WESLEYAN COLLEGE

DEPARTMENT OF MUSIC
Presents

DAVID BAXTER
&
AARON EAVES
In a Junior Recital of Vocal Performance

Sunday, October 5, 2014

Three o'clock in the afternoon
First Presbyterian Church

Jeunes Fillettes

PROGRAM
Fin chhan dal vino
From Don Giovanni

W.A. Mozart

Non siate ritrosi

From Cos Fan Tutte
Aaron Eaves, Baritone

S, tra i ceppi
From Berenice (HWV 38)

G. F. Handel

David Baxter, Tenor

Nuit dEtoiles (L. 4)

Claude Debussy
David Baxter, Tenor

Song of Devotion

John Ness Beck

Beggars Song

Samuel Barber

Serenader
Theres Nae Lark

Die schne Mllerin Op. 25 (D. 795)

Aaron Eaves, Baritone

Franz Schubert

III. Halt!
IV. Danksagung An Den Bach
V. Am Feierabend
Aaron Eaves, Baritone

VI. Der Neugierige

VII. Ungeduld
XI. Mein!

My Time of Day
From Guys and Dolls

Frank Loesser

Poison in My Pocket

Steven Lutvak

From A Gentlemans Guide

to Love and Murder

David Baxter, Tenor

Bois pais
From Amadis

Nicolas Dalayrac

and Robert Freedman

What Do You Do?

Jean-Baptiste Lully

Rve Damour

Gabriel Faur

Au Cimetire

Sam Carner
and Derek Gregor
David Baxter, Tenor

Der Herr segne euch

Duet from Cantata No. 196
Aaron Eaves and David Baxter

Nell
Aaron Eaves, Baritone

J.S. Bach

PROGRAM NOTES
WOLFGANG AMADEUS MOZART (1756 1791)
Wolfgang A. Mozart was an Austrian born composer. Mozart
during his early years was well known as music prodigy. His father
who was also a musician took young Mozart and he performed on
the piano, composed pieces and gained notice from the nobility. He
wrote an opera at the age of 13 for the court of Milan. He
continued to write Operas, Symphonies, String Quartets, Sonatas,
and Concerti. Two notable Operas are Don Giovanni and The
Marriage of Figaro, which were both written by both Mozart and
Lorenzo Da Ponte.

Fin chhan dal vino from Don Giovanni K527

This aria comes from one of the two operas by Mozart and
Lorenzo Da Ponte called Don Giovanni. This opera is based on the
story of Don Juan. Don Giovanni who is the main character is a
wicked nobleman who tries to win over woman after woman. This
aria comes towards the end of act one where Don Giovanni is
telling his partner Leporello to get all of the things in order for the
party where he will finally win over the girl he is after.

Non siate ritrozi from Cos Fan Tutte K588

Cos Fan Tutte is an opera that Mozart wrote towards the latter part
of his short life. It is based on lovers who are called to war and do
not trust their girlfriends to be faithful while they are away. So
during the aria Non siate ritrozi the lover is dressed up as an
Albanian man and trying to win over his friends girlfriend to test
her faithfulness.

GEORGE FREDERIC HANDEL (1685-1759)

George Frederic Handel was a German-born, British Baroque
composer most famously known for his operas, oratorios and organ
concertos. He was very famous during his life as a composer and
was influenced by the Italian Baroque composers and the German
polyphonic choral tradition.

Berenice (1737)
Berenice is based upon the life of Cleopatra Berenice, daughter of
Ptolemy IX, who is the main character of Handels opera Tolomeo.
The aria S, tra i ceppi is sung by the actress playing Berenice, but
is very commonly sung by men in concerts and recitals.

FRANZ SCHUBERT (1797-1828)

Franz Schubert, born in Austria, began his formal music training at
the age of six. His father gave him violin lessons while his older
brother mentored him on the piano. When it came to leid writing,
Schubert wrote piano parts that were equally as important as the
vocal line, creating voice and piano duets. Often, the piano played
a character in his songs.

