Program Notes for the Senior Recital of Kathryn Morgan

We the Spirits of the Air Henry Purcell 

Two Daughters of this Aged Stream (1659-1695)
These two pieces are duets written by Henry Purcell for two sopranos, and they are
normally performed together. The poetry of both pieces is by John Dryden, an English
poet, literary critic, and playwright. We the Spirits of the Air is an uplifting tune that
features a playful melody and text. The tempo slows down when singing of languish,
creating a sorrowful feeling. Two Daughters of this Aged Stream is a slower duet that has
longer lines and beautiful phrasing. The piece quickens in tempo at the end, mimicking
the beating of the water within both the vocal and piano lines. 

Die junge Nonne   Franz Schubert

(1797-1828)
Die junge Nonne was written by Franz Schubert with text by Jacob Nicolaus Craigher de
Jachelutta. This dynamic piece has an intense accompaniment. Schubert’s use of tremolo
helps the audience picture the storm described in the text. Throughout the piece, you can
hear the bells ringing within the accompaniment. The key change in the middle of the
piece follows with the change of mood as it talks about the heart finding peace and love
as the singer ascends into heaven. 

Wie braust durch die Wipfel der heulende Sturm! How the raging storm roars through the
treetops!

Es klirren die Balken, es zittert das Haus! The rafters rattle, the house shutters!

Es rollet der Donner, es leuchtet der Blitz, The thunder rolls, the lightning flashes,

Und finster die Nacht, wie das Grab! And the night is dark as the grave.

Immerhin, immerhin, so tobt’ es auch jüngst So be it, not long ago a storm still raged in
noch in mir! me. 

Es brauste das Leben, wie jetzo der Sturm, My life roared like the storm now

Es bebten die Glieder, wie jetzo das Haus, My limbs trembled like the house now, 

Es flammte die Liebe, wie jetzo der Blitz, Loved flashed like the lightning now

Und finster die Brust, wie das Grab. And my heart was as dark as the grave.

Nun tobe, du wilder, gewalt’ger Sturm Now rage, wild, mighty storm;

Im Herzen ist Friede, im Herzen ist Ruh, In my heart is peace, in my heart is calm

Des Bräutigams harret die liebende Braut,  The loving bride awaits the bridegroom,

Gereinigt in prüfender Glut,  Purified in the testing flames, 

 Program Notes for the Senior Recital of Kathryn Morgan

Der ewigen Liebe getraut. Betrothed to eternal love. 

Ich harre, mein Heiland, mit sehnendem Blick! I wait, my Savior with a longing gaze!

Komm, himmlischer Bräutigams, hole die Braut, Come heavenly bridegroom, take your
bride.

Erlöse die Seele von irdischer Haft.  Free the soul from earthly bonds.

Horch, friedlich ertonet das Glöcklein vom Listen, the bell sounds peacefully from the
Turm!  tower!

Es lockt mich das süße Getön  Its sweet peeling invites me

Allmächtig zu ewigen Hoh’n. All-powerfully to eternal heights.

Alleluia! Alleluia! 

Romanze aus Rosamunde Franz Schubert

(1797-1828)
Romanze aus Rosamunde is a German lied piece by Franz Schubert. A romance for
Rosamunde, it was written as incidental music and meant to be performed during a
theater play. The story of Rosamunde follows the Princess of Cyprus. Before her father is
murdered, has asks shepherds to protect Rosamunde. When Rosamunde turns eighteen,
she discovers the truth of her origin as Princess of Cyprus. She attempts to claim her
throne but must go through Fulgentius. Her adoptive mother, Axa, sings this nocturne
when Rosamunde returns to the place where she grew up. 

Der Vollmond strahlt auf Bergeshöhn  The full moon shines on the mountain heights

Wie hab ich dich vermißt! How I have missed you!

Du süses Herz! Es ist so schön Oh sweet heart! It is so lovely, 

Wenn treu die treue küßt When faithfully one can kiss his faithful lover!

Was frommt des Maien holde zier? Of what use is May’s lovely adornment?

Du warst mein Frühlingsstrahl! You were my ray of spring sunshine!

Licht meiner Nacht, o lächle mir Light of my night, oh smile on me

Im Tode noch einmal! In death once more!

Sie trat hinein beim Vollmondschein She entered by the moon’s full light

Sie blickte himelwärts She looked heavenward;

 Program Notes for the Senior Recital of Kathryn Morgan

“Im Leben fern, im Tode dein!” “In life I was so far away, in death I am yours!”

