A MERICAN U NIVERSITY
D EPARTMENT OF P ERFORMING A RTS
Katherine Riddle
Soprano
“My Life’s Delight”
Andrew Welch, piano
Carley DeFranco, soprano
Ryan Burke, tenor
Sunday, March 3, 2013 at 5:00 p.m.
Abramson Family Recital Hall
Katzen Arts Center
American University
This senior recital program is in partial fulfillment of the degree
program Bachelor of Arts in Music, Vocal Performance and the
American University Honors Capstone Program.
Ms. Riddle is a student of Dr. Linda Allison.
THANK YOU…
…to all of the faculty and staff in the music and theatre departments
that have supported, mentored and encouraged me. Thank
you for pushing me to strive for greatness and helping me to grow as a
person and as a performer.
…to my wonderful friends who are always there for me to cheer, to cry,
to cuddle or to celebrate. You guys are irreplaceable!
…to my amazing family (especially my incredible parents) for always
being my cheerleaders, giving me their undying love and support and,
most of all, for helping me pursue my dream. You’ve never doubted me
for a second and your love is what pushes me to continue down this
crazy path of being a musician.
…to AJ, Carley and Ryan for bringing your wonderful talents to
this recital!
…to Ethan, Manny, James, Anjuli and Lauren for helping me out with
the behind the scenes work for this recital
…to Mrs. Brown, Shouvik and Ms. Hays, I hope I've made you proud!
….to all of you for being here today - it means the world to me!!
ANDREW LLOYD WEBBER
( b. 1948 )
wrote the music for the longest running show on Broadway, The Phantom of
the Opera. This musical is based on a French novel Le Fantôme de
l'Opéra by Gaston Leroux. The plot centers around the beautiful soprano,
Christine, who becomes the object of the Phantom’s affections. As the prima
donna, Carlotta, is rehearsing for a performance, a backdrop collapses on
her without warning. Carlotta storms offstage, refusing to perform and
Christine is tentatively chosen to take her place in the opera that night. She is
ready for the challenge.
Think of Me
Think of me, think of me fondly when we’ve said goodbye
Remember me, every so often, promise me you’ll try
On that day, that not so distant day
When you are far away and free
If you ever find a moment, spare a thought for me
And though its clear, though it was always clear
That this was never meant to be
If you happen to remember, stop and think of me
Think of August when the trees were green
Don’t think about the way things might have been
Think of me, think of me waking silent and resigned
Imagine me trying to hard to put you from my mind
Think of me please say you’ll think of me
Whatever else you choose to do
There will never be a day when I won’t think of you
Flowers fade the fruits of summer fade
They have their season so do we
But please promise me that sometime you will think of me!
- Charles Hart
ADAM GUETTEL
PROGRAM
( b. 1964 )
based The Light in the Piazza on a novella by Elizabeth Spencer, which tells the story
of a wealthy Southern woman, Margaret Johnson, and her emotionally stunted
daughter, Clara, who spend a summer in Italy together. One day, a breeze carries
away Clara’s hat and a young Italian man catches it and returns it to her. The two
are instantly smitten with one another but Clara’s mother quickly tears them apart.
Margaret takes Clara to the Uffizi Gallery where the statues and paintings remind
Clara of her own dreams and desires. The music from The Light in the Piazza turns
away from the 21st century pop-musical theatre tradition and leans more towards the
operatic vein, with elaborate orchestration and unexpected harmonic shifts.
The Beauty Is
These are very popular, in Italy.
It’s the land of naked marble boys.
Something we don’t see a lot in Winston-Salem,
That’s the land of corduroys.
I’m just a someone in an old museum.
Far away from home as someone can go.
And the beauty is I still meet people I know, hello.
This is wanting something, this is reaching for it,
This is wishing that a moment would arrive.
This is taking chances, this is almost touching, what the beauty is.
I don’t understand a word they’re saying,
I’m as different here as different can be.
