Richard Strauss

Richard Strauss (1864-1949) was a prominent composer in the Romantic period who was known
for his operas, Lieder, tone poems, and other orchestral works. He was born in Munich, Germany,
and also became a well-known conductor in his time. He composed over 200 Lieder for the voice
and piano. The genre of Lieder is built upon the foundation of the German language and the
inspiration that composers found in poetry.

Op. 29, no. 2 titled “Schlagende Herzen” was composed in 1895 to a poem by Otto Julius
Bierbaum (1865-1910).The piece is in binary form, without the traditional tonic-dominant
relationship: the “A” section begins in G-major while the “B” section modulates to B-major. The
use of arpeggiated patterns, tremolos, and driving sixteenth notes give the feeling of growing
anticipation. The rhythmic syncopation and frequent leaps in the singer’s range depict a
lighthearted tone.

“Ich schwebe” Op. 48, no. 2, was composed in 1800 to a poem by Karl Friedrich Henckell (1864-
1929). In contrast to the lighthearted opener, this song depicts a lament with a floating melody over
delicate accompaniment, like a lullaby. The 3/4 meter gives the feeling of a waltz, but Strauss’s
consistent syncopation in the accompaniment causes the listener to feel certain phrases in two.

“Ständchen,” Op. 17, no. 2 is set to a lively and uplifting 6/8 meter. Strauss composed opus 17 in
1886 as a set of six Lieder. His melodic setting of this poem by Adolf Friedrich von Shack (1815-
1894) is syncopated and unpredictable, demonstrating youthful love. The harmonic support of the
piano seamlessly fits into the shimmering vocal line that is almost operatic in nature.

Strauss chose another text by von Shack to set the final piece of this set, “Breit über mein Haupt”
op. 19, no. 2. He uses diatonic block chords underneath the first stanza, and in the second stanza
the piano outlines the chords with simple eighth- and quarter-note values. The entire piece is only
nineteen measures long, but contains elements of word painting throughout, helping the audience
visualize the beauty of the person being described.

Dominick Argento, Six Elizabethan Songs

Dominick Argento (1927-2019) is the only American composer featured in this recital. This 1957
song cycle alternates between fast and slow tempi, and includes six songs set to poetry by various
literary figures from the Elizabethan era (1558-1603). Not only was the time period a source of
inspiration for these six songs, but themes of changing seasons, love, and nature all play a role.

The opening song, “Spring,” is set to a text by Thomas Nashe (1567-1601). Though the phrases in
this piece are short, the natural rhythmic inflection proves to be even more emphasized by
Argento’s cheerful melody. The piano continues a running sixteenth-note pattern throughout, and
the voice offers slight variances during each repetition. Argento makes short shifts in tonality
during the third line of each stanza.
“Sleep” is composed in a lentamente 8/8 time signature. The text, by Samuel Daniel (1562-1619),
is from his collection of fifty sonnets titled Delia. Each phrase is highly chromatic and includes
unpredictable intervals such as recurring tritones. Despite the harmonic ambiguity, Argento gives
the listener a sense of tonality in the final measure with a D-flat major into B-flat major cadence,
suggesting a tonal center of D-flat.

“Winter” is set with a tempo marking of “fast and lively.” The text is taken from Act V Scene ii of
William Shakespeare’s (1564-1616) Love’s Labour’s Lost. Argento suggests a tonality of E major
in the majority of the vocal line. The composition offers dramatic changes in dynamic level, meter
shifts within phrases, and contrast of texture ranging from sharp textual emphasis to rich and legato
accompaniment.

“Dirge” is a simple arrangement, with chords formed in the accompaniment that are reminiscent of
church bells. Argento uses the tritone relationship again between the voice and piano, reflecting
mysteriousness through sparse accompaniment and rhythmic minimalism. The text is from
Shakespeare’s The Twelfth Night (1623).

“Diaphenia” shifts the audience again into a joyful atmosphere. It opens with a brisk piano
introduction, similar to “Spring.” The time signature suggests a childlike playfulness through a 9/8
lilt. The text by Henry Constable (1562-1613) presents a vivid array of emotions for a singer to
express, between excitement in expressing love, to declamatory statements of admiration.