Und sanft brach Herz an Herz. And gently his heart broke on hers. 

Six Elizabethan Songs Dominick Argento

(1927-
2019)   
V. Diaphenia 
Vi. Hymn 
The Six Elizabethan Songs are a song cycle that was written in Florence in 1957. They
are entitled “Elizabethan” because the text is drawn from that period in literature. Songs
five and six (Diaphenia and Hymn) are being performed today. Both feature different
poets: Henry Constable (v) and Ben Jonson (vi). The six songs provide a wide variety in
style; from the uplifting Diaphenia to the mystical Hymn, the cycle takes you on a
journey through poetry of the Elizabethan Age. 

Je dis que rien ne m’épouvante Georges Bizet

from Carmen      (1838-1875)   
Je dis que rien ne m’epouvante is from Georges Bizet’s most well known opera, Carmen.
In this aria, Micaela has ventured to find Don Jose with the intention of bringing him
home and saving him from Carmen. She has been led to the smugglers and Carmen’s lair.
In this piece, Micaela sings of how she must not be afraid of Carmen, for she loves Don
Jose and God will give her the courage she needs. The slow melodic A section portrays
her courage and trust in the protection of the Lord. The B section depicts her anxiety and
fear as it grows higher and faster with more dramatic piano accompaniment. The return
of the A section and slow ending leads to Micaela’s certainty in her decision and
readiness to accomplish the task she has set out to do. 
C’est des contrebandiers le refuge ordinaire It is the smugglers ordinary refuge

Il est ici; je le verrai  He is here, I will see him!

Et le devoir que m’imposa sa mère And the task that his mother imposed

Sans trembler je l’accomplirai Without trembling, I will accomplish it. 

Je dis que rien ne m’épouvante, I say that nothing can frighten me.

Je dis, hélas! Que je réponds de moi; I say, alas, that I respond to myself

Mais j’ai beau faire la vaillante But I play the part of the courageous one in vain

Au fond du coeur je meurs d’effroi! From the bottom of my heart, I die of fear!

Seule en ce lieu sauvage Alone in this savage place

 Program Notes for the Senior Recital of Kathryn Morgan

Toute seule j’air peur,  All alone I am afraid, 

Mais j’ai tort d’avoir peur. But I am wrong to have fear.

Vous me donnerez du courage;  You will give me courage;

Vous me protégerez, Seigneur! You will protect me, Lord!

Je vair voir de près cette femme,  I am going to see face to face this woman,

Dont les artifices maudits Whose cursed guile

Ont fini par faire un infàme Has ended up to make a vile person 

De celui que j’aimais jadis!  Of him that I love once! 

Elle est dangereuse...elle est belle! She is dangerous, she is beautiful! 

Mais je ne veux pas avoir peur! But I do not want to be afraid!

Non, non, je ne veux pas avoir peur!  No, no, I do not want to be afraid! 

Je parlerai haut devant elle...ah! I will speak up before her...ah!

Seigneur, vous me protegérez. Lord, will you protect me. 

Protégez-moi! O Seigneur! Protect me! O Lord!

Donnez-moi du courage!  Give me courage! 

Steal me, Sweet thief Gian Carlo Menotti       

from The Old Maid and the Thief (1911-2007)    
Steal me, Sweet thief is one of the most memorable arias from the opera The Old Maid
and the Thief, a one-act radio opera written by Gian Carlo Menotti. Steal me, Sweet thief
is sung by Laetitia as she conveys her affection for the thief Bob. At this point in the
opera, Laetita and Miss Todd have discovered that Bob is a fugitive, so they are trying to
find a way to keep him from leaving their house to prevent him from revealing them as
his accomplices. Laetita sings the aria asking him to steal her away before time destroys
her looks. The very dramatic recitative talks about Laetita’s frustration with Bob. The
much slower aria reflects on her love and desire to be loved. Constantly changing keys
and time signatures the aria signify her desperate want for him to stay.   
 Program Notes for the Senior Recital of Kathryn Morgan

Chanson d’amour Gabriel Fauré 

(1842-1924)  
Chason d’amour, written by Gabrielle Fauré, was dedicated to Mademoiselle Jane Hure.
Chason d’amour translates to the Song of Love and the poetry speaks about love and how
the performer adores everything about their lover. Faure uses chromatic notes to
demonstrate how passionate the individual is for their love. The use of decrescendo in the
dynamics demonstrates the fierceness and intensity of their love. 

J’aime tes yeux, j’aime ton front, I love your eyes, I love your forehead. 

O ma rebelle, ô ma farouche O my rebellious one, o my fierce one. 

