Senior Recital

Joseph R. Burdick, Tenor

Ya Lin Huang, Piano

Sunday, April 24th, 7pm

Phillips Recital Hall

Gordon College

This performance is given in partial fulfillment of the requirements of

the Bachelor of Music in Music Performance Degree.

Joseph Burdick is a student of Katherine Whyte

 Program Program Notes
Benjamin Britten 1913-1976
Selections from Songs from the Chinese, Op. 58 Benjamin Britten (1913-1976) was an integral and highly influential composer, con-
II. “The Old Lute” Benjamin Britten (1913-1976) ductor, and pianist for twentieth-century western music; specifically though for cementing
IV. “The Herd Boy” and continuing Britain’s own modern sounds. He composed in a variety of formats and
V. Depression styles, including choral, orchestral and chamber, piano, art-songs, and opera. His most
commonly well-known pieces include the opera Peter Grimes, the oratorio War Requiem,
Selections from Liederkreis, Op. 39 and his A Ceremony of Carols. The genius in these compositions, is the complexity but sin-
I. “In der Fremde” Robert Schumann (1810-1856) cerity of the music. Britten often presents a seemingly simple or known melody, with unex-
IV. “Die Stille” pected, but extraordinary accompaniment. As a composer, he strived to not only set music
that was best depicting the text, but consciously capturing in music the essence of a text or
V. “Mondnacht”
poem that was written. Songs from the Chinese was written in 1957-’58, and was originally
VII “Auf Einer Burg” intended for voice and guitar. The accompaniment is intricate and intimate, allowing the

Two Ariettas text to shine and painting an apt picture for each poem.

“Un’ aura amorosa” from Così fan tutte Wolfgang Amadeus Mozart (1756-1791)
“The Old Lute” is an exposed and introspective introduction to not only the song cy-
“Vaga luna, che inargenti” Vincenzo Bellini (1801- 1835) cle but for the program I’ve created overall. The poem talks of an old lute, a guitar-like in-
Intermission strument that has been around since ancient times. As time passes and things evolve, there
is beauty that is forgotten. This piece is meant to evoke nostalgia and reminiscence; for the
Selections from Songs of Travel poem begs the question, “how did come to be neglected so?”

II. “The Vagabond” Ralph Vaughn Williams (1872-1958) “The Herd Boy” is quite an intense story for such a short poem. It speaks on the day-
V. “In Dreams” to-day life of a Chinese farmer going about his tasks, despite being discouraged by the exter-
IV. Youth and Love nal forces around him (i.e. his broken hat, torn coat, the river and wind). Listen for the intri-
Four French Mélodies cate accompaniment at “the boy who minds the ox”; you can almost hear the steps being
II. Il pleure dans mon cœur Claude Debussy (1862-1918) taken by the boy and the ox.. The piece ends rather ominously, with fire thick smoke bellow-
V. Sanlgots Francis Poulenc (1899-1963) ing from the home. It makes a perfect transition the next poem.

II. Hôtel Francis Poulenc (1899-1963)

I. C’est l’extase Claude Debussy (1862-1918) “Depression” may be the most exposed piece of the set, both musically and emotion-
ally. The piece starts without accompaniment, then slowly creeps in; the accompaniment
Hope: Concluding Art Songs lags behind the voice phrase by phrase. Britten is portraying pain and lethargy this way,
Dream Valley Roger Quilter (1797-1828) while also using repletion: “though my limbs are old, my heart is older, older, older yet”.

