School of Music
U N C G
Matthew DiCamillo
baritone
Ināra Zandmane, piano
assisted by
Brian Hodges, violoncello
Graduate Recital
Saturday, April 16, 2005
5:30 pm
Recital Hall, School of Music
Program
Amenissimi Prati Domenico Scarlatti
Amenissimi Prati…Amar non volglio (1685-1757)
Quando sui primi…Il fior coll’aura
Cosi, libero e sciolto…Donne belle
from Liederkreis, Op. 39 (1840) Robert Schumann
In der Fremde (1810-1856)
Intermezzo
Die Stille
Mondnacht
Schöne Fremde
Wehmut
Frühlingsnacht
Intermission
Tristesse (1873) Gabriel Fauré
Spleen (1888) (1845-1924)
Dans la forêt de Septembre (1902)
I Said to Love, Op. 19b Gerald Finzi
I need not go (1901-1956)
At Middle-Field Gate in February
Two Lips
In five-score summers
For life I had never cared greatly
I said to Love
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.
Domenico Scarlatti:
Amenissimi Prati
Loveliest of meadows, blossoming hillsides, and clear and limpid streamlets desolate caverns,
shadowy forests, and you birds so pleasantly singing, I have returned here to see you, and in this
blessed country I do not want love to shatter the liberty so dear to my spirit.
Love is but suff’ring;
Without this torment
I can rejoice in
My liberty.
The cruel beauty,
Where is its power?
I will not languish
Under thy pride.
Wonder with me at the glory of the first ray of sunshine, as it opens the roses in the sweet-scented
hedges, and listen to the concert of nightingales so gentle: you’ll say that only in this
place can happiness and contentment be found.
The breezes set the blossoms a-swinging,
And waves rejoice.
I hear the small bird happily singing:
From branch to branch its sound is ringing
With cheerful voice.
At last saved and delivered from the corrupt blind god’s infernal slavery, I will change my estate to
purge my passions. See here the food that the forest and the brook have provided: it will sustain
me, and the cool grass shall be my lodging and table.
Lovely maidens, if at your first showing
Of such passionate force your poor creature
Could but flee so afar off as I,
Pain would cease and tears would stop flowing
Love would gain in its bliss and be richer,
Less deluding and much stronger its tie.
_____
Robert Schumann:
Liederkreis Op. 39
Text by Eichendorff
In der Fremde (In Foreign Parts)
The clouds are coming from my homeland
Behind the red lightning flashes.
But Father and Mother are long dead;
No one there knows me any more.
How soon, oh how soon,
The quiet time will come when I too will rest,
And above me the beautiful solitary forest will rustle,
And no one here will know me anymore.
Intermezzo
Your wonderful, blessed portrait I carry
In the depths of my heart;
It looks at me so youthfully and gaily
At all times.
My heart quietly sings within itself
A beautiful old song that takes wing
Into the air and hastens to find you.
Your wonderful, blessed portrait I carry
In the depths of my heart;
It looks at me so youthfully and gaily
At all times.
Die Stille (The Quiet Woman)
No one can know or guess how good
I feel, how good! Ah, if only one knew it,
Only one – no other human being should know!
There is no quiet like this outside in the snow;
The stars far above are not so mute
And taciturn as my thoughts are.
I wish I were a little bird and could fly over the sea,
Yes, over the sea and farther, until I reached Heaven.
No one can know or guess how good I feel, how good!
Ah, if only one knew, only one – no other
Human being should know, no other human being should know.
Mondnacht (Moonlight Night)
It was as if the sky had quietly kissed the earth,
So that she in her flowery glow would dream only of him.
The breeze passed through the fields, the ears of grain
Waved softly, the forests rustled gently,
The night was so starry-bright.
And my soul spread its wings and flew
Over the quiet countryside as if it were
Flying homeward.
Schöne Fremde (A Beautiful Spot in Foreign Parts)
The treetops rustle and shudder, as if the ancient gods
Were at this very moment making the rounds along
These half-buried walls.
Here behind the myrtle trees, in the splendor of a
Mysterious twilight, why do you speak to me confusedly,
as if lost in dreams, you fantastic night?!
All the stars twinkle to me with gaze of ardent love;
far-off places speak to me intoxicatedly as of
A great happiness that is to come.
But from a slender birch tree by the footpath
A leaf, slightly red, brushes against
My head and trembles at my shoulder;
This means that the aging forest,
Knowing winter, in which everything fails to grow,
To be already near to me as to her,
Is bestowing brotherly alms upon me,
With its first dead leaf!
Wehmuth (Melancholy)
It’s true, I can sometimes sing as if I were happy;
But, in secret, tears well up and that relieves my heart.
When spring breezes play outdoors,
Nightingales let the song of longing pour forth
From the crypt of their dungeon. Then all
Hearts all listen and everyone rejoices,
But no one feels the pain,
The deep sorrow in the song.
Frühlingsnacht (Spring Night)
Over the garden through the air
I heard migratory birds passing.
That is a sign of spring fragrance;
Down there blossoms are already appearing.
I feel like exulting, I feel like weeping;
It seems to me that it just can’t be!
All miracles are once more shining
In along with the moonlight.
And the moon, the stars say it,
And the rustling grove whispers it in its dreams,
And the nightingales sing it:
“She is yours, she is yours!”
_____
Gabiel Fauré:
Tristesse
Text by Gautier
April has returned.
The first of the roses,
With its half-closed lips,
Laughs at the first beautiful day;
The blissful earth
Opens and blossoms out;
Everything is in love, everything feels pleasure.
