Megan and Marie’s Senior Recital Program Notes
La Mi Sola, Laureola by Fernando Obradors is inspired by a 16th-century Spanish song where
the text, “la mi so la” corresponds to the solfege syllables sung in the melody. The piece highlights the
feelings of melancholy and longing as Leriano speaks about his Laureola.
La mi sola, Laureola. My only, Laureola.
Yo el cautivo Leriano I the captive Leriano
aunque mucho estoy ufano Although I am very proud
Herido de aquella mano Wounded from that hand
Que en el mundo es una sola. That in the world there is only one.
La mi sola, Laureola. My only, Laureola.
El Vito, also composed by Fernando Obradors, is a Spanish dance, designed to be danced on top
of a table in front of an audience of bullfighters. This song is vivid in style with the rhythm imitating
castanets and the chords following each stanza representing the stomps within the dance.
Una vieja vale unreal An old woman is worth a real
y una muchacha dos cuartos, and a young girl two cuartos,
pero como soy tan pobre but as I am so poor
me voy a lo mas barato. I go for the cheapest.
Con el vito, vito, vito, On with the dancing,
con el vito, vito, va. on with the dancing, ole!
No me jaga 'uste' cosquillas, Stop your teasing, sir,
que me pongo 'colora'. else I'll blush!
Che fiero costume by Giovanni Legrenzi (1625-1690), published in 1678 from the cantata “Echi
di reverenza” (Op 14). Legrenzi was an Italian composer from Clusone, Italy during the Baroque era who
composed operas, vocal and instrumental music. This piece is 1 of three from his cantata “Echi di
reverenza”. Che fiero costume is an art song that speaks of the wickedness of Cupid and his audacity to
make a person fall in love. Both the piano and vocal line are fiery and fierce as they move up and down
with intention and direction.
Che fiero costume What fierce power
D'aligero nume, [Has] this winged god (Cupid),
Che a forza di pene si faccia adorar! Who by force of punishments, should make
himself adored!
E pur nell' ardore And nevertheless in [my] ardor
Il dio traditore The traitorous god
Un vago sembiante mi fe' idolatrar. Made me idolize a lovely face.
Che crudo destino What a cruel destiny,
Che un cieco bambino That a blind child [still]
Con bocca di latte si faccia stimar! With a mouth of [mother’s] milk, should
make himself esteemed!
Ma questo tiranno But this tyrant
Con barbaro inganno, With barbarous deception,
Entrando per gli occhi, mi fe' sospirar! Entering through [my] eyes, made me sigh!
Lasciatemi morire by Claudio Monteverdi was written in 1609. Monteverdi was an Italian
composer, choirmaster, composer, and Catholic priest. He was a pioneer of Opera during the transition
between the Renaissance and Baroque period. “Lasciatemi morire” is an aria from “L’Arianna”(libretto by
Octavio Rinuccini) which tells the Greek legend of Ariadne who is left by her lover Theseus on the island
of Naxos. This piece is Ariadne lamenting after she realizes she has been deserted by Theseus.
Lasciatemi morire! Let me die!
E che volete voi che mi conforte And whom would you want to comfort me
In così dura sorte, in such a cruel fate,
In così gran martire? in such great torment?
Lasciatemi morire! Let me die!
Que ne suis-je la Fougere by Jean-Baptiste Weckerlin portrays feelings of unrequited love
within the text. The singer is yearning for the woman to love them back, but she is simply unattainable.
Que ne suis-je la fougère What am I not the fern
Où sur la fin d’un beau jour, Where at the end of a beautiful day
Se repose ma bergère Rests my shepherdess
Sous la garde de l’amour! Under the guard of love!
Que ne suis-je le zéphire What am I not the zephyr
Qui rafraîchit ses appas, Which refreshes its charms,
L’air que sa bouche respire, The air which its mouth breathes,
La fleur qui naît sous ses pas. The flower which is born under its steps.
