Now Have I Fed and Eaten up the Rose (from Three Songs, Op. 45 No. 1)
Now have I fed and eaten up the rose
Which then she laid within my stiff-cold hand.
That I should ever feed upon a rose
I never had believed in live-man’s land.
Only I wonder was it white or red
The flow’r that in the darkness my food has been.
Give us, and if Thou give, thy daily bread,
Deliver us from evil, Lord, Amen.
Rain has fallen, Op. 10 No. 1
Rain has fallen all the day.
O come among the laden trees:
The leaves lie thick upon the way
Of mem’ries.
Staying a little by the way
Of mem’ries shall we depart.
Come, my beloved, where I may
Speak to your heart.
Nuvoletta, Op. 25
Nuvoletta in her light dress, spun of sisteen shimmers, was looking down on them,
leaning over the banistars and list’ning all she childishly could…
She was alone. All her nubied companions were a-sleeping with the squir’ls…
She tried all the winsome wonsome ways her four winds had taught her.
She tossed her sfumasteliacinous hair like la princesse de la Petite Bretagne
And she rounded her mignons arms like Missis Cornwallis-West
and she smiled over herself like the image of the pose of the daughter of the Emperour of
Irelande
and she sighed after herself as were she born to bride with Tristis, Tristior, Tristissimus.
But, sweet madonine, she might fair as well have carried her daisy’s worth to Florida…
Oh, how it was duusk. From Vallee Maraia to Grasy-a-plain-a, dormi-must echo!
Ah dew! It was so duusk that the tears of night began to fall,
first by ones and twos, then by threes and fours, at last by fives and sixes of sevens,
for the tired ones were wecking; as we weep now with them. O! Par la pluie…
Then Nuvoletta reflected for the last time in her little long life
and she made up all her myriads of drifting minds in one.
She cancelled all her engauzements. She climbed over the banistars;
she gave a childy cloudy cry: Nuée! Nuée!
A light dress fluttered.
She was gone.
Erin Cates Smith
soprano
Christy Wisuthseriwong, piano
Graduate Recital
Saturday, April 12, 2003
6:30 pm
Recital Hall, School of Music
Program
Piangerò from Guilio Cesare George Frideric Handel
(1685-1759)
Liebst du um Schönheit Clara Wieck Schumann
Er ist gekommen, in Sturm und Regen (1819-1896)
Warum willst du andre fragen
Was weinst du Blümlein
Je veux vivre from Roméo et Juliette Charles Gounod
(1818-1893)
Intermission
Banalités Francis Poulenc
Chanson d’Orkenise (1899-1963)
Hôtel
Fagnes de Wallonie
Voyage à Paris
Sanglots
Solitary Hotel Samuel Barber
Now Have I Fed and Eaten up the Rose (1910-1981)
Rain Has Fallen
Nuvoletta
In partial fulfillment of the degree requirements for the
Master of Music in Performance
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Et du retour joyeux and the joyful return
des heureux émigrants. of the happy emigrants.
De ce coeur il coulait du sang Blood was flowing from that heart;
Et le rêveur allait pensant and the dreamer went on thinking
À sable sure délicate… of his wound which was delicate…
Tu ne briseras pas la chaîne You will not break the chain
de ces causes… of those causes…
…Et douloureuse et nous disait: …and painful; and he kept saying to us:
…Qui sont les effets d’autres causes …which are the effects of other causes.
Mon pauvre coeur, mon coeur brisé “My poor heart, my heart which is broken
Pareil au coeur de tous les homes… like the hearts of all men…
Voici nos mains Look, here are our hands
que la vie fit esclaves which life enslaved.
…Est mort d’amour ou c’est tout comme …“has died of love or so it seems,
Est mort d’amour et le voici. has died of love and here it is.
Ainsi vont toutes choses That is the way of all things.
Arrachez donc le vôtre aussi! So tear your hearts out, too!
Et rien ne sera libre And nothing will be free
jusq’à la fin des temps until the end of time.
