A Pedagogical of Tosti Songs PDF
A Pedagogical of Tosti Songs PDF
A Pedagogical of Tosti Songs PDF
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Theses and Dissertations--Music Music
2016
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Kano, Mark Aaron, "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs" (2016). Theses
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Mark Aaron Kano, Student
Dr. J. Dennis Bender, Major Professor
Dr. David W. Sogin, Director of Graduate Studies
A PERFORMANCE GUIDE FOR LYRIC TENOR: A PEDAGOGICAL ANALYSIS
OF TEN FRANCESCO PAOLO TOSTI SONGS
_____________________________________
DMA DOCUMENT
_____________________________________
By
Mark A. Kano
Lexington, KY
Lexington, KY
2016
Copyright © Mark A. Kano 2016
ProQuest Number: 10153828
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and there are missing pages, these will be noted. Also, if material had to be removed,
a note will indicate the deletion.
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Published by ProQuest LLC (2016). Copyright of the Dissertation is held by the Author.
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ABSTRACT OF DISSERTATION
Keywords: Francesco Paolo Tosti, Tosti Songs, Lyric Tenor Voice, Performance
Guide, Pedagogical Analysis
A PERFORMANCE GUIDE FOR LYRIC TENOR: A PEDAGOGICAL ANALYSIS
OF TEN FRANCESCO PAOLO TOSTI SONGS
By
Mark A. Kano
__________J.Dennis Bender__________
Director of Document
_________David W. Sogin____________
Director of Graduate Studies
______________4/22/16______________
Date
To
First and foremost, I would like to thank my first voice teacher, Donna
Farmer, for always challenging me to be the best possible musician and for
committee: Dr. Lance Brunner, Arturo A. Sandoval, and Dr. Liang Luo. Thank
sincere gratitude that I thank Dr. Dennis Bender for demanding integrity and
last, but certainly not least, a heartfelt thank you to my committee member,
mentor, and friend, Dr. Elizabeth Arnold. Thank you for being a fantastic
and dear friend. I cannot thank you enough for the compassion that you’ve
iii
TABLE OF CONTENTS
ACKNOWLEGEMENTS………………………………………………………………..iii
PART I: DISSERTATION
LIST OF FIGURES……………………………………………………………….vi
LIST OF MUSICAL EXAMPLES……………………………………………….vii
CHAPTER 1: INTRODUCTION………………………………………………………..1
DEFINITION OF THIS TOPIC………………………………………………….1
NEED FOR THIS STUDY……………………………………………………….3
SCOPE AND LIMITATIONS……………………………………………………4
METHODOLOGY……………………………………………………………….5
EXPECTED OUTCOMES……………………………………………………….6
iv
CHAPTER 5: CONCLUSION…………………………………………………………90
BILBLIOGRAPHY…………………………………………………………………….125
VITA……………………………………………………………………………………128
v
LIST OF FIGURES
vi
LIST OF MUSICAL EXAMPLES
vii
PART I: DISSERTATION
CHAPTER 1: INTRODUCTION
process for instructors of this voice type. The undergraduate lyric tenor is still
maturing at a rapid rate and his voice will face inconsistencies on a daily basis.
It is the duty of the teacher to assign repertoire that will display and nurture
breath mechanics and resonance. This process will allow the tenor to develop
confidence while instilling a solid technical foundation that will pave the way
for more challenging repertoire in the future. Francesco Paolo Tosti, a lyric
tenor and composer, wrote songs that exemplify technical concepts that
should be cultivated in the undergraduate lyric tenor voice. This guide will
present ten Tosti songs that address technical issues that the lyric tenor must
Definition of Topic
1
Errico (1848-1892); Riccardo Mazzola; Giuseppi Giusti (1809-1850); Giovanni
several sources, none were complete and most lacked vital discussions on
issues directly related to the lyric tenor voice. I discovered only one source
transcriptions, and translations, but this source only covers eight songs. It also
does not address challenges that the text might present, nor does it address
the necessity for vowel modification in the passaggi for the lyric tenor voice.
Upon further study, I located a dissertation that examined two of the ten songs
Furthermore, the available resources on these ten Tosti songs lack detailed
poetic, and diction material on each of the ten selected songs. Such detailed
2
analysis will offer deep and meaningful interpretations for a vocally healthy
appreciate the composer’s intent for melodic and text settings. In addition, the
singer needs poetic and literal translations in order to fully comprehend the
the text is also necessary so the singer accurately pronounces the language as
it pertains to lyric diction. As the text relates to the demands of the vocal line
that the composer has indicated, it is imperative that the singer adjusts vowels
as necessary in order to produce the most consistent and free tone. Vowel
modification is crucial for the singer to achieve the most balanced tone when
these fundamental concepts into one cohesive guide for these ten songs does
3
Tosti songs have become part of standard art song repertoire and are
ten songs and the pedagogical value directly related to the lyric tenor voice. A
comprehensive performance guide to these ten songs will offer singers and
performance of these ten Tosti songs. This document is not a manual for
for which he set their poetry to music, nor does it include a detailed harmonic
4
Methodology
French, and English. An accomplished pianist and tenor, he was well informed
Caruso.1 This guide will suggest that his singing and teaching background, in
addition to his circle of friends, may have greatly impacted his compositional
style.
Tosti’s gifts demonstrate perfectly crafted songs for the voice and
display his understanding of the voice and it’s function. Carol Kimball
concepts, such as each song’s formal structure, harmonic function, key areas,
When referencing the relationship between music and text, Donald Ivey
1
Francesco Paolo Tosti: 30 Songs, High Voice. (Milan: Ricordi, Distributed by Hal Leonard,
2002), 2.
2
Carol Kimball, Song: A Guide to Style and Literature. (Redmond, Washington: Pst…Inc.,
1996, 2000), 363.
5
can reflect or reinforce the surface of the poem.”3 An exploration of the
poetry, its translation, and its function as set harmonically by the poet will
lyricist, who dictates which vowels are to be sung on given pitches.” 4 Through
examples, appropriate vowel modifications are suggested from the basic IPA
Expected Outcomes
specifically addressing technical challenges for the tenor voice does not yet
exist. This guide will suggest pedagogical applications via the scope of lyric
3
Donald Ivey, Song: Anatomy, Imagery, and Styles, (New York: The Free Press, 1970), ix.
4
Clifton Ware, Basics of Vocal Pedagogy : The Foundations and Process of Singing, (New
York: McGraw-Hill, 1998), 167.
6
diction as it pertains to vowel modification, appoggio or breath mechanics,
its widely accepted necessity in register negotiation is not available for these
ten Tosti songs. The inclusion of a performance guide resource that explores
pertaining to the tenor voice in these ten standard recital pieces is a valuable
Francesco Paolo Tosti was born April 9, 1846 in Ortona, Italy - a small
town in the Abruzze region, just off the Adriatic Coast. As a child, Tosti studied
violin
melodicand wasand
style accepted to the Naples
orchestration Conservatory
techniques. at theon
His influence age of twelve.
melodic style is
While at the
apparent Naplessongs.
in Tosti’s Conservatory, he studied composition from Giuseppe
lyric tenor voice – and became a part of the most aristocratic society. He
became the voice teacher to the court of Princess Margherita of Savoy, whom
After spending more than five years in Rome, Tosti then moved to
London. He became the singing teacher to Queen Victoria’s children, and was
responsible for all of her private vocal concerts. Tosti signed a contract and
began what would become a very lucrative relationship with a publisher from
Milan – Ricordi. Ricordi also resided in London during the same time.
In London, Tosti also served on the faculty at both the Royal College of
Music and the Royal Academy of Music. In 1906, Tosti became a British citizen
and was knighted by King Edward VII in 1908. In 1912, Tosti returned to Rome
and spent the final years of his life in Italy. He died in his apartment in the
Italian, French, English, and the Neapolitan dialect. His experience as a singer,
voice teacher, violinist, and pianist greatly influenced his compositional style.
8
He obtained a vast knowledge of vocal technique, which commanded the
respect of Verdi who considered Tosti to be one of the greatest voice teachers
of his day. Friends and colleagues of Tosti included the foremost operatic
course, Verdi. Similarly, Tosti was well acquainted with renowned singers of
the day.
The famous Australian soprano, Nellie Melba, and the great Italian
broad audience.5 Other notable singers that brought notoriety to Tosti’s songs
The vocal lines display Tosti’s keen understanding of the mechanics of the
imaginatively construct a song from its fundamental elements. Tosti was able
to compose accompaniments that create evocative moods and fuse them with
Italianate melodies that engage the listener and allow for freedom of
5
Carol Kimball, Song: A Guide to Style & Literature, 363.
9
expression by the singer. His songs are direct, well crafted, at times intense,
and striking.
The influence of Neapolitan melodies and the finesse of bel canto vocal
lines are apparent in Tosti’s songs. In her book Song: A Guide to Style &
Literature, Carol Kimball notes that “intense emotionalism color the songs of
Paolo Tosti, whose song style defines for many the ultimate ‘Italian song’
song…he knew how to write engaging, flowing melodies that displayed the
“Tosti’s choice among contemporary Italian poets was determined not only by
the musical potential of the lyrics, but [also] to a great extent by the literary
themes and styles that would make the greatest impact on the general public,
6
Carol Kimball, Song: A Guide to Style & Literature , 363.
7
Francesco Santivale, The Song of a Life: Francesco Paolo Tosti (1846-1916) , (Hampshire:
Ashgate Publishing Limited, 2004), 75.
10
Song Text and Poetry
Much of the poetry that Tosti selected to set to music was intimately
associated with the cultural and historical setting where he lived and worked
early in his career.8 “Tosti’s desire to keep up to date with the latest in both
Italian and foreign poetry, his direct acquaintance with the poets, the sharing
himself thanks to this felicitous combination of his natural gift for melody and
his continual striving for a more cultured and refined style.”9 However, “certain
poetry that was offered to composers by their publishers.10 In Tosti’s case, his
publisher was Ricordi. Tosti was disappointed with the quality of poetry that
…Here are my songs. Soon I shall send the English [version]. Do you
know it’s beginning to become a real problem to find beautiful words
to set to music? Please could you ‘settle up’ with Francesco Cimmino?
