CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
SEARCH FOR THE BELOVED
An abstract submitted in partial fulfillment of the requirements
For the degree of Master of Music
In Performance
by
Ernest Michael Quarles
May 2014
The abstract of Ernest Michael Quarles is approved:
________________________________________
Professor Erica Davis
_________________________
Date
________________________________________
Dr. David Sannerud
_________________________
Date
________________________________________
Dr. Deanna Murray, Chair
_________________________
Date
California State University, Northridge
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TABLE OF CONTENTS
Signature Page ................................................................................................................. ii
Abstract ........................................................................................................................... iv
Program ...........................................................................................................................
1
Text and Translations ...................................................................................................... 3
!iii
ABSTRACT
SEARCH FOR THE BELOVED
by
Ernest Michael Quarles
Master of Music, Performance
The repertoire on this recital illustrates and explores the physical and emotional
voyage of one searching for his beloved. Romantic themes — love, pain, nature, and
longing — as well as mythological symbols interweave throughout, unifying the six
groups of music by creating connections that transcend vernacular boundaries. And
though each group sojourns in a new language or place, the intent to find the beloved
remains constant.
Three German Lieder comprise the first group of the recital. First is Die
Lotosblume, by poet Heinrich Heine, set by composer Robert Schumann, where
Schumann paints the tranquil, yet eager, lotus amidst the water through repeated chords
in the accompaniment coupled by a bass line in octaves. He utilizes vivid text-painting in
the vocal phrase, such as the ascent and increasing intensity of both the vocal and piano
parts as the lotus unveils her face to her lover, blossoming in ecstasy. Schumann’s song
style here is reminiscent of the water songs by Franz Schubert, which leads into the next
Lied, Der Jüngling an der Quelle by poet Johann Gaudenz von Salis-Seewis. Schubert
illustrates a serene fount adorned by poplars by using a rippling melodic pattern in the
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piano accompaniment. The independent vocal line complements this scene with flowing
sighs and feelings of longing for Louise. The element of longing ties into the final Lied of
this group, Ludwig van Beethoven’s Op. 98, An die ferne Geliebte, No. 6, “Nimm sie hin
denn, diese Lieder.” A connection between nature and longing for the sought beloved is
manifest through text-painting in the accompaniment. Beethoven uses themes and
variations on material from previous sections of the cycle to unify the Lieder. In this
recital, the excerpt serves as a foreshadow and artistic cell to grow and explore further.
The second group consists of three French mélodie, deeply rooted in the elements
of yearning, nature, and mythology. First is À Chloris composed by Reynaldo Hahn and
written by poet Théophile de Viau which utilizes an independent melody in the piano,
embellished with Baroque turns, and short natural vocal phrases to depict breathlessness
and longing for Chloris. Next, Amédée-Ernest Chausson's Le colibri, describes the flight
of a hummingbird drinking nectar from hibiscus flowers to the point of sweet death as an
analogy for erotic love. Though Chausson sets the music in a 5/4 meter, sense of specific
meter is obscured by means of rich harmonic textures and rolled cords. The voice and
piano share melodic material which augments the portrayal of sensuality. Finally in Émile
Paladilhe’s Psyché, focus is drawn upon the vocal line, and thus the story of Cupid’s
infatuation with Psyche, by means of sparse and delicate accompaniment. Hence, the
shift from admiration of nature from the previous songs to utter jealousy becomes more
apparent.
The third group is the aria, “Vainement, ma bien-aimée,” from the opera, Le roi
d’Ys by Édouard-Victoire-Antoine Lalo. Prior to this scene, Mylio gained victory in
!v
defending the city of Ys against Karnac and his army, thus earning the King’s favor and
Rozenn’s hand in marriage. It is now the wedding day, and Mylio awaits his bride at her
door protected by her guardians. In this bridal song, Lalo alternates between a dancelike,
swashbuckler accompaniment to more lush, yet delicate, chordal gestures. This variance
helps in perceiving the various facets of Mylio’s conviction and love for Rozenn, from
fiery zeal to sweet longing.
