USF Facu l ty Rec i ta l : John Rob i son , Lu te

January 20, 2013 – 4:00 p.m. Barness Recital Hall

with guest artists

Maggie Coleman, soprano

Stephen Rosser, tenor

Richard Long, lute

USF School of Music

Tampa, FL

Program

I Go from my Window ................................................. Anonymous (c. 1610)

Go from my Window ........................................ Francis Pilkington (c. 1570-1638)

Carman’s Whistle .................................................... John Johnson (fl. 1579-1594)

II La Mendiante Fantasye ....................................... Nicholas Vallet (c. 1583—1642)

III Passemezae ad notam C sol fa ut; Variatio triplae ... Matthias Reymann (c. 1565-c. 1625)

IV Prelude 81 and Fantasia 42 ....................................... Elias Mertel (c. 1561-1626)

V Psalm 11; Battaille ................................................ Nicholas Vallet

VI (English Lute Songs)

Of all the birds that I do know .................................. John Bartlet (fl. C. 1606)

If that a sinner’s’ sighs be angel’s food .............. John Dowland (1563-1626)

I care not for these ladies .............................. Thomas Campion (1567-1620)

Of all the birds that I do know, Philip my sparrow hath no peer, For sit she high or sit she low, Be she far off or be she near, There is no bird so fair, so fine, Nor yet so fresh as this of mine, For when she once hath felt a fitte, Philip will cry still yet yet yet yet . . . Come in a morning merrily, When Philip hath been lately fed, Or in an evening soberly, When Philip list to go to bed, It is a heaven to hear my Phippe, How she can chirp with merry lip, For when she once hath felt a fitte, Philip will cry still yet yet yet yet . . . And yet besides all this good sport, My Philip can both sing and dance, With newfound toys of sundry sort, My Philip can both prick and prance. And if you say but fend cut, Phippe, Lord, how the peate will turn and skip, For when she once hath felt a fitte, Philip will cry still yet yet yet yet . . . If that a sinner’s sighs be Angels’ food, Or that repentant tears be Angels’ wine, Accept O Lord in this most pensive mood, These hearty sighs and dolefull plaints of mine. That went with Peter forth most sinfully: But not as Peter did, Weep, weep, weep bitterly. I care not for these ladies, That must be wooed and prayed: Give me kine Amarillis, The wanton country maid. Nature art disdaineth; Her beauty is her own. Her, when we court and kiss, She cries forsooth, let go, But when we come where comfort is, She never will say no. If I love Amarillis, She gives me fruit and flowers: But if we love these ladies, We must give golden showers. Give them gold that sell love; Give me the nut-brown lass, Who when we court and kiss, She cries forsooth, let go, But when we come where comfort is, She never will say no. These ladies must have pillows, And beds by strangers wrought: Give me a bower of willows, Of moss and leaves unbought, And fresh Amarillis, With milk and honey fed, Who when we court and kiss, She cries forsooth, let go, But when we come where comfort is, She never will say no.

VII (English Lute Duets) Callinoe ...................................................................... Anonymous

My Lord Willoughby’s Welcome Home .............. John Dowland

A Dump ................................................................... John Johnson

The Queen’s Treble ................................................ John Johnson

- Intermission -

VIII (Early Baroque Monody Songs) Perfidissimo volto ................................................... Giulio Caccini (1551-1618)

Belle rose porporine .............................................. Giulio Caccini

Perfidissimo volto, Ben l’usata bellezza in te si vede, Ma non l’usata fede. Già mi parevi dir Quest’amorose Luci che dolcemente Rivolgo à te, si bell’e si pietose Prima vedrai tu spente, Che sia spent oil desio ch’a te le gira Ahi, che spento è’l desio, Ma non è spento qual per cui sospira L’abbandonato core! O volto troppo vago e troppo rio, Perchè se perdia amore Non perdi ancor’ vaghezza? O non hai pari alla beltà fermezza?

O, most perfidious face, true, the usual beauty in you is seen, But not the usual fidelity. Once you seemed to say: “These amorous eyes that sweetly I turn towards you, so beautiful and so compassionate --- First you will see these lights extinguished Before is spent the desire that they convey.” Alas, now spent is that desire, But not spent is that for which sighs The abandoned heart! O face too lovely and too cruel, why when you lose love, Do you not lose also loveliness, And why do you not match beauty with constancy?