But the beauty is I still meet people like me.
Everyone’s a mother here, in Italy.
Everyone’s a father, or a son.
I think if I had a child, I would take such care of her.
Then I wouldn’t feel like one.
I’ve hardly met a single soul, but I am not alone., I feel known.
This is wanting something, this praying for it,
This is holding breath and keeping fingers crossed.
This is counting blessings, this is wondering when I’ll see that boy again.
I’ve got a feeling he’s just a someone, too.
And the beauty is, when you realize, when you realize,
Someone could be looking for a someone like you.
- Adam Guettel
Ah, mai non cessate
O bei nidi d’amore
S TEPHANO D ONAUDY
(1879 – 1925)
Ah, perdona al primo affetto
from La clemenza di tito
W OLFGANG A MADEUS M OZART
(1756 – 1791)
featuring Carley DeFranco, soprano
Le secret
Mandoline
En priére
G ABRIEL F AURÉ
(1845 – 1924)
My Life’s Delight
Weep You No More
Love’s Philosophy
R ODGER Q UILTER
(1877 – 1953)
Mein Herr Marquis
from Die Fledermaus
J OHANN S TRAUSS
(1825 – 1899)
INTERMISSION
It Might As Well Be Spring
from State Fair
O SCAR H AMMERSTEIN II
(1895 – 1960)
Will He Like Me?
from She Loves Me
J ERRY B OCK
(1928 – 2010)
All The Things You Are
from A Very Warm May
J EROME K ERN
(1885 – 1945)
The Balcony Scene (Tonight)
from West Side Story
featuring Ryan Burke, tenor
How Could I Ever Know
from The Secret Garden
L EONARD B ERNSTEIN
(1918 – 1990)
L UCY S IMON
( B . 1943)
On The Steps of the Palace
from Into The Woods
S TEPHEN S ONDHEIM
( B . 1930)
The Beauty Is
from The Light in the Piazza
A DAM G UETTEL
( B . 1964)
Think of Me
from The Phantom of the Opera
A NDREW L LOYD W EBBER
( B . 1948)
KATHERINE RIDDLE
will graduate from American University in May 2013 with a
Bachelor of Arts in Music concentrating in Vocal Performance. While at AU, Katherine has
studied voice with Dr. Linda Allison, piano with Yuliya Gorenman and classical guitar with
Larry Snitzler. As part of AU's study abroad program, Katherine spent a semester studying
music at Kings College London and voice at the Royal Academy of Music. A member
and soloist of AU Chamber Singers, Opera Workshop and University Chorus, Katherine
also spent two years on The Eagle newspaper staff and is an active member of the
University Honors Program. Earlier this academic year, Katherine was selected as one of
five founding honorees of AU's Director's Musicians of Achievement program which
recognizes select music students for their outstanding achievement in both musicianship
and academics. Katherine recently placed first in AU's 2013 Concerto and Aria
Competition and will perform her winning arias with the American University Symphony
Orchestra in April. Later this Spring, she will be a soloist with AU's Chamber Singers as
they present Vivaldi's Gloria and Handel's Dixit Dominus in concerts on campus and on a
concert tour of Russia. In 2012, Katherine placed first in MD/DC NATS
competition/musical theatre category. Additionally Katherine has appeared in over 20
community and professional musical theatre productions including Guys and Dolls at AU
and has been trained in ballet, tap, jazz and modern dance.
Pianist, conductor and composer Andrew Welch has performed at the Kennedy
Center, the State Department, the embassy of Kazakhstan and has performed for the
United States Congress and the Smithsonian. An active promoter of new music, Andrew
has given the world premiere of five new works since 2011 including Fernando
Benadon's Edge Flips and Amy Williams Duo for Saxophone and Piano. A dedicated
teacher as well, Andrew promotes well-rounded music instruction and currently teaches
piano and theory to an active private studio. Andrew is the current choirmaster and
organist and Trinity Lutheran Church in Rockville, Maryland.