Give him as little as possible!11
Tosti set poetry that was strophic in structure and consisted of verses
8
Santivale, Song of a Life, 75.
9
Santivale, Song of a Life, 76.
10
Santivale, Song of a Life, 169.
11
Santivale, Song of a Life, 170.
11
enneasyllabic (nine syllables) or hendecasyllabic (eleven syllables).12 This
setting maintains the natural rhythm of the poetry. However, this puts a great
deal of responsibility on the interpreter of his songs to recreate the fluidity and
Appoggio
resonatory systems in singing.”13 The term appoggio derives from the Italian
necessitates that one exhale for a more extended period of time than speech
rather than the sensation of exhalation, in order to successfully sing with the
appoggio method of breathing.
13 Richard Miller, Training Tenor Voices (New York: Schirmer Books, 1993), 155.
12
Posture is a crucial element of successfully achieving the appoggio
method. One must stand tall, with shoulders relaxed, slightly rolled back, so
that the chest is open and the sternum is in a noble position. Miller states that
“during the singing of extended phrases, the sternum remains elevated and
the rib cage expanded.”14 The head should be balanced comfortably on top
of the spine so that one can comfortably look up, down, left, and right without
any strain. One should stand with feet hip width or shoulder width apart and
the hips should be able to comfortably rotate from front to back and left to
right. This tall, open, noble, and relaxed posture will allow the singer to inhale
Miller asserts that the lower abdominal muscles should be engaged and the
for as long as possible. These actions will slowly delay the ascent of the
diaphragm, thus controlling exhalation of air necessary for one to sing long
Clifton Ware suggests that appoggio also requires one to “sense the
sound forward, in the mask, lips, teeth, and hard palate”, imagining the sound
13
ribcage. 16 One must maintain diligent practice habits of these concepts in
without relying on inhaling for help. If you discover that lifting your sternum
without inhaling is difficult for you, try this. Lift both arms above your head,
pointing to the sky. Then, careful to leave the chest where the high arms put it,
lower your arms. You will find your chest much higher than it was originally,
your ribs expanded farther than they were originally, and you will be highly
relaxed position is the one you want to maintain at all times…No, it is not
The range of most lyric tenors is from C3 to C5. The term tessitura refers
to the portion of the music in which most of the pitches of the melody lie.18
Richard Miller defines lyric tenor as one that “can sing much of the standard
16
Ware. Basics of Pedagogy, 194.
17
Shirley Emmons, Focus on Vocal Technique: Breath Management, http://www.shirlee-
emmons.com/breath_management.html
18
Miller, Training Tenor, 159.
14
opera literature. He must have a beautiful vocal timbre and be able readily to
blending and navigation of these registers in the lyric tenor that can
significantly impact the upper register, which is arguably the most important
from an adjoining series of tones.”20 The registers of the tenor voice are most
commonly referred to as the chest voice, middle voice, head voice, and
falsetto. The chest voice or low voice occurring between C3-G3; the lower
middle voice occurring between G3-D4; the upper middle voice occurring
between D4-G4; the head voice or upper voice occurring G4-C5; and the
registers of the lyric tenor voice, the teacher must understand the passaggi as
well.
a “pivotal point” in the vocal register.22 These “pivotal points” are transition
points in the tenor voice. In the tenor voice we refer to these passaggi as the
19
Miller, Training Tenor ,159
20
Miller, Training Tenor , 159.
21
Miller, Training Tenor , 7.
22
Miller, Training Tenor , 158.
15
primo passaggio, or first transition point, occurring at D4; the secondo
passaggio, or second transition point, occurring at G4; and the area between
Vowel Modification
registers of the singing voice, associated with the historic Italian school.”27
23
Miller, Training Tenor, 7.
24
Ware, Basics of Pedagogy, 281.
25
Miller, Training Tenor, 39.
26
Miller, Training Tenor, 161.
27
Miller, Training Tenor, 155.
16
In his vocal pedagogy text, Your Voice: An Inside View, Scott McCoy
“Vowel Modification and Efficiency”, stating that “the laws of acoustics require
when used to counteract vocal tones that are strident, spread, or piercing in
timbre.”31
28
Scott. McCoy, Your Voice: An Inside View, (Delaware: Inside View Press, 2012), 47.
29
McCoy, Your Voice, 47.
30
Ware, Basics of Pedagogy, 167.
31
Ware, Basics of Pedagogy, 167.
17
points in the voice will best achieve the ideal resonance in the singing voice.32
and emphasizes that “vowels in certain channels act in certain ways.” The lyric
Richard Miller calls the “ring of the voice”. 34 Similarly, Miller expresses that
“well-balanced resonance in the singing voice” will result in both a light and
dark timbre, known as the “chiaroscuro” tone from the Italian bel canto school
of singing.35
32
Berton Coffin, Overtones of Bel Canto: Phonetic Basis of Artistic Singing with 100 Chromatic
Vowel-Chart Exercises, (London: The Scarecrow Press, Inc., 1980), 16.
33
Ware, Basics of Pedagogy, 282.
34
Miller, Training Tenor, 158.
35
Miller, Training Tenor, 155.
18
In his article “Chiaroscuro and the Quest for Optimal Resonance,”
that when chiaroscuro is achieved, “the voice sounds louder. The resultant
tone is stronger, fuller, and richer in color. This type of resonance is optimal for
singing purposes, because one is able to sing louder and with less effort.”37
Kirkpatrick supports the idea that adjustments of vowels must occur for the
singer to find his optimal resonance. He suggests that “if one is having
in a song, one can explore the extremes of tone color within the vowel while
sustaining the pitch in order to find the point along the continuum from bright
to dark tone color that results in the loudest resonance. Start with a very bright
tone and progressively darken it until the sound becomes energized and
resonant. At some point along the continuum from bright to dark, the singer
will usually experience optimal resonance, and he/she will recognize the
36
Adam Kirkpatrick, 2009. ""Chiaroscuro" and the Quest for Optimal Resonance."Journal of
Singing - the Official Journal of the National Association of Teachers of Singing 66 (1): 15-21.
37
Kirkpatrick, “Chiaroscuro”, 15-21.
38
Kirkpatrick, “Chiaroscuro”, 15-21.
19
essential technical skill that should be employed to successfully find balanced
[n], [ŋ], to serve as an anchor to the vowel and tone quality, in coordination
with relaxed articulators, to achieve the bright and dark timbre associated with
validity to this method. In His article “From Song to Speech: Nasal Resonance –
nasality is of “questionable benefit to the singer and that fullness, intensity and
ring in the voice comes from when the nasal cavity is separated from the vocal
tract by lifting the soft palate.”39 This guide will not suggest vocalizes to
achieve balanced resonance, yet it will encourage the benefits of the vowels
that the text dictates, in conjunction with the vowel modification choices of the
20
easy language to sing, the easiest of all the foreign languages.”40 One reason
Another reason is because Italian is such a frontal language and there are only
ridge; there are consonants that are articulated at the lips; as well as nasal
challenging to speak and sing well.42 This is because of the nuances of the
that result in its own unique color.”43 Adams provides “ten commandments,”
consonant;
40
David Adams, A Diction Handbook for Singers: Italian, German, French, (New York: Oxford
University Press, 1999), 1.
41
Adams, A Diction Handbook, 2.
42
Adams, A Diction Handbook, 1.
43
Adams, A Diction Handbook, 1.
44
Adams, A Diction Handbook, 1.
21
6. Basic understanding of open and closed e and o;
Figure 3.1
Vowels
Fricative Consonants
Lateral Consonants
[l]/[ll], [ʎ]/[ʎʎ]
Affricative Consonants
Glides
[j], [w]
45
Adams, A Diction Handbook , 2 .
22
Plosive Consonants
Vibrant Consonants
[ɾ], [r]/[rr]
Nasal Consonants
Other Symbols
23
This guide will reference the seven primary vowels of the Italian
language ([a], [e], [ɛ], [i], [o], [ɔ], [u]) as they relate to the passaggi within the
text of each song. The vowels will adjust to their closest neighbor on the vowel
chart, usually, but this is relative to the singer and what best suits his voice. In
this guide, vowel modification, as it relates to the vowel chart, offers the singer
the option to utilize three additional vowels not inherent to the Italian
language - [æ], [ʌ], and [ɪ].46 Specifically, these vowels will modify from their
[u] = [u]-[o].47
46
Miller, Training Tenor, 41.
47
Berton Coffin, Coffin’s Overtones of Bel Canto: Phonetic Basis of Artistic Singing with 100
Chromatic Vowel-Chart Exercises, (Metuchen: The Scarecrow Press, Inc., 1980), 36-39.
24
This guide does not suggest mixed vowels as necessary modification options;
APRILE
PEDAGOGICAL OBSERVATIONS
Range: G3-G4
Tessitura: G3-E4
Meter: 6/8
Key(s): C major
However, the vocal line is independent of the accompaniment. The fluid and
25
legato accompaniment does not support the singer rhythmically, so the singer
must command a strong sense of rhythmic accuracy and pulse in this song.
Tosti indicates specific tempi changes: poco ritardando, a tempo; ritard, col
canto, a tempo; affrettando, tenuto, col canto, a tempo. These tempi changes
occur at climactic moments within the piece, both dramatically and textually.
phrases and the articulation is syllabic. Therefore, the singer must fully
understand legato line, which will propel rhythmic energy forward throughout
both pianist and singer to accurately depict the mood - themes of spring and
love.
are the required rhythmic and melodic accuracy of the singer, without having
the aid of vocal doubling in the accompaniment. Also, the syllabically set text
line with the poetry so that the vowels of the text in the singer’s zona di
passaggio, [o], [i], [e], are excellent vowel choices. Conversely, the singer must
26
pay close attention to [ɛ] and [a] so that they do not spread, causing
singer modify [ɛ] to [e] and [a] to [ɔ].48 These vowel adjustments encourage a
narrowing and heightening of their more open neighbors, which will facilitate
Example 4.1
48
Miller, Training Tenor, 41.
