KENTUCKY WESLEYAN

COLLEGE
DEPARTMENT OF MUSIC
Presents

DAVID BAXTER
&
AARON EAVES
In a Junior Recital of Vocal Performance

Sunday, October 5, 2014

Three o'clock in the afternoon
First Presbyterian Church

Jeunes Fillettes

PROGRAM
Fin chhan dal vino
From Don Giovanni

W.A. Mozart

Nuit dEtoiles (L. 4)

Claude Debussy
David Baxter, Tenor

Non siate ritrosi

From Cos Fan Tutte
Aaron Eaves, Baritone

S, tra i ceppi
From Berenice (HWV 38)

G. F. Handel

Song of Devotion

John Ness Beck

Beggars Song

Samuel Barber

Serenader

David Baxter, Tenor

Die schne Mllerin Op. 25 (D. 795)

Franz Schubert

III. Halt!
IV. Danksagung An Den Bach
V. Am Feierabend

Theres Nae Lark

Aaron Eaves, Baritone

My Time of Day
From Guys and Dolls

Aaron Eaves, Baritone

Poison in My Pocket
From A Gentlemans Guide
to Love and Murder

VI. Der Neugierige

VII. Ungeduld
XI. Mein!
David Baxter, Tenor

Bois pais
From Amadis

Nicolas Dalayrac

Frank Loesser
Steven Lutvak
and Robert Freedman

What Do You Do?

Jean-Baptiste Lully

Rve Damour

Gabriel Faur

Au Cimetire

Sam Carner
and Derek Gregor
David Baxter, Tenor

Der Herr segne euch

Duet from Cantata No. 196
Aaron Eaves and David Baxter

Nell
Aaron Eaves, Baritone

J.S. Bach

PROGRAM NOTES
WOLFGANG AMADEUS MOZART (1756 1791)
Wolfgang A. Mozart was an Austrian born composer. Mozart during
his early years was well known as music prodigy. His father who was
also a musician took young Mozart and he performed on the piano,
composed pieces and gained notice from the nobility. He wrote an
opera at the age of 13 for the court of Milan. He continued to write
Operas, Symphonies, String Quartets, Sonatas, and Concerti. Two
notable Operas are Don Giovanni and The Marriage of Figaro, which
were both written by both Mozart and Lorenzo Da Ponte.

Fin chhan dal vino from Don Giovanni K527

This aria comes from one of the two operas by Mozart and Lorenzo
Da Ponte called Don Giovanni. This opera is based on the story of
Don Juan. Don Giovanni who is the main character is a wicked
nobleman who tries to win over woman after woman. This aria comes
towards the end of act one where Don Giovanni is telling his partner
Leporello to get all of the things in order for the party where he will
finally win over the girl he is after.

Non siate ritrozi from Cos Fan Tutte K588

Cos Fan Tutte is an opera that Mozart wrote towards the latter part of
his short life. It is based on lovers who are called to war and do not
trust their girlfriends to be faithful while they are away. So during the
aria Non siate ritrozi the lover is dressed up as an Albanian man and
trying to win over his friends girlfriend to test her faithfulness.

GEORGE FREDERIC HANDEL (1685-1759)

George Frederic Handel was a German-born, British Baroque
composer most famously known for his operas, oratorios and organ
concertos. He was very famous during his life as a composer and was
influenced by the Italian Baroque composers and the German
polyphonic choral tradition.

Berenice (1737)
Berenice is based upon the life of Cleopatra Berenice, daughter of
Ptolemy IX, who is the main character of Handels opera Tolomeo.
The aria S, tra i ceppi is sung by the actress playing Berenice, but is
very commonly sung by men in concerts and recitals.

FRANZ SCHUBERT (1797-1828)

Franz Schubert, born in Austria, began his formal music training at the
age of six. His father gave him violin lessons while his older brother
mentored him on the piano. When it came to leid writing, Schubert
wrote piano parts that were equally as important as the vocal line,
creating voice and piano duets. Often, the piano played a character in
his songs.

