Cameron Price, Baritone-Bass

Wonhee-An, Piano
Sophomore Barrier
I.
“Madamina! Il catalogo è questo” W. A. Mozart 5’30
From Don Giovanni (1756-1791)

II.

Waldeinsamkeit Max Reger 1’15

(1873-1916)
III.
Oppression Rosephanye Powell 1’10
(1962-)
IV.
Si tu le veux Charles Koechlin 1’15
(Maurice de Marsan) (1867-1950)
V.
Lasciatemi morire! Claudio Monteverdi 1’30
From Ariana (1567-1643)
10 min. 40 sec. total
 Wolfgang Amadeus Mozart
Madamina! Il catalogo è questo from Don Giovanni
Austrian composer Wolfgang Amadeus Mozart (1756-1791) was one of the most accomplished
composers of the classical period. Though he only lived to age 35, he began his legacy as a
composer at age five. From his first composition to the time of his death he composed well over
six hundred works: all the while travelling throughout Europe performing for political figures
and growing his reputation in the process. In his later years, he composed some of his most
influential works. Operas such as Requiem, Don Giovanni, Le Nozze Di Figaro, and other
popular works have served to influence the style of modern-day operas.

Don Giovanni is a two-act opera composed by Mozart, with the libretto being worked on by
Lorenzo Da Ponte. Its first performance was in 1787 and it is one part of a story spanning three
operas. The operas in this series are as follows: Don Giovanni, Il Barbiere di Siviglia, and Le
Nozze di Figaro. The story follows the famous Don Juan of fiction, a womanizer who lusts for
any woman he can set his eyes on, which eventually leads to his downfall. Although not the first
operatic iteration of the story of Don Juan, Mozart’s variation on the story takes the story’s jabs
at seventeenth century hypocrisy and tries to find a balance between both the comedic and tragic,
bringing their iteration into commercial light and success.

Madamina! Il catalogo è questo, or better known as the Catalogue Aria, is a comedic style aria
from Mozart’s opera Don Giovanni, composed in 1787. This aria features Leporello, Don
Giovanni’s servant, and Donna Elvira, a young noblewoman. Leporello details his master’s
conquests in Europe throughout the aria in a lighthearted and joking, yet cautious tone. The aria
begins with Leporello revealing his catalogue to Elvira, detailing every woman his master has
ever seduced. While Elvira is skeptical at first, soon she is bewildered as he lists off amounts in
the thousands, reading over the notebook in astonishment. He goes on to explain to her that he
doesn’t truly love her, and instead wants to sleep with her. “He’ll sleep with anyone!”, he says.
The second portion details every type of women he has seduced in the past, ranging in size and
age. The aria ends with him warning her not to be gullible and not to fall for his wiles.
Madamina, il catalogo è questo Pretty lady! Here’s a list I would show you,

Delle belle che amò il padron mio; Of the fair ones my master has courted,

un catalogo egli è che ho fatt'io; Here you’ll find them all duly assorted,

Osservate, leggete con me. In my writing, may it please you to look?

In Italia seicento e quaranta; In Italy, six hundred and forty,

In Almagna duecento e trentuna; Germany, two hundred and thirty-one,

Cento in Francia, in Turchia novantuna; A hundred in France and Ninety in Turkey,

Ma in Ispagna son già mille e tre. Ah! But in Spain! A thousand and three!

V'han fra queste contadine, Here are countesses in plenty,

Cameriere, cittadine, Maids, nineteen, or twenty,

V'han contesse, baronesse, Rustic beauties and marchionesses,

Marchesane, principesse. Every grade his power confesses;

E v'han donne d'ogni grado, Here are courtly dames and maidens,

D'ogni forma, d'ogni età. Young and handsome, old and plain.

Nella bionda egli ha l'usanza Is a maiden fair and slender,

Di lodar la gentilezza, He will fondly praise her sweetness,

Nella bruna la costanza, Then the dark ones are so tender!

Nella bianca la dolcezza. Lint white tresses show discreetness!

