2004-12-04 Dickey Wolfe [recital program]

              School of Music
U N C G
School of Music
U N C G
Arthur Sullivan:
Two Arias
Ruddigore, or the Witch's Curse (1887) is the ninth opera produced by the Gilbert and Sullivan. Hannah
has asked her niece, Rose Maybud, if there are any young men in the town that interest her. Rose
Maybud is in love with Robin Oakapple, who returns her affections, but he is shy and won't tell Rose that
he loves her. Rose Maybud lives by the code of etiquette described in a book that she always carries
with her. In “If somebody there chanced to be,” Rose is trying to find a way to tell Robin how she feels
without acting against her code of etiquette.
The Pirates of Penzance, or The Slave of Duty (1879) is the fourth of Gilbert and Sullivan's operas.
Frederic has just been released from his service as a pirate and has happened upon "a bevy of beautiful
maidens," the daughters of Major General Stanley. As Frederic has never seen a woman other than his
nursemaid, he is asks the girls if there is one maiden who would return his affections. The girls' sister,
Mabel, enters and says that there is one. In “Poor wand'ring one,” Mabel consoles Frederic and advises
him to take heart — hers.
— 􀁛􅬠 —
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 14,000 university students, the UNCG School of Music serves nearly 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 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/
Kate Dickey
soprano
Nana Wolfe, piano
assisted by:
Brad Fugate, countertenor
Graduate Recital
Saturday, December 4, 2004
5:30 pm
Recital Hall, School of Music
Program
Di due rai Antonio Vivaldi
Dille ch’il viver mio (1680-1743)
Vieni, vieni o mio diletto
Caro! Più amabile beltà from Giulio Cesare in Egitto George Frideric Handel
(1685-1759)
Brad Fugate, countertenor
Auch kleine Dinge Hugo Wolf
Mein Liebster singt am Haus (1860-1903)
Elfenlied
Frère! Voyez le beau bouquet! from Werther Jules Massenet
(1842-1912)
Intermission
Canciones de dos épocas Joaquín Rodrigo
Cantiga (1901-1999)
Romance de la infantina de Francia
Serranilla
¿Por qué te llamaré?
Árbol
La courte paille Francis Poulenc
Le sommeil (1899-1963)
Quelle aventure!
La reine du coeur
Ba, be, bi, bo, bu
Les anges musiciens
Le carafon
Lune d’avril
If somebody there chanced to be from Ruddigore Arthur Sullivan
Poor wand’ring one from The Pirates of Penzance (1842-1900)
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.
IV. Ba, be, bi, bo, bu
Ba, be, bi, bo, bu, bè!
Le chat a mis ses bottes,
Il va de porte en porte
Jouer, danser, chanter.
Pou, chou, genou, hibou.
'Tu dois apprendre à lire,
A compter, à écrire,'
Lui crie-t-on de partout.
Mais rikketikketau,
Le chat de s'esclaffer,
En rentrant au château:
Il est le Chat botté!
V. Les anges musiciens
Sur les fils de la pluie,
Les anges du jeudi
Jouent longtemps de la harpe.
Et sous leurs doigts, Mozart
Tinte délicieux,
En gouttes de joie bleue.
Car c'est toujours Mozart
Que reprennent sans fin
Les anges musiciens,
Qui, au long du jeudi,
Font chanter sur la harpe
La douceur de la pluie.
VI. Le carafon
'Pourquoi,' se plaignait la carafe,
'N'aurais-je pas un carafon?
Au zoo, madame la girafe
N'a-t-elle pas un girafon?'
Un sorcier qui passait par là,
A cheval sur un phonographe,
Enregistra la belle voix
De soprano de la carafe
Et la fit entendre à Merlin.
'Fort bien,' dit celui-ci, 'fort bien!'
Il frappa trois fois dans les mains
Et la dame de la maison
Se demande encore pourquoi
Elle trouva, ce matin-là,
Un joli petit carafon
Blotti tout contre la carafe
Ainsi qu'au zoo, le girafon
Pose son cou fragile et long
Sur le flanc clair de la girafe.
VII. Lune d'avril
Lune,
Belle lune, lune d'avril,
Faites-moi voir en mon dormant
Le pêcher au coeur de safran,
Le poisson qui rit du grésil,
L'oiseau qui, lointain comme un cor,
Doucement réveille les morts
Et surtout, surtout le pays
Où il fait joie, où il fait clair,
Où soleilleux de primevères,
On a brisé tout les fusils.
Belle lune, lune d'avril,
Lune.
