PROGRAMME NOTES

I Mourn as a Dove (from St. Peter)

(1804 1885)

Julius Benedict

Julius Benedict was a German-born composer and conductor who resided in England
for most of his career. His life as a musician focused on the opera, premiering
Giacinta ed Ernesta, his first, in 1827. He was given conductorship in several
theatres in Italy, France and London. His best known opera, The Lily of Killarny was
produced at Covent Garden in 1862.
Aside from the opera repertoire, Benedict also created a cohesive oratorio about the
life of St. Peter. The work premiered in 1870 and received critical acclaim. I Mourn
as a Dove is taken from the repentance section wherein Jesus is handed over by
Pontius Pilate and the disciples sing of the day of clouds and thick darkness. Mary
sings this aria before Jesus is marched away. An interesting element of the aria is it
is not in a minor key, a typical device for expressing sadness in music. The major
kay allows for greater breadth of emotion which makes it seem more reflective and
fateful, rather than self-pitying.

Night
(1907 1987)

Edwin McArthur

Edwin McArthur was a celebrated American classical composer, conductor and

pianist. From 1835 until his retirement in 1955, he was the usual accompanist of the
Norwegian soprano Kirsten Flagstad. He championed American songs, and Flagstad
recorded two of his own We Have Turned Again Home and Night in the early 1950s.
Night is one of his more popular works in the art song repertoire. Simplicity exudes
in the vocal line while the well-developed accompaniment gives a contrast painting
the texts awe-inspiring and hopeful atmosphere.

Do not go my love
Hageman (1881 1966)

Richard

Richard Hageman was a Dutch-born American conductor, pianist, composer and

actor. He was able to balance his career as conductor for the Metropolitan Opera
and work as an actor in several John Ford films in the 1900s. As a composer, he was
most serious in composing music for the vocal repertoire.
Do not go my love is a poem by Rabindranath Tagore set to music by Hageman. The
setting features a gently pulsating off-beat rhythm in the accompaniment, which
creates the longing backdrop with a lyrical melody of the voice. The music changes,

as the piece develops, Hageman exploring with the piano line. A repeated semiquaver figure in the higher register of the piano carries the slight parlando section,
as if speaking still half asleep. The semi-quavers return to the pulsating rhythm of
the opening accompaniment with the final sentence of the poem. In contrast to his
omitting part of the text in Miranda, Hageman sets Tagores text exactly.
Shoes
Manning (1890 1951)

Kathleen Lockhart

Kathleen Lockhart Manning was an American composer and singer. She sang during
the 1911 1912 season with the Hammerstein Opera Company in London. Lockhart
was noted for vocal compositions and wrote her own text. Her song cycles include
Sketches of Paris, Sketches of New York, Sketches of London, Chinese
Impressions and Songs of Egypt. A number of her individual songs were arranged
for chorus.
Shoes is one of her works for solo voice and piano.

Sure on this shining night

Barber (1910 1981)

Samuel

American composer Samuel Barber is one the most celebrated composers of the
20th century. He had a fruitful career as an artist and received the Pulitzer Price
twice for his music.
Sure on this Shining Night is a poem by American author James Agee. Set to music
by Barber, it became quite popular after the song was premiered in 1938. It is
particularly notable for Barbers use of canonic imitation in the vocal and piano
lines. The lyricism and drama which have made his music so beloved by orchestral
audiences also pervade this miniature gem.

Je dis que rien ne m 'epouvante (from Carmen)

Georges Bizet (1838 1875)
Georges Bizet is a French composer best known for his opera Carmen. His realistic
approach influenced the verismo school of opera at the end of the 19th century.
Micaelas Aria appears in the third act of the opera. It is arguably the most
beautiful female aria in the opera, despite that fact that Carmen, not the peasant
girl Michaela, is the main character.
In the action preceding the aria, the mother of Don Jose, a young brigadier, has sent
a letter to him carried by the young peasant girl Michaela. The letter begs him to
marry Michaela to which he agrees. When a brawl occurs in the cigarette factory on

the square, the gypsy girl Carmen is accused of stabbing a girl. Assigned to guard
her, Don Jose is soon mesmerized and lets her go free. He is subsequently
dismissed as a brigadier and sent to prison. When released, he goes to Carmen,
now obsessed with her. He even joins the band of smugglers that she has attracted.
Michaela returns to notify Don Jose that his mother is dying and that he must go
home. The aria begins as she timidly approaches the mountain pass where she
believes Don Jose is hiding with Carmen and the smugglers. Michaela prays she will
have courage to face Carmen and any other danger that she might encounter.
Micala
Je dis que rien ne mpouvante,
je dis, hlas! que je rponds de moi;
mais jai beau faire la vaillante,
au fond du coeur, je meurs deffroi!