J’aime tes yeux, j’aime ta bouche I love your eyes, I love your mouth

Où mes basssers s’épuiseront  Where my kisses will exhaust themselves

J’aime ta voix, j’aime l’étrange I love your voice, I love the strange 

Grâce de tout ce que te dis,  Grace of everything you say. 

O ma rebelle, ô mon cher ange O my rebellious one, o my dear angel

Mon efer èt mon paradis! My hell and my paradise! 

J’aime tout ce quite fait belle,  I love everything that makes you beautiful

De tes pieds jusqu’à tes cheveux From your feet to your hair

O tois vers qui monent mes voeux, O you, toward whom all my wishes rise up

O ma farouche, ô ma rebelle O my fierce one, my rebellious one! 

Après un rêve Gabriel Fauré    

 (1842-1924)  
Après un rêve is a french melodie written by Gabriel Fauré with text by an anonymous
Italian poet that was later adapted by Roman Bussine. This mélodie was dedicated to
Madame Marguerite Baugnies. This popular piece has been transcribed for cello and
piano, piano solo, orchestra, voice and orchestra, viola and piano, piano trio, organ and
many more. The piece was written shortly after Faure’s engagement to Marianne Viradot
ended. The poem speaks of longing for someone and waking up from a dream to find that
they are no longer there. The idea of longing is demonstrated in both the piano and vocal
lines through Fauré’s use of triplets, rubato, and long lines. 

Dans un sommeil que charmait ton image In a slumber charmed by your image
 Program Notes for the Senior Recital of Kathryn Morgan

Je rêvais le bonheur, ardent mirage I was dreaming of happiness, that fiery mirage

Tes yeux étaient plus doux, ta voix pure et Your eyes were gentler, your voice pure and
sonore, ringing

Tu rayonnais comme un ciel éclairé par You were beaming like a sky lit up by dawn. 
l’aurore

Tu m’appelais et je quittais la terre You were calling me, and I was leaving the
earth

Pour m’enfuir avec toi vers la lumière To flee with you toward the light.

Les cieux pour nous,entr’ouvraient leur neus The heavens for us were slightly opening their
clouds, 

Splendeurs inconnues, lueurs divine Unknown splendors, divine radiance glimpsed!

entrevues

Hélas! Hélas, triste réveil des songes! Alas! Alas sad awakening from dreams! 

Je t’appelle, ô nuit rends-moi tes mensonges I call you, oh night, give me back your lies

Reviens, reviens radieuse Come back radiantly 

Reviens ô nuit mysterieuse!  Come back, oh mysterious night! 

Meadowlark Stephen Schwartz    

from The Baker’s Wife  (b. 1948)       
Primarily known for his score of Wicked, Stephen Schwartz is the composer of the
musical The Baker’s Wife. The Baker’s Wife is based on the 1938 French film of the same
name. The musical follows the scandal of a baker and his wife in a small town in France.
Meadowlark is sung by the Baker’s Wife, Genevieve, towards the end of the first act. At
this point in the musical, Genevive has become infatuated with a young man, Dominique,
and is contemplating if she wants to stay with her husband or run away with this new
man who has wooed her. She sings of the legend of the Meadowlark, where the bird
decides to stay with the old king who adored her but then dies having missed her
opportunity to fly away with the sun-god. Not wanting to have the same fate as the
Meadowlark, Genevive decides to run away with the young man. 
 Program Notes for the Senior Recital of Kathryn Morgan

I Could Have Danced All Night Frederic Loewe 

from My Fair Lady (1901-1988)     
My Fair Lady is a musical with book and lyrics by Alan Jay Lerner and music by
Frederick Loewe. The story follows cockney flower girl Eliza Doolittle as she takes
speech lessons from Professor Henry Higgins so that she may pass as a lady. Eliza sings I
Could Have Danced All Night after having her first successful speech lesson. You can
hear her excitement through the piano with the exciting staccato accompaniment in the
beginning. 

Laurie’s Song     Aaron Copland  

from The Tender Land   (1900-1990)    
The Tender Land follows the story of Laurie, a high school senior approaching
graduation. This aria sung in the first act reflects on her time as a child and how quickly
time flew growing up. She explains how she is nervous and afraid but ready to take a step
outside of the familiar life she has had. The piano accompaniment both in the beginning
and end create a contemplative feeling. As she gets more passionate and concerned about
the future, the pace quickens creating a feeling of anxiousness. However, by the end of
the piece, she has new excitement and anticipation for what lies ahead.