CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
GRADUATE RECITAL IN VOICE
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Music
by
Karen Louise Winner
May, 1984
The Abstract of Karen Louise Winner is approved:
Larr
California State University, Northridge
ii
ABSTRACT
Graduate Recital In Voice
by
Karen Louise Winner
Master of Arts in Music
The vocal literature for. this recital encompasses four languages and
several styles ranging from early classical to contemporary.
The
vocal compositions were chosen in order to convey technical ability,
emotional expression and the musical styles of the composers
represented.
The recital begins with two arias from a lesser known Mozart opera,
Idomeneo, Re de Creta (K. 366).
This opera, written in 1780 in
Munich for Karl Theodor, The Elector of
Munich, has recently begun
to be revived and is finding a place in the standard operatic
repertory.
The libretto was written by the Salzburg Court Chaplain,
Varesco, and was based on a French opera written in 1712 by Danchet
iii
and composed by campra.
Mozart and Varesco transformed the old five-
act tragedy into an Italian opera seria but with choruses in the
French manner.
Idomeneo is one of Mozart•s grandest and most
ambitious works and asks for great virtuosity and dramatic intensity.
The two arias performed are written in the standard ABA form and
require a knowledge of Mozartian Style and a command of legato line.
The classic style of the German lied is represented by four songs of
Franz Schubert.
The first, Gretchen
known of the four.
Goethe•s Faust.
~
Spinnrade is the most well-
It is a setting of the spinning scene from
The restless movement of the piano represents the
spinning wheel and the inner agitation of Gretchen.
intense and dramatic piece.
It is a highly
Die Wachtelschlag is a charming strophic
song written in a lighthearted folk song fashion.
The third song,
Der Blinde Knabe, is again a strophic melody, describing the inner
joys and anguishes of a poor blind boy.
Auflosung dramatically
closes the group showing the romantic declamatory style of Schubert•s
later lied.
The first half of the recital concludes with a recitative and aria
from Verdi •s La Traviata.
Written in 1853, La Traviata is usually
grouped stylistically with Rigoletto and Q Trovatore to comprise
what is thought of as Verdi •s middle period.
The libretto, written
by Francesco Piave, is based on Alexandre Dumas•, La Dame aux
camelias.
The numbers in the opera are composed in the conventional operatic
form - the formal aria, duet and chorus, but are transformed by Verdi
iv
into meaningful dramatic pieces.
The Ah, fors'~ lui shows the
considerable melodic inventiveness of Verdi.
The following cabaletta
is not only a brilliant coloratura showpiece but is a dramatic
reflection of Violetta's state of mind.
The fioritura of the aria
perfectly expresses the hysterical gaiety of Violetta at this point
and gives the performer a great challenge,
both vocally and
dramatically.
The second half of the recital begins with the art of the French
m~lodie represented by two composers, Gabriel Faure and Ernest
Chausson.
The first m~lodie, Notre Amour by Faure is typical of his
early melodies with its strophic form, graceful melodic line and
simple accompaniment.
The last piece of the group, Fleur jetee, is
from Faur~'s later period and is a dramatic declaration of unrequited
love.
The vocal line is quite angular and soars over a difficult
piano accompaniment.
Ernest Chausson wrote about forty m{lodies which are quite romantic
in style and are usually sad or pensive.
The Ser~nade Italienne is a
warmly sensual piece describing a rite of love under the stars.
Le
Colibri, written in 5/4 meter, is a moving love song full of rich
sonorities.
Both songs require an understanding of the French legato
line and the ability to create an intimate mood.
The recital closes with the lyrical and moving Knoxville: Summer of
1915 by Samuel Barber.
This work, written in 1949 and dedicated to
Barber's father, is a fine example of Barber's concept of an extended
song for solo voice following in the tradition of Dover Beach (1931).
v
,, .
The work is basically divided into three sections.
The opening
section sets the tone of the piece by describing the feeling of
twilight in a small Southern town.
fluid quality.
This part requires a languorous
The second section, describing the passing of a
streetcar, is much more stark and abrupt.
The third section returns
to a quite pensive mood building into a stirring climax.
The poignant melodies and the charming word painting perfectly
capture the feeling of the warm Southern evening depicted by poet
James Agee and reflect the close communion of American small-town
family life.
vi
PROGRAM
I
Two arias from IDOMENEO, K. 366 ..... Wolfgang Amadeus Mozart
(1756-1791)
Zeffiretti lusinghieri
Se'il padre perdei
II
Four Lieder .................................... Franz Schubert
(1797-1828)
Gretchen am Spinnrade (Goethe) Op. 2
Der Wachtelschlag (Sauter) Op. 68
Der Blinde Knabe (Craigher) Op. 10
Auflosung (Mayrhofer) Op. posth.
III
Recitative and Aria from LA TRAVIATA ......... Giuseppe Verdi
Ah, fors' ~ lui ... Sempre Iibera
(1813-1901)
INTERMISSION
IV
Four Melodies
Notre Amour (Silvestre)
Op. 23, No. 2 ................................ Gabriel Faure
(1845-1924)
Serenade ltalienne (Bourget) Op. 2, No. 5 ..... Ernest Chausson
(1855-1899)
Le Colibri (de Lisle) Op. 2, No. 7 ............ Ernest Chausson
Fleur jetee (Silvestre) Op. 39, No. 2 ............. Gabriel Faure
v
Knoxville: Summer of 1915
(James Agee) Op. 24 ......................... Samuel Barber
(1910-1981)
Lovjng thanks to my family, to Mara and to Dr. DaTJid Scott
Reception immediately following in Music 100.
•Jn partial fulfillment of the requirements
for the Master of Arts Degree.
vii