PROGRAM NOTES, TEXTS, and TRANSLATIONS
for the SENIOR RECITAL of M. EVAN MEISSER, BARTIONE
Della guerra amorosa (1709) George Frideric Handel
I. Recitativo: Della guerra amorosa… (1685–1759)
II. Aria: Non v’alletti un’occhio nero…
III. Recitativo: Fuggite, si fuggite. Ahi! di quanto veleno…
IV. Aria: La bellezza è come un fiore…
V. Recitativo/Finale: Fuggite, sì fuggite! A chi servo d’amor…
George Frideric Handel travelled to Italy sometime in 1706, and by the beginning of 1707 was
living and working in Rome. There the Cardinals Carlo Colonna and Benedetto Pamphili were
among the influential patrons for whom Handel provided compositions. While his first
commissions were sacred works, he was soon composing secular cantatas. By May of 1707,
Handel began receiving the patronage of the Marchese Francesco Ruspoli, for whom he was to
provide secular cantatas for his weekly musical gatherings. Dalla guerra amorosa is believed to
one of those secular cantatas. Dalla guerra amorosa revolves around a lover retreating from love
itself, his endeavor with another has left him only pain. The cantata’s delicate and distressing
premise is illustrated promptly with numerous cautionary warnings in each recitative along with
the aria “La bellezza è come un fiore” in which the lover describes the journey of a beautiful
flower and how in the end everything turns to dust.
1. Recitativo
Dalla guerra amorosa, From the amorous war
or che ragion mi chiama, now reason tells me,
O miei pensieri, O my thoughts,
fuggite pur, fuggite. flee now, flee.
Vergognosa non è Flight is not shameful
In amor fuga, in matters of love,
che sol fuggendo un’alma for only in retreat from cruel love
del crudo amor pùo riportar la palma. can a soul return victorious.
2. Aria
Non v’alletti un occhio nero Do not be enticed by a dark eye
Né i suoi sguardi, lusinghiero, Nor its glances, alluring,
che da voi chieda pietà. that ask mercy of you.
Che per far le sue vendette, For to wreak his vengeance,
e con arco e con saette, With both bow and arrow,
ivi amor nascoso sta. Love dwells hidden there.
3. Recitativo
Fuggite, si fuggite, Flee, yes flee,
ahi! Di quanto veleno, Oh! With how much poison
amore asperge i suoi piaceri. Love sprinkles his pleasures.
Ah! quanto ministra Ah! How much pain and weeping
Duol e piante a chi lo segue, He bestows on he who follows him,
e le sue leggi adora. And loves his rule.
Se un volto v’innamora, If a face infatuates you,
sappiate o pensier miei, know O my thoughts,
che ciò che piace that that which now pleases
in brev’ora svanisce, in a little vanishes,
e poi dispiace. and then displeases.
4. Aria
La bellezza è com’ un fiore, Beauty is like a flower,
sul mattin vivace e bello, In the morning fresh and fine,
sul mattin di primavera, on a spring morning,
che la sera langue e more, which by evening droops and dies,
si scolora e non par quello. fades and seems no more.
5. Recitativo/Finale
Fuggite, sì fuggite! Flee, yes flee!
A chi servo d’amor, To him who is a servant of love,
vive in catena, living enchained,
è dubbioso il gioir, joy is uncertain,
certa la pena pain certain.
Selections from Spanisches Liederbuch (1891) Hugo Wolf
I. Geistliche Lieder: (1860-1903)
[Link] bin ich dein [Juan Ritz]
3. Nun wandre, Maria [Ocaña]
Hugo Wolf finished and published the Spanisches Liederbuch in 1891. The Spanisches
Liederbuch is comprised of a collection of Spanish poems of the sixteenth and seventeenth
centuries, the translations into German were by Paul Heyse and Emanuel Geibel. Only seventeen
of the poems had identified authors. During the time Wolf worked on this composition it is
apparent that his level of skill had better developed so that he could enable the underlying ideas
in each poem. This is clearly seen by the returning rhythmic motives and the more dramatic use
of harmony in the accompaniment to support the general sense of each poem. “Nun bin ich dein”
by Juan Ritz was the opening song for the Spanisches Liederbuch Wolf decided to start the lied
with the oldest poem in the entire collection of sacred and secular songs. “Nun bin ich dein” is in
an unusual 4/2 meter, slow tempo, and opening harmonies in the first few beats alone help to
manifest the mood in which the effect of resolving all that has gone before into an unshakeable
certitude. “Nun wandre, Maria” demonstrates Wolf’s ability to recreate a situation. In this case,
Joseph speaks to his dear wife who is in need of loving comfort. Wolf emphasizes the
indescribable tenderness between the two as if the music was a response to the cries of distress.
