April 18 and 19, 2015Drew Lewis, DirectorFeaturing Irene Herrmann, piano

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PoetryinSong

O Ariose Singers ODrew Lewis, Director

Jaeleen Bennis Deanna Dawson

Cora Frantz Nicolas Gerst

Steven Guire Knight Dan Landry

Paul Machlis Burr Nissen

John Seales Anika Kuesters Smith Erin Sauve Michael Vojvoda Nancy Voogd Susana Wessling Mary Ann Wieland Darlene Aimee Wilcox

Monday, May 18 6:10–7:00 PMPre-Concert Reception Appetizers and wine — $20 Appetizers only — $10

7:00 PM Concert (Free Admission)

Peace United Church 900 High Street Santa Cruz, CA 95060

Musical Memories

Kirby’s Music Department is proud to present

Upcoming Concerts in our Community

Thank you for supporting our local arts organizations.Cantiamo! Israel in Egypt - Handel7:00 PM May 3, 2015 Peace United Church of Christ, Santa Cruz

Westside Community Folk Song & Gospel Choir8:00 PM May 18, 2015 Samper Recital Hall, Cabrillo College

Santa Cruz ChoraleViva VivaldiSaturday, April 25, 2015 - 8:00pmSunday, April 26, 2015 - 4:00pmHoly Cross Church, Santa Cruz

Pacific VoicesSaturday, May 16More info at www.pacificvoices.org

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H Program HI. Selections by the Kirby School Choir

II. Madrigals Old and New

April Is In My Mistress’ Face Thomas Morley (1558-1603)

Vita de la mia Vita William Hawley (b. 1950)

Laughing Song Kirke Mechem (b. 1925)

III. Two Rossetti Settings

Come To Me, My Love Norman Dello Joio (1913-2008)

Rest Ralph Vaughan Williams (1872-1958)

IV. Poems of Love and Loss

Jenny Kiss’d Me Eric William Barnum (b. 1979)

Pleasures Hyo-shin Na (b. 1958)

Sydämeni Laulu Jean Sibelius (1865-1957)

i carry your heart with me Z. Randall Stroope (b.1953)Cora Frantz, SopranoDeanna Dawson, Violin

V. Trois Chansons de Charles d’Orleans

Trios Chansons Claude Debussy (1862-1918)

1. Dieu! qu’il la fait bon regarder

2. Quant j’ai ouy le tabourinAnika Kuesters Smith, Mezzo Soprano

3. Yver, vous n’estes qu’un villain Deanna Dawson, Soprano, Susana Wessling, Alto Nicolas Gerst, Tenor, Michael Vojvoda, Bass

H Intermission HVI. Poetry of the German Romantics

Vier Quartette, Op. 92 Johannes Brahms (1833-1897)

1. O schöne Nacht (Georg Friedrich Daumer)

2. Spätherbst (Hermann Allmers)

3. Abendlied (Friedrich Hebbel)

4. Warum (Goethe)

VII. Poetry of Frederico Garcia Lorca

Selections from “Suite” de Lorca, Op. 72 Einojuhani Rautavaara (b. 1928)

1. Canción de jineteSteven Knight, Tenor, John Seales, Bass

2. La luna asomaCora Frantz, Soprano

3. Malagueña

VIII. Songs of Shakespeare

Four Ballads Of Shakespeare Juhani Komulainen (b. 1953)

1. To be, or not to be (Hamlet)

2. O weary night (A Midsummer Night’s Dream)

3. Three words (Romeo and Juliet)

4. Tomorrow and tomorrow (Macbeth)

It was a lover and his lass John Rutter (b.1945)3

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ocal composers throughout history have been intrigued by the way poetic texts and melodies relate to create a deep musical expression. Tonight’s concert opens with the spring themed, “April is in my mis-tress’ face” by Thomas Morely, one of the most prom-inent composers of the English madrigal. This setting is based on an Italian poem and was first published in Morley’s collection, Madrigalls to Foure Voyces in 1594. “Vita de la mia Vita” by the American com-poser William Hawley is a modern madrigal based on a sixteenth century Italian poem by Torquato Tasso. Another modern madrigal by Kirke Mechem, the “dean of American music,” closes out the open-ing statement. This madrigal is a setting of William Blake’s “Laughing Song” from Songs of Innocence and Experience and employs Renaissance vocal writing with harmonies and rhythms more in line with the avant garde style of the 1960s.

