Emily Laurel Boone
mezzo-soprano
Ināra Zandmane, piano
Senior Recital
Saturday, April 28, 2007
5:30 pm
Recital Hall, School of Music
Program
Prepare thyself, Zion from Christmas Oratorio Johann Sebastian Bach
(1685-1750)
Fussreise Hugo Wolf
Verborgenheit (1860-1903)
Der Gärtner
Mausfallen Sprüchlein
Che faro senza Euridice from Orfeo ed Euridice Christoph von Gluck
(1714-1787)
from Cinco Canciones Negras Xavier Montsalvatge
Cuba Dentro De Un Piano (1912-2002)
Chévere
Canción De Cuna Para Dormir A Un Negrito
Canto Negro
Blue Mountain Ballads Paul Bowles
Heavenly Grass (1910-1999)
Cabin
Lonesome Man
Sugar in the Cane
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Johann Sebastian Bach:
Prepare Thyself, Zion
Aria from Christmas Oratorio
Prepare thyself, Zion, with tender affection,
The purest, the fairest this day to receive.
Thou must meet Him with a heart with love o’er
flowing.
Haste, then, with ardor the Bridegroom to
welcome.
Hugo Wolf:
Mörike Lieder
Text by Eduard Möricke (1804-1875)
Fußreise
Am frischgeschnittnen Wanderstab,
Wenn ich in der Frühe
So durch Wälder ziehe,
Hügel auf und ab:
Dann, wie's Vöglein im Laube
Singet und sich rührt,
Oder wie die gold'ne Traube
Wonnegeister spürt
In der ersten Morgensonne:
So fühlt auch mein alter, lieber
Adam Herbst und Frühlingsfieber,
Gottbeherzte,
Nie verscherzte
Erstlings Paradiseswonne.
Also bist du nicht so schlimm, o alter
Adam, wie die strengen Lehrer sagen;
Liebst und lobst du immer doch,
Singst und preisest immer noch,
Wie an ewig neuen Schöpfungstagen,
Deinen lieben Schöpfer und Erhalter.
Möcht' es dieser geben
Und mein ganzes Leben
Wär' im leichten Wanderschweiße
Eine solche Morgenreise!
Mörike Songs
Journey on Foot
With my fresh-cut walking staff
Early in the morning
I go through the woods,
Over the hills, and away.
Then, like the birds in the arbor
That sing and stir,
Or like the golden grapes
That trace their blissful spirits
In the first morning light
I feel in my age, too, beloved
Adam's spring and autumn-fever,
God fearing,
But not discarded:
The first delights of Paradise.
You are not so bad, oh old
Adam, as the strict teachers say;
You love and rejoice,
Sing and praise --
As it is eternally the first day of creation --
Your beloved Creator and Preserver.
I would like to be given to this
And my whole life
Would be in simple wandering wonder
Of one such morning stroll!
Verborgenheit
Laß, o Welt, o laß mich sein!
Locket nicht mit Liebesgaben,
Laßt dies Herz alleine haben
Seine Wonne, seine Pein!
Was ich traure, weiß ich nicht,
Es ist unbekanntes Wehe;
Immerdar durch Tränen sehe
Seclusion
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
Your bliss, your pain!
What I mourn, I know not.
It is an unknown pain;
Forever through tears shall I see
Ich der Sonne liebes Licht.
Oft bin ich mir kaum bewußt,
Und die helle Freude zücket
Durch die Schwere, so mich drücket,
Wonniglich in meiner Brust.
Laß, o Welt, o laß mich sein!
Locket nicht mit Liebesgaben,
Laßt dies Herz alleine haben
Seine Wonne, seine Pein!
The sun's love-light.
Often, I am scarcely conscious
And the bright joys break
Through the pain, thus pressing
Delightfully into my breast.
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
Your bliss, your pain!
Der Gärtner
Auf ihrem Leibrößlein
So weiß wie der Schnee,
Die schönste Prinzessin
Reit't durch die Allee.
Der Weg, den das Rößlein
Hintanzet so hold,
Der Sand, den ich streute,
Er blinket wie Gold!
Du rosenfarb's Hütlein
Wohl auf und wohl ab,
O wirf eine Feder,
Verstohlen herab!
Und willst du dagegen
Eine Blüte von mir,
Nimm tausend für eine,
Nimm alle dafür!
The Gardener
On her favorite pony
As white as snow,
The fairest princess
Rides down the avenue.
On the path down which her steed
So finely prances,
The sand that I strewed there
Glitters like gold!
You rose-colored little hat,
Bobbing up and down,
O toss a feather
Stealthily down!
And if, for that, you would like
A little flower from me,
Take a thousand for one -
Take all of them!