Laissons tout aux morts Let us leave everything to the dead,
Et cachons nos sanglots and let us hide our sobbing.
Samuel Barber:
Songs based on the poetry of James Joyce (1882-1941)
Because of his expressive and accessible musical contributions to both vocal and instrumental
literature, most of Barber’s works remain part of standard repertoire. He chose not to experiment
with the musical ideas that were coming out of Europe during the 1920s; neither did he share a
political and social concern with his contemporaries who incorporated the popular idioms of the
day into their music so as to appeal to a larger audience and create a national identity (eg.
Blitzstein, Copland, Thomson). Instead, Barber continued to write expressive, lyrical music in a
conventional style and tonality.
James Joyce is most noted for his mastery of language and development of new literary forms, as
well as his candid portrayal of human nature. Both his poetry and his prose exhibit his love of
and attention to sound and rhythm: “musical” is often a description attached to his work. (In fact,
his first collection of poems was titled Chamber Music.) The two books for which he is most
known today are Ulysses and Finnegan’s Wake. In these two novels, particularly in Finnegan’s
Wake, Joyce invents and perfects stream-of-consciousness writing.
Of the Barber songs selected for this recital, all are settings of James Joyce poetry or prose.
‘Solitary Hotel’ is from Ulysses and is also contained in a larger Barber song cycle entitled
Despite and Still. ‘Now Have I Fed…’ is the first in a Barber cycle called Three Songs and is from
the German of Gottfried Keller by Joyce. ‘Rain has fallen’ is a single art song based on the poem
of the same title from Collected Poems. ‘Nuvoletta’ is also a single composition whose text
comes from Finnegan’s Wake. Each of the selected pieces, particularly the latter, illustrates the
effectiveness of a composer’s sensitivity to a poet’s treatment of language without compromising
the importance or ingenuity of either element.
Solitary Hotel (from Despite and Still , Op. 41)
Solitary hotel in mountain pass. Autumn. Twilight. Fire lit. In dark corner young man seated.
Young woman enters. Restless. Solitary. She sits. She goes to window. She stands. She sits.
Twilight. She thinks. On solitary hotel-paper she writes. She thinks. She writes. She sighs.
Wheels and hoofs. She hurries out.
He comes from his dark corner. He seizes solitary paper. He holds it towards fire. Twilight.
He reads. Solitary. What? In sloping, upright and backhands. Queen’s hotel.
2. Hôtel (Hotel)
Ma chamber a la forme d’une cage, My room has the form of a cage;
Le soleil passe son bras the sun reaches its arm in
par la fenêtre. through the window.
Mais moi qui veux fumer But I want to smoke
Pour faire des mirages and make shapes in the air,
j’allume au feu du jour ma cigarette. and so I light my cigarette on the sun’s fire.
Je ne veux pas travailler – I don’t want to work –
je veux fumer. I want to smoke.
3. Fagnes de Wallonie (Walloon moorlands)
Tant de tristesses plénières So much deep sadness
Prirent mon coeur aux fagnes désolées seized my heart on the desolate moors
Quand las j’ai reposé dans les sapinières when I sat down weary among the firs,
Le poids des kilomètres pendant que râlait unloading the weight of the kilometers
Le vent d’ouest. while the west wind growled.
J’avais quitté le joli bois I had left the pretty woods.
Les écureuils y sont restés. The squirrels stayed there.
Ma pipe essayait de faire des nuages My pipe tried to make clouds of smoke
Au ciel qui restait pur obstinément. in the sky which stubbornly stayed blue.
Je n’ai confié aucun secret sinon I murmured no secret except
une chanson énigmatique an enigmatic song
Aux tourbières humides that I confided to the peat bog.
Les bruyères fleurant le miel Smelling of honey, the heather
Attiraient les abeilles was attracting the bees,
Et mes pieds endoloris and my aching feet
Foulaient les myrtilles et les airelles trod bilberries and whortleberries.
Tendrement mariée Tenderly she is married
Nord! La vie s’y tord North! There life twists
En arbres forts et tors. in trees that are strong and gnarled.