The poet Christina Rossetti has inspired many com-posers. Norman Dello Joio’s jazz-influenced writing aptly sets the text of Rossetti’s poem “Echo” in the piece “Come To Me, My Love.” Ralph Vaughan Wil-liams set many Rossetti poems to music, and the part song “Rest” is a classic example of his writing for a cappella choir.

Love and loss are explored in the poetry of James Leigh Hunt, Bertolt Brecht, Aleksis Kivi, and E. E. Cummings. Eric William Barnum’s, “Jenny Kiss’d Me” refers to a moment in James Hunt’s life where Jenny leaped up and kissed him after learning about his recovery from a long illness. Whatever else might have occurred in his life, the poet insists that he mat-tered when Jenny kissed him. Hyo-shin Na’s setting of Brecht’s poem was written for Ariose Singers and shows a fond recollection for all of life’s simple Pleasures. The Finnish composer, Jean Sibelius, took a poem from Aleksis Kivi’s ground breaking novel, The Seven Brothers (the first novel written in the Finnish language) and set it in a simple part song for mixed choir. “Sydämeni Laulu” is a lullaby to a dead child who has gone to the underworld of Finnish mytholo-gy. The composer even played this song on the piano for his two year old daughter, Kristi when she died in 1900.

E.E. Cummings’ poem, “i carry your heart with me,” is written in the American poet’s tradition style of “enjambment” with run-on sentences and no punctuation. The poem voices the deep love that fears no fate and illuminates the meaning of the sun and moon..

The first act of the concert then closes with Claude Debussy’s settings of poems written by Charles, Duke of Orleans during his 25-year imprisonment by the English in 1415. Trois Chansons de Charles d’Or-leans is a virtuosic masterpiece by the impressionist composer and employs Debussy’s complex harmonic and fluid rhythmic language while using older music forms fitting of these fifteenth century texts.

he second act of tonight’s concert opens with Vier Quartette, Op. 92 (Four Quartets) which was original-ly written for solo quartet by the German Romantic composer, Johannes Brahms. The interplay of the pi-ano with the voices evokes different images relating to these four poems by different Romantic poets. This song cycle covers a variety of subjects which include a nighttime rendezvous of young lovers, late autumn and grief, and the power of music to bring the divine closer to the human.

The themes of light, darkness, and death are ex-plored in the poetry of the Spanish poet, playwright, and theater director, Federico García Lorca. The Finnish composer Einojuhani Rautavaara composed the “Suite” de Lorca in 1973 and while it won 3rd place in a composition contest at the time, it remains one of his most well-known pieces around the world. These short movements employ ostinati, complex harmonies, and a variety of speech and vocal effects to convey the emotion of this dark poetry.

No exploration of poetic themes and writing would be complete without looking at the works of William Shakespeare. The concert ends with two settings of Shakespeare. First is Four Ballads of Shakespeare by the Finnish composer Juhani Komulainen, which takes elements from scenes of different Shakespeare plays. The concert ends with springtime once again in John Rutter’s setting of “It Was A Lover and His Lass” from Shakespeare’s As You Like It.

H Program Notes HV

T

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H Texts & Translations HApril Is In My Mistress’ Face Thomas Morley (1558-1603)

April is in my mistress’ face,And July in her eyes hath place;Within her bosom is September,But in her heart a cold December.