Mausfallen Sprüchlein
Kleine Gäste, kleines Haus.
Liebe Mäusin oder Maus,
Stelle dich nur kecklich ein
Heute nacht bei Mondenschein!
Mach aber die Tür fein hinter dir zu,
Hörst du?
Dabei hüte dein Schwänzchen!
Nach Tische singen wir,
Nach Tische springen wir
Und machen ein Tänzchen:
Witt witt!
Meine alte Katze tanzt wahrscheinlich mit.
Mouse-catching Rhyme
Little guests, little house.
Dear Miss or Mister Mouse,
Just boldly present yourself
Tonight in the moonlight!
But shut the door tight behind you,
Do you hear?
And be careful of your tail!
After supper we will sing,
After supper we will jump
And do a little dance;
Witt witt!
My old cat will probably dance with us.
Christoph von Gluck:
Che farò senza Euridice?
Libretto by Ranieri de’Calzabigi (1714-1795)
Aria from Orfeo ed Euridice
Ahimè! Dove trascorsi?
Dove mi spines undelirio d’amor?
Sposa! Euridice! Consorte!
Ah, più non vive!
La chiamo invan.
Misero me, la perdo e di nuovo e per sempre!
Oh legge! Oh morte!
Oh ricordo crudel!
Non ho soccorso,
Non m’avanza consiglio.
Io veggo solo
(Oh fiera vista!)
Il luttuoso aspeto dell’ orrido mio stato!
Saziatisorte rea:
Son disperato!
Che farò senza Euridice
Dove andrò senza il mio ben.
Euridice! Oh Dio, risponde!
Io son pure il tuo fedele.
Euridice! Euridice!
Ah, non m´avvanza più socorso, più speranza
Ne dal mondo, ne dal cel!
What will I do without Euridice?
Aria from Orfeo and Euridice
Alas! Where have I come?
Where has my delirious love driven me?
Wife! Euridice! Consort!
Ah, she no longer lives!
I call her in vain.
Miserable me, I lose her anew and forever!
Oh law! Oh death!
Oh cruel memory!
I have no aid,
There remains no counsel to me.
I see only
(Oh fiery scene)
The mournful aspect of my horrid state!
Satisfy yourself cruel fate:
I am desperate!
What will I do without Euridice?
Where will I go without my beloved?
Euridice! O God, respond!
I am still faithful to you.
Euridice! Euridice!
Ah, not to me remains any help, any hope
Neither from the world, nor from heaven!
Xavier Montsalvatge:
Cinco Canciones Negras
Cuba Dentro De Un Piano
Text by Rafael Alberti (1902-1999)
Cuando mi madre llevaba un sorbete de fresa
por sombrero
Y el humo del los barcos aún era humo de
habanero.
Mulata vuelta abajera…
Cádiz se adormecía entre fandangos y
habaneras
Y un lorito al piano queria hacer de tenor.
…dime donde está la flor que el hombre tanto
venera.
Mi tio Antonio volvía con su aire de insrrecto.
La Cabaña y el Principe sonaban por los
patios del Puerto.
(Ya no brilla la Perla azul del mar de las
Antillas.
Ya se apagó, Se nos ha muerto.)
Me encontré con la bella Trinidad…
Cuba se había perdido y ahora era de verdad.
Five Black Songs
Cuba in a Piano
When my mother wore a strawberry ice for a
hat
And the smoke from the boats was still Havana
smoke.
Mulata from Vuelta Abajo…
Cadiz was falling asleep to fandango and
habanera
And a little parrot at the piano tried to sing
tenor.
…tell me, where is the flower that a man can
really respect.
My uncle Anthony would come home in his
rebellious way.
The Cabaña and the Principe resounded in the
patios of the port.
(But the blue pearl of the Caribbean shines no
more.
Extinguished. For us no more.)
I met beautiful Trinidad…
Cuba was lost, this time it was true.
Era verdad,
No era mentira.
Un cañonero huido llegó cantándolo en
guajiras
La Habana ya se perdió.
Tuvo la culpa el dinero…
Calló,
Cayó el cañonero.
Pero después, pero ah! después
Fue cuando al Sí
Lo hiceron Yes.
It was true,
And not a lie.
A gunner on the run arrived, sang Cuban
songs about it all.
Havana was lost
And money was to blame…
Quietly,
The gunner went silent,
But later, ah, later
They changed Sí
To Yes.
Chévere
Text by Nicolás Guillén (1902-1989)
Chévere del navajazo se vuelve él mismo
navaja.
Pica tajadas de luna,
Más la luna se le acaba;
Pica tajadas de sombra,
Más la sombra se le acaba;
Pica tajadas de canto,
Más el canto se le acaba,
Y entonces,
Pica que pica carne de su negra mala!
