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Program Notes: Golda Schultz
Clara Schumann
Liebst du um Schönheit | Warum willst du andre frage | Am Strande | Lorelei
Clara Schumann (née Wieck) was a major figure in nineteenth-century music. As a child prodigy, she toured Europe with her father and teacher Friedrick Wieck, meeting Goethe in Weimar and Paganini in Paris. After her marriage to Robert Schumann in 1840 she balanced her role as super-mom to the eight children she bore with that of an internationally celebrated pianist—while still finding time to compose a considerable number of works for piano and chamber ensemble as well as more than two dozen songs.
Her love marriage to Robert Schumann was the central sustaining element in her emotional life before his death in 1856. Almost all of her songs were composed as Christmas or birthday gifts for her husband, who along with Schubert was a major influence on her compositional style. Like her husband, she wrote accompaniments that included preludes, interludes and postludes to the vocal line, making the piano into a musical commentator with an interest in the poetic text equal to that of the singer.
Their mutual sympathy in compositional style is no better demonstrated than in the joint publication of the song collection featuring their lieder entitled Zwölf Gedichte aus F. Rückerts Liebesfrühling with dual opus numbers (her Op. 12 and his Op. 37), published in 1841. Love’s Spring by the German poet Friedrich Rückert (1788-1866) was a collection of love poems written during his courtship of Luise Wiethaus, whom he married in 1821. The attraction the newly-married Schumanns must have felt for this collection of poems is obvious.
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Liebst du um Schönheit is the second song in the Schumanns’ joint publication. It poses the question of what is worth looking for when looking for love. Is it mere beauty, or youthfulness, or material wealth? No, the poet replies, love is its own reward. The pedal drone and gently rocking figures in the accompaniment are reminiscent of Chopin’s Berceuse but here they stand emblematic of the constancy that characterizes real true love.
The eleventh song in the collection, Warum willst du andre fragen asks how true love can be found and identified. And the answer is always the same: it’s in the eyes where the look of love is always unmistakable. The ‘four-squareness’ of Clara Schumann’s setting, with its uniform four-bar phrases, is offset by a harmonic inventiveness that maintains the listener’s interest from stanza to stanza.
Am Strande (1843), with a text by Scottish poet Robert Burns (1759-1796) translated by Wilhelm Gerhard (1780-1858), reminds us that Clara Schumann was a piano virtuoso of the first rank. Her piano accompaniment to this lied churns up the keyboard in imitation of the churning sea that separates the lovers of the poem’s text.
Lorelei by poet Heinrich Heine (1797-1856) tells the tale of a siren-like maiden haunting the banks of the Rhine River who tempts distracted river voyagers to their deaths with her bewitching murmurs. Clara Schumann is reported to have possessed an autographed copy of Schubert’s famous lied Erlkönig, which evidently provided the model for the drumbeat of repeated notes, expressing the anxiety of the scene, in the piano accompaniment of this song.
Emilie Mayer
Wenn der Abendstern die Rosen | Du bist wie eine Blume | Erlkönig II
The New Grove describes Emilie Mayer as “the most prolific German woman composer of the Romantic period” and it is easy to see why. Drawn to the larger compositional forms–which in that period only men were considered capable of mastering—her output includes numerous orchestral works (eight symphonies and four overtures), an opera, dozens of instrumental sonatas, eight string quartets, and numerous solo piano works, as well as nearly 130 songs for solo voice or vocal quartet.
Her talent and skill were honed in studies with some of the leading figures in German music, including song composer Carl Loewe (1796-1869), with whom she studied composition, and theorist Adolf Bernhard Marx (1795-1866), with whom she studied counterpoint and fugue. Her works were widely performed in Europe during her lifetime but suffered eclipse after her death and are only now being re-discovered.
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Wenn der Abendstern die Rosen is a setting of a poem by Helmina von Chézy (1783-1856), the librettist of Carl Maria von Weber’s opera Euryanthe (1823) and playwright of Rosamonde (1823) for which Schubert wrote incidental music. In this poem the female speaker is enticed into passionate thoughts of love at nightfall. The highly decorated vocal line and oom-pah-pah rhythm of the piano accompaniment evokes the style of an opera aria by Bellini.
The bel canto singing style is even more evident in Mayer’s setting of Heinrich Heine’s Du bist wie eine Blume, a poem gushing with tender sentiments of love and longing, communicated by the many sigh motives in the vocal line and the occasional outburst of virtuosic display. The piano accompaniment is more than a discreet witness to the singer’s emotions, and pulses with the excitement of a heartbeat at the word Herz (heart) in the text. Mayer’s expressive use of harmony in this lied is exceptionally refined.
Goethe’s spooky folk ballad Der Erlkönig describes the theft by an alluring nature spirit of the soul of a young boy as he rides through the forest in the arms of his father on horseback. This poem has been set more than 130 times but Emilie Mayer appears to be the only composer to set it twice. Her second setting, composed 30 years after her first, eschews the classic depiction of galloping horse’s hooves to concentrate on the wind whistling through the trees, melodramatically portrayed by creeping minor scales in the bass and anxious tremolo trill figures in the mid-range. Her varied depiction of the four voices in the poem (narrator, boy, father and spirit) is utterly masterful.
Rebecca Clarke
Down by the Salley Gardens | The Tiger | Cradle Song | The Seal Man
Rebecca Clarke was a pioneering British composer and professional violist who spent much of her creative life in the United States. She was one of the first female students of Sir Charles Villiers Stanford (1852-1924) at the Royal College of Music in London and one of the first female professional orchestral players. Best known for chamber works such as her much-recorded Viola Sonata (1919) and Piano Trio (1921), she also composed 52 songs in a variety of styles throughout her life.
