Alicia Fairbanks, mezzo-soprano

Masters Recital

Alicia Fairbanks, mezzo-sopranoStudent of Dr. Carol Ann Allred

Dr. Mitchell Giambalvo, pianoBrynn Vance, violin

Saturday, December 4, 2021Dumke Recital Hall

Virtual Venue: https://music.utah.edu/libby-live/index.php8:00 p.m.

For the safety of our audiences, artists, and staff, the School of Music asks that all patrons attending performances follow recent CDC guidance, which calls for everyone to wear face masks indoors. We ask that patrons please not attend any show if they have been exposed to COVID-19 or are feeling unwell.

"Laudamus te," from Great Mass in C Wolfgang Amadeus Mozart Minor, K. 427/417a (1756-1791)

"Erbarme dich," from St. Matthew Passion, Johann Sebastian Bach BWV 244 (1685-1750)

Brynn Vance, violin

"O Thou that Tellest Good Tidings to Zion," George Frideric Handel from Messiah, HWV 56 (1685-1759)

La Spagnola Vincenzo Di Chiara(1864-1937)

Greensleeves Roger Quilter(1877-1953)

Hans und Grete Gustav Mahler(1860-1911)

La brise Camille Saint-Saëns(1835-1921)

Соловей (Nightingale) Alexander Alyabyev(1787-1851)

Intermission

Program (Please hold applause until the end of each section

and turn off all electronic devices that could disrupt the concert.)

This recital is presented as partial fulfillment for the requirements for the Master of Music degree.

Beautiful Dreamer Stephen Foster (1826-1864)

Nuit d'Espagne Jules Massenet (1842-1912)

Vergebliches Ständchen Johannes Brahms

(1833-1897)

L'ultima canzona Paolo Tosti (1846-1916)

Пленившись розой, соловей (The Nikolai Rimsky-Korsakov Nightingale and the Rose) (1844-1908)

La danza Gioachino Rossini (1792-1868)

Bolero Charles Gounod

(1818-1893)

Gondolied Fanny Mendelssohn Hensel (1805-1847)

If You’ve Only Got a Moustache Stephen Foster

(1826-1864)

Гопак (Gopak) Modest Mussorgsky (1839-1881)

Program Notes

and

Song Translations

Oratorio Arias

Laudamus te

(We Praise Thee)

From Mass in C minor

Wolfgang Amadeus Mozart (1756-1791)

Premiered: Salzburg, 26 October 1783

We praise Thee

We adore Thee

We bless Thee

We glorify Thee

For composers, the mass was often more than a musical religious service. By the time

Mozart began to make his mark in the world, the mass had for centuries provided opportunity for

composers to display their skills and innovations. Although it is incomplete, Mozart’s Mass in C

Minor is considered to be one of his finest works. This mass was not a commissioned piece.

Some sources claim that Mozart composed it in gratitude for his marriage, another claims that it

was motivated by his wife’s recovery from an illness.

Erbarme Dich

(Have Mercy)

From St. Matthew Passion.

Music: Johann Sebastian Bach (1685-1750)

Libretto: Christian Friedrich Henrici (1700-1764) (Under his pen name “Picander”)

Premiere: Leipzig, April 11, 1727

Have mercy my God

For the sake of my pleading.

See how my heart and eyes

Weep bitterly for Thee.

The passion recounts the final events in Jesus’ life. In this case, the story is drawn from

The Gospel of St. Matthew. However, the text primarily consists of poetic verses rather than

scriptural quotes. The aria Erbarme dich depicts Peter’s despair after he denied knowing the

Christ. To emphasize the anguish in the text Bach utilizes the “pianto”; a pattern of descending

half steps. This motif appears both in vocal and instrumental music to depict weeping. The aria’s

form imitates a da capo aria; the first and a second sections are new material while the third and

final section in a modified version of the first.

O Thou that Tellest Good Tidings to Zion

George Frideric Handel (1685-1759)

Libretto: Charles Jennens (1700-1773)

Composed: 1741

Behold, a virgin shall conceive and bear a Son,

and shall call his name Emmanuel,

God with us.

