Program

I.
Höchster, mache deine Güte Johan Sebastian Bach
from Jauchzet Gott in allen Landen, BWV 51 (1685-1750)

II.
Der Nussbaum Robert Schumann
Die Nacht (1810-1856)

Ständchen Richard Strauss

(1864-1949)

III.
Villanelle Cécile Chaminade
(1857-1994)

Fleurs Francis Poulenc

from Fiançailles pour rire (1899-1963)

Les filles de Cadix Pauline Viardot

(1821-1910)

IV.
“So anch’io la virtù magica” Gaetano Donizetti
from Don Pasquale (1797-1848)

Intermission
 V.
La farfalletta Vincenzo Bellini
Vaga luna, che inargenti (1801-1835)

La serenata Paolo Tosti

(1846-1916)

VI.
From Eve-Song Jake Heggie
Good (b.1961)
Even
Snake

VII.
I Never Saw a Moor Richard Pearson Thomas
from At last, to be identified! (b.1957)

Ballad of the Boy Who Went to Sea

I’m Yours!
 I.
Höchster, mache deine Güte Johan Sebastian Bach

This aria comes from Johannes Sebastian Bach’s cantata Jauchzet Gott in allen Landen, which
translates to “Exult in God in Every Land”. This cantata was composed with no specific occasion
in mind, meaning that it is perfect for ordinary time in the church calendar. The text comes from
an anonymous poet, but shows influences from various biblical books, especially the book of
Psalms. The cantata consists of five movements, each expressing gratitude for God and praising
God for all the blessings He has provided. Typically, this piece is performed with a trumpet, two
violins, viola, and continuo, in addition to soprano. Together, the musicians work to produce an
atmosphere of radiant gratitude. While today’s performance will only include one movement, that
overflowing thankfulness still remains.

“Höchster, mache deine Güte”, is the third movement, and the center of the cantata. It is only
accompanied by the continuo, usually a keyboard and cello, allowing for more focus on the beauty
of the text. The consistent movement of the accompaniment can be seen as a metaphor for God’s
presence and assurance – always present and always active. The lack of other instruments in this
aria parallels the idea of vulnerability and being stripped down, which makes the text of
faithfulness even more poignant. Even in the bare moments, faith persists. Bach is well known for
being incredibly expressive in his word painting. During the middle section, Bach incorporates
these beautiful melismas, but they always take place on the word “heißen” which translates “be
called.” His extended emphasis on this specific word indicates the honor it is to be called a child
of God. It is in this honor that Bach musically expresses unyielding gratitude and unending
devotion to God.

Höchster, mache deine Güte Most High God, make your goodness
ferner alle Morgen neu. new every morning from now on.
so soll vor die Vatertreu Then to your fatherly love
auch ein dankbares Gemüte a thankful spirit in us in turn
durch ein frommes Leben weisen, through a devout life will show
dass wir deine Kinder heißen. that we are called your children.

II.
Der Nussbaum Robert Schumann

One of the most prominent composers of German Lieder, Robert Schumann has written hundreds
of vocal masterpieces. His ability to intertwine beautifully intricate piano with flowing vocal line
has made his works standards in vocal repertoire. Schumann wrote a collection of songs for his
wife, Clara Schumann, called Myrthen. Within this romantic gift was the sweet and charming,
“Der Nussbaum”. In this song, Schumann illustrates the softly moving branches of a walnut tree
that whispers of a young maiden who is soon to be married. The soft whispers put the young
maiden to sleep as she dreams of her future romance. The piano introduces the rustling sounds of
leaves with arpeggiated accompaniment imitating the sounds of the wind blowing through the
leaves in a whisper. Floating on top, the voice acts as a graceful supplement to this peaceful setting.
Together, the piano and voice work to create a lullaby centered on love.
 Der Nussbaum The Walnut Tree

Es grünet ein Nussbaum, vor dem Haus, A nut tree blossoms outside the house,
Duftig, luftig Fragrantly, airily,
Breitet er blättrig die Blätter aus. It spreads its leafy boughs.
Viel liebliche Blüten stehen d’ran, Many lovely blossoms it bears,
Linde Winde Gentle winds
Kommen, sie herzlich zu umfahn. Come to caress them tenderly.
Es flüstern je zwei zu zwei gepaart, Paired together, they whisper,
Neigend, beugend Inclining, bending
Zierlich zum Kusse die Häuptchen zart. Gracefully their delicate heads to kiss.
Sie flüstern von einem Mägdlein, das They whisper of a maiden who
Dächte die Nächte Dreamed for nights
Und Tagelang, wüsste ach! selber nicht was. And days of, alas, she knew not what.
Sie flüstern—wer mag verstehen so gar They whisper—who can understand
Leise Weis’? So soft a song?
Flüstern von Bräut’gam und nächstem Jahr. Whisper of a bridegroom and next year.
Das Mägdlien horchet, es rauscht im Baum; The maiden listens, the tree rustles;
Sehnend, wähnend Yearning, musing
Sinkt es lächelnd in Schlaf und Traum. She drifts smiling into sleep and dreams.

Die Nacht Richard Strauss

A well-rounded musician, Richard Strauss was a German composer, conductor, pianist, and
violