with
strumming, quick repeated chords and repeated notes.
Within the nation of Spain, however, live a variety of cultures and peoples. The country is divided
into distinct regions in which there are unique customs, traditions, and even languages. Musical
traditions vary between regions, and although there are many traits of folk song and dance that
are common among all regions of Spain, there are also elements that are specific to the different
regions. What, then, are the influences of these various regions’ folk traditions and how have
sounds unique to these cultures infiltrated the art songs of Spain? In programming this recital, I
have chosen songs that specifically illustrate the unique folk elements of three different regions in
Spain: Andalusia, Catalonia, and Castile, and have also included two traditional pieces from
Asturias and Murcia. As you will hear, each region has its own distinguishing sounds. While
many of the pieces on the recital are not pure folk music, often parts of the folk traditions are
woven into the compositions.
The folk music customs in Catalonia, a region in the northeast, are more subdued (although
hardly less colorful) than those of Andalusia. Here the natives speak mostly Catalan, and
rhythmically Catalonian folk song is largely controlled by the language. Because Barcelona (the
largest city in the region) has always been an important port, a strong link between Catalonia and
other Mediterranean nations, especially France, can be found throughout the culture. Catalonia’s
history did not have the Arabic and Moorish influences of Andalusia and thus there is decidedly
less use of such florid passages as found in the latter region. Instead we find more rhythmically
straightforward music with evasive use of modes and imprecise tonality.
The folk songs of Castile, in the center of Spain, are heavily influenced by plainsong both
melodically and rhythmically; the melodic phrases and periods of folk music from this region are
almost always asymmetrical and many are rhythmically free and unmeasured. They also are
quite modal. Many Castilian songs end on the fifth scale degree, thus producing the dominant
cadence, a feature that is common in Spanish music overall. In examining a number of Castilian
folk songs I found that these tunes tend to be simpler rhythmically than those of Andalusia, but
not quite as straightforward as those of Catalonia. Small embellishments are not uncommon.
The five arrangements of traditional folk songs that comprise the first set of the recital are meant
to introduce the different musical flavors of the regions of Spain. Joaquín Nin has beautifully set
these pieces in a way that creatively and appropriately captures the sounds of the regions where
the folk songs originated. Montañesa is a piece in which Nin subtly underlines the modality
common to the region of Castile. In El canto del los pájaros, from Catalonia (and sung in
Catalan), Nin has set this traditional Christmas carol to emphasize the simplicity and clarity of the
folk traditions. The third and fourth pieces in the set, Paño Murciano and Asturiana, are from the
regions of Murcia and Asturias, two regions in which there has been little research into the folk
traditions but were included as examples of other regional sounds. Murcia is located in the
southeast of Spain and Andalusian influence is almost certain in this region. Asturias is located in
the Northwest part of the country and the hauntingly beautiful melody of Asturiana is gorgeously
complimented by Nin’s translucent accompaniment. This is sung in Asturian, a language that
combines Spanish and Portuguese. The last song in this set is Polo. This traditional Andalusian
dance is full of intense rhythms and exciting embellishments.
The second set on the program are songs by native Catalonian composers, Federico Mompou
and Eduardo Toldrá. Many of Mompou’s works are decidedly influenced by the folk tunes of the
region. The two pieces from El Combat del Somni, with poetry by Josep Janés, are in Catalan
and are the first and third pieces in the cycle. They are comprised of delicate folk-like tunes with
clear accompaniments. Frequent chromaticism makes it difficult to identify the modes of the
pieces, a feature common in Catalonian folk tunes. In both these pieces Mompou masterfully
highlights the prosody of the language and meter of the poem with his rhythmic and melodic
construction. Eduardo Toldrá wrote many pieces in Catalan as well as Castilian Spanish. The
pieces in the recital are in Castilian and illustrate the less ornate folk influence of the region.
Rhythmic integrity and imprecise tonality dominate the pieces.
Joaquín Rodrigo’s well-known set, Cuatro Madrigales Amatorios, is one of the most often
performed Spanish works today. These pieces are folk influenced, but the exact source is
unknown. Within these pieces are elements from different regions. The first and second seem to
evoke more Castilian influence. They demonstrate plainsong influence with their chant-like
melodic lines and commonly ambiguous meter. The third and fourth are more Andalusian and the
fourth is particularly strong in its use of guitar rhythms in the piano accompaniment, a
characteristic of Andalusian folk song.
The fourth set on the program is a selection of songs by Jesús Guridi. Though born in the
Basque region, Guridi wrote a set of songs, Seis Canciones Castellanas, which are based loosely
on original Castilian folk melodies and use folk texts. “Allá arriba en aquella montaña”
demonstrates the use of conservative ornamentation evident in folk tunes from Castile as well as
wavering modality. The plainsong influence is amazingly clear in “No quiero tus avellanas,” with
its even eighth notes and masked downbeats. The limited range and rising and falling melodic
line further contributes to this effect. “Mañanita de San Juan” is the last song in the set. Guridi
consistently displaces the downbeat and creates a seamless flow of sound vacillating between a
variety of different meters.
Joaquín Turina is perhaps one of the least subtle composers when it comes to incorporating folk
elements into art song. His music displays many of the characteristics of the Spanish idiom and
he often employs features of cante jondo, albeit in a more stylized and graceful manner than the
earthy folk art itself. Tres Poemas is a set of pieces that uses emotional and descriptive poetry
of Gustavo Adolfo Bécquer to underline the passion of Andalusian folk song. Turina uses
ornamentation, modes, guitar figures and cries of ‘ay!’-- all features found in Andalusian folk song.
These fiery songs all exude excitement and fervor and propel the singer and listener on a musical
journey into southern Spain.
The performance of Spanish art song has been neglected in the classical world for a long time,
but for the last decade or so has begun to enter the mainstream. My intention in the preparation
of this recital is to introduce audiences to this rich, beautiful, and well-crafted body of repertoire
and to demonstrate that although cante jondo and cante flamenco are important aspects of the
music from Spain, music from this country is more than just a stereotype of flamenco traditions.
Rather, the regions that are less influenced by this tradition have their own beautiful and special
sounds that deserve attention. Different performance practice, style, and diction is demanded for
the music of each region in order to fully capture the flavor and spice of these songs. Within the
core of art songs, composers have innately instilled their own unique definition of what it means to
be Spanish. Each one is different, but each has a way of emitting a certain radiance indicative of
their native land. By studying and performing these songs it is possible to piece together the
many different facets of a complicated, passionate, and exciting culture.