La vie y mord la mort There life bites bitter death
A belles dents quand bruit le vent. with greedy teeth, when the wind howls.
4. Voyage à Paris (Going to Paris)
Ah! La charmante chose Ah, how delightful it is
Quitter un pays morose to leave a dismal place
Pour Paris and head for Paris!
Paris joli Beautiful Paris,
Qu’un jour dût créer l’Amour. which one day Love had to create!
5. Sanglots (Sobs)
Notre amour est réglé par les calmes étoiles Human love is ruled by the calm stars.
Or nous savons qu’en nous We know that within us
beaucoup d’hommes respirent many people breathe
Qui vinrent de trés loin who came from afar
et sont un sous nos fronts and are united behind our brows.
C’est la chanson des rêveurs This is the song of that dreamer
Qui s’étaient arraché le coeur who had torn out his heart
Et le portaient dans la main droite… and was carrying it in his right hand…
Souviens-t’en cher orgueil de Remember, oh dear pride,
tous ces souvenirs all those memories:
Des marins qui chantaient comme des conquérants. he sailors who sang like conquerors,
Des gouffres de Thulé, the chasms of Thule,
des tendres cieux d’Ophir the tender skies of Ophir,
Des malades maudits, the accursed sick,
de ceux qui fuient leur ombre the ones who flee their own shadows,
G.F. Handel:
Piangerò la sorte mia (I shall lament my fate) from Giulio Cesare
Although he is generally remembered for his contribution to English oratorio, Handel composed
for every musical genre – vocal and instrumental – current in his time. Giulio Cesare (1724) was
Handel’s fifth full-length opera and is considered to be his most dramatically compelling. It
incorporates stylistic variety and melodic richness that was unmatched in his time. The plot is
loosely based on Julius Caesar’s visit to Egypt in 48-47 BC and his subsequent love affair with
Cleopatra. This particular aria takes place just after Cleopatra has been imprisoned by her
brother Ptolemy, the tyrant.
E pur cosi in un giorno Thus in a single day,
perdo fasti e grandezze? must I lose ceremony and greatness?
Ahi fato rio! Alas, wicked fate!
Cesare, il mio bel nume, Caesar, my godlike beloved,
è forse estinto; is probably dead
Cornelia e Sesto inermi son, Cornelia and Sextus are defenseless
nè sanno darmi soccorso. and cannot come to my aid.
Oh Dio! non resta alcubna speme al viver mio. O gods! There is not hope left to my life.
Piangerò la sorte mia, I shall lament my fate,
Sì crudele e tanto ria, So cruel and so pitiless,
Finchè vita in petto avro. As long as I have breath in my breast.
Ma poi morta d’ogni’in torno But when I am dead, every way
Il tiranno e notte giorno The tyrant turns, by night and day,
Fatta spettro agitero. My ghost will haunt him.
Clara Wieck Schumann:
Lieder
Clara Wieck was once referred to as Europe’s ‘Queen of the Piano.’ She was one of just a few
pianists in her day to perform from memory, and her playing was characterized by her beautiful
tone and incredible technique. In addition to performing, Clara was a composer and teacher.
After her marriage to Robert Schumann, she began to compose more songs and less piano
pieces. Many of her lieder were published with her husband’s and were, therefore, credited to
Robert. When Robert died, Clara ceased her composing: to this day, her reasons for doing so
are a matter of speculation.
Liebst du um Schönheit (If you love for beauty), Op.12 No. 4
Liebst du um Schönheit, o nicht mich liebe! If you love for beauty, oh do not love me!
Liebe die Sonne, sie trägt ein gold’nes Haar! Love the sun: she has golden hair.
Liebst du um Jugend, o nicht mich liebe! If you love for youth, oh do not love me!
Liebe den Frühling, der jung ist jedes Jahr! Love the spring: it is young every year.
Liebst du um Schätze, o nicht mich liebe. If you love for treasure, oh do not love me!