Die schne Mllerin (1823)

Die schne Mllerin, or The Beautiful Millers Daughter, is a song
cycle that follows the story of a boy who is travelling the
countryside looking for work. He comes upon a brook, portrayed
by the piano, which he follows and finds a mill. The brook plays a
huge roll in this cycle. In Halt! (Stop) the young boy asks the
brook was it meant to be that you led me to the mill? After the
boy has found the mill, in the song Danksagung an den Bach
(Thanks to the Brook) he thanks the brook for where he has taken
him and how he is thankful that he has enough to live on and be
happy. Shortly after, in Am Feierabend (After Work) he gets tired
of all of the work hes doing and the little recognition he gets from
the beautiful millers daughter who he has fallen in love with. In
Der Neugierige, The Curious One, the traveller asks the brook if
the millers daughter loves him. He asks for a straightforward
yes or no. In Ungeduld, Impatience, the traveller excitedly

proclaims his love for the millers daughter and describes how he
wants even the stars to proclaim his love for her. The traveller
believes that he has finally secured his love in Mein! and he
commands the birds of the air to stop their melodies and sing of his
love. He discovers that her favorite color is green and sings of how
lovely the color is, but soon finds out that she has met a hunter and
fallen in love with him and sings about how he hates the color
green. He becomes so frustrated and depressed that he throws
himself into the brook and drowns himself. The final song of the
cycle is a lullaby sung by the brook. Scholars are still in debate
whether the brook is really the boys friend or a fiend who leads
the boy to his own destruction.

Jean-Baptiste Lully (1632 1687)

Lully was a very famous, successful, and wealthy composer and
musician during the Baroque era. He was born in Italy but grew up
in France. He worked for King Louis XIV by writing operas and
ballets. Lully was the most important French Opera composer of
the Baroque period partly due to his reinvention of opera through
his use of ballet and the invention of the French overture. The most
well known story about Lully is his death due to his accidental
stabbing of his foot with his conducting stick. He stabbed his foot
and it became infected with gang-green and he died.

Bois pais from Amadis LWV 63

This particular aria is treated more as an art song today but is a part
of an opera. Bois pais is sung by Amadis who is in love with
Oriane who will not love him back. Amadis and the Kingdom are
about to go war and he decides to go into the woods to try and hide
his pain in the woods, which is when he sings this aria Deep
Forest.

Gabriel Faur (1845 1924)

Faur was a very successful composer, pianist, organist, and
teacher. His compositions were very beautiful and influential even
to twentieth century composers. One thing he was famous for were
his songs without words. By far in his day he was one of the
foremost French composers. His Requiem is considered his most
famous piece and probably one the most respected choral works of

today. He also wrote beautiful art songs that are popular today and
still widely used by singers.

chromaticism is very evident in this piece. Symbolism, the French

literary style of his period directly inspired his compositions.

Rve Damour Op. 5 No. 2

John Ness Beck (1930 1987)

This particular art song was one of the more early art songs that
Faur wrote. The text of this song comes from Victor Hugo who
Faur tends to use quite a few times. The text comes from the book
Tristesse dOlympio by Hugo.

Au Cimetire Op. 51 No. 2

This piece was written later in the life of Faur. The text is as well
a Victor Hugo text. This piece talks of death almost in the way a
friend would console another who has lost someone.

John Beck is a composer who only composed traditional sacred

music. His music is well known among churches that sing
traditional sacred music because Becks compositions are beautiful
but accessible. His writing style took a lot from the twentieth
century influences that were taking place. His music is very much
tonal but it stretches tonality and normal chord progressions. His
influence lives on through composers of today such as Dan Forrest.

Song of Devotion

Leconte de Lisle is author of the text of this particular art song.

This song is an early-middle Faur song but towards the middle of
the song you really get a sense of his forward movement in writing
technique with new styles of chromaticism and other techniques.

This piece comes directly from Philippians 1:3 11 and is set in a

beautiful way. The key of this piece is hard to identify because of
the dissonances and modulatory techniques that Beck uses. The
chord progression is not a normal progression and hidden with
unexpected notes in the piano part.

Nicolas Dalayrac (1753-1809)

Samuel Barber (1910 1981)

Nell Op. 18 No. 1

Born in France, Dalayrac began his career as a lawyer, but his

father convinced him to abandon his carer and pursue his love of
music. He began by writing violin duets and string quartets but
found his niche writing Opra Comiques.