Following an intermission, the fourth group is an exploration of the elements of
mind and intent within the search for the beloved. In Vincenzo Bellini’s Il fervido
desiderio, there is a stark musical contrast between pensive yearning and fervent passion
between the two verses. Bellini accents the vocal line of the first verse in a quasirecitative fashion, creating the sense of wonder and sighing. While later in the
accompaniment leading to the second verse, Bellini employs denser chords and more
dancelike rhythmic patterns to emphasize burning devotion. Francesco Paulo Tosti also
utilizes accompaniment to illustrate changes in the inner mind in L’ultimo bacio. He
highlights the dynamic and flowing vocal line by underlining it with a series of simpler,
pulsing chords in the accompaniment, which serve as a heartbeat, changing with the flow
of emotions associated with yearning for lost love. Searching for the lost beloved ties into
O del mio amato ben by Stefano Donaudy. In contrast to Tosti’s style of bringing out the
vocal line by subduing the accompaniment, Donaudy utilizes a lush accompaniment to
complement the bold, aria-like vocal phrases.
The fifth group is a study on the physical and spiritual energy toll of the search by
means of three English Art Songs. First is From Far, from Eve and Morning by Ralph
!vi
Vaughan Williams, which clearly depicts Vaughan William’s compositional style of
simple accompaniment and melodies along with impeccable setting of text. In context of
this recital, this song represents the extent of time and toil in the search. The exhaust
caused by longing and despair necessitates rest, which leads to Ivor Gurney’s Sleep. The
song is a strong example of Gurney’s song style. He maintains the mood of anguish by
means of repeated rhythmic figures in the piano accompaniment and altered notes in the
vocal lines. Deep slumber rouses revitalization and energy which leads to Roger Cuthbert
Quilter’s setting of O Mistress mine. Quilter employs dotted rhythms and simple chords
along with an equally straightforward vocal line built with broken chords and simple
rhythms. This simplicity of the musical setting complements the lightheartedness of
Shakespeare’s text.
The final set for the recital circles back into to the recurring Romantic elements of
love, pain, nature, and yearning through kundiman, a Filipino art song. The first is
Nicanor Sta. Ana Abelardo’s Nasaan Ka, Irog? Though the text depicts the longing for a
beloved woman, Nasaan Ka, Irog?, just like many other kundiman, is also actually
considered a song of patriotism, stemming from the movement for independence of the
Philippines from Spanish colonial rule. The “woman” sought is actually “the
motherland.” Also, in this song, Abelardo demonstrates exemplary text setting of Filipino
prosody. The recital concludes with Kundiman by Francisco Santiago. Santiago, just like
his contemporary Abelardo, are well-regarded for elevating the kundiman from traditional
folk serenade to proper art song form. The first part of the binary form begins in F-sharp
minor, adorned with triple-meter, dancelike rhythmic patterns in the accompaniment,
!vii
reminiscent of guitar strumming, complementing the melancholy tone of the text. The
second half then moves into the relative major key, bringing a brighter musical contrast to
the somber text, yet elevating the emotion to deep conviction rather than utter despair.
Thus the search for the beloved has no prejudice to language or borders. Longing,
finding, losing, mourning, relishing, or reminiscing are all universal elements deeply
rooted and intricately connected to the unending search for the beloved.
!viii
PROGRAM
I.
Die Lotosblume
music by Robert Schumann (1810 – 1856)
poetry by Heinrich Heine (1797 – 1856)
Der Jüngling an der Quelle
music by Franz Schubert (1797 – 1828)
poetry by Johann Gaudenz von Salis-Seewis (1762 – 1834)
Op. 98, An die ferne Geliebte
No. 6, “Nimm sie hin denn, diese Lieder”
music by Ludwig van Beethoven (1770 – 1827)
poetry by Alois Isidor Jeitteles (1794 – 1858)
II.
À Chloris
music by Reynaldo Hahn (1874 – 1947)
poetry by Théophile de Viau (1590 – 1626)
Le colibri
music by Amédée-Ernest Chausson (1855 – 1899)
poetry by Leconte de Lisle (1818 – 1894)
Psyché
music by Émile Paladilhe (1844 – 1926)
poetry by Pierre Corneille (1606 – 1684)
III.
Vainement, ma bien-aimée
from the opera, Le roi d’Ys (1888)
music by Édouard-Victoire-Antoine Lalo (1823 – 1892)
libretto by Édouard Blau (1836 – 1906)
Intermission
IV.
Il fervido desiderio
music by Vincenzo Bellini (1944 – 1833)
text by unknown author
L’ultimo bacio
music by Francesco Paulo Tosti (1888 – 1833)
poetry by Emilio Praga (1839 – 1875)
!1
O del mio amato ben
music by Stefano Donaudy (1879 – 1925)
text by Alberto Donaudy (1880 – 1941)
V.