O thou that tellest good tidings to Zion

Get thee up into the high mountain

O thou that tellest good tidings to Jerusalem

Lift up, thy voice, with strength

Lift it up, be not afraid

Say unto the cities of Judah

Behold your God

O thou that tellest good tidings to Zion

Arise, shine, for thy light is come

And the glory of the Lord

Is risen upon thee

In July 1741 Jennens sent Handel a libretto for an oratorio with a text based on the King

James version of the Bible. Handel composed the music for Messiah in a mere 24 days and at the

end wrote: “SDG” (Soli Deo Gloria - Only to God the glory). The following year Messiah was

performed in several charity concerts. The proceeds were used to pay the debts which freed

people from debtors’ prison. The text for this aria is taken from Isaiah 7:14, 40:9 and 60:1. Here

the prophet Isaiah invites people to joyfully look forward to the Savior’s coming.

(End of Set)

Songs Influenced by Folk Music

La Spagnola

(The Spanish Girl)

Words and Music: Vincenzo Di Chiara (1864-1937)

Published: 1906

I am the beauty of Spain

I am the queen of love

Everyone calls me “Star”

“Star of vivid splendor.”

Chorus

Closer, closer in the extasy of love

The Spanish girl knows how to love like this

Mouth to mouth night and day

Love with all adore

To whom is sincere with me

My years of vigor

I will soon show

Chorus

Glances that send lightning,

Movements that entice,

The lips are plump.

I’ll make you touch paradise

Chorus

La Spagnola is by far Di Chiara’s best-known composition. It was first performed at the

Festa di Piedigrotta in Naples. The piece is unusual among Di Chiara’s songs in that the

composer wrote the lyrics, and the language is Italian rather than his native Neapolitan dialect.

The music is a catchy cross between two 19th century trendy styles: imitation Spanish folk and

Viennese waltz.

Greensleeves

Music: Roger Quilter (1877-1953)

Lyrics: John Irvine (1903-1964)

Published:1947

Oh who is fair as she is fair

And who can such a grace possess

The rose itself could but compare

Nor rob her of her comeliness

Chorus

Come love be all my joy,

Thou alone art my delight

Come love be my heart of gold,

And who but my Lady Greensleeves?

Oh who is rare as she is rare

And who is such a charming maid

The lute shall tell her my despair

And fill with song the myrtle shade

Chorus

Oh who is kind as she is kind

Her gentle heart could ne’er betray

If Argus prove himself but blind

Yet she would have my constancy

Chorus

The Arnold Book of Old songs consists of Quilter’s arrangements of 16 traditional songs

from various parts of the British Isles. The earliest printed version of Greensleeves was

published in London in 1580 under the title: "A Newe Northen Dittye of ye Ladye Greene

Sleves" The song has sometimes been attributed to King Henry VIII, but musicologists have

since debunked the theory. Quilter’s version contains new lyrics by the Irish poet Irving. Thus

the only resemblance to the original text is the infatuation for the elusive Lady Greensleeves.

Hans und Grete

(Hans and Grete)

Words and Music: Gustav Mahler (1860-1911)

Published: 1892

Round and round in a line

If you are happy come join in

If you have worries leave them at home

How happy is he

Who kisses his love.

Hey Hansel, you have none.

So find yourself one!

A dear love is a fine thing.

Hurray!

Round and round in a line

Hey Gretchen, why do you stand all alone?

Are you looking over at Hansel?

Isn’t May so green?

How the wind blows!

Hey look at dumb Hans!

He runs to the dance!

He was looking for a love

He found one

Hurray!

Round and round in a line.

The song was published as one of 14 in a collection called Lieder und Gesänge and is one

of Mahler’s earliest songs. It is almost identical to a previous song: “Maitanz im Grünen” written

in 1880. Although “Volkslied” is printed under the title, it is not an actual folksong. Both poetry

and music are made to sound very folk-like. The changes in tempo contribute to the rustic

impression. It is also an example of Mahler’s tendency to not use the most sophisticated poetry.

La brise

(The Breeze)

Music: Camille Saint-Saëns (1835-1921)

Lyrics: Armand Renaud (1836-1895)

From Mélodies persanes

Published: 1872 op. 26 no. 1

Like young goats stung by a horsefly,

Dance the beauties of Zabulistan,

With rose their nails are tinted,

None see them but their sultan.

In the hand of each, a sistrum resounds.

Saber in his fist, a turbaned eunuch stands.

But from the pale river where the lilies slumber,

Comes the night wind like a rascal

He goes to charm their hearts and their lips,

Despite watchful eyes and royal decrees.

O dreamer rest assured,

The breeze has taken your verses of love

For a talisman.