Ryan Burke is a junior musical theatre major. He is thrilled to be a part of Katherine's
recital. He could have most recently been seen as Dan in Next to Normal at Kensington
Arts Theatre. Other credits include Barfee in The 25th Annual Putnam County Spelling
Bee, Jaime in The Last Five Years, and George in Sunday in the Park with George.
Carley DeFranco,
is in her last year of studies at American University. She is
pursuing a degree in Music, focusing on both vocal performance and conducting. In Fall
of 2011, Carley spent time studying music at the University of Glasgow in Scotland. In the
summer of 2011 she also performed as a soloist with the AU Chamber Singers on their
concert tour in Spain and Portugal. She is a frequent soloist with the Chamber Singers, AU
Chorus and Symphony Orchestra. She has also had the privilege of conducting the
international Glasgow University Music Club Chorus and was the assistant director of the
Capitol Hill Youth Chorus at Capitol Hill Arts Workshop.
STEPHEN SONDHEIM ( b. 1930 )
intertwines the stories of several Brothers Grimm fairy tales including “Jack and the
Beanstalk”, “Rapunzel”, “Little Red Riding Hood” and “Cinderella” in his musical Into the
Woods. The characters are tied together as part of a quest that the Baker and his wife
are on requiring them to reverse a spell the Witch has cast upon them. Cinderella is
unsure about her desires towards the handsome prince she met at the ball and has since
been actively avoiding him. One night, he spreads pitch on the steps of the palace in
order to catch Cinderella before she runs away. Instead, Cinderella leaves her glass
slipper behind as a clue to her identity.
On the Steps of the Palace
He's a very smart Prince,
He's a Prince who prepares.
Knowing this time I'd run from him,
He spread pitch on the stairs.
I was caught unawares.
And I thought: well, he caresThis is more than just malice.
Better stop and take stock
While you're standing here stuck
On the steps of the palace.
You think, what do you want?
You think, make a decision.
Why not stay and be caught?
You think, well, it's a thought,
What would be his response?
But then what if he knew
Who you were when you know
That you're not what he thinks
That he wants?
And then what if you are?
What a Prince would envision?
Although how can you know
Who you are till you know
What you want, which you don't?
So then which do you pick:
Where you're safe, out of sight,
And yourself, but where everything's wrong?
Or where everything's right
And you know that you'll never belong?
And whichever you pick,
Do it quick,
'Cause you're starting to stick
To the steps of the palace
It's your first big decision,
The choice isn't easy to make.
To arrive at a ball
Is exciting and allOnce you're there, though, it's scary.
And it's fun to deceive
When you know you can leave,
But you have to be wary.
There's a lot that's at stake,
But you've stalled long enough,
'Cause you're still standing stuck
In the stuff on the steps...
Better run along home
And avoid the collision.
Even though they don't care,
You'll be better of there
Where there's nothing to choose,
So there's nothing to lose.
So you pry up your shoes.
Then from out of the blue,
And without any guide,
You know what your decision is,
Which is not to decide.
You'll leave him a clue:
For example, a shoe.
And then see what he'll do.
Now it's he and not you
Who is stuck with a shoe,
In a stew, in the goo,
And you've learned something, too,
Something you never knew,
On the steps of the palace.
- Stephen Sondheim
LUCY SIMON
( b. 1943 )
composed The Secret Garden, a musical based on a novel by the same
name by Frances Hodgson Burnett. When young Mary Lennox is orphaned
due to the cholera epidemic, she is sent to live with her Uncle Archibald in
England. He is deeply troubled by the death of his wife, Lily, whose ghost still
haunts the house. Archibald feels defeated and leaves for Paris, at his
brother’s urging, when his only son, Colin, turns ill. Lily’s ghost comes to him
and convinces Archibald to return home and, when he does, he finds Colin
healthy and strong again.
How Could I Ever Know?
How could I know I would have to leave you?