IV. Ba, Be, Bi, Bo, Bu
Ba, be, bi, bo, bu, be!
The cat has put on his boots,
He goes from door to door
Playing, dancing, singing.
Louse, cabbage, knee, owl.
'You must learn to read,
To count, and to write,'
They cry to him on all sides.
But rikketikketau,
The cat bursts out laughing,
As he goes back to the castle:
He is Puss in Boots!
V. The Angel Musicians
On the threads of the rain,
The Thursday angels
Play all day on the harp.
And beneath their fingers, Mozart
Tinkles deliciously
In drops of blue joy.
For it is always Mozart
That is repeated endlessly
By the angel musicians,
Who, all day, Thursday,
Sing on their harps
The sweetness of the rain.
VI. The Baby Carafe
'Why', complained the carafe,
'Should I not have a baby carafe?
At the zoo, Madame giraffe
Has she not a baby giraffe?'
A sorcerer who was passing by
Astride a phonograph,
Recorded the lovely voice
Of soprano of the carafe
And let Merlin hear it.
'Very good,' said he, 'very good!'
He clapped his hands three times
And the lady of the house
Still asks herself why
She found, that very morning,
A pretty little baby carafe
Nestling close to the carafe
Just as in the zoo, the baby giraffe
Rests its neck fragile and long
Against the pale flank of the giraffe.
VII. April Moon
Moon,
Beautiful moon, April moon,
Let me see in my sleep
The peach tree with the saffron heart,
The fish who laughs at the sleet,
The bird who, distant as a hunting horn,
Gently awakens the dead
And above all, above all, the land
Where there is joy, where there is light,
Where sunny with primroses,
All the guns have been destroyed.
Beautiful moon, April moon,
Moon.
I. Le sommeil
Le sommeil est en voyage,
Mon Dieu! où est-il parti?
I. Sleep
Sleep has gone off on a journey,
Gracious me! Where can it have gone?
J'ai beau bercer mon petit;
Il pleure dans son litcage,
Il pleure depuis midi.
Où le sommeil a-t-il mis
Son sable et ses rêves sages?
J'ai beau bercer mon petit;
Il se tourne tout en nage,
Il sanglote dans son lit.
Ah! Reviens, reviens, sommeil,
Sur ton beau cheval de course!
Dans le ciel noir, la Grande Ourse
A enterré le soleil
Et rallumé ses abeilles.
Si l'enfant ne dort pas bien,
Il ne dira pas bonjour,
Il ne dira rien demain
A ses doigts, au lait, au pain
Qui l'accueillent dans le jour.
I have rocked my little one in vain;
He is crying in his cot,
He has been crying since noon.
Where has sleep put
Its sand and gentle dreams?
I have rocked my little one in vain;
He tosses and turns perspiring,
He sobs in his bed.
Ah, come back, come back sleep,
On your fine race-horse!
In the dark sky, the Great Bear
Has buried the sun
And rekindled his bees.
If baby does not sleep well,
He will not say good day,
He will have nothing to say
To his fingers, to the milk, to the bread
That greet him in the morning.
II. Quelle aventure!
Une puce, dans sa voiture,
Tirait un petit éléphant
En regardant les devantures
Où scintillaient les diamants.
Mon Dieu! Mon Dieu! Quelle aventure!
Qui va me croire, s'il m'entend?
L'éléphanteau, d'un air absent,
Suçait un pot de confiture.
Mais la puce n'en avait cure,
Elle tirait en souriant.
Mon Dieu! Mon Dieu! Que cela dure
Et je vais me croire dément!
Soudain, le long d'une clôture,
La puce fondit dans le vent
Et je vis le jeune éléphant
Se sauver en fendant les murs.
Mon Dieu! Mon Dieu! La chose est sûre,
Mais comment la dire à maman?
III. La reine du coeur
Mollement accoudée
A ses vitres de lune,
La reine vous salue
D'une fleur d'amandier.
C'est la reine de coeur.
Elle peut, s'il lui plait,
Vous mener en secret
Vers d'étranges demeures.
Où il n'est plus de portes,
De salles ni de tours
Et où les jeunes mortes
Viennent parler d'amour.
La reine vous salue;
Hâtez-vous de la suivre
Dans son château de givre
Aux doux vitraux de lune.
II. What goings-on!
A flea, in its carriage,
Was pulling along a little elephant
Gazing at the shop windows
Where diamonds were sparkling.
Good gracious! Good gracious! What goings-on!
Who will believe me if I tell them?