19th century Europeans had a fascination with non-European cultures. This influence was

manifest in art, music, literature and even upper-class homes. Saint-Saëns’ collection of songs

Mélodies Persanes is an example of this. La brise is as authentically Persian as Panda Express is

authentically Chinese. It was tailored to appeal to European ears in a way that offered a taste of

something foreign and exotic without deviating too far from what was familiar and acceptable.

Соловей

(Nightingale)

Music: Alexander Alyabyev 1787-1851

Lyrics: Anton Delvig (1798-1831)

Composed: 1827

Nightingale, my nightingale

Loud-voiced nightingale!

To where are you flying,

Where you will sing through the night?

Chorus

Nightingale, my nightingale

Loud-voiced nightingale!

Can someone poor like me,

Listen to you all night

Not closing eyes

That are drowning in tears?

Chorus

You fly my nightingale

Even to the end of the earth

Even across the blue sea

On a foreign shore.

Chorus

Ever since the reforms brought about by Peter the Great, Russia had imitated western

Europe. Russian culture and language were considered lower class. The seeds of change were

planted during the Napolianic war in which Alyabyev fought. This clashing encounter with the

west made Russians began to evaluate and embrace their unique cultural heritage. Nightingale

exemplifies this trend with its obvious Russian folk-style. It is the composer's most famous work

and helped to solidify him as one of the fathers of Russian art song.

(End of Set)

Serenades

Beautiful Dreamer

Music and Lyrics: Stephen Foster (1826-1864)

Published 1864

Beautiful Dreamer, wake unto me,

Starlight and dewdrops are waiting for thee;

Sounds of the rude world heard in the day,

Lull'd by the moonlight have all passed away!

Beautiful dreamer, queen of my song,

List while I woo thee with soft melody;

Gone are the cares of life's busy throng

Beautiful dreamer, awake unto me!


Beautiful dreamer, out on the sea,

Mermaids are chanting the wild Lorelei;

Over the stream let vapors are borne,

Waiting to fade at the bright coming morn.

Beautiful dreamer, beam on my heart,

E'en as the morn on the streamlet and sea;

Then will all clouds of sorrow depart,



Published a few months after Foster’s sudden death, Beautiful Dreamer is one of the last

songs composed by the man who has been hailed as “the father of American music”. His tuneful

songs so naturally captured the simplicity of everyday life that some people are surprised to learn

that they are not folk songs. During Foster’s life the copyright laws in the United States did little

to protect a composer’s work. This meant that although his songs were popular and publishers

sold thousands of copies, the composer received almost nothing in royalties.

Nuit d'Espagne

(Spanish Night)

Music: Jules Massenet (1842-1912)

The air is fragrant

The night is serene

And my soul is full of joyous thoughts

O dear one

Come! O beloved

Here is the moment of love

In the deep woods

The flowers are sleeping

The fountains are singing

Quickly let’s run away!

See, the moon is shining

And smiles at us in the sky.

Indiscrete eyes are not to be feared

Come, o dear one

The night will protect your blushing brow

The night is serene.

Appease my heart!

Come! O my dear.

This is the hour of love!

In the dark blue

The gold stars part their veils

To see you pass

O dear one

Come beloved

This is the moment of love

I saw it open

Your gauze curtain

You hear me, cruel

And you don’t come!

Look, the road is dark

Under the entwined branches

Your youthful years

Are at the peak of their splendor

Come! For the hour is short

The daylight will leave the flowers of spring

The night is serene

Appease my heart!

Come! O beloved!

This is the hour of love!

Although primarily known for his operas, Massenet composed over 140 songs for voice

and piano. His mélodies span a wide range of styles and sometimes show the influence of other

composers. Nuit d'Espagne imitates the rhythmic strumming of a guitar in the piano part to give

the impression of a Spanish serenade. Even though Spain is geographically close to France, it

was still viewed as foreign and exotic.

Vergebliches Schendchen

(Futile Little Serenade)

Johannes Brahms (1833-1897)

Lyrics: Lower Rhine folk song

Published: 1882

He

Good evening my dear

Good evening my girl

I come to you out of love

Ah! Open the door to me.

She

My door is locked

I’ll not let you in.

Mother advises me wisely

If you were by chance found here

It would be over with me

He

So cold is the night

So icy is the wind

My heart will freeze to death

My love will be extinguished

Open to me my girl

She

Erase your love

Let it be lost!

Keep erasing it

Get home to bed to rest

Good night my kiddo!

This humorous little piece was composed during the time that Brahms was reaching the

height of his career. Several collections of songs were interspersed between larger works such as

his second and third symphonies, as well as a number of concertos and overtures. The song harks

back to three decades earlier when the composer published several large collections of folk

songs. One could surmise that this may have been a genre that Brahms personally enjoyed.