How could I know I would hurt you so?
You were the one I was born to love!
Oh, how could I ever know?
How could I ever know?
How can I say to go on without me?
How, when I know you still need me so?
How can I say not to dream about me?
How could I ever know?
Forgive me.
Can you forgive me
And hold me in your heart,
And find some new way to love me
Now that we're apart?
How could I know I would never hold you?
Never again in this world, but oh,
Sure as you breathe, I am there inside you,
How could I ever know?
- Marsha Norman
STEPHANO DONAUDY
( 1875 - 1929 )
was born in Palermo, Italy during a time of splendor and prosperity. Most of his fame
lies in his collection 36 Atie di Stile Antico, first published in 1918. All of the songs in
this collection are deeply affectionate and exemplify the spirit of the Art Nouveau
movement in Italy. This collection includes "Ah, non mai cessate" and "O bei nidi
d'amore", both with lyrics by his brother, Alberto Donaudy. These two pieces are
contrasting in style but both tell stories of the elation that comes from true love.
Ah, mai non cessate
Ah, mai non cessate dal vostro parlar,
o labbra desiate ond'io folle vo'
col miel delle vostre parole vo' far
un dolce guanciale su cui dormirò.
O sonni beati da niun mai sognati
che su quel guanciale dormendo farò,
dormendo e sognando, vicino al tuo cor, il
dolce, desiato mio sogno d'amor.
Ah! dormendo, sognando, d'amor!
- Alberto Donaudy
Ah, never cease from your talking,
oh desired lips which I madly want;
with your words I want to make
a sweet pillow on which I will sleep.
Oh blessed dreams that no one ever
dreamed, that, sleeping on that pillow, I will
make; sleeping and dreaming, close to your
heart, the sweet, dream of love.
Ah! Sleeping, dreaming of love!
- Trans. Donna Bareket
O bei nidi d’amore
O bei nidi d'amore,
occhi a me sì cari,
che di vostro favore non mi foste avari,
or che privo son io
di quel vostro sorriso,
di quel mio Paradiso,
senza più alcun desio vedo
i giorni miei fuggire,
e in sì cruda mia sorte
ogni giorno ho più morte
e non posso ancor...non posso morir!
Non ha raggi più il sole,
stelle il firmamento,
non ha il prato viole,
nè sospiri ha il vento, or che,
a crescer l'ambascia del perduto mio bene,
che sì affranto mi tiene,
persin quella mi lascia,
onde almen nutrivo il core,
pietosa speranza che anche al misero avanza
perchè gli sia men crudo il dolor!
- Alberto Donaudy
Oh beautiful nests of love,
Eyes so dear to me,
That were not miserly to me with your goodwill, Now that I am deprived
Of that smile of yours,
Of that paradise of mine,
Without any more desire
I see my days fly by,
And in my fate so cruel
Every day I have more death
And yet I cannot... I cannot die!
No longer has the sun rays,
The firmament stars,
The field does not have violets,
Nor has the wind sighs, now that,
to increase the pain of my lost blessing,
Which keeps me so crushed,
Even that leaves me,
With which at least I fed my heart,
The hope which comes to the wretched,
So that his sorrow will be less cruel to him!
- Trans. Stuart Price
WOLFGANG AMADEUS MOZART
( 1756 – 1791 )
was an extremely prolific and influential composer of the Classical era. He is
considered a child prodigy, composing his first symphony at age six and his first
opera at ten. “La clemenza di tito” (“The Clemency of Titus”) is an opera seria in two
acts that tells the intermingling love stories of Tito, the Roman emperor, Vitellia, the
daughter of the deposed emperor, Annio and Sesto, both young patricians and
traditionally played by mezzo-sopranos and Sesto’s sister, Servillia. In this scene, Tito
has chosen Servilla to be his empress and Annio is sent to give her the message.
Annio and Servilla are in love and are devastated by the news. They profess their
undying love and devotion for one another and Servilla decides to tell Tito the truth
about her love for Annio.