Die schne Mllerin (1823)

Die schne Mllerin, or The Beautiful Millers Daughter, is a song
cycle that follows the story of a boy who is travelling the countryside
looking for work. He comes upon a brook, portrayed by the piano,
which he follows and finds a mill. The brook plays a huge roll in this
cycle. In Halt! (Stop) the young boy asks the brook was it meant to
be that you led me to the mill? After the boy has found the mill, in
the song Danksagung an den Bach (Thanks to the Brook) he thanks
the brook for where he has taken him and how he is thankful that he
has enough to live on and be happy. Shortly after, in Am Feierabend
(After Work) he gets tired of all of the work hes doing and the little
recognition he gets from the beautiful millers daughter who he has
fallen in love with. In Der Neugierige, The Curious One, the traveller
asks the brook if the millers daughter loves him. He asks for a
straightforward yes or no. In Ungeduld, Impatience, the traveller
excitedly proclaims his love for the millers daughter and describes
how he wants even the stars to proclaim his love for her. The traveller
believes that he has finally secured his love in Mein! and he
commands the birds of the air to stop their melodies and sing of his
love. He discovers that her favorite color is green and sings of how
lovely the color is, but soon finds out that she has met a hunter and
fallen in love with him and sings about how he hates the color green.
He becomes so frustrated and depressed that he throws himself into
the brook and drowns himself. The final song of the cycle is a lullaby
sung by the brook. Scholars are still in debate whether the brook is
really the boys friend or a fiend who leads the boy to his own
destruction.

Jean-Baptiste Lully (1632 1687)

Lully was a very famous, successful, and wealthy composer and
musician during the Baroque era. He was born in Italy but grew up in
France. He worked for King Louis XIV by writing operas and ballets.
Lully was the most important French Opera composer of the Baroque
period partly due to his reinvention of opera through his use of ballet
and the invention of the French overture. The most well known story
about Lully is his death due to his accidental stabbing of his foot with
his conducting stick. He stabbed his foot and it became infected with
gang-green and he died.

Bois pais from Amadis LWV 63

This particular aria is treated more as an art song today but is a part of
an opera. Bois pais is sung by Amadis who is in love with Oriane
who will not love him back. Amadis and the Kingdom are about to go
war and he decides to go into the woods to try and hide his pain in the
woods, which is when he sings this aria Deep Forest.

Gabriel Faur (1845 1924)

Faur was a very successful composer, pianist, organist, and teacher.
His compositions were very beautiful and influential even to twentieth
century composers. One thing he was famous for were his songs
without words. By far in his day he was one of the foremost French
composers. His Requiem is considered his most famous piece and
probably one the most respected choral works of today. He also wrote
beautiful art songs that are popular today and still widely used by
singers.

Rve Damour Op. 5 No. 2

This particular art song was one of the more early art songs that Faur
wrote. The text of this song comes from Victor Hugo who Faur tends
to use quite a few times. The text comes from the book Tristesse
dOlympio by Hugo.

Au Cimetire Op. 51 No. 2

This piece was written later in the life of Faur. The text is as well a
Victor Hugo text. This piece talks of death almost in the way a friend
would console another who has lost someone.

Leconte de Lisle is author of the text of this particular art song. This
song is an early-middle Faur song but towards the middle of the song
you really get a sense of his forward movement in writing technique
with new styles of chromaticism and other techniques.

This piece comes directly from Philippians 1:3 11 and is set in a

beautiful way. The key of this piece is hard to identify because of the
dissonances and modulatory techniques that Beck uses. The chord
progression is not a normal progression and hidden with unexpected
notes in the piano part.