From Far, from Eve and Morning
from the song cycle, On Wenlock Edge
music by Ralph Vaughan Williams (1872 – 1958)
words by Alfred Edward Housman (1859 – 1936)
Sleep
music by Ivor Gurney (1890 – 1937)
words by John Fletcher (1579 – 1625)
O Mistress mine
music by Roger Cuthbert Quilter (1877 – 1953)
words by William Shakespeare (baptized 1564 – 1616)
VI.
Nasaan Ka, Irog?
music by Nicanor Sta. Ana Abelardo (1893 – 1934)
words by Narciso S. Asistio (fl. c. 1922 – c. 1946)
Kundiman
music by Francisco Santiago (1889 – 1947)
words by Deogracias A. Rosario (1894 – 1936)
!2
TEXTS AND TRANSLATIONS
Die Lotosblume
Die Lotosblume ängstigt
Sich vor der Sonne Pracht,
Und mit gesenktem Haupte
Erwartet sie träumend die Nacht.
The Lotus Flower
The lotus flower is afraid
Before the sun’s splendor,
And with a bowed head
She dreamily awaits the night.
Der Mond, der ist ihr Buhle,
Er weckt sie mit seinem Licht,
Und ihm entschleiert sie freundlich
Ihr frommes Blumengesicht.
The moon, he is her lover.
He rouses her with his light
And to him she happily unveils
Her pious flower face.
Sie blüht und glüht und leuchtet,
Und starret stumm in die Höh;
Sie duftet und weinet und zittert
Vor Liebe und Liebesweh.
She blooms and glows and shines
And stares silently toward the heavens;
She exhales and weeps and trembles
For love and love's pain.
Der Jüngling an der Quelle
Leise rieselnder Quell!
Ihr wallenden flispernden Pappeln!
Euer Schlummergeräusch
Wecket die Liebe nur auf.
The Youth at the Fount
Quietly trickling fount!
Your flowing, whispering poplars!
Your slumber sound
Awakens only love.
Linderung sucht' ich bei euch
Und sie zu vergessen, die Spröde.
Ach, und Blätter und Bach
Seufzen, Luise, Dir nach!
I sought relief with you
And to forget, unyielding.
Oh, and a leaf and brook
Sigh, Louise, after you!
!3
An die ferne Geliebte
Nimm sie hin denn, diese Lieder,
Die ich dir, Geliebte, sang,
Singe sie dann abends wieder
Zu der Laute süßem Klang.
To the Distant Beloved
Take, then, these songs
That to you, beloved, I sang
Sing them again in the evenings
As the lute of sweet sound
Wenn das Dämmrungsrot dann zieht
Nach dem stillen blauen See,
Und sein letzter Strahl verglühet
Hinter jener Bergeshöh;
Then when the twilight moves
Toward the calm blue sea
And his last beam burns up
Behind that hilltop
Und du singst, was ich gesungen,
Was mir aus der vollen Brust
Ohne Kunstgepräng erklungen,
Nur der Sehnsucht sich bewußt:
And you sing what I sang
What from myself wholehearted
Without artlessly resounding
Only the yearning itself witting
Dann vor diesen Liedern weichet
Was geschieden uns so weit,
Und ein liebend Herz erreichet
Was ein liebend Herz geweiht.
Then from these songs depart
What separates us so far
And a loving heart reaches
What a loving, devoted heart.
À Chloris
S'il est vrai, Chloris, que tu m'aimes,
(Mais j'entends, que tu m'aimes bien,)
Je ne crois pas que les rois mêmes
Aient un bonheur pareil au mien.
To Chloris
If it is true, Chloris, that you love me,
(But I understand that you love me
well,)
I believe that not even kings
Have happiness such as mine.
Que la mort serait importune
A venir changer ma fortune
Pour la félicité des cieux!
That death would be unwelcome
If it came to exchange my fortune
With the joy of heaven!
Tout ce qu'on dit de l'ambroisie
Ne touche point ma fantaisie
Au prix des grâces de tes yeux.
All that they say of ambrosia
Does not touch my fantasy
With the prize of the graces of your
eyes.
!4
Le colibri
Le vert colibri, le roi des collines,
Comme un frais rayon s'échappe dans
l’air.
The Hummingbird
The green hummingbird, the king of the
hills,
Seeing the dew and bright sun
Glistening upon his nest woven of fine
grasses,
Like a fresh ray escaping through the
air.
Il se hâte et vole aux sources voisines,
Où les bambous font le bruit de la mer,
Où l'açoka rouge, aux odeurs divines,
S'ouvre et porte au coeur un humide
éclair.