The little elephant was absent mindedly
Sucking a pot of jam.
But the flea took no notice
And went on pulling with a smile.
Good gracious! Good gracious! If this goes on
I shall really think I am mad!
Suddenly, along by a fence,
The flea disappeared in the wind
And I saw the young elephant
Make off, breaking through the walls.
Good gracious! Good gracious! It is perfectly true,
But how shall I tell Mummy?
III. The Queen of Hearts
Gently leaning on her elbow
At her moon windows,
The queen waves to you
With a flower of the almond tree.
She is the queen of hearts.
She can, if she wishes,
Lead you in secret
To strange dwellings.
Where there are no more doors,
No rooms nor towers
And where the young who are dead
Come to speak of love.
The queen waves to you;
Hasten to follow her
Into her castle of hoar-frost
With the lovely moon windows.
Antonio Vivaldi:
Three Arias
Antonio Vivaldi, most commonly recognized as an instrumental composer, also wrote a substantial
number of operas, beginning in 1713. Approximately 20 opera scores currently exist, although Vivaldi's
output could have been considerably higher. The arias presented today were collected and published
by Guido Turchi in 1948. Originally orchestrated, Turchi compiled the arias and arranged a reduction for
voice and piano. We have chosen to perform the pieces on harpsichord to bring out more of the Baroque
qualities of Vivaldi's music.
Di due rai
Di due rai languire costante
Per piacere ed è tormento.
Deh, mi vedi arciero nume,
Meno amante e più contento.
Dille ch'il viver mio
Dille ch'il viver mio
Col suo bel nome io chiuderò.
Poi dagli elisi ombra dolente,
Pietosi baci le recherò.
Vieni, vieni o mio diletto
Vieni, vieni o mio diletto
Che il mio cor è tutto affetto,
Già t'aspetta, e ognor ti chiama.
Il mio cor è tutto affetto.
Of Two Eyes
To languish constantly for two eyes
Is joy, but is also torment.
You see me therefore, Cupid,
Less a lover and yet more contented.
Tell Her That My Life
Tell her that my life
With her beautiful name I will end.
Then from the painful shadow,
Pitiful kisses I will send her.
Come, Come Oh My Delight
Come, come oh my delight
For my heart is all affection,
It is waiting and ever calls you.
My heart is all affection.
— 􀁛􅬠 —
George Frideric Handel:
Caro! Più amabile beltà from Giulio Cesare in Egitto
Giulio Cesare in Egitto was composed in 1724 to a libretto by Nicola Francesco Haym. The story is
based on Caesar's visit to Egypt in 48-47BC, and while the characters are primarily historical, the plot is
mostly fictional. The duet Caro! Più amabile beltà occurs at the very end of the opera. Ptolemy has been
killed and Caesar and Cleopatra are safe. Cleopatra offers Ptolemy's crown and sceptre to Caesar, but
he gives them back to her. She accepts them as the tributary Queen to Rome. They declare their love
for each other and look forward to a future of peace and happiness.
- Bellissima Cleopatra,
Quel diadema, che miri, a te s'aspetta;
Io te ne cingo il crine.
Regina del Egitto,
Darai norma alle genti,
e legge al trono.
- Cesare, questo regno è sol tuo dono,
Tributaria Regina,
Imperator t'adorerò di Roma.
- (Amor, chi vide mai più bella chioma?)
- Caro! Più amabile beltà
Mai non si troverà
Del tuo bel volto.
- In me non splenderà
Nè amor nè fedeltà
Da te disciolto.
- Most beautiful Cleopatra,
This crown that you see belongs to you;
I shall encircle your hair with it.
Queen of Egypt,
You give guidance to the people,
and laws to the throne.
- Caesar, this kingdom is but a gift from you,
As a tributary Queen.
I shall adore you as the emperor of Rome.
- (Love, who has ever seen more beautiful hair?)
- Dearest! Sweeter beauty
Will never be found
Than in your lovely face.
- In me nothing shines,
Neither love nor faithfulness,
Apart from you.
Hugo Wolf:
Three Lieder
Hugo Wolf produced approximately 300 solo vocal pieces, although many of them were only published
posthumously. Wolf was an admirer of Wagner's music, and his influence can be seen in Wolf's
elaborate accompaniments and tonal harmony. “Auch kleine Dinge” and “Mein Liebster singt am Haus”
were both published in Wolf's Italienisches Liederbuch (1891), and the texts are anonymous Italian folk
poetry translated into German by Paul Heyse. “Elfenlied” is a lively piece that is found in the Mörike
Lieder, published in 1888.