This tenderness can be seen in the melodic line since it never spans more than a fourth and in the
dynamics since it only shifts between pp and mf showing Josephs calm reserved attribute as well
as his helpless anxiety.
1. Nun bin ich dein
Nun bin ich dein, Now I am yours,
Du aller Blumen Blume, Flower of all Flowers,
Und sing allein and sing solely
Allstund zu deinem Ruhme; at all times to your praise;
Will eifrig sein, I will be zealous,
Mich dir zu weihn dedicate myself to you
Und deinem Duldertume. and to your sufferance.
Frau auserlesen, Lady Elect,
Zur dir steht all mein Hoffen, in you is all my hope,
Mein innerst Wesen my innermost being
Ist allezeit dir offen. is forever open to you.
Komm, mich zu lösen, Come, free me
Vom Fluch des Bösen, from the curse of the Evil One
Der mich so hart betroffen! who has so sore afflicted me!
Du Stern der See, Star of the Sea,
Du Port der Wonnen, Haven of Delights,
Von der im Weh From whom, in agony,
Die Wunden Heil gewonnen, The afflicted have found salvation,
Eh ich vergeh, Before I pass away,
Blick aus der Höh, Look from on high,
Du Königin der Sonnen! Queen of Suns!
Nie kann versiegen Never can the abundance
Die Fülle deiner Gnaden; Of your mercy run dry;
Du hilfst zum Siegen you help towards triumph
Dem, der mit Schmach beladen. him who is laden with shame.
An dich sich schmiegen, To cling to you,
Zu deinen Füßen liegen, to lie at your feet,
Heilt allen Harm und Schaden. heals all infirmity and grief.
Ich liede schwer I suffer severe
Und wohlverdiente Strafen. and well-merited punishments.
Mir bangt so sehr, I am in such dread
Bald Todesschlaf zu schlafen. Of sleeping soon death’s sleep.
Tritt du einher, Come forth,
Und durch das Meer And through the sea,
O führe mich zum Hafe! Bring me, oh, to harbor!
3. Nun wandre, Maria
Nun wandre, Maria, Onward, now, Mary,
Nun wandre nur fort. just onward, now, on,
Schon krähen die Hähne, the cocks are crowing,
Und nah ist der Ort. and the place is near.
Nun wandre, Geliebte, Onward now, beloved,
Du kleinod mein, my jewel,
Und balde wir werden and soon shall we be
In Bethlehem sein. in Bethlehem.
Dann ruhest du fein Then shall you rest well
Und schlummerst dort. there, and slumber.
Schon krähen die Hähne The cocks are crowing,
Und nah ist der Ort. and the place is near.
Wohl seh ich, Herrin, Well I see, Lady,
Die Kraft dir schwinden; your strength is waning;
Kann deine Schwerzen, your pains I cannot,
Ach, kaum verwinden. alas, subdue.
Getrost! Wohl finden Take heart! We shall find
Wir herberg dort. lodging there.
Schon krähen die Hähne The cocks are crowing
Und nah ist der Ort. and the place is near.
Wär erst bestanden Would it were over,
Dein Stündlein, Marie, Mary, your hour,
Die gut Botschaft, those good tidings
Gut lohnt ich sie. would I reward well.
Das Eselein hie The donkey here
Gäb ich drum fort! would I give for that!