Vuol d'inverno la grassotta, When it’s cold, he likes her portly,

Vuol d'estate la magrotta; In the springtime slim and courtly;

È la grande maestosa, Tall and haughty never alarms him,

La piccina è ognor vezzosa. If she’s tiny, no less she charms him!

Delle vecchie fa conquista Ripe duennas he engages,

Pel piacer di porle in lista; That their names may grace these pages,

Sua passion predominante But what most he’s bent on winning

È la giovin principiante. Is of youth the sweet beginning!

Non si picca – se sia ricca, Poor or wealthy – Sick or healthy,

Se sia brutta, se sia bella; Stately dame, or youthful beauty,

Purché porti la gonnella, He to win them makes his duty

Voi sapete quel che fa. And (you know it!) not in vain!
 Max Reger
Waldeinsamkeit
Johann Baptist Joseph Maximilian Reger, known more commonly as Max Reger(1873-1916),
was a composer, pianist and conductor born in Brand, Germany (Bavaria). He worked a
multitude of jobs including concert pianist, musical director at Leipzig University Church,
professor at the Royal Conservatory in Leipzig, and as a music director in the court of Saxe-
Meiningen’s Duke Georg II. Primarily a pianist, he would compose works for the piano and
organ before returning to his parents home in 1898. He then composed his first join choir and
orchestra piece, Hymne an den Gesang (Op. 21), which translates to Hymn to singing. Shortly
after, in 1899, he pursued a love interest who rejected his first advances, which led to his spree of
romantic compositions.

Waldeinsamkeit was composed in 1903. There is no poet accredited to the poetic version of the
literature likely due to the song being a Frankish folksong, passed down through word of mouth
or other such methods. Waldeinsamkeit is a compound word directly translating to forest
(“wald”) and loneliness (“einsamkeit”), which this piece illustrates in romantic manner. The song
follows two lovers, with one birdwatching and the other sneaking behind them. As she sits there,
she is startled by her lover as he surprises and kisses her. The poem takes what could be
interpreted as a solemn subject, and romanticizes it, using loneliness as a way to demonstrate the
unity between the two lovers.

Gestern abend in der stillen Ruh', Yesterday evening in the still peacefulness,
Sah ich im Wald einer Amsel zu; I saw a blackbird sitting in the woods.
Als ich da so saß, As I sat there,
Meiner ganz vergaß: Totally forgetting myself,
Kommt mein Schatz und Came my darling,
schleichet sich um mic And crept about me,
Und küsset mich. And kissed me.

So viel Laub als an der Linden ist As many leaves on the linden there is,
Und so viel tausendmal And a thousand times
hat mich mein Schatz geküßt; My darling had kissed.
Denn ich muß gesteh'n, For I must confess,
Es hat's niemand geseh'n, Had it not been seen
Und die Amsel soll mein Zeuge sein: With the blackbird as my witness,

Wir war'n allein. We were alone.

 Rosephanye Powell
Oppression
Rosephanye Powell (1962-Present) is an American composer known for solo vocal pieces and
choir music. Currently the choral conductor at Auburn University, she is frequently
commissioned for her pieces, which tend to focus on aspects surrounding African American
culture and musical motifs. She is known for works such as Then, Here and Now, Love Will
Make A Way. And Ev’ry Time I Feel the Spirit. Some of her accolades include the Luise
Vosgerchian Teaching Award, Living Legend Award, and the Lifetime Achievement Award.
Rosephanye is an accomplished teacher, composer, and director with the accolades to support her
hard work.

Oppression is one part of a four-piece song cycle called Then, Here and Now which highlights
the struggles and injustices that befall the African American community. While all the songs in
the cycle are attributed to someone, this song is attributed to Darryl Taylor, countertenor and
founder of the African American Art Song Alliance. The cycle highlights African American
spirituals and connects them to current day events. Oppression utilizes the spiritual, Go Down,
Moses to highlight the abuse of power of those in leadership positions. While the lyrics are
simplistic, they ring true in a myriad of situations, withstanding the test of time.