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William Butler Yeats’ poem Down by the Salley Gardens is the lament of an impetuous young man in love with a young woman who bids him to “take love easy.” But he, “being young and foolish,” persists in his ardour and pays the price in emotional pain. The simplicity and folksong-like character of the text is reflected in the sparseness of accompaniment and modal harmonies of Rebecca Clarke’s 1919 setting of this poem.
William Blake’s famous poem Tiger, Tiger stares fascinated in horror at the destructive power residing deep in the unconscious of every living thing that moves, as symbolized by the tiger. Remarkable in Rebecca Clarke’s dark expressionist setting of 1927-1931 is how completely divorced the piano ‘accompaniment’ is from the singer’s questioning persona. The piano is the tiger, ranging menacingly up and down the keyboard, seeming ready to pounce at any moment. Particularly chilling are the piano-tiger’s final growls in the closing bars.
Her treatment of Blake’s Cradle Song from 1929 is very different. Here the texture is quite simple and transparent, dominated by streams of parallel chords in the piano accompaniment, evocative of both the innocence of childhood and a child’s drowsy drifting into sleep.
The Seal Man is drawn from English poet John Masefield’s re-telling of the Celtic myth of the seal creature that takes on human form to lure women to their deaths in the sea. Rebecca Clarke’s setting is vividly dramatic with numerous atmospheric touches such as the ‘wet’ figurations in the piano that open and end the song, framing the action as a ‘sea story’ from start to finish. The vocal line is raw and dramatic, often declaimed without any piano accompaniment at all, but in the end it is the haunting overtones of the piano that devour the listener’s attention, just as the sea swallows up the poor young girl in this eerie tale about the dangers of love.
Nadia Boulanger
La mer est plus belle | Prière | Élégie | Cantique
French composer, pianist and conductor Nadia Boulanger studied composition with Gabriel Fauré at the Paris Conservatoire but she is best known as a music educator. Her students have included some of the leading composers, arrangers and performers of the 20th century, including Aaron Copland, Leonard Bernstein, Philip Glass, Burt Bacharach, Quincy Jones, Dinu Lipatti and Astor Piazzola, to name but a few.
She composed works for orchestra and for chamber ensembles, as well as over 30 songs. Her compositional style is similar to that of Debussy in many ways. Like Debussy, she uses whole-tone or modally-tinged scales and ambiguous but vividly coloristic harmonies in sequences of parallel chords, stabilized by long pedal tones in the bass.
La mer est plus belle by symbolist poet Paul Verlaine (1844-1896) pays tribute to the immense power of the sea, a quality conveyed in the massively sonorous waves of piano sonority Nadia Boulanger sends sweeping over the keyboard, much in the manner of Chopin’s ‘Ocean’ Etude, Op. 25 No. 12.
Henry Bataille (1872-1922) was a very successful French playwright whose plays explored how the instinctive passions of his characters bumped up against the social norms of polite society. His poem Prière is an open-hearted enquiry into the meaning and significance of a personage such as the Virgin Mary. The opening melody’s small range, its recurring leaps of a 5th and the way the melody circles hypnotically around that leapt-to note all recall medieval religious chant, as do the drone tones at the bottom of the piano accompaniment. Passion of an almost operatic intensity erupts in the central section, however, as more vivid tonal colours and thicker textures are applied to support the singer’s expanding emotional awareness.
Albert Samain (1858-1900) was a French symbolist poet much inspired—if that is the right word—by the morbid mentality and dissolute life habits of his fellow poet Charles Baudelaire. Nadia Boulanger’s rather pretty dressing-up of Samain’s darkly nostalgic poem Élégie (the exact meaning of which is anyone’s guess) strikes the listener as typically French in its emphasis on tone colour and what classical parodist Anna Russell called French “wispiness”. Who else could set the phrase Un paradis s’est écroulé (a paradise has come crashing down) so blithely and innocently?
Cantique is a poem that appeared in the second act of the play Soeur Béatrice (1901) by Maurice Maeterlinck (1862-1949), the author of the play Pelléas et Mélisande which Debussy adapted to create his opera of the same in 1902. The protagonist in this text is a nun meditating on the disappointments of love. Nadia Boulanger’s exquisitely tender melody line and discreet accompaniment of sympathetic chordal harmonies in the piano are utterly ravishing.
Kathleen Tagg
This Be Her Verse
After Philip Larkin | Wedding | Single Bed
Concluding this recital of songs by women about women’s experiences is This Be Her Verse, a new song cycle commissioned by Ms. Schulz from friends she first met when studying at Juilliard in New York.
Her fellow South African Kathleen Tagg is a composer-pianist whose work revolves around issues of identity and interpersonal connection. She has performed at Carnegie Hall and Lincoln Center but is equally at home in unconventional smaller spaces – a fact that comes across clearly in the cabaret-style intimacy of this new work.
Multi-talented dramatist Lila Palmer is a classically trained soprano with a first-class degree in history from Cambridge University. She knows our city well, having twice been a vocal fellow of the Vancouver International Song Institute. Her first libretto, for the chamber opera Harbour, brought to the stage the experience of Scottish Highlanders displaced by their English overlords.
This Be Her Verse is written in a sparkling tonal idiom, with some interesting reach-into-the-piano effects in the keyboard accompaniment. Limelight Magazine notes that this song cycle “explores a very contemporary version of womanhood, with the centrepiece, Wedding, incorporating COVID in its premise.”
