Song Lied Mélodie

"Singer/Song of the Day" Month

2011-02-21T18:59:00.000-08:00

Last year, I devoted a series of posts to the month of February called "Singer of Day" Month. This year, in keeping with the tradition, I'd like to highlight the Song, Lied and Mélodie. Hopefully, it will yield some great singers, examples of great music from the song repertoire and perhaps some unknown gems.

So far we've had:
February 1: Descúbrase El Pensamiento from Canicones Amatorias (Enrique Granados)
February 2: Bachiana Brasileira No. 5 (Villa-Lobos)
February 3: Du liebst mich nicht (Schubert)
February 4: Havanaise (Viardot)
February 5: Moi genie, moi angel, moi drug (Tchaikovsky)
February 6: Ging heut Morgen übers Feld (Mahler)
February 7: Schäfer's Klagelied (Schubert)
February 8: Non,Je Ne Regrette Rien (Charles Dumont)
February 9: Von Ewiger Liebe (Brahms)
February 10: Haugtussa (Grieg)
February 11: The Sound of Freedom (Moustafa Fahmy, Mohamed Khalifa, and Mohamed Shaker)
February 12: Mutya ng Pasig (Nicanor Aberlando)
February 13: Eri già tutta mia (Monteverdi)
February 14: Lied von der belebenden Wirkung des Geldes (Hanns Eisler)
February 15: Stripsody Cathy Berbarian
February 16: Youkali Kurt Weill
February 17: Berceuses du Chat Stravinksy
February 18: Berceuses du Chat Stravinksy
February 19: Berceuses du Chat Stravinksy
February 20: Berceuses du Chat Stravinksy
February 21: Como quieres que adivine? Guridi

Como quieres que adivine (Guridi)

2011-02-21T18:58:00.000-08:00

My apologies for not having posted in the last several days. I will continue and try to caught up.

Spanish composer, Jesús Guridi (1866- 1961) wrote a set of six songs, which are quite beautiful and can be a great addition to any song recital. They are entitled Seis canciones castellanas/ Six Castilian Songs

This one is exquisitely sung by Carmen Bustamente.

Como quieres que adivine? /How do you expect me to guess?

BERCEUSES DU CHAT (STRAVINSKY)

2011-02-18T17:26:00.000-08:00

Here are 4 pieces since I didn't post yesterday and won't be able to post again for a couple of days. These four pieces will be for February 17, 18, 19 and 20!

Music: Igor Stravinksy
Poem: Charles Ramuz
I. Spi kot (On the stove)
II. Kot na pechi (At home)
III. Bai-bai (Dodo)
IV. U kota, kota (The cat has)

After Stravinksy's final trip to Russian, he returned full of ideas connected to Russian folk music. These pieces are based on Russian Folk song.

These are wonderful pieces if you are a mezzo looking for some great chamber music to program. It's scored for voice and three clarinets (Eb,Bass and A ). It can also be sung in French. The pieces are quite short. All four take under 4 minutes to perform. But every note is golden. Cathy Berberian is the singer.

Youkali (Kurt Weil)

2011-02-16T22:14:00.000-08:00

Teresa Stratas is a beguiling performer and Youkali is a song equally as beguiling. This video is an excerpt from the film September Songs: The Music of Kurt Weill, directed by Larry Weinstein. It creates an atmosphere of nostalgia, sensuality and longing. The poem tells us that Youkali is "in every human heart, the deliverance we await for tomorrow... Youkali is the land of our desires
Youkali is happiness, pleasure. But it is a dream, a folly. There is no Youkali.

"

Stripsody (Cathy Berberian)

2011-02-15T21:47:00.000-08:00

Ahead of her time, like no other. She could sing anything. She was a phenomenon!

Lied von der belebenden Wirkung des Geldes (Eisler)

2011-02-14T23:19:00.000-08:00

I love it when composers sing their own music, even when or especially because they don't have attractive instruments. There's something that always comes through. You can here the essence of the piece. This is one of those rare moments. Hanns Eisler sings his Lied von der belebenden Wirkung des Geldes/ Song of the Invigorating Effects of Money

There are many excellent pieces written by Eisler in collaboration with Bertolt Brecht. Many have an overt or hidden political message.

Lied von der belebenden Wirkung des Geldes
Music: Hans Eisler
Text: Bertolt Brecht

Niedrig gilt das Geld auf dieser Erden
Und doch ist sie, wenn es mangelt, kalt.
Und sie kann sehr gastlich werden
Plötzlich durch des Gelds Gewalt.
Eben war noch alles voll Beschwerden
Jetzt ist alles golden überhaucht
Was gefroren hat, das sonnt sich
Jeder hat das, was er braucht.
Rosig färbt der Horizont sich
Blicket hinan: der Schornstein raucht!"

Ja da schaut alles gleich ganz anders an.
Voller schlägt das Herz. Der Blick wird weiter.
Reichlich ist das Mahl. Flott sind die Kleider.
Und der Mann ist jetzt ein andrer Mann."

English Translation

The value of money is low on earth.
And yet it's cold, if there is a lack of it.
And it can be very hospitable
Suddenly, through the power of money.
A minute ago everything was full of complaints
Now everything is tinged with gold.
What has frozen, is now basking in the sun.
Everyone has what he needs.
The horizon is rose colored.
Gaze upwards: the chimney smokes!

Yes, soon everything looks completely different.
Full of heart beats. The gaze goes onward.
Generous meals. Stylish clothes.
And the man is now another man!

(Translation: Milagro Vargas)

Eri già tutta mia (Monteverdi)

2011-02-13T09:41:00.000-08:00

Just over a year ago, Hugues Cuenod died at the age of 108. I didn't get a chance to post his obituary at this site. This post is a belated tribute to a great singer.

With an angelic, pure toned and unpushed instrument, he sang publicly into his 90's. He was self effacing about his gifts, telling the NY times in 1987, “I never had a voice, so how could I lose one?” But he did have a great voice, a voice with exquisite diction, sophisticated musicianship and that clean, pure, angelic tone.

Here, he sings Eri già tutta mia but Monteverdi. Pure poetry.

"Eri già tutta mia",
Music: Claudio Monteverdi- 1587-1643
from Scherzi Musicali
Poet: Anonymous

Eri già tutta mia,
Mia quel' alma e quel core,
Chi da me ti desvia:
Novo laccio d'amore?
O bellezz' o valore,
O mirabil constanza,
Ove sei tu?
Eri già tutta mia;
Hor non sei più.
Ah, che mia non sei più.

Sol per me gl'occhi belli
Rivolgevi ridenti,
Per me d'oro i capelli
Si spiegavan a i venti.
O fugaci contenti,
O fermezza d'un core,
Ove sei tu?
Eri già tutta mia;
Hor non sei più.
Ah, che mia non sei più.

Il gioir nel mio viso:
Ah che più non rimiri.
Il mio canto, il mio riso
È converso in martiri.
O dispersi sospiri,
O sparita pietate,
Ove sei tu?
Eri già tutta mia;
Hor non sei più.
Ah, che mia non sei più.

English Translation from Lied and Art Song Text Site (see side bar for link)

You were once all mine,
mine were your heart and soul.
Who turned you away from me?
The lure of a new love?
O beauty, O valor,
O admirable constancy,
where are you now?
You were once all mine,
but no longer, no longer,
alas! you're mine no longer.

To me alone you turned
your lovely smiling eyes,
for me alone you loosed
your golden hair to the wind.
O fleeting happiness,
O steadiness of heart,
where are you now?
You were once all mine
but no longer, no longer,
alas! you're mine no longer.

Pleasure on my face, alas!
you'll gaze upon no longer;
my song, my laugh
are changed to torture.
O scattered sighs,
O vanished pity,
where are you now?
You were once all mine
but no longer, no longer,
alas! you're mine no longer.

Mutya ng Pasig (Nicanor Abelardo)

2011-02-12T16:43:00.000-08:00

Here's one in keeping with the theme of lesser known pieces. I don't know about you, but until my student brought this song to me, I wasn't at all familiar with Filipino art song. This piece is a "kundiman", the Philippines signature love song. In the lexicon of the Tagalog (the official language of the Phillipines,) the word "mutya" means, literally, "pearl" and, figuratively, "gem", "charm", and "amulet." In the Tagalog folklore, the mutya is a woman, a maiden goddess of the rivers, lakes, springs, seas and oceans - in short she is the "Mother of Waters."

This is a beautiful performance by soprano, Mimi Kater and pianist, Christina Yue. The style contains elements of European romanticism mixed with more traditional folk sounding melodic lines and textures. This beautiful Kundiman portrays a lost kingdom and a mythical past.

Mutya ng Pasig
Music: Nicanor Aberlando (1893-1934)
Text: Deogracia A. Rosario

A brief translation:

On a night when the moon peeks from the heavens, when the gentle breeze tries to awaken her from her slumber. A vision of purity, her hair flows like a wave. She is the Mutya of Pasig, whose every gesture is song and poetry. (the muse speaks) "I was once a princess in the kingdom of Love. When love died so did my kingdom. My strength has gone and now lives in your hearts. If you want me to live again, give me back my love!"

Egypt: The Sound of Freedom/Moustafa Fahmy, Mohamed Khalifa, and Mohamed Shaker.

2011-02-11T08:17:00.000-08:00

Just minutes ago, Vice President Sulieman annouced that President Mubarak has stepped down!

The people of Egypt have won their freedom from 30 years of a dictatorship. The sound of freedom is a glorious thing.

Good luck to the people of Egypt and continued strength in the days ahead.

The Sound of Freedom by Moustafa Fahmy, Mohamed Khalifa, and Mohamed Shaker.

"I went down and I said I am not coming back, and I wrote on every street wall that I am not coming back.

"All barriers have been broken down, our weapon was our dream, and the future is crystal clear to us, we have been waiting for a long time, we are still searching for our place, we keep searching for a place we belong too, in every corner in our country.

"The sound of freedom is calling, in every street corner in our country, the sound of freedom is calling..

"We will re-write history, if you are one of us, join us and don't stop us from fulfilling our dream.

Haugtussa (Grieg)

2011-02-10T14:57:00.000-08:00

This performance is from Grieg's "Haugtussa, op 67 (The Mountain Maid), 8 songs in Norwegian. Swedish mezzo, Anne Sofie von Otter singing, Bengt Forsberg, piano.

It's a repeat of an earlier post, but it bears repeating because Scandanavian music is also somewhat neglected by singers in America, perhaps due to the fact that Norwegian and Sweedish aren't part of the standard German, French and Italian taught at conservatories.

Haugtussa is a beautiful song cycle to poems by Arne Garborg (1851-1924). "Grieg himself maintained that the 'Haugtussa' songs were the best he ever composed. The cycle is a richly varied poetic work which nonetheless possesses a high degree of unity. The poems are centred around Veslemoey, a visionary young herd girl from a wilderness area in southwestern Norway. Rejected by her lover, she tries to escape life's harsh realities and the indifference of those around her. In her visions she comes into contact with nature itself and the powers of the underworld."