Alas! I have in my heart a dreadful sadness!
With gaiety the drinkers,
In their ruddy songs,
Celebrate under the trellises
Wine and beauty;
The joyful music,
With their bright laughter,
Is scattered through the air.
Alas! I have in my heart a dreadful sadness!
In thin white dresses
The young ladies
Go off under the arbors
On the arms of their beaux;
The languorous moon
Casts a silver glow on their kisses,
Greatly prolonged.
Alas! I have in my heart a dreadful sadness!
As for me, I no longer love anything,
Neither man nor woman,
My body nor my soul,
Not even my old dog:
Go tell them to dig,
Under the pale lawn,
A nameless pit.
Alas! I have in my heart a dreadful sadness!
Spleen
Text by P. Verlaine
There is weeping in my heart
As there is rain over the city;
What is this listlessness
That is penetrating my heart?
O gentle sound of the rain
On the ground and on the roofs!
For a heart feeling boredom
O the song of the rain!
There is weeping for no reason
In my disgusted heart.
What! No betrayal?…
My grieving is for no reason.
It is indeed the worst sorrow
Not to now why
Without love and without hatred
My heart has so much sorrow!
Dans la forêt de Septembre (In the September forest)
Text by C. Mendès
Foliage with softened murmurs,
Resonant trunks hollowed by age,
The ancient sorrowful forest
Is in harmony with our melancholy.
O fir trees clinging to the abyss,
Deserted nests with broken branches,
Burned thickets, flowers without dew
You well know how people suffer!
And when man, that pale passer-by,
Weeps in the lonely forest,
Laments of shadow and of mystery
Welcome him, similarly weeping.
Good forest! Open promise
Of the exile that life implores,
I come with a step still brisk
Into your still green depth.
_____
Gerald Finzi:
I said to Love
Text by T. Hardy
I need not go
I need not go through sleet and snow
To where I know she waits for me;
She will tarry me there till I find it fair,
And have time to spare from company.
When I’ve overgot the world somewhat,
When things cost not such stress and strain,
Is soon enough by cypress sough
To tell my love I am come again.
And if some day, when none cries nay,
I still delay to seek here side,
(Though ample measure of fitting
leisure await my pleasure)
She will not chide.
What – not upbraid me that I delayed me,
Nor ask what stayed me so long? Ah, no! –
New cares may claim me, new loves inflame me,
She will not blame me, but suffer it so.
At Middle-Field Gate in February
The bars are thick with drops that show
As they gather themselves from the fog
Like silver buttons ranged in a row,
And as evenly spaced as if measured, although
They fall at the feeblest jog.
They load the leafless hedge hard by,
And the blades of last year’s grass,
While the fallow ploughland turned up nigh
In raw rolls, clammy and clogging lie –
Too clogging for feet to pass.
How dry it was on a far-back day
When straws hung the hedge and around,
When amid the sheaves in amorous play
In curtained bonnets and light array
Bloomed a bevy now underground!
Two Lips
I kissed them in fancy as I came
Away in the morning glow:
I kissed them through the glass of her picture frame:
She did not know.
I kissed them in love, in troth, in laughter,
When she knew all; long so!
That I should kiss them in a shroud thereafter
She did not know.
In five-score summers
In five-score summers! All new eyes,
New minds, new modes, new fools, new wise;
New woes to weep, new joys to prize;
With nothing left of me and you
In that live century’s vivid view
Beyond a pinch of dust of two;
A century which, if not sublime,
Will show, I doubt not, at its prime,
A scope above this blinkered time.
- Yet what to me how far above?
For I would only ask thereof
That thy worm should be my worm, Love!
For life I had never cared greatly
For life I had never cared greatly,
As worth a man’s while;
Peradventures unsought,
Peradventures that finished in nought,
Had kept me from youth and through manhood till lately
Unwon by its style.
In earliest years – why I known not –
I viewed it askance;
Conditions of doubt,
Conditions that leaked slowly out,
May haply have bent me to stand and to show not
Much zest for its dance.
With symphonies soft and sweet colour
It courted me then,
Till evasions seemed wrong,
Till evasions gave in to its song,
And I warmed until living aloofly loomed duller
Than life among men.
Anew I found not to set eyes on,
When lifting its hand,
It uncloaked a star,
Uncloaked it from fog-damps afar,
And showed its beams burning from pole to horizon
As bright as a brand.
And so, the rough highway forgetting,
I pace hill and dale
Regarding the sky,
Regarding the vision on high,
And thus re-illumed have no humour for letting
My pilgrimage fail.
I said to Love
I said to Love,
‘It is not now as in old days
When men adored thee and thy ways
All else above;
Named thee the Boy, the Bright, the One
Who spread a heaven beneath the sun,’
I said to Love.
I said to him,
‘We now know more of thee than then;
We were but weak in judgement when,
With hearts abrim,
We clamoured thee that thou would’st please
Inflict on us thine agonies,’
I said to him.
I said to Love,
‘Thou art not young, thou art not fair,
No elfin darts, no cherub air,
Nor swan, nor dove
Are thine; but features pitiless,
And iron daggers of distress,’
I said to Love.
‘Depart then, Love!…
- Man’s race shall perish, threatenest thou,
Without thy kindling coupling-vow?
The age to come the man of now
Know nothing of? –
We fear not such a threat from thee;
We are too old in apathy!
Mankind shall cease. – So let it be,’
I said to Love.
School of Music
U N C G
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/