But The Guardian probably sums it up best in describing these new songs as “deft, upbeat, sharp and true, a celebration of the single bed and clean sheets.”
Donald G. Gíslason 2022
Program Notes: Jerusalem Quartet and Hila Baggio
Yiddish – A new viewpoint
When we were approached by harmonia mundi to think of a concept for a ‘different’ album, an album that would challenge our standard repertoire, we took great care to find a subject that we had a natural connection with, but that would be interesting for the general public. Naturally we gravitated to Jewish music.
It is quite fashionable today to revive cabaret music from the Weimar Republic. But the Jewish connection to this music is rarely underlined. We feel that the irony, the word games and the interest in ‘lowbrow’ subjects reflect a direct influence of Jewish culture, which until 1919 was mostly barred from integrating with general German culture. This inspired us to create a project highlighting Jewish culture as an important influence on much of today’s western culture as a whole.
Until 1939, Poland was the centre of the Jewish world. It housed the world’s largest Jewish population, with a thriving cultural scene that included theatre, literature, music, opera, and even one of the biggest film industries of the time. After the Second World War, few Jews remained in Poland. Worldwide, Yiddish was replaced by Hebrew, and the few institutions dedicated to Yiddish culture now treat it mostly in a historical sense. For us, Yiddish is the language our grandparents spoke behind closed doors, and Yiddish music is something that exists in the deep background of our childhood.
This program sets out to show that Yiddish culture did not die in the Holocaust, but rather spread and influenced much of wider western culture. For example, Jewish immigrants from eastern Europe transformed Vaudeville into the Broadway we know today, and Hollywood was largely founded by Jewish immigrants and refugees.
To symbolize this, we chose five songs as the heart of our album. The songs were written by different composers/lyricists and would have been performed in Poland between the wars in a cabaret setting. Together, they come together to paint a picture of Jewish street life in Warsaw between the wars. We aimed to create a ‘current’ viewpoint on this music, not one through the lens of the calamity that followed. To set these songs for soprano and string quartet, we approached Leonid Desyatnikov, whose innovative writing for strings captured our imagination.
To frame these five songs in a broader context, we picked two wonderful pieces by composers who are emblematic of Jewish artists and their general cultural contribution. Erwin Schulhoff was Czech, but was highly successful in Germany between the wars. As a communist and a Jew, he was deported to a concentration camp where he died of tuberculosis. His Five Pieces for String Quartet is in its own way cabaret music. Erich Wolfgang Korngold perhaps represents German and Austrian Jews who chose to assimilate with the general culture. He was invited to Hollywood to write film scores and ultimately became the foremost film composer of his time, which saved his life.
We dedicate this program to our grandparents.
-Ori Kam
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Erwin Schulhoff
Five Pieces for String Quartet
Erwin Schulhoff was born to a Jewish family in Prague in 1894 and showed musical talent from an early age. The composer Antonín Dvořák advised him to pursue a career in music. Schulhoff began to study at the Prague Conservatory in 1904, continued to take piano lessons in Vienna from 1906, and from 1908 studied composition in Leipzig with Max Reger and subsequently in Cologne with Fritz Steinbach. In the meantime, he had laid the basis of a career as a pianist. In 1918 he was already known as a composer and received the Mendelssohn Prize for his Piano Sonata Op. 22.
His music up to the First World War had shown influences ranging from Brahms and Dvořák to Strauss, Debussy and Scriabin. Following his service in the Austrian army, he adopted a more radical stance both artistically and politically. In the next few years, he composed in a more expressionistic idiom he had learned from Schoenberg and the Second Viennese School. In addition, he was influenced by the radical style of the Dada school espoused by Georg Grosz, whose advocacy of jazz was to find its way into much of Schulhoff’s music from that period.
During the late 1920s, Schulhoff managed to create a rapprochement between these competing aesthetics which can be seen in a number of his chamber works and concertos, the First Symphony, the ballet Ogelala, the ‘jazz oratorio’ HMS Royal Oak and his opera about Don Juan entitled Flammen (Flames), which was a failure at its Brno premiere in 1932. In that year he also composed his Second Symphony in a clear-cut neo-Classical style. Soon after, he composed the cantata Das kommunistische Manifest (The Communist Manifesto), in which he expressed his political beliefs, setting texts by Karl Marx and Friedrich Engels of the socialism and communism. Looking to the Soviet Union for a solution of the political and economic problems in central Europe, he focused on the symphony as the best medium through which to communicate his ideology and emotions. Schulhoff composed six more symphonies between 1935 and 1942, though the Seventh and Eighth remained unfinished. He lived in Prague during most of the inter-war period, working as a pianist in theatre productions and radio broadcasts, but found himself without any means of support after the German occupation of Czechoslovakia in early 1939. Having taken Soviet citizenship, he was arrested before he had completed the process of emigration to the Soviet Union and was then reported to a concentration camp in Wülzburg where he died in August 1942.
Schulhoff was no stranger to the string quartet medium, having written a Divertimento in 1914 and a full-length Quartet Op. 25 some four years later. His official String Quartet No. 1 was composed between the years 1920 and 1924 and was a great success. Schulhoff had been encouraged to write another work for string quartet. This is how the Five Pieces for String Quartet were composed in 1923. The work was first performed in Salzburg on 8 August, 1924. Although the work follows the outlines of a Baroque dance suite, each of the pieces is a self-contained miniature that emulates a particular dance style in a manner which unashamedly recalls the popular music of the era.