Ah, perdona al prima affetto
ANNIO
Ah, perdona al primo affetto
questo accento sconsigliato:
colpa fu del labbro usato
a cosi chamarti ognor.
ANNIUS
O forgive, my former love,
My foolish words of affection,
The fault of lips accustomed
Always to speak thus of your.
SERVILIA
Ah tu fosti il primo oggetto,
che sinor fedel amai;
e tu l’ultimo sarai
ch’abbia nido in questo cor.
SERVILIA
O, you were the first being
Whom till now I truly loved,
And you will be the last
To be nested in my heart.
ANNIO
Cari accenti del mio bene.
ANNIUS
O, precious words of my beloved
SERVILIA
Oh mia dolce, cara speme.
SERVILIA
O, my dear sweet hope
A DUE
Più che qscolto i sensi tuoi;
in me cresce più l’ardor.
Quando un’alma è all’altra unita,
qual piacer un cor rivente
Ah si tolga dalla vita
tutto quel che non è amor.
BOTH
The more you pour out your feelings,
The more my passion grows
When one soul unites with another,
What happiness the heart feels
O, let life abandon
Everything that is not love
- Caterino Mazzolà, Metastasio
- Trans. unknown
LEONARD BERNSTEIN ( 1918 - 1990 )
wrote the music for West Side Story, a musical originally inspired by Shakespeare’s
Romeo and Juliet, but set in the Upper West Side of New York City during the 1950s.
The musical explores the rivalry between the Jets and the Sharks, two teenage street
gangs of different ethnic backgrounds. Tony, a member of the Jets, falls in love with
Maria, the sister of the leader of the Sharks, Bernardo. Tony and Maria see each
other across the room at a dance at the school gym and they instantly fall in love.
Bernardo pulls Maria away from Tony and sends her home. Tony finds Maria’s
building and appears on her fire escape where they profess their love for one
another.
The Balcony Scene (Tonight)
MARIA
Only you, you're the only thing I'll see
forever
In my eyes in my words and in everything I
do
Nothing else but you
Ever
TONY
And there's nothing for me but Maria
Every sight that I see is Maria
MARIA
Tony, Tony
TONY
Always you, every thought I'll ever know
Everywhere I go you'll be
TONY & MARIA
All the world is only you and me
MARIA
Tonight, tonight
It all began tonight
I saw you and the world went away
Tonight, tonight
There's only you tonight
What you are, what you do, what you say
TONY
Today, all day I had the feeling
A miracle would happen
I know now I was right
TONY & MARIA
For here you are
And what was just a world is a star, tonight
Tonight, tonight
The world is full of light
With suns and moons all over the place
Tonight, tonight
The world is wild and bright
Going mad
Shooting sparks into space
Today, the world was just an address
A place for me to live in
No better than all right
But here you are
And what was just a world is a star, tonight
Good night, good night
Sleep well and when you dream
Dream of me, tonight
- Stephen Sondheim
JEROME KERN
( 1885 - 1945 )
wrote over 700 songs used in more than 100 different stage productions. He
collaborated with the leading lyricists of his time including Oscar
Hammerstein II and Ira Gershwin. “All the Things You Are” was originally
written for the musical A Very Warm May and later was used in Broadway
Rhythm 1944. Recordings by Tommy Dorsey and Artie Shaw propelled the
song into popularity and was later recorded by notable artists including: Ella
Fitzgerald, Margaret Whiting, Barbra Streisand and Michael Jackson.
All the Things You Are
Time and again I've longed for adventure,
Something to make my heart beat the faster.
What did I long for? I never really knew.
Finding your love I've found my adventure,
Touching your hand, my heart beats the faster,
All that I want in all of this world is you.
You are the promised kiss of springtime
That makes the lonely winter seem long.
You are the breathless hush of evening
That trembles on the brink of a lovely song.