L'ultima canzona

(The Last Song)

Sir Francesco Paolo Tosti (1846-1916)

Francesco Cimmino (1862-1938)

Published: 1905

They told me that tomorrow

Nina, you will be married

And again, I sing a serenade to you

There in the desert planes

There in the shady valleys

Oh how many times I have sung to you!

Rose petals,

Flowers of amaranth,

Though you get married

I will always be near you.

Tomorrow you will be surrounded

By festive smiles and flowers

Never thinking of our past love

But always, night and day

Full of passion

My song will come sighing to you

Leaves of mint

Pomegranate blossoms

Nina, remember the kisses that I gave you!

With their memorable melodies and sentimental lyrics Tosti’s songs were in high demand

during his lifetime. Many of his Italian and Neapolitan songs show the influence of folk styles.

The off-beat accompaniment in this piece contributes to its slightly rustic, peasant impression.

The composer also spent a good share of his career in England as reflected by his numerous

English songs.

Пленившись розой, соловей

(The Nightingale and The Rose)

Melody: Nikolai Rimsky-Korsakov (1844-1908)

Piano Part: Mily Balakirev (1837-1910)

Lyrics: Aleksey Koltsov (1809–1842)

Published: 1866

A nightingale enamored with a rose

Sings over her both day and night

But the rose silently hears the songs

So it is with another singer,

With a lyre he sings to a young girl.

But the sweet girl doesn’t know

To whom he sings

And why his song is so sad

In 1865 the young Rimsky-Korsakov returned from a two-year naval voyage. He found

himself disinterested in music, and intrigued by foreign lands. Thankfully his mentor, Balakirev,

worked diligently to rekindle Rimsky-Korsakov's musical pursuits. The exoticism of this piece is

particularly noticeable in the nightingale's plaintive song which is heard in the piano at the

beginning, and echoed by the singer at the end.

(End of Set)

Songs Based on Dances

La danza

(The Dance)

Music: Gioachino Rossini (1792-1868)

Lyrics: Carlo Pepoli: (1796-1881)

Published: 1835

Already the moon is in the midst of the sea

Mama mia! it will jump!

The light is beautiful for dancing

Who is in love will not fail.

Quickly in the dance

Around and around

My ladies, come here!

A fun handsome boy

Will have a turn with each

As long as a bright star is in the sky

And the moon is splendid,

The most handsome will dance all night

With the most beautiful.

Mama mia!

The moon is in the midst of the sea

Mama mia! It will jump.

O me, o my! O my, o me o!


Skip, skip, turn, turn,

Every couple goes around.

They advance and retreat

Then advance again

Evening, evening

With a blond, or a brunette

Dance here and there

With a redhead dance twice

With a wallflower stand firm.

Long live the ball!

Round and round

I’m a king, I’m a lord

The most beautiful pleasure in the world

Is the dear voluptuousness

Mama mia!

The moon is in the midst of the sea

Mama mia! It will jump.

O me, o my! O my, o me o!


The Tarantella developed in Italy between the 15th and 17th centuries. People believed

that if a person was bitten by a tarantula they could be cured of the venom by vigorous dancing.

Whether it was due to the upbeat nature of the music or an incredibly high number of spiders, the

Tarantella became Italy’s most popular folk dance. Each region has its own style. The best

known version comes from Napoli. Thus, unlike La danza which has lyrics in standard Italian,

most of the songs that were composed to sound like tarantellas are in the Neapolitan dialect.

Boléro

(Bolero)

Charles Gounod (1818-1893)

Jules Barbier (1825-1901)

Published: 1871

Ah how I pity your flame

Dear treasure of my soul

If by the cold of evening

You come beneath my window

To sing your sweet hope,

This may be hard on you.

You come here and sit

Guard of the dark sky

The voice that sighs

Accuses me of stubbornness

But I just laugh,

You can keep your heart.







To sing your sweet hope




Whoever loves you

Is a slave to your crazy love

Me, I want to enjoy my days of beauty

Without restraint







To sing your sweet hope




While this song’s rhythmic music unmistakably imitates Spanish musical styles it is a

bolero in name only. The actual bolero dance is much slower. The dance emerged in the 18th

century as an offshoot of the seguidilla. Although this song is musically entertaining it is one of

his lesser-known works. It is dedicated to the great opera singer Pauline García Viardot who was

of Spanish descent. She had been instrumental in development Gounod’s career by facilitating

the creation of his first opera.