Leonid Desyatnikov
Yiddish – 5 Songs for Voice and String Quartet
The Five Songs for Voice and String Quartet is a piece based on Yiddish songs that were performed in Poland between the two world wars. The composer Leonid Desyatnikov chose five songs representative of Yiddish cabaret style, which portray the lives of Jews in urban Poland, their joy, their suffering and hope. Jewish musicians and performers were dominant in popular music in Poland and collaborated in composing Polish and Yiddish songs. Their works influenced cabaret music throughout Europe as well as Hollywood film music and Broadway theatre music in the United States.
Desyatnikov chose these songs to commemorate the life of Jewish cities before the Holocaust. As he writes: ‘Yiddish – 5 Songs for Voice and String Quartet – are based on the material of cabaret songs that circulated in Warsaw and Łódź between the two world wars. “My cycle is a series of free transcriptions of such songs. Usually, this type of music is assigned to the “lowbrow” area. It is the eclectic culture of the assimilantes, the lumpenproletariat and the outsiders, the culture of cheap chic, and at the same time – in its best forms – a brazen, talented culture full of self-irony and latent despair. The strict, staid sound of the string quartet transforms this music into an exquisite gravure.”
The first song is a nostalgic paean to the city of Warsaw, and the second a parody of an American song that relates the fate of a Jewish prostitute. The third and fifth songs are from the repertory of Yiddish ‘thieves’ songs’, reflecting marginal groups of the Jewish underworld. The fourth song is a duet between a man, Yosl, and a woman, Sore-Dvoshe, who live in poverty but dream of having a large family and enjoying life in the big city.
Yiddish was a vernacular and literary language of the Jews of Europe from the twelfth century onwards. We know of Yiddish folksongs as early as the fourteenth century. During World War Two, hundreds of songs were composed and sung, but many were lost forever. After the Holocaust, Yiddish did not continue to be a living language of Jewish communities in Europe, and became an academic, historic language. Thus the song cycle, in its new and sophisticated arrangement, brings together ‘lowbrow’ and ‘highbrow’ cultures of language and music with a bitter smile and humanity.
Erich Wolfgang Korngold
String Quartet No. 2 Op. 26
Erich Wolfgang Korngold was born in 1897 in Vienna, the second son of a high-ranking music critic, Julius Korngold, who wrote for the Viennese newspaper Die Freie Presse. Erich’s prodigious musical talent placed him and his family at the centre of high art society at a time when a parallel avant-garde society of cabaret, film and small theatre was growing in popularity and prestige. Both societies expressed disquiet over the future of their cultural heritage. The means of their expression would prove indicative of where the fissures within that culture lay.
Korngold’s life spanned the two world wars, which proved for some to be an undeniable force for radical change to the artistic idiom. Composers such as Schoenberg, Webern, Hindemith and Krenek became absorbed in creating and promoting new tonalities which could be aligned with older traditions. Korngold was one of many exceptions in that he remained true to his contemporary idiom, described by himself as an extension of natural evolutionary processes. Initially promoted by his father as the only truly natural use of tonality, Korngold’s musical style is attributed equally to his unique character and to his musical mentors, Gustav Mahler, Alexander Zemlinsky and Richard Strauss. Erich never wavered from his belief that music should cope with the horrors of his time by serving to elevate the soul rather than drag it down. When the possibility of delineating creative development into early, middle and late styles was still an officially recognized measure of the true artist, Korngold’s musical style merely matured while remaining intact, essentially romantic, effusive, luxuriant and, most significantly, harmonious.
In 1934 Korngold was invited by Warner Brothers to compose music for the film A Midsummer Night’s Dream in America – in retrospect, this proved to be the lifeline that saved him and his loved ones from the gas chambers in occupied Europe. Behind this invitation stood his friend the theatre and film director Max Reinhardt (1873-1943), who later also emigrated to the United States. Korngold went to America in 1934 but returned to Europe in 1937 to conduct and resume his career as an art music composer. However, within a few months he received another invitation to compose a film score; his acceptance of this offer actually saved his life and those of his family in 1938, just before the German occupation of Austria.
Korngold composed many film scores for full symphony orchestra and became one of the pioneers and leading exponents of film music. He won two Academy Awards. After the Second World War, in 1949, he attempted to resume a European career but this was not a success, and after a few concerts and premieres he returned to Hollywood in 1951. He died a few years later, at the age of sixty, believing that he had been forgotten in Europe.
Korngold is most closely associated with large-scale works, his operas and film scores, but throughout his career he composed chamber music and an impressive collection of songs. In February 1933, following Hitler’s rise to power, he began to look for a country of residence in Europe. During this year he conducted operas and composed chamber music, including his four-movement Second String Quartet Op. 26, which was premiered by the Rosé Quartet in Vienna on 16 March 1934, just before he left for America.
Though far less known than the First Quartet (1920-22), the Second presents a self-assured composer who knows how to combine Schoenberg’s expressionism with Romantic sonorities, and a complex chromatic language reminiscent of Richard Strauss with his own confident handling of timbre, colour, and a broad emotional range which is characteristic of his musical language. In this quartet the music of the countryside of Korngold’s native Austria is expressed in ripe Viennese sensuality.