You are the angel glow that lights a star,
The dearest things I know are what you are.
Some day my happy arms will hold you,
And some day I'll know that moment divine,
When all the things you are, are mine!
- Oscar Hammerstein II
GABRIEL FAURÉ
( 1845 – 1924 )
was a French composer, pianist and teacher who studied under the composer
Camille Saint-Saëns and is regarded as one of the masters of French
mélodie. Most of Fauré’s vocal pieces were meant for private performances
in parlors, salons and homes of patrons. Fauré favored talented amateur
singers and felt that the voice should not be an over powering solo instrument
but rather a carrier and messenger of the poetry. "Le secret" is one of ten
poems by Armand Silvestre set by Fauré. Its intimate feel enhances the
heartbreaking nature of the piece as the singer reveals her love for a person
she is not able to have. Mandoline is the first song of Fauré's song cycle Cin
mélodies 'de Venise and is dedicated to Winnarette Singer, the Princess of Polignac.
“En priére" simply meaning, a prayer, comes from his collection of twelve
religious poems entitled Contes mystiques with poetry written by Stéphan
Bordèse, an Italian born French immigrant, who was a famous voice teacher
and poet in Paris in the late 19th century.
Le secret
Je veux que le matin l'ignore
Le nom que j'ai dit à la nuit,
Et qu'au vent de l'aube, sans bruit,
Comme un larme il s'évapore.
Je veux que le jour le proclame
L'amour qu'au matin j'ai caché,
Et sur mon coeur ouvert penché
Je veux que le couchant l'oublie
Le secret que j'ai dit au jour,
Et l'emporte avec mon amour,
Aux plis de sa robe pâlie!
I want the morning not to know
the name that I told to the night;
in the dawn wind, silently,
may it evaporate like a teardrop.
I want the day to proclaim
the love that I hid from the morning,
and (bent over my open heart) to set
it aflame, like a grain of incense.
I want the sunset to forget
the secret I told to the day,
and to carry it away with my love
in the folds of its pale robe!
- Armand Silvestre
- Trans. Peter Low
Comme un grain d'encens il l'enflamme.
JERRY BOCK
Mandoline
Les donneurs de sérénades
Et les belles écouteuses
Échangent des propos fades
Sous les ramures chanteuses.
C'est Tircis et c'est Aminte,
Et c'est l'éternel Clitandre,
Et c'est Damis qui pour mainte
Cruelle maint vers tendre.
Leurs courtes vestes de soie,
Leurs longues robes à queues,
Leur élégance, leur joie
Et leurs molles ombres bleues, Tourbillonnent
dans l'extase
D'une lune rose et grise,
Et la mandoline jase
Parmi les frissons de brise.
The givers of serenades
And the lovely women who listen
Exchange insipid words
Under the singing branches.
There is Thyrsis and Amyntas
And there's the eternal Clytander,
And there's Damis who, for many a Heartless
woman, wrote many tender verses.
Their short silk coats,
Their long dresses with trains,
Their elegance, their joy
And their soft blue shadows,
Whirl around in the ecstasy
Of a pink and grey moon,
And the mandolin prattles
Among the shivers from the breeze.
- Paul Verlaine
- Trans. Emily Ezust
En priére
Si la voix d'un enfant peut monter jusqu'à Vous,
Ô mon Père, Écoutez de Jésus, devant
Vous à genoux, La prière!
Si Vous m'avez choisi pour enseigner vos lois
Sur la terre,
Je saurai Vous servir,
auguste Roi des rois,
Ô Lumière! Sur mes lèvres, Seigneur,
mettez la vérité Salutaire,
Pour que celui qui doute,
avec humilité Vous révère!
Ne m'abandonnez pas, donnez-moi la
douceur Nécessaire, Pour apaiser les maux,
soulager la douleur, La misère!
Révèlez Vous à moi, Seigneur en qui
je crois Et j'espère:
Pour Vous je veux souffrir et
mourir sur la croix, Au calvaire!