Chévere
Chévere of the knife thrust turns himself into
that same knife.
He cuts the moon up in slices,
But he runs out of moon;
He cuts shadows into slices,
But he runs out of shadows;
He cuts songs up in slices,
But he runs out of songs;
And then,
He slashes away at the flesh of his bad black
woman!
Canción De Cuna Para Dormir A Un Negrito
Text by Ildefonso Pereda Valdés (1899-1996)
Ninghe, ninghe, ninghe,
Tan chiquitito,
El negrito
Que no quiere dormir.
Cabeza de coco,
Grano de café,
Con lindas motitas,
Con ojos grandotes
Como dos ventanas
Que miran al mar.
Cierra los ojitos,
Negrito asustado;
El mandinga blanco
Te puede comer!
Ya no eres esclavo!
Y si duermes mucho,
El señor de casa
Promete comprar
Traje con botones
Para ser un “groom.”
Ninghe, ninghe, ninghe,
Duérmete, negrito,
Cabeza de coco,
Lullaby for a little black boy
Lullaby, lullaby, lullaby,
Tiny little child,
Little black boy
Who doesn’t want to sleep.
Head like a coconut,
Coffee bean,
With pretty freckles
And wide eyes
Like two windows
Looking out to sea.
Close your tiny eyes,
Frightened little black boy,
The white devil
Will eat you up!
You’re no longer a slave!
And if you sleep soundly,
The master of the house
Promises to buy
A suit with buttons
To make you a groom.
Lullaby, lullaby, lullaby,
Sleep, little black boy,
Head like a coconut,
Grano de café. Coffee bean.
Canto Negro
Text by Nicolás Guillén (1902-1989)
Yambambó, yambambé!
Repica el congo solongo
Repica el negro bien negro.
Congo solongo del Songo
Baila yambó sobre un pié.
Mamatomba serembe cuserembá.
El negro canta y se ajuma,
El negro se ajuma y canta,
El negro canta y se va.
Acuememe serembó, aé; yambó, aé.
Tamba del negro que tumba,
Caramba, que el negro tumba,
Baila yambó sobre un pie!
Black Song
Yambambó, yambambé!
Ringing the congo solongo
Ringing the black good black man.
Congo solongo of the Songo
Dance yambó on one foot.
Mamatomba serembe cuserembá.
The black man sings and is drunk,
The black man is drunk and sings,
The black man sings and goes.
Acuememe serembó, aé; yambó, aé.
Tamba of the black man who tumbles,
Caramba, how the black man tumbles,
He dances yambó on one foot!
Paul Bowles:
Blue Mountain Ballads
Heavenly Grass
Text by Tennessee Williams (1911-1983)
My feet took a walk
In heavenly grass
All day while the sky shone clear as glass,
My feet took a walk
In heavenly grass.
All night while the lonesome stars rolled past,
Then my feet come down to walk on earth
And my mother cried
When she give me birth.
Now my feet walk far
And my feet walk fast,
But they still got an itch for heavenly grass.
Cabin
Text by Tennessee Williams (1911-1983)
The cabin was cozy
And hollyhocks grew
Bright by the door
Till his whisper crept through.
The sun on the sill was yellow and warm till
she lifted the latch for a man or a storm.
Now the cabin falls to the winter wind and the
walls cave in where they kissed and sinned.
And the long white rain sweeps clean the room
like a white-haired witch with a long straw
broom!
Lonesome Man
Text by Tennessee Williams (1911-1983)
My chair rock-rocks by the door all day
But nobody ever stops my way,
Nobody ever stops by my way.
My teef chaw-chaw on an old ham bone an’ I
do the dishes all alone,
I do the dishes all by my lone.
My feet clop-clop on the hardwood floor ‘cause
I won’t buy love at the hardware store,
I don’t want love from the mercantile store.
Now the clock tick-tocks by my single bed
while the moon looks down at my sleepless
head,
While the moon grins down at an ole fool’s
head.
Sugar in the Cane
Text by Tennessee Williams (1911-1983)
I’m red pepper in a shaker,
Bread that’s waitin’ for the baker.
I’m sweet sugar in the cane,
Never touched except by rain.
If you touched me God save you,
These summer days are hot and blue.
I’m potatoes not yet mashed,
I’m a check that ain’t been cashed.
I’m a window with a blind,
Can’t see what goes on behind.
If you did,
God save your soul!
These winter nights are blue and cold!
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 16,000 university students, the UNCG School of
Music serves over 600 music majors with a full-time faculty and staff of more than
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 second-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 is adjacent to 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 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 26170
Greensboro, North Carolina 27402-6170
(336) 334-5789
On the Web: www.uncg.edu/mus/