Liebe die Meerfrau, sie hat viel Perlen klar. Love the mermaid: she has many clear pearls.
Liebst du um Liebe, o ja mich liebe! If you love for Love, oh yes, love me!
Liebe mich immer, Love me forever,
dich lieb’ ich immer dar! I will love you forever more!
Er ist gekommen in Sturm und Regen (He came in storm and rain), Op. 12 No. 2
Er ist gekommen in Sturm und Regen, He came in storm and rain,
ihm schlug beklommen mein Herz entgegen. my anxious heart beat against his.
Wie konnt’ ich ahnen, daß seine Bahnen How could I have known, that his path
sich einen sollten meinen Wegen. should unite itself with mine?
Er ist gekommen in Sturm und Regen, He came in storm and rain,
er hat genommen mein Herz verwegen. he boldly stole my heart.
Nahm er das meine? Nahm ich das seine? Did he steal mine? Did I steal his?
Die beiden kamen sich entgegen. Both came together.
Er ist gekommen in Sturm und Regen, He came in storm and rain;
Nun ist gekommen des Frühlings Segen. now has come the blessing of spring.
Der Freund zieht weiter, ich seh’ es heiter, My love travels abroad, I watch with cheer,
denn er bleibt mein auf allen Wegen. for he remains mine, on any road.
Warum willst du and’re fragen (Why will you question others), Op. 12 No. 11
Warum willst du and’re fragen, Why will you question others
Die’s nicht meinen treu mit dir? who are not faithful to you?
Glaube nicht, als was dir sagen Believe nothing but what
Diese beiden Augen hier! both these eyes say!
Glaube nicht dem fremden Leuten, Believe not strange people,
Glaube nicht dem eignen Wahn; believe not peculiar fancies;
Nicht mein Tun auch sollst du deuten, even my actions you shouldn’t interpret,
Sondern sieh die Augen an! but look in these eyes!
Schweigt die Lippe deinen Fragen, Will lips silence your questions,
Oder zeugt sie gegen mich? or turn them against me?
Was auch meine Lippen sagen, Whatever my lips may say,
Sieh mein Aug’, ich liebe dich! see my eyes: I love you!
Was weinst du, Blümlein (Why weep, dear blossom?), Op. 23 No. 1
Was weinst du, Blümlein, im Morgenschein? Why weep, dear blossom, in morning sun?
Das Blümlein lachte: Was fällt dir ein! The blossom giggled: “Now what a thought!
Ich bin ja fröhlich, ich weine nicht – I am but joyful, I do not weep –
die Freudenträne durch’s Aug’ mir bricht. and joyful tears in my eyes well up.”
Du Morgenhimmel, bist blutig rot You morning heavens, are red as blood,
als läge deine Sonne im Meere tot? as if your sun in ocean were lying dead.
Da lacht der Himmel und ruft mich an: The laughing heavens called out to me:
Ich streue ja Rosen auf ihre Bahn! “I sprinkle but roses upon its path!”
Und strahlend flammte die Sonn’ hervor, With radiant flaming the sun shone forth,
die Blumen blühten freudig empor. the flowers blossomed cheerfully up.
Des Baches Wellen jauchzten auf, The brooklets gurgled joyful on,
und die Sonne lachte freundlich darauf. and the sun laughed its warm-hearted laugh.
Charles Gounod:
Ah! Je veux vivre (Ah! I want to live) from Roméo et Juliette (1867)
Both of Gounod’s most successful operas, Faust and Roméo et Juliette, still hold a place in the
standard repertoire. Gounod can be credited for introducing an new level of emotion to French
opera. Alfred Bruneau, a composer-critic, identifies Gounod’s contribution to the genre as a
combination of “a tender language of infinite insight and delicious exquisiteness” together with the
“pure simplicity of Mozart” and the “troubling poetry of Schumann.” At this point in the opera,
Juliette’s valse-ariette is in reaction to her nurse’s praise of the handsome Paris who has just
been sighted at the Capulet’s masked ball. Juliette lightheartedly dismisses the idea of marriage
and revels in the joy of being young. Roméo, overhearing this song, falls immediately in love with
Juliette.