Go down, Moses,

Way down in Egypt’s land

Tell old Pharoah, to let my people go.

When Israel was in Egypt’s land,

Oppressed so hard they could not stand

God said to Moses,

“Tell Pharoah to let my people go”.

“Yes let my people go.”

 Charles Koechlin
Si tu le veux
Charles Koechlin (1867-1950) was a French composer and mentor who spent his time as a
freelancer, often moving between homes as he taught. His musical inspiration ranged greatly
from nature and folksong to Hollywood movies and Hellenistic culture. An advocate for diverse
music that deviated from the norm during his life, he would invest in the musicians of the future,
teaching would-be composers. He was a passionate supporter of the International Society of
Contemporary Music, and eventually became president of the French chapterHe would move
from institution to institution, having difficulty landing a permanent job, only being an examiner
whenever he would have the chance to teach. He traveled to America several times, teaching at
the University of California in Berkeley. Many of his works remain unpublished, including
chorales, symphonies, and individual pieces.

Si tu le veux was composed in approximately 1892 with poetry provided by Maurice de Marsan.
The title translates to “If you so desire” and follows a couple who have set off into the night for
an evening of fun. Many lines anthropomorphize characteristics of nature, such as the stars
setting themselves with nails of gold, or the wind ruffling hair. The song speaks of devotion,
doing anything your partner desires to show your affection. This piece showcases Charles’s
penchant for the whimsical and romantic in an exceptional manner.

Si tu le veux, ô mon amour, If you desire, oh my love

Ce soir dès que la fin du jour This evening as the day has come
Sera venue, To end,
Quand les étoiles surgiront, When the stars appear,
Et mettront des clous d'or au fond And set themselves with nails of gold
Bleu de la nue, Against the blue sky
Nous partirons seuls tous les deux We shall depart alone we two,
Dans la nuit brune en amoureux, Into the dark in a loving way
Sans qu'on nous voie, Without anyone seeing,
Et tendrement je te dirai Tenderly I will sing to you,
Un chant d'amour où je mettrai A song of love where I place,
Toute ma joie. All of my joy.
Mais quand tu rentreras chez toi But when you return to your home,
Si l'on te demande pourquoi, If anyone asks you why,
Mignonne fée, Lovely fairy.
Tes cheveux sont plus fous qu'avant, Your hair is more tousled than before
Tu répondras que seul le vent You will say that the wind alone
T'a décoiffée, Ruffled it.
Si tu le veux, ô mon amour. If you desire, oh my love.
 Claudio Monteverdi
Lasciatemi Morire!
Claudio Monteverdi (1567-1643) was an Italian composer whose career stretches from his teens
into adulthood. As a teenager, he studied with Marcantonio Ingegneri, who was a popular
musician and composer whose works consisted of madrigals and church music. Claudio was
already releasing books of secular and religious music comparable to that of his teachers in his
teens, cementing his skill and dedication as a student. Well known for his madrigals, which
gained popularity in Italy, he would soon after produce his first opera, Orfeo, which was first
performed in 1607. With a large collection of works accredited to his name, Monteverdi is
considered one of the most influential names in opera and music as a whole.
Lasciatemi Morire! is a lament from Monteverdi’s Arianna, which follows the Greek legend of
Ariadne. Although a majority of this opera has been lost, likely due to the intense time
constraints he was put under when composing it. The libretto remains completely intact, as well
as Ariadne’s Lament, an extended recitative. Lasciatemi is only one of four parts of the extended
aria, following her as she saves Theseus from certain death, only for him to abandon her on the
island of Naxos.

Lasciatemi morire, No longer let me languish!

Lasciatemi morire; No longer let me languish!
E che volete voi che mi conforte What dost thou fancy can stay one moment
In così dura sorte, So despairful a torment,
In così gran martire? So unrelenting anguish?
Lasciatemi morire. No longer let me anguish!
 Resources

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