49
Russell A. Hammar, Singing: An Extension of Speech, (Metuchen: The Scarecrow Press, Inc.,
1978), 88.
27
Additional Comments: This song was composed in October of 1882 in
Milan, but not published by Ricordi until 1884. The overall mood of the song is
joyful as the poetry depicts themes of spring and love. The light-hearted
theme lends itself to being easily accessible for a young tenor. However, the
tessitura of this piece is high, so the singer must be able to sustain the higher
tessitura without fatigue. The singer should feel comfortable negotiating the
secondo passaggio, as the climax of the piece is a sustained G4, which occurs
twice; however, Tosti selected an[ɛ] vowel for this moment, which should work
well for most lyric tenors. A tenor with a lighter, more agile voice, should feel
Figure 4.1
Aprile
[aˈprile]
April
28
Do-not hear you in the-soul
29
Poet: Rocco Emanuele Pagliara (1856-1914).
“Many musicians composed romanze and songs to his verses, and the
for music; his texts were “charming” and “original”.51 Tosti set sixteen of
50
Santivale, Song of a Life, 146.
51
Santivale, Song of a Life, 142.
52
Jonathan Retzlaff. Exploring Art Song Lyrics: Translation and Pronunciation of the Italian,
German, and French Repertoire. (New York: Oxford University Press, 2012), Google Books,
71.
30
NON T’AMO PIÙ
PEDAGOGICAL OBSERVATIONS
Range: D3-F#4
Tessitura: G3-E4
Meter: 4/4
in the minor key sections. The singer is supported harmonically and the top
note of each chord doubles the singer. This gesture elegantly supports the
eighth note chordal pattern as the singer moves into the major key area. Also,
53
Santivale, Song of a Life, 132.
31
contrasting the chordal pattern, Tosti includes a one to two measure motive,
which takes place between phrases of the singer. The motive rises by whole
step, enhancing the tension and intensity of the minor tonal area before
moving into the major tonal area. Specific tempi and expressive markings are
indicated in this song: legato molto; col canto; affrettando; col canto; ritard;
meno; legato molto; col canto; col canto; meno; col canto; legato. Equally
notable are the dynamic markings of messa di voce throughout, which the
Phrasing and Articulation: The vocal phrases are mostly two measures in
crescendo and decrescendo. This works to benefit the singer in the syllabic
writing of the phrases. There are many opportunities for rubato in this piece as
well, allowing for expressive and dramatic interpretation by the singer. Tosti
does a wonderful job of writing syllabic text fused with a striking melody that,
in conjunction with his use of harmony and major vs. minor tonality shifts,
undergraduate tenor, than some of Tosti’s other pieces. Though the leaps of
32
fourths and thirds into the zona di passaggio could be problematic.
secondo passaggio, where the singer must negotiate between closed and
open vowels. For example, on the phrase “a te non penso”, the singer moves
from an open vowel [a] on D4 to [e]-[o]-[ɛ] “te non penso”, all on F#4, before
resolving at the [o] vowel of “penso” on E3. The singer must be careful not to
over-open the vowels in the passaggio area in order to not fatigue himself. A
more vertical vowel modification in place of the [a] vowel, like [ʌ] or [ɔ] would
be ideal for the singer. Additionally, the closed nature, high placement, and
fontal position of the [e] vowel on “te” should work well for the tenor, if he
does not spread his embrasure. The closed nature of the [e] vowel to the [o]
vowel on “te non” should facilitate the narrow/vertical alignment necessary for
maneuvering in the passaggio. However, the [ɛ] vowel on “penso” has the
danger of producing a harsh tone quality if the tenor is not able to find the
verticality in the [ɛ] vowel. Finally, the “Puccini-esque” melody throughout the
33
Example 5.1
romantic memories, promises, dreams of eternal love, the end of passion and
delusion,” are depicted well by Tosti. Santivale states, “the typical square-cut
easily adapted to the hendecasyllabic quatrains of the poem (the device most
the words ‘una catena dileguante in ciel’, and one descending, on the words,
‘perché l’anima tua fatta è gel’, the latter lunging the soul, once light and
dreamy, into a cold, hard reality.”55 The major tonal area follows, “in which a
54
Santivale, Song of a Life, 134.
55
Santivale, Song of a Life, 134.
34
livelier and richer piano part accompanies a more relaxed melodic
development.”56
Figure 5.1
56
Santivale, Song of a Life, 134.
35
[ma le paˈɾɔːle tuːe fuˈɾon mɛnˈdaːtʃi]
But the words yours they-were lies
Te ne ricordi ancor?
[te ne ri'kɔrdi aŋˈkoːr]
You it remember still?
36
Tu della mente l'unico pensier.
[tu ˈdella ˈmente ˈluːniko pɛnˈsjɛːr]
You in-my mind the-only thought.
Te ne ricordi ancor?
[te ne ri'kɔrdi aŋˈkoːr]
You it remember still?
37
Poet: Carmelo Errico (1848-1892)
Carmelo Errico crafted his own late-romantic style, which was extremely
appealing to Tosti and his verses were appealing to the public as well,
prompting Tosti’s enthusiasm. His texts dealt with nostalgic, idealized, and
familiar topics. Errico’s innate manner of rhyming, stanza settings made his
the restraint that barely conceals its yearning and the expressed pain and
resignation. Even when the words rise to a peak of bitterness, the tone is more
57
Santivale, Song of a Life, 127-128.
58
“ Non t'amo più, for voice & piano”, accessed February 29, 2016,
http://www.allmusic.com/composition/non-tamo-pi%C3%B9.-for-voice-piano-orchestra.
38
you were to my mind, the only thought.
You have seen me plead, turn pale,
you have seen me crying before you:
just to satisfy a single wish of yours,
I would have given my blood and my faith.
Now my faith, my desire immense,
my dream of love, is no longer in you:
I do not seek your kisses, I do not think of you;
I dream of another ideal; I do not love you anymore.59
LUNA D’ESTATE
PEDAGOGICAL OBSERVATIONS
Range: D3-G4
Tessitura: F#3-D4
Meter: 2/4
Key(s): D Major
set the overall mood of the piece. The left-hand keeps a steady pulse on beats
one and two, while the right-hand plays a delicate syncopated pattern. The
59
Retzlaff, Exploring Art Song, 78.
39
accompaniment does not double the vocal line. Tosti indicates leggero e
Phrasing and Articulation: The vocal line utilizes four measure phrases
throughout. “The varying accents of the verse give rise to a pleasant variety in
the rhythm of the melodic line, which often dominates the higher registers.”60
however, Tosti writes wide leaps of fifths and sixths to emphasize text at the
rhythms in the vocal enhance the joyous love story. Although the singer is
supported harmonically by the piano, the singer must be secure with the
melody and rhythm. The syllabic writing and fast tempo of the piece can
encourage the articulation of the words to influence and uneven legato line.
The tessitura lies in the middle voice for the tenor, except for a few climactic
moments in the passaggio. Closed vowels are mostly used in the text at these
moments. However, the singer may have issues with the phrase at “E chi le
guarda…soffra per amore e songna per desìo, l una d'estate!”. The phrase
begins with a wide leap of a sixth from A3 to F#4 on the text “E chi” and the
60
Santivale, Song of a Life, 178.
40
subsequent five measures lie in the passaggio, D4-G4. The greatest challenge
will be negotiating the vowel changes on the word “desìo”. The “de-“ is set on
F#4 and a closed vowel, but the “-sìo” occurs on G4. The voiced “s” should
system, but the [i] vowel will need more height so that the singer does not
close the throat or tense before shifting to the closed [o]. The identical musical
section at the end of the piece presents the opportunity for the singer to
modify the closed [e] vowel to it’s more open neighbor, [ɛ], on the high G(4),
Example 6.1
41
Additional Comments: “A joyful, sparkling stornello written during Tosti’s
and intense love songs. Its light and buoyant character represent an apparent
Figure 6.1
Luna d'estate
[ˈluːna deˈstaːte]
Moon of-summer
61
Santivale, Song of a Life, 176.
42
Myself I -am stopped at a window in flower
43
[ɔ il ˈpjanto aʎʎɔkki e la speˈɾantsa iŋ ˈkwɔːɾe]
I-have the tears in-the-eyes and the hope in heart
short stories and plays in Italy. He was also one of Tosti’s favorite poets during
the latter part of the composer’s life. Between 1908-1913, Tosti set 14 of
62
Francesco Paolo Tosti, Songs: Voice and Piano, (Milano: Ricordi, 2007), vii.
44
PREGHIERA
PEDAGOGICAL OBSERVATIONS
Range: D3-F#4
Tessitura: F#3-D4
Meter: 4/4
Key(s): D major
melody in the piano introduction that elegantly moves from the top voice in
the accompaniment to the lowest voice. At times, the bass voice in the
accompaniment doubles the voice line, offering energy and enhancing the
throughout. The “melodic line rises and grows in intensity, culminating in the
45
most profoundly felt lines of the poem and concludes with a coda, which
underlines the despair of the poet, with a final invocation ‘Signor, pietà’ (Lord,
have mercy!), repeated again and again.”63 The articulation is largely syllabic,
however, the slow tempo makes it accessible for younger singers. Most of the
movement in the vocal line is step-wise, however, there are leaps of thirds and
fourths. Tosti writes leaps of fifths at dramatic moments and rises by whole
Vocal Challenges and Benefits: . The tessitura of this piece lies in the
middle and low voice for the tenor. When Tosti writes in the zona di passaggio
and upper part of the voice, it is at dramatic moments within the poem. With
the exception of the [a] vowel, all of the passaggio notes are on closed vowels.