Micaela
I may say that nothing is scaring
Me, and Ill take care of myself, oh dear!
But for all my pretense of daring,
Deep in my heart Im full of fear!

Seule en ce lieu sauvage,

toute seule jai peur,
mais jai tort davoir peur;
vous me donnerez du courage,
vous me protgerez, Seigneur!

In this wild place, so lonely,

All alone, Im afraid,
But Im wrong being afraid;
For Ill get courage from you only,
O Lord, I know youll give me aid!

Je vais voir de prs cette femme

dont les artifices maudits
ont fini par faire un infme
de celui que jaimais jadis!

I will see that woman, be close to her

Vile tricks that she is mistress of
Have turned into an evildoer
The one with whom I was in love!

Elle est dangereuse... elle est belle!...

Mais je ne veux pas avoir peur!
Non, non, je ne veux pas avoir peur!...
Je parlerai haut devant elle... ah!
Seigneur, vous me protgerez!

Shes dangerous and shes a beauty!

But I dont want to be afraid!
No, no, I dont want to be afraid!
To speak before her is my duty Ah!
O Lord, I know youll give me aid!

Protgez-moi! O Seigneur!
donnez-moi du courage!

Give me your aid, O my Lord!

Give me strength, give me courage!

Gretchen am Spinnrade (Gretchen at the Spinning Wheel)

Franz Schubert (1797 1828)
Franz Schubert is one of the most important composers of the early romantic era.
Much of his artistry can be seen in his lieder which are filled with a variety of
different structures and styles that express the many aspects of Romanticism. He is
exceptional at creating innovative melodic figures and structures that help express
the essence and character of the poem.

Schubert set music to Gretchen am Spinnrade, a poem taken from Goethes play,
Faust, when he was only sixteen years old. One of the significant motives of this
song can be seen in the sixteenth-note figure in the piano accompaniment that is
used to express the movement of Gretchens spinning wheel. While Gretchen is
spinning the wheel, she is reflecting on her moments with Faust and the deep
intoxicating passion that she has for him. There are moments that the spinning
wheel stops, and in those moments she becomes overwhelmed with her passionate
thoughts about Faust.
Gretchen am Spinnrade
Meine Ruh ist hin, Mein Herz ist schwer
Ich finde sie nimmer und nimmermehr.

Gretchen at the Spinning Wheel

My peace is gone, my heart is heavy,
I will find it never and never more.

Wo ich ihn nicht hab, Ist mir das Grab,

Die ganze Welt, Ist mir vergllt.
Mein armer Kopf, Ist mir verrckt,
Mein aremer Sinn, Ist mir zerstckt.

Where I do not have him, that is the

grave,
The whole world Is bitter to me.
My poor head Is crazy to me,
My poor mind Is torn apart.

Nach ihm nur schau ich, Zum Fenster

hinaus,
Nach ihm nur geh ich, Aus dem Haus.
Sein hoher Gang, Sein' edle Gestalt,
Seines Mundes Lcheln, Seiner Augen
Gewalt,

For him only, I look out the window

Only for him do I go out of the house.
His tall walk, his noble figure,
His mouth's smile, his eyes' power,

Und seiner Rede, Zauberfluss,

Sein Hndedruck, Und ach, sein Kuss.

And his mouth's

handclasp,
and ah! His Kiss

Mein Busen drngt, Sich nach ihm hin.

Auch drf ich fassen, Und halten ihn,
Und kssen ihn, So wie ich wollt,
An seinen Kssen, Vergehen sollt!

My bosom urges itself toward him.

Ah, might I grasp snd hold him!
And kiss him, as I would wish,
At his kisses I should die!

Die junge Nonne (The Young Nun)

Schubert (1797 1828)

Magic

flow,

is

Franz

Schubert created a masterful composition in Jakob Nikolaus Die junge Nonne. The
first stanzas begin with the young nun of the title describing the storm that is about
to comewind howling, house shaking, thunder, lighting and grave-like darkness
all painted in the pieces accompaniment through constant repeated sextuplet 16note groups in the right hand, creating tension. Together with this atmosphere are
the ascending phrases that alternate in the left hand and the vocal line. The piece
starts and develops in F minor but eventually modulates and finishes in F major with
a quiet Alleluia in the end as the storm tones down.

Die junge Nonne

Wie braust durch die Wipfel der
heulende Sturm!
Es klirren die Balken, es zittert das Haus!
Es rollet der Donner, es leuchtet der
Blitz,
Und finster die Nacht, wie das Grab!
Immerhin, immerhin,
[so tobt' es auch jngst noch in mir!]
Es brauste das Leben, wie jetzo der
Sturm,
Es bebten die Glieder, wie jetzo das
Haus,
Es flammte die Liebe, wie jetzo der Blitz,
Und finster die Brust, wie das Grab.