Que ne suis-je l’onde pure What am I not the pure wave
Qui la reçoit en son sein! Who receives it within!
Que ne suis-je la parure Why am I not the finery
Qui la couvre après le bain! Which covers her after the bath!
Que ne suis-je cette glace What am I not this mirror
Où son miroir reflété Where its reflected mirror
Offre à nos yeux une grâce Offers to our eyes a grace
Qui sourit à la beauté. Which smiles at beauty.
Que ne puis-je par un songe Why can't I in a dream
Tenir son cœur enchanté ! Hold her heart enchanted!
Que ne puis-je du mensonge Why can't I
Passer à la vérité ! pass from the lie to the truth!
Les dieux qui m’ont donné l’être The gods who gave me being
M’ont fait trop ambitieux. Made me too ambitious.
Car enfin je voudrais être Because finally I would like to be
Tout ce qui plaît à ses yeux. All that pleases in his eyes.
Chanton les amours de Jean, another Bergerette by Weckerlin, illustrates the love story between
two individuals, Jeanne and Jean, who, funny enough, share similar names. In contrast to the previous
piece by Weckerlin, the text depicts a strong desire and a reciprocated affection between the two
characters.
Chantons, chantons les amours de Jeanne, I sing, I sing of the love of Jeanne,
Chantons, chantons les amours de Jean. I sing, I sing of the love of Jean!
Rien n’est si charmant que Jeanne, Maids none there are fair as Jeanne,
Rien plus aimable que Jean. Lads half so kind as Jean!
Jean aime Jeanne, Jean he loves Jeanne,
Jeanne aime Jean, Jeanne loves Jean!
Jean aime Jeanne, Jeanne aime joli Jean. Jean loves Jeanne, She loves her handsome Jean!
Dans une simple cabane, A cottage simple their love can hold
Comme en un palais tout d’or brilliant, As well as palace built of gold.
Jean reçoit l’amour de Jeanne, Jean there tells his love to Jeanne,
Et Jeanne celui de Jean. There her love for Jean is told.
Jean aime Jeanne, Jean he loves Jeanne,
Jeanne aime Jean, Jeanne loves Jean!
Jean aime Jeanne, Jeanne aime joli Jean. Jean loves Jeanne, She loves her handsome Jean!
Si l’amour de Jeanne est grande, Tho’ so great Jeanne’s love it be
Non moins grande est l’amitié de Jean; Jean loves her in no less degree.
Ce que l’um des deux demande, Ne’er to any request one makes,
L’autre aussitô y consent: E’er the other exception.
Jean aime Jeanne, Jean he loves Jeanne,
Jeanne aime Jean, Jeanne loves Jean!
Jean aime Jeanne, Jeanne aime joli Jean. Jean loves Jeanne, She loves her handsome Jean!
Litanei by Franz Schubert or “Litanei auf das Fest Allerseelen: Ruh’ in Friedan” translates to
“Litany for the Feast of All Souls”. A piece written by Schubert in 1816 after the text written by Johann
Georg Jacobi. Schubert was an Austrian composer who wrote hundreds of secular vocal works, multiple
symphonies, sacred music, operas, chamber music, and piano music. This piece is a memorial poem for
all saints day. It is written to recognize all of those who have lived and suffered, may they rest in peace.
Ruhn in Frieden alle Seelen, May all souls rest in peace;
Die vollbracht ein banges Quälen, those whose fearful torment is past;
Die vollendet süssen Traum, those whose sweet dreams are over;
Lebenssatt, geboren kaum, those sated with life, those barely born,
Aus der Welt hinüber schieden: who have left this world:
Alle Seelen ruhn in Frieden! may all souls rest in peace!
Liebevoller Mädchen Seelen, The souls of girls in love,
Deren Tränen nicht zu zählen, whose tears are without number,
Die ein falscher Freund verliess, who, abandoned by a faithless lover,
Und die blinde Welt verstiess: rejected the blind world.