This the fourth song in the cycle:
Møte, n°4 (The Enounter)
text in Norwegian (Nynorsk)

Ho sit ein Sundag lengtande i Li;
det strøymer på med desse søte Tankar,
og Hjarta fullt og tungt i Barmen bankar,
og Draumen vaknar, bivrande og blid.
Då gjeng det som ei Hildring yver Nuten;
ho raudner heit; - der kjem den vene Guten.

Burt vil ho gøyma seg i Ørska brå,
men stoggar tryllt og Augo mot han vender;
dei tek einannan i dei varme Hender
og stend so der og veit seg inkje Råd.
Då bryt ho ut i dette Undringsord:
"Men snille deg då, at du er så stor!"

Og som det lid til svale Kveldings Stund,
alt meir og meir i Lengt dei saman søkjer,
og brådt um Hals den unge Arm seg krøkjer
og øre skjelv dei saman Munn mot Munn.
Alt svimrar burt. Og der i Kvelden varm
i heite Sæle søv ho i hans Arm.

English Translation

One Sunday she sits pensive on the hillside,
while sweet thoughts flow over her,
and her heart beats full and heavy in her breast,
and a shy dream wakens within her.
Suddenly, enchantment steals along the hilltop.
She blushes red; there he comes, the boy she loves.

She wants to hide in her confusion,
but timidly she raises her eyes to him;
their warm hands reach out for one another,
and they stand there, neither knowing what to say.
Then she bursts out in admiration:
"My, how tall you are!"

And as the day moves softly into evening,
they turn to each other full of longing,
their young arms wind around each other's necks,
and trembling mouth meets mouth.
Everything shimmers away, and in the warm evening
She falls blissfully asleep in his arms.

This is Lynni Treekrem singing a beautiful composition by Ketil Bjørnstad, a composer I came across it by chance. It's actually hard to pin the style, straddling folk and a more modern idiom. I thought it would be interesting to hear what this rich poetry would sound like in the hands of a contemporary composer.

This is the prologue of the Haugtussa, Text: Arne Garborg (1851-1924) Unfortunately, I wasn't able to find a translation.

Til deg, du Hei og bleike Myr
med Bukkeblad,
der Hegre stig og Heilo flyr,
eg gjev mitt Kvad.

Til deg, du visne Lyng um Haug,
der Draumar sviv,
eg gjev min Song um Dimd og Draug
og dulde Liv.

Eg kjenner deg, du Trollheim graa,
du Skugge-Natt!
Eg rømde rædd; men stundom maa
eg sjaa deg att.

Eg kjenner deg, du Havsens Marm,
med Galdre-Song;
du gauv meg Gru i rædde Barm
so mang ein Gong.

Eg kjenner Striden tung og sein
mot Trolldoms Vald.
Gud hjelpe oss for brotne Bein
og Mannefall!

Eg kjenner deg, - eg kjenner deg,
som ikkje vann! --
Eg saag din Strid, eg veit din Veg
i Skugge-Land.

Eg røynde sjølv den Striden stygg
i mange Aar,
med ville Mot, med bøygde Rygg,
med svære Saar.

Du um meg sviv, du hjaa meg sit,
du arme Aand!
I meg du enno riv og slit
i dine Baand.

Eg veit det væl: dei sterke Troll,
den Vilje rik;
ein Baat i Foss, eit Kvad i Moll,
sløkkt i eit Skrik. Â--

Men Lerka stig fraa gløymde Grav
med Sigers Ljod;
og Vinden stryker inn av Hav
so frisk og god.

Og um me kjenner Graat og Gru
og Saknad saar,
so maa me Lerkesongen tru,
som lovar Vaar.

Von Ewiger Liebe (Brahms)

2011-02-09T18:53:00.000-08:00

Brahms (1833-1897) wrote 196 art songs. This is one of his masterpieces.

Fassbaender's recording was the one I listened to, many years ago — along with Fischer Dieskaus's — when I first learned this piece. Fassbaender is a great singer, who sings with commitment, passion, beauty of tone, great phrasing and attention the text. Never sentimental, she tells the story in the most direct and compelling way. I can't think of a better recording of this great piece. Irwin Cage plays beautifully.

It is important to note that the text has been falsely attributed in many additions to Joseph Wenzig. The error was made by Brahms when the piece was published and has been passed down by subsequent editions, but the text is from August Heinrich Hoffman von Falersleben's Gedichte of 1837 and is a free transcription of a translation from the Wendish by Leopold Haupt.

Von Ewiger Liebe/ Eternal Love

Dark, how dark it is in the forest and field!
It's already evening; now the world is silent.
Nowhere anymore light and nowhere anymore smoke.
Yes, and the lark is now silent too.

The lad is coming from the village,
He escorts his sweetheart home.
He leads her past the willow bushes,
Talking so much, and of so many things:

"If you suffer shame and if you grieve,
If you suffer disgrace before others because of me,
Then our love shall break apart as quickly as we came together.
Depart with the rain and depart with the wind,
As we were once united."

The maiden says, the maiden says:
"Our love cannot be torn asunder!
Steel is firm and iron very much so,
Yet our love is firmer still.

Iron and steel can be reforged.
But our love--who will transform it?
Iron and steel can disintegrate;
Our love, our love must endure eternally!"

Translation: Milagro Vargas

Here's Alexander Kipnis' version with Gerald Moore playing the piano for an excellent version with a male voice.

Non, Je ne regrette rien (Charles Dumont)

2011-02-08T21:01:00.000-08:00

Composed by Charles Dumont, with lyrics by Michel Vaucaire, it was written in 1956, and is best known through its 1960 recording by the legendary Édith Piaf. The sound of her voice is unmistakable. She was the greatest popular singer of her time.

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ça m'est bien égal
Non, rien de rien
Non, je ne regrette rien
C'est payé, balayé, oublié
Je me fous du passé

Avec mes souvenirs, j'ai allumé le feu
Mes chagrins, mes plaisirs, je n'ai plus besoin d'eux
Balayées les amours, avec leurs trémolos
Balayées pour toujours, je repars à zéro

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ça m'est bien égal
Non, rien de rien
Non, je ne regrette rien
Car ma vie car mes joies
Aujourd'hui, ça commence avec toi

English Translation

No! Absolutely nothing...
No! I regret nothing
Neither the good that I've done nor the bad
All this is much the same to me!

No! Absolutely nothing...
No! I regret nothing...
It is paid, swept away, forgotten
I don't care about the past!

With my souvenirs
I lit a fire
My sorrows, my pleasures
I need them no more!

Swept away the love affairs
With their tremors
Swept away forever
I leave with nothing ...

No! Absolutely nothing...
No! I regret nothing
Neither the good that I've done nor the bad
All this is much the same to me!

No! Absolutely nothing...
No! I regret nothing...
Because my life, because my joys
Today that begins with you!

Schäfer's Klagelied (Schubert)

2011-02-07T21:07:00.000-08:00

If you're an Aksel Schiøtz fan, this will be a treat. If you aren't you should be.

Here he performs three Schubert Lieder--Halt! Eifersucht und Stolz and Schäfers Klagelied with Gerald Moore, piano.

Nothing more to say--one of the great Lieder singers of our time.

Ging heut Morgen übers Feld (Mahler)

2011-02-06T21:08:00.000-08:00

Fischer Dieskau is heard here singing the second song in Mahler's orchestral song cycle Lieder eines fahrenden Gesellen.

The text was written by Mahler himself. The performance is quintessential Dieskau. He sings here with abandon, beautiful phrasing and great attention to color and the text It dates from the year 1960. The cycle tells the story of a young man who takes a journey, having lost his love to a another.

The piece is a staple of singers and orchestras. But there is also a very good chamber ensemble arrangement by Schönberg, which affords the opportunity to perform the piece with smaller forces.

Ging heut Morgen übers Feld/ I walked across the fields this morning

I walked across the fields this morning;
dew still hung on the blades of grass.
The merry finch spoke to me:
"Hey! Isn't it? Good morning! Isn't it?
You! Isn't it becoming a fine world?
Chirp! Chirp! Fair and sharp!
How the world delights me!"
Also, the bluebells in the field
merrily with good spirits
tolled out to me with bells (ding, ding)
their morning greeting:
"Isn't it becoming a fine world?
Ding, ding! Fair thing!
How the world delights me!"
And then, in the sunshine,
the world suddenly began to glitter;
everything gained sound and color
in the sunshine!
Flower and bird, great and small!
"Good day,
Is it not a fine world?
Hey, isn't it? A fair world?"
Now will my happiness also begin?
No, no - the happiness I mean
can never bloom!

Translation from Lied and Art Song Texts Page (see side bar for links)

Moi genie, moi angel, moi drug (Tchaikovsky)

2011-02-05T19:16:00.000-08:00

There is a great treasure trove of ravishingly beautiful Russian music written for the voice by composers such as Glinka, Musorgsky, Rachmanivov, Tchaikovsky, Shostakovich, Stravinsky and others. American singers don't program Russian music nearly as much as we should. Naturally, the language itself poses a bit of a stumbling block. I highly recommend taking a course in Russian diction or finding a Russian friend to help because the rewards are immense.

If you've never sung in Russian, I guarantee you that you can learn this piece and sing it on your next recital. This is one of Tchaikovky's earliest Romances and it is a gem.

This is a beautiful performance by mezzo soprano, Ekaterina Sementchuk
Larissa Gergieva, piano

Moi genie, moi angel, moi drug/ My genius, my angel, my friend
Composer:Tchaikovsky 1840-1893
Poet: Afanasii Afanas'evich Fet (1820–1892),

Russian Transliteration

Ne zdes' li ty ljogkoju ten'ju,
Moj genij, moj angel, moj drug,
Besedujesh' tikho so mnoju
I tikho letajesh' vokrug?

I robkim darish' vdokhnoven'jem,
I sladkij krachujesh' nedug,
I tikhim darish' snoviden'em,
Moj genij, moj angel, moj drug!

English translation

Isn't it here,
My my genius, my angel, my friend,
That you are talking to me softly,
And flying quietly around like a light shadow?

You are giving me a timid inspiration,
And healing my sweet ailments,
And giving me a quiet dream,
My angel, my genius, my friend!

Havanaise (Viardot) Cecilia Bartoli

2011-02-04T22:28:00.000-08:00

Pauline Viardot,1821-1910, daughter of Manuel Garcia, the famous tenor and vocal pedagogue, was a major figure in her time. She was fluent in four languages by the age four, and she was an extremely gifted piano prodigy. She became a celebrated mezzo soprano and was well known for her extensive range, excellent technique and her expressive stage presence. She taught at the Paris Conservatory from 1871-1875.

Bartoli features some of her songs on her album, Chant D'Amour. This is one of the pieces on that album. It may not stand up to Schubert, Debussy or Brahms, but the melodic writing is beautiful and the piece offers the singer an opportunity for great expression,sensuality and agility. The style is a mixture of Spanish and French idioms, which are drawn from Viardot's Spanish/French background.