For All We Know Donny Hathaway (1945-1979)

 “THE OLD LUTE” “THE HERD BOY” Robert Schumann 1810-1856
Robert Schumann (1810-1856) was a German composer and pianist, as well as
In the southern village the boy who being a prominent music critic. Schumann is considered one of the benchmark com-
Of cord and cassia-wood posers of the Romantic era, and contributed greatly to the German Lied genre, or art-
minds the ox
is the lute compounded; songs of this period. Some of his greatest known works include his programmatic piano
With his naked feet stands on the ox’s
Within it lie ancient melodies. piece Carnival, and his song cycle Liederkreis (Op. 39). Liederkreis itself is regarded as a
back.
Ancient melodies weak and savourless, quintessential Romantic song cycle, capturing the painful themes of loneliness
Through the hole in his coat the river
(“einsam”) and longing, but also the beauty of nature and what we can discover in it.
Not appealing to present men’s taste.
wind blows; “Mondnacht” is about half-way through the cycle, and is a peaceful respite in an other-
Light and colour are faded
Through his broken hat the mountain wise emotionally-weighted song-cycle. This song cycle is ultimately about being inspired
from the jade stops; by nature, and connecting to the larger world around you with the most emotionally in-
rain pours.
Dust has covered the rose-red strings. timate parts of yourself. When things seem internally bleak, one can help themselves by
On the long dyke he seemed to be far
Decay and ruin came to it long ago, finding the beauty in everything around him or her. The balance of beauty and pain was
away;
But the sound that is left very real for Schumann, as he suffered sever melancholic depression until his death in
In the narrow lane suddenly we were
1856.
is still cold and clear.
face to face. “In der Fremde” opens the song cycle starkly. The speaker is abandoned in a new
I do not refuse to play it, if you want me
The boy is home and the ox is back in world, with no familiar faces around. The song invokes fear, with the character wonder-
to; ing how long it will take for him to be forgotten by the world as well.
its stall;
But even if I play people will not listen. “Die Stille” is quite the opposite. This is a song that speaks of unbridled joy, and
And a dark smoke oozes through the
How did it come to be neglected so? not quite being able to share it with others. Many of us experience joy like this through
thatched roof.
Because of the Ch’iang flute music, worship, or simply being grateful about life. Notice Schumann’s beautiful and en-
ergetic expression of this on “ Ich wünscht’, ich wär’ ein Vöglein”.
and the zithern of Ch’in.
“Mondnacht” is a staple in art song repertoire, and a quintessential example of art
song. It is capturing a moment, still in time, taking in nature and expressing joy but also
reverence. The speaker here has found beauty once again, in the stillness.
“DEPRESSION” In “Auf einer burg”, the speaker has found himself sequestered from the world he used to
Turned to jade are the boy’s rosy cheeks; so openly embrace. This song talks in metaphor and in irony; it speaks of a knight,

To his sick temples the frost of winter clings. trapped in a dark tower overlooking the world. His heart is turned hard as stone, para-

Do not wonder that my body sinks to decay; lyzed by silence, melancholy, and ultimately himself.

Though my limbs are old, my heart is older yet.

 “In der Fremde” “In a Foreign Land” “Mondnacht” “Moonlit Night”

From my homeland, beyond the red light- Es war, als hätt’ der Himmel, It was as though Heaven
Aus der Heimat hinter den Blitzen
Die Erde still geküßt, Had softly kissed the Earth,
rot ning,
Daß sie im Blütenschimmer So that she in a gleam of blossom
Da kommen die Wolken her,
The clouds come drifting in, Von ihm nun träumen müßt’. Had only to dream of him.
Aber Vater und Mutter sind lange
But father and mother have long been dead, Die Luft ging durch die Felder, The breeze passed through the fields,
tot,
Die Ähren wogten sacht, The corn swayed gently to and fro,
Es kennt mich dort keiner mehr. Now no one knows me there.
Es rauschten leis die Wälder, The forests murmured softly,
Wie bald, ach wie bald kommt die
How soon, ah! how soon till that quiet time So sternklar war die Nacht. The night was so clear with stars.
stille Zeit,
When I too shall rest Und meine Seele spannte And my soul spread
Da ruhe ich auch, und über mir
Weit ihre Flügel aus, Her wings out wide,
Rauscht die schöne Waldein- Beneath the sweet murmur of lonely woods,
Flog durch die stillen Lande, Flew across the silent land,
samkeit,
Forgotten here as well. Als flöge sie nach Haus. As though flying home.
Und keiner kennt mich mehr hier.