Schon krähen die Hähne, The cocks are crowing,
Komm! Nah ist der Ort. come! The place is near
[Translation: Dietrich Fischer- Dieskau]
Tanzlied des Pierrot Erich Wolfgang Korngold
from Die tote Stadt (1920) (1897–1957)
Erich Wolfgang Korngold’s Die tote Stadt was based off of Georges Rodenbach short novel
Bruges-la-Morte. The three act opera first premiered on December 4, 1920, in both Hamburg and
Cologne. Die tote Stadt’s theme of overcoming the loss of a loved one resonated with all
audiences after the pain and grief of World War I. Korngold’s style throughout the opera is
heavily related to a mix of Puccini, Strauss, and Mahler from the marvelous orchestration that
pours out emotions and the memorable melodic lines. “Tanzlied des Pierrot” begins in the
second act when Marietta’s troupe comes to visit, the clown Fritz starts the celebration with a
beautiful aria followed by a toast. Much like the theme of the entire opera, “Tanzlied des Pierrot”
helps to tell Fritz’s story and describes his passion and love lost. The melodic lines of the entire
aria help to illustrate the joy, pain, and deceit that have followed him in his journey for love and
adventure.
Mein sehnen, mein wähnen, My yearning, my mad wanderlust
Es träumt sich zurück. Go far back in my dreams.
Im Tanze gewannich, In dancing, I knew happiness,
verlor ich mein Glück. Now I’ve lost it.
Im tanze am Rhein, bei Monden khein, While dancing by the Rhine in the moonlight…
gestand mir’s aus Blauaug ein inniger Blick, The loving look in her blue eyes told me everything.
gestand mir’s ihr bittend Wort: o bleib, Her glance confessed her plea. Oh stay
o geh mir nicht fort, Don’t go far away from me.
bewahre der heimat still blühendes Glück. Cherish the happiness you know in your native land.
Mein Sehnen, mein Wähnen My longing, my mad wanderlust
es träumt sich zurück. Go far back in my dreams.
Zauber der Ferne warf The magic of things far away
in die Seele den Brand, Still bring a burning to my soul.
Zauber der des Tanzes lockte, The magic of dance lured me
ward komödiant. And I became Pierrot, the clown.
Folgt ihr, der wundersüßen, I followed my beloved muse,
lernt unter Tränen küßen. and learned to through my tears
Rausch und Not Wahn und Glück: Ecstasy and pain madness and joy
Ach, das ift Gauklers Geschick. That is a clown’s destiny
Mein Sehnen, mein Wähnen My yearning, my mad wanderlust
es träumtsich zurück. Go far back in my dreams.
[Translation: Nico Castel]
Ô vin, dissipe la tristesse Ambroise Thomas
from Hamlet (1868) [M. Carré/J. Barbier] (1811–1896)
Ambroise Thomas' Hamlet was one of many attempts during the nineteenth century to adapt a
Shakespearean play into a dramatic opera. Most efforts to this end met with little or no success,
but Thomas' work endured at the Paris Opera until the early twentieth century. The work's
premiere on March 9, 1868, was met with critical and public acclaim; audiences particularly
loved Ophelia's mad scene, which Thomas had specifically adapted to the talents of the Swedish
soprano Christine Nilsson. Critics hailed the opera as a masterpiece, and it was viewed as the
composer's greatest work to that point. Hamlet's success came on the heels of acclaim for
Thomas' Mignon (1866), and this “one-two” musical punch catapulted the composer into the first
ranks of French opera. The rest of the opera sticks to the original plot in the clear dramatic
intensity that is evoked. The aria “Ô vin, dissipe la tristesse” begins when the players or actors
enter to mime the play The Murder of Gonzago. In order to cause no suspicion toward Claudius
and Gertrude, Hamlet begins a drinking song, and act foolishly thus the leading the chorus into
an uproar.
Ò vin, dissipe la tristesse Oh wine, dissipate the sadness
Qui pèse sur mon coeur! that lies heavy upon my heart!
A moi les rèves de l'ivresse To me give the dreams of intoxication
Et le rire moqueur! and the mocking laughter!
O liqueur enchanteresse, O enchanting liqueur,
Verse l'ivresse pour drunkeness
Et l'oubli dans mon coeur! and forget fulness into my heart!
Douce liqueur! Sweet liqueur!
La vie est sombre Life is somber;
Les ans sont courts; The years are short.
De nos beaux jours Of our beautiful days
Dieu sait le nombre God knows the number.
Chacun hélas! Porte ici-bas Each person, alas! Carries here
Sa lourde chaîne! his heavy chain
Cruels devoirs, Cruel duties,
Longs désespoirs Slow despairs
De l'âme humaine! Of the human soul!
