DistributionAgreement

InpresentingthisthesisasapartialfulfillmentoftherequirementsforadegreefromEmoryUniversity,IherebygranttoEmoryUniversityanditsagentsthenon-exclusivelicensetoarchive,makeaccessible,anddisplaymythesisinwholeorinpartinallformsofmedia,noworhereafternow,includingdisplayontheWorldWideWeb.IunderstandthatImayselectsomeaccessrestrictionsaspartoftheonlinesubmissionofthisthesis.Iretainallownershiprightstothecopyrightofthethesis.Ialsoretaintherighttouseinfutureworks(suchasarticlesorbooks)allorpartofthisthesis.

MorganRubin April10,2017

HonorsVoiceRecital

by

MorganRubin

BradleyHowardAdviser

Music

BradleyHoward

Adviser

AbigailSantosVillalobos

CommitteeMember

JessicaBarber

CommitteeMember

2017

HonorsVoiceRecital

By

MorganRubin

BradleyHoward

Adviser

AnabstractofathesissubmittedtotheFacultyofEmoryCollegeofArtsandSciences

ofEmoryUniversityinpartialfulfillmentoftherequirementsofthedegreeof

BachelorofArtswithHonors

DepartmentofMusic

2017

Abstract

HonorsVoiceRecitalByMorganRubin

Ipreparedandperformedafullsolorecital,with60minutesofmusic,accompaniedbyPatriciaDinkins-MatthewsonPiano.TherecitaltookplaceinthePerformingArtsStudioonMarch25,2017.Myprogramfollows:

Gloria AntonioVivaldi(1678-1741) DomineDeus

LaudamusteSelectionofMozart’sGermanartsongs W.A.Mozart(1756-1791) AnChloë

TrennungsliedDasVeilchen

“Oh!quantevolte”fromICapuletieiMontecchi VincenzoBellini(1801-1835)CancionesClassicasEspañoles FernandoObradors(1897-1945) 1.LamisolaLaureola 2.Alamor 3.Corazon,porquepasais… 4.Elmajoceloso 5.Conamoreslamimadre 6.Delcabellomássutil 7.ChiquititalanoviaDeuxpoèmesdeLouisAragon FrancisPoulenc(1899-1963) I.C II.FêtesgalantesSelectionsfrom“12PoemsofEmilyDickinson” AaronCopland(1900-1990) II.Therecameawindlikeabugle III.Whydotheyshutmeoutofheaven? V.Heart,wewillforgethim VII.Whentheycomeback XII.ThechariotLaZingara GaetanoDonizetti(1797-1848)

HonorsVoiceRecital

By

MorganRubin

BradleyHoward

Adviser

AthesissubmittedtotheFacultyofEmoryCollegeofArtsandSciencesofEmoryUniversityinpartialfulfillmentoftherequirementsofthedegreeof

BachelorofArtsHonors

Music

2017

Acknowledgements

Iwouldliketothankmyvoiceteacher,AbigailSantosVillalobos,forhelpingmeimprovevocallyandmusicallyoverthepastfouryears,forconstantlypushingmetomyfullestpotential,andforbeinganincrediblementorandrolemodeltomethroughoutmytimeatEmory.

IwouldalsoliketothankmycoachandaccompanistPatriciaDinkins-Matthewsforherwisdom,advice,creativity,andendlesspatience.

IwouldliketothankBenitoThompsonforcollaboratingwithmeonviolinandforcontributinghistimeandincredibletalenttomyrecital.

Iwouldliketoextendmythankstomyhonorsadviser,ProfessorBradleyHoward,andcommitteemember,Dr.JessicaBarber,fortheirtime,flexibility,andconstantsupport.

Lastly,IwouldliketothankmyfamilyandfriendswhohavegivenmeconstantloveandsupportthroughoutmytimeatEmory,andfortravelingdistancestoseemeperform.

TableofContents

1. MorganRubin,SeniorHonorsRecitalProgram,p.1

a. HonorsVoiceRecitalVideo—videofilesubmittedseparately

2. RecitalProgramNotes,p.5

3. RecitalTextsandTranslations,p.13

1

2

3

4

5

ProgramNotesAntonioVivaldi(1678-1741)GloriainD,RV589(1715) DomineDeus

Laudamuste

AntonioVivaldiwasanItaliancomposer,priest,andvirtuosoviolinist.Hewasthemostprolific

composerofBaroqueorchestralmusic;hisvastoutputincludesoverfivehundredconcertos,avarietyof

sacredmusic,andapproximatelyfortyoperas.Vivaldi’smusicisknownforitslight,playfultexture.His

musicincorporatesconcisethemes,clarityofform,andrhythmicvitality,aswellasaprogressiveuseof

dissonanceandharmonies.Vivaldiisrememberedforhisimpactontheclassicalconcertoform.He

introducedritornelloform,inwhichrecurrentstatementsofarefrainalternatewithsoloinstrumental

passages,intohismusic.Throughtheuseofthisform,Vivaldiwasabletocreateinterplaybetweenthe

soloandorchestralsections.Heusedthisjuxtapositiontocreatedramaticeffects,notonlybetween

players,butbetweenspeedanddynamiclevelsaswell.Thisnewformalsoallowedfornew

opportunitiesforvirtuosicdisplayintheconcerto’ssolosections.

In1703,VivaldiwasappointedasmaestrodiviolinatthePioOspedaledellaPietà,anorphanage

andschoolforgirlsinVenicethatspecializedinmusicaltraining.Duringhisnearlythirtyyearsworkingat

thePietà,Vivaldicomposedmuchofhissacredvocalandinstrumentalmusic,includingthreedifferent

settingstotheGloriatext.RV589isthebest-knownversion,oftenreferredtoas“theGloria”duetoits

outstandingpopularity.TheGloriaisajoyfulhymnofpraise,dividedintotwelvemovements.Although

thesemovementsexhibitgreatrangeandcontrast,Vivaldiwasabletomaintainacohesivestructure

throughouttheworkasawhole.Forinstance,theworkbeginswitharecognizablemotiveofoctave

intervalsthatisalludedtothroughoutthevariousmovements.

DomineDeusisoneofVivaldi’smostpopularvocalmovements.Itiswrittenforsolosoprano,in

theradiantkeyofCmajor.ItiscomposedinaSicilianastyle,consistingofasimplemelody,direct

6

harmonies,andaslow,compoundmeterwithdottedrhythms.Themelodyincludesslowmelismasthat

givethepieceapastoralfeeling.Thismelodyispassedbetweenthevoiceandviolinsolothroughout

thepiece.Thebassocontinuoconsistsofanoctavepatternthatreferencesthework’sopeningoctave

motive.

Laudamusteisanenergeticduetbetweentwosopranos.Theduetconsistsofimitative

passagesthatoverlapinparallelthirds.Vivaldicreatespatternsofdissonancesandresolutionsthrough

theuseofchainsofsuspensions.Thevocalduetisaccompaniedbystrings,andfeaturesaviolinthat

imitatesthesopranos’thematicmaterial.

WolfgangAmadeusMozart(1756-1791)SelectionofMozart’sGermanartsongs AnChloë(1787)

Trennungslied(1787)DasVeilchen(1785)WolfgangAmadeusMozartwaslikelythemostuniversalcomposerinthehistoryofWestern

music.Inhisshortlifetime,hemadealastingimpactonalmosteverygenreofmusic,including

symphony,opera,soloconcerto,stringquartet,andpianosonata.Mozartwasgiftedfromayoungage;

hebegancomposingattheageoffive,wrotehisfirstsymphonyattheageofeight,andcompletedhis

firstoperabytheageofeleven.

Mozartwasalwaysfondofwritingforthevoice.Hemadesignificantcontributionstoopera,

abandoningtheuseofhighlyembellishedBaroqueariaformsinfavorofsimpler,moregenuinely

expressivemelodies.Healsoworkedtocreateaseamlessflowbetweenaria,recitative,andensemble

inhisoperas,whichallowedforquick-movingplots,andoften-humorousdrama.AlthoughMozart’s

Germanartsongsareamongtheleastknownofhisworks,thebestofthemstillexhibittheseamless

blendbetweendramaandmusicpresentinhisoperaticcompositions.Manyscholarsevenarguethat

Mozart’slateartsongsrepresentthebeginningofGermanLieder.Bythe1780s,Mozart’sartsongs

7

weremostlythroughcomposedandmultidimensional.Thethreesongsonthisrecitalwerewrittenin

thislaterperiod,andexemplifythewayMozartutilizedacombinationofvocal,instrumental,and

textualelementstocreateaminiaturedrama.

AnChloëisacharmingandlightheartedmelodywritteninrondoform.Thepiece’sopening

refrainalternateswithcontrastingmaterial,asthelover’sexcitementdrawsthemelodiclineupward.

Theoriginalpoemisthirteenstanzaslong,andendsinatragicdeaththatseparatesthetwolovers,but

Mozartchosetouseonlythepoem’samusingparts.Inthischeerfulcontext,itislikelytheword

sterbenddoesnotrefertoliteraldeath,butrathertotheheightofpassioninwhichloversreleasetheir

embrace.Mozart,awareofthisdoubleentendre,playsinnocentbysettingthesuggestivetexttoa

pleasantfolksong-likemelodyandutilizingallofthesighmotivesanddramaticpausespresentin

operaticlovescenes.Thepieceendsthewayitbegins,asMozartreinstatesthecheerfulopeningpiano

accompaniment.

TrennungsliediswritteninthekeyofFminor,akeythat,atthetime,wasassociatedwiththe

mostpassionateoffeelings.ItisoftenusedasaprimeexamplewhenarguingMozart’scontributionsto

thebeginningofGermanLiederbecauseofitstendencytowardsentimentalmelancholy.Thesong’s

textdescribesthenarrator’sseparationfromhisbelovedLuisa,andhisfearthatshewillforgethim.

Mozart’sstrophictreatmentofthefirstfourverseshighlightsthisfearofforgetting.Therepeated

openingmelodyisfullofappogiaturas,dottedrhythms,andstrikingvocalleapsthatconveythe

narrator’sdistress,andbecomeetchedinthelistener’sear.Thesong’sfifthandsixthversesdepart

fromthisestablishedpattern,andMozartintroducesnewmelodiesthatenternewharmonicterritories.

Inthefinalverse,theoriginalmelodyreturns,butisalteredslightly.Thisreturnoftheopeningmaterial

allowsthelistenerstofullyfeeltheimpactoftheserepetitions,whichreflectthenarrator’sfearsof

forgetting.

8

DasVeilchenisMozart’smostwellknownartsong.Thetext,writtenbyGoethe,tellsthetaleof

ayoungwomanwhocarelesslytramplesapoorviolet,asatiricalrepresentationofawomanwho

crushesaman’sgenuineaffections.Asthestoryunfolds,Mozart’smusicaltreatmentofboththevoice

andpianohighlightsthisdramaticscene.Herepresentsthetrippinggaitoftheshepherdesswith

unevenrhythmandquicksixteenthrests,writesflowinglyriclinestoexpresstheviolet’slonging,utilizes

asuddenswitchtoaminorkeyaccompaniedbyaggressivepianochordstomimicthetramplingofthe

violet,andusesadescendingchromaticvocallinetoportraytheviolet’sdeath.Thesesubtlechangesof

articulationandmodalitybringoutthetragicironyofGoethe’sseeminglysimplepoem,andcreatethe

typeofpsychologicaldramaforwhichMozartwassowellknown.Attheendofthepiece,Mozartadds

arestatementoftheline“Thepoorlittleviolet,itwasadearlittleviolet,”inrecitativestylefordramatic

effect.Thisadditionisafittingendtothesatiricalmini-dramathatMozartcreates.