I'm not including a translation here because listening to the performance is all one needs to do. Bartoli is absolutely enthralling.

Du liebst mich nicht ( Schubert)

2011-02-03T17:37:00.000-08:00

I discovered this piece in my twenties. I was fascinated by Schubert's treatment of the text. The phrase "Du liebst mich nicht/ You don't love me" is heard ten times. The modulations that emphasize the emotional text, the chromaticism and the unrelenting rhythmic figures all made the piece unique and compelling. The piece is sung here by Eileen Farrell (1920-2002) who sings it not only with her superb voice but with passion, subtlety and excellent German diction.

You'll find it as the third song of a wonderful group of Schubert Lieder. It appears at 10:05-13:50 to be precise. It's a piece that I've heard rarely in concerts. I'm not sure why. It does require a voice capable of producing both a strong dramatic quality as well as lyricism and excellent control over dynamics.

In her book, Can't Help Singing, she summed up the requirements for singing: "phrasing,rhythmic flexibility (and) the ability to tell a story in song." She does it all here.

Du liebst mich nicht

Composer: Franz Schubert(1797-1828)
Text: August von Platen-Hallermünde (1796-1835)

This poem represents the interest of poets of the time in oriental verse. Platen's poem come a volume called Ghazelen. The form originated in Arabic verse and one of the characteristics is that it contains five or more couplets and the second couplet usually ends with a repetition or refrain of of one or a few words. Here it is: Du liebst mich nicht!

My heart has been torn apart: you do not love me! You've made it very clear that you do not love me!
Although I come before you, begging and entreating,overflowing with love, you do not love me!
You've told me with your words, quite explicitly: you do not love me!

I must forgo the stars, the moon, the sun, for you do not love me!
What does it matter to me that roses bloom, or jasmine;
What does it matter that the narcissus blooms when you do not love me!

Translation: Milagro Vargas

Bachiana Brasileira No. 5 ( Villa-Lobos)

2011-02-02T20:19:00.000-08:00

In keeping with music from Latin America, listen to what is certainly considered a definitive performance of a beloved piece by Heitor Villa-Lobos (1887-1959). Victoria de los Ángeles is incomparable! Also, listen to Bidu Sayão!

This is the fifth Bachiana from the series of nine suites, which constitutes the complete series Bachianas Brasileiras. This one is scored for soprano and orchestra of violoncelli (1938/45).

The two movements are:
Aria (Cantilena) (lyrics by Ruth V. Corrêa)
Dansa (Martelo) (lyrics by Manuel Bandeira)

Descúbrase El Pensamiento (Granados)

2011-02-01T13:39:00.000-08:00

This is the first of Granados' Canciones Amatorias, Descúbrase el pensamiento, beautifully sung by Lorraine Hunt Lieberson.

There is an excellent recording by Bernarda Fink available that includes all the songs. The songs are suitable for a soprano with good low notes or mezzos with a strong upper range.

These pieces are not done as often as the Tonadillas but include some of his finest writing. The folklike melodies are combined with challenging piano and vocal writing and rich harmonies with frequent modulations to distant keys, especially in this first song. The pieces should be done more often.

Descúbrase el pensamiento
Poet: Anoymous
Music by Enrique Granados 1867- 1916

Discover the thought
of my well guarded secret,
and reveal my anguish,
my passionate life.
My passion is not new;
I've already suffered endlessly.
I am servant to a lady
who has forgotten my servitude.
Her beauty made me hers,
Her polished gesture,
is engraved in my soul.
Ah! Woe is me
who gazed on her
only to live in injury,
to weep and lament
glories of times gone by.
Ah! She has forgotten my servitude.

Translated by Milagro Vargas

MLK Day 2011: Let's Keep The Dream Alive

2011-01-17T12:40:00.000-08:00

Let's keep the dream alive in all we do.

Helen Boatwright, Celebrated Soprano, Dies at 94

2010-12-04T23:56:00.000-08:00

“I sing opera, but I am a musician,” she told The Sheboygan Press in 2004. “I teach too many crummy kids who think they’ve got to be opera singers. Opera is such a teeny tiny part in the world of music. I don’t want to be called an opera singer.”

Helen Boatwright sang early music, concert repertoire, opera and gave world premiere performances of some works by Charles Ives. She was a musician who believed that singers had the responsiblity to perform and promote contemporary music.

See NY times obituary here.

Shirley Verrett, 1931-2010 dies at 79

2010-11-06T08:53:00.000-07:00

The great mezzo soprano and soprano Shirley Verrett died on Friday morning at the age of 79 of heart failure after several months of illness. She was a singer who was well known for the intensity of her performances and a voice of striking beauty and flexibility. She was part of a second generation of black opera singers who followed Marian Anderson's breakthrough at the Met in 1955. May she rest in peace.

New York Times obituary here

Go here for some examples of her singing from an earlier post.

Giulietta Simionato, 1910- 2010 dies at 99

2010-05-06T23:00:00.000-07:00

Mezzo soprano Giulietta Simionato died on Wednesday at her home in Rome. A thrilling singer of the 50's and 60's. She was featured in February's Singer of the Day posts. Go here to listen.

Washington Post obituary here.

A great singer from a great era. May she rest in peace.

Blanche Thebom-1915-2010, dies at 94

2010-03-27T23:36:00.000-07:00

American, mezzo soprano Blanche Thebom, Star at the Met and Beyond, Dies at 94 New York Times obituary here. Although, probably no longer well known to the current generation of singers, she was the leading mezzo soprano at the Met for 22 years, creating the American premieres of many roles. Below she sings O Don Fatale from Verdi's Don Carlo Here is a lovely tribute with reminiscences from colleagues and friends. Worth the read!

She was also famous for her long hair, which used in many of her roles to great advantage as seen in this photo of Blanche Thebom as Didon in the 1957 production of Les Troyens at the Royal Opera House, London.

Dichterliebe; Souzay and Cortot

2010-03-26T22:09:00.000-07:00

A remarkable partnership. If you haven't heard this rare duo, take a listen. It will be worth it.

1-4

8-11

Take a look at this site: Tommanoff.com

2010-03-10T08:57:00.000-08:00

Please take a look at Tom Manoff's site here.
Tom Manoff is the classical music critic at NPR's All Things Considered. My first article appears at his website under the Contributor's tab. Take a look at the entire site. The latest interview is with pianist, Steven Osborne. It's great!

February is "Singer of the Day" Month

2010-02-28T11:15:00.000-08:00

For the month of February, I've started a series of posts called "Singer of the Day." Each day features a great singer from the past. So stay tuned. It may be someone you are familiar with or someone who has fallen off your radar for some reason. In some cases, these may be artists with whom you are not familiar at all. I hope the choices will interest you.
So far we've had:
Feb. 1- Paul Robeson
Feb. 2- Ninon Vallin
Feb. 3- George Thill
Feb. 4- Irmgard Seefried
Feb. 5- Mark Reizen
Feb. 6- Eula Beal
Feb. 7- Richard Tauber
Feb. 8- Marian Anderson
Feb. 9- Rolando Panerai
Feb. 10- Shirley Verret
Feb. 11- Gundula Janowitz
Feb. 12- Leyla Gencer
Feb. 13- Jussi Bjoerling
Feb. 14- Lauritz Melchior
Feb. 15- Giulietta Simionato
Feb. 16- Franco Corelli
Feb. 17- Sena Jurinac
Feb. 18- Tito Schipa
Feb. 19- Alfred Deller
Feb. 20- Janet Baker
Feb. 21- Kathleen Ferrier
Feb. 22- Luisa Tetrazzini
Feb. 23,24- Teresa Berganza and Hermann Prey
Feb. 25- Carla Gavazzi
Feb. 26- Aksel Schiøtz
Feb. 27- Fritz Wunderlich
Feb. 28- Maria Callas

Now that we've reached the final post, I have to say that the exclusion of many other worthy artists was by no means deliberate. There are so many that didn't make the list and I apologize for that. But I may pick up the theme again another time. So stay tuned.

Singer of the Day: Maria Callas, 1923-1977

2010-02-28T11:09:00.000-08:00

Maria Anna Sophie Cecilia Kalogeropoulos was born in New York in 1923 to parents who had emigrated from Greece. Her father changed their family name to Callas in 1929. In 1937, after her parents separated, her mother took her to Greece, where she was admitted to the National Conservatoire of Athens. In 1939, at the age of 17, she made her stage debut in a student production of Cavelleria Rusticana as Santuzza.

For me, Callas was an acquired taste. As a young college student, I was introduced to her later recordings first. Some students I knew liked to play her recordings at half speed to show the wobble she had sadly developed in her later years. So while I knew she was a legend, I didn't at that time understand why. It wasn't until later that I discovered the extraordinary ability she had to convey with voice, timbre, color, phrasing attention to text and acting, the depths of the many operatic characters she portrayed. I am always struck by the rightness of her choices, the amount of time she chooses to hold a fermata, the nuanced nature of her character studies and of course the unsurpassed ability she had with the technical demands of the Bel Canto repertoire. Theatrically, she was brilliant. She changed the face of opera for the future. Her characterizations were always layered, multi-dimensional and complex. Her singing and acting, always interwined so organically that you feel this is the only way it can be performed! She is considered one of the greatest singers of the twentieth century. The acclaim is justly deserved.

Mad Scene from Donizetti, Lucia Di Lammermoor

Puccini, Tosca, Vissa d'arte

Singer of the Day: Fritz Wunderlich, 1930-1966

2010-02-27T15:05:00.000-08:00

Only two days left and I'm struggling with whom to include, but any list would be incomplete without Wunderlich. His impeccable singing and artistry, which covered opera, Lieder and standard orchestral fare was sadly cut short due to an accident at the home of a friend where he fell down a staircase.

Mozart, Die Zauberflöte, Tamino's Aria Dies Bildnis is bezaubernte schön

Singer of the Day: Aksel Schiøtz, 1906-1975

2010-02-26T06:49:00.000-08:00

I wonder how many singers and pianists are familiar with Aksel Schiotz. He is well known to connoisseurs of Lieder, though I became familiar with him by chance only seven years ago. In other words, I got through my entire musical training and much of my career without once having heard of Aksel Schiøtz. A real shame because this is a superb singer who sings with such ease, style, clarity and depth of emotion. Really top drawer. We are lucky that his legacy will live on through the recordings.

Schubert Lieder- Die schöne Müllerin 1. Der Neugierige 2. Ungeduld 3. Eifersucht und Stolz 4.Die böse Farbe

Mozart, Cosi fan tutte, Un aura amorosa

Singer of the Day: Carla Gavazzi, 1913-2008

2010-02-25T08:33:00.000-08:00

Perhaps eclipsed by the fame and stardom of other post-war sopranos such as Tebaldi, Callas, Schwartzkopf,Sutherland and others, Carla Gavazzi was a real talent and had a very unique instrument. Her voice exudes a raw, earthy quality that is quite compelling.