If the voice of a child can reach You,
O my Father, Listen to the prayer of Jesus
on his knees before You!
If You have chosen me to teach your
laws on earth,
I will know how to serve You,
noble King of kings,
O Light! On my lips, Lord,
place the salutary truth,
Because he who doubts should
with humility revere You!
Do not abandon me, give me the necessary
gentleness, to ease suffering,
to relieve sorrow and misery!
Reveal Yourself to me, Lord, in whom
I believe and hope:
For You I wish to suffer and
die on the cross, at Calvary!
- Stéphan Bordèse
- Trans. David K. Smythe
( 1928 - 2010 )
premiered She Loves Me on Broadway featuring lyrics by Sheldon Harnick in
1963. It was the fifth adaptation of the play Parfumerie by Hungarian
playwright Miklos Laszlo. It tells the story of a young shopgirl named Amalia
who has a secret pen pal with whom she has fallen in love, but the two have
yet to meet in person. In this song, Amalia has agreed to meet up with her
mysterious admirer. She expresses her hope and doubts about finding true
love.
Will He Like Me?
Will he like me when we meet?
Will the shy and quiet girl he's going to see
Be the girl the he's imagined me to be?
Will he like me?
Will he like the girl he sees?
If he doesn't, will he know enough to know?
That there's more of me than I may always show,
Will he like me?
Will he know that there's a world of love
Waiting to warm him?
How I'm hoping that his eyes and ears
Won't misinform him
Will he like me, who can say?
Oh, this evening seems a million years away
It's insanity to worry so all day
I'll try not to
Will he like me?
He's just got to
Will he like me?
He's just got to
- Sheldon Harnick
RICHARD RODGERS
( 1902 - 1979 )
composed “It Might as Well Be Spring” which won the Academy Award for
Best Original Song in 1945 after it appeared in the film State Fair. In the
musical, Margy Franke, who is disappointed with the plans her boyfriend has
made for their life together, dreams of her future. The song has since become
a Billboard magazine best seller and has been recorded by many artists
including: Frank Sinatra, Ella Fitzgerald and Nina Simone.
It Might As Well Be Spring
The things I used to like, I don't like anymore.
I want a lot of other things
I've never had before.
It's just like mother says...
I sit around and mope.
Pretending I am wonderful.
And knowing I'm a dope.
I'm as restless as a willow in a windstorm,
I'm as jumpy as a puppet on a string.
I'd say that I had spring fever,
But I know it isn't spring.
I'm starry-eyed and vaguely discontented
Like a nightingale without a song to sing.
Oh, why should I have spring fever
When it isn't even spring?
I keep wishing I were somewhere else,
Walking down a strange new street.
Hearing words that I have never heard
From a man I've yet to meet.
I'm as busy as a spider spinning daydreams,
I'm as giddy as a baby on a swing.
I haven't seen a crocus or a rosebud
Or a robin on the wing.
But I feel so gay,
In a melancholy way,
That it might as well be spring,
- Oscar Hammerstein II
RODGER QUILTER ( 1877 - 1953 )
was an English composer, known mostly for his art songs of which there are
more than one hundred. He was a member of the Frankfurter Group, a circle
of English speaking composers who studied at the Hoch Conservatory in the
1890s. Quilter sets "My Life's Delight" to a poem by Thomas Campion, an
Elizabethan poet and composer. Campion wrote lute songs and masques for
dancing in addition to becoming a well-respected music theorist. The luscious
accompaniment and sweeping melodies urge the singer's lover to make haste
and return to her side. The poem, “Weep You No More Sad Fountains”
describes the pain and helplessness one feels after a loved one has passed
away. Quilter's gentle and thoughtful setting is touching and engaging. "Love's
Philosophy" is set to the words of Percy Bysshe Shelley, an English romantic
poet, who proposes a playful but sincere proposition of love, persuading the
listener that all living things desire to be united with one another.
