School of Music
U N C G
Als wie der starker Christoph Than the strong Christoph
Im Dom zu Köln am Rhein In the cathedral in Cologne on the Rhein
Sie sollen den Sarg forttragen They should carry the coffin
Und senken ins Meer hinab And sink it in the sea
Denn solchem grossen Sarge For such a large coffin
gebührt ein grosses Grab Deserves a large grave
Wirsst ihr warum der Sarg wohl Do you know why the coffin
so gross und schwer mag sein Must be so large and heavy?
Ich senken meine Liebe I am sinking my love
Und meinen Schmerz hinein. And my pain in it.
_____
Kurt Weill:
Wie lange noch
Ich will’s ich gestehn, es war eine Nacht I want to confess, there was a night
Da hab ich mich willig dir hingegeben That I willing gave myself to you
Du hast mich gehabt mich von Sinnen gebracht You took me, you brought out my sin
Ich glaubte, ich könnte nicht ohne dich leben I believed, I couldn’t live without you
Du hast mir das Blaue vom Himmel versprochen You promised me the blue skies
Und ich habe dich wie ‘nen Vater gepflegt And I cared for you like a father
Du hast mich gemartet hast mir zerbrochen You have tormented me and broken me
Ich hätt dir die Erde zu Füssen gelegt I would have laid the world at your feet
Sieh mich doch an! Look at me now!
Wann kommt der Tag an dem ich dir sage When comes the day when I can say
Es is vorbei! It’s over
Ach der Tag nach dem ich bange Ah, about that day I worry
Wie lange noch. How long....
Ich hab dir geglaubt, ich war wie im Wahn I believed you, I was like in a trance
Von all deinen Reden, von deinen Schwüren For all your talking, for you promises
Was immer du wolltest, das hab ich getan Whatever you wanted, that I did
Wohin du auch wolltest, da liess ich dich führen Where ever you wanted, I followed you
Du hast mir das Blaue vom Himmel versprochen You promised me the blue skies
Und ich, ach, ich hab nicht zu weinen gewagt and I, ah, I have not dared to cry
Doch du hast dein Wort, deine Schwüre gebrochen Yet you broke your word, your promise
Ich habe geschweigen und hab ich geplagt I have been silent and tortured myself.
Brad Fugate
baritone
Brett Hodgdon, piano
assisted by:
Carol Marsh, vielle
Nana Faith Wolfe, tambourine
Frédéric St-Pierre, violin
R. Benjamin Hutchins II, violin
Noah Hock, viola
Brian Carter, violoncello
Graduate Recital
Tuesday, November 30, 2004
7:30 pm
Recital Hall, School of Music
Program
Hai già vinta la causa from Le Nozze di Figaro Wolfgang Amadeus Mozart
(1756-1791)
A chantar Beatriz de Dia
(d. ca. 1212)
Kalenda Maya Raimbault de Vaqueiras
(d. 1207)
Dr. Carol Marsh, vielle
Nana Faith Wolfe, tambourine
Qui non diligit te Sebastien Brossard
(1655-1730)
Frédéric St-Pierre, violin
R. Benjamin Hutchens II, violin
Noah Hock, viola
Brian Carter, violoncello
Questo amor from Edgar Giacomo Puccini
(1858-1924)
Intermission
from Dichterliebe Robert Schumann
Im wunderschönen Monat Mai (1810-1856)
Aus meinen Tränen spriessen
Die Rose, die Lilie, die Taube
Wenn ich in deine Augen seh’
Ich will meine Seele tauchen
Ich grolle nicht
Und wüssten’s die Blumen
Das ist ein Flöten und Geigen
Am leuchtenden Sommermorgen
Die alten, bösen Lieder
Wie lange noch Kurt Weill
(1900-1950)
Pass the Football from Wonderful Town Leonard Bernstein
(1918-1990)
Mr. Cellophane from Chicago John Kander
(b. 1927)
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 contact an usher in the lobby.