Torquato Tasso (1544–1595)

Vita de la mia Vita William Hawley (b. 1950)Vita de la mia vita,Tu mi somigli pallidetta olivaO rosa scolorita;Nè di beltà sei priva,Ma in ogni aspetto tu mi sei gradita, O lusinghiera o schiva; E se mi segui o fuggiSoavemente mi consumi e struggi.

Torquato Tasso

Laughing Song Kirke Mechem (b. 1925)When the green woods laugh with the voice of joy,And the dimpling stream runs laughing by;When the air does laugh with our merry wit,And the green hill laughs with the noise of it;

When the meadows laugh with lively green,And the grasshopper laughs in the merry scene;When Mary and Susan and EmilyWith their sweet round mouths sing “Ha ha he!”

When the painted birds laugh in the shade,Where our table with cherries and nuts is spread:Come live, and be merry, and join with me,To sing the sweet chorus of “Ha ha he!”

William Blake (1757-1827)

Come To Me, My Love Norman Dello Joio (1913-2008)Come to me in the silence of the night;Come in the speaking silence of a dream;Come with soft rounded cheeks and eyes as brightAs sunlight on a stream;Come back in tears,O memory, hope, love of finished years.

Oh dream how sweet, too sweet, too bitter sweet,Whose [wakening] should have been in Paradise,Where souls brimfull of love abide and meet;Where [thirsting] longing eyesWatch the slow doorThat opening, letting in, lets out no more.

Christina Georgina Rossetti (1830-1894)

Life of my lifeyou are to me like a pallid oliveor a fading rose;nor are you deprived of beauty,but in every way you please me,whether you flatter or shunand whether you follow me or fleesoftly you consume and melt me

English translation by William Hawley

Yet come to me in dreams, that I may liveMy very life again though cold in death:Come back to me in dreams, that I may givePulse for pulse, breath for breath:Speak low, lean low,As long ago, my love, how long ago!

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Rest Ralph Vaughan Williams (1872-1958)O Earth, lie heavily upon her eyes;Seal her sweet eyes weary of watching, Earth; Lie close around her; leave no room for mirth With its harsh laughter, nor for sound of sighs. She hath no questions, she hath no replies, Hushed-in and curtained with a blessed dearth Of all that irk’d her from her hour of birth;With stillness that is almost Paradise.Darkness more clear than noon-day holdeth her, Silence more musical than any song;Even her very heart hath ceased to stir:Until the morning of EternityHer rest shall not begin nor end, but be;And when she wakes she will not think it long.

Christina Georgina Rossetti

Jenny Kiss’d Me Eric William Barnum (b. 1979)Jenny kiss’d me when we met, Jumping from the chair she sat in;Time, you thief, who love to get Sweets into your list, put that in!Say I’m weary, say I’m sad, Say that health and wealth have miss’d me,Say I’m growing old, but add, Jenny kiss’d me.

(James) Leigh Hunt (1784-1859)

Pleasures Hyo-shin Na (b. 1958)The first look out of the window in the morningThe old book found againEnthusiastic facesSnow, the change of the seasonsThe newspaperThe dogDialecticsTaking showers, swimming

Sydämeni Laulu Jean Sibelius (1865-1957)Tuonen lehto, öinen lehto Grove of Tuoni, grave nocturnal!Siell’ in hieno hietakehto Finest sand for sleep eternalsinnepä lapseni saatan safe for my baby to slumber.Siell’ on lapsen lysti olla May my child have pleasant hoursTuonen herran vainiolla in the Dark Lord’s fields and bowerskaitsia Tuonelan karjaa tending the cattle of Tuoni.Siell’ on lapsen lysti olla May my child have pleasant hours,illan tullen tuuditella falling fast asleep ‘midst flowers,helmassa Tuonelan immem rocked by the gentle Dark Lady.Onpa kullan lysti olla Happy darling in safekeeping,kultakehdoss’ kellahdella in a golden cradle sleeping,kuullella kehräjälintuu hearing the song of the nightjar.Tuonen viita, rauhan viita Grove of Tuoni, grove of calmness!kaukana on vaino, riita Far away from worldly madness,kaukana kavala maailma. far from all strife and beguiling.