In a Castle
“Die Stille” “Silence” “Auf einer Burg”
Up there at his look-out
Eingeschlafen auf der Lauer The old knight has fallen asleep;
Es weiß und rät es doch Keiner,
No one knows and no one can guess Oben ist der alte Ritter; Rain-storms pass overhead,
Wie mir so wohl ist, so wohl! Drüben gehen Regenschauer,
How happy I am, how happy! And the wood stirs through the portcullis.
Ach, wüßt’ es nur Einer, nur Einer, Und der Wald rauscht durch das Git-
If only one, just one person knew, Beard and hair matted together,
Kein Mensch es sonst wissen soll! ter.
No one else ever should! Ruff and breast turned to stone,
Eingewachsen Bart und Haare,
So still ist’s nicht draußen im
The snow outside is not so silent, Und versteinert Brust und Krause, For centuries he’s sat up there
Schnee,
Nor are the stars on high Sitzt er viele hundert Jahre In his silent cell.
So stumm und verschwiegen sind
So still and taciturn Oben in der stillen Klause. Outside it’s quiet and peaceful,
Die Sterne nicht in der Höh’, Draußen ist es still und friedlich,
As my own thoughts. All have gone down to the valley,
Als meine Gedanken sind. Alle sind in’s Tal gezogen,
I wish I were a little bird, Forest birds sing lonely songs
Ich wünscht’, ich wär’ ein Vöglein Waldesvögel einsam singen
And could fly across the sea, In the empty window-arches.
In den leeren Fensterbogen.
Und zöge über das Meer,
Across the sea and further, Eine Hochzeit fährt da unten Down there on the sunlit Rhine
Wohl über das Meer und weiter,
Until I were in heaven! Auf dem Rhein im Sonnenscheine, A wedding-party’s sailing by,
Bis daß ich im Himmel wär’!
Musikanten spielen munter, Musicians strike up merrily,
And the lovely bride—weeps.
Wolfgang Amadeus Mozart 1756-1791 Vincenzo Bellini 1801-1835
Wolfgang Amadeus Mozart was a compositional genius, and showed signs of this Vincenzo Bellini is mainly remembered for his short, but prominent opera output.
at quite a young age; his father was a major influence and even helped him transcribe his He was born in Sicily and lived in Italy throughout his life, fortifying the Italian opera
first compositions. He composed in every genre of his time, including choral music, scene. The song “Vaga luna, che ignargenti” is not from an opera but is in fact an art song
chamber and symphonic works, and sonatas; some of his most famous works include The meant to be in the style of an operatic aria. Again, as much of this program, this pieces
Magic Flute, “Lacrimosa” from his Requiem, and his opera Cosi fan tutti. points to emotions too much for one to keep to themselves, and the speaker here finds
“Un’aura morsa” is a simple but beautiful aria, perhaps one of Mozart’s greatest. himself out in nature, searching for meaning and solace.
In the opera, the character Guglielmo complains of longing for love that hasn’t come to
him, Ferrando (the speaker/character) counters this, saying that even a hope of love is
enough to sustain one throughout the years.

“Un’aura amorosa” “A breath of love” “Vaga luna, che ignargenti” “Lovely moon, that, with its light,