Das weiss ich längst That I’ve known a long time
Ich sah dich ja im Träume I see you, yes, in dreams
Und sah die Nacht in deines Herzen’s Raume And see the night in your heart’s room
Und sah die Schlang, die dir am Herzen frisst And see the snake that bites your heart
Ich sah mein Lieb wie sehr du elend bist I see my love, how truly miserable you are
Und wüssten’s die Blumen, die Kleinen, And if they knew, the flowers, little things
Wie tief verwundet mein Herz How deeply wounded my heart
Sie würden mit mir weinen They would weep with me
Zu heilen meinen Schmerz To heal my pain
Und wüssten’s die Nachtigallen And if they knew the nightingales
Wie ich so traurig und krank How I, so sad and sick
Sie liessen fröhlich erschallen They would let out merrily
Erquickenden Gesang A refreshing song
Und wüssten sie mein Wehe And if they knew my woe
Die Goldenen Sternelein The golden stars
Sie kämen aus ihrer höhe They would come from their heights
und sprächen Trost mir ein And peace consolation to me
Sie alle können’s nicht wissen All of them could not know this
Nur eine kennt meinen Schmerz Only one knows my pain
Sie hab ja selbst zerrissen She has, yes, herself torn
Zerrissen mir das Herz Torn my heart
Das ist ein Flöten und Geigen There is a flute and violin
Trompetten schmettern darein Trumpets blaring
Da tanzt wohl dem Hochzeitreigen In a wedding dance dances
Die Herzallerliebste mein My heart’s entire love.
Das ist ein Klingen und Dröhnen There is a ringing and droning
Ein Pauken und ein Schalmein A drum and a shawm
Dazwischen schluchzen und stöhnen Between which sob and moan
Die lieblichen Engelein The lovely, little angels
Am leuchtenden Sommermorgen On a shining summer morning
Geh’ ich im Garten herum I go into the garden
Es flüstern und sprechen die Blumen The flowers whisper and speak
ich aber wandle stumm But I walk silently
Es flüstern und sprechen die Blumen The flowers whisper and speak
Und schaun mitleidig mich an And look at me sympathetically
Sei unsrer Schwester nicht böse Be not angry with our sister
Du trauriger, blasser Mann You sad, pale man
Die alten, bösen lieder The old, angry songs
Die Träume, bös und arg The dreams, angry and wicked
die lasst uns jetzt begraben Let us now bury them
holt einen grossen Sarg Bring a large coffin
Hinein leg’ ich gar manches Here in I lay many things
Doch sag’ ich noch nicht was Yet I say not what yet
Der Sarg muss sein noch grösser The coffin must be larger
Wie’s Hiedelberger Fass Than the Heidelberg cask
Und holt eine Todtenbahre And bring a death bier
Und Bretter fest und dick And boards firm and thick
Auch muss sie sein noch länger They must also be longer
als wie die Mainz zu Brück Than the bridge at Mainz
Und holt mir auch zwölf riesen And also bring twelve giants
Die müssen noch stärker sein They must be stronger
Robert Schumann:
From Dichterliebe
Im wünderschönen Monat Mai In the beautiful month of May
Als alle Knospen sprangen When all the blooms spring
Da ist in meinen Herzen So it is in my heart
Die Liebe aufgegangen The love arisen
Im wünderschönen Monat Mai In the beautiful month of May
Als alle Vögels sangen When all the birds sing
Da hab ich ihr gestanden So I had confessed
Mein Sehnen und Verlangen My yearning and my longing
Aus meinen Tränen spriessen From my tears spring
Viel blüende Blumen hervor Many blooming flowers
Und meine Seufzer werden And my sighing becomes
Ein nachtigallenchor A nightingale’s choir
Und wenn du mich lieb hast Kindchen And when you love me little one
Schenk’ ich ihr die Blumen all’ I will send you flowers
Und vor deinem Fenster soll klingen And in front of your window should sound
Das lied der Nachtigall The song of the nightingale
Die Rose, die Lilie, die Taube, die Sonne The roses, the lilies, the doves, the sun
Die liebt’ ich einst alle in Liebeswonne I loved them all once in love’s bliss
Ich lieb’ sie nicht mehr, ich liebe alleine, I love them no more, I love only
Die Kleine, die Feine, die Reine, die Eine The little, the fine, the pure, the single
Sie selber alle lieber She herself all love