– Gila Flam
PROGRAM NOTES: JULIA BULLOCK & JOHN ARIDA
FRANZ SCHUBERT (1797–1828)
Four Lieder
About the Composer
Franz Schubert established the German lied as an important art form and then set a standard of excellence that no one since has quite matched. Schubert created more than 600 songs in a prodigious outpouring that sometimes saw him composing five songs in a single day. However, it is not the sheer number that matters, but rather the songs’ extraordinary quality and enormous emotional range. At the heart of Schubert’s genius lay his unrivaled gift for melody, whether it be the perfect melody to cover all verses in a strophic song or a theme for the piano that is even more crucial to the song’s emotional color than the singer’s line.
About the Works
No less an authority than Johannes Brahms called “Suleika I” of 1821 “the loveliest song that has ever been written.” The poem for this song and its companion, “Suleika II,” is often attributed to Johann Wolfgang von Goethe since it can be found in his compilation West-östlicher Divan, inspired by Goethe’s fascination with the work of 14th-century Persian poet Hafiz (Suleika is one of Hafiz’s characters). However, it was actually written by Marianne von Willemer, an Austrian actress who had a brief but intense relationship with Goethe, who edited the poem for his collection. Written while Willemer was traveling in 1815 from Frankfurt to Heidelberg to meet Goethe, it is a song to the East wind that blows on her outbound journey. The wind is heard in the piano’s opening measures before a whirling ostinato takes over, conjuring both the carriage’s motion and Willemer’s agitated heartbeat. Near the end, the tempo eases, a new three-note motif rings softly, and the key moves from B minor to a brighter B major as the singer anticipates meeting her lover.
The Friedrich Rückert poem to which “Lachen und Weinen” (“Laughing and Weeping”) is set portrays the instability of an adolescent’s emotions, oscillating rapidly between laughing and crying. Schubert adds a tenderly sympathetic touch at the words “Bei des Abendes Scheine” as the flightiness briefly falters and the harmonies slide to minor. Setting a true Goethe poem, the wonderfully concise song “Wandrers Nachtlied II” (“Wanderer’s Nightsong II”) is an example of Schubert’s sublime simplicity in capturing a poem’s mood, which, in John Reed’s words, is a “progression from outward calm to inner peace.” Written in 1816, “Seligkeit” (“Bliss”) sets one of Schubert’s favorite poets, Ludwig Christoph Heinrich Hölty. An uncomplicated strophic song, it is a giddy little waltz that perfectly matches the mood of uncomplicated joy.
SAMUEL BARBER (1910–1981)
Hermit Songs, Op. 29
About the Composer
From an early age, Irish poems and tales fascinated Samuel Barber, who was partly of Irish descent himself. In the summer of 1952, he finally traveled to Ireland, and while visiting sites connected with William Butler Yeats during a trip to Donegal, he found Yeats’s grave to be surrounded by tombstones belonging to people with the Barber name. When Barber returned to the United States, his research turned up some texts in old Gaelic written during the early Middle Ages by anonymous Irish monks and hermits. Their pithy power and earthy expressiveness captivated him.
About the Works
In a note Barber wrote for the publication of his Hermit Songs, he described them as “written by monks and scholars, often on the margins of the manuscripts they were copying or illuminating—perhaps not always meant to be seen by their Father Superiors. They are small poems, thoughts, or observations—some very short—and speak in straightforward, droll, and often surprisingly modern terms of the simple life these men led, close to nature, animals, and to God.”
With a commission from the Elizabeth Sprague Coolidge Foundation, Barber wrote his 10 Hermit Songs between November 1952 and February 1953. A painstaking text setter, Barber carefully selected translations; dissatisfied with the versions of two of the texts, he asked W. H. Auden to prepare fresh ones. Barber was considering various famous international singers to debut the Hermit Songs, until he heard the young Leontyne Price—then completely unknown—in her teacher’s studio. Barber and Price performed the premiere at the Library of Congress in Washington, DC, on October 30, 1953. It was the beginning of a long creative partnership between Barber and Price, culminating in Antony and Cleopatra.
A Closer Listen
From the 13th century, “At Saint Patrick’s Purgatory” is a pilgrim’s tormented song as he travels to Loch Derg (Red Lake) in County Donegal, a place of pilgrimage for centuries. The pianist’s left hand measures out his relentless steps while the right hand’s bell motif suggests the spiritual solace awaiting him. As with most of the songs, Barber establishes no meter, allowing the singer freedom to follow the irregular rhythms of the words.
The 12th-century “Church Bell at Night” is one of the aphoristic songs in which Barber captures the blunt speech of the monks. A shimmering bell chord irradiates the song. Attributed to Saint Ita of the eighth century, “Saint Ita’s Vision” is one of the loveliest of the Hermit Songs. A broad narrative recitative leads to a rocking lullaby as the saint experiences her mystical vision of the infant Jesus nursing at her breast. Attributed to the 10th- century’s Saint Brigid, “The Heavenly Banquet” is another joyful vision in which denizens of Heaven appear as ordinary human beings at a celestial banquet. The piano’s racing scales fuel the singer’s delight.
“The Crucifixion” comes from a 12th-century anthology, The Speckled Book. The piano’s fluting high motif mimics “the cry of the first bird.” The singer’s phrases evoke pain and grief powerfully but without exaggeration. The final twist is the shift of focus away from Christ’s suffering to the suffering of his mother, Mary. Marked “surging,” “Sea-Snatch” is a panicked cry to Heaven by sailors drowning in one of Ireland’s wild storms. Equally brief, “Promiscuity” is a bit of sly gossip told by piano and singer with the same caustic sing-song melody.