My Life’s Delight
Come, O come, my life's delight!
Let me not in languor pine:
Love loves no delay,
Thy sight the more enjoyed, the more divine.
O come, and take from me
The pain of being deprived of thee.
Thou all sweetness dost enclose,
Like a little world of bliss:
Beauty guards thy looks: the rose
In them pure and eternal is.
Come then! and make thy flight
As swift to me as heavenly light!
- Thomas Campion
Weep You No More
Love’s Philosophy
Weep you no more sad fountains
What need you flow so fast?
Look haw the snowy mountains
Heaven's sun doth gently waste
But my sun's heavenly eyes
View not your weeping
That now lies sleeping
Softly, now
Softly lies sleeping
The fountains mingle with the river,
And the rivers with the ocean;
The winds of heaven mix forever
With a sweet emotion;
Nothing in the world is single;
All things by a law divine
In another's being mingle-Why not I with thine?
Sleep is a reconciling
Ä rest that peace begets
Doth not the sun rise smiling
When fair at ev'n he sets?
Rest you then, rest, sad eyes
Melt not in weeping
While she lies sleeping
Softly, now
Softly lies sleeping
- Anonymous
See, the mountains kiss high heaven,
And the waves clasp one another;
No sister flower could be forgiven
If it disdained its brother;
And the sunlight clasps the earth,
And the moonbeams kiss the sea;-What are all these kissings worth,
If thou kiss not me?
- Percy Bysshe Shelley
JOHANN STRAUSS II
( 1825 - 1899 )
was an Austrian composer best known for his dance music and operettas
including Die Fledermaus. In this aria, Adele, a lady's maid, attends a ball
disguised as a noblewomen. One of the guests almost reveals her cover, but
clever Adele laughs off the accusation and convinces the guests she is truly a
noblewoman, astounded and insulted that someone would mistake her for a
common maid.
Mein Herr Marquis
Mein Herr Marquis, ein Mann wie Sie Sollt' besser das verstehn, Darum rate ich, ja genauer sich Die Leute anzusehen!
Die Hand ist doch wohl gar zo fein, Dies Füsschen so zierlich und klein,
Die Sprache, die ich führe Die Taille, die Tournüre,
Dergleichen finden
Sie Bei einer Zofe nie! Gestehn müssen Sie fürwahr, Sehr komisch dieser Irrtum war! Ja, sehr komisch, hahaha,
Ist die Sache, hahaha. Drum verzeihn Sie, hahaha,
Wenn ich lache, hahaha! Sehr komisch, Herr Marquis, sind Sie! Mit dem Profil im griech'schen
Stil Beschenkte mich Natur: Wenn nicht dies Gesicht
schon genügend spricht, So sehn Sie die Figur!
Schaun durch die Lorgnette Sie dann, Sich diese Toilette nur an,
Mir scheint wohl, die Liebe Macht Ihre Augen trübe,
Der schönen Zofe Bild
Hat ganz Ihr Herz erfüllt! Nun sehen Sie sie überall, Sehr komisch ist fürwahr der Fall!
My dear marquis, a man like you
Should better understand that,
Therefore, I advise you to look more
Closely at people!
This hand is surely far too fine
This foot so dainty and small, hahaha.
The manner of speaking which I have,
My waist, my bustle,
These would never be found
On a lady’s maid!
You really must admit,
This mistake was very comical!
Yes, very comical, hahaha
Is this matter, hahaha.
So pardon me, hahaha,
If I laugh, hahaha!
You are very comical, Marquis!
With this profile in Grecian style
Being a gift of nature;
If this face doesn’t
say enough,
Just look at my figure!
Just look through your lorgnette,
At this outfit,
It seems to me that love
Has clouded your eyes,
The image of your chambermaid
Has quite filled your heart!
Now you see her everywhere,
This is truly a very comic situation!
- Carl Haffner and Richard Genèe
- Trans. Lea Fray