Ist Rose und Lilie und Taube und Sonne Is rose and lily and dove and sun
Wenn ich in deine Augen seh’ When I in your eyes see
So schwindet all’ mein Leid und Weh Dwindle all my pain and woe
Doch wenn ich küsse deinen Mund Yet when I kiss your mouth
So werd’ ich ganz und gar gesund So I become full and whole
Wenn ich mich lehn an deinem Brust When I lay myself on your breast
Kommt’s über mich wie Himmelslust A heavenly desire comes over me
Doch wenn du sprichst Yet when you speak
Ich liebe dich I love you
So muss ich weinen bitterlich So must I cry bitterly
Ich will meine Seele tauchen I will my soul dip
in den Kelch der Lilie hinein In the cup of the lily
Die Lilie soll klingend hauchen The lily should breathe resoundingly
Ein Lied von der Liebsten mein A song from my beloved
Das Lied soll shauern und beben The song should shudder and tremble
wie der Kuss von ihrem Mund Like the kiss from her mouth
Den sie mir einst gegeben That she once gave me
In wunderbar süsser Stund In a wonderful, sweet hour
Ich grolle nicht I grudge not
Und wenn das Herz auch bricht Even when my heart also breaks
Ewig verlornes Lieb Forever lost love
Wie du auch strahlst How you also shine
in Diamantenpracht In diamond splendor
Es fällt kein Strahl There falls no light
In deines Herzens Nacht In your heart’s night
Program Notes
For this recital, Dr. LeFevre encouraged me to take a leap of faith and experiment (again) with my
baritone range. Having sung countertenor for many years, this took some twisting of the
proverbial arm. However, for many reasons, the experience has been a rewarding and nostalgic
one for me. I would like to thank Dr. LeFevre and Brett for sticking in there this term with me as I
struggled with regaining my vocal heritage. I hope you enjoy tonight’s recital. Thanks for coming.
“Hai già vinta la causa” is better known as the Count’s aria. The count, in Mozart’s opera, has
just overheard of a plot to hood-wink him. However, the count is privy to information that he
knows will turn the tide in his favor.
The two medieval pieces were my idea. Hardly anyone does medieval music on recitals and I
wanted to add this dimension to my musical offering. Dr. Marsh suggested using the vielle, which
gives the music just the right flavor. Both pieces are troubadour songs (female troubadours were
called trobaritz), which denote poet-composers of the Medieval period in the south of France.
These artists were generally employed by aristocrats (although kings were known to be found
among them). They composed songs about love, generally the unrequited type, in a
dialect/language known as Provençal or Occitan. The tempo and rhythms of these pieces are
quite debatable; however, we have chosen one song that is typically performed slowly and one
that is typically performed quickly for variety’s sake.
Sebastien Brossard was trained as a Jesuit priest but was a self-trained musician. After many
years of struggle he landed a position as Chapel Master at Strasbourg cathedral in 1687. He
took over the same post at Meaux (1699-1715) where he lived until he died. His legacy exists in
his publication Le Dictionnaire de Musique (1703); however, his compositions deserve some
merit due to their innate French quality (Brossard was a staunch conservative when it came to
outside influences on French music). The original copy of this motet is housed in the
Universitetbibliotek in Uppsala, Sweden and there is no complete performing edition. I could not
find a copy of the string parts but I reconstructed them as accurately as I could for this
performance. The text is Brossard’s own.
In the first aria by Puccini, ironically, Edgar is singing about a woman with whom he does not
want to love, because she is his temptress. In the second aria, the Count of Luna (not associated
with the Mozart character) has convinced himself that he can steal his love, Leonora, from the
convent (which she has just entered in an effort to escape the pain of her true love’s death,
Manrico) and make her love him in return.