Adriana Lecouvreur, Francesco Cilea Io sono l'umile ancella

Cavalleri Rusticana, Mascagni- Voi lo sapete

Singer of the Day: Teresa Berganza and Hermann Prey

2010-02-24T21:10:00.000-08:00

Today, we get a twofer because I skipped yesterday. Watch the lovely interaction between Prey and the brilliant Teresa Berganza. There are other examples of this superb artist at this blog if you go to the sidebar under Teresa Berganza!

Rossini, Il Barbiere de Seviglia, Dunque io son

Singer of the Day: Luisa Tetrazzini, 1871-1940

2010-02-22T17:11:00.000-08:00

Rossini, Semiramide, Bel Raggio Lusinghier
Just superb!

Singer of the Day: Kathleen Ferrier, 1912-1953

2010-02-21T15:46:00.000-08:00

Brahms, Vier ernste Gesänge, O Tod,wie bitter bist du

A wonderful tribute to Kathleen Ferrier

Singer of the Day: Janet Baker

2010-02-20T21:08:00.000-08:00

From Dido and Aeneas- When I am Laid

Berlioz, Nuits d'été Le spectre de la rose
Look at the links on the side under Janet Baker to view the complete Nuits d'été.

Singer of the Day: Alfred Deller, 1912-1979

2010-02-19T19:48:00.000-08:00

Black is the Color

Flow my tears

Singer of the Day: Tito Schipa

2010-02-18T21:15:00.000-08:00

Singer of the Day: Sena Jurinac, b. 1921

2010-02-17T22:28:00.000-08:00

Sena Jurinac was born in Travnik, Bosnia at that time- Yugoslavia. She sang roles in the mezzo and soprano fachs. Her portrayal of Octavian in Strauss' Rosenkavalier is legendary. Her operatic debut was in 1942 in Zagreb, with the role of Mimi.

In this radiant performance of Dove Sono, her voice is like glistening silver, both bright and round and a perfect vibrato constantly spinning even in the most delicate sounds.

Singer of the Day: Franco Corelli, 1921- 2003

2010-02-16T20:48:00.000-08:00

Corelli, in a class of his own! The voice, the technique, the ease, the brilliant timbre, the full sound, the phrasing, the emotion. A force of nature. It's useless to enter the proverbial "who's the all time greatest tenor" discussions. But this performance can easily be considered one of those uniquely great moments in the history of singing.

From Cavelleria Rusticana by Mascagni

Singer of the Day: Giulietta Simionato, b. 1910

2010-02-15T17:25:00.000-08:00

Listen to this exquisite performance! Simionato is unsurpassed in this thrilling and moving performance of "Voi lo Sapete" from Cavalleria Rusticana (Pietro Mascagni)

O don fatale- Don Carlo Verdi

Singer of the Day: Lauritz Melchior

2010-02-14T19:50:00.000-08:00

Lauritz Melchior was born in Copenhagen and became an American citizen in 1947. He started off his career singing baritone and bass. He later switched to tenor and became one of the centuries greatest singers, well known for the heroic tenor roles in Wagner's operas.

Here he is singing "In fernem Land" from Wagner's Lohengrin.

Go here for more!

Singer of the Day: Jussi Bjoerling,1911-1960

2010-02-13T08:27:00.000-08:00

Marvelous singing and artistry!

Singer of the Day: Leyla Gencer. 1928- 2008

2010-02-12T07:28:00.000-08:00

Leyla Gencer (La Diva Turka) was born in Istanbul. She had an illustrious career and was considered the last diva of the twentieth century having performed 72 roles primarily in Europe. She never sang at the Met.

Deh, non volerli vittime", from Bellini's Norma, in a performance from 1965.

Singer of the Day: Gundela Janowitz, 1937-

2010-02-11T08:50:00.000-08:00

Strauss' Frühling, In dämmrigen Grüften träumte ich lang von deine...

Ach ich fühl's from Mozart, Die Zauberflöte

Ich will dir mein Herze schenken Bach's St Matthew Passion

Singer of the Day: Shirley Verret

2010-02-11T00:48:00.000-08:00

At 59, Shirley Verret sings Voi lo sapete from Cavelleria Rusticana HERE

Singer of the Day: Rolando Panerai

2010-02-10T08:29:00.000-08:00

Singer of the Day: Marian Anderson, 1897- 1993

2010-02-08T23:50:00.000-08:00

"A voice like hers is heard only once in a hundred years." Arturo Toscanini

Handel, He shall feed his flock

Brahms Alto Rhapsody Part 1

Brahms Alto Rhapsody Part 2

Singer of the Day: Richard Tauber, 1891-1948

2010-02-07T20:43:00.000-08:00

Austrian tenor, Richard Tauber was one of the most beloved singers of his time. He made his operatic debut as Tamino in Mozart's Die Zauberflöte. He became best known for his performances of operetta and song.

This performance of Schubert's Ständchen- Leise Flehen is delightful, surprising and rendered in a most personal manner that certainly challenges 20th century performance practices. I was thrilled to come across it.

Singer of the Day: Eula Beal, 1919-2008

2010-02-06T09:45:00.000-08:00

I have to admit that I was completely unfamiliar with this remarkable singer until several weeks ago. The natural beauty of her instrument combined with her natural delivery is spellbinding. Eula Beal had a relatively short lived career, opting to spend her energies raising her family. One can only imagine what her contributions would have been had she continued. Luckily, there are recordings and the footage from the television program Concert Magic. Listen for yourselves!

Schubert's Erlkönig

Singing Erbarme dich/ Have Mercy, Lord from Bach's St. Matthew Passion with Yehudi Menuhin playing the violin solos.

Singer of the Day: Mark Reizen-1895-1992

2010-02-05T09:30:00.000-08:00

The great Ukrainian bass Mark Reizen sings Tchaikovsky's "Sred' shumnovo bala" ("Amidst the din of the ball"), Op.38, No.3 (text by Aleksei Tolstoi)at 79!

In the midst of the noisy ball,
amid the anxious bustle of life,
I caught sight of you,
your face, an enigma.

Only your eyes gazed sadly.
Your divine voice
Sounded like pipes from afar,
Like the dancing waves of the sea.

Your delicate form entranced me,
and your pensiveness,
your sad yet merry laughter,
has permeated my heart since then.

And in the lonely hours of the night,
when I do lie down to rest,
I see your pensive eyes,
hear your merry laugh...

And wistfully drifting
into mysterious reveries,
I wonder if I love you,
but it seems that I do!

Singer of the Day:Imgard Seefried, 1919-1988

2010-02-04T08:00:00.000-08:00

Irmgard Seefried is one of the all time greats! This remarkable performance of Mahler's Ich bin der Welt abhanden gekommen speaks for itself.

Poem:Friedrich Rückert (1788-1866)

I am lost to the world
with which I used to waste so much time,
It has heard nothing from me for so long
that it may very well believe that I am dead!

It is of no consequence to me
Whether it thinks me dead;
I cannot deny it,
for I really am dead to the world.

I am dead to the world's tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!

Singer of the Day: George Thill, 1897-1984

2010-02-03T09:45:00.000-08:00

It seems only natural to follow Ninon Vallin with George Thill, who is considered by many to be the greatest French tenor of the twentieth century. He was singing at the same time as Vallin in France. Thill began his studies in Paris and later went to Naples for further training. He returned to Paris and made his Paris Opéra debut in 1924. He would dominate the scene for the next two decades singing over fifty leading roles.

Singer of the Day: Ninon Vallin-1886-1961

2010-02-02T18:07:00.000-08:00

A rare artist! An extremely versatile singer--she sang opera, mélodie and Lieder (in French.) Her secure technique and superb musicianship made her one of the most sought after singers of her generation. Debussy said her voice shimmered like silver. He chose her for the première of his "Trois poèmes de Stéphane Mallarmé." In addition to Debussy, Ninon Vallin collaborated with a number of important composers, including Albert Roussel, Reynaldo Hahn, Xavier Leroux, Louis Beyot, Marguerite Béclard D’Harcourt and Joaquín Nin.

Here she sings L'Heure Exquise by Reynaldo Hahn

The white moon
shines in the woods.
From each branch
springs a voice
beneath the arbor.
Oh my beloved…

Like a deep mirror
the pond reflects
the silhouette
of the black willow
where the wind weeps.
Let us dream! It is the hour…

A vast and tender
calm
seems to descend
from a sky
made iridescent by the moon.
It is the exquisite hour!

Singer of the Day: Paul Robeson 1898- 1976

2010-02-01T20:30:00.001-08:00

Since Febrauary is Black History month, I thought it fitting to start with the great American bass-baritone, actor, lawyer, social activist and athelete, Paul Robeson.

Robeson was a twentieth century Renaissance man. His talent, intellect and political activism made him one of the most powerful figures of his time and American history.

"All men all brothers because of their music."

"No pretty songs, no pretty songs, gentlemen. Time for some full citizenship."

Mephistopheles' Song in Auerbach's Cellar (Song of the Flea) Pesnya Mefistofelya o blokhe by Mussorgsky 1879 1879 It is based on Faust: The First Part of the Tragedy (1808) by Goethe, translated by Strugovshchikov

English translation:

There once was a king
who had a large flea
whom he loved not a bit less
than his very own son.
He called his tailor
and the tailor came directly;
"Here - make clothing for this knight,
and cut him trousers too!"

In silk and satin
was the flea now made up;
he had ribbons on his clothing,
and he had also a cross there,
and had soon become a minister
and had a large star.
Then his siblings became
great lords and ladies of the court as well.

And the lords and ladies of the court
were greatly plagued;
the queen and her ladies-in-waiting
were pricked and bitten,
and they dared not flick
or scratch them away.
But we flick and crush them
as soon as one bites!

Here is another example of the rare and beautiful instrument of this remarkable man.

February 2010 is "Singer of the Day" month

2010-02-01T11:06:00.001-08:00

I've decided to begin a new tradition. For the month of February, I'm going to start a series of posts called "Singer of the Day." Each day will feature a great singer from the past. So stay tuned. It may be someone completely familiar to you music mavens, but it may also be someone who has fallen off your radar for some reason. Or these may be artists who you are not at all familiar with. I hope the choices will interest you.

Sills Sillsiana--Opera Mashup!

2009-12-16T08:10:00.000-08:00

Mashups seem to be everywhere these days! This is Beverly Sills doing her famous Sillsillana piece: a pastiche of every famous coloratura piece mashed together to make this hysterically fun piece. I have it as an MP3, and never thought I'd find it at Youtube, but there it was.

It was arranged by her coach and for those of you who know some of these pieces, you will hear smatterings of:

Rossini: Il Barbieri di Siviglia
Strauss: Ariadne Auf Naxos
Thomas:Mignon
Le coq d'or
Mozart:Die Zauberflöte
Manon
I Puritani
Der Hirt auf dem Felsen (By Schubert)
Lucia di Lammermoor
Nocturne op. 9, No. 2 (by Chopin)
Les côntes d'Hoffmann
La Traviata

ENJOY!