Un'aura amorosa A breath of love From our treasures Will Vaga luna, che inargenti Lovely moon, that, with its light,
afford our hearts Sweet sustenance. queste rive e questi fiori silvers these shores and flowers
del nostro tesoro
ed inspiri agli elementi and breathes into the elements
un dolce ristoro A heart nourished the language of love;
On the hope of love Has no need of il linguaggio dell'amor;
al cor porgerà; greater inducement. testimonio or sei tu sola you are now the only witness
al cor che, nutrito del mio fervido desir, of my ardent longing;
ed a lei che m'innamora tell her, who ravishes me,
da speme, da amore,
conta i palpiti e i sospir. about my throbs and sighs.
di un'esca migliore  
bisogno non ha. Dille pur che lontananza Tell her, too, that even distance
il mio duol non può lenir, cannot ease my pain,
che se nutro una speranza, that if I cherish any hope,
ella è sol nell'avvenir. it is only for the future.
Dille pur che giorno e sera Tell her that, day and night,
conto l'ore del dolor, I count the sorrowful hours,
che una speme lusinghiera that a flattering hope
mi conforta nell'amor. comforts me in my love.
! Ralph Vaughn Williams 1872-1958
Ralph Vaughn Williams was one of the most pivotal composers of 20th century
Britain. He composed in many genres and styles including art songs, choral music,
chamber and orchestral works, and even film scores. Some of his most well-known works
include the Songs of Travel song cycle, and his orchestral Variations on the Theme of
Thomas Tallis. He was taught by predeceasing giants of the time, including Maurice Rav-
el, Charles Stanford, and Hubert Parry, all whose compositions had an artistic influence
and cultivating Williams’ own compositional voice. “In Dreams” “Youth and Love”
“The Vagabond” “Youth and Love”, and “In Dreams” are numbers 1, 3, and 5 in
In dreams unhappy, I behold you stand To the heart of youth the world is a
the 9-song set. Vaughn Williams was a huge asset in collecting and utilizing English folk- As heretofore: highwayside.
The unremember’d tokens in your hand Passing for ever, he fares; and on either
music, and it is more than evident in his work; moreover he was simply inspired by the Avail no more. hand,
British country-side. “The Vagabond” demonstrates the zeal of one ready to live se- No more the morning glow, no more the Deep in the gardens golden pavilions
grace, hide,
questered in nature, while “In Dreams” recalls and reminisces on past relationships that Enshrines, endears. Nestle in orchard bloom, and far on the
Cold beats the light of time upon your level land
are no more. face Call him with lighted lamp in the even-
And shows your tears. tide.
“The Vagabond” He came and went. Perchance you wept Thick as stars at night when the moon is
awhile down,
Give to me the life I love, And then forgot. Pleasures assail him. He to his nobler
Let the lave go by me, Ah me! but he that left you with a smile fate
Give the jolly heaven above, Forgets you not. Fares; and but waves a hand as he pass-
And the byway nigh me. es on,
Bed in the bush with stars to see, Cries but a wayside word to her at the
Bread I dip in the river— garden gate,
There’s the life for a man like me, Sings but a boyish stave and his face is
There’s the life for ever. gone.
Let the blow fall soon or late,
Let what will be o’er me;
Give the face of earth around,
And the road before me.
Wealth I seek not, hope nor love,
Nor a friend to know me;
All I seek, the heaven above,
And the road below me.
Or let autumn fall on me
Where afield I linger,
Silencing the bird on tree,
Biting the blue finger.
White as meal the frosty field—
Warm the fireside haven—
Not to autumn will I yield,
Not to winter even!
 ! Claude Debussy 1862-1918 Francis Poulenc 1899-1963
In his lifetime, Debussy composed over 60 songs for voice and piano; thirteen of Francis Poulenc (1899-1963) was a prominent French impressionist composer, and a suc-
those compositions being song cycles. He grew up in the north-west regions of France cessful pianist. Poulenc did not come from a particularly musical family, but remained largely
until his attendance at the Conservatoire de Paris in 1872 at just ten years old. Debussy is self-taught in his compositions (his parents were adamant about him attending a conservatory); he
widely considered the first impressionist composer, setting musical trends for composers began to garner national attention by the 1920’s, and his career was prosperous from then until his
like Ravel, Paul Benoit, and Francis Poulenc. He cultivated much of his unique sound to death. Poulenc wrote in an extremely wide variety of instrumental and vocal music, including pi-
his early influences of Russian and even far-eastern music. His compositions are largely ano suites and organ music, orchestral and chamber music, ballet, art songs, and even sacred
tone poems, where the written music provokes specific scenes and images, and also ex- choral works.
oticism. Debussy had a compositional career of over thirty years, before his death in 1918. “Hôtel” is the second song of the five-song cycle Banalités, which translates to “Small Talk”. In
“C’est L’extase” and “Il pleure dan mon cœur” are the first and second songs of his cycle this song, Poulenc captures the emotions and moments of ordinary every-day life; the song shows
Ariettes oubliées, which means forgotten songs. “Il pleure speaks of depression in its more color- the character worn down and almost numb with no desire to [Link] most interesting thing
ful terms, and describes it as “pain without reason”; the song also does a beautiful job of compar- about this piece (along with the whole song cycle), is the way in which he ties together simple
ing rain to tears (be sure to listen to the chromaticism and rain-like rhythm in the texts with profound text painting. Be sure to listen for the opening chord cluster, as well as
accompaniment!). On the other hand, “C’est l’extase” highlights the fleeting but intense emotions Poulenc’s clever and subtle use of chromaticism in the vocal and piano part throughout.
that come with pleasure of all types, and compares it to the beauty of nature. What makes this the “Sanglots” speaks on how humanity is interconnected, both through love, but also our own and
most beautiful though, is that the speaker is sharing these feelings with someone: “it is ours, is collective suffering; the piece gives examples of this as it goes on. This piece faces despair and
not? cynicism at its core, while still portraying beauty through suffering.