He hastens and flies to nearby springs,
Where bamboos make sea sounds
Where red hibiscus, divinely perfumed,
Manifests and bears in its heart
sparkling dew.
Vers la fleur dorée il descend, se pose,
Towards the golden flower he descends,
he reposes,
And drinks so much love from the rosy
chalice
That he dies, not knowing if he was
able to deplete it.
Voyant la rosée et le soleil clair
Luire dans son nid tissé d'herbes fines,
Et boit tant d'amour dans la coupe rose
Qu'il meurt, ne sachant s'il l'a pu tarir.
Sur ta lèvre pure, ô ma bien-aimée,
Telle aussi mon âme eût voulu mourir
Du premier baiser qui l'a parfumée!
On your pure lips, o my beloved,
Such also my soul had wanted to die
Of the first kiss which perfumed it!
!5
Psyché
Je suis jaloux, Psyché, de toute la
nature!
Les rayons du soleil vous baisent trop
souvent;
Vos cheveux souffrent trop les caresses
du vent:
Quand il les flatte, j'en murmure;
L'air même que vous respirez
Avec trop de plaisir passe sur votre
bouche;
Votre habit de trop près vous touche;
Et sitôt que vous soupirez,
Je ne sais quoi qui m'effarouche
Craint, parmi vos soupirs, des soupirs
égarés.
Psyche
I am jealous, Psyche, of all nature!
Vainement, ma bien-aimée
Puisqu'on ne peut fléchir ces jalouses
gardiennes,
Ah! laissez-moi conter mes peines
Et mon émoi!
In Vain, My Beloved
Since we cannot sway these jealous
guardians,
Ah! Let me recount my distress
And my passion!
Vainement, ma bien-aimée,
On croit me désespérer;
Près de ta porte fermée.
Je veux encor demeurer!
Les soleils pourront s'éteindre,
Les nuits remplacer les jours,
Sans t'accuser et sans me plaindre,
Là je resterai toujours!
In vain, my beloved,
They think they can daunt me;
Near your shut door
I am determined to stay!
The stars may fade,
The nights replace the days,
Without blaming you and without
pitying me,
There I shall stay always!
Je le sais, ton âme est douce,
Et l'heure bientôt viendra,
Où la main qui me repousse,
Vers la mienne se tendra!
Ne sois pas trop tardive
À te laisser attendrir!
Si Rozenn bientôt n'arrive,
Je vais, hélas! mourir!
I know it, your soul is sweet,
And the hour will soon come
Where the hand which now rejects me
Towards mine will reach out!
Do not take too long
To let yourself be moved!
If Rozenn does not arrive soon,
Alas, I shall die!
The rays of sun kiss you too often
Your hair suffers too many caresses of
the wind:
When he strokes them, I demur;
The air you respire
With too much pleasure pass through
your mouth;
Your garment touches you too closely;
And as soon as you sigh,
I do not know what frightens me
Fear, among your sighs, of sighs lost.
!6
Il fervido desiderio
Quando verrà quel dì
Che riveder potrò
Quel che l'amante cor tanto desia?
The fervent desire
When will that day come
That I can see again
That loving heart full of desire?
Quando verrà quel dì
Che in sen t'accoglierò,
Bella fiamma d'amor, anima mia?
When will that day come
That in your bosom welcomed
Beautiful flame of love, my soul?
L’ultimo bacio
Se tu la vedi le dirai che l'amo,
Che l'amo ancora come ai primi dì,
The Last Kiss
If you see her, tell her that I love her,
That I love her as much as on the first
day,
That I still call to her in my dreams,
Che nei languidi sogni ancor la chiamo,
La chiamo ancor come se fosse qui.
I call to her as if she were still here.
And tell her that although she betrayed
my trust
She has not taken all my former joy
from me;
And tell her that it is enough for my
whole life,
Her last kiss farewell.
E le dirai che colla fè tradita
Tutto il gaudio d’allora non mi rapì;
E le dirai che basta alla mia vita
L'ultimo bacio che l'addio finì.
Nessun la toglie dalla bocca mia
L'ultimo bacio che l'addio finì;
Ma se vuol darle un altro in compagnia
Nothing can remove it from my lips
Her last kiss farewell;
But if she wants to give me its
companion
Tell her I love her, and that I wait for
her here
Tell her I love her.
Dile che l’amo, e che l'aspetto qui
Dile che l’amo.
!7
O del mio amato ben
O del mio amato ben perduto incanto!