Mercedes Sosa, 1935- 2009

2009-10-05T09:10:00.001-07:00

The great Argentinian Folk Singer, Mercedes Sosa who gave voice to South American political protest, died yesterday. She was 74. You can read more about her here.

She formed part of the New Song movement in Latin America, which combined folk song traditions with contemporary music that often featured political messages in its lyrics. She was known throughout Latin America and Europe, with one of her most popular songs titled "Gracias a la Vida," heard in the performance above.
Rest in peace.

Jan DeGaetani Remembered

2009-09-15T08:16:00.000-07:00

Today marks the 20th anniversary of the death of my teacher Jan DeGaetani. I find it difficult to believe that these twenty years have passed, perhaps because it’s difficult still to imagine a world without Jan in it.

Jan taught many students who would later go on to have successful careers. All were inspired by her gift: an uncanny ability to sound spontaneous, simple, unpretentious and yet sophisticated and profound. She taught by creating an environment in which questions stimulated the imagination.

Jan DeGaetani died at age 56, a tragically young death for her family, students and the musical world. She was among the most respected musicians of her generation, and considered one of the most eloquent and extraordinary song recitalists the United States has ever produced. Jan devoted her musical life to art song and music of every genre, and her longtime collaboration with pianist Gilbert Kalish produced many unforgettable performances. Theirs was a true partnership between, not only a singer and pianist, but between two very special musicians. And in their recordings, they left an important legacy for future generations.

I miss her today and every day.

(August 1989-the last time I saw Jan)

Additional Links:
NY TImes Obituary
New Yorker Magazine, Tribute Concerts

From a 1981 New York Times Review, Donald Henahan

"With the pianist Gilbert Kalish, she went straight to the heart of every song she sang, and never more directly and affectingly than in the world premiere of George Crumb's song cycle, ''Apparition.''

France

2009-06-03T19:21:00.001-07:00

Article on Song, Lied and Mélodie by Milagro Vargas

2009-06-03T19:14:00.000-07:00

Go here for the article I've written on Song, Lied and Mélodie.

The final essay question will be taken from information in this article.

Be sure to click on the section that is highlighted on the second page, which leads you to a New York Times review that amplifies that section.

Francis Poulenc: 1899- 1963- Two excerpts from La Courte Paille, Les Chemins de l'amour and Cé

2009-05-27T19:29:00.000-07:00

Below you will find two exquisite performances of two pieces from Poulenc's La Courte Paille. Poulenc is at the piano with Denise Duval,the legendary French soprano who created the roles of Elle in La voix humaine and Thérèse in Les mamelles de Tirésias. She also had much success with the role of Blanche de la Force in Dialogues of the Carmelites, although she didn't sing the world premiere. The artistry between these two is absolutely stunning. Like Britten, Poulenc is considered one of the all time great accompanists. Read this NY Times article by William Crutchfield for more information.

The video begins with a short interview between Poulenc and the host. In it, you can hear Poulenc speaking about the cycle, that he wrote it for Denise Duval and he refers to her as one of his favorite singers. (They toured together quite a bit towards the end of his life, forming in addition to his great partnership with Bernac, one of the great duos in Art Song performance.) Listen to the interview and see how good your French comprehension is!

From
La Courte Paille/The Short Straw
Text: Maurice Carème (1899- 1978)

# 2
Quelle aventure/What an adventure

A flea was pulling
a little elephant in its carriage.
They looked
in all the jewelry store windows.

My God, my God! What an adventure!
Who's going to believe me?

The baby elephant was absent-mindedly
sucking on a pot of jam.
The flea didn't mind,
and pulled him with a smile on her face.

My God, my God! And it keeps right on!
I'll start to think I'm crazy!

Suddenly, by a fence,
the flea blew away in the wind
and I saw the little elephant
break down walls as he ran away.

My God, my God! It surely happened,
but how will I tell Mother?

# 5
Les anges musiciens/ The musical angels

Upon the threads of the rain
the Thursday angels
play on the harp for a long time.
And beneath their fingers, Mozart
tinkles, deliciously,
in drops of blue joy
since it is always Mozart
which is played endlessly
by the musician angels
who, all day Thursday,
make their harps sing
the sweetness of the rain.

Complete translations for La Courte Paille found here.

Denise Duval, soprano and Francis Poulenc, piano

Next, listen to this fabulous find!
Singer/actress, Yvonne Printemps sings "Le Chemin de l'amour" with orchestra in this very affecting performance. Pay close attention to the wonderful portamenti and her superb attention to the text.

Les Chemins de l'amour/ The Pathways of Love
Text: Jean Anouilh (1910-)

The pathways that go to the sea
have kept from our passage
some plucked flowers
and the echos under the trees
of our sweet, clear laughter.

Alas! Some days of happiness,
radiant times flown away,
I go on without finding traces of them in my heart.

Pathways of my love,
I search for you always,
Lost pathways, you're not there any more
and your echos are deafened.
Pathways of desperation,
Pathways of memories,
Pathways of that first day,
Divine pathways of love!

If I have to forget one day,
life erasing everything;
I want that in my heart one memory remains
stronger than any other love:
the memory of the pathway,
where radiant and delirious
one day I felt your hands burning upon me.

Pathways of my love,
I search for you always,
Lost pathways, you're not there any more
and your echos are deafened.

Pathways of desperation,
Pathways of memories,
Pathways of that first day,
Divine pathways of love!

Yvonne Printemps, soprano

One Final Performance: "C" Text: Louis Aragon (1897-1982)
This is one of Poulenc's most beautiful and moving compositions. It's not on the listening list, but you must be familiar with it!

Aragon, who was a member of the Communist Party since 1927 and was a high ranking member of the French Resistance wrote the poem. It is filled with imagery about the war, nostalgia for the past and hope for the future. Note that each line in the French ends with the rhyme Cé. Hugues Cuenod is the tenor. The pianist is unfortunately not noted.

Le Pont de Cé/ The bridge of Cé

I have crossed the bridges of Cé
It was there that it all began
A song of times past
Speaks of a wounded knight
Of a rose upon the road
And of a bodice unlaced
Of the castle of a mad duke
And of the swans in its moats
Of the meadow where will dance
An eternal fiancée
And like cold milk I drank
The long lay of false glories
The Loire carries off my thoughts
Along with the overturned cars
And the defused weapons
And the tears not rubbed away
Oh my France, oh my abandoned one
I have crossed the bridges of Cé.

Hugues Cuenod, tenor, pianist, unfortunately not noted.

Antoine Watteau: 1684-1721 /Verlaine/Debussy/Fauré

2009-05-09T15:38:00.001-07:00

Click on the photos to enlarge!

Meeting in the open air

Pierrot Content c. 1712

Fetes Champetres

Italian Comedians

Gilles

Debussy: La Flûte de Pan, C'est l'extase langoureuse, Il pleure dans mons coeur, Mandoline

2009-05-07T14:09:00.003-07:00

La Flûte de Pan, Maggie Teyte, Alfred Cortot

Elly Ameling, Dalton Baldwin

Claire Croiza: mezzo-soprano Francis Poulenc: piano Recorded: June 1928

Elizabeth Schwarzkopf, soprano, pianist, not listed

More Debussy, with Debussy at the piano, Mary Garden singing:

Green HERE

Il pleure dans mon coeur HERE

L'ombre des arbres HERE

Paris Exposition 1889

2009-05-07T14:09:00.001-07:00

"In the year 1889 there was a revolution in Paris. No shots were fired, no buildings torched, no palaces looted. But on the Champ de Mars and the Esplanades des Invalides, the past and the future fought a world war of ideas. Iron battled stone, Javanese ritual music defied the siege of German orchestration, electricity triumphed over gas. It was a year to celebrate a revolution's centennial, a time to consolidate one hundred years of industry, art and social ideals that flowed from the great events of 1789."

The above paragraph is from an article written by Arthur Chandler entitled: Revolution The Paris Exposition Universelle, 1889. It captures the energy and ambience of this extraordinary time in history and this event.
Complete article found here.

Now imagine that you're Debussy living in Paris in 1889. A young, brilliant composer determined to avoid the German tradition.

Naturally, you are drawn to music of other cultures. The Paris Exposition of 1889 comes to town. You hear Rimsky-Korakov conduct his Capriccio espagnol" at the Trocadéro Palace.

You go to the Javanese Pavillion, which was a model "Kampon"-- a village, recreating all aspects of communal village life from agricultural practices to religion. You spend hours listening to the gamelan music from this island in the Malay Archipelago.

You use some of the different scales you've heard when you improvise on the piano, and also the sense of floating qualities of the form and rhythym in Javanese music. All these find a way into your formally composed music-- especially for piano. In six years, you will compose "La Mer."

Imagine the excitement of living in Paris when he did. He witnessed the building of the Paris metro system and the Eiffel Tower. (See below.) He lived alongside Monet, Renoir, Gaughin, Rodin, Baudelaire, Verlaine, Proust, Mallarmé, Emile Zola to mention only a few. In a few years, the Dreyfus Affair of 1894 would shake the foundations of the French Third Republic. You would have to choose-- Dreyfusard or anti-Dreyfusard? Not a time to sit on the fence. Fin de siècle Paris-- an important nexus of artistic and social activity. What a time to be alive! The Belle Époque has arrived.

A FEW IMAGES FROM THE PARIS EXPOSITION 1889

Built between 1887 and 1889, the Eiffel Tower was contructed as the entrance arch for the Exposition Universelle, the 1889 World's Fair.

Original poster from the 1889 Exposition Universelle

Panorama of the Place de la Concorde at the Exposition Universelle held in Paris in 1889.

Russian House Exhibition at the 1889 Exposition Universelle

Crowd of people along parterre beside illuminated fountains, view toward the Central Dome, Paris 1889 Exposition Universelle

Illustration of the interior of the Galerie des Machines, designed by Ferdinand Dutert,1889 Exposition Universelle

Gallery of various industries,1889 Exposition Universelle

Entrance to the Javanese Pavillion,1889 Exposition Universelle

Female Javanese dancer, seated in costume,1889 Exposition Universelle

Six people posed before Javanese house in Javanese village, 1889 Exposition Universelle

WATCH THIS FILM! It's an excellent compilation of photos with an interesting voice over at about 1:30 that gives a flavor of the times!

Many more photos here: Library of Congress Archive

Gabriel Fauré: Some comparative performances

2009-04-17T19:52:00.000-07:00

Fauré (1845- 1924)
Ninon Vallin sings "Les Berceaux" (Piece begins around 2 minutes in, if you're in a hurry. Also, I'm not sure, but it may be Cortot at the piano!)

Elly Ameling sings "Après un rêve"; Dalton Baldwin, piano

Georges Thill sings "Après un rêve"

Nicolai Gedda sings "Nell"

Two different versions of Kiri Te Kanawa singing "Nell"

Kiri Te Kanawa sings "Nell"; Richard Amner, piano (First Version)

Kiri Te Kanawa sings "Nell"; Roger Vignoles, piano (Second Version)

Duparc

2009-04-15T19:58:00.000-07:00

Two wonderful performances with French baritone, Gérard Souzay

Duparc "L'Invitation au voyage"
Gérard Souzay, baritone Dalton Baldwin piano

AND
Gérard Souzay sings "Chanson triste" in an orchestral version here.