“Sanglots”
“Il pleure dans mon cœur” “Tears fall in my heart” Notre amour est réglé par les calmes étoiles
Or nous savons qu’en nous beaucoup d’hommes respirent
Qui vinrent de très loin et sont un sous nos fronts
Il pleure dans mon cœur Tears fall in my heart C’est la chanson des rêveurs
Comme il pleut sur la ville; As rain falls on the town; Qui s’étaient arraché le coeur
Et le portaient dans la main droite
Quelle est cette langueur What is this torpor Souviens-t’en cher orgueil de tous ces souvenirs
Qui pénètre mon cœur? Pervading my heart? Des marins qui chantaient comme des conquérants
Ô bruit doux de la pluie Ah, the soft sound of rain Des gouffres de Thulé des tendres cieux d’Ophir
Par terre et sur les toits! On the ground and roofs! Des malades maudits de ceux qui fuient leur ombre
Pour un cœur qui s’ennuie For a listless heart, Et du retour joyeux des heureux émigrants
Ô le bruit de la pluie! Ah, the sound of the rain! De ce coeur il coulait du sang
Et le rêveur allait pensant
Il pleure sans raison Tears fall without reason A sa blessure délicate
Dans ce cœur qui s’écœure. In this disheartened heart. Tu ne briseras pas la chaîne de ces causes
Quoi! nulle trahison? … What! Was there no treason? … Et douloureuse et nous disait
Ce deuil est sans raison. This grief’s without reason. Qui sont les effets d’autres causes
C’est bien la pire peine And the worst pain of all Mon pauvre coeur mon coeur brisé
De ne savoir pourquoi Must be not to know why Pareil au coeur de tous les hommes
Voici voici nos mains que la vie fit esclaves
Sans amour et sans haine, Without love and without hate Est mort d’amour ou c’est tout comme
Mon cœur a tant de peine. My heart feels such pain. Est mort d’amour et le voici Ainsi vont toutes choses,
Arrachez donc le vôtre aussi
Et rien ne sera libre jusqu’à la fin des temps
Laissons tout aux morts
Et cachons nos sanglots
! “Hôtel”