Nun tobe, du wilder gewalt'ger Sturm,

Im Herzen ist Friede, im Herzen ist Ruh,
Des Brutigams harret die liebende
Braut,
Gereinigt in prfender Glut,
Der ewigen Liebe getraut.

The Young Nun

How the howling storm boils in the trees,
Rattling the roof beams, rocking the
eaves!
Crashes of thunder, lightning flares,
And darkness, night black as the grave.
And yet, and yet not long ago just such a
storm raged in me;
My life was in turmoil just like this gale,
My limbs trembled like the house,
Love seared through me like lightning,
And darkness, darkness lay in my breast
as in the grave.
Rage on, now, wild and mighty storm,
In this heart lies peace and quiet repose.
Calmly, cleansed by searching fire,
The bride awaits her groom,
Betrothed to eternal love.

I wait for my Saviour with longing eyes,

Come heavenly Bridegroom and claim
your bride;
Deliver her soul from the bonds of earth.
Ich harre, mein Heiland! mit sehnendem Hear now, the friendly bell sounds from
Blick!
the tower,
Komm, himmlischer Brutigam, hole die Sounds calling me all-mightily up to the
Braut,
Heavens.
Erlse die Seele von irdischer Haft.
Hallelujah
Horch, friedlich ertnet das Glcklein
[vom] Turm!
Es lockt mich das se Getn
Allmchtig zu ewigen Hhn.
Alleluja!
Allerseelen (All Souls Day)
Richard Strauss
Richard Strauss enjoyed early success as a conductor and composer and was
influenced by the work of Wagner. He developed the tone poem to an unrivalled
level of expressiveness and achieved great success with his operas.

Allerseelen is set to text by Hermann von Gilm zu Rosenegg. This songs melody
and rich accompaniment make it one of the best known lieder of Strauss.
Allerseelen
Stell auf den Tisch die duftenden
Reseden,
Die letzten roten Astern trag herbei,
Und la uns wieder von der Liebe reden,
Wie einst im Mai.

All Souls Day

Place on the table the
mignonettes,
Bring the last red asters inside,
and let us speak again of love,
As once in May.

Gib mir die Hand, da ich sie heimlich

drcke
Und wenn man's sieht, mir ist es einerlei,
Gib mir nur einen deiner sen Blicke,
Wie einst im Mai.

Give me your hand, so that I may

secretly press it;
And if someone sees, its all the same to
me.
Just give me one of your sweet glances,
As once in May.

Es blht und [funkelt]1 heut auf jedem

Grabe,
Ein Tag im [Jahre ist den]2 Toten frei,
Komm an mein Herz, da ich dich wieder
habe,
Wie einst im Mai.

La Regata Veneziana
Rossini (1782 1868)

fragrant

Every grave blooms and is fragrant

tonight,
One day in the year are the dead free,
Come to my heart, so that I may have
you again,
As once in May.
Gioachino

Gioachino Rossini is an Italian composer noted for his operas, particularly his comic
operas, of which The Barber of Seville (1816) and Cinderella (1817) are among the
best known. From the 1950s, more and more of his operas were revived, particularly
in festivals, and nearly always with public and critical acclaim.
La Regata Veneziana belongs to the Album Italian. The three songs were written in
1858 desrcibing the famous Venetian regatta from the perspective of a young
woman, Anzoleta. She watches her boyfriend Momolo prepare for the regatta, win
the race, and present her with the red flag of victory. These songs, although written
during a more mature and elaborate phase of Rossini's development, maintain a
folk-like simplicity of spirit and line.
Anzoleta avanti la regata (Anzoleta before the race.) The first song provides the
listener with valuable information about the regatta's heroine, Anzoleta. It shows
the moments before the raceencouraging Momolo to win the race and reminding
him that she will be watching. The piano introduction illustrates Anzoleta's
excitement when she sees the waving pennants.

1 Anzoleta avanti la regata

La su la machina xe la bandiera,
varda, la vedistu, vala a ciapar.
Co quela tornime in qua sta sera,
o pur a sconderte ti pol andar.

1 Angelina before the race

Over there the flag is flying,
look, you can see it, now go for it.
Bring it back to me this evening
or run away and hide.

In pope, Momolo, no te incantar.

Va voga danema la gondoleta,
n el primo premio te pol mancar.

Once in the boat, Momolo, dont start

gawping!
Row the gondola with heart and soul,
then you cannot help being first.

Va l, recordite la to Anzoleta
che da sto pergolo te sta a vardar.
In pope, Momolo, no te ineantar.
In pope, Momolo, cori a svolar!

Go on, think of your Angelina

watching you from this arbour.
Once in the boat, Momolo, dont start
gawping
Once in the boat, Momolo, go with the
wind!

