CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
GRADUATE RECITAL IN ACCOMPANYING
A VOICE RECITAL
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
l"lusic
by
Deborah Sallie Aitken
January, 1982
The Abstract of Deborah Sallie Aitken is approved:
Charles Fierro
'
Peter Rejto
Francoi~e Regnat, ChCir
California State University, Northridge
ii
ABSTRACT
GRADUATE RECITAL IN ACCOMPANYING
A VOICE RECITAL
by
Deborah Sallie Aitken
Master of Arts in Music
Typical requirements for a voice recital include a
variety of composers, languages, moods and styles.
The
recitative ("Quando avran fine omai") and aria {"Padre,
qermani, addio") from Mozart's Idomeneo, sung in Italian,
represent the Classic era of operatic style.
While the
singer conveys the story and her character's feelings,
the accompanist must provide the effect of the orchestra
he replaces.
The Strauss songs show a mastery of the nineteenth
century German lied.
The poignancy of the poetry and the
interwoven melodic lines of these lieder evoke strong
moods ranging from joy ("Du meines Herzens Kronelein")
and introspective love ("Ich trage meine Minne") to inter-
iii
nal conflict ("Ruhe, meine Seele") and sorrow ("Ach Lieb,
ich muss nun scheiden").
Debussy's Ariettes Oubliees represent yet another
style and lanquage.
The French poetry is sung as part
of the atmospheric texture completed by the nebulous
quality of the accompaniment ("C'est l'Extase," "L'Ombre
des Arbres").
Debussy's occasional word-painting is
subtle, such as the rain in "Il pleure dans man coeur"
and the merry-go-round in "Chevaux de Bois."
Copland's Twelve Songs Qll Poems of Emily Dickinson
show independence of singer and accompanist.
The singer
receives little aid from the piano other than the depiction of moods such as soulful beauty ("The world feels
dusty," "Heart, we will forget him"), declamation ("l,rjhy
do they shut me out of Heaven?" "Sleep is supposed to
be"), flippancy ("When they come back"), ponderousness
("I felt a funeral in my brain"), exuberance ("Dear fVlarch,
come in!" "Going to Heaven!") and quiet triumph ("The
Chariot").
iv
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
MUSIC DEPARTMENT
presents
Ve6orah 7-litken, Piano
in her
• Qraouate :Recital in 7-lccompanying
with
7-lnorea :Roth, Soprano
Sunday, December 20, 1981
Recital Hall
2:00 p.m.
PROGRAM
I
ILIA'S RECITATIVE AND ARIA
from IDOMENEO ............................... W. A. MOZART
(1756-1791)
Recitative: "Quando avran fine omai"
Aria: "Padre, german~ addio"
II
FOUR SONGS FROM ......................... RICHARD STRAUSS
(1864-1949)
Du meines Herzens Kronelein, Op. 21, No. 2
Ach Lieb, ich muss nun scheiden, Op. 21, No. 3
lch trage meine Minne, Op. 32, No. 1
Ruhe, meine Seele, Op. 27, No. 1
INTERMISSION
III
ARIETTES OUBLIEES ........................ CLAUDE A. DEBUSSY
(1862-1918)
C' est l'Extase
II pleure dans mon coeur
L'Ombre des Arbres
Chevaux de Bois
v
IV
From the TWElVE POEMS OF
EMilY DICKINSON .......................... AARON COPLAND
(1900)
Why do they shut me out of Heaven?
The world feels dusty
Heart, we will forget him
Dear March, come in!
Sleep is supposed to be
When thev come back
I felt a funeral in my brain
Going to Heaven!
The Chariot
•J n pa rtia I fulfillment of the rt>quiremt>nts
ior the Master of Arts Degree
v~
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
GRADUATE RECITAL IN ACCOMPANYING
THE ROMANTIC IMPULSE IN
TWENTIETH CENTURY 'CELLO AND PIANO MUSIC
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Music
by
Deborah Sallie Aitken
January, 1982
The Abstract of Deborah Sallie Aitken is approved:
Ch~eq
Fierro
Peter Rejto
Francoise Regnat, ahair
California State University, Northridge
ii
ABSTRACT
GRADUATE RECITAL IN ACCOMPANYING
THE ROMANTIC IMPULSE IN
TWENTIETH CENTURY 'CELLO AND PIANO MUSIC
by
Deborah Sallie Aitken
Master of Arts in Music
Twentieth century music, rich in diversity and
innovation, owes much to the Romantic period.
The formal
arrangement of movements inherited from the Classic era
is retained sometimes, or altered for effect, the Romantic
traits of nationalism and a pervasive folk idiom, and the
programmatic tendencies of Romanticism are heard in many
guises.
Janacek's Pohadka is a subtly beautiful but little
known piece.
This programmatic work tells a folk tale in
an expanded version of the traditional three-movement
form.
The driving irregular folk rhythms of Sonata No. 2
iii
by Martinu exhibit the composer's Czech origins.
They
are combined with twentieth century dissonance in classic
three-movement form.
Vaughan-Williams makes use of his native England's
folk song heritage.
The piano supplies an appropriately
sparse backdrop to plaintive cello lines in the Adagio
and Lento selections, and a dance-like pulse for the
Allegro Vivace sea chanty.
French composer Claude Debussy expands upon sonata
form in his intriguing Sonate, subdividing the three major
sections.
In contrast to the more straightforward first
and third movements, the second movement reflects the
programmatic heritage of Romanticism.
The Pampeana No. 2 by Ginastera proclaims the composer's Argentinian heritage with each phrase.
Borrowing
the rhapsody from the Romantic period, the work pulsates
with Latin rhythms and picturesque imagery.
With its
blend of a Romantic ''form" and nationalistic pride in
native sounds, this piece is perhaps the program's most
vivid illustration of the pervasiveness of the Romantic
era.
iv
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
MUSIC DEPARTMENT
presents
Renata Bratt, cello
and
Deborah Aitken, piano
in their
*Graduate Recital
Saturday, April 25, 1981
Recital Hall
2:00P.M.
PROGRAM
POHADKA- 'A tale' (1910) ........................... JANACEK
Con moto-Andante
Con moto-Adagio poco rubato
Allegro
SONATA NO.2 (1941) ............................... MARTINU
Allegro
Largo
Allegro commodo
INTERMISSION
SIX STUDIES IN ENGLISH FOLK SONG,
Selections (1927) ....................... VAUGHAN-WILLIAMS
I. Adagio
IV. Lento
VI. Allegro Vivace
SONATE (1915) ...................................... DEBUSSY
Prologue; Lent
Serenade; Moderement anime
Finale; Anime
PAMPEANA NO.2 (1950) .......................... GINASTERA
Rapsodia para violoncelo y piano
•rn partial fulfillment of the requirements
for the Master of Arts Degree
v