Ah! Je veux vivre dans le rêve Ah! I want to live in the dream
qui m’enivre ce jour encor! which still intoxicates me on this day!
Douce flamme, je te garde Gentle flame, I keep you
dans mon âme comme un trésor! in my soul as a treasure!
Cette ivresse de jeunesse This rapture of youth
ne dure, hélas! qu’un jour. only lasts, alas, for a day.
Puis vient l’heure où l’on pleure; After that comes the hour when one weeps;
le coeur cède à l’amour, the heart gives way to love,
et le bonheur fuit sans retour! and happiness flies away, never to return!
Ah! Je veux vivre dans le rêve Ah! I want to live in the dream,
qui m’enivre longtemps encor! which intoxicates me, for a long time still!
Loin de l’hiver morose Far from gloomy winter
laisse-moi sommeiller let me slumber
et respirer la rose and inhale the rose
avant de l’effeuiller. before shedding it of its petals.
Ah! Douce flamme, Ah! Gentle flame
reste dans mon âme stay in my soul
comme un doux trésor as a sweet treasure
longtemps encor! for a long time still!
Francis Poulenc:
Banalités (Banalities) poetry of Guillaume Apollinaire (1880-1918)
Poulenc’s simple and direct style of composing kept the critics of his time from considering him a
“serious composer.” Only after World War II were his works revisited and he recognized as the
successor to Fauré in the area of mélodie. The poems selected for this set were all written during
World War I while the poet, Apollinaire, was a soldier. Poulenc set them to music during leave
from his own military service in October of 1940. Banalités reflects on life in France without the
Germans, fantasizes a life without war, and observes the effects of war on a country and on the
individual.
1. Chanson d’Orkenise (Song of Orkenise)
Par les portes d’Orkenise Through the gates of Orkenise
Veut entrer un charretier. a carter wants to enter;
Par les portes d’Orkenise Through the gates of Orkenise
Veut sortir un vanupieds. a tramp wants to leave.
Et les gardes de la ville And the sentries of the town,
Courant sous au vanupieds: rush up to the tramp and ask:
“Qu’emportes-tu de la ville?” “What are you taking out of the town?”
“J’y laisse mon coeur entier.” “I’m leaving my whole heart behind.”
Et les gardes de la ville And the sentries of the town,
Courant sus au charretier: rush up to the carter and ask:
“Qu’apportes-tu dans la ville?” “What are you bringing into the town?”
“Mon coeur pour me marier.” “My heart: I’m getting married.”
Que de coeurs dans Orkenise! What a lot of hearts in Orkenise!
Les gardes riaient, riaient, The sentries laughed and laughed.
Vanupieds, la route est grise, Oh tramp, the road is dreary;
L’amour grise, ô charretier. oh carter, love is heady.
Les beaux gardes de la ville The handsome sentries of the town
Tricotaient superbement; knitted superbly;
Puis les portes de la ville Then the gates of the town
Se fermèrent lentement. slowly swung shut.
_____
Erin Cates Smith
soprano
Christy Wisuthseriwong, piano
Graduate Recital
Saturday, April 12, 2003
6:30 pm
Recital Hall, School of Music
Program
Piangerò from Guilio Cesare George Frideric Handel
(1685-1759)
Liebst du um Schönheit Clara Wieck Schumann
Er ist gekommen, in Sturm und Regen (1819-1896)
Warum willst du andre fragen
Was weinst du Blümlein
Je veux vivre from Roméo et Juliette Charles Gounod
(1818-1893)
Intermission
Banalités Francis Poulenc
Chanson d’Orkenise (1899-1963)
Hôtel
Fagnes de Wallonie
Voyage à Paris
Sanglots
Solitary Hotel Samuel Barber
Now Have I Fed and Eaten up the Rose (1910-1981)
Rain Has Fallen
Nuvoletta
In partial fulfillment of the degree requirements for the
Master of Music in Performance
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