Janet Baker is transcendent!

2009-04-14T20:16:00.000-07:00

Six or so years ago, I was asked to be on a panel to discuss the topic of "Definitive Performances" or something like that. The panel discussion never took place. I don't quite recall why, but I was relieved. I really didn't want to take part in it and I didn't even know whether I believed there was such a thing. I still don't know, but if I did, this Les Nuits d'été with Janet Baker would certainly be one of my choices.

When it comes to Les Nuits d'Été, the Régine Crespin recording with Ansermet has always been the acccepted gold standard. I remember listening to it until the LP was worn down, same thing with Crespin's recording of Ravel's Shéhérazade.

Coming across these videos of a live performance of Janet Baker singing these pieces with Herbert Blomstedt conducting was such a thrill! Her performance is utterly transcendent.

Having never seen Baker or Crespin perform "live" is one of my greatest disappointments, so this is really an amazing treat. No better way to start our journey into Mélodie.

After watching these, I would encourage you to also view the Crespin performance of Spectre d'une rose, which is at YouTube HERE. Crespin's approach focuses on the ethereal quality of the "spectre." Her ability to control her sound to achieve this is astonishing.

Berlioz, Nuits d'été. Janet Baker.n°1. Villanelle.

2009-04-14T19:45:00.000-07:00

Note: This is the only one that is out of sink. The rest are fine.
All translations are from the Lied Art Song Texts Page- Link at left of blog.

Villanelle

When verdant spring again approaches,
When winter's chills have disappeared,
Through the woods we shall stroll, my darling,
The fair primrose to cull at will.

The trembling bright pearls that are shining,
Each morning we shall brush aside;
We shall go to hear the gay thrushes
Singing.

The flowers are abloom, my darling,
Of happy lovers 'tis the month;
And the bird his soft wing englossing,
Sings [carols sweet]1 within his nest.

Come with me on the mossy bank,
Where we'll talk of nothing else but love,
And whisper with thy voice so tender:
Always!

Far, far off let our footsteps wander,
Fright'ning the hiding hare away,
While the deer at the spring is gazing,
Admiring his reflected horns.

Then back home, with our hearts rejoicing,
And fondly our fingers entwined,
Lets return, let's return bringing fresh wild berries
Wood-grown.

Berlioz, Nuits d'été. Janet Baker.n°2. Le spectre de la rose

2009-04-14T19:43:00.000-07:00

Text: Pierre-Jules-Théophile Gautier (1811-1872)

Le spectre de la rose/
The ghost of the rose

Open your closed eyelid
Which is gently brushed by a virginal dream!
I am the ghost of the rose
That you wore last night at the ball.
You took me when I was still sprinkled with pearls
Of silvery tears from the watering-can,
And, among the sparkling festivities,
You carried me the entire night.

O you, who caused my death:
Without the power to chase it away,
You will be visited every night by my ghost,
Which will dance at your bedside.
But fear nothing; I demand
Neither Mass nor De Profundis;
This mild perfume is my soul,
And I've come from Paradise.

My destiny is worthy of envy;
And to have a fate so fine,
More than one would give his life
For on your breast I have my tomb,
And on the alabaster where I rest,
A poet with a kiss
Wrote: "Here lies a rose,
Of which all kings may be jealous."

Berlioz, Nuits d'été. Janet Baker.n°3. Sur les lagunes.

2009-04-14T19:40:00.002-07:00

Text: Pierre-Jules-Théophile Gautier (1811-1872)

Sur les lagunes/
On the lagoons

My beautiful love is dead,
I shall weep always;
Into the tomb, she has taken
My soul and my love.
Without waiting for me,
She has returned to heaven.
The angel which took her there
Did not want to take me.
How bitter is my fate!
Ah! without love, to go to sea!

The white creature
Is lying in the coffin;
How all in Nature
Seems bereaved to me!
The forgotten dove
Weeps and dreams of the one who is absent;
My soul cries and feels
That it has been abandoned.
How bitter is my fate,
Ah! without love, to go to sea!

Above me the immense night
Spreads itself like a shroud;
I sing my romanza
That heaven alone hears.

Ah! how beautiful she was,
And how I loved her!
I will never love
Another woman as much as I loved her;
How bitter is my fate!
ah! without love, to go to sea!
To go to sea!

Berlioz, Nuits d'été. Janet Baker.n°4. Absence.

2009-04-14T19:40:00.001-07:00

Text: Pierre-Jules-Théophile Gautier (1811-1872)

Absence/
Absence

Come back, come back, my dearest love!
Like a flower far from the sun,
The flower of my life has drooped,
removed from the charm of your smile.

Between our hearts how long a distance!
What a wide space our kisses divide!
O bitter fate! O cruel absence!
O longing vain, unsatisfied!

To that far land where dwells my love,
Alas! if I could only go!
If wings were tied to my body,
As to my soul, then I would fly!

Far away, above the green hill tops,
The lofty mountains with peaks of blue,
The meadows gay, the babbling rivers,
With quick, sure wing I'd take my flight!

The body can't keep up with thought!
With me the spirit goes ahead,
Just like a poor dove that is wounded
And lights on the roof of his cot.

Berlioz, Nuits d'été. Janet Baker.n°5. Au cimetière.

2009-04-14T19:38:00.000-07:00

Text: Pierre-Jules-Théophile Gautier (1811-1872)

Au cimetière/
At the cemetery

Do you know the white tomb
Where floats with plaintive sound,
The shadow of a yew?
On the yew a pale dove,
Sad and alone under the setting sun,
Sings its song:

An air sickly tender,
At the same time charming and ominous,
Which makes you feel agony
Yet which you wish to hear always;
An air like a sigh from the heavens
of a love-lorn angel.

One would say that an awakened soul
Is weeping under the earth in unison
With this song,
And from the misfortune of being forgotten,
Moans its sorrow in a cooing
Quite soft.

On the wings of the music
One feels the slow return
Of a memory.
A shadow, a form angelic,
Passes in a trembling ray of light,
In a white veil.

The beautiful flowers of the night, half-closed,
Send their perfume, faint and sweet,
Around you,
And the phantom of soft form
Murmurs, reaching to you her arms:
You will return!

Oh! never again near the tomb
Shall I go, when night lets fall
Its black mantle,
To hear the pale dove
Sing on the limb of the yew
Its plaintive song!

Berlioz, Les Nuits d'été. Janet Baker.n°6. L'ile inconnue

2009-04-14T19:33:00.000-07:00

Text: Pierre-Jules-Théophile Gautier (1811-1872)

L'ile inconnue/
The unknown isle

Say, young beauty,
Where do you wish to go?
The sail swells itself,
The breeze will blow.
The oar is made of ivory,
The flag is of silk,
The helm is of fine gold;
I have for ballast an orange,
For a sail, the wing of an angel,
For a deck boy, a seraph.

Say, young beauty,
Where do you wish to go?
The sail swells itself,
The breeze will blow.

Is it to the Baltic?
To the Pacific Ocean?
To the island of Java?
Or is it well to Norway,
To gather the flower of the snow,
Or the flower of Angsoka?
Say, young beauty,
Where do you wish to go?
Lead me, says the beauty,
To the faithful shore
Where one loves always!
This shore, my darling,
We hardly know at all
In the land of Love.

Scandinavia

2009-04-07T00:44:00.000-07:00

Norway landscape

Sweden: Riddar Island is part of the oldest area in Stockholm, Sweden. It is known for its historic sites and architecture

Finland landscape: There are over 180,000 lakes in Finland.

Norway: Grieg's "En Svane" and selections from "Haugtussa"

2009-04-05T21:52:00.002-07:00

Edward Grieg (1843- 1907)
Swedish baritone,Håkan Hagegård, baritone, Warren Jones, piano
"En Svane" (A Swan) Poem: Henryk Ibsen
The text and translations are in the video. It is in Norwegian.

The next performance is from "Haugtussa, op 67 (The Mountain Maid), 8 songs in Norwegian.

It is a song cycle to poems by Arne Garborg (1851-1924). "Grieg himself maintained that the 'Haugtussa' songs were the best he ever composed. Grieg's Haugtussa" cycle is a richly varied poetic work which nonetheless possesses a high degree of unity. The poems are centred around Veslemoey, a visionary young herd girl from a wilderness area in southwestern Norway. Rejected by her lover, she tries to escape life's harsh realities and the indiference of those around her. In her visions she comes into contact with nature itself and the powers of the underworld." by FinnBenestad; Cd. "Grieg; Songs Lieder"

This the fourth song in the cycle:
Møte, n°4 (The Enounter)
text in Norwegian (Nynorsk)

Ho sit ein Sundag lengtande i Li;
det strøymer på med desse søte Tankar,
og Hjarta fullt og tungt i Barmen bankar,
og Draumen vaknar, bivrande og blid.
Då gjeng det som ei Hildring yver Nuten;
ho raudner heit; - der kjem den vene Guten.

Burt vil ho gøyma seg i Ørska brå,
men stoggar tryllt og Augo mot han vender;
dei tek einannan i dei varme Hender
og stend so der og veit seg inkje Råd.
Då bryt ho ut i dette Undringsord:
"Men snille deg då, at du er så stor!"

Og som det lid til svale Kveldings Stund,
alt meir og meir i Lengt dei saman søkjer,
og brådt um Hals den unge Arm seg krøkjer
og øre skjelv dei saman Munn mot Munn.
Alt svimrar burt. Og der i Kvelden varm
i heite Sæle søv ho i hans Arm.
*******************************************
One Sunday she sits pensive on the hillside,
while sweet thoughts flow over her,
and her heart beats full and heavy in her breast,
and a shy dream wakens within her.
Suddenly, enchantment steals along the hilltop.
She blushes red; there he comes, the boy she loves.

She wants to hide in her confusion,
but timidly she raises her eyes to him;
their warm hands reach out for one another,
and they stand there, neither knowing what to say.
Then she bursts out in admiration:
"My, how tall you are!"

And as the day moves softly into evening,
they turn to each other full of longing,
their young arms wind around each other's necks,
and trembling mouth meets mouth.
Everything shimmers away, and in the warm evening
She falls blissfully asleep in his arms.

Swedish mezzo, Anne Sofie von Otter singing, Bengt Forsberg, piano.

Here is something that I found completely by chance. This is Lynni Treekrem singing a beautiful composition by Ketil Bjørnstad, a composer I knew nothing about until today. It's actually hard to pin the style, straddling folk and a more modern idiom. I thought it would be interesting to hear what this rich poetry would sound like in the hands of a contemporary composer.

This is the prologue of the Haugtussa, Text: Arne Garborg (1851-1924) I wasn't able to find a translation.