Gondellied

(Gondola Song)

Music: Fanny Mendelson Hensel

Lyrics: Emanuel von Geibel (1815-1884) Based on "Oh, come to me when daylight sets" by

Thomas Moore (1779-1852)

O come to me, if though the night

The stary hosts roam,

When the moon floats in its splendor

The gondola is over the sea

The air is gentle as a loving joke

The golden light shimmers softly

The zither plays and tugs at your heart

In a pleasant way.




The gondola is over the sea.

That is the blessed hour for love

Dearest, o come and see;

The blue dome of the sky is so peaceful,

The blue sea sleeps

And as it sleeps, a glance says

What the lips dare not speak

The eyes do not withdraw,

Neither does the soul.




The gondola is over the sea.

Fanny Mendelson Hensel was a gifted musician and prolific composer. However, both

her brother Felix and her father were opposed to the publication of her compositions. Fanny’s

husband and mother were of the opposite opinion and at their encouragement a few of her pieces

were published during her lifetime. In this song the composer maintains the feeling of a waltz

with rippling arpeggios rather than using heavy 1-2-3 beat. The waltz originated as a peasant

dance in Germany and Austria and dominated the ballroom during the 19th century.

If You’ve Only Got a Moustache

Music: Stephen Foster (1826-1864)

Lyrics: George Cooper (1840-1927)

Published: 1864

Oh! all of you poor single men,

Don't ever give up in despair,

For there's always a chance while there's life

To capture the hearts of the fair,

No matter what may be your age,

You always may cut a fine dash,

You will suit all the girls to a hair

If you've only got a moustache,

A moustache, a moustache,

If you've only got a moustache.

Your head may be thick as a block,

And empty as any foot-ball,

Oh! your eyes may be green as the grass

Your heart just as hard as a wall.

Yet take the advice that I give,

You'll soon gain affection and cash,

And will be all the rage with the girls,

If you'll only get a moustache,


If you'll only get a moustache.

My friend was in sorrow and tears

Because he was jilted you know,

So right down to the river he ran

To quickly dispose of my woe,

As a good friend he gave me advice

And timely prevented the splash,

Now he’s got a fine wife and ten heirs,

And all through a handsome moustache,


And all through a handsome moustache.

Like many 19th century Americans, Foster was of Scots-Irish ancestry. Thus, it is no

surprise that he would choose to set this little jingle to a jig, a dance that came over from the

British Isles. Since selling songs through music publishers proved to be unprofitable for

composers, many of Foster’s upbeat songs were sold to minstrel shows as a way to increase

exposure and hopefully revenue. Unfortunately for this was only partially true, and the man

who’s songs were sung all over the country died alone and impoverished.

Гопак

(Gopak)

Music: Modest Mussorgsky 1839-1881

Lyrics: Taras Shevchenko 1814-1861

Published: 1866

Goy! Gop gop gopak!

I fell in love with a Cossack.

Only he’s old and incapable

He’s redhead and clumsy

And that is my lot for now!

Goy!

Fate follows after longing

And you old one, go after water

As for me I’m off to the tavern

Yes, I’ll grab myself a spot

Then clink glasses again and again

The first drink stings

But the second flies

The woman goes to dance

And the man follows

The redhead calls to the woman

But she gives him a gesture

Since you married me satan

Go get the millet

You need to sympathize with children

Feed and clothe them.

Be the provider

Or I’ll do it myself!

Provide old redhead

Provide shameless

Only old, don’t sin

Rock the cradle (like this)

The cradle is old rock it (like this)

When I was young

Yes flaterer,

I hung my apron

Over the window

And nodded through the window

In a hoop, embroidered silk

Hey Semyons, Ivans

Put on your kaftans

Come on, go with me!

We’ll sit down, we’ll sing!

Goy!

Goy! Gop gop gopak!

I fell in love with a Cossack.

Only he’s old and incapable

He’s redhead and clumsy

And all is right for now!

Goy!

Gopak (or Hopak) is a lively Ukrainian Cossack dance which often contains contrasting fast and

slow sections. The song portrays the frustrations and complaints of an elderly person who is an

apparent alcoholic. Mussorgsky himself was struggling with alcoholism at the time he composed

the music for this piece. The emancipation of the serfs had decimated the family fortune a few

years before, and his mother had recently died.

(End of Recital)

Documents

Alicia Fairbanks, mezzo-soprano