VincenzoBellini(1801-1835)“Eccomiinlietavesta…Oh!quantevolte”fromICapuletieiMontecchi(1830)

VincenzoBelliniwasanItalianoperacomposerknownforhislong-flowingvocallines.Hismusic

isassociatedwiththebelcantostyleofsinging,whichfocusesonlegatoproductionandvocalagility.He

composedwithanelegantsimplicitythatearnedhimthenickname“theswanofCantina.”Bellini’s

musicwasalsoinfluencedbythesentimentandemotionoftheRomanticEra.Hisoperasgravitate

towardthesoft,melancholyfeelingofyearningthatwassoprevalentinRomanticmusicofthetime.In

hisrecitatives,Bellinipaidcloseattentiontotextualaccentsandmomentsofintenseemotional

expression.Heutilizedtheorchestraasawaytoadddramaticintentiontobothariaandrecitative.In

additiontohissignificantinfluenceonItalianopera,Bellini’smusicalstylealsoimpactedthemusicof

theinstrumentalcomposersofthetime,includingChopinandLiszt.

9

ICapuletieiMontecchipremieredinVenicein1830.Bellinicomposedtheoperainjustsix

weeksbyrecyclingmuchofthemusicalmaterialfromhispreviousunsuccessfulopera,Zaira.The

libretto,byFeliceRomani,isbasedonthestoryofRomeoandJuliet,howevertheopera’sprimary

influencescamefromBandella’sLenovella(1550)ratherthanfromShakespeare’slaterreworking.I

CapuletieiMontecchiisstillperformedoccasionally,howevercertainscenesstandoutfromtherest

andareoftenperformedontheirown.

Oneoftheopera’smostwell-knownscenesisGiulietta’sopeningaria,“Eccomiinlieta

vesta…Oh!quantevolte.”Sheisintroducedaloneinherroomasshegrievesabouthersituation:itis

herweddingdaytohercousinTybalt,butsheissecretlyinlovewithRomeo,whoisfromthefamilyat

warwithherown.Inthearia’srecitative,Giuliettanotestheironyofherfestiveweddingattireonaday

whereshefeelslikemourninginsteadofcelebrating.

Throughoutthearia,BelliniusesmusicalimageryandtextpaintingtodemonstrateGiulietta’s

griefandvulnerability.Thearia’srecitativeisintroducedbyaslowsyncopatedrhythm,whichimitates

thedistantsoundofweddingbells.Afterthisintroduction,thevoiceentersunaccompanied,creatinga

senseofvulnerabilitythatmimicsGiulietta’s.Inthearia,Belliniuseslong,chromaticvocallinesto

imitateGiulietta’ssighsofgrief.Forinstance,intheline,“tichiedoalchelpiangendo”(Intears,Ihave

beggedheavenforyou)Belliniplacesrestsafterthewords“chiedo”and“chel”thatinterruptthe

phrase’slegatoline,andmimicGiulietta’ssobs,andaddssuspensionsonthesewordstocreatefurther

musicaltension.

FernandoObradors(1897-1945)CancionesClásicasEspañolas,vol.1(1921) 1.LamisolaLaureola 2.ElAmor 3.Corazon,porquepasais… 4.Elmajoceloso 5.Conamoreslamimadre

10

6.Doscantarespopulares 7.Copasdecurosdulces

FernandoObradorswasaSpanishcomposer,pianist,andconductorborninBarcelona.He

studiedpianowithhismotherattheMunicipalSchoolofMusic,andwasprimarilyself-taughtin

harmony,counterpoint,andcomposition.ObradorscompletedhismusicaltraininginParis,afterwhich

hebecamearegularorchestralconductorattheTeatrodelLiceoinBarcelona,theSymphonicOrchestra

ofBarcelona,andthePhilharmonicOrchestraofGranCanaria.Althoughhedidexperimentwithwriting

afeworchestralworks,Obradorsisbetterknownforhisvocalcompositions.

CancionesClassicasEspañolesconsistsoffourvolumesofSpanishartsongscomposedbetween

theyears1921and1941.Volume1,composedin1921,isthemostwell-knownandfrequently

performed.Itconsistsofacycleofsevensongscomposedtopoemsaboutlove,bothpastandpresent.

Thepoems’textsrangefromfifteenthcenturyversestopopularpoetryoftheeighteenthand

nineteenthcenturies.Inhissongs,Obradorsemployedaneo-classicalstyleofcomposition,combining

classicalartsongformwithSpanishfolkinfluences.Thesongsfeaturesmoothandquicklymoving

melodiclines,dottedrhythms,andmixedmeters.Thesecompositionalchoicesreflecttheinfluencesof

Spanishguitar,traditionaldancerhythms,flamencovocalism,andlocalcolor.

Thecycle’sfirstsong,LamisolaLaureola,isbasedonaSolmizationVillancico,atypeofold

Spanishsonginwhichthewordscorrespondtothesolfegesyllablesofthemusicalscale.Obradors

opensthepiecewithasixteenth-centurymelody,whichhethenexpandsinafugalpianointerlude.

AlAmorisplayfulanddance-like.Thesong’smelodyconsistsofhemiolaandchromatic

melismas.Accentsareplacedonbeatsoneandthreeofthepianoaccompaniment,creatingaheart-

beat-likerhythm.Additionally,theendofthepieceismarkedpianissimoandaffrettando,“hurrying,”

providingasenseoftheexcitementandurgencyreminiscentofyounglove.

11

¿Corazon,porquepasais…consistsofdissonances,minorsecondintervals,andmixedmeters,

whichrepresentthesubject’suncertaintyandrestlessness,assheliesawakeatnight.

Elmajocelosofeaturesasmooth,mostlystepwisemelodyoveranunsettlinglychromaticpiano

accompanimentthatfeaturesshiftingtonalities,intertwinedstaccatoandlegatolines,andtrills.This

contrastbetweenthevoiceandpianoisreminiscentofthesubject’sattempttosootheherlover’s

worriedjealousy.

Conamoreslamimadrefeaturesanexpressivelymodulatingmelodicline.Thepiano

accompanimentconsistsofabasslinethatevenlyalternatesbetweentonicanddominant,mimicking

therockingofababytosleep.Thesongisalullaby,butitisthechildthatisrockinghermotherto

sleep.