Loin de nous, noirs présages! Away from us, black omens!
Ah! Ah!
[Translation: Nico Castel]
Calligrammes (1948) [Guillaume Apollinaire] Francis Poulenc
I. L’espionne (1899–1963)
II. Mutation
III. Vers le sud
IV. Il pleut
V. La grace exile
VI. Aussi bien que les cigales
VII. Voyage
Francis Jean Marcel Poulenc composed the music for Guillaume Apollinaire’s collection of
poems later in his life in 1948. The name of Apollinaire’s collection is called Poems of War and
Peace: 1913-1916 which was first published in 1918. Each poem is set in the form of visual
poetry specifically a calligram in which the spatial arrangement and typeface of the words on the
page play just as much of a role in the meaning of each poem as the words themselves. Poulenc
composed in multiple genres was inspired by several periods of inspiration and experimentation
throughout his career.
I. L’espionne I. The spy
Pâle espionne de l'Amour Pale spy of Love
Ma mémoire à peine fidèle My memory scarcely faithful
N'eut pour observer cette belle Had to observe this beautiful
Forteresse qu'une heure un jour Fortress only one hour one day
Tu te déguises You disguise yourself
À ta guise In your guise
Mémoire espionne du coeur Spying memory of the heart
Tu ne retrouves plus l'exquise You will no longer find again the exquisite
Ruse et le coeur seul est vainqueur Trick and the heart alone is victorious
Mais la vois-tu cette mémoire But do you see this memory
Les yeux bandés prête à mourir Eyes blindfolded, ready to die
Elle affirme qu'on peut l'en croire It affirms that one can believe in it
Mon coeur vaincra sans coup férir My heart will conquer without bloodshed.
II. Mutation II. Mutation
Une femme qui pleurait Et tout a tant changé
Eh! Oh! Ha! Tout
Des soldats qui passaient Sauf mon amour.
Eh! Oh! Ha! A woman who was crying
Un éclusier qui pêchait Eh! Oh! Ha!
Eh! Oh! Ha! Soldiers who were passing by
Les tranchées qui blanchissaient Eh! Oh! Ha!
Eh! Oh! Ha! A lockkeeper who was fishing
Des obus qui pétaient Eh! Oh! Ha!
Eh! Oh! Ha! The trenches that were turning white
Des allumettes qui ne prenaient pas Eh! Oh! Ha!
Et tout Shells that were exploding
A tant changé Eh! Oh! Ha!
En moi Matches that were not taking
And all And everything has changed so much
Has changed so much Everything
In me Except my love.
Eh! Oh! Ha! Eh! Oh! Ha!
III. Vers la sud III. Toward the South
Zénith Zenith
Tous ces regrets All these regrets
Ces jardins sans limites These gardens without limits
Où le crapaud module un tendre cri d'azur Where the toad varies a tender azure cry
La biche du silence éperdu passe vite The doe of the boundless silence passes quickly
Un rossignol meurtri par l'amour chante sur A nightingale wounded by love sings on
Le rosier de ton corps The rosebush of your body from
dont j'ai cueilli les roses which I have picked the roses
Nos coeurs pendent ensemble au même Our hearts hang together on the same pomegranate tree
grenadier And the pomegranate flowers in our dawning glances
Et les fleurs de grenade en nos regards While falling by turns have littered the path.
écloses
En tombant tour à tour ont jonché le sentier
IV. Il pleut IV. It rains
Il pleut des voix de femmes comme si elles It is raining of the voices of women as if
étaient mortes même dans le souvenir they were dead even in memory
c'est vous aussi qu'il pleut merveilleuses It is you also that it rains marvelous
rencontres de ma vie ô gouttelettes meetings of my life, oh little drops
et ces nuages cabrés se prennent à hennir And these reared-up clouds take themselves
tout un univers de villes auriculaires to neighing an entire universe of auricular cities
écoute s'il pleut tandis que le regret et Listen if it rains while regret and disdain
le dédain pleurent une ancienne musique cry an ancient music
écoute tomber les liens qui te retiennent Listen to the falling of the bonds that
en haut et en bas. restrain you from top to bottom.