In “Hymn,” Argento selected a text by Ben Jonson (1572-1637). This particular poem was taken
from Jonson’s 1600 satirical stage play Cynthia’s Revels. The poem is addressed to Diana, the
Roman goddess of the hunt. The representation of the Queen as Diana was a common portrayal in
art and literature. The accompaniment provides scarce opportunity for the singer to develop a
rhythmic or tonal center. Chords underneath a chromatic vocal line create a majestic and ominous
atmosphere.

“Les oiseaux dans la Charmille” from Les Contes d’Hoffmann by Jacques Offenbach
Jacques Offenbach (1819-1880) was a German-born composer who is often considered the “father
of the operetta.” He became an accomplished cellist and composer, and was hired to conduct the
Théâtre Français in 1849. With a libretto by Jules Barbier (1825-1901) Les Contes d’Hoffmann is
described as an opéra-fantastique due to the focus on artistic content versus entertainment. It is
based on three tales by E.T.A. Hoffmann (1776-1822) and takes place in early nineteenth-century
Italy. Hoffmann tells the story of his three loves in separate acts: Olympia, Giulietta, and Antonia.
Olympia’s aria occurs in act one during a party at the house of the inventor Spalanzani. Coppélius
and Spalazani create a life-sized mechanical doll named Olympia. Coppélius arrives at the party
and sells Hoffman a pair of glasses that make Olympia appear human. She sings “Les oiseaux dans
la charmille” and Hoffmann is smitten.
The aria depicts generic images of love and beauty while the phrasing allows the music to reflect a
robotic character. The tessitura famously requires a flexible coloratura or lyric-coloratura soprano,
with the ability to comfortably ornament and extend the phrasing in the second verse. The waltzing
meter and accompaniment of flute and harp mimic the mechanical sound of a music box.

Reynaldo Hahn
Reynaldo Hahn (1847-1974) was a Venezuelan-born composer, conductor, and writer. These two
songs demonstrate Hahn’s consistent use of vocal restraint and simplicity, allowing the music to
serve the text. Unlike an operatic aria, the mélodies composed by Hahn relied more on lyrical
sensitivity than on ornamentation or virtuosic performance. Victor Hugo (1802-1885) wrote the
poem that inspired the first piece, “Si mes vers avaient des ailes!” The mention of birds, gardens,
the contrast of night and day, and overall theme of love reflect imagery of the Romantic
Movement. “L’heure exquise,” is the fifth song of Hahn’s seven-song cycle Chansons Grises
(Gray Songs), a set composed in 1893 to poems by Paul Marie Verlaine (1844-1896). Verlaine was
a prominent writer of the Symbolist and Decadent movements which were characterized by
emotional expression through symbolic and figurative language.

Joaquin Rodrigo, Cuatro Madrigales Amatorios

Joaquin Rodrigo (1901-1999) was born in Sagunto, Spain to a family of ten children. His music is
considered one of the best representations of romantic and impressionistic trends of twentieth-
century music in Spain. In addition to being a virtuosic pianist, Rodrigo composed chamber music
and numerous works for voice, guitar, choir, and piano. This set of four songs was composed in
1947, and was heavily influenced by early music and folk poetry. He selected these madrigals from
the 1560 collection Recopilación de sonetos y villancicos a quatro y a cinco by composer Juan
Vasquez (c.1500- c.1560). Rodrigo preserved the cultural distinction of the folk poetry in these
songs as well as the influence of the vihuela, a stringed Spanish Renaissance instrument.

This song collection explores the various emotions associated with love including despair,
admiration, excitement, and wonder. “¿Con qué la lavaré?” is a reflection of sorrow, as the narrator
observes women who are surrounded by love and luxury as she is left feeling hopeless and alone.
The second piece titled “Vos me matàsteis” reflects the devastation that the narrator feels after
seeing a beautiful girl on the banks of a river. Songs three and four, “¿De dónde venís, amore?” and
“De los álamos vengo, madre” both reflect a different side of love. The excitement and assurance
reflected in these two poems and the lively tempo markings offer a contrast to the solemn first half
of the set.