Delcabellomássutilisasettingofatraditionalfolksong.Thefolkmelodyissettolong,legato,

Italian-likephrasesandanarpeggiatedpianoaccompaniment.Thisslow,legatofeelmimicsthepoem’s

imageryofpullingalovedoneclosebyachainofherhair.

Chiquititalanoviabeginsandendswithaflashymelismaticpassage,whichisbasedona

traditionalcantejondostyleflamencovocalcadenza.Thepiece’spianoaccompanimentismarked

quassiguitarra(likeaguitar),amarkingthatisoccasionallygiventopizzicatostringinstruments,butis

veryunusualforpiano.

FrancisPoulenc(1899-1963)DeuxpoèmesdeLouisAragon(1944) I.C II.Fêtesgalantes

FrancisPoulenc(1899-1963)wasamultifacetedFrenchcomposer,whosecompositionsranged

fromFrenchmélodiesandsolopianoworkstochambermusic,choralpieces,operasandballets.Hewas

amemberofLesSix,agroupofFrenchcomposerswhosemusicbrokeawayfromtheinfluencesof

12

GermanformalityandFrenchimpressionism,andinsteadfocusedonadirectandsimplestyleof

composition.Inhismélodies,Poulencattemptedtosaymorewithless.Hedesiredtoemulatethe

senseofpurelinethatheadmiredsomuchinMatisse’spaintings.Poulencwasalsoanavidreaderof

poetry,andsoughttomatchhismusicalstyletoapoet’s.Hewrote,“Onemusttranslateintomusicnot

merelytheliterarymeaningofthewords,butalsoeverythingthatiswrittenbetweenthelines…each,

poetryandmusic,shouldevoketheother.”

In1934,PoulencbegancollaboratingwithbaritonePierreBernac,whoadvisedhiminvocal

writing.Duringthistime,Poulenccomposed90mélodies,whichtheyperformedtogetherinjoint

recitalsacrossEurope.DeuxPoemsdeLouisAragonwaswrittenforBernacasapartofthis

collaboration.Thesetwaspublishedin1944,andconsistsoftwosongs,composedtopoemsbyLouis

Aragon.Aragon,aFrenchsurrealistpoet,wasamemberoftheAcademicResistanceduringtheNazi

Occupation,andwrotethesepoemsonthehorrorsandtragediesofWorldWarII.

Thefirstsongoftheset,C,isoneofPoulenc’smostpoignantsongs.PoulencincludedCinhis

recitalswithBernacduringtheNaziOccupation,andthepiecebecameasymbolofFrenchresistance.

Bernacrecalledhowattheendoftheirrecitals,theirFrenchaudienceswouldrisesilently,leavingthe

Germansintheroomconfused.ThetitlereferstothebridgeofCénearAngers,whichhasbeenthesite

ofmanybloodybattlesthroughouthistory.Aragon’spoemrecallsthetragicdaysofMay1940,whena

largepartoftheFrenchpopulationfledfrominvadingarmies.AragonhimselfcrossedtheLoireonles

pontsdeCé,whichhefoundcrowdedwithoverturnedvehiclesanddiscardedweapons.Thepoem,

reminiscentofanoldballad,describeswhathesaw.Eachlineofthepoemendswiththesyllable[se],

pronouncedlikethenameofthebridge.

Poulenc’smusicalchoicesbringtolifethetragediesdescribedinAragon’spoem.Thesong’s

openingphrasesarearc-shaped,bothintheaccompanimentandvocalline,representingthecurveofa

bridge.Poulencplayswithchangesintonalityanddynamicstomatchthepoet’schangesinthought.

13

ThepieceiswritteninA-flatminor,butswitchestoC-flatmajoratimportantmomentsinthepiece,

creatingtensionbetweentheuseofC-flatandC-naturalthroughoutthepiece.Theeffectisyetanother

playonthesong’stitle,andisreminiscentofthetensionandsorrowthatoccurredatthissite.The

pieceendswithanemotionalclimax;thephrasecrescendostoasuddenpianissimohighnote.

Thesecondpiece,Fêtesgallantes,isabitterparodyofamusichallpattersong.Inthepoem,

AragonironicallyappliesthetermFêtesgallantes,whichWatteauusedinpaintingandVerlainein

poetry.Whiletheseartistsusedthetermtodescribebeautyandharmony,Aragoninsteaduseditto

describetheuglinessoftheOccupation.Everylineofthepoemisa“miniatureportrait”ofhorrorafter

horror.

Poulencconfrontsthehorrorsofthetimeperiodwiththeordinarysoundofalowcabaret.His

tempomarkingsareincroyablementevite(unbelievablyfast),contributingtothesong’sfeelingofchaos.

Thesong’smusicaltextureescalatestowardshysteriaastheusuallowcabaretsoundisreplacedwitha

higher,moredisjointedmelodicline.ManycriticsarguethatFêtesgallantesruinsthehypnoticelegance

ofCandthatthetwosongsarebetterperformedseparately,howevertogetherthetwopieces

emphasizeboththetragedyandhysteriathatoccurredduringthewar.

AaronCopland(1900-1990)Selectionsfrom12PoemsofEmilyDickinson(1950) II.Therecameawindlikeabugle III.Whydotheyshutmeoutofheaven? V.Heart,wewillforgethim VII.Whentheycomeback XII.Thechariot

AaronCopland(1900-1990)isoftenregardedasthequintessentialAmericancomposer.His

musicexhibitsafresh,directstylethatcapturestheopennessofspiritembodiedbyAmerica’s

landscapes.CoplandworkedtocreateadistinctlyAmericanmusicalstylebyincorporatingmelodies

14

fromAmericanfolksongs,jazzrhythmsfromthepopularmusicofthetime,andaggressivedissonances

fromtheurbanlifethatsurroundedhim.