Anzoleta co passa la regata (Anzoleta during the race.) The introduction to this
song reminds us of Rossini's ingenius gift for music. The piano not only clearly
portrays the fast water movement and the racing boat, but also Anzoleta's racing
heart. It reflects how she anxiously watches the race and culminates in the moment
Momolo wins the race.
2 Anzoleta co passa la regata
I xe qua, i xe qua, vardeli, vardeli,
povereti i ghe da drento,
ah contrario tira el vento,
i gha Iacqua in so favor.
EI mio Momolo dovelo?
ah lo vedo, el xe secondo.
Ah! che smania! me confondo,
a tremar me sento el cuor.
Su, coragio, voga, voga,
prima desser al paleto
se ti voghi, ghe scometo,
tutti indrio lassar.
Caro, par che el svola,
el Ii magna tuti quanti
meza barca I and avanti,

2 Angelina during the race

Theyre coming, theyre coming, look at
them,
the poor things, theyre nearly all in:
ah, but the winds against them,
but the tides running their way.
My Momolo, where is he?
Ah, I see him, in second place.
Ah! The excitements too much for me,
my hearts racing like mad.
Come on, keep it up, row, row,
you must be first to the finish,
if you keep on rowing, Ill lay a bet
youll leave all the others behind.
Dear boy, hes almost flying,
hes beating the others hollow,

ah capisso, el ma vard.

hes gone half a length ahead,

ah, now I understand: hes seen me.

Anzoleta dopo la regata (Anzoleta after the race.) The last of the three songs
begins with a glorious Napoleonic-style triumphal march. Momolo wins the race and
Anzoleta is filled with pride and joy. In return for his winning the race, Anzoleta
showers Momolo with kisses.
3 Anzoleta dopo la regata
Ciapa un baso, un altro ancora,
cara Momolo, de cuor;
qua destrachite che xe ora
de sugarte sto sudor.

3 Angelina after the race

Heres a kiss for you, and another,
darling Momolo, from my heart;
now relax, because I must
dry the sweat from your body

Ah to visto co passando
su mi Iocio ti a but
e go dito respirando:
un bel premio el ciapar.
S, un bel premio in sta bandiera,
che xe rossa de color;
gha parl Venezia intiera.
la ta dito vincitor.

Ah, I saw you, as you passed,

throwing a glance at me,
and I said, breathing again:
hes going to win a good prize.
Indeed, the prize of this flag,
the red one;
all Venice is talking about you,
they have declared you the victor.

Ciapa un baso, benedeto,

a vogar nissun te pol,
de casada de tragheto
ti xe el megio barcarol.

Heres a kiss, God bless you,

no one rows better than you,
of all the breed of watermen,
you are the best gondolier

Jota (from Sietes Canciones Populares Espanolas)

Manuel de Falla (1876 1946)
Manuel de Falla is one of the most important Spanish composers of the early 20 th
century. In his music, he achieved fusion of poetry, asceticism, and ardour that
represents the spirit of Spain at its purest.
The Sietes Canciones Populares Espanolas were composed during a period of
intense creative activity, following Fallas return to Spain at the outbreak of the
second World War after a seven year stay in Paris. This set feature songs from
different regions of Spainand while the texts are authentic folk material, the
melodies are often varied and the accompaniment treated even more freely (in the
impressionist style of the time).
Jota, the fourth song, typifies the music of the Aragon Region of Northeastern Spain.
The Jota is a rapid dance in triple time performed by one or more couples and

accompanied by castanets. This song seems a forefunner to the famour jota in The
Three-Cornered Hat.

Dicen que no nos queremos,

dicen que no nos queremos
porque no nos ven hablar;
a tu corazn y al mo
se lo pueden preguntar.
Dicen que no nos queremos
porque no nos ven hablar.

They say we aren't in love,

they say we aren't in love
because they don't see us talking;
your heart and mine
they can ask for the truth.
They say we aren't in love
because they don't see us talking.

Ya me despido de ti,
ya me despido de ti,
de tu casa y tu ventana
y aunque no quiera tu madre,
adis, nia, hasta maana.
Adis, nia, hasta maana.
Ya me despido de ti

For now, I take my leave,

for now, I take my leave,
from your house and your window
and though your mother disapproves,
goodbye, sweetheart, until tomorrow.
Goodbye, sweetheart, until tomorrow.
For now, I take my leave

aunque no quiera tu madre...

though your mother disapproves...

Gamugamo
Sacramento (1908 1984)

Lucino

Lucino Sacramento was a well-known versatile musician. He was trained at the UP

College of Music as a pianist but was then composed by world-renowned composer
Nicanor Abelardo to pursue composition. Sacramentos lyricism is said to depict that
of Abelardos and his compositions were described to have adhered to the
conventions of form and harmony.
Gamugamo is in the typical kundiman form (AB). It starts in D minor and then
modulates to D major as it transitions from the A to the B part. The text and the
theme are similar to the typical theme used by that of Filipino love songs: an
undying longing for the object of his/her love even if that love is not reciprocated.