Nicolas Dalayrac (1753-1809)

Samuel Barber (1910 1981)

Nell Op. 18 No. 1

Born in France, Dalayrac began his career as a lawyer, but his father
convinced him to abandon his carer and pursue his love of music. He
began by writing violin duets and string quartets but found his niche
writing Opra Comiques.

Claude Debussy (1862-1918)

Claude Debussy is one of the prominent musical figures of the
Impressionist period, although he disliked the term when it came to
his music. Debussy learned to play piano at the age of eight at his
aunts home while escaping from the Franco-Prussian war in 1870.
After only a year of playing he impressed an alleged student of
Frdric Chopin and by the age of ten he was studying music at the
Paris Conservatorie, where he studied for the next eleven years.

Nuit dEtoilles (1880

Samuel Barber was born in West Chester, Pennsylvania on 9 March

1910. Barber had music around him not from his immediate family
but from his aunt who was a leading contralto at the Metropolitan
Opera. He often wrote for her especially during his early years. Barber
was a very smart child and a triple threat prodigy in voice, piano, and
violin. He was a student at the Curtis institute of music and became
one of the greatest American born composers of all time.

Beggars Song (1936)

Composed on January 5, 1936 in Rome while Barber was at the
American Academy. Unpublished during the composers lifetime, the
song was published in Samuel Barber: Ten Early Songs in 1994. The
text is from a popular poet of the day, Welshman William Henry
Davies. This song portrays the life of normal people who work very
hard.

Serenader (1934)

Nuit dEtoilles, or Night of Stars, was one of the earliest pieces

Debussy wrote, but already you can tell he had established a unique
style. Debussy tended to eschew tonality and use of chromaticism is
very evident in this piece. Symbolism, the French literary style of his
period directly inspired his compositions.

This composition was completed March, 1934. Composed in Vienna.

Unpublished during the composers lifetime, the song was composed
in the Samuel Barber: Ten Early Songs. The words come from a very
popular poet of the day George H. Dillon. The setting truly portrays
life and what our life should represent. We have been given everything
and all we have to give is our life.

John Ness Beck (1930 1987)

Theres Nae Lark (1927)

John Beck is a composer who only composed traditional sacred music.

His music is well known among churches that sing traditional sacred
music because Becks compositions are beautiful but accessible. His
writing style took a lot from the twentieth century influences that were
taking place. His music is very much tonal but it stretches tonality and
normal chord progressions. His influence lives on through composers
of today such as Dan Forrest.

Song of Devotion

Barber composed this when he was only 17 years of age. He himself

gave the first documented performance of this piece while some
believe his aunt sang this song in France during a concert. The author
of the text is the famous British poet and novelist Charles Swinburne
who invented the roundel form. The unique thing about this text is that
it contains old Irish contraction words. Nae equals not a, a equals all,
o equals of, and the different words that appear in the second verse
are of Irish heritage.

Frank Loesser (1910-1969)

The son of Henry Loesser, a classically trained pianist, Frank Loesser
began taking piano lessons at a young age in the vein of European
composers. Loesser possessed a remarkable ability to play by ear
almost anything he heard. He did not like his fathers posh taste in
music and strayed from it when he began composing music of his
own.

My Time of Day (1950)

Frank Loesser wrote the music and Lyrics for Guys and Dolls, a
musical based on two short stories by Damon Runyon. Sky Masterson,
a renowned gambler, is bet by a friend that he cannot seduce the snotty
mission girl, Sarah Brown and take her to dinner in Havana, Cuba.
Masterson, being the gambling man he is, willingly accepts the bet of
$1,000 to the victor. After much coaxing and smooth talk Sarah agrees
to fly from New York City to Havana for dinner with Sky. When the
duo arrives back to the Big Apple, it is 4:00 AM. Sky opens up to
Sarah as he has never done to any doll before and tells him about his
time of day.