Aleksis Kivi (I834-I872), English translation by Jaakko Mäntyjärvi

Old musicComfortable shoesTaking things inNew musicWriting, plantingTravelingSingingBeing friendly

Bertolt Brecht (1898–1956)

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i carry your heart with me Z. Randall Stroope (b.1953)i carry your heart with me(i carry it inmy heart)i am never without it(anywherei go you go,my dear;and whatever is doneby only me is your doing,my darling) i fearno fate(for you are my fate,my sweet)i wantno world(for beautiful you are my world,my true)and it’s you are whatever a moon has always meantand whatever a sun will always sing is you

here is the deepest secret nobody knows(here is the root of the root and the bud of the budand the sky of the sky of a tree called life;which growshigher than soul can hope or mind can hide)and this is the wonder that’s keeping the stars apart

i carry your heart(i carry it in my heart)

e.e.cummings (1894-1962)

Trois Chansons de Charles d’Orléans Claude Debussy (1862-1918)

Dieu qu’l la fait bon regarder! La gracieuse bon et belle!Pour les grands bien que sont en elle. Chacun est pres de la loüer.Qui se pourroit d’elle lasser? Tousjours sa beauté renouvelle.Dieu qu’l la bon regarder. La gracieuse bonne et belle!Par de ca, ne de là, lamer. Ne scay dame ne damoiselleQui soit en tous bien parfais telle. C’est ung songe que d’i penser:Dieu qu’il la fait bon regarder!

God, how good it is to look upon her, so graceful, good, and beautiful!For the great goodness that is hers, everyone is ready to praise her.Who could grow tired of her? Her beauty constantly renews itself.God, how good it is to look upon her, so graceful, good, and beautiful!On neither side of the ocean do I know any woman or girlwho is in all virtues so perfect; it is a dream just to think of her.God, how good it is to look upon her!

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“The duty of the words is to say just as much as the music has left unsaid and no more.”

Ralph Vaughan Williams

Quant j’ai ouy le tabourin Sonner, pour s’en aller au mayEn mon lit n’en ay fait affray Ne levé mon chief du coissinEn disant: il est trop matin Ung peu je me rendormirai:Quant j’ai ouy le tabourin Sonner pour s’en aller au may.Jeunes gens partent leur butin: De non cha loir m’accointerayA lui je m’a butineray Trouvé l’ay plus prouchain voisin;Quant j’ai ouy le tabourin Sonner pour s’en aller au may.En mon lit n’en ay fait affray Ne levé mon chief du coissin.

When I hear the tambourine sound to call us to May,in my bed I am not frightened, nor do I lift my head from the pillow.Saying: “it’s too early in the morning, I’ll go back to sleep for a little while,”When I hear the tambourine sound to call us to MayYoung folk divide their spoils: I will make a friend of lethargy,I will plunder it; I have found it to be my closest neighbor…

Yver, vous n’estes qu’un villain; Esté est plaisant et gentilEsté est plaisant en gentil Esté est plaisant et gentil.En témoing de may et dávril Qui l’accompaignent soir et main.Esté revet champs, bois et fleurs De sa livrée de verdureEt de maintes autres couleurs Par l’ordonnance de nature.Mais vous Yver, mais vous, mais vous Yver, trop estes pleinDe nège, de nège, vert, pluye et grézil. On vous deust banir en évil.Sans point flater je parle plein, Yver, vous n’estes qu’un villainYver, Yver, Yver, Yver, vous n’estes qu’un villain ,Yver, Yver, Yver, Yver, Yver, vous n’estes qu’un villain ,Yver, vous n’estes qu’un villain.

Winter, you’re nothing but a villain!Summer is pleasant and amiable, bearing witness to May and Aprilwhich are its morning and evening companionsSummer dresses the fields, woods, and flowers in her clothing of greenand the many other colors at nature’s commandBut you, winter, are too full of snow, wind, rain, and hail:you should be banished to exile,Without exaggerating, I say plainly:Winter, you’re nothing but a villain!