The climax of the piece will probably offer the greatest challenge because the
pitches are D4, E4, and F#4, however, the diction can facilitate a freedom of
vocal production because of the closed vowels, the enya, and glide that the
diction requires (Signor, pietà! [siɲˈɲoːr pjeˈta]). The singer should explore
modifying the [a] of “pieta” to the neutral vowel of [ʌ] because of it’s
46
Example 7.1
of Schubert and Gounod.64 Tosti is able to write a beautiful, yet simple melody
that builds in intensity to accurately able to convey the torment of the text,
which is usually very difficult to achieve in a strophic song. This piece allows
Figure 7.1
Preghiera
[pre'gjɛːɾa]
Prayer
Di dubbio e di dolore
[di ˈdubbjo e di doˈloːɾe]
by doubt and by pain/grief
64
Santivale, Song of a Life, 105.
47
Soccorri, o mio Signore,
[sokkorri o miːo siɲˈɲoːɾe]
help/assist, oh my Lord,
A te sospiro e piango,
[a te soˈspiːɾo e ˈpjaŋgo]
for you I-sigh and I-weep,
Mi raccomando a te.
[mi rakkoˈmando a te]
myself I-entrust to you
48
All'anima che anela
[alˈlaːnima ke aˈnɛːla]
From-the-soul which yearns
Di ricovrarti in braccio
[di rikoˈvraːrt͜ in ˈbrattʃo]
to shelter-itself in (your)-arms
Signor, pietà!
[siɲˈɲoːr pieˈta]
Lord, have-mercy!
Giusti was a Tuscan poet and author of satirical works based on political
and social issues. He also wrote many poems on themes of love with
the nineteenth century. Published in 1880, Tosti set Guisti’s poem “Alla mente
confusa” to music and entitled it “Preghiera”.65 Tosti did not set many of
65
Santivale, Song of a Life, 105-106.
49
most heart-felt and moving lyrics ever to spring from a poet’s heart…”66
“Preghiera” has a direct and somber tone. The verses represent the emotions
LA SERENATA
PEDAGOGICAL OBSERVATIONS
Range: E3-F4
Tessitura: A3-E4
66
Santivale, Song of a Life, 105.
67
Santivale, Song of a Life, 107.
68
Robert C. Melzi, The Bantam New College Italian & English Dictionary, (New York: Bantam
Books, 1976).
50
Tempo: Quarter-note equals 80
Meter: 4/4
Key(s): F major
throughout the entirety of the piece.69 During the piano introduction and
does not have the accompaniment double the singer. The singer is fully
Phrasing and Articulation: The vocal phrases are two measures in length
throughout. The verses are mostly syllabic, however, Tosti does allow for many
places where lyrical singing can be displayed. There are several instances
where the singer can sustain one vowel sound for the duration of the note
value. There are also moments for staccato singing on the text “Vola”. This will
69
Santivale, Song of a Life, 165.
51
encourage agility and avoid the breath from locking, while maintaining the
mood of the piece. There is a leap of a sixth that occurs, though most of the
leaps are confined to thirds and fourths, both ascending and descending.
Vocal Challenges and Benefits: This piece allows for expressive singing
and should be fun for the singer to perform. The singer’s first entrance is on
the text “Vola” and on F4 to C4. However, the closed vowel [o] is an excellent
decision by Tosti because of the entrance in the upper passaggio. In fact, all of
the passaggio vowels are closed, with the exception of [a] on the word “vola”.
To avoid vowel spreading and carrying up vocal weight in the passaggio, the
singer should explore modifying the [a] vowel to [ɔ], however, [ʌ] would work
with the leap of the sixth (A3 to F4) followed by a triplet figure on the text “la”
52
Example 8.1
Example 8.2
popular” songs, probably because of its’ memorable and beautiful vocal line
70
Kimball, Song, 363.
71
Santivale, Song of a Life, 165.
53
IPA TRANSCRIPTION AND TRANSLATION
Figure 8.1
La serenata
[la seɾeˈnaːta]
The serenade
Vola, o serenata:
[ˈvoːla o seɾeˈnaːta]
Fly, oh serenade:
54
la lampada s'accende.
[la ˈlampada satˈtʃɛnde]
the lamp is-lit.
Vola, o serenata:
[ˈvoːla o seɾeˈnaːta]
Fly, oh serenade:
La mia diletta è sola,
[la miːa diˈlɛtta e ˈsoːla]
the my beloved is alone,
55
e a' baci miei ricusa ancore un nido
[e a ˈbaːtʃi mjɛːi riˈkuːz͜ aŋˈkoːɾa un ˈnido]
and to-the kisses mine denies still a nest
However, Tosti only used four of the nine stanzas “for reasons of good taste
this serenade is less sensual and simply a declaration of love. Cesareo utilized
several formal devices to “achieve symmetry and balance.”73 Tosti is not able
to reflect the “sense of proportion created by the poet” in the “structure of the
music.”74 The pattern from the music that emerges is a traditional one of
72
Santivale, Song of a Life, 161-62.
73
Santivale, Song of a Life, 163.
74
Santivale, Song of a Life, 163.
56
“three symmetrical periods, each falling into two phrases – one of statement
IDEALE
PEDAGOGICAL OBSERVATIONS
Range: E3-F#4
Tessitura: A3-E4
75
Santivale, Song of a Life, 163.
76
Retzlaff, Exploring Art Song, 75-76.
57
Passaggio Vowels: [a], [e], [i], [o], [u]
Meter: 4/4
Key(s): A major
counter-melody that gradually rises and falls in the left-hand before the singer
enters, during the interlude between the first and second verse, and during
accompaniment placed against the voice line written in duple time. This
singer tonally, but does not ever double the vocal line. The singer must
maintain the rhythmic integrity of the vocal line independently from the piano.
However, the pianist must play sensitively as Tosti indicates very specific
expressive markings for both the singer and pianist: e legato assai; tenuto in
the voice (duple meter) over the pianists triplet pattern; rit.------a tempo,
affrettando; con anima; ritard; col canto; I tempo; sempre assai legato; ritard;
77
Santivale, Song of a Life, 131.
58
a tempo; rit.-----a tempo; col canto armonioso; a tempo; col canto; rit.-----a
tempo.78
and develops into a distinct melody, which builds to a dramatic climax at the
end of the piece. The song varies between two and one measure phrases and
the singer must fully have a sense of rubato throughout. The vocal line is
similar to arias during the late nineteenth century melodrama. The vocal
melody rises and falls, emphasizes half-steps, and frequently employs intervals
of a third, fourth, or fifth. The tessitura is mostly in the middle voice, requiring
legato line amongst syllabic writing, by the singer. This song offers the singer
Vocal Challenges and Benefits: Tosti has set text so that it offers the
passaggio vowels are closed and incorporate a [j] glide preceding an open
language. For example, on the text [ˈpjɛːna], occurring at F4, F#4, and
78
Tosti, “Ideale”, 9-12.
79
Santivale, Song of a Life, 131.
59
[sɛmˈbjante], occurring at E4. Aside from the attention to detail regarding
expression and tempi changes, the most challenging negotiation is the [a]
vowel, which occurs at the climax of the piece. The open vowel occurs at F#4
and is preceded by a closed [o] vowel. The text dictates a flipped [ɾ] occur
before the closed [o] vowel, which will encourage a relaxed and forward
tongue position. However, for the [a] vowel to align with the preceding [o]
vowel, the singer has the option to modify the [a] to [ʌ] or modify the [o] to [ɔ]
and the [a] to [ɔ] or [ʌ]. This decision will be relative to the needs of the singer.
Example 9.1
60
Example 9.2
Tosti’s most famous songs. The poetry describes an ideal that does not
materialize, which provides the singer and listener the opportunity to decide
whether his personal ideal is a “person, love, or poetry”.80 The mood in this
almost ethereal mood for the singer. “Ideale” “displays all of the
80
Santivale, Song of a Life, 131.
61
to make his emotional expression lyrical and relatively small scale, rather than
dramatic. The lines are flowing and rich, occasionally rising in yearning, but
Figure 9.1
Ideale
[ideˈaːle]
Ideal
62
Nel profumo dei fiori;
[nel proˈfuːmo deːi ˈfjoːɾi]
in-the perfume of-the flowers;
Lungamente sognai;
[luŋgaˈmente soɲˈɲaːi]
for-a-long-time I-dreamed
A sorridermi ancora,
[a sɔrˈriːdermi aŋˈkoːɾa]
to smile-on-me again,
63
and for me will-shine, in your face,
Convolvoli, which was extremely popular among the social and cultural
82
Santivale, Song of a Life, 129.
83
Santivale, Song of a Life, 129.
84
Santivale, Song of a Life, 130.
64
for a long time I dreamed;
and earth’s every anxiety, every trial,
in that moment, I forgot.
Return, dear ideal, return for a moment to
smile on me again,
and in your face will shine for me
a new dawn.85
A VUCHELLA
PEDAGOGICAL OBSERVATIONS
Range: F3-G4
Tessitura: A3-E4
Meter: 3/4
Classification: Intermediate
Key(s): F major
one and two of the first measure, which produce a “syncopated effect, since
during the interludes and postludes, unifying the piece. Furthermore, the
85
Retzlaff, Exploring Art Song, 74.
86
Santivale, Song of Life, 204.
65
rhythm of the first eight measures in the introduction create the atmosphere of
followed by thirty-second notes in the right-hand, while the left-hand plays the
Phrasing and Articulation: The vocal line sings phrases of two and three
to closely related keys; however, it does not double the vocal line. The singer
must be able to sustain long notes over the syncopated pattern in the
accompaniment. Although the syllabic style is true to Tosti, the singer is able
to take much more time articulating the different sounds of the language than
in most of his pieces. The vocal melody is mostly stepwise, with a few leaps of
thirds and fourths, but there is one leap of a seventh, just after the climax of
the piece.
Vocal Challenges and Benefits: The tessitura of this piece lies in the
middle voice and passaggio. Unlike most of his songs, this piece incorporates
the use of more open vowels, like [a], [ɛ], and [ɔ,] in the prepassaggio pitches,
as well as in the passaggio. This may work to the advantage for some tenors,
struggling with finding vocal freedom in that part of the voice. In the climax of
the song, “nu vaso piccerillo” and the repetition of the same text immediately
66
following, but at a higher tessitura, and with the a leap of a fourth up to G4 on
the text “nu vaso”, Tosti utilizes closed vowels. The closed vowels perfectly set
the singer up for the highest note in the entire song, which is a G(4) on the [a}
vowel as the singer begs for “little kiss “from his lover.