Belle rose porporine, Che tra spine Su l’aurora non aprite, Ma, minister degli amori Bei tesori, Di bei denti custodite: Dite, rose preziose, Amorose, Dite, ond’è che s’io m’affiso, Nel bel guardo acceso ardente Voi repente, Disciogliete un bel sorriso?

Fair crimson roses, who, among your thorns, Do not open to the dawn, but as Love’s ministers, sweet treasures, protect fair teeth, Say, you precious, loving roses, How is it that if I gaze at your beauteous fiery sight, You suddenly release a sweet smile?

IX (Archlute Solo)

Sonata nona ................................................... Giovanni Zamboni Allemanda --- Curranta --- Sarabanda --- Giga (fl. C. 1700-1720)

X As Celia rested in the shade ................................... Henry Lawes (1595-1662)

(Both) As Celia rested in the shade, with Cleon by her side, The swain thus courted the young maid, and thus the nymph replied: (Cleon) Sweet, let thy captive fetters wear, made by thine arms and hands, ‘Till such as thralldom scorn, or fear, envy those happy bands. (Celia)Then thus my willing arms wind about thee, and am so Thy prisoner, For myself I bind until I let thee go. (Cleon) Happy that slave whom the fair foe Ties in so soft a chain. (Celia) Far happier I, but that I know Thou wilt break loose again. (Cleon) By thy immortal beauties, never! (Celia) Frail as thy love’s thine oath! (Cleon) Though beauty fail, my faith lasts ever. (Celia) Time will destroy them both. (Cleon) I dote on that snow-white skin. (Celia) What then? (Cleon) Thy purer mind. (Celia) It loved too soon. (Cleon) Thou hadst not been so fair, if not so kind. (Celia) O strange vain fancy! (Cleon) But yet true. (Celia) Prove it. (Cleon) Then make a braid of those loose flames which circle you, My sun’s and yet your shade. (Celia) ‘Tis done. (Cleon) Now give it me. (Celia) Thus thou shalt thine own error find: If these were beauties I am now less fair, because more kind. (Cleon) You shall confess you err; that hair, shall it not change the hue, or leave the golden mountain bare? (Celia) Aye me! It is too true. (Cleon) But this small wreath shall ever stay, in the first native prime, And smiling when the rest decay the triumphs sing of time. (Celia) Then let me cut from thy fair grove one branch, and let that be an emblem of eternal love, for such is mine to thee. (Both) Thus are we both redeemed from time. (Cleon) I, by thy grace. (Celia) And I, shall live in thy immortal rhymes until the muses die. (Cleon) By heaven! (Celia) Swear not, if I must weep, Jove shall not laugh at me: This kiss, my heart, and thy faith keep. (Cleon) This breath’s my soul to thee. (Both) Then forth the thicket Thyrsis rushed, Where he saw all the play: The swain stood still, and smiled, and blushed; The nymph fled fast away.