TwelveSongsofEmilyDickinsonwasoneofCopland’smostpivotalworks.Itwashisfirstmajor

vocalcomposition,andthebeginningofabriefperiodinwhichhecomposedvocalmusicalmost

exclusively.Unlikehismostlycommissionedworks,thesesongswerespontaneousandinspiredby

innercreativityandinterest.Thesongsdonotcenteruponanyonetheme,butarelinkedtogetherbya

groupoftopicsthatwereimportanttoDickinson:nature,life,death,andeternity.Overtime,theset

hasbeencriticizedforits“cruelty”towardthesinger.Thecycleisfilledwithvocalleaps,whicharenot

easyorgracefulforasingertoaccomplish,andthecyclesitslowinasoprano’svocalrange.Ithasbeen

argued,forsimilarreasons,thatDickinsonwasnotagracefulpoet,especiallyforhertime.Herpoems

arefilledwithirregularmetersandstanzas,andcontainmanyunconventionaldevices,including

frequentdashesandcapitalizations.Copland’sdisjointedmelodies,changingmeters,dissonances,and

extremedynamicsthereforebringDickinson’suniquepoeticvoicetolife.

Therecameawindlikeabuglecanbedescribedasan“anti-pastorale.”Thesongisintense,if

notviolent,consistingofarapidtempoandharshdissonances.Coplandincludesrepetitiveand

sequentialfigurestomimicwindandrain,andmakesuseofclashingchromaticism,fortissimodynamics,

andsuddenaccentstoevokethesoundsofthunderandlightning.Throughoutthepiece,thepiano

tendstoestablishthethematicmaterialbeforethepoetrydescribesit.Thepiano’stendencytoleadthe

voicesuggestshumans’powerlessnessagainstnature.

WhydotheyshutmeoutofHeaven?iswritteninthestyleofarecitative,whichallowsthe

singertodeliveradramaticinternalmonologue.Althoughsalvationwasanimportantsubjectfor

Dickinson,Copland’ssettingofherpoemsuggestsanalmostironicreading.Coplandaltersthepoem’s

endingtoreinstateitsopeningquestion.Thelastphrase,“DidIsingtooloud?”endsonahighA-flat,

markedfortissimo,thehighestandloudestnoteofthepiece.Thisendingprovidesasenseofdefiance;

15

thesingerchoosestosingasloudasshepleases,despiteanyconsequences.Despitethisboldending,

however,thepianoaccompanimentendswithoutasenseresolution,evokingfeelingsofuncertainty

anddoubtattheprospectofsalvation.

Heart,wewillforgethimisoneofDickinson’smost“conventional”poems.Coplandmatches

herstylebycomposinginacommonAABAform.Theseexternalconventionalitiesreflectthepoetor

singer’sforcedattemptstoregain“normalcy”afterherloss.Unlikemanysongsinthecycle,thepiece

neverchangesmeter,andexhibitsasteadypulseof60beatsperminute,whichmimicsaresting

heartbeat.Thepiece’spianoaccompanimentexhibitsasmooth,linearcharacterthatmakesthesong

soundalmostlikeavocalduet,betweenthesingerandherheart.Often,thesong’sphrasesfallshortof

resolution,asthesingerstrugglestoforgetherloss.Attheendofthepiece,thefinalphraseresolves,

butispairedwiththewords,“Imayrememberhim,”suggestingthatinordertogainnormalcyor

closure,onemustacceptremembrance.

Whentheycomebackconsistsofatwo-partimitativetexturebetweentherighthandofthe

pianoandthevoice.Thisimitation,pairedwiththepiano’srhythmicconsistency,evokesacyclicfeeling

thatmimicsthepoem’sthemeofreturn.

TheChariotcentersonthesubjectofdeath,howeverthereisnomusicalindicationofanysort

ofexternalorinternalstruggle.Thetempoismarked“withquietgrace,”andeverythinginthemusicis

calculatedandconsistent.Coplandincludesadottedrhythmicmotivetorepresentthesinger’scarriage

journey,whichhevariesfreelythroughoutthepiecefordifferentexpressiveeffects.ItisfittingthatThe

Chariotisthefinalsonginthecycle,asitisthefirstoneCoplandcomposed,andisthepoemthat

sparkedhisinterestinthework.

16

GaetanoDonizetti(1797-1848)LaZingara(1842)

GaetanoDonizetti(1797-1848)isrememberedprimarilyforhismanycontributionstotheItalian

operarepertoire.Hecomposedover70operasthroughoutthecourseofhislifetime,andwasequally

successfulinboththeseriousandcomicgenres.Manyofhisoperas,includingL’elisird’amore,Don

Pasquale,andLuciadiLammermoore,arestillperformedfrequentlytoday.Donizettiwasaleading

composerofthebelcantooperastyle,butunlikeBellini,whowasknownforhislong-flowingvocallines,

Donizetticontributedanenergeticanddramaticvibrancytothegenre.Heutilizedcoloraturavocallines

andawiderangeofdynamicstoenhancetheatricaleffects.Donizettiwasalsoknownforthespeedat

whichhecouldcompose;hehadareputationforbeingabletofinishanoperainjusttendays.

AlthoughDonizettiisprimarilyknownforhisoperaticmusic,healsowroteanumberof

composizionedacamera,songsthatwereamixoffolksongandoperaariastylesintendedforprivate

performanceinmoreintimatesettings.LaZingaraisoneofthesesongs.Itispartofacollectionof

vocalpieces,titledInspirazioniviennisi(VienneseInspirations),whichDonizettijokinglyreferredtoas“a

littlemusicalalbum(topayforthetrip).”LaZingaraisanarietta,whichportraysagypsygirlasshe

describeshertravels,adventures,andfirstlove.ThepiecedemonstratesDonizetti’svibrantstyleof

composition;itsshowyanddramaticnaturematchesthevirtuosityfoundinDonizetti’soperaticariason

asmallerscale.Thepiececonsistsofmultiplesections,eachcharacterizedbyadistinctvocalstyle,

whichbringtolifetheadventuresdescribedbythegypsygirl.Theopeningsectionismonologue-like,as

shedescribesthedayshewasborn.Thenextsectionisupbeatandplayful,asthegypsygirlrecallsher

daysgrowingupasapalm-reader,learningofpeople’ssecrets.Asshetalksaboutherfirstlove,the

musicchangesagaintobecomemoresentimentalandlegato.Inthelastsection,themusiconceagain

becomesplayfulandlively,reminiscentofthegypsy’sdancing.