The story in the song cycle, Dichterliebe, involves several stages of love: intense love at the
beginning of a relationship and what happens internally when that love goes awry. Be sure to
note the imagery and symbolism in the text by Heinrich Heine and the beautiful postludes in the
piano part.
“Wie lange noch” is a cabaret song composed in the 1930s. In “Pass the Football,” Wreck is a
former football player who relives his fame (and some of his regrets in the process) in college.
Bernstein only took four weeks to write the score for Wonderful Town, a musical depicting the
glory of New York City in the late ‘30s. “Mr. Cellophane” is from the Kander and Ebb show,
Chicago, a dark tale of American justice in the ‘30s. The character, Amos Hart, has been married
to his wife, Roxy, for years but realizes that she has been using him all along.
— Brad Fugate
Wolfgang Amadeus Mozart:
Hai già vinta la causa
Hai già vinta la causa I have already won the case?
Cosa sento! What do I hear?
In qual laccio cadea? Into what trap have I fallen?
Perfidi! Fools!
Io voglio di tal modo punirvi, I want to punish them in my way
A piacer mio la sentenza sarà, The sentence will be at my pleasure
Ma s’ei pagasse la vecchia pretendente But if he pays the old pretender
Pagarla! Pay!
In qual maniera! In what manner!
E poi v’è Antonio And then there is Antonio
Che all’incognito Figaro ricusa that to the unknowing Figaro refuses
Di dare una nipote in matrimonio To give his niece in marriage
Coltivando l’orgoglio di questo mentecatto Flattering vanity of this idiot
Tutto giova a un raggiro All good tricks have an angle
Il colpo è fatto The blow is done.
Vedrò, mentr’io sospiro, felice un servo mio! I will see, while I sigh, my servant happy!
E un ben che invan desio, And a love that in vain I desire
Ei posseder dovrà? he should possess?
Vedrò per man d’amore, I will see by the hand of love,
Unita un vile oggetto United a mean object
Chi in me destò un affetto, Who in me excites an feeling,
Che per me poi non ha. That for me she does not have
Ah! No! Lascarti in pace Ah, no, leave me in peace,
Non vo’ questo contento I do not grant this peace
Tu non nascesti, audace, You were not born, audacious one,
Per dare a me tormento To torment me
E forse ancor per ridere di mia infelicità. And perhaps to laugh at my unhappiness.
Già la speranza sola delle vendette mie Already the hope alone of my vendetta
Quest’anima consola e giubilar mi fa. Consoles this soul and makes me jubilant.
Beatriz de Dia:
A chantar
A chantar m’es al cor que non deurie To sing I must of what I’d rather not
tant mi rancun cele a qui So much does he of whom I am
sui amigs, the love embitter me
et si l’am mais que nule ren qui sie; yet I love him more than anything in the world
non mi val ren beltat ni curtesie To no avail are my beauty or politeness
ne ma bontaz ne mon pres ne mon sen my goodness, or my virtue and good sense.
Altresi sui enganade et tragide For I have been cheated and betrayed
qu’eusse fait vers lui desavinence. As if I had been disagreeable to him.
Raimbault de Vaqueiras:
Kalenda maya
Kalenda maya ni fuelhs de faya Neither May day nor beech leaves
Ni chanz d’auzelh ni flors de glaya Nor bird song nor gladioli
Non es que’m playa, pros domna guaya Can please me, worthy and joyous lady
Tro qu’un ysnelh Messatgier aya Until I receive a swift messenger
Del vostre belh Cors qu’em retraya From your fair self to tell me of
Plazer novelh qu’amors m’atraya Some new pleasure and joy
E jaya emtraya na vos, That love brings me and I hurry to you,
domna veraya, Faithful lady,
E chaya de playa’l gelos ans And may the jealous one fall stricken
que’m n’estraya Before I leave you.