Auch kleine Dinge
Auch kleine Dinge können uns entzücken,
Auch kleine Dinge können teuer sein.
Bedenkt, wie gern wir uns mit
Perlen schmücken;
Sie werden schwer bezahlt und sind nur klein.
Bedenkt, wie klein ist die Olivenfrucht,
Und wird um ihre Güte doch gesucht.
Denkt an die Rose nur, wie klein sie ist,
Und duftet doch so lieblich, wie ihr wißt.
Mein Liebster singt am Haus
Mein Liebster singt am Haus im Mondenscheine,
Und ich muß lauschend hier im Bette liegen.
Weg von der Mutter wend' ich mich und weine,
Blut sind die Tränen, die mir nicht versiegen.
Den breiten Strom am Bett hab' ich geweint,
Weiß nicht vor Tränen ob der Morgen scheint.
Den breiten Strom am Bett
weint' ich vor Sehnen;
Blind haben mich gemacht die blut'gen Tränen.
Elfenlied
Bei Nacht im Dorf der Wächter rief: "Elfe!"
Ein ganz kleines Elfchen im Walde schlief
Wohl um die Elfe!
Und meint, es rief ihm aus dem Tal
Bei seinem Namen die Nachtigall,
Oder Silpelit hätt' ihm gerufen.
Reibt sich der Elf die Augen aus,
Begibt sich vor sein Schneckenhaus
Und ist als wie ein trunken Mann,
Sein Schläflein war nicht voll getan,
Und humpelt also tippe, tapp,
Durchs Haselholz ins Tal hinab,
Schlupft an der Mauer hin so dicht,
Da sitzt der Glühwurm Licht an Licht.
"Was sind das helle Fensterlein?
Da drin wird eine Hochzeit sein:
Die Kleinen sitzen beim Mahle
Und treibens in dem Saale.
Da guck ich wohl ein wenig 'nein!"
Pfui, stößt den Kopf an harten Stein!
Elfe, gelt, du hast genug?
Gukuk!
Even Little Things
Even little things can delight us,
Even little things can be dear.
Consider, how gladly we adorn ourselves
With pearls;
They are heavily paid for and are only small.
Consider, how small is the olive-fruit,
And is yet sought for its goodness.
Think of the rose only, how small it is,
And smells yet so lovely, as you know.
My Love Sings by my House
My love sings by my house in the moonlight,
And I must listen here, lying in bed.
I turn myself away from my mother and cry,
Blood are my tears that will not dry up.
The broad stream by my bed I have wept,
Because of tears I know not if the morning shines.
The broad stream by the bed
I have wept for longing;
I have been made blind by the bloody tears.
Song of the Elf
At night in the town the watchman cried: "eleven!"
A very small little elf in the forest slept
Around eleven o'clock!
And he thinks that from the valley
The nightingale calls him by his name,
Or Silpelit had called him.
The elf rubs his eyes,
Goes out of his snail's house
And is like a drunken man,
His little sleep was not fully done,
And he hobbles, then, tip, tap,
Through the hazelwood down in the valley,
Slips by the wall there so closely,
Where the glowworm sits light by light.
"What are those bright little windows?
There inside will be a wedding:
The little ones sit at the meal
And carry on in the hall.
There I will peep inside just a little!"
Oh, he knocks his head on hard stone!
Elf, how about, have you had enough?
Cuckoo!
En un verde prado de rosas e flores
Guardando ganado con otros pastores,
La ví tan graçiosa que apenas creyera
Que fuese vaquera de la Finojosa.
Non creo las rosas de la primavera
Sean tan fermosas nin de tal manera.
Favlando sin glosa si antes supiera
De aquella vaquera de la Finojosa.
Non tanto mirara su mucha beldad,
Porque me dexara en mi libertad.
In a green meadow of roses and flowers
Guarding the cattle with other shepherds,
She was so graceful that I hardly could believe
She was a milkmaid from Finojosa.
I do not believe the roses of the spring
Could be as beautiful by any means.
Speaking truthfully, if I had known before
Of that milkmaid from Finojosa,
I would not have looked at her great beauty,
Because it would have left me free from her.
Mas dixe: "Donosa" (por saber quien era,
Aquella vaquera de la Finojosa.)
Bien como riendo, dixo: "Bien vengades,
Que ya bien enteindo lo que demandades:
Non es desseosa de amar, nin lo espera,
Aquessa vaquera de la Finojosa."