V. La grâce exile V. Grace in exile
Va-t-'en va-t'en mon arc-en-ciel Go away, go away, rainbow.
Allez-vous-en couleurs charmantes Go away, charming colours.
Cet exil t'est essentiel You need this exile,
Infante aux écharpes changeantes. Princess with the many-hued scarves.
Et l'arc-en-ciel est exilé And the rainbow went into exile,
Puisqu'on exile qui l'irise as those who lend their colours are exiled,
Mais un drapeau s'est envolé but a flag flew off
Prendre ta place au vent de bise. to take its place in the wind.
VI. Aussi bien que les cigales VI. As well as the cicadas
Gens du midi gens du midi vous n'avez People of noon people of noon you
donc pas regardé les cigales que vous have not thus watched the cicadas that you
ne savez pas creuser que vous ne savez do not know how to dig that you do not know
pas vous éclairer ni voir how to illuminate yourselves nor to see
Que vous manque-t'il donc pour voir So, what are you missing [that you need]
aussi bien que les cigales to see as well as the cicadas
Mais vous savez encore boire comme But you still know how to drink like
les cigales ô gens du midi gens du soleil the cicadas oh people of noon people of the sun
gens qui devriez savoir creuser et voir people who must know how to dig and see
aussi bien pour le moins aussi bien que les cigales as well as for the least as well as the cicadas
Eh quoi! vous savez boire et ne savez plus And what! You know how to drink and no longer know
pisser utilement comme les cigales how to urinate usefully like the cicadas
le jour de gloire sera celui où vous saurez The day of glory will be the one when you know how
creuser pour bien sortir au soleil to dig in order to go out well into the sun
creusez voyez buvez pissez comme les cigales You dig you see you drink you piss like the cicadas
gens du midi il faut creuser voir boire pisser People of noon you must dig see drink piss
aussi bien que les cigales pour chanter comme elles As well as the cicadas to sing as they do
La joie adorable de la paix solaire. The lovable joy of the peace of the sun.
VII. Voyage VII. Journey
Adieu Amour nuage qui fuis et n'a pas Goodbye love cloud that flees and has not
chu pluie féconde dropped fertile rain
refais le voyage de Dante. Make again the voyage of Dante.
Télégraph Telegraph
Oiseau qui laisse tomber ses ailes partout Bird that lets fall its wings everywhere
Où va donc ce train qui meurt au loin Where goes then this train that dies far away
Dans les vals et les beaux bois frais du In the valleys and the beautiful cool woods of the
tendre été si pâle? tender summer so pale?
C'est ton visage que je ne vois plus. The sweet night, moonlit and full of stars,
It is your face that I no longer see.
[Translations: Winifred Radford]
Despite and Still, Op. 41 (1969) Samuel Barber
I. A Last Song [Robert Graves] (1910–1981)
II. My Lizard [Theodore Roethke]
III. In the Wilderness [Robert Graves]
IV. Solitary Hotel [James Joyce]
V. Despite and Still [Robert Graves]
Despite and Still was composed in June 1968 and was first premiered on April 27, 1969, by
Leontyne Price in New York. The cycle although originally criticized for its unrelated poetry
was soon understood as the themes of lost love, loneliness, and reclusion which could all
considered as glimpses into the later years of Barber’s life. “A Last Song” the first song in the
cycle can be interpreted as expressing the feelings of an artist being pushed to continually
produce creative works even in old age. The second song, “My Lizard,” is from a poem by
Theodore Roethke, the light texture throughout the song helps to illustrate the hopes that his love
lives long and happily after he is gone. “In the Wilderness” by Graves shows Barbers curiosity
into religion during the later years of his life the subject of the song being the suffering of Jesus.
“Solitary Hotel” is paragraph from James Joyce’s Ulysses the piece helps to illustrate the
loneliness and separation of an old man. “Solitary Hotel” is driven by the flavorful tango
accompaniment and the confusion between a man and a woman. “Despite and Still” is the final
song in the cycle; the song describes two lovers who couldn’t be together because of their
personal differences and desirers. “Despite and Still”—along with “A Last Song” and “In the
Wilderness”—are connected by Barber’s emotions in which he harmonically blurred the songs
with multiple chords being played on top of each other and rapid modulations disrupting the
tonality of each piece.