Ai, bel amia O fair sweetheart,
Per Dieu no sia For God’s sake may it never happen
que ja’l gelos de mon dan ria, That the jealous one laugh at my misfortune
Que car vendria sa gelozia, For he would sell dear his jealousy
Si aitals dos amans partia If he could separate such a pair of lovers
qu’ius ja joyos mais no seria And I would never be happy again
Ni joys ses vos pro nom tenria Nor would joy avail me without you
Tal via faria I would take such a path
Qu’om jamias nom veiria that no man would ever see me again
Sel dia morria Donna pros, That very day I would die, good lady,
Qu’ei’us perdria! Whereon I lost you!
_____
Sebastien Brossard:
Qui non diligit Te
Qui non diligit Te He who does not delight in Thee
Non amat Te Does not love Thee
O dulcis amor! O sweet love!
Tu sola es a munda pulchritudo Thou art the beauty of purity
Tu vera es anima beatitudo Thou art the true blessedness of the soul
Angelorum et hominum Of angels and men
Tu perennes delicia Thou art eternal delight
Quid nobis in coelo? What is there for us on earth
Quid sine Te super terram Without Thee?
Fragilis, venustas, fallex semper, Fragile, vain, always in error
Voluptas valete? Do you prevail over our wants?
Caduca mundi gaudia mortalium Transitory worldly pleasure of mortal man
Deliramenta, vana divitia Vanity, useless wealth,
O fallaces! Oh deceit!
Valete mendaces, Thou prevailest over the false
Valete puriori, accendor igne Thou prevailest, kindler of purifying fire.
Descendat, ergo, mi Jesu Descend, oh my Jesus
Descendat in cor meum Descend into my heart
Amor viris mellifluus Sweet love of mankind
Ingrediatur in ipsum amor tuus perpetuus May your perpetual love enter into my heart.
_____
Giacomo Puccini:
Questo amor from Edgar
Questo amor vergogna mia, This love my shame
Io spezzar, scordar vorrei, I break myself, I want to forget
Ma d’un orrida malìa But of a horrible misfortune
Sono schiavi i sensi miei I am a slave to my senses
Mille volte al ciel giurai Many times I turned to the heavens
Di fuggirla! E a lei tornai! To flee from her! And to her I returned!
Ella ride del mio pianto, She laughs at my tears
Del mio sdegno si fa scherno; Of my disdain she makes fun
ed io, vil, col cuore infranto, And I, coward, with a broken heart
ai suoi piedi mi prosterno At her feet prostrate myself
A lei sola io sogno bramo To her alone I dream desire
Ah! Sventura! L’amo! Ah! Misfortune! I love her!
School of Music
U N C G
Brad Fugate
baritone
Brett Hodgdon, piano
assisted by:
Carol Marsh, vielle
Nana Faith Wolfe, tambourine
Frédéric St-Pierre, violin
R. Benjamin Hutchins II, violin
Noah Hock, viola
Brian Carter, violoncello
Graduate Recital
Tuesday, November 30, 2004
7:30 pm
Recital Hall, School of Music
Program
Hai già vinta la causa from Le Nozze di Figaro Wolfgang Amadeus Mozart
(1756-1791)
A chantar Beatriz de Dia
(d. ca. 1212)
Kalenda Maya Raimbault de Vaqueiras
(d. 1207)
Dr. Carol Marsh, vielle
Nana Faith Wolfe, tambourine
Qui non diligit te Sebastien Brossard
(1655-1730)
Frédéric St-Pierre, violin
R. Benjamin Hutchens II, violin
Noah Hock, viola
Brian Carter, violoncello
Questo amor from Edgar Giacomo Puccini
(1858-1924)
Intermission
from Dichterliebe Robert Schumann
Im wunderschönen Monat Mai (1810-1856)
Aus meinen Tränen spriessen
Die Rose, die Lilie, die Taube
Wenn ich in deine Augen seh’
Ich will meine Seele tauchen
Ich grolle nicht
Und wüssten’s die Blumen
Das ist ein Flöten und Geigen
Am leuchtenden Sommermorgen
Die alten, bösen Lieder
Wie lange noch Kurt Weill
(1900-1950)
Pass the Football from Wonderful Town Leonard Bernstein
(1918-1990)
Mr. Cellophane from Chicago John Kander
(b. 1927)
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 contact an usher in the lobby.