Example 10.1
“The composer’s clever idea was to allow himself to be carried away by the
almost nonsensical piece with the phonic effect created by the uninterrupted
67
series of plosive and liquid sounds.”87 Tosti is able to link the mellow melody
of the voice line with the “verbal puns” d’Annunzio employs in the text, which
gives the piece immense “charm and naturalness.”88 “The delicate, lilting lines
become passionate, but soon return to the caressing melody that opens the
Figure 10.1
'A vucchella
[a vukˈkɛlla]
To-a little-mouth
tu tiene na vucchella
[tu ˈtjɛːnɛ na vukˈkɛlla]
you have a little-mouth
nu poco pocorillo
[nu ˈpɔːkɔ pɔkɔˈɾillə]
a little bit
appassuliatella.
[appassuljaˈtɛlla]
87
Santivale, Song of a Life, 204.
88
Santivale, Song of a Life, 204.
89
“ A vucchella ("Arietta di Posilippo") for voice & piano”, accessed March 1, 2016,
http://www.allmusic.com/compostition/a-vucchella-arietta-di-posilippo-for-voice-piano-
orchestra.
68
faded.
- è comm'a na rusella -
[ɛ ˈkɔmma na ruˈzɛlla]
-it-is like a little-rose-
dammillo nu vasillo,
[damˈmillə nu vaˈzillə]
give-me a little-kiss
dammillo, Cannetella!
[damˈmillə kannɛˈtɛlla]
give-it-to-me Cannetella!
Dammillo e pigliatillo,
[damˈmillə e piʎʎaˈtillə]
Give-it-to-me and take-you-one,
nu vaso piccerillo
[nu ˈvaːzə pittʃɛˈrillə]
a kiss little
69
[si tu ˈtjɛːnɛ na vukˈkɛlla]
Yes, you have a little-mouth
nu poco pocorillo
[nu ˈpɔːkɔ pɔkɔˈɾillə]
a little bit
appassuliatella.
[appassuljaˈtɛlla]
faded.
Note: The use of the Schwa/[ə] in the IPA transcription. A mixed vowel, the
talent wrote, “he was able to improvise with singular passion and inspiration”.
Further stating, “that his compositions revealed a limpid melodic vein rich in
native freshness.”90 Tosti gave great acclaim to d’Annunzio’s texts, which can
be divided into two groups. The first group includes compositions between
1880 and 1892. The second includes those from 1907 to 1919. The latter
offer Tosti texts that were designed to be poetry for music. The verses would
90
Santivale, Song of a Life, 179.
91
Santivale, Song of a Life, 179.
70
The lyrics to “’A Vuchella” are “some of the lightest and most playful
that the poet ever created, thanks to the wealth of alliterations, consonants,
verbal reiterations, and external and internal rhyme, with words that are all
rather than hendecasyllabic lines and chooses to rhyme only two endings. He
also created his on word in the Neapolitan dialect: “appssuliatella”, which later
IN VAN PREGHI
PEDAGOGICAL OBSERVATIONS
Range: G3-G4
Tessitura: B3-E4
92
Santivale, Song of a Life, 204.
93
Santivale, Song of a Life, 204.
94
Retzlaff, Exploring Art Song, 71-72.
71
Passaggio Vowels: [a],[e], [ɛ], [i], [o], [ɔ], [u]
Meter: 3/4
Classification: Beginner-Intermediate
pattern. There is a brief meter change to 2/4, but only for two measures, then
flat major, and the piece ends in G major. There are brief moments during the
G major tonalities where the piano doubles the vocal line. Tosti only indicates
Phrasing and Articulation: The vocal phrases are two measures in length
throughout. Like, “’A Vucchella”, the slow tempo of this piece, in balance with
the manner in which Tosti sets the text, allows for less negotiation of vowel
changes on one pitch. As a result, he legato line and expressive singing will be
but there are a few leaps of fourths, ascending and descending. The use of
72
accidentals and chromaticism in the vocal melody will encourage expressive
singing.
Vocal Challenges and Benefits: Tosti also indicates mezza voce for the
singer, which will encourage a lighter vocal production in this passaggio area,
where most of the piece lies. Subsequently, the singer must coordinate
to “’A Vucchella”, the vocal melody utilizes more open vowels than is typical in
his songs. Despite this, the diction should help with the high tessitura.
Conversely, the indicated mezza voce at the beginning of the piece requires
more energized airflow and open vowels aid in the facilitation of this. The high
G’s (4) are on the vowels [e], [ɛ], [a], but also [u]. The [u] might be problematic
for resonance balancing, and the singer may choose to modify to [o]. This
piece sustains a high tessitura, but will work well for a lighter voice. The
singer needs to work on singing with more expression, then this should work
73
Example 11.1
Example 11.2
Example 11.3
74
Example 11.4
Figure 11.1
75
Non ha volo il grido imbelle.
[non a ˈvoːlo il griːdo imˈbɛlle]
Not has flight the cry cowardly.
76
All is a-dream all is oblivion:
talent wrote, “he was able to improvise with singular passion and inspiration”.
Further stating, “that his compositions revealed a limpid melodic vein rich in
native freshness.”95 Tosti gave great acclaim to d’Annunzio’s texts, which can
be divided into two groups. The first group includes compositions between
1880 and 1892. The second includes those from 1907 to 1919. The latter
offer Tosti texts that were designed to be poetry for music. The verses would
95
Santivale, Song of a Life, 179.
96
Santivale, Song of a Life, 179.
77
“l'asfodèlo”, which is a flower sacred to the dead. This is a world that can’t be
PEDAGOGICAL OBSERVATIONS
Range: F#3-A-flat4
Tessitura: B-flat3-G4
Meter: 4/4
97
Santivale, Song of a Life, 201.
98
Retzlaff, Exploring Art Song, 75.
78
Classification: Advanced level
the vocal line sings independently in duple time. The fast tempo and triplet
pattern paint the majestic picture for the sing to describe at his entrance. The
majority of the song lies in E-flat major, but there are modulations to G-flat
major and also C-flat major in the last stanza of the text.99 Tosti indicates the
following musical markings in the score: con anima, col canto, a tempo, poco
Phrasing and Articulation: The vocal melody seems to have free reign
and is three measures in length. The singer must be able to sustain a high
tessitura and sing a wide range. The phrases contain moving notes that flow
into long notes and sustained notes that caress into moving notes. Tosti
Vocal Challenges and Benefits: This is a tour de force song that takes a
great deal of vocal stamina to sing. The singer almost never departs from the
99
Santivale, Song of a Life, 199.
79
zona di passaggio. Also, the majority of the high F’s and G’s are on open
vowels, which can give the singer the opportunity to modify, but would be
singer is supported harmonically, but the vocal line is never doubled in the
accompaniment. There are shifts in tonality during the final verse of the song
before returning to the original key of E-flat major, so the singer must feel
secure with his vocal melody. Likewise, the singer is sustaining held notes into
moving notes while the accompanist plays a rapid triplet pattern. The singer
is in a duple meter over the triple meter in the piano, which may present a
rhythm issue for the tenor. The climax of the piece occurs on the text “e dal
sogno mio breve il sole eterno”, which begins on E-flat4, and ascends to a
sustained A-flat4 and descends in stepwise motion back to E-flat4. The high A-
flats are preceded by closed vowels and the high A-flats are on the [e] vowel,
which may need to be opened for most tenors to its neighbor [ɛ]. Further
“eterno”, which happens to be the longest note value of the piece, a whole
note. If all technical fundamentals are consistent, this can be a thrilling recital
80
Example 12.1
Additional Comments: This is a fantastic song and best suited for a very
advanced singer. The melody takes precedence over the syllabic writing, as
Tosti rarely places more than one vowel on an eighth note, unlike many of his
earlier songs. Inspired by the text, Tosti clearly incorporates text painting
81
IPA TRANSCRIPTION AND TRANSLATION
Figure 12.1
82
for love of my dream and of-the night.
talent wrote, “he was able to improvise with singular passion and inspiration”.
Further stating, “that his compositions revealed a limpid melodic vein rich in
native freshness.”100 Tosti gave great acclaim to d’Annunzio’s texts, which can
be divided into two groups. The first group includes compositions between
1880 and 1892. The second includes those from 1907 to 1919. The latter
100
Santivale, Song of a Life, 179.
83
offer Tosti texts that were designed to be poetry for music. The verses would
The poetry in this piece is a direct narrative. The poem begins with a
song.
Poetic Translation: The dawn divides the light from the dark,
and my pleasure from my desire.
Oh, sweet stars, it is the hour to die.
A more divine love from the sky frees you.
Glowing eyes, oh you who will never return,
stars, sad extinguish your uncorrupted light!
To die I must. To see day I wish,
for love of my dream and of the night.
Envelop me, oh night, in your maternal breast,
while dew falls upon the pale earth.
But from my blood, let the dawn rise,
and from my brief dream, the eternal sun!102
L’ULTIMA CANZONE
PEDAGOGICAL OBSERVATIONS
Range: D3-F#4
Tessitura: F3-E4
84
Meter: 4/4
major and minor keys. The vocal melody is not doubled by the piano, except
during the “Ah” at the very end of the piece. Tosti indicates a poco ritardando
and col canto times, but the tempo stays consistently brisk the entire song.