Charles d’Orléans (1394-1465)

English translations from the octavo. ©2003 Durand S.A., Paris

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“Music is the silence between the notes.” Claude Debussy

Vier Quartette, Op. 92 Johannes Brahms (1833-1897)

O schöne NachtO schöne Nachtam Himmel märchenhaft erglänzt der Mond in seiner ganzen Pracht;Um ihn der kleinen Sterne liebliche Genossenschaft.O schöne NachtEs schimmert hell der Tau am grünen Halm;Mit Macht im Fliederbusche schlägt die Nachtigall.Der Knabe schleicht zu seiner Liebsten sacht.O schöne Nacht!

Georg Friedrich Daumer (1800-1875)

SpätherbstDer graue Nebel tropft so still herab auf Feld und Wald und Heide, als ob der Himmel weinen will in übergroßem Leide.

Die Blumen wollen nicht mehr blühn, die Vöglein schweigen in den Hainen, es starb sogar das letzte Grün, da mag er auch wohl weinen.

Hermann Allmers (1821-1902)

AbendliedFriedlich bekämpfen Nacht sich und Tag; wie das zu dämpfen, wie das zu lösen vermag.

Der mich bedrückte, schläfst du schon, Schmerz?Was mich beglückte, was war’s doch, mein Herz?

Freude wie Kummer, fühl ich, zerran,aber den Schlummer führten sie leise heran.Und im Entschweben, immer empor,kommt mir das Leben ganz wie ein Schlummerlied vor.

Friedrich Hebbel (1813-1863)

WarumWarum doch erschallen himmelwärts die Lieder? Zögen gerne nieder Sterne, die droben blinken und wallen, zögen sich Lunas lieblich Umarmen, zögen die warmen, wonnigen Tage seliger Götter gern uns herab!

English translations by Gordon Paine and Ron Jeffers in Translations and Annotations of choral Repertoire: Volume 2 German Texts. Earthsongs publishing (2000)

Evening SongIn peaceful opposition night struggles with the day.What ability it has to soften, what ability it has to relieve!Sorrow that oppresses me, are you already asleep?That which made me happy – say, my heart, what was it then?Joy, like grief, I feel, melts away;but they bring me slumber as they fade away.And in the vanishing, ever upwards,my entire life passes before me, like a lullaby.

WhyWhy then do song resound heavenwards?They would fain draw down the stars that twinkle and sparkle above;they would draw to themselves the moon’s lovely embrace;they would fain draw upon the warm, blissful daysof the blessed gods down upon us.

Johann Wolfgang von Goethe (1749-1832)

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Oh lovely night! In the sky, magically,the moon shines in all its splendor;

around it is the pleasant company of little stars

Dew glistens brightly on green stems;in the lilac bush, the nightingale sings lustily.The youth steals away quietly to his love.Oh lovely night!

Late AutumnThe gray mist drips so silentlydown on field and forest and heathas if the heavens wished to weepin overwhelming grief.

The flowers will bloom no more;the little birds are slient in the groves.Even the last green is dead—thus the heavens may well weep.

Canción de jineteCórdoba. Lejana y sola. Jaca negra, luna grande,y aceitunas en mi alforja.Aunque sepa los caminosyo nunca llegaré a Córdoba.Por el llano, por el viento,jaca negra, luna roja.La muerte me está mirandodesde las torres de Córdoba.¡Ay qué camino tan largo!¡Ay mi jaca valerosa!¡Ay, que la muerte me espera,antes de llegar a Córdoba!Córdoba. / Lejana y sola.

La luna asomaCuando sale la lunase pierden las campanasy aparecen las sendasimpenetrables.Cuando sale la luna,el mar cubre la tierray el corazón se sienteisla en el infinito.Nadie come naranjasbajo la luna llena.Es preciso comerfruta verde y helada.Cuando sale la lunade cien rostros iguales,la moneda de platasolloza en el bolsillo.