From the eighth or ninth century, “The Monk and His Cat,” translated by W. H. Auden, is the cycle’s most infectious song, as it describes the contented partnership between the scholar and his cat, whose frisking movements are heard in the piano’s two-note motif. It is also the only song with a fixed meter: a relaxed, lilting 9/8 beat. Also translated by Auden, “The Praises of God” (11th century) is a wild, dervish-like dance with eccentric rhythmic stresses and cross rhythms.
“The Desire for Hermitage” (eighth or ninth century) seems to be the personal expression of the composer, a man who indeed craved solitude all his life. The stark beginning of the song is a repeated G that first sounds in the piano, then joined by the singer; this single note represents the state of aloneness, as well as the surrounding hush. Gradually, the piano and vocal lines become more active, even ecstatic, culminating in a passionate piano interlude that seems to proclaim the joy of solitude.
GABRIEL FAURÉ (1845–1924)
Selections from La chanson d’Ève, Op. 95
About the Composer
In 1905 at age 60, Gabriel Fauré was appointed director of the Paris Conservatoire, a revered establishment of French music. In a period of upheaval at the Conservatoire—culminating in the scandal of Maurice Ravel (Fauré’s student) being refused the institution’s top award, the Prix de Rome—Fauré was chosen because he was considered to be a trusted outsider able to bring reform. Not a product of the Conservatoire himself, Fauré had been trained instead at the smaller and less hidebound École Niedermeyer.
This heavy responsibility, however, did not keep Fauré from pursuing his composing career. In fact, he was about to embark on a radical transformation of his musical style from the limpid, lyrical mélodies that had characterized much of his earlier songwriting. Having already made a shift in his previous song cycle, La bonne chanson, Fauré would now develop a late style that de- emphasized melody in favor of vocal and piano music combining an almost austere simplicity with extraordinary sophistication, particularly in the harmonic realm.
About the Works
On a trip to Brussels in March 1906, Fauré became acquainted with the poetry of Belgian symbolist Charles van Lerberghe. In 1904, Lerberghe published a volume of 96 poems, La chanson d’Ève, which imagined Eve coming to life in the Garden of Eden without Adam, giving human meaning to nature’s magnificent creations, of which she is a part. Lerberghe had been inspired to create this work by a glorious garden outside Florence, and Fauré—also a lover of gardens—had matched this by beginning his composition near another sumptuous garden at Lake Maggiore. Fauré reduced the cycle to 10 songs, written off and on between 1906 and 1910 while he was simultaneously creating his opera Pénélope.
The narrator of the cycle is Eve herself, a wondrous creature who is mortal and very feminine, and at the same time a representation of all Creation. In his definitive analysis of Fauré’s songs, pianist Graham Johnson describes the implied time scale as immense: “as if Eve is born and dies at opposite ends of the same cosmic day—a day perhaps encompassing millennia.” Omitting the very long first song, “Paradis,” Ms. Bullock sings six of the 10 songs in the cycle on this evening’s program.
A Closer Listen
“Prima verba” (“First Word”) is La chanson d’Ève’s second song, in which Eve realizes her first words bring the souls of everything in nature to life. The piano and vocal lines initially seem bare and static—in Johnson’s words, “like an empty void.” But they soon flower into extraordinary harmonic complexity as nature takes on a new dimension. Eve’s identification with the rose permeates the cycle, as we hear in “Roses ardentes” (“Ardent Roses”). The pantheistic vision of poet and composer reaches an apotheosis at song’s end as the previously restricted vocal line climbs joyously toward the sun, the “supreme force.”
Far from the traditional imagery of a white-bearded old man, God shines as the young creator embodied in his world in “Comme Dieu rayonne” (“How God Radiates”). As Johnson writes, “the third verse weaves a glorious light- filled tapestry of sound,” as the piano shimmers around the increasingly ecstatic vocal line. “Veilles-tu, ma senteur de soleil” (“Are you watching, my scent of sun”) combines the sights, sounds, and scents of nature into one rapturous whole. “In this song, sunlight … is uncontainable: With Fauré’s help it searches out and pervades every nook and cranny of harmonic possibility” in the extraordinary piano part.
Composed in June 1906, “Crépuscule” (“Twilight”) was the first song Fauré composed, even before knowing it would spawn a cycle. Until this point in the cycle, the songs have been filled with joy and sensual pleasure. Then Eve hears a cry of pain, a sigh in the night that portends sadness. She has by now tasted the forbidden apple that gives knowledge, and she realizes that she, like all natural things, will die. The rising chords of the piano introduction are a recurring theme that represents Eden, now being disturbed. The cycle’s final song, “O mort, poussière d’étoiles” (“O death, dust of stars”) brings the presence of death. Always at one with nature, Eve does not fear it, but instead welcomes her dissolution into all of creation. Fauré’s son Philippe described this stark, uncanny song as “a sort of funeral march toward an open-armed nirvana.”
ALBERTA HUNTER, CORA “LOVIE” AUSTIN, BILLIE HOLIDAY, and NINA SIMONE
Four Women of Blues and Jazz
In the final section of this evening’s program, Ms. Bullock pays tribute to some of the leading African American musicians who shaped American jazz, blues, and popular song throughout the 20th century. First we hear the sultry blues ballad “Driftin’ Tide” from 1935, which was closely associated with renowned jazz singer Alberta Hunter. The infectious, up-tempo “You Can’t Tell the Difference After Dark” also comes from 1935 and was frequently sung by Hunter. It was composed by Maceo Pinkard, one of the leading figures of the Harlem Renaissance and a highly successful composer, lyricist, bandleader, and music publisher.