Phrasing and Articulation: The vocal phrases are two, three, and four
measures in length. The vocal line contains leaps of thirds, fourths, and fifths,
but is mostly stepwise movement. Although syllabic, there are not too many
places where the singer will be required to put more than one vowel sound on
melismas enrich the vocal melody. The freely moving vocal part adds to the
charm of the song. The singer should have a strong sense of rhythm as the
85
steady rhythm above. The tessitura of the piece is not high. Furthermore,
during the climactic moments of the piece, on the phrases “Se ti fai sposa” and
“Nina, rammenta”, Tosti sets the F#4 on the [o] and [ɛ] vowels. Because the
piece moves so quickly, when the singer is in the zona di passaggio, it is only
for a brief moment. Tosti indicates sentito, meaning heartfelt, at the singer’s
first entrance. One of the challenges is that the fast tempo and syllabic writing
romanza with a sustained pace and a slight tendency toward the dramatic.”103
Tosti includes stylistic features of popular song, such as the short melisma on
the last accented syllable of the line. Tosti utilizes appoggiaturas to give
movement to the refrain.104 The shifts in major and minor signal the “narrative
phase from the song within the song.”105 Tosti incorporates “Ah!” after the
final verse of the poem and typically in is songs we associate "Ah" with a
103
Santivale, Song of a Life, 169.
104
Santivale, Song of a Life, 173.
105
Santivale, Song of a Life, 173.
86
and sorrowful part of the song.106 The “Ah!” is also the same musical material
Example 13.1
Example 13.2
Figure 13.1
L'ultima canzone
[ˈlultima kanˈtsoːne
The last songs
106
“ L'Ultima Canzone for voice & piano”, accessed March 7, 2016,
http://www.allmusic.com/composition/lultima-canzone-for-voice-piano-orchestra.
107
Santivale, Song of a Life, 173.
87
M'han detto che domani, Nina vi fate sposa,
[man ˈdetto ke doˈmaːni ˈniːna vi ˈfaːte ˈspɔːza]
Me-they-have told that tomorrow, Nina you will-become a-wife,
88
Foglia di menta, o fiore di granato,
[ˈfɔʎʎa di ˈmenta o ˈfjoːɾa di graˈnaːto]
Flower of-the mint, oh flower of-the pomegranate,
Ah!
[a]
verses due to the limited choice of themes and the variations on themes of
love.109 Tosti did not set the entire poem to music in “L’ultima canzone”. “Tosti
transformed the text, playing down the mischievous tone in favor of a calm,
A lover sings this melancholy serenade, to his beloved the night before
she will be married to another man. The singer remembers all of the other
songs that he has sung to her, and vows that he will always love her.
108
Santivale, Song of a Life, 169.
109
Santivale, Song of a Life, 169.
110
Santivale, Song of a Life, 171.
89
Interestingly, except when he is repeating the old song he sang, he refers to
her as "voi, " the formal formal Italian word for "you, " rather than the personal
"tu."111
CHAPTER5: CONCLUSION
The uniqueness of the lyric tenor voice and its’ frequent inconsistencies
frustrating for both instructor and singer. It is the responsibility of the teacher
to
111 guide the singer on establishing a consistent technique, while enabling
“ L'Ultima Canzone for voice & piano”, accessed March 7, 2016,
http://www.allmusic.com/composition/lultima-canzone-for-voice-piano-orchestra.
112
Retzlaff, Exploring Art Song, 76.
90
their strengths. Additionally, repertoire assigned to the undergraduate lyric
the voice studio. Not only for their beauty and charm, but also for the
pedagogical value that they offer to the singer. Although these ten pieces
crucial importance.
address technical issues in the lyric tenor. Through this hands-on study, I have
been able to thoroughly examine and identify their technical challenges and
repertoire for the lyric tenor. Francesco Paolo Tosti, lyric tenor, voice teacher,
91
and composer, wrote fantastic repertoire to meet that goal and these ten
songs exemplify that. This project is not a vocal pedagogy textbook substitute,
92
PART II: PROGRAM NOTES
PROGRAM
-Intermission-
93
Lubitza Braikova, viola
Carl Philippp Emanuel Bach was a prominent composer during the transition
education from his father, J.S. Bach. C.P.E. Bach is considered a founder of the
Classical style because he is one of the first composers in which the sonata
tenure in Berlin, C.P.E. Bach composed his setting of the Magnificat (1749).
94
André Caplet (1878-1925)
settings of Lord’s Prayer, the Hail Mary, and the Apostle’s Creed for harp and
string quartet in 1917. Written in the impressionistic style, these pieces are
extremely delicate and lyrical. The voice line in the first two pieces is
composed in a chant-like style, void of any meter; however, the third prayer is
blends well with the sincerity of the emotion expressed in the text.1
1
Robert Orledge. "Caplet, André." In Grove Music Online. Oxford Music
Online,http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/0
4843
95
qui nous ont offensés. against us.
Et ne nous laissez pas succomber And lead us not into temptation,
à la tentation,
mais délivrez-nous du mal, But deliver us from evil.
Ainsi soit-il. Amen.
96
Je crois au Saint-Esprit, à la I believe in the Holy Spirit, the holy
Sainte Eglise catholique, Catholic church,
À la communion des saints, à la The communion of Saints, the
rémission des péchés, forgiveness of sins,
À la résurrection de la chair, The resurrection of the body,
À la vie éternelle. And life everlasting.
Ainsi soit-il. Amen.
Giulio Caccini (1551-1618) & Steven Mercurio (1956- )
the late Renaissance and early Baroque. Perhaps his most most influential
work is the collection of monodies and songs for solo voice and continuo, Le
nuove musiche.2 This setting of Ave Maria was written by Metropolitan Opera
famous opera houses and has written songs, chamber works, and pieces for
large orchestra. Many reknown opera singers have performed his works,
including Andrea Bocelli, Placido Domingo, Ben Heppner, Bryn Terfel, and
Marcello Giordani.3
Ave Maria
Ave Maria, Ave Maria.
Ave Maria!
Amen.
2 Barbara R. Hanning, et al. "Caccini." In The New Grove Dictionary of Opera, edited by
Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.
ezproxy.uky.edu/subscriber/article/grove/ music/O004719pg1
3 www.stevenmercurio.com
97
Camille Saint-Saëns (1835-1921)
Saëns played his first piano recital of Beethoven sonatas at the age of eleven.
piano, cello, and violin concertos, three symphonies, as well as a tone poem,
works, 40 choral works, over 140 songs, and several duets. His late
compositional style, more classical and simple, was influential to Fauré and
Ravel. This setting of Ave Maria was written in 1859 and intended for voice
4
Sabina Teller Ratner, et al. "Saint-Saëns, Camille." In Grove Music Online. Oxford Music
Online, http://www.oxfordmusiconline.com.ezproxy .uky.
edu/subscriber/article/grove/music/24335
98
Heitor Villa-Lobos (1887-1959)
elements from the classical tradition, Villa-Lobos’ music was largely influenced
by Brazilian folk music. This setting of Ave Maria was originally intended for
was influential to the Verismo movement in Italian opera at the time. Mascagni
wrote a total of seventeen operas and operettas, orchestral and vocal works,
as well as songs and piano works.7 Pietro Mascagni did not actually compose
an Ave Maria, instead an anonymous composer set the Ave Maria text to the
5
Gerard Béhague. "Villa-Lobos, Heitor." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/29373
99
symphonic Intermezzo from the opera Cavalleria Rusticana as a vocal solo.8
This beautiful arrangement of the prayer has become one its’ best known
settings.
Sir Paolo Tosti was an Italian composer, music teacher, and singer. Tosti joined
the faculty of the Royal Academy of music and was knighted in 1908. He spent
8
Michele Girardi. "Mascagni, Pietro." In Grove Music Online. Oxford Music
Online,http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/1
7964
100
his final years in Rome, Italy where he died on December 2, 1916.9 Tosti was
successfully able to set English, French, and Italian texts to music. His songs
Preghiera Prayer
Alla mente confusa To my confused mind
Di dubbio e di dolore Of doubt and pain
Soccorri, o mio Signore, Come to my aid, oh my
Lord,
Col raggio della fé. Shine thy light of faith.
9 Keith Horner. "Tosti, Sir Paolo." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/28203
10
Kimball, Carol, Song: A Guide to Style and Literature, (Redmond: Pst…Inc., 1996), 363.
101
Ricky Ian Gordon (1956- )
Ricky Ian Gordon is a leading composer of art song, opera, and musical
singers, like Renee Fleming, Dawn Upshaw, Audra MacDonald, Frederica Von
Stade, and Harolyn Blackwell, among many others. The song Prayer comes
from the song cycle Genius Child, which is based on text by Langston Hughes.
The cycle made its premiere in 1993 at Carnegie Hall with soprano Harolyn
Prayer
I ask you this:
Which way to go?
I ask you this:
Which sin to bear?
Which crown to put
Upon my hair?
I do not know,
Lord God, I do not know.
Prominent British composer, Ralph Vaughan Williams set the sacred song
cycle Four Hymns for tenor, piano, and viola. Vaughan Williams selected
poetry by Bishop Jeremy Taylor, Isaac Watts, Richard Crashaw, and an English
translation of Greek text by Robert Bridges for which to set the four hymns to
11
www.rickyiangordan.com
102
music. Although composed in 1914, the song cycle did not make its premiere
until 1920. Within the Four Hymns, Vaughn Williams combines shifts in
103
And her request and her complaint
Is but the voice of ev'ry saint:
104
Of God the father's face.
The eternal spendor wearing:
Celestial, holy, blest.
Our Saviour Jesus Christ,
Joyful in thine appearing.
served for 35 years as a professor of piano and chair of the music department
primarily composed pieces for voice and piano, including several spirituals
Great Day
Great day ! Great day, de righteous marchin',
Great day, God's gonna build up Zion's walls
Chariot rode on de mountain top
105
God he spoke an' de chariot stop.
Dis de day ob jubilee
God done set His people free.
William Grant Still was prominent African-American composer during the 20th
opera performed by a major opera company. Still studied violin, cello, and
oboe and wrote more than 150 compositions in many genres, including
orchestra, band, ballet, opera, chorus, solo instruments, and voice. First
Here’s One
Talk about a child dat do love Jesus
12
Gayle Murchison and Catherine Parsons Smith. "Still, William Grant." In Grove Music Online.
Oxford Music Online, http://www.oxfordmusiconline.com. ezproxy.uky.edu/
subscriber/article/grove/music/26776
106
Here’s one, here’s one.