IV. ¿Por qué te llamaré?
¿Por qué te llamaré yo
Mi granito de café, café,
Si tienes el pelo rubio
Y tienes blanca la piel, la piel?
¿Por qué te llamaré yo
Mi pedacito de pan, de pan,
Si el hambre de tu cariño
No me la puedes quitar?
¿Por qué te llamaré yo
Mi lucero o mi clavel, clavel,
Si cuando estás frente a ellos
Ni astros ni flores se ven, se ven?
But I said: "Charming" (for I knew who she was,
That milkmaid from Finojosa.)
As if laughing, she said: "Well, come,
Well I understand that which you demand:
You do not desire love, nor do you hope for it,
From that milkmaid from Finojosa."
IV. Why Would I Call You?
Why would I call you
My little grain of coffee, coffee,
If you have blond hair
And white skin, skin?
Why would I call you
My little slice of bread, of bread,
When the hunger of your affection
You will not let me leave behind?
Why would I call you
My bright star or my carnation, carnation,
If when you are in front of them
Neither stars nor flowers are seen, are seen?
V. Árbol
Árbol, floréceme otro sueño,
La tarde es grana,
Y tú serás mi tronco
Y yo tu rama acolorada.
Árbol, floréceme otro sueño,
Durante el alba,
Y yo seré tu abrazo,
Corteza blanca durante el alba,
Blanca de fruto,
Roja de llama.
V. Tree
Tree, bloom for me another dream,
The afternoon is scarlet,
And you will be my tree trunk
And I your colored branch.
Tree, bloom for me another dream,
During the dawn,
And I will be your embrace,
White bark during the dawn,
White of fruit,
Red of flame.
— 􀁛􅬠 —
Francis Poulenc:
La courte paille (The Short Straw)
La courte paille is Poulenc's last song set, composed in 1960 to the poetry of Maurice Carême (1899-
1978). The poetry is light-hearted, sometimes told from the point-of-view of the child, sometimes from
that of the mother. In his Diary of My Songs, Poulenc includes an entry about this set, dated August
1960: "I have composed seven short songs for Denise Duval or, more exactly, for Denise Duval to sing
to her little six-year-old boy. These sketches, by turns sad or mischievous, are without pretension. They
should be sung with tenderness, for that is the surest way to touch the heart of a child."
Jules Massanet:
Frère! Voyez le beau bouquet! from Werther
Werther, Massenet's four-act opera, was composed to a libretto by Blau and Hartmann and premiered in
1892. Charlotte, the heroine of the opera, is married to Albert. Werther has just confessed his love for
Charlotte, but she tells him that she cannot return his love, and he sits sulking in the garden. Sophie,
Charlotte's fifteen-year-old sister, enters and runs to Albert, telling him excitedly about a party that they
will be attending that evening. She sees Werther and playfully reproaches him for being so sad on such
a happy occasion.
Frère! Voyez le beau bouquet!
J'ai mis, pour le Pasteur, le jardin au pillage!
Et puis, l'on va danser!
Brother! Look at the beautiful bouquet!
I did, for the pastor, pillage the garden!
And after, we are going to dance!
Pour le premier menuet
C'est sur vous que je compte.
Ah! Le sombre visage!
Mais aujourd'hui, monsieur Werther,
Tout le monde est joyeux!
Le bonheur est dans l'air!
Du gai soleil plein de flame
Dans l'azur resplendissant
La pure clarté descend
De nos fronts jus qu'a notre âme!
Tout le monde est joyeux!
Le bonheur est dans l'air!
Et l'oiseau qui monte aux cieux
Dans la brise qui soupire
Est revenu pour nous dire
Que Dieu permet d'être heureux!
For the first minuet
I am counting on you.
Ah! What a somber face!
But today, Mr. Werther,
All the world is joyful!
Happiness is in the air!
From the cheerful sun full of flame
In the azure sky shining brightly
The pure clarity descends
To our foreheads and to our souls!
All the world is joyful!
Happiness is in the air!
And the bird that soars to the sky
On the breeze that sighs
Has come back to tell us
That God allows us to be happy!