“Sobs”
Ma chambre a la forme d'une cage,
Our love is governed by the calm stars Le soleil passe son bras par la fenêtre.
Mais moi qui veux fumer pour faire des mi-
Now we know that in us many men have their being
rages
Who came from afar and are one beneath our brows J'allume au feu du jour ma cigarette.
It is the song of the dreamers Je ne veux pas travailler - je veux fumer.
Who tore out their hearts
And carried them in their right hands My room has the form of a cage.
Remember dear pride all these memories The sun reaches its arm in through the win-
dow.
The sailors who sang like conquerors But I want to smoke and make shapes in the
The chasms of Thule the gentle Ophir skies air,
and so I light my cigarette on the sun's fire.
The accursed sick those who flee their shadows
I don't want to work, I want to smoke.
And the joyous return of happy emigrants
This heart ran with blood
“Languorous Rapture””
And the dreamer kept thinking
It is languorous rapture,
Of his delicate wound
“C’est l’extase”” It is amorous fatigue,
You shall not break the chain of these causes
It is all the tremors of the forest
Of his painful wound and said to us C'est l'extase langoureuse
Paul Verlaine In the breezes’ embrace,
Which are the effects of other causes C’est l’extase langoureuse,
It is, around the grey branches,
My poor heart my broken heart C’est la fatigue amoureuse,
C’est tous les frissons des bois The choir of tiny voices.
Like the hearts of all men Parmi l’étreinte des brises,
O the delicate, fresh murmuring!
Here here are our hands that life enslaved C’est, vers les ramures grises,
Le chœur des petites voix. The warbling and whispering,
Has died of love or so it seems Ô le frêle et frais murmure!
It is like the soft cry
Has died of love and here it is Such is the fate of all things Cela gazouille et susurre,
Cela ressemble au cri doux The ruffled grass gives out …
So tear out yours too Que l’herbe agitée expire …
You might take it for the muffled sound
And nothing will be free till the end of time Tu dirais, sous l’eau qui vire,
Le roulis sourd des cailloux. Of pebbles in the swirling stream.
Let us leave all to the dead Cette âme qui se lamente
And conceal our sobs This soul which grieves
En cette plainte dormante
C’est la nôtre, n’est-ce pas? In this subdued lament,
La mienne, dis, et la tienne,
It is ours, is it not?
Dont s’exhale l’humble antienne
Par ce tiède soir, tout bas? Mine, and yours too,
Breathing out our humble hymn
On this warm evening, soft and low?
Roger Quilter 1877-1953 Donny Hathaway 1945-1979

Roger Quilter was an English composer commemorated for his art songs. Donny Hathaway was an American singer and songwriter, best known for his con-
Born into a well-off family, he attended Eton College and continued his musical tribution to the genre of R&B/soul music, especially during the civil rights move-
studies at Hoch Conservatory in Frankfurt. During his time in Frankfurt, he studied ment. This song, “For all we know” is not published as an art song but is absolutely
composition with teacher Ivan Knorr, who also taught Balfour Gardiner, among oth- one at its core, as the original recording is with piano, voice, and minimal saxo-
ers. Quilter was one of the members of the “Frankfurt Group”, which was a small phone. This song has meant a lot to me, especially this past year, and I hope it
circle of composition students who studied together in the 1890’s. He managed to brings warmth to your heart as it has mine.
write over one hundred art songs, but also chamber music, and an opus entitled Ju-
lia, his only opera. He is best known for songs like “Weep You No More”, and
“Come Away, Death”. He wrote many song cycles, including three songs set to texts
by Shakespeare published in 1905 (he however, felt as though he set inadequate
music to Shakespeare’s text). It took him fifteen years to fully finish his second “For All We Know”
longer set, publishing them in 1921. Rodger Quilter’s music has grown to have a
special place in my heart; he comes as a musical and compositional inspiration for For all we know,
we may never meet again.
me, from the time I discovered his music at a young age through the present. Before you go,
make this moment sweet again.
We won’t say goodnight
until the last minute;
I’ll hold out my hand,
“Dream Valley” And my heart will be in it.
For all we know,
This may only be a dream;
Memory, hither come We come and we go
And tune your merry notes; Like the ripples of a stream.
And while upon the wind So love me, love me tonight,
Your music floats, Tomorrow was made for some
I'll pore upon the stream, Tomorrow may never come
Where sighing lovers dream, For all we know.
And fish for fancies as they pass
Within the watery glass.
I'll drink of the clear stream,
And hear the linnet's song,
And there I'll lie and dream
The day along;
And when night comes I'll go
To places fit for woe,
Walking along the darkened valley,
With silent melancholy.