In ol’ Satan’s snares I once was fallin’
But I heard de voice of my Lord callin’.
Active performer and arranger for the vocal group TAKE SIX, Cedric Dent
arrangements for vocal and instrumental ensembles, as well as works for solo
voice. He received a Grammy award in 1992 and has collaborated with may
award winning artists. “Soon One Morn” was premiered on Dent’s master’s
Tuscaloosa.13
13
http://frank.mtsu.edu/~music/dent2.html
107
Soon one morn when de battle is done.
108
DMA Lieder Recital
Mark A. Kano, tenor
Dr. Tedrin Blair Lindsay, piano
November 5, 2011, 2:00pm
Singletarty Center for the Arts Recital Hall
PROGRAM
-Intermission-
109
O wie sanft die Quelle sich
Nein, es ist nicht auszukommen
Schlosser auf, und mache Schlösser
Vögelein durchrauscht die Luft
Sieh, wie ist die Welle klar
Nicht wandle, mein Licht, dort außen
composers of the Romantic era. Schumann composed works for piano, many
songs for voice and piano, four symphonies, an opera, and several orchestral,
110
exclusively for the piano until 1840, which is also known as his “year of
song”.14
“artlessness and art, simplicity and pretension”. It was through the lied that
Schumann fulfilled his need to create the ideal fusion between music and
shifts to create unity, cohesion, and texture in his songs. In Schumann’s song
function of the piano accompaniment, at the end of the cycle. This technique
depressing note. Eric Sams notes that the “technique of melodic recurrence
underlines the power of memory itself, the theme through which Schumann
and suspensions. Op. 35, Zwölf Gedichte von Justinus Kerner, contain some of
major and minor tonalities in conjunction with the rapid eighth-note piano
14
John Daverio and Eric Sams. "Schumann, Robert." In Grove Music Online. Oxford Music
Online,http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/4
0704pg9 (accessed November 1, 2011).
111
that Wanderlied is one of Schumann’s most technically difficult and popular
songs.15
composed harmony and melody in such a manner that advanced the formal
structures, thus creating his own unique sound which is often described as
“Brahmsian”.16
Among these are the Liebeslieder, Op. 52, and the Neue Liebeslieder, Op. 65.
Nearly all of the poems are pastoral verses on both the positive and negative
techniques to portray the central ideas of the poetry. However, the final song,
Zum Schluβ, moves away from the subject of lovers. He also moves away from
15
Miller, Richard. Singing Schumann: An Interpretive Guide for Performers. New York: Oxford
University Press, 1999.
16
George S. Bozarth and Walter Frisch. "Brahms, Johannes." In Grove Music Online. Oxford
Music Online,
http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/51879p
g11 (accessed November 1, 2011).
112
the standard 3/4 meter and changes to 9/4. The music in this final song is
much more contrapuntal than any of the previous songs in the cycle.17
17
George S. Bozarth and Walter Frisch. "Brahms, Johannes." In Grove Music Online. Oxford
Music Online,
http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/51879p
g11 (accessed November 1, 2011).
113
Dichterliebe, Op. 48 so schwindet all' mein Leid und Weh!
Doch wenn ich küsse deinen Mund,
I. Im wunderschönen Monat Mai, so werd' ich ganz und gar gesund.
als alle Knospen sprangen,
da ist in meinem Herzen Wenn ich mich lehn' an deine Brust,
die Liebe aufgegangen. kommt's über mich wie Himmelslust,
doch wenn du sprichst: Ich liebe dich!
Im wunderschönen Monat Mai, so muß ich weinen bitterlich.
als alle Vögel sangen,
da hab' ich ihr gestanden V. Ich will meine Seele tauchen
mein Sehnen und Verlangen. in den Kelch der Lilie hinein,
die Lilie soll klingend hauchen
ein Lied von der Liebsten mein.
II. Aus meinen Tränen sprießen
viel blühende Blumen hervor, Das Lied soll schauern und beben
und meine Seufzer werden wie der Kuß von ihrem Mund',
ein Nachtigallenchor, den sie mir einst gegeben
in wunderbar süßer Stund'!
und wenn du mich lieb hast,
Kindchen, In the wonderfully fair month of May,
schenk' ich dir die Blumen all', as all the flower-buds burst,
und vor deinem Fenster soll klingen then in my heart
das Lied der Nachtigall. love arose.
114
I once loved them all in love's bliss. Es schweben Blumen und Eng'lein
I love them no more, I love only um unsre liebe Frau;
the small, the fine, the pure, the one; die Augen, die Lippen, die Wänglein,
she herself, source of all love, die gleichen der Liebsten genau.
is rose and lily and dove and sun.
I love only
the small, the fine, the pure, the one! VII. Ich grolle nicht, und wenn das
Herz auch bricht,
When I look into your eyes, ewig verlor'nes Lieb! Ich grolle nicht.
then vanish all my sorrow and pain! Wie du auch strahlst in
But when I kiss your mouth, Diamantenpracht,
then I become wholly and completely es fällt kein Strahl in deines Herzens
healthy. Nacht,
115
und sprächen Trost mir ein. I saw, my love, how very miserable
you are.
Die alle können's nicht wissen, I bear no grudge.
nur Eine kennt meinen Schmerz;
sie hat ja selbst zerrissen, And if they knew it, the blooms, the
zerrissen mir das Herz. little ones,
how deeply wounded my heart is,
In the Rhine, in the holy stream, they would weep with me
there is mirrored in the waves, to heal my pain.
with its great cathedral, And if they knew it, the nightingales,
great holy Cologne. how I am so sad and sick,
they would loose the merry sound
In the cathedral, there stands an of refreshing song.
image
on golden leather painted. And if they knew my pain,
Into my life's wilderness the golden little stars,
it has shined in amicably. they would descend from their
heights
There hover flowers and little angels and would comfort me.
around our beloved Lady,
the eyes, the lips, the little cheeks, All of them cannot know it,
they match my beloved's exactly. only one knows my pain,
I bear no grudge, even when my heart she herself has indeed torn,
is breaking, torn up my heart.
eternally lost love! I bear no grudge.
Even though you shine in diamond IX. Das ist ein Flöten und Geigen,
splendor, Trompeten schmettern darein.
there falls no light into your heart's Da tanzt wohl den Hochzeitreigen
night, die Herzallerliebste mein.
that I've known for a long time.
Das ist ein Klingen und Dröhnen,
I bear no grudge, even when my heart ein Pauken und ein Schalmei'n;
is breaking. dazwischen schluchzen und stöhnen
I saw you, truly, in my dreams, die lieblichen Engelein.
and saw the night in your heart's
space,
and saw the serpent that feeds on X. Hör' ich das Liedchen klingen,
your heart, das einst die Liebste sang,
so will mir die Brust zerspringen
116
von wildem Schmerzendrang. of drums and shawms,
amidst it sobbing and moaning
Es treibt mich ein dunkles Sehnen are dear little angels.
hinauf zur Waldeshöh',
dort lös't sich auf in Tränen I hear the little song sounding
mein übergroßes Weh'. that my beloved once sang,
and my heart wants to shatter
from savage pain's pressure.
XI. Ein Jüngling liebt ein Mädchen,
die hat einen Andern erwählt; I am driven by a dark longing
der Andre liebt' eine Andre, up to the wooded heights,
und hat sich mit dieser vermählt. there is dissolved in tears
my supremely great pain.
Das Mädchen nimmt aus Ärger
den ersten besten Mann A young man loves a girl,
der ihr in den Weg gelaufen; who has chosen another man,
der Jüngling ist übel dran. the other loves yet another
Es ist eine alte Geschichte and has gotten married to that other.
doch bleibt sie immer neu;
und wem sie just passieret, The girl takes out of anger
dem bricht das Herz entzwei. the first, best man
who crosses her path;
XII. Am leuchtenden Sommermorgen the young man is badly off.
geh' ich im Garten herum. It is an old story
Es flüstern und sprechen die Blumen, but remains eternally new,
ich aber wandle stumm. and for him to whom it has just
happened
Es flüstern und sprechen die Blumen, it breaks his heart in two.
und schau'n mitleidig mich an:
Sei uns'rer Schwester nicht böse, On a radiant summer morning
du trauriger, blasser Mann. I go about in the garden.
There the flowers whisper and speak,
There is a fluting and fiddling, I however wander silently.
and trumpets blasting in.
Surely, there dancing the wedding There the flowers whisper and speak,
dance and look sympathetically at me:
is my dearest beloved. "Do not be angry with our sister,
you sad, pale man."
There is a ringing and roaring
117
XIII. Ich hab' im Traum geweinet. und lieblich duftend glühen
Mir träumte, du lägest im Grab. mit bräutlichem Gesicht;
Ich wachte auf, und die Träne
floß noch von der Wange herab. Und grüne Bäume singen
uralte Melodei'n,
Ich hab' im Traum geweinet. die Lüfte heimlich klingen,
Mir träumt', du verließest mich. und Vögel schmettern drein;
Ich wachte auf, und ich weinte
noch lange bitterlich. Und Nebelbilder steigen
wohl aus der Erd' hervor,
Ich hab' im Traum geweinet, und tanzen luft'gen Reigen
mir träumte, du wär'st mir noch gut. im wunderlichen Chor;
Ich wachte auf, und noch immer
strömt meine Tränenflut. I have in my dreams wept.
I dreamed you lay in your grave.
XIV. Allnächtlich im Traume seh' ich I woke up and the tears
dich, still flowed down from my cheeks.
und sehe dich freundlich grüßen,
und lautaufweinend stürz' ich mich I have in my dreams wept.
zu deinen süßen Füßen. I dreamed you forsook me.
I woke up and I wept
Du siehest mich an wehmütiglich very long and bitterly.
und schüttelst das blonde Köpfchen;
aus deinen Augen schleichen sich I have in my dreams wept,
die Perlentränentröpfchen. I dreamed you still were good to me.