Joaquín Rodrigo:
Canciones de dos épocas (Songs of two Eras)
Canciones de dos épocas is a unique collection in the works of Joaquin Rodrigo because it includes
examples of his very earliest and very latest solo song compositions, set to texts ranging from the
fourteenth to the twentieth century. “Cantiga,” Rodrigo’s second song, was composed in 1925 to the
poetry of the Portuguese poet and playwright Gil Vicente (1465?-1536?). Vicente directed, acted, and
wrote theatrical works for the court of Ferdinand and Isabel in Spain, beginning in 1490. The second
piece in the collection, “Romance de la infantina de Francia” uses an anonymous text, and is Rodrigo’s
third song, written in 1928. “Serranilla” was composed in the same year with a text by Marquès de
Santillana (1398-1458). His poetry demonstrates the transition from Medieval to Renaissance styles and
is often written in the troubadour form. The last two songs of the collection, “¿Por qué te llamaré?” and
“Árbol” were both composed in 1987 to texts by Fina de Calderón (pseudonym of Josephina Attar), who
was born in Madrid and now lives and continues to write poetry in Toledo, Spain.
I. Cantiga
Muy graciosa es la doncella.
Digas tú el caballero
Que las armas vestías
Si el caballo o las armas
O la guerra es tan bella.
Digas tú el marinero
Que en tus naves vivías
Si la nave o la vela
O la estrella es tan bella.
Digas tú el pastorcico
Que el ganadico guardas
Si el ganado o los valles
O la sierra es tan bella.
Muy graciosa es la doncella.
I. Ballad
Very graceful is the maiden.
Tell me, you the knight,
You who are adorned with weapons,
If the horse or the weapons
Or the war is so beautiful.
Tell me, you the sailor,
You who live in ships,
If the ship or the candle
Or the star is so beautiful.
Tell me, you the shepherd,
You who guard the little flock,
If the flock or the valleys
Or the mountain is so beautiful.
Very graceful is the maiden.
— continued
II. Romance de la infantina de Francia
De Francia partió la niña,
De Francia la bien guarnida;
Íbase para París,
Do padre y madre tenía:
Errado lleva el camino,
Errada lleva la guía;
Arrimárase a un roble,
Por esperar compañía.
Vio venir a un caballero,
Que a París lleva la guía.
La niña desque lo vido,
De esta suerte le decía:
Si te place, caballero,
Llévesme en tu compañía.
Placéme-dijo-señora,
Placéme-dijo-mi vida.
Apeóse del caballo
Por hacelle cortesía;
Puso la niña en las ancas
Y subiérase en la silla:
En el medio del camino
De amores la requería.
La niña desque lo oyera
Díjo le con osadía:
Tate, tate, caballero,
No hagáis tal villanía:
Hija soy de un malato
Y de una malatía;
El hombre que a mí llegase,
Malato se tornaría.
Con temor el caballero
Palabra no respondía.
A la entrada de París
La niña se sonreía,
¿De qué vos reís, señora?
¿De qué vos reís, mi vida?
Río me del caballero,
Y de su gran cobardía,
¡Tener la niña en el campo,
Y catar le cortesía!
Con vergüenza el caballero
Estas palabras decía:
Vuelta, vuelta, mi señora,
Que una cosa se mi olvida.
La niña como discreta
Dijo: yo no volvería,
Ni persona, aunque volviese
En mi cuerpo tocaría:
Hija soy del rey de Francia
Y la reina Constantina,
El hombre que a mí llegase
Muy caro le costaría.
III. Serranilla
Moça tan fermosa
Non ví en la frontera,
Como una vaquera de la Finojosa.
Faciendo la vía del Calatraveño
A Santa Maria, vencido del sueño,
Por tierra fragosa perdía la carrera,
Do ví la vaquera de la Finojosa.
II. Legend of the Princess of France
From France the little girl departed,
From France, the well-adorned girl;
She left for Paris,
From her father and mother:
Mistaken is the path,
Mistaken is the guide;
She drew near to the oak,
To wait for company.
She saw a knight approach,
Who is a guide to Paris.
The girl, upon seeing him,
Of this luck, she said to him:
If you please, knight,
Take me in your company.
It pleases me, he said, madam,
It pleases me, he said, my life.
He stepped down from the horse
To give her courtesy;
He put the girl on the horse's rump
And raised her to the saddle:
In the middle of the road
She was summoned to love.
The girl, until it could be heard,
Said to him with boldness:
Careful, careful, knight,
Don't seduce one of such a low birth:
I am the daughter of a leper
And my mother is a leper;
The man who comes to me,
A leper he will become.
With fear the knight
Could not respond.
At the entrance of Paris
The girl smiled at him,
Why do you laugh, madam?
Why do you laugh, my life?
I laugh at the knight,
And at his great cowardice,
To have a girl in the countryside,
And to remain so courteous!
With shame the knight
Said these words:
Return, return, my lady,
So that I can forget this one thing.