17

TextsandTranslationsDomineDeusDomineDeus,Rexcoelestis LordGod,heavenlyKingDeusPater,omnipotens GodthealmightyFatherLaudamusTeLaudamuste WepraiseyouBenedicimuste WeblessyouAdoramuste WeadoreyouGlorificamuste WeglorifyyouAnChloëWenndieLiepausdeinenblauen, Whenlovegazesfromyourblue,hellen,offnenAugensieht, bright,openeyes,undvorlusthineinzuschauen andfromthejoyoflookingintothem,mir’simHerzenklopftuntglüht; myheartthrobsandglows;undichhaltedichundküsse andIholdyouandkissdeineRosenwangenwarm, yourrosy,warmcheeks,liebesMädchen,undichschließe dearmaiden,andIclaspyouzitternddichinmeinemArm! tremblinginmyarms!Mädchen,mädchenundichdrücke, Maiden,maiden,andIpressyoudichanmeinenBusenfest, firmlytomybreast,derimletztenAugenblicke onlyinthelastmomentssterbendnurdichvonsichlast: ofdyingwillIletyougo:denberauschtenBlickumschattet thenmyenrapturedgazewillbeovershadowedeinedusterWolkemir byadarkclouduntichsitzedannermattet andIwillsitthenweary,aberselignebendir. butblissfulbesideyou.-JohannGeorgJacobiTrennungsliedDieEngelGottesweinen, TheangelsofGodweepwoLiebendesichtrennen, whenloverspart,

18

wiewerdichlebenkönnen, howwillIbeabletolive,oMädchen,ohnedich? ohmaiden,withoutyou?EinFremdlingallenFreuden, Astrangertoalljoys,lepichfortandemLeiden! Ilivefromnowoninsorrow!Unddu?unddu? Andyou?andyou?VilleichtaufewigvergißtLuisamich!PerhapsLuisawillforgetmeforever!ImWachenundimTraume, Inwakingandindreaming,werdichLuisanennen; IwillcallLuisa’sname;denNamenzubekennen, tospeakhernameseiGottesdienstfürmich; isaholyserviceforme;ihnnennenundihnloben IwillspeakandpraisehernamewerdichvorGottnochdroben. toGodabove.Unddu?unddu? Andyou?andyou?VilleichtaufewigvergißtLuisamich! PerhapsLuisawillforgetmeforever!Ichkannsienichtvergessen, Icannotforgether,diesHerz,vonihrgeschnitten, myheart,cutofffromher,scheintseufzendmichzubitten: sighing,begsme,OFreund,gedenkanmich! Ohfriend,thinkofme!”Achdeinwillichgedenken, Ah,IwillthinkofherbissieinsGrapmichsenken. untiltheylowermeintothegrave.Unddu?unddu? Andyou?andyou?VilleichtaufewigvergißtLuisamich! PerhapsLuisawillforgetmeforever!VergessenraubtinStunden, ForgettingrobsinhourswasLiebejahrlangspendet. whatlovebestowedforyears.WieeineHandsichwendet, Liketheturnofahand,sowendenHerzensich. suchistheturnofaheart.WennneueHuldigungen, WhennewlovesmeinBildbeiihrverdrungen,OGott! havedrivenmyimagefromher,ohGod!VilleichtaufewicvergißtLuisamich! PerhapsLuisawillforgetmeforever!AchdenkanunserScheiden! Ah,thinkofourparting!DiestränenloseSchweigen, Thetearlesssilence,diesAuf-undNiedersteigen, theupsanddownsdiesHerzensdrückedich oftheheartmayweighyoudownwieschweresGeist-Erscheinen, likeaheavyghostly-appearance,wirstduwenandersmeinen, willyoulovesomeoneelse,wirstdumicheinstvergessen, willyouforgetme,vergessenGottunddich. forgetGodandyourself? AchdenkanunserScheiden! Ah,thinkofourparting!DiesDenkmal,unterKüssen Thismark,thatthroughkisses

19

aufmeinenMundgebissen, wasleftonmymouth,dasrichtemichunddich! willjudgemeandyou!DiesDenkmalaufdemMunde, Thismarkonmymouth,kommichzurGeisterstunde, willcomeatthewatchinghourmichwarnendanzuzeigen, towarnme,vergißtLuisa,Luisamich! thatLuisaforgetsme!vergißtsiemich! sheforgetsme!-KlamerEberhardKarlSchmidtDasVeilchenEinVeilchenaufderWeisestand, Alittlevioletstooduponthemeadow,Gebücktinsichhuntunbekannt; modestandunknown;EswareinherzigsVeilchen. itwasadearlittleviolet.DakameinjungeShäferin Thencameayoungshepherdess,MitleichtemSchrittuntmuntremSinn withlightstepandhappymoodDaher,daher, along,along,DieWieseher,undsang. themeadowandsang.Ach!denktdasVeilchen,wärichnur “Ah!”thinksthelittleviolet,“wereIbutDieschöensteBlumederNatur thefairestflowerofnatureAch,nureinKleinesWeilchen, ah,justalittlewhile,BismichdasLiebchenapgepflückt untilmybelovedwouldpickmemeUndandemBusenmattgedrückt! Andpressmefirmlytoherbreast!Achnur,achnur Ahjust,ahjust,Einviertelstündchenlang! ashortquarterhourlong!”Ach!aberach!dasmädchenkam Ah!butah!themaidencame,UntnichtinAchtdasVeilchennahm andtakingnonoticeofthelittleviolet,ErtratdasarmeVeilchen. Trodthepoorlittleviolet.Essankundstarpundfreutsichnoch: Itsank,anddied,andrejoicedanyways:Undsterbichden,sosterbichdoch “ThoughIdied,IshallhavediedDurchsie,durchsie, throughher,throughher,ZuihrenFüßendoch. atherfeet.”DasarmeVeilchen! Thepoorlittleviolet!EswareinherzigsVeilchen. Itwasadearlittleviolet.-GoetheEccomiinlietavesta…Oh!quantevolteEccomiinlietavesta… HereIam,infestiveattire…