Claude Debussy (1862-1918)

Claude Debussy is one of the prominent musical figures of the
Impressionist period, although he disliked the term when it came to
his music. Debussy learned to play piano at the age of eight at his
aunts home while escaping from the Franco-Prussian war in 1870.
After only a year of playing he impressed an alleged student of
Frdric Chopin and by the age of ten he was studying music at the
Paris Conservatorie, where he studied for the next eleven years.

Nuit dEtoilles (1880

Nuit dEtoilles, or Night of Stars, was one of the earliest pieces
Debussy wrote, but already you can tell he had established a
unique style. Debussy tended to eschew tonality and use of

Samuel Barber was born in West Chester, Pennsylvania on 9

March 1910. Barber had music around him not from his immediate
family but from his aunt who was a leading contralto at the
Metropolitan Opera. He often wrote for her especially during his
early years. Barber was a very smart child and a triple threat
prodigy in voice, piano, and violin. He was a student at the Curtis
institute of music and became one of the greatest American born
composers of all time.

Beggars Song (1936)

Composed on January 5, 1936 in Rome while Barber was at the
American Academy. Unpublished during the composers lifetime,
the song was published in Samuel Barber: Ten Early Songs in
1994. The text is from a popular poet of the day, Welshman
William Henry Davies. This song portrays the life of normal
people who work very hard.

Serenader (1934)
This composition was completed March, 1934. Composed in
Vienna. Unpublished during the composers lifetime, the song was

composed in the Samuel Barber: Ten Early Songs. The words

come from a very popular poet of the day George H. Dillon. The
setting truly portrays life and what our life should represent. We
have been given everything and all we have to give is our life.

Theres Nae Lark (1927)

Barber composed this when he was only 17 years of age. He
himself gave the first documented performance of this piece while
some believe his aunt sang this song in France during a concert.
The author of the text is the famous British poet and novelist
Charles Swinburne who invented the roundel form. The unique
thing about this text is that it contains old Irish contraction words.
Nae equals not a, a equals all, o equals of, and the different words
that appear in the second verse are of Irish heritage.

Frank Loesser (1910-1969)

The son of Henry Loesser, a classically trained pianist, Frank
Loesser began taking piano lessons at a young age in the vein of
European composers. Loesser possessed a remarkable ability to
play by ear almost anything he heard. He did not like his fathers
posh taste in music and strayed from it when he began composing
music of his own.

My Time of Day (1950)

Frank Loesser wrote the music and Lyrics for Guys and Dolls, a
musical based on two short stories by Damon Runyon. Sky
Masterson, a renowned gambler, is bet by a friend that he cannot
seduce the snotty mission girl, Sarah Brown and take her to dinner
in Havana, Cuba. Masterson, being the gambling man he is,
willingly accepts the bet of $1,000 to the victor. After much
coaxing and smooth talk Sarah agrees to fly from New York City
to Havana for dinner with Sky. When the duo arrives back to the
Big Apple, it is 4:00 AM. Sky opens up to Sarah as he has never
done to any doll before and tells him about his time of day.

Steven Lutvak (1974) Robert Freedman (1957)

Stephen Lutvak, composer and lyricist, and Robert Freedman,
book writer and lyricist, began collaborating in 2011 on the
original musical A Gentlemans Guide to Love and Murder, based

on the novel Israel Rank: the Autobiography of a Criminal by Roy

Horniman. Lutvak and Freedman are greatly influenced by Gilbert
and Sullivan, a powerhouse librettist/composer duo of the
Victorian era, and their clever use of banter and word play. They
decided to unofficially pay tribute to the two in A Gentlemans
Guide to Love and Murder.

Poison in My Pocket (2013)

A Gentlemans Guide to Love and Murder takes place in 1907 in
the European earldom of Highhurst. Monty Nevarro is just
returning home from his mothers funeral, when an old maid
woman approaches him. She tells Monty that he is a part of the
lineage of the DYsquith family, the royal family of Highhurst. She
woman also tells Monty that he is ninth in line to be Earl. Sibella,
Montys lover, refuses to marry him because she is afraid of falling
into poverty. Monty decides he will kill off the eight people
between him and the earldom. Poison in My Pocket is Montys
inner-monologue that narrates his attempt to off his first victim
from the DYsquith family.