The girl with discretion
Said: I would not go back,
No one, even though I would return,
Would touch my body:
I am the daughter of the king of France
And the queen Constantina,
For the man who comes to me,
Very dearly it would cost him.
III. Rustic Song
I have not seen in the frontier
A young girl as beautiful
As the milkmaid from Finojosa.
Making the way from Calatraveño
To Santa Maria, I was very sleepy,
Because of the rough earth I lost the path,
When I saw the milkmaid of Finojosa.
Jules Massanet:
Frère! Voyez le beau bouquet! from Werther
Werther, Massenet's four-act opera, was composed to a libretto by Blau and Hartmann and premiered in
1892. Charlotte, the heroine of the opera, is married to Albert. Werther has just confessed his love for
Charlotte, but she tells him that she cannot return his love, and he sits sulking in the garden. Sophie,
Charlotte's fifteen-year-old sister, enters and runs to Albert, telling him excitedly about a party that they
will be attending that evening. She sees Werther and playfully reproaches him for being so sad on such
a happy occasion.
Frère! Voyez le beau bouquet!
J'ai mis, pour le Pasteur, le jardin au pillage!
Et puis, l'on va danser!
Pour le premier menuet
C'est sur vous que je compte.
Ah! Le sombre visage!
Mais aujourd'hui, monsieur Werther,
Tout le monde est joyeux!
Le bonheur est dans l'air!
Du gai soleil plein de flame
Dans l'azur resplendissant
La pure clarté descend
De nos fronts jus qu'a notre âme!
Tout le monde est joyeux!
Le bonheur est dans l'air!
Et l'oiseau qui monte aux cieux
Dans la brise qui soupire
Est revenu pour nous dire
Que Dieu permet d'être heureux!
Brother! Look at the beautiful bouquet!
I did, for the pastor, pillage the garden!
And after, we are going to dance!
For the first minuet
I am counting on you.
Ah! What a somber face!
But today, Mr. Werther,
All the world is joyful!
Happiness is in the air!
From the cheerful sun full of flame
In the azure sky shining brightly
The pure clarity descends
To our foreheads and to our souls!
All the world is joyful!
Happiness is in the air!
And the bird that soars to the sky
On the breeze that sighs
Has come back to tell us
That God allows us to be happy!
Joaquín Rodrigo:
Canciones de dos épocas (Songs of two Eras)
Canciones de dos épocas is a unique collection in the works of Joaquin Rodrigo because it includes
examples of his very earliest and very latest solo song compositions, set to texts ranging from the
fourteenth to the twentieth century. “Cantiga,” Rodrigo’s second song, was composed in 1925 to the
poetry of the Portuguese poet and playwright Gil Vicente (1465?-1536?). Vicente directed, acted, and
wrote theatrical works for the court of Ferdinand and Isabel in Spain, beginning in 1490. The second
piece in the collection, “Romance de la infantina de Francia” uses an anonymous text, and is Rodrigo’s
third song, written in 1928. “Serranilla” was composed in the same year with a text by Marquès de
Santillana (1398-1458). His poetry demonstrates the transition from Medieval to Renaissance styles and
is often written in the troubadour form. The last two songs of the collection, “¿Por qué te llamaré?” and
“Árbol” were both composed in 1987 to texts by Fina de Calderón (pseudonym of Josephina Attar), who
was born in Madrid and now lives and continues to write poetry in Toledo, Spain.
I. Cantiga
Muy graciosa es la doncella.
Digas tú el caballero
Que las armas vestías
Si el caballo o las armas
O la guerra es tan bella.
Digas tú el marinero
Que en tus naves vivías
Si la nave o la vela
O la estrella es tan bella.
Digas tú el pastorcico
Que el ganadico guardas
Si el ganado o los valles
O la sierra es tan bella.
Muy graciosa es la doncella.
I. Ballad
Very graceful is the maiden.
Tell me, you the knight,
You who are adorned with weapons,
If the horse or the weapons
Or the war is so beautiful.
Tell me, you the sailor,
You who live in ships,
If the ship or the candle
Or the star is so beautiful.
Tell me, you the shepherd,
You who guard the little flock,
If the flock or the valleys
Or the mountain is so beautiful.
Very graceful is the maiden.
— continued
—
II. Romance de la infantina de Francia
De Francia partió la niña,
De Francia la bien guarnida;
Íbase para París,
Do padre y madre tenía:
Errado lleva el camino,
Errada lleva la guía;
Arrimárase a un roble,
Por esperar compañía.