Steven Lutvak (1974) Robert Freedman (1957)

Stephen Lutvak, composer and lyricist, and Robert Freedman, book
writer and lyricist, began collaborating in 2011 on the original musical
A Gentlemans Guide to Love and Murder, based on the novel Israel
Rank: the Autobiography of a Criminal by Roy Horniman. Lutvak and
Freedman are greatly influenced by Gilbert and Sullivan, a
powerhouse librettist/composer duo of the Victorian era, and their
clever use of banter and word play. They decided to unofficially pay
tribute to the two in A Gentlemans Guide to Love and Murder.

Poison in My Pocket (2013)

A Gentlemans Guide to Love and Murder takes place in 1907 in the
European earldom of Highhurst. Monty Nevarro is just returning
home from his mothers funeral, when an old maid woman approaches
him. She tells Monty that he is a part of the lineage of the DYsquith
family, the royal family of Highhurst. She woman also tells Monty
that he is ninth in line to be Earl. Sibella, Montys lover, refuses to
marry him because she is afraid of falling into poverty. Monty decides
he will kill off the eight people between him and the earldom. Poison

in My Pocket is Montys inner-monologue that narrates his attempt to

off his first victim from the DYsquith family.

Sam Carner (1980) and Derek Gregor (1979)

Carner and Gregor met while working on a project at NYU in 2001
and have been collaborating with one another ever since. In 2004 the
duo won the Richard Rogers Award for Musical Theater with Carner
writing lyrics and Gregor writing music.

What Do You Do? (2009)

This cabaret piece tells of a mans struggle to succeed. He has
everything he needs except for one thing that he believes is holding
him back.

TRANSLATIONS
Fin ch'han dal vino
Until They Have Wine
Until they have become hot-headed with
wine,
Lets prepare a grand party.
If you find a girl in the piazza,
Try to bring her here.
May the dance be wild,
Who will be the minuet, who the folia
Who will dance the allemande with you.
Meanwhile, Ill be singing my own song
Flirting with this girl and that girl.
Ah you must add to my list
About ten entries tomorrow morning
Non siate ritrozi
Dont Be Bashful
Our sorrows,
And for them pity!
The heavenly beauty of your eyes
Has opened the wound in our heart
Which can only be remedied
By the balm of love:
In one moment you open our hearts, oh
beautiful,
To the sweet lights of your love,
Or before you die,
You shall see the most loyal lovers.
Be not wayward,
Dear beguiling eyes;
Let two loving lightning flashes
Strike for a moment here.
Make us happy,
And love with us;
And we will make you in return
The happiest of women.
Look at us, touch us,
Take stock of us:
We're crazy but we're charming,
We're strong and well made,
And as anyone can see,
Whether by merit or by chance,

We've good feet, Good eyes, good noses.

Look, good feet; note, good eyes;
Touch, good noses; take stock of us.
And these moustaches could be called
Manly triumphs, The plumage of love.
S, tra i ceppi
Yes even in chains
Yes, even in chains and bonds
My faith will shine
No, not even death itself
Will extinguish my flame
Halt!
Stop!
I see a mill glinting
From among the elder trees,
The rushing and singing
Are pierced by the roar of wheels.Ah
welcome, ah welcome, Sweet song of the
mill!
And the house, how cozy! And the
windows, how shiny!
And the sun, how brightly It glows in the
sky!
Oh brook, dear brook, Was this destined
for me?
Danksagung an den Bach
Giving Thanks to the Brook
Was this destined for me, My bubbling
friend?
Your singing, your ringing, Was this
destined for me?
To the millers daughter, Thats what you
meant. Right? Did I understand it? To the
millers daughter!
Did she send you to me? Or have you
enchanted me? Id like to know,
Did she send you to me?
No matter what happens,
I commit myself.
What I sought I have found, Whatever
happens.

I sought after work,

Now I have enough,
For my hands, for my heart, I have more
than enough!

O brooklet of my love,
Why are you so strange?
I'll surely not repeat it;
Tell me, o brooklet, does she love me?