Cora “Lovie” Austin was a formidable jazz pianist and the founder and leader of her own popular band, the Blues Serenaders. Based in Chicago, she specialized in accompanying the leading blues singers of her era, including Hunter, with whom she wrote one of the greatest of all blues classics, “Downhearted Blues,” the lament of a woman who loved the wrong man. We also hear “Frog Tongue Stomp: A Lovie Austin Tribute,” a solo piano piece written by one of today’s prominent jazz pianists, Jeremy Siskind, saluting the legacy of Austin’s flamboyantly distinctive style. With the exception of “Revolution,” which Ms. Bullock will sing a cappella, Siskind arranged all of the songs in this section of the program.
This evening’s program concludes with two iconic African American singers, whose fame has never faded: Billie Holiday and Nina Simone. Born Eleanora Fagan in Philadelphia, Holiday renamed herself and was also dubbed “Lady Day” by her music partner Lester Young. The tragedy of Holiday’s life added to the power of her artistry, but her serene love song “Our Love Is Different” shows her at her romantic best. Renowned as the “High Priestess of Soul,” Simone, born Eunice Kathleen Waymon, originally aspired to be a classical pianist. When she was turned down by the Curtis Institute of Music, undoubtedly for racial reasons, her career took a different trajectory. Discovering her voice as well as her keyboard skills, Simone became one of the most compelling musicians of the Civil Rights Movement and joined the Selma to Montgomery marches. Ms. Bullock has selected Simone’s famous Civil Rights anthem “Revolution,” as well as her provocative song “Four Women,” in which women of various skin tones protest the Eurocentric beauty standards imposed on black women.
—Janet E. Bedell
© 2018 The Carnegie Hall Corporation
PROGRAM NOTES: FLORIAN BOESCH AND MIAH PERSSON
The Songs of Robert Schumann
Robert Schumann was a composer steeped in literature. His compositions bear the dual imprint of both German musical and literary Romanticism. Literature was the family business, one might say, as his father, August Schumann, was both a publisher and a bookseller in Zwickau, Saxony, where the composer grew up. He began to write about the aesthetics of music when he was barely into his teens, at the same time as he was composing—an early indication of his future activity as a founding editor of Die Neue Zeitschrift für Musik, one of Germany’s most important music journals, still published today.
So it was natural that when writing his first songs as a teenager he should try his hand at writing poetry, as well. In Sehnsucht (Longing), written in 1827 to his own song text, is a typical product of German Romanticism, with its heightened awareness of the natural world as an echo chamber of the poet’s inner thoughts and emotions. Many of the features that would become standard in Schumann’s song settings were already in place in his early songs, including the “framing” of the sung text within a musically significant opening piano introduction and closing piano ‘postlude’.
Another early song, Gesanges Erwachen (Song’s awakening) of 1828 is a good example of how Schumann likes to wrap the voice in the attentive embrace of its keyboard companion. In this strophic song the piano also provides instrumental interludes between the verses, and even aspires to the status of a duet partner as it trades melodic phrases back and forth with the voice.
After composing a good dozen songs in the late 1820s it became obvious to Schumann that his real interest was the piano and he wrote for nothing else during the entire decade of the 1830s. The lyrical impulse of song, however, would remain a strong influence on him even during this time, evident in his use of music from his early songs in the piano sonatas Opp. 11 and 22 and in his quotation from Beethoven’s song cycle An die Ferne Geliebte in his Fantasie Op. 17 for piano.
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The year 1840 marked Schumann’s so-called “Year of Song” (Liederjahr), in which he produced over 125 songs, more than half his total output.
The songs from his Liederkreis Op. 39 are based on the nature poems of Joseph von Eichendorff. Waldesgespräch (Forest dialogue) depicts a dramatic meeting between a hunter and the seductive forest spirit Lorelei, who bewitches men and brings them to an early death. The nonchalant postlude of this song, a reprise of the pleasant hunting music of the opening, has the childlike innocence of a story from Grimm’s Fairy Tales. Mondnacht (Moonlit night) by contrast is pure scene painting, untroubled by any thoughts of danger or magical mischief. It depicts the earth and sky as joining together for a lover’s kiss, with the high and low registers of the keyboard as stand-ins for the natural elements. A different kind of scene painting is featured in Schöne Fremde (A beautiful foreign land), with its rapturous depiction in the piano accompaniment of both the wind rustling in the treetops and the poet’s blood coursing through his veins. The last song in this set, Frühlingsnacht (Spring night), features an even more feverish piano accompaniment to convey the unanimous opinion of all forest creatures large and small that the poet’s love life is on a definite upswing. The accompaniment in this song could easily be a stand-alone piano piece.
Dein Angesicht (Your face) explores darker territory, but in a typically Romantic way, combining the innocence of a dream with the fear of losing a loved one. The placid pulse of a gently swaying accompaniment leaves the drama of this text to be conveyed by unexpected changes in harmony.
The songs from the collection entitled Frauenliebe und Leben (A woman’s love and life) Op. 42 all deal with a woman’s emotional life. Concern has been expressed in modern critical circles that “the woman in these poems is really too much of a doormat” to her hero husband, but the tone may well have been an accurate description of the relationship Schumann had with his wife Clara, who was nine years his junior.
Seit ich ihn gesehen (Since first seeing him) describes the ‘blindness’ of a woman in love. The halting pace and low register of the piano accompaniment imitates the tentative steps of a person lost in the darkness. Helft mir ihr Schwestern (Help me, O sisters) describes the excitement of a woman being dressed on her wedding day, with hints of a wedding march throughout that are made explicit in the piano postlude. Nun hast du mir (Now you have caused me my first pain) is an utter contrast in mood, a dramatic monologue of loss and despair as a woman faces burying her dead husband. The tragic chords of the piano provide scant support for the voice, left as isolated and alone in the musical texture as the woman pictured in text.