Biography John Robison is Professor of Musicology and director of the Early Music Ensemble at the University of South Florida in Tampa. He received his doctorate in musicology/performance practice from Stanford University in 1975, where he studied with George Houle, William Mahrt, Imogene Horsley, Herbert Myers, Stanley Buetens, and Leonard Ratner. The author of A Festschrift for Gamal Abdel-Rahim (Binational Fulbright Commission, 1993), Johann Klemm: Partitura seu tabulatura italica (A-R editions, 1998), and Korean Women Composers and Their Music (College Music Society, 2012), his research interests include Renaissance lute music, German Renaissance composers, the development of the fugue, performance practices, and contemporary composers from diverse African, Asian and Latin American cultures. A versatile musician who performs professionally on plucked string, bowed string, and woodwind instruments, he has done numerous solo Renaissance lute recitals over the past thirty-seven years, and also performs regularly on the viola da gamba, Renaissance/Baroque recorders, Renaissance double reeds (krummhorn, rauschpfeife, shawm, racket, curtal), Baroque oboe, and modern oboe/English horn. His articles on Renaissance, Baroque, and Twentieth-Century topics have appeared in various American, European and Asian journals, and his presentations as a scholar and a performer have taken him to many parts of Africa, Asia, Australia, Europe, and North America. He created the world music survey course at the University of South Florida in the early 1990s, and also teaches a course on intercultural composers of the twentieth/twenty-first centuries. He is currently completing a scholarly edition of the works of Jacob Meiland (1542-1577) for the American Institute of Musicology, and preparing a book on Indian composer John Mayer (1930-2004) that will be completed in 2012. Maggie Coleman is a native of San Juan, Puerto Rico, where she studied voice with Maria Esther Robles at the Conservatorio de Musica de Puerto Rico. She earned a Bachelor of Music in Vocal Performance at Iowa State University, and subsequently moved to Tampa in 1987. Since that time has been soloist and section leader at St. Andrew’s Episcopal Church. She has also been seen as a soloist for the Sarasota Choral Society, Tampa Bay Performing Arts Center, Master Chorale of Tampa Bay, Oratorio Society of Tampa, Mendelssohn Choir at St. John’s Church and Mostly Pops Orchestra. She is a frequent guest soloist for several bay area churches, performing recitals and sacred works, including Handel’s “Messiah,” and Fauré’s “Requiem.” She has performed supporting roles with Tampa Bay Opera, and performed leading and supporting roles with Spanish Lyric Theater. Mrs. Coleman has also been a cantor at Nativity Catholic Church since 2003. She has taught voice privately in her home, on and off, since residing in Florida. Mrs. Coleman currently resides in Clearwater with her husband, attorney, Jeff Coleman, and their beagle, Maria Constanza. Stephen Rosser, tenor, has had a distinguished professional career specializing in Medieval and Renaissance vocal music. He has performed to critical acclaim throughout the United States and Europe with such groups as the American Symphony Orchestra, New York's Ensemble for Early Music, Anonymous 4, Musica Sacra, and Alexander Blachly’s distinguished vocal group Pomerium. He was a founding member of the vocal sextet Lionheart, and has recorded for Nimbus Records, Deutsche Grammophon, Classic Masters, Dorian and Composer's Recordings. He currently performs with the Florida Pro Musica, and serves as tenor soloist with the choir of St. Andrew's Episcopal Church in Tampa.

Richard M. Long, a self-taught guitarist, made a living playing the instrument while earning a Ph.D. in European History at the Florida State University. He taught History at FSU, Hillsborough Community College, and USF, concentrating his research on the history of the classical guitar. These studies led to many publications and presentations, many transcriptions, arrangements, and critical editions, and also to the founding of a music publishing company, Tuscany Publications, an affiliate of Theodore Presser/Carl Fischer. He also wrote CD liner notes for Philips, Azica, Naxos, and other recording companies. Meanwhile, he continued to perform locally in various chamber ensembles with members of the Florida Orchestra, and in 2007 he toured with the late John King in concerts from San Francisco to Lisbon performing rare 19th-century music for machete and guitar. From 2001 until 2012, Long served as the Editor of Soundboard, the Journal of the Guitar Foundation of America. He has recently collaborated with Pepe Romero in the publication (2012) of the latter's long-awaited guitar method, and was inducted into the GFA Hall of Fame in 2011.

Upcoming School of Music Events:

Ste inway P iano Se r i es : Vass i l y P r imakov Sunday, Jan. 27, 2012 4:00 pm, USF Concert Hall Advance Tickets: $8 Students/Seniors, $12 Adults Day of Performance: $10 Students/Seniors, $15 Adults Steinway Piano Series presents Russian pianist Vassily Primakov. After his unforgettable recital last season, Mr. Primakov returns with an "All-Chopin Program"

Gues t A r t i s t Rec i ta l : Denn i s AsKew, Tuba Sunday, Jan. 27, 2012 7:30 pm, Barness Recital Hall Advance Tickets: $8 Students/Seniors, $12 Adults Day of Performance: $10 Students/Seniors, $15 Adults Dennis W. AsKew currently serves as Professor of Tuba, Euphonium and Music Education and Director of Athletic Bands at UNC Greensboro. Dr. AsKew has been active as a performer, having given solo performances throughout the United States, Hungary, Canada, Italy, Finland, Australia and the Netherlands, as well as numerous concerts throughout the United States and China as a member of the Market Street Brass Quintet.

Monday N igh t Ja z z : Jamey Aebe rso ld , saxophone Monday, Jan. 28, 2012 7:30 pm, USF Concert Hall Advance Tickets: $8 Students/Seniors, $12 Adults Day of Performance: $10 Students/Seniors, $15 Adults

The world's leading Jazz educator and extraordinary saxophonist Jamey Aebersold will be on campus to perform for the USF Monday Night Jazz Series. Jamey will perform jazz classics with the USF Jazz Faculty Ensemble. He will also be giving a workshop on Jazz Improvisation to USF School of Music students.

For additional information and to purchase tickets, visit music.arts.usf.edu

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