20

Eccomiadornacomevittimaall’ara. HereIam,adornedlikeavictimofthealtar.Oh!almenpotessiqualvittimacader Oh,ifonlyIcould,likeavictimfalldell’araalpiede! atthefeetofthealtar.Onuzïalitede,abboritecosi,cosifatali Ohweddingtorches,hatedso,sofatefulSiatepermefaciferali. youaretometheflamesofdeath.Ardo…unavampa, Iburn…ablaze,unfocotuttamistruggle afirethatallofmeconsumesUnrefrigerioaiventiiochiedoinvano ArefreshingwindIaskforinvainOveseitu,Romeo? WhereareyouRomeo?Inqualterrat’aggiri? Inwhatlandsdoyouwander?Dove,doveinvïartiimieisospiri WhereshallIsendmysighs?Oh!quantevolte, Oh!howmanytimes,Oh!quantetichiedo, Oh!howoftenIhavebeggedheavenforyoualcielpiangendo. intears.Conqualeardort’attendo, WithwhatpassionIwaitforyouèingannoilmiodesir. isinvain,mydesire.Raggiodeltuosembiante TheradianceofyourcountenanceAh!parmilbrillardelgiorno. Tome,islikethebrillianceoftheday.L’aurachespiraintorno, Theairthatswirlsaroundmemisembrauntuosospir. remindsmeofyoursighs.LamisolaLaureolaLamisolaLaureola. She’smyonlyLaureola. Lamisola,sola,sola… Myoneandonly…YoelcautivoLeriano, IamthecaptiveLeriano,Aunquemuchoestoyufano althoughIamveryproudHeridodeaquellamano Iamwoundedbyherhand,Queenelmundoesunasola. thatintheworldisunique.LamisolaLaureola. She’smyonlyLaureola. Lamisola,sola,sola… Myoneandonly…-JuanPonce AlamorDame,Amor,besossincuento Giveme,love,kisseswithoutnumberAsidodemiscabellos asmanyasthehairsonmyheadYmilycientotrasellos andathousandandahundredafterthatytrasellosmilyciento andafterthatathousandandahundredydespues…demuchosmillares¡tres! Andafterthat…manythousands,givemethree!yporquenadielosienta Andsothatnobodyfeelsbad,

21

desbaratemoslacuenta Letustearupthecounty…contemosalrevés. And…countbackwards.-CristóbaldeCastillejo¿Corazónporquépasais…?¿Corazónporquépasais HeartwhydoyouspendLasnochesdeamordespierto thenightsofloveawakeSivuestrodueñodescansa whenyourownerrestsEnlosbrazosdeotrodueño? inthearmsofanother?ElmajocelosoDelmajoquemeenamora Fromthemanthatlovesme,heaprendidolaqueja Ihavelearnedthecomplaintqueunaymilvecessuspira thathesighsathousandandonetimesnochetrasnocheenmireja: nightafternightbymywindow:lindezasmemuero Prettygirl,Idiedeamorlocoyfiero, ofacrazy,fierylove,¡quisieraolvidarte Iwanttoforgetyou, masquieroynopuedo! butalthoughIwanttoIcannot!LehandichoqueenlaPradera Theyhavetoldhimthatinthemeadowmehanvistoconunchispero theyhaveseenmewithachispero,desosdemalladeseda inclothesofmeshsilkychupadeterciopelo andwaistcoatofvelvet.Majezas,tequiero, Well-dressedone,Iloveyou,nocreasquemuero don’tbelievethatIdiedeamoresperdida oflostloveporesechispero. forthatchispero.Conamores,lamimadre…Conamores,lamimadre, Withlove,mymother,conamoresmedormí. withloveIslept.Asidormidasoñaba Whileasleep,Idreamedloqueelcorazónvelaba, ofwhatmyheartleftconcealed,queelamormeconsolaba theloveconsolingmeconmasbienquemerecí. withmorethanIdeserved.Adormiciómeelfavor Ifellasleepwiththekindness,queamoremedióconamor. thatlovegavemewithlove.

22

Diódescansoamidolor. Itgaveresttomypain,Lafeconqueleserví. thefaithwithwhichIservedyou.Conamores,lamimadre, Withlove,mymother,Conamoresmedormí. withlove,Islept.-JuanAnchietaDelcabellomássutilDelcabellomássutil Fromthemostdelicatehairquetienesentutrenzada, thatyouhaveinyourbraid,hedehacerunacadena Iwouldmakeachainparatraerteamilado. sothatImaybringyoutomyside.Unaalcarrazaentucasa Apitcherinyourhouse,chiquilla,quisierraser littleone,Iwouldliketobeparabesarteenlaboca sothatImaykissyoucuandofuerasabeber. everytimeyoutakeadrink.ChiquititalanoviaChiquititalanovia, Atinybride,Chiquititoelnovio, atinygroom,Chiquititalasala, atinylivingroom,Yeldormitorio. andbedroom.Poresoyoquiero ThatiswhyIwantChiquititalacama atinybedYelmosquitero. andmosquitonet.-CurroDulceCJ'aitraversélespontsdeCé, IhavecrossedthebridgesofCé,C'estlàquetoutacommencé ItisherethatitallbeganUnechansondutempspassé AsongofbygonedaysParled'unchevalierblessé TellsthetaleofawoundednightD'unerosesurlachaussee, OfaroseupontheroadEtd'uncorsagedélacé AndanunlacedbodiceDuchâteaud'unducinsanse, OfthecastleofamaddukeEtdescygnesdanssesfosses AndtheswansonitsmoatsDelaprairieoùvientdanse OfthemeadowwherecomesdancingUneéternellefiancée Aneternalfiancée