Til deg, du Hei og bleike Myr
med Bukkeblad,
der Hegre stig og Heilo flyr,
eg gjev mitt Kvad.

Til deg, du visne Lyng um Haug,
der Draumar sviv,
eg gjev min Song um Dimd og Draug
og dulde Liv.

Eg kjenner deg, du Trollheim graa,
du Skugge-Natt!
Eg rømde rædd; men stundom maa
eg sjaa deg att.

Eg kjenner deg, du Havsens Marm,
med Galdre-Song;
du gauv meg Gru i rædde Barm
so mang ein Gong.

Eg kjenner Striden tung og sein
mot Trolldoms Vald.
Gud hjelpe oss for brotne Bein
og Mannefall!

Eg kjenner deg, - eg kjenner deg,
som ikkje vann! --
Eg saag din Strid, eg veit din Veg
i Skugge-Land.

Eg røynde sjølv den Striden stygg
i mange Aar,
med ville Mot, med bøygde Rygg,
med svære Saar.

Du um meg sviv, du hjaa meg sit,
du arme Aand!
I meg du enno riv og slit
i dine Baand.

Eg veit det væl: dei sterke Troll,
den Vilje rik;
ein Baat i Foss, eit Kvad i Moll,
sløkkt i eit Skrik. Â--

Men Lerka stig fraa gløymde Grav
med Sigers Ljod;
og Vinden stryker inn av Hav
so frisk og god.

Og um me kjenner Graat og Gru
og Saknad saar,
so maa me Lerkesongen tru,
som lovar Vaar.

Sweden: Alfvén, Stenhammar and Sjöberg

2009-04-05T21:52:00.001-07:00

1. Hugo Alfvén [1872-1960]:
Så Tag Mit Hjerte (So Take my Heart)

2. Wilhelm Stenhammar [1871-1927]:
I Skogen (In the Woods)

3. Carl Sjöberg [1861-1900]:
Tonerna (Tunes)
Châtelet, Paris, 2001
piano: Scottish pianist Malcolm Martineau.

I wasn't able to find all the texts for these. But I really don't think it's necessary. Just listen, you'll see what I mean. This is from a live recital at the Chatelet in Paris. I have the DVD. It's very moving and expressive singing.

Go HERE for the great Jussi Björling singing Stenhammar's "Severige" with a beautiful film by the poster.

Finland: Siblelius' "Flickan kom ifrån sin älsklings möte," "Luonnotar" and Saarriaho excerpt

2009-04-05T21:24:00.000-07:00

Jean Sibelius 1865- 1957

Some things to note:
A majority of his songs are in Swedish. Sibelius was brought up in a Swedish-speaking family, but he entered a Finnish-speaking school and was bilingual, Swedish however was his mother tongue.

A couple of interesting facts concerning the language issue in 19th century Finland:

From about the year 1200 until 1809 Finland was a part of Sweden, which explains the important position of the Swedish language in the 19th century. The Swedish language remained in this position even when Finland became a Grand Duchy of Russia in 1809 and after Finland gained its independence in 1917. Today Swedish is the second official language of Finland. During the 19th century Swedish was the language of the educated classes, while Finnish was regarded as a language of the peasants. It was not until the second half of the 19th century that Finnish was recognised as the official language of Finland and the Finnish-language secondary school system was founded.

The main source of Sibelius' inspiration comes from Swedish lyric and nature poetry, whether by Finnish poets writing in Swedish such as Runeberg, Tavastjerna or mainland Swedes like Fröding and Rydberg. One quarter of his song output are by Runeberg, who was much admired by Brahms.

Both Sibelius and Swedish composer Stenhammar set the famous poem by the Finnish poet, Runeberg- "Flickan kom ifrån sin älsklings möte," which was written in Swedish. Stenhammar's is the earlier setting by seven years. Is anyone confused?
This is Sibelius' setting.

Flickan kom [från]1 sin älsklings möte,
kom med röda händer. Modern sade:
"Varav rodna dina händer, flicka?"
Flickan sade: "Jag har plockat rosor
och på törnen stungit mina händer."

Åter kom hon från sin älsklings möte,
kom med röda läppar. Modern sade:
"Varav rodna dina läppar, flicka?"
Flickan sade: "Jag har ätit hallon
och med saften målat mina läppar."

Åter kom hon från sin älsklings möte,
kom med bleka kinder. Modern sade:
"Varav blekna dina kinder, flicka?"
Flickan sade: "Red en grav, o moder!
Göm mig där och ställ ett kors däröver,
och på korset rista, som jag säger:
En gång kom hon hem med röda händer,
ty de rodnat mellan älskarns händer.
En gång kom hon hem med röda läppar,
ty de rodnat under älskarns läppar.
Senast kom hon hem med bleka kinder,
ty de bleknat genom älskarns otro."
*******************************************
The girl came from meeting her lover,
came with her hands all red. Said her mother:
"What has made your hands so red, girl?"
Said the girl: "I was picking roses
and pricked my hands on the thorns."

Again she came from meeting her lover,
came with her lips all red. Said her mother:
"What has made your lips so red, girl?"
Said the girl: "I was eating raspberries
and stained my lips with the juice."

Again she came from meeting her lover,
came with her cheeks all pale. Said her mother:
"What has made your cheeks so pale, girl?"
Said the girl: "Oh mother, dig a grave for me,
Hide me there and set a cross above,
And on the cross write as I tell you:
Once she came home with her hands all red,
... they had turned red between her lover's hands.
Once she came home with her lips all red,
... they had turned red beneath her lover's lips.
The last time she came home with her cheeks all pale,
... they had turned pale at her lover's faithlessness."

I found this particular performance interesting because it introduced me to the singing of tenor, Rickard Söderberg, whom I hadn't known and also because I've heard this piece only done by women.

LUONNOTAR
When I first heard Luonnotar, I was completely overwhelmed by the myth and the primeval atmosphere created in this extraordinary piece.(See the Link at the left for more info. on Luonnotar and Sibelius.) If you're not familiar with this piece, I think you're in for a marvelous treat. This performance by Finnish Soprano, Karita Mattila is very good but there are others. In particular, an outstandiing recording by the Finnish soprano, Soile Isokoski. It's amazing!

Luonnotar (Daughter of Nature)

Language: Finnish

Olipa impi, ilman tyttö,
Kave Luonnotar korea,
Ouostui elämätään,
Aina yksin ollessansa,
Avaroilla autioilla.

Laskeusi lainehille,
Aalto impeä ajeli,
Vuotta seitsemän sataa
Vieri impi veen emona,
Uipi luotehet, etelät,
Uipi kaikki ilman rannat.

Tuli suuri tuulen puuska,
Meren kuohuille kohotti.
"Voi, poloinen, päiviäni.
Parempi olisi ollut
Ilman impenä elää.
Oi, Ukko, ylijumala!
Käy tänne kutsuttaissa."

Tuli sotka, suora lintu,
Lenti kaikki ilman rannat,
Lenti luotehet, etelät,
Ei löyä pesän soia.

"Ei, ei, ei.
Teenkö tuulehen tupani,
Aalloillen asuinsiani,
Tuuli kaatavi,
Aalto viepi asuinsiani."

Niin silloin veen emonen,
Nosti polvea lainehesta.
Siihen sorsa laativi pesänsä,
Alkoi hautoa.

Impi tuntevi tulistuvaksi.
Järkytti jäsenehensä.
Pesä vierähti vetehen,
Katkieli kappaleiksi.

Muuttuivat munat kaunoisiksi:
Munasen yläinen puoli
Yläiseksi taivahaksi,
Yläpuoli valkeaista,
Kuuksi kumottamahan,
Mi kirjavaista,
Tähiksi taivaalle,
Ne tähiksi taivaalle.

One final excerpt from a piece by Kaija Saariaho. She is a gifted contemporary, Finnish composer. This is a short introduction to her compositional style. There are other examples of her work at YouTube.

This piece was written for Edna Michell's Compassion Compassion project. Saariaho, speaking of her work: "In the composition I follow the idea of a dialogue, suggested by the text I have chosen. The intimate nature and fragile sound world of the duo mirror the fragility of our uncertain existence." Go here for more about Saariaho.

Eastern Europe

2009-04-04T18:36:00.001-07:00

http://en.wikipedia.org/wiki/File:Dist_of_hu_lang_europe.png

Map of the Czech Republic

Images of Poland, Czech Republic and Hungary

2009-03-28T21:41:00.001-07:00

KRAKOW, POLAND

PRAGUE, CZECH REPUBLIC

BUDAPEST, HUNGARY

Czechoslovakia

2009-03-28T21:40:00.003-07:00

ANTONIN DVORAK (1841-1904)
IPA: /dvoɹæk/
Here is a very beautiful performance of mezzo soprano, Bernarda Fink singing two of the Dvorak Biblical Songs Op. 99.

Note: These songs were published first in 1894 for Sop./Tenor or Alto/Baritone and pianoforte. In 1895, he arranged Nos. 1-5 for orchestra and 6-10 were arranged by Zemánek.

1. Psalm 97:2-6
"Oblak a mrákota jest vůkol něho"

Oblak a mrákota jest vůkol něho,
Spravedlnost a soud základ trůnu jeho.
Óheň předchází jej a zapaluje
vůkol nepřátele jeho.
Zasvěcujít' se po okršku světa blýskání jeho;
To vidouc země děsí se.
Hory jako vosk rozplývají
se před obličejem Hospodina,
Panovníka vší země.
A slávu jeho spatřují všichni národové.
******************************************
Clouds and Darkness are around Him:
justice and judgment are foundations of His throne.
Fire goeth before Him, and sets on fire his enemies around Him.
His lightnings flash around the world:
the earth sees it, and trembles.
Mountains melt like wax before the LORD,
the Lord of the whole earth.
and His glory is seen by all the Nations.

2. Psalms 119:114-117,119,120
"Skrýše má a paveza má Ty jsi"

Skrýše má a paveza má Ty jsi,
Na slovo vzaté očekávám.
Odstuptež ode mne, nešlechetníci,
Abych ostříhal přikázáni Boha svého.
Posiluj mne, bych zachován byl,
A patřil ku stanoveným Tvým ustavičně.
Děsí se strachem před Tebou tělo mé,
Nebo soudů Tvých bojím se náramně.
************************************
Thou art my refuge and my shield: I await Thy word.
Depart from me, ye evildoers:
so that I keep the commandments of my God.
Give me strength, so that I shall be saved,
and that I observe your law always.
My flesh trembleth for fear of Thee;
For I am afraid of Thy judgments, exceedingly.

Translations and more information can be found HERE.

Unfortunately, there aren't any noteworthy performances of Dvorak's Gypsy Songs (in Czech) to be found on YouTube. I highly recommend the two recordings of the very talented Czech mezzo-soprano, Magdalena Kožená. She sings songs of Dvorak,Janáček and Martinů.

Here is Renee Fleming singing her signature aria from Dvorak's Opera, Rusalka.