Alle, die von hinnen schieden, May all who have departed hence,
Alle Seelen ruhn in Frieden! may all souls rest in peace!
Und die nie der Sonne lachten, And those who never smiled at the sun,
Unterm Mond auf Dornen wachten, who lay awake beneath the moon on beds of thorns,
Gott, im reinen Himmelslicht, so that they might one day see God face to face
Einst zu sehn von Angesicht: in the pure light of heaven:
Alle, die von hinnen schieden, may all who have departed hence,
Alle Seelen ruhn in Frieden! may all souls rest in peace!
Franz Schubert set Der Wachtelschlag to a poem by Samuel Sauter. The three-note dotted
rhythm is used to mimick the quail’s call and is set to the words of the poet who tells us to fear, love,
praise, pray to, and trust God.
Ach! wie schallt's dorten so lieblich hervor; Oh! From over there so sweetly it resounds:
Fürchte Gott! Fear God,
Fürchte Gott! Fear God,
Ruft mir die Wachtel in's Ohr! The quail cries in my ear.
Sitzend im Grünen, von Halmen umhüllt, Sitting in the greenery, wrapped in stems;
Mahnt sie den Horcher im Schattengefild It entreats the listener in shady realms:
Liebe Gott! Love God,
Liebe Gott! Love God,
Er ist so gütig, so mild. He is so gentle, so kind.
Wieder bedeutet ihr hüpfender Schlag: Again it tells us in a lively cry:
Lobe Gott! Praise God,
Lobe Gott! Praise God,
Der dich zu lohnen vermag. He is able to give you the worthwhile.
Siehst du die herrlichen Früchten im Feld, Do you see the wonderful fruits in the field?
Nimm es zu Herzen, Bewohner der Welt! Take this to heart, people of the world:
Danke Gott! Thank God,
Danke Gott! Thank God,
Der dich ernährt und erhält. Who feeds and keeps you.
Schreckt mich im Wetter der Herr der Natur, He frightens you in the storm, The Lord of Nature:
Bitte Gott! Plead with God,
Bitte Gott! Plead with God,
Ruft sie, er schonet die Flur. It calls; he spares the fields.
Machen Gefahren des Krieges mir bang, If the threats of warriors make you anxious:
Tröstet mich wieder der Wachtelgesang Comfort it brings me again, the song of the quail
Traue Gott! Trust in God,
Traue Gott! trust in God!
Sieh, er verziehet nicht lang! Look, he will not turn away from you for Long.
An die Nachtigall, composed by Johannes Brahms, captures the feelings of loneliness outlined
within the text. This heartache is only unleashed when the nightingale begins singing at night.
Geuß nicht so laut der liebentflammten Lieder Do not pour so loudly the full-throated sounds
Tonreichen Schall Of your love-kindled songs
Vom Blütenast des Apfelbaums hernieder, Down from the blossoming boughs of the apple-tree,
O Nachtigall! O nightingale!
Du tönest mir mit deiner süßen Kehle The tones of your sweet throat
Die Liebe wach; Awaken love in me;
Denn schon durchbebt die Tiefen meiner Seele For the depths of my soul already quiver
Dein schmelzend Ach. With your melting lament.
Dann flieht der Schlaf von neuem dieses Lager, Sleep once more forsakes this couch,
Ich starre dann And I stare
Mit nassem Blick’ und totenbleich und hager Moist-eyed, haggard and deathly pale
Den Himmel an. At the heavens.
Fleuch, Nachtigall, in grüne Finsternisse, Fly, nightingale, to the green darkness,
Ins Haingesträuch, To the bushes of the grove,
Und spend’ im Nest der treuen Gattin Küsse; And there in the nest kiss your faithful mate;
Entfleuch, entfleuch! Fly away, fly away!