Sam Carner (1980) and Derek Gregor (1979)

Carner and Gregor met while working on a project at NYU in 2001
and have been collaborating with one another ever since. In 2004
the duo won the Richard Rogers Award for Musical Theater with
Carner writing lyrics and Gregor writing music.

What Do You Do? (2009)

This cabaret piece tells of a mans struggle to succeed. He has
everything he needs except for one thing that he believes is holding
him back.

Translations
Nell
Under your bright sun, oh summer,
Your red, red rose sparkles ecstatically.
Lean over me too with your golden cup
My heart resembles your rose.
Under the shady, sheltering leaves
There rises a sigh of delight.
In the grove there are doves cooing,
Singing their love-songs (oh my heart!).
How sweet in the flame-red sky is the
pearl,
The star of pensive night!
But how much sweeter is the vivid
Glow
That shines in my enchanted heart!
The singing sea all along its shores
Will end its eternal murmuring
Before your image, oh Nell my love,
Ceases to bloom in my heart.

In the shadows of the greenwood,

When, alone, I am sighing low,
You come back, O! poor soul awaken'd,
Pure and white as snow in your shroud.
I watch here at this, your small fountain
Your blue eyes like the sky;
This rose, it is my dear hope,
And these fair stars they are your eyes.

Jeunes fillettes
Young Girls
Young little girls,
Waste not your time, seize the moment
The violet is picked in spring
This little flower stays,
But a short while,
As does infatuation.
At this ripe age,
Take up a friend,
If he is fickle,
Return to him the favor.
Nuit dEtoilles
Night of Stars
Starry night, beneath your pinions,
beneath your breeze and your perfumes,
Lyre, in sorrow, softly sighing,
I dream of a love long past.
Melancholy, so sadly tranquil,
Fills with gloom my poor weary heart.
And I hear your dear soul, my darling,
Quivering in the dreamy wood.

Fin ch'han dal vino

Until They Have Wine

Until they have become hot-headed
with wine,
Lets prepare a grand party.
If you find a girl in the piazza,
Try to bring her here.
May the dance be wild,
Who will be the minuet, who the folia
Who will dance the allemande with
you.
Meanwhile, Ill be singing my own
song
Flirting with this girl and that girl.
Ah you must add to my list
About ten entries tomorrow morning
Non siate ritrozi
Dont Be Bashful
Our sorrows,
And for them pity!
The heavenly beauty of your eyes
Has opened the wound in our heart
Which can only be remedied
By the balm of love:
In one moment you open our hearts, oh
beautiful,
To the sweet lights of your love,
Or before you die,
You shall see the most loyal lovers.
Be not wayward,
Dear beguiling eyes;
Let two loving lightning flashes
Strike for a moment here.
Make us happy,
And love with us;
And we will make you in return
The happiest of women.
Look at us, touch us,
Take stock of us:
We're crazy but we're charming,
We're strong and well made,
And as anyone can see,
Whether by merit or by chance,

We've good feet, Good eyes, good

noses.
Look, good feet; note, good eyes;
Touch, good noses; take stock of us.
And these moustaches could be called
Manly triumphs, The plumage of love.
S, tra i ceppi
Yes even in chains
Yes, even in chains and bonds
My faith will shine
No, not even death itself
Will extinguish my flame
Halt!
Stop!
I see a mill glinting
From among the elder trees,
The rushing and singing
Are pierced by the roar of wheels.Ah
welcome, ah welcome, Sweet song of
the mill!
And the house, how cozy! And the
windows, how shiny!
And the sun, how brightly It glows in
the sky!
Oh brook, dear brook, Was this destined
for me?
Danksagung an den Bach
Giving Thanks to the Brook
Was this destined for me, My bubbling
friend?
Your singing, your ringing, Was this
destined for me?
To the millers daughter, Thats what
you meant. Right? Did I understand it?
To the millers daughter!
Did she send you to me? Or have you
enchanted me? Id like to know,
Did she send you to me?
No matter what happens,
I commit myself.
What I sought I have found, Whatever