MalagueñaLa muerte / entra y salede la taberna.Pasan caballos negrosy gente siniestrapor los hondos caminosde la guitarra.Y hay un olor a saly a sangre de hembra,en los nardos febrilesde la marina.La muerte / entra y saley sale y entrala muerte / de la taberna.

Federico García Lorca (1898-1936) English translations by Joshua Cramer Habermann, Finnish music

and the a cappella choral works of Einojuhani Rautavaara. Doctoral Dissertation, 1997.

Song of the HorsemanCordoba.Distant and alone.Black mare, big moonAnd olives in my saddle bag.Although I know the roadI shall never reach Cordoba.Over the plain, through the windBlack mare, red moon.Death is watching meFrom the towers of Cordoba.Oh, how long the road!Oh, how courageous my steed!Oh, for death awaits mebefore I reach Cordoba!Cordoba. / Distant and alone.

The Moon Peeps OutWhen the moon goes out bells are lostand paths appear impenetrable.When the moon goes outthe sea covers the earthand the heart feels itselfan island in infinity.Nobody eats orangesunder the full moon.It is necessary to eatgreen and frosty fruit,When the moon goes outwith a hundred equal facesthe silver coinsobs in the pocket.

MalagueñaDeath / goes in and out of the tavern.Black horses and sinister people pass through thedeep paths of the guitar.And there is an odor of salt and woman’s bloodin the feverish spikenards of the seashore.Death / goes in and out and out and indeath / of the tavern.

“Suite” de Lorca, Op. 72 Einojuhani Rautavaara (b. 1928)

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Four Ballads Of Shakespeare Juhani Komulainen (b. 1953)To be, or not to be (Hamlet, act 3, scene 1)

To be, or not to be? That is the question—Whether ’tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take arms against a sea of troubles,And, by opposing, end them?

O weary night (A Midsummer Night’s Dream, act 3, scene 2)

O weary night, O long and tedious night,Abate thy hours. Shine comforts from the east,That I may back to Athens by daylightFrom these that my poor company detest.And sleep, that sometimes shuts up sorrow’s eye,Steal me awhile from mine own company.

William Shakespeare (1564-1616)

Three words (Romeo and Juliet, act 2, scene 2)Three words, dear Romeo, and good night indeed.If that thy bent of love be honorable,Thy purpose marriage, send me word tomorrowBy one that I’ll procure to come to theeWhere and what time thou wilt perform the rite,And all my fortunes at thy foot I’ll layAnd follow thee my lord throughout the world.

Tomorrow and tomorrow (Macbeth, act 5, scene 5)Tomorrow, and tomorrow, and tomorrow,Creeps in this petty pace from day to dayTo the last syllable of recorded time,And all our yesterdays have lighted foolsThe way to dusty death. Out, out, brief candle!Life’s but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more.

It was a lover and his lass John Rutter (b.1945)It was a lover and his lass,With a hey, and a ho, and a hey-nonny-no,That o’er the green cornfield did passIn springtime, the only pretty ring time,When birds do sing, Hey ding a ding, ding.Sweet lovers love the spring.Between the acres of the rye,With a hey, and a ho, and a hey-nonny-no,These pretty country folks would lieIn springtime, the only pretty ring time,When birds do sing, Hey ding a ding, ding.Sweet lovers love the spring.This carol they began that hour,With a hey, and a ho, and a hey hey-nonny-no,How that a life was but a flowerIn springtime, the only pretty ring time,When birds do sing, Hey ding a ding, ding.Sweet lovers love the spring.And therefore take the present time,With a hey, and a ho, and a hey hey-nonny-no,For love is crowned with the primeIn springtime, the only pretty ring time,When birds do sing, Hey ding a ding, ding.Sweet lovers love the spring.

William Shakespeare

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