I woke up, and still now
Du sagst mir heimlich ein leises Wort, streams my flood of tears.
und gibst mir den Strauß von
Zypressen. Every night in my dreams I see you,
Ich wache auf, und der Strauß ist fort, and see your friendly greeting,
und's Wort hab' ich vergessen. and loudly crying out, I throw myself
to your sweet feet.
XV. Aus alten Märchen winkt es
hervor mit weißer Hand, You look at me wistfully
da singt es und da klingt es and shake your blond little head;
von einem Zauberland; from your eyes steal forth
the little pearly teardrops.
wo bunte Blumen blühen
im gold'nen Abendlicht, You say to me secretly a soft word,
118
and give me a garland of cypress. Ach! jenes Land der Wonne,
I wake up, and the garland is gone, das seh' ich oft im Traum,
and the word I have forgotten. doch kommt die Morgensonne,
zerfließt's wie eitel Schaum.
From old fairy-tales it beckons
to me with a white hand,
there it sings and there it resounds XVI. Die alten, bösen Lieder,
of a magic land, die Träume bös' und arg,
die laßt uns jetzt begraben,
where colorful flowers bloom holt einen großen Sarg.
in the golden twilight,
and sweetly, fragrantly glow Hinein leg' ich gar manches,
with bride-like faces. doch sag' ich noch nicht was.
And green trees sing Der Sarg muß sein noch größer,
primeval melodies, wie's Heidelberger Faß.
the breezes secretly sound
and birds warble in them. Und holt eine Totenbahre,
von Bretter fest und dick;
And misty images rise auch muß sie sein noch länger,
indeed forth from the earth, als wie zu Mainz die Brück'.
and dance airy reels
in fantastic chorus. Und holt mir auch zwölf Riesen,
die müssen noch stärker sein
Und blaue Funken brennen als wie der starke Christoph
an jedem Blatt und Reis, im Dom zu Köln am Rhein.
und rote Lichter rennen
im irren, wirren Kreis; Die sollen den Sarg forttragen,
und senken in's Meer hinab;
Und laute Quellen brechen denn solchem großen Sarge
aus wildem Marmorstein, gebührt ein großes Grab.
und seltsam in den Bächen
strahlt fort der Widerschein. Wißt ihr warum der Sarg wohl
so groß und schwer mag sein?
Mit innigster Empfindung Ich senkt' auch meine Liebe
Ach! könnt' ich dorthin kommen, Und meinen Schmerz hinein.
und dort mein Herz erfreu'n,
und aller Qual entnommen, And blue sparks burn
und frei und selig sein! on every leaf and twig,
and red lights run
119
in crazy, hazy rings. and sink it down into the sea,
for such a great coffin
And loud springs burst deserves a great grave.
out of wild marble stone,
and oddly in the brooks How could the coffin
shine forth the reflections. be so large and heavy?
With utmost sensitivity I would also sink my love
Ah! If I could enter there with my pain in it.
and there gladden my heart,
and all anguish taken away, Liebeslieder, Op. 52
and be free and blessed!
Wie des Abends schöne Röte
Wie des Abends schöne Röte
Oh, that land of bliss,
möcht ich arme Dirne glühn,
I see it often in dreams,
Einem, Einem zu gefallen,
but come the morning sun,
sonder Ende Wonne sprühn.
and it melts away like mere froth.
Die grüne Hopfenranke
The old, angry songs, Die grüne Hopfenranke,
the dreams angry and wicked, sie schlängelt auf der Erde hin.
let us now bury them, Die junge, schöne Dirne,
fetch a great coffin. so traurig ist ihr Sinn!
120
erkannte mich But now, oh woe,
des Freundes Sehe. if I am with that cold boy,
Doch jetzo, wehe, no matter how close
wenn ich dem Kalten I stand before his eyes,
auch noch so dicht neither his eyes
vorm Auge stehe, nor his heart notices.
es merkts sein Auge,
sein Herze nicht. Wenn so lind dein Auge mir
Wenn so lind dein Auge mir
Like the evening's lovely red und so lieblich schauet,
Like the evening's lovely red, jede letze Trübe flieht
would I, a poor maiden, like to glow, welche mich umgrauet.
to please one, one boy -
and to then radiate bliss forever. Dieser Liebe schöne Glut,
laß sie nicht verstieben!
The green hops vine
Nimmer wird, wie ich, so treu
The green hops vine,
dich ein andrer lieben.
it winds along the ground.
The young, fair maiden - O wie sanft die Quelle sich
so mournful are her thoughts! O wie sanft die Quelle sich
durch die Wiese windet!
You - listen, green vine! O wie schön, wenn Liebe sich
Why do you not raise yourself heavenwards?
zu der Liebe findet!
You - listen, fair maiden!
Why is your heart so heavy? Nein, es ist nicht auszukommen
Nein, es ist nicht auszukommen
How can the vine raise itself mit den Leuten;
when no support lends it strength? Alles wissen sie so giftig
How can the maiden be merry auszudeuten.
when her sweetheart is far away?
Bin ich heiter, hegen soll ich
Quite fair and contented lose Triebe;
Quite fair and contented bin ich still, so heißts, ich wäre
was I previously irr aus Liebe.
with my life
and with my sweetheart; Schlosser auf, und mache
through a wall, Schlösser
yes, through ten walls, Schlosser auf, und mache Schlösser,
did my friend's gaze Schlösser ohne Zahl;
recognize me.
121
denn die bösen Mäuler will ich O how gently the stream
schließen allzumal. O how gently the stream
winds through the meadow!
When your eyes look at me O how lovely it is when Love
When your eyes look at me finds Love!
so gently and lovingly,
you chase away every last anxiety No, there's just no getting along
that troubles my life. No, there's just no getting along
with people;
The lovely glow of this love - they always make such poisonous
do not let it disappear! interpretations of everything.
No one else will ever love you
as faithfully as I. If I'm merry, they say I cherish
loose urges;
Vögelein durchrauscht die Luft if I'm quiet, they say
Vögelein durchrauscht die Luft, I am crazed with love.
sucht nach einem Aste;
und das Herz, ein Herz, ein Herz Locksmith - get up and make
begehrt's, your locks
wo es selig raste. Locksmith - get up and make your
locks,
Sieh, wie ist die Welle klar locks without number;
Sieh, wie ist die Welle klar, for I want to lock up
blickt der Mond hernieder! all the evil mouths.
Die du meine Liebe bist, The little bird rushes through
liebe du mich wieder! the air
The little bird rushes through the air,
Nicht wandle, mein Licht, dort searching for a branch;
außen and my heart desires a heart, a heart
Nicht wandle, mein Licht, dort außen on which it can blessedly rest.
im Flurbereich!
Die Füße würden dir, die zarten, See how clear the waves are
zu naß, zu weich. See how clear the waves are
when the moon gazes down!
All überströmt sind dort die Wege, You who are my love,
die Stege dir; you love me back!
so überreichlich tränte dorten
das Auge mir. Do not wander, my light, out
there
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Do not wander, my light, out there Ihr schwarzen Augen, ihr dürft nur...
in the field! Ihr schwarzen Augen, ihr dürft nur winken;
Your feet, your tender feet, would get Paläste fallen und Städte sinken.
too wet, too soft. Wie sollte steh'n in solchem Strauß
mein Herz, von Karten das schwache
All flooded are the paths there, Haus?
and the bridges,
so amply there Vom Gebirge Well auf Well
did my eyes weep. Vom Gebirge Well auf Well
kommen Regengüsse,
Neue Liebeslieder, Op. 65 und ich gäbe dir so gern
hunderttausend Küsse.
Verzicht, o Herz, auf Rettung
Verzicht, o Herz, auf Rettung, Nun, ihr Musen, genug!
dich wagend in der Liebe Meer! Nun, ihr Musen, genug!
Denn tausend Nachen schwimmen Vergebens strebt ihr zu schildern,
zertrümmert am Gestad umher! wie sich Jammer und Glück
wechseln in liebender Brust.
Finstere Schatten der Nacht Heilen könnet die Wunden
Finstere Schatten der Nacht, ihr nicht, die Amor geschlagen,
Wogen- und Wirbelgefahr! aber Linderung kommt einzig,
Sind wohl, die da gelind ihr Guten, von euch.
rasten auf sicherem Lande,
euch zu begreifen im Stande? Relinquish, o heart, the hope of
Das ist der nur allein, rescue
welcher auf wilder See Relinquish, o heart, the hope of
stürmischer Öde treibt, rescue
Meilen entfernt vom Strande. as you venture out into the sea of
love!
An jeder Hand die Finger For a thousand boats float
An jeder Hand die Finger wrecked about its shores!
hatt' ich bedeckt mit Ringen,
die mir geschenkt mein Bruder Dark shades of night
in seinem Liebessinn. Dark shades of night,
Und einen nach dem andern dangers of waves and whirlpools!
gab ich dem schönen, Are those who rest there so mildly
aber unwürdigen Jüngling hin. on firm ground
capable of comprehending you?
No: only one who
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is tossed about on the wild sea's
stormy desolation,
miles from the shore.
On each hand were my fingers From the mountains, wave upon wave
bedecked From the mountains, wave upon wave,
On each hand were my fingers come gushing rain;
bedecked with rings and I would gladly give you
that my brother had bestowed on me a hundred thousand kisses.
with love.
And one after another Now, you Muses, enough!
did I give to that handsome Now, you Muses, enough!
but unworthy lad. In vain you strive to describe
how misery and happiness
You black eyes, you need only alternate in a loving breast.
beckon You cannot heal the wounds
You black eyes, you need only that Amor has caused,
beckon, but solace can come
and palaces fall and cities sink. only from you, Kindly Ones
How should then my heart withstand
such strife, inside its weak house of
cards?
124
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127
VITA
Place of birth
Zaria, Nigeria
Degrees earned
Voice & Diction Instructor – Kentucky Governor’s School for the Arts
Summers 2012 & 2013
128
Graduate Teaching Assistant – University of Kentucky: Lexington, Kentucky
August 2008 – May 2012
129
Full Tuition Voice Scholarship, Middle Tennessee State University School of
Music
August 2000 – May 2004
130