happens.
I sought after work,
Now I have enough,
For my hands, for my heart, I have
more than enough!
Am Feierabend
On the Restful Evening
If I had a thousand arms to move!
I could drive
The wheels with a roar! I could blow
Through all the copses!
I could turn
All the millstones!
Then the millers daughter Could sense
my true purpose!
Oh, how weak my arms are!
What I lift, what I carry,
What I cut, what I hammer,
Any fellow can do as well.
And there I sit among all the others In
the quiet, cool time of rest,
And the master says to all of us: I am
pleased with your work, And the lovely
maiden said Goodnight to everyone.
Der neugierige
The Curious One
I ask no flower,
I ask no star;
None of them can tell me,
What I so eagerly want to know.
I am surely not a gardener,
The stars stand too high;
My brooklet will I ask,
Whether my heart has lied to me.
O brooklet of my love,
Why are you so quiet today?
I want to know just one thing One little word again and again.
The one little word is "Yes";
The other is "No",
Both these little words
Make up the entire world to me.

O brooklet of my love,
Why are you so strange?
I'll surely not repeat it;
Tell me, o brooklet, does she love me?
Ungeduld
Impatience
I would carve it fondly in the bark of
trees,
I would chisel it eagerly into each
pebble,
I would like to sow it upon each fresh
flower-bed
With water-cress seeds, which it would
quickly disclose;
Upon each white piece of paper would I
write:
Yours is my heart and so shall it remain
forever.
I would like to raise a young starling,
Until he speaks to me in words pure and
clear,
Until he speaks to me with my mouth's
sound,
With my heart's full, warm urge;
Then he would sing brightly through
her windowpanes:
I would like to breath it into the
morning breezes,
I would like to whisper it through the
active grove;
Oh, if only it would shine from each
flower-star!
Would it only carry the scent to her
from near and far!
You waves, could you nothing but
wheels drive?
I thought, it must be visible in my eyes,
On my cheeks it must be seen that it
burns;
It must be readable on my mute lips,
Every breath would make it loudly
known to her,
And yet she notices nothing of all my
yearning feelings.

Mein!
Mine!
Little brook, let your gushing be!
Wheels, cease your roaring!
All you merry woodbirds,
Large and small,
End your melodies!
Through the grove,
Out and in,
Let only one song be heard today:
The beloved millermaid is mine!
Mine!
Spring, are all of those your flowers?
Sun, have you no brighter shine?
Ah, so I must be all alone
With my blissful word,
Incomprehensible to all of Creation!
Bois pais
Sombre Woods
Deep woods, increase your shade;
You could not be dark enough,
You could not conceal too well
My unhappy love.
I feel a despair
Whose horror is extreme,
I am to see no longer what I love,
I want no longer to bear the light of
day.
Rve Damour
Dream of Love
If there be a lovely lawn
Watered by the sky,
Where each new season
Blossoming flowers spring up,
Where lily, woodbine, and jasmine
Can be gathered liberally,
I would strew the way with them
For your feet to tread!
If there be a loving breast
Wherein honour dwells,

Whose tender devotion

Never is morose,
If this noble breast always
Beats with worthy intent,
I would make of it a pillow
Where your head can rest!
If there be a dream of love
With the scent of roses,
Where each day may be found
Some sweet new delight,
A dream blessed by the Lord
Where soul unites with soul,
Oh! I shall make of it the nest
Where your heart will rest!
Au Cimetire
At The Cemetery
Happy who dies here.
Like the birds of the field!
His body, near his friends,
Is laid in the earth, and among the
songs.
He sleeps a good vermillian slumber
Under the radiant sky.
All those he had known, are come
To bid him a long farewell.
At his cross his parents weep,
Resting on their knees,
And his bones, underneath the flowers
Are gently bathed in tears
Each one on the black wood,
Can see whether he was young or not,
And can, with sincere regrets
Call him by his name.
How many unlucky ones are there
Who die at sea,
And lie under the deep waves
A long way from their beloved country!
Ah! poor souls! who for their shrouds
Have green seaweeds,
Where they roll unknown, quite naked,
And their eyes wide open!