Morgens steh’ ich auf und frage by Robert Schumann was written in Germany during the
Romantic era. After a hand injury, Schumann ended his career as a pianist and moved onto composing.
He composed pieces for piano, orchestra, lieder, symphonies, an opera, and other choral and chamber
works. Morgens’ steh is a short piece by Schumann that tells the story of a young lover waiting to see
their love. As the day goes on, their sweetheart never appears and they are left melancholy, waiting for the
day when they will come. The piano provides the internal feelings of the story as I anxiously wait for my
love to arrive.
Morgens steh’ ich auf und frage: Every morning I awake and ask:
Kommt feins Liebchen heut? Will my sweetheart come today?
Abends sink’ ich hin und klage: Every evening I lie down,
Ausblieb sie auch heut. Complaining that she did not appear.
In der Nacht mit meinem Kummer All night long with my grief
Lieg’ ich schlaflos, lieg’ ich wach; I lie sleepless, lie awake;
Träumend, wie im halben Schlummer, Dreaming, as if half asleep,
Wandle ich bei Tag. I wander through the day.
Natten by Agathe Ursula Backer Grøndahl is part of the Ahasverus song cycle. was born
December 1, 1847 in Holmestrand, Norway. The song “Natten” is the last song in Grondahl’s song cycle
called Ahasverus. This was Grondahl’s Opus number 56 and it was dedicated to her son, Nils
Backer-Grondahl. The cycle features 6 pieces, fitting right after a piece called, With Mother Moon,
Grondahl and Bernard Severin Ingemann continue the personification of the night in the final piece
Natten. The melody is low and slowly rises up the scale, almost as the moon does every day and night
with its rise and fall. The singer/narrator is observing the night around them and asking questions like,
“Do you dream of the day?”.
Jeg vil opsöge dig, du gamle Nat! I will seek you out, you old night.
Jeg vil mig hvile i din Mörkheds Hule. I will rest in your dark cave.
Af Gang min Fod er træt; From walking, my feet are tired;
Min Sjæl er mat; My soul is exhausted.
Dybt i dit Skjød jeg vil mit Aasynskjule Deep in your lap I will hide my face.
For dig kun jeg oplade vil min Mund; For you only, I will charge my mouth;
Til Dig kun vil min Sjæl sin Røst udsende. Only for you will my soul and voice sendout.
Sig, Nat! Say, Night!
Sig, drommer du om Morgenstund? Say, do you dream about the morning?
Sig, drommer du om Dage u den Ende. Say, do you dream about the day without an end.
Forkynd hvis af Røst din Taushed brod Proclaim, if the sound of your voice broke your silence.
Bebud hvis Stemmer i din Afgrung lode Say, if voices in your abyss suffer.
Hvormage Dange slumre i det Skjød? How many days slumber in your lap?
Hvormange Dages Nætter skal du føde? How many days and nights will you give birth?
Svar! Answer!
Venter end Aarhundreder paa Liv, Waiting centuries for life.
Skal end Aartu sinder af dem udvælde? Shall millennials of them be selected?
Ak. først naar Herren trættes ved sit: Oh, first when the lord gets tired of his.
Bliv! Skal dette Hoved sig til Hvile helde. Stay, this head will rest.
Armstrong Gibbs’ setting of Walter De la Mare’s poem, Silver, is often regarded as the
“definitive” version of this piece. His understanding of the poem’s rhythm and atmosphere illuminates
this tale of moonlight and shadows.
Five Eyes is yet another composition by Gibbs, once again set to text written by Walter De la
Mare. This amusing piece paints the story of three black cats, one of which only has a singular eye.
Le reveil de la mariee from Cinq Melodies Populaires Grecques by Maurice Ravel - Ravel was a
French composer as well as a known pianist and conductor. Le reveil de la mariee is part of the 5 Popular
Greek Melodies by Ravel. This piece tells the story of a wedding day from the groom's perspective, as he
is looking at his fiancé asleep and excitedly telling her to wake up on their gorgeous wedding day.