Vio venir a un caballero,
Que a París lleva la guía.
La niña desque lo vido,
De esta suerte le decía:
Si te place, caballero,
Llévesme en tu compañía.
Placéme-dijo-señora,
Placéme-dijo-mi vida.
Apeóse del caballo
Por hacelle cortesía;
Puso la niña en las ancas
Y subiérase en la silla:
En el medio del camino
De amores la requería.
La niña desque lo oyera
Díjo le con osadía:
Tate, tate, caballero,
No hagáis tal villanía:
Hija soy de un malato
Y de una malatía;
El hombre que a mí llegase,
Malato se tornaría.
Con temor el caballero
Palabra no respondía.
A la entrada de París
La niña se sonreía,
¿De qué vos reís, señora?
¿De qué vos reís, mi vida?
Río me del caballero,
Y de su gran cobardía,
¡Tener la niña en el campo,
Y catar le cortesía!
Con vergüenza el caballero
Estas palabras decía:
Vuelta, vuelta, mi señora,
Que una cosa se mi olvida.
La niña como discreta
Dijo: yo no volvería,
Ni persona, aunque volviese
En mi cuerpo tocaría:
Hija soy del rey de Francia
Y la reina Constantina,
El hombre que a mí llegase
Muy caro le costaría.
III. Serranilla
Moça tan fermosa
Non ví en la frontera,
Como una vaquera de la Finojosa.
Faciendo la vía del Calatraveño
A Santa Maria, vencido del sueño,
Por tierra fragosa perdía la carrera,
Do ví la vaquera de la Finojosa.
II. Legend of the Princess of France
From France the little girl departed,
From France, the well-adorned girl;
She left for Paris,
From her father and mother:
Mistaken is the path,
Mistaken is the guide;
She drew near to the oak,
To wait for company.
She saw a knight approach,
Who is a guide to Paris.
The girl, upon seeing him,
Of this luck, she said to him:
If you please, knight,
Take me in your company.
It pleases me, he said, madam,
It pleases me, he said, my life.
He stepped down from the horse
To give her courtesy;
He put the girl on the horse's rump
And raised her to the saddle:
In the middle of the road
She was summoned to love.
The girl, until it could be heard,
Said to him with boldness:
Careful, careful, knight,
Don't seduce one of such a low birth:
I am the daughter of a leper
And my mother is a leper;
The man who comes to me,
A leper he will become.
With fear the knight
Could not respond.
At the entrance of Paris
The girl smiled at him,
Why do you laugh, madam?
Why do you laugh, my life?
I laugh at the knight,
And at his great cowardice,
To have a girl in the countryside,
And to remain so courteous!
With shame the knight
Said these words:
Return, return, my lady,
So that I can forget this one thing.
The girl with discretion
Said: I would not go back,
No one, even though I would return,
Would touch my body:
I am the daughter of the king of France
And the queen Constantina,
For the man who comes to me,
Very dearly it would cost him.
III. Rustic Song
I have not seen in the frontier
A young girl as beautiful
As the milkmaid from Finojosa.
Making the way from Calatraveño
To Santa Maria, I was very sleepy,
Because of the rough earth I lost the path,
When I saw the milkmaid of Finojosa.
School of Music
U N C G
Kate Dickey
soprano
Nana Wolfe, piano
assisted by:
Brad Fugate, countertenor
Graduate Recital
Saturday, December 4, 2004
5:30 pm
Recital Hall, School of Music
Program
Di due rai Antonio Vivaldi
Dille ch’il viver mio (1680-1743)
Vieni, vieni o mio diletto
Caro! Più amabile beltà from Giulio Cesare in Egitto George Frideric Handel
(1685-1759)
Brad Fugate, countertenor
Auch kleine Dinge Hugo Wolf
Mein Liebster singt am Haus (1860-1903)
Elfenlied
Frère! Voyez le beau bouquet! from Werther Jules Massenet
(1842-1912)
Intermission
Canciones de dos épocas Joaquín Rodrigo
Cantiga (1901-1999)
Romance de la infantina de Francia
Serranilla
¿Por qué te llamaré?
Árbol
La courte paille Francis Poulenc
Le sommeil (1899-1963)
Quelle aventure!
La reine du coeur
Ba, be, bi, bo, bu
Les anges musicians
Le carafon
Lune d’avril
If somebody there chanced to be from Ruddigore Arthur Sullivan
Poor wand’ring one from The Pirates of Penzance (1842-1900)
In partial fulfillment of the degree requirements for the
Master of Music in Performance
_____
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