Am Feierabend
On the Restful Evening
If I had a thousand arms to move!
I could drive
The wheels with a roar! I could blow
Through all the copses!
I could turn
All the millstones!
Then the millers daughter Could sense my
true purpose!
Oh, how weak my arms are!
What I lift, what I carry,
What I cut, what I hammer,
Any fellow can do as well.
And there I sit among all the others In the
quiet, cool time of rest,
And the master says to all of us: I am
pleased with your work, And the lovely
maiden said Goodnight to everyone.

Ungeduld
Impatience
I would carve it fondly in the bark of trees,
I would chisel it eagerly into each pebble,
I would like to sow it upon each fresh
flower-bed
With water-cress seeds, which it would
quickly disclose;
Upon each white piece of paper would I
write:
Yours is my heart and so shall it remain
forever.
I would like to raise a young starling,
Until he speaks to me in words pure and
clear,
Until he speaks to me with my mouth's
sound,
With my heart's full, warm urge;
Then he would sing brightly through her
windowpanes:
I would like to breath it into the morning
breezes,
I would like to whisper it through the
active grove;
Oh, if only it would shine from each
flower-star!
Would it only carry the scent to her from
near and far!
You waves, could you nothing but wheels
drive?
I thought, it must be visible in my eyes,
On my cheeks it must be seen that it burns;
It must be readable on my mute lips,
Every breath would make it loudly known
to her,
And yet she notices nothing of all my
yearning feelings.

Der neugierige
The Curious One
I ask no flower,
I ask no star;
None of them can tell me,
What I so eagerly want to know.
I am surely not a gardener,
The stars stand too high;
My brooklet will I ask,
Whether my heart has lied to me.
O brooklet of my love,
Why are you so quiet today?
I want to know just one thing One little word again and again.
The one little word is "Yes";
The other is "No",
Both these little words
Make up the entire world to me.

Mein!
Mine!
Little brook, let your gushing be!
Wheels, cease your roaring!
All you merry woodbirds,
Large and small,
End your melodies!
Through the grove,
Out and in,
Let only one song be heard today:
The beloved millermaid is mine!
Mine!
Spring, are all of those your flowers?
Sun, have you no brighter shine?
Ah, so I must be all alone
With my blissful word,
Incomprehensible to all of Creation!
Bois pais
Sombre Woods
Deep woods, increase your shade;

You could not be dark enough,

You could not conceal too well
My unhappy love.
I feel a despair
Whose horror is extreme,
I am to see no longer what I love,
I want no longer to bear the light of day.
Rve Damour
Dream of Love
If there be a lovely lawn
Watered by the sky,
Where each new season
Blossoming flowers spring up,
Where lily, woodbine, and jasmine
Can be gathered liberally,
I would strew the way with them
For your feet to tread!
If there be a loving breast
Wherein honour dwells,

Whose tender devotion

Never is morose,
If this noble breast always
Beats with worthy intent,
I would make of it a pillow
Where your head can rest!
If there be a dream of love
With the scent of roses,
Where each day may be found
Some sweet new delight,
A dream blessed by the Lord
Where soul unites with soul,
Oh! I shall make of it the nest
Where your heart will rest!
Au Cimetire
At The Cemetery
Happy who dies here.
Like the birds of the field!
His body, near his friends,
Is laid in the earth, and among the songs.

He sleeps a good vermillian slumber

Under the radiant sky.
All those he had known, are come
To bid him a long farewell.
At his cross his parents weep,
Resting on their knees,
And his bones, underneath the flowers
Are gently bathed in tears
Each one on the black wood,
Can see whether he was young or not,
And can, with sincere regrets
Call him by his name.
How many unlucky ones are there
Who die at sea,
And lie under the deep waves
A long way from their beloved country!
Ah! poor souls! who for their shrouds
Have green seaweeds,
Where they roll unknown, quite naked,
And their eyes wide open!