Réveille-toi, réveille-toi, perdrix mignonne, Wake up, wake up, pretty partridge,
Ouvre au matin tes ailes. Spread your wings to the morning,
Trois grains de beauté, mon cœur en est brûlé! Three beauty spots - and my heart's ablaze.
Vois le ruban d’or que je t’apporte, See the golden ribbon I bring you
Pour le nouer autour de tes cheveux. To tie around your tresses.
Si tu veux, ma belle, viens nous marier! If you wish, my beauty, let us marry!
Dans nos deux familles, tous sont alliés! In our two families all are related.
Saper Vorreste comes from Giuseppe “Verdi’s Un Ballo in Maschera”. This aria from the third
act is sung by the page, Oscar, when they are asked by Renato what costume Riccardo, the king, is
wearing at the ball. Renato plans to kill Riccardo for his part in an adulterous love affair, but Oscar is
teasing him, unwilling to reveal the king’s secret.
Saper vorreste You would like to know
Di che si veste, what he’s wearing,
Quando l'è cosa when it’s the very thing
Ch' ei vuol nascosa. that he wants concealed.
Oscar lo sa, Oscar knows,
Ma nol dirà, but he won’t tell.
Tra là là là là Tra la la la la
Là là là là. la la la la.
Pieno d'amor Full of love
Mi balza il cor, my heart throbs,
Ma pur discreto but still discreet
Serba il segreto. it keeps the secret.
Nol rapirà Neither rank nor beauty
Grado o beltà, will seize it.
Tra là là là là Tra la la la la
Là là là là. la la la la.
Early in the Morning by Ned Rorem was written in 1954 with text by Robert Hillyer. Rorem is
an American composer born in Indiana 1923 who has composed operas, symphonies, orchestral works,
chamber works, vocal pieces, choral works, and solo works for piano and organ. Early in the Morning sets
a hazy dream-like image of a morning in France. The piano and melody work together to bring the
audience into the past as the words reflect back the views and smells of a perfect morning.
At the mid hour of night by Benjamin Britten, written in 1960, with lyrics by Thomas Moore is
a song of love and remembrance to those who we have lost in our lives. Britten was an English composer
of 20th-Century British classical music, operas, vocal music, orchestral and chamber pieces. While at first
it seems this piece is just about where the mind wanders in the middle of the night, there is another layer
of reflection and longing to a past when our loved ones are still with us.
In the piece No One Else from ‘Natasha, Pierre & the Great Comet of 1812”, Natasha is longing
for Andrey, her fiancée who is off fighting in the war. His parents sent him off in an attempt to separate
the two, and this song captures the essence of Natasha’s feelings of loneliness and remembrance while
singing to the moon.
Whatever Happened to My Part by Eric Idle is from the musical “Spamalot” from Eric Idle and
John Du Prez. First premiering in 2004 in chicago, Spamalot is a musical “ripped off from '' Monty
Python and the Holy Grail. The musical was an instant success and went on to win both a Tony and
Grammy award for Best Musical. Whatever Happened to My Part is sung by the Lady of the Lake (who
gave Arthur Excalibur) in the second act as she complains about her lack of stage time. This song is truly
a ‘Diva’s Lament’ as the Lady of the Lake harks on the stupidity of the Knights and her lack of
recognition. Fans of the musical, and this piece, will notice a change in one lyric to keep the comedy of
the piece relevant to present day Broadway drama almost 20 years after its original release.
I Have a Dream, from the jukebox musical “Mamma Mia”, is originally performed by the 70s
Swedish Europop group, ABBA. In the musical, the main character, Sophie, sings this song during the
prologue, dreaming about her father walking her down the aisle of her upcoming wedding. We have
implemented this song into our recital with our own meaning to the text, dreaming about the future ahead
of us after we graduate.