23

Etj'aibucommeunlaitglace, AndIdranklikechilledmilkLelongdeslaïcsdegloiresfausses ThelonglayoffalsegloriesLaLoireemportemespensées TheLoirecarriesmythoughtsawayAvecdesvoituresversés AlongwiththeoverturnedcarsEtlesarmesdésamorcées AndthediffusedweaponsEtleslarmesmaleffacée AndthetearsbarelywipedawayOhmaFrance,ômondelacee OhmyFrance,ohmyforsakenoneJ'aitraversélespontsdeCé. IhavecrossedthebridgesofCé.FetesGalantesOnvoitdesmarquissurdesbicyclettes YouseenoblemenonbicyclesOnvoitdesmarlousencheval-jupon YouseepimpsinkiltsOnvoitdesmorveuxavecdesvoilettes Youseesnooty-peoplewithveilsOnvoitlespompiersbrûlerlespompons YouseefiremenburningtheirtasslesOnvoitdesmotsjetésàlavoirie YouseewordsthrownonthegarbageheapOnvoitdesmotsélevésaupavois YouseewordselevatedinpraiseOnvoitlespiedsdesenfantsdeMarie YouseethefeetoforphansOnvoitledosdesdiseusesàvoix YouseethebacksofcabaretsingersOnvoitdesvoituresàgazogéne YouseecarsthatrunongasoleneOnvoitaussidesvoituresàbras YoualsoseehandcartsOnvoitdeslascarsqueleslongsnezgênentYouseeslyfellowshinderedbytheirlongnosesOnvoitdescoïonsdedix-huitcarats Youseeeighteen-caratfoolsOnvoiticicequel’onvoitailleurs YouseeherewhatyouseeeverywhereOnvoitdesdemoisellesdévoyées YouseegirlswhoareledastrayOnvoitdesfoyousOnvoitdesvoyeurs Youseeguttersnipes,youseePeepingTomsOnvoitsouslespontspasserdesnoyés YouseedrownedcorpsesfloatbeneathbridgesOnvoitchômerlesmarchandsdechaussuresYouseeout-of-workshoemakersOnvoitmourird’ennuilesmireursd’oeufs Youseeegg-candlersboredtodeathOnvoitpéricliterlesvaleurssûres YouseesecuritiesdeclineinvalueEtfuirlavieàlasix-quatre-deux. Andliferushingpell-mellby.TherecameawindlikeabugleTherecameawindlikeabugle;Itquiveredthroughthegrass,Andagreenchillupontheheat

24

SoominousdidpassWebarredthewindowsandthedoorsAsfromandemeraldghost;Thedoom’selectricmoccasinThatveryinstantpassed.Onastrangemobofpantingtrees,Andfencesfledaway,AndriverswherethehousesranThelivinglooked—thatDay—ThebellwithinthesteeplewildTheflyingtidingswhirled.HowmuchcancomeAndmuchcango,Andyetabidetheworld!WhydotheyshutmeoutofHeaven?Why—dotheyshutMeoutofHeaven?DidIsing—tooloud?But—Icansingalittle“Minor,”TimidasaBird!Wouldn’ttheAngelstryme—Just—once—more—Just—see—ifItroubledthem—Butdon’t—shutthedoor!Oh,ifI—weretheGentlemenInthe“WhiteRobes”Andthey—werethelittleHand—thatknockedCould—I—forbid?Why—dotheyshutMeoutofHeaven?DidIsing—tooloud?Heart,wewillforgethimHeart,wewillforgethim!YouandI—tonight!Youmayforgetthewarmthhegave—Iwillforgetthelight!

25

Whenyouhavedone,praytellme,ThatImythoughtsmaydim;Haste!lestwhileyou’relagging,Imayrememberhim!WhentheycomebackWhentheycomeback—ifBlossomsdo—IalwaysfeeladoubtIfBlossomscanbebornagainWhenoncetheArtisout—Whentheybegin,ifRobinsdo,IalwayshadafearIdidnottell,itwastheirlastExperimentLastYear,WhenitisMay,ifMayreturn,HasnobodyapangThatonaFacesobeautifulWemightnotlookagain?IfIamthere—OnedoesnotknowWhatParty—OnemaybeTomorrow,butifIamthereItakebackallIsay—TheChariotBecauseIwouldnotstopforDeath—Hekindlystoppedforme—TheCarriageheldbutjustOurselves—AndImmortality.Weslowlydrove—HeknewnohasteAndIhadputawayMylaborandmyleisuretoo,ForHisCivility—WepassedtheSchool,whereChildrenplayedTheirlessons—scarcelydone—WepassedtheFieldsofGazingGrain—

26

WepassedtheSettingSun—WepausedbeforeaHousethatseemedASwellingoftheGround—TheRoofwasscarcelyvisible—TheCornice—butaMound—Sincethen—‘tisCenturies—buteachFeelsshorterthantheDayIfirstsurmisedtheHorses’HeadsWeretowardEternity—LaZingaraLazingara! Thegypsygirl!Fral’erbecosparsediroridogelo, Onthegrass,sprinkledwithfrozendew,copertadelsologranmantodelcielo, coveredbyonlythelargemantleofthesky,miamadreesultandolavitamidiè! Mymother,rejoicing,gavelifetome!Fancuilla,suigreppilecapreemulai Asagirl,Iemulatedthegoatsonthecliffs;pervilleecittadi,cresciuta,danzai, asIgrewup,Idancedthroughtownsandcities,ledamelorpalmedisteseroame. andthewomenextendedtheirpalmstome.Ioloropredissilecosenonnote, Iwouldpredictforthemthethingsnotnoticed;nefecidolenti,nefecibeate, someImadesad,someImadehappy,segreticonobbidisdegnod’amor. Iknewsecretsofdisdainandoflove.Ungiorno,lamanomiporseundonzello; Oneday,aboyofferedmehishand;maivistononfummigarzonepiupello: Ihadneverseenamorehandsomeboy:ohs’einelladestraleggessimiilcor!oh,ifonlyhecouldtakemyhandandreadthe

secretsofmyheart!