The songs of Schumann’s Op. 35 take us back to the world of nature. Erstes Grün (First green) is a delicate evocation of the coming of spring, unusual in its play of major and minor tonalities. Sehnsucht nach der Waldgegend (Woodland longing) is an evocation of nostalgia for the woods, birds & streams of the poet’s homeland, richly conveyed in a rolling accompaniment in the low register that won this song the admiration of Brahms. Even deeper and richer in low piano tone is Stille Tränen (Silent tears) with its sustained melody and throbbing chordal accompaniment.
The voice stands in bold relief against the piano, however, in Der Himmel hat eine Träne geweint (Heaven shed a tear) that sees a tear from heaven made into a pearl as symbolic of the love that a lover guards preciously inside. The tone of this song is noble, but with more than a touch of sentimentality. Piano and voice return to a duet texture in O ihr Herren (O you lords) with another accompaniment that could be a piano piece on its own. Herbstlied (Autumn song) expresses the contrasting emotions brought on by the change of seasons. It has a two-part structure: the passing of summer is regretted solemnly in the minor mode with a Bachian contrapuntal accompaniment until the mood brightens with major-mode thoughts of how winter will preserve everything till spring.
The first half of this recital ends with the great Biblical narrative of Belsatzar (Belshazzar), the Babylonian ruler whose jubilant feasting in celebration of his conquest of Jerusalem is interrupted by a the appearance of a mysterious message from the Almighty written on the wall. The score follows the narrated events of the tale with picturesque evocations of the flickering torches, the martial menace of the warriors in attendance, the sounds of riotous banqueting and the shock and awe of the story’s dramatic conclusion.
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The duet Liebesgram (Love’s sorrows) is a serious song, in keeping with its subject: death. The contrast between life and death is played out in the contrast between the major and minor mode, with the piano providing both serious contrapuntal and plangent harmonic comment on the text.
Exquisite delicacy characterizes Schneeglöcklein (Snow drop) which plays on the double sense of the name for the flower with the bell-shaped head that presages the coming of spring, here pictured as both a source of melting “snow drops” and the light tintinnabulation of a tinkling bell, charmingly portrayed in the high register of the piano. Equally cute is the naïve childlike enthusiasm for the arrival of spring in Er ist’s (Spring is here) with its twinkling accompaniment in the high register and imitation of the harp with—what else?–arpeggios.
Harplike sounds abound as well in the Goethe poems of Schumann’s Harfenspielerlieder. The tone of Wer sich der Einsamket ergibt (He who gives himself up to solitude) is serious, with a tortured melody and very little phrase repetition ranging widely over a harmonically restless accompaniment. More sober still is An die Türen will ich schleichen (I shall steal from door to door), which describes with great pathos the slow awkward gate of a wandering beggar.
Scholars are still puzzled by the text of Liebeslied (Love song), which may have been a secret coded message from Schumann to his wife Clara. This song is infinitely romantic, with the piano rapturously enveloping the voice’s voluptuous melody in a luxury of sympathetic swells of harmony and echoing its sighs. A more turbulent relationship is described in Es stürmet am Abendhimmel (A storm rages in the evening sky) that features a meteorological love affair between a cloud and the sun, with the piano vividly portraying the black cloud’s dark billowing presence. An eerie stillness returns in Nachtlied (Night song) with a virtually impassive melody drifting over a solemn succession of chords in the piano. Aufträge (Messages) is another nature song, this time on the theme of “Who will take this message to my love?” Will it be a wave, a bird, or the moon? The piano simply froths with excitement trying to find out.
Die Sennin (The cowgirl) features a gently yodelling melody that with its memorable leaps conveys the expansive feeling of being outdoors. The free and easy feel of this song’s opening is tempered by the bittersweet thought that “all things pass.” Sadness also tinges Meine Rose (My rose), a song which despite its comfortable ‘slow waltz’ pulse manages to rise to an almost operatic level of passion. Requiem is a reverent but passionate tribute to the life of German poet Nikolaus Lenau (1802-1850) with a translated text attributed to the 12th-century abbess Héloïse about her lover, the philosopher-poet Peter Abelard.
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Schumann’s songs take a darker turn near the end of his creative life. In Abendlied (Evening song) we hear both the hope for a better future in heaven and disturbing echoes of life on earth, especially in the piano’s pulsing triplet chords in 6/4 while the singer sings in 4/4. Even more unsettling is the storyline in Warnung (Warning): a bird is told to be silent lest by attracting the attention of the owl it become its prey, an obvious hint at the approach of death. Even more eerie is the way in which the piano and singer seem to inhabit separate worlds, the piano in the underworld, the voice a lonely presence still back on earth.
With Abschied von der Welt (Farewell to the world) we arrive at the last of Schumann’s compositions. The piano plays the role of the orchestra in a dramatic operatic recitative, punctuating the singer’s plangent pleas and its own heartbreaking commentary on the existential questions: What use is the time I have left? Who will remember me? More heartrending still is the very moving Gebet (Prayer), with its implacably stern piano chords and the singer’s increasingly urge pleas for help. It was shortly after completing this song that musical Romanticism’s most sensitive poet, Robert Schumann, attempted to drown himself in the Rhine and was confined to an asylum, where he died three years later.
Donald G. Gíslason 2017