Lungi è dagli occhi miei
chi m'era gloria e vanto!
Or per le mute stanze
sempre la cerco e chiamo
con pieno il cor di speranze
Ma cerco invan, chiamo invan!
E il pianger m'è sì caro,
che di pianto sol nutro il cor.
Oh, My Dear Beloved
O lost charm of my beloved!
Distant from my eyes
Is she who was my glory and pride!
Now through the silent rooms
I always seek and call her
Wholeheartedly and with hope
But I seek in vain, call in vain!
And weeping is dear to me
For only tears nourish the heart.
Mi sembra, senza lei, triste ogni loco.
Notte mi sembra il giorno;
mi sembra gelo il foco.
Se pur talvolta spero
di darmi ad altra cura,
sol mi tormenta un pensiero:
Ma, senza lui, che farò?
Mi par così la vita vana cosa
senza il mio ben.
Without her, every place seems forlorn
Night seems like day to me
To me, ice seems like fire
Even though at times I hope
To concern myself with other matters
A single thought torments me:
Without her, what will I do?
It seems to me that life is pointless
Without my beloved.
!8
Nasaan Ka, Irog?
Nasaan ka, Irog at dagling naparam ang
iyong pag-giliw?
Di baga sumpa mong ako'y mamahalin?
Iyong itatangi, iyong itatangi
magpahanggang libing
Subalit nasaan ang gayong pagtingin?
Where Are You, Beloved?
Where are you, beloved and at once
your affection ceased?
Did you not promise to love me?
You cherish, you cherish as far as the
grave
But where is such favor?
Nasaan ka Irog at natitiis mong ako'y
mangulila
At hanap-hanapin ikaw sa alaala?
Nasaan ang sabi mong ako'y iyong
ligaya’t
Ngayong nalulungkot, ngayong
nalulungkot ay di ka makita?
Where are you beloved and you endure
that I am alone
And searching for you in recollection?
Where is that of which you spoke, that I
am your joy and
Now forlorn, now forlorn that I cannot
find you?
Irog ko'y tandaan!
My beloved keep in mind!
Kung ako man ay iyong ngayo'y
siniphayo,
Mga sumpa't lambing pinaram mong
buo,
Ang lahat sa buhay ko ay hindi
maglalaho't
magsisilbing bakas ng nagdaan 'tang
pagsuyo.
If I am now oppressed by you
Tandaan mo Irog, Irog ko'y tandaan.
Keep in mind beloved, my beloved
keep in mind
Ang lahat sa buhay ko ay hindi
maglalaho't
magsisilbing bakas ng nagdaan 'tang
pagsuyo.
Nasaan ka irog! Nasaan ka Irog?
Everything in my life will not fade
away and
will be a servant to traces of past
affection
Where are you beloved! Where are you
beloved?
The promises and tenderness you cease
entirely
Everything in my life will not fade
away and
will be a servant to traces of past
affection.
!9
Kundiman
Ako'y anak ng dalita
At tigib ng luha
Ang naritong humihibik
Na bigyan ng awa
Buksan mo ang langit
At kusa mong pakinggan
Ang aking ligalig
Saka pagdaramdam
Kundiman
I am a child of misery
And rife with tears
This supplication
To grant compassion
Open up heaven
And heed your volition
My distress
As well as my bitterness
Ay, kung hindi ka mahahabag
Sa lungkot kong dinaranas
Puso't diwang nabibihag
Sa libing masasadlak
Magtanong ka kung 'di tunay
Sa kislap ng mga tala
Magtanong ka rin sa ulap
Ng taglay kong dalita
Ah, if you will not take pity
Upon the grief that I am experiencing
Heart and mind held captive
By exacerbating burial
Ask if it is not true
To the twinkling of the stars
Even ask the clouds
Of the misery I bear
Sa dilim ng gabi
Aking nilalamay
Tanging larawan mo
Ang nagiging ilaw
Kung ikaw ay mahimbing
Sa gitna ng dilim
Ay iyong ihulog
Puso mo sa akin
In darkness of eve
My night vigil
Only your image
Becomes light
If you are downright
At the core of darkness
Deliver
Your heart to me
Tanging larawan mo
Ang nagiging ilaw
Ay iyong ihulog
Puso mo sa akin
Ang iyong ihulog, ang iyong ihulog
Buhay, pag-asa, pag-asa
Only your image
Becomes light
Deliver
Your heart to me
Deliver, deliver
Life, hope, hope!
!10