Poland: Chopin

2009-03-28T21:40:00.001-07:00

POLAND
FRÉDÉRIC CHOPIN (1810-1849)

Below, you will find three performances of Chopin's Songs from Op. 74-- I've included two different versions of Życzenie/ Wish, which is the first song in Op. 74 and one performance of Gdzie lubi/ There where she loves #5 OP. 74

Wish, F.CHOPIN song, Ewa Iżykowska soprano; Jerzy Maciejewski - piano

Elzbieta Szmytka, soprano; Malcolm Martineau,piano

You may want to explore the language links I've included in the Link Section of the blog for further study.

Życzenie/ Wish
Text: Stefan Witwicki (1801-1847)

Gdybym ja była słoneczkiem na niebie,
Nie świeciłabym jak tylko dla ciebie.
Ani na wody, ani na lasy, ale po wszystkie
Czasy pod twym okienkiem i tylko dla ciebie
Gdybym w słoneczko mogła zmienić siebie.

Gdybym ja była ptaszkiem z tego gaju,
Nie śpiewałabym w żadnym obcym kraju.
Ani na wody, ani na lasy, ale po wsystkie
Czasy pod twym okienkiem i tylko dla ciebie
Gdybym w słoneczko mogła zmienić siebie.
**********************************************
If I were the sun in the sky
I wouldn't shine just on you.
Neither on lakes nor forests but on everything;
Oh the times under your window and only for you
If I could only change into the sun.

If I were a bird from that forest
I wouldn't sing in any foreign country
Neither on lakes nor forests but on everything;
Oh the times under your window and only for you
If I could only change into the sun.

Elzbieta Szmytka, soprano; Malcolm Martineau,piano
Gdzie lubi/ There where she loves #5 OP. 74
Stefan Witwicki (1801-1847)

Strumyk lubi wdolinie,
Sarna lubi w gęstwinie,
Ptaszek lubi pod strzechą,
Lecz dziewczyna, dziewczyna!

Z uciechą lubi gdzie niebieskie oko,
Lubi gdzie i czarne oko,
Lubi gdzie wesołe pieśni,
Lubi gdzie i smutne pieśni.

Sama nie wie gdzie lubi,
Wszędzie, wszędzie serce zgubi,
Sama nie wie gdzie lubi,
Wszędzie, wszędzie serce zgubi

**************************************
There where she loves

Streams gurgle through the valley;
Birds are nesting under the eaves;
Deer hide in the forest,
But where can a girl's heart find its home?

Perhaps where there are bright blue eyes,
Or dark, deep, mysterious ones;
But to songs of love or pain
Her heart may or may not fly.

She herself is powerless
As to where her heart will alight.
She is powerless
As to where her heart will stray.

This is Chopin´s Polish song called Śpiew z mogiły (Hymm from the tomb), Op. 74, no. 17. The film is a mini history lesson accompanied by the very beautiful last song of Op. 74.

All translations are from the Lied Art Song Page.

HUNGARY

2009-03-28T21:38:00.000-07:00

Hungarian Folk Song

Some info on Hungarian Soprano, Erika Miklósa

Interview with composer: Béla Bartók (1881-1945)
Listen to him speaking about his music.

Bartók plays Bartók Romanian Dance no. 1
Many other performances of the composer playing his own music at Youtube!

I wasn't able to find very many examples of Bartok or Kodaly Songs. But here is the wonderful Lucia Popp,who was born in Slovakia (formerly Czechoslovakia) with pianist, Geoffrey Parsons. She sings four Kodaly Folk Songs in Hungarian and according to Kata, her pronunciation is perfect!
Zoltán Kodály: "Magyar népzene" (Hungarian Folk Music/Ungarische Volksmusik)

"Akkor szép az erdő" (Lovely is the forest/Schön ist' s im Walde)

"Kocsi, szekér" (Wheelcart, barrow/Noch ein Monat)

"Ifjúság, mint sólyommadár" (A Little Sad Song/Jugend)

SEE ADDITIONAL LINKS UNDER THE COMMENTS OF THIS POST!

Spain and South America

2009-03-26T22:05:00.000-07:00

Spanish Singer by Manet

Goya

Harmony of the Universe

2009-03-25T22:45:00.000-07:00

"An Astronomer"- detail from a map of the planets from "The Celestial Atlas" by Andreas Cellarius
"Harmony of the Universe" my title.

"Polo" by Manuel de Falla

2009-03-25T21:53:00.000-07:00

Teresa Berganza, mezzo soprano
Gabriel Estarellas, guitar
"Polo" from Siete Canciones Españolas by Manuel de Falla
Text- Traditonal

¡Ay!
Guardo una, ¡Ay!
Guardo una, ¡Ay!
¡Guardo una pena en mi pecho,
¡Guardo una pena en mi pecho,
¡Ay!
Que a nadie se la diré!

Malhaya el amor, malhaya,
Malhaya el amor, malhaya,
¡Ay!
¡Y quien me lo dió a entender!
¡Ay!
**************************************
Ay!
I keep a... (Ay!)
I keep a... (Ay!)
I keep a sorrow in my breast,
I keep a sorrow in my breast
that to no one will I tell.

Wretched be love, wretched,
Wretched be love, wretched,
Ay!
And he who gave me to understand it!
Ay!

Translations from
The Lied and Art Song Texts Page

"El paño moruno" by Manuel de Falla

2009-03-25T21:51:00.000-07:00

Teresa Berganza, mezzo soprano
Gabriel Estarellas, guitar
"El paño moruno" from Siete Canciones Españolas by Manuel de Falla (1876-1946)
Text: Traditional

Al paño fino, en la tienda,
una mancha le cayó;
Por menos precio se vende,
Porque perdió su valor.
¡Ay!
*********************************
On the fine cloth in the store
a stain has fallen;
It sells at a lesser price,
because it has lost its value.
Alas!

"Sevillanas del Siglo XVIII" by Federico Garcia Lorca

2009-03-25T19:35:00.000-07:00

Lorca and La Argentinita performing together.

Sevillanas del S.XVIII
Text:Federico García Lorca

¡Viva Sevilla!
Llevan las sevillanas
en la mantilla
un letrero que dice:
¡Viva Sevilla!

¡Viva Triana!
¡Vivan los trianeros,
los de Triana!
¡Vivan los sevillanos
y sevillanas!
**************************
Long live Sevilla!
The women of Sevilla wear a sign in their mantillas that reads "Viva Sevilla!

Long live Triana!
Long live the people of Triana!
Long live the women and the men of Sevilla!

Poem here is incomplete. There are more verses.
Trans.Milagro Vargas

"En el Cafe de Chinitas" by Federico Garcia Lorca

2009-03-25T19:32:00.000-07:00

Teresa Berganza, mezzo soprano; Narciso Yepes, guitar

El café de Chinitas
Federico García Lorca (1898-1936)

En el café de Chinitas
dijo a Paquiro un hermano:
"Soy más valiente que tú
más torero y mas gitano."

En el café de Chinitas
dijo a Paquiro un Frascuelo:
"Soy más valiente que tú
más gitano y mas torero."

Sacó Paquiro el reló
y dijo de esta manera:
"Este toro ha de morir
antes de las cuatro y media."

Al dar las cuatro en la calle
se salieron del café
y era Paquiro en la calle
un torero de cartel.

Arthur Rubenstein in de Falla's "Ritual Fire Dance"

2009-03-25T19:15:00.000-07:00

Click on title for performance.

"Cancion del arbol del olvido" by Ginastera

2009-03-24T18:08:00.000-07:00

Composer: Alberto Ginastera (1916-1983)
Alfredo Kraus, tenor
José Todesillas, pianist

El arbol del olvido

En mis pagos hay un arbol
Que del olvido se llama,
Al que van a despenarse,
Vidalitay, Vidalitay,
Los moribundos del alma.

Para no pensar en vos
Bajo el arbol del olvido
Me acosté una nochecita,
Vidalitay, Vidalitay,
Y me quedé bien dormido.

Al despertar de aquel sueño
Pensaba en vos otra vez,
Pues me olvidé de olvidarte,
Vidalitay, Vidalitay,
Encuantito me acosté.

************************************

The Tree of forgetting

In my neighbourhood there is a tree
that's called the tree of forgetting,
to which go to lay down their troubles,
Vidalitay, Vidalitay,
Those whose souls are dying.

So that I would no longer think of you
under the tree of forgetting
I lay down one evening,
Vidalitay, Vidalitay,
And I fell fast asleep.
When I awoke from that dream
I thought of you once again,
because I forgot to forget you,
Vidalitay, Vidalitay,
as soon as I lay down.

Translations are from
Lied and Art Song Page

"Cancion de cuna para dormir a un negrito" by Montsalvatge

2009-03-23T18:02:00.000-07:00

Composer:Xavier Montsalvatge (1912-2002)
Cradle Song for a small black child
From Cinco Canciones Negras
Text: Rafael Alberti
Teresa Berganza, soprano; Felix Lavilla, piano
Aix-en-provence festival 18 July 1964

Translation

Ninghe, ninghe, ninghe, so tiny,
the little black child that doesn't want to sleep.
Head of coconut, grain of coffee,
with pretty freckles, with eyes wide open
like two windows that overlook the sea.

Close your tiny eyes, frightened little black boy;
the white boogey-man can eat you up.
You're no longer are slave! And if you sleep a lot
the master of the house promises to buy you
a suit with buttons, so you can be a "groom."

Ninghe, ninghe, ninghe, sleep little black child,
head of coconut, grain of coffee.

Translations from
Lied and Art Song Page

"El vito" by Obradors

2009-03-22T22:47:00.000-07:00

Composer: Fernando J. Obradors (1897-1945)
Teresa Berganza, soprano; Felix Lavilla, piano
Aix-en-provence festival 18 July 1964

El Vito
Text: Anonymous

Una vieja vale un real
y una muchacha dos cuartos,
[y yo, como]1 soy tan pobre
me voy a lo más barato.
Con el vito, vito, vito,
con el vito, vito, va.
No me haga 'usté' cosquillas,
que me pongo 'colorá'.
******************************
An old woman is worth a real1
and a young girl two cuartos2,
but as I am so poor
I go for the cheapest.
On with the dancing,
on with the dancing, ole!
Stop your teasing, sir,
else I'll blush!

Note: a vito is a dance full of fire, performed in the taverns by a woman standing on a table before an audience of bullfighters.
1 Real: A silver coin.
2 Cuarto: A copper coin.

Translations are from
Lied and Art Song Page

I reckon--when I count at all

2009-03-22T22:13:00.001-07:00

I reckon -- when I count at all --
First -- Poets -- Then the Sun --
Then Summer -- Then the Heaven of God --
And then -- the List is done --

But, looking back -- the First so seems
To Comprehend the Whole --
The Others look a needless Show --
So I write -- Poets -- All --

Their Summer -- lasts a Solid Year --
They can afford a Sun
The East -- would deem extravagant --
And if the Further Heaven --

Be Beautiful as they prepare
For Those who worship Them --
It is too difficult a Grace --
To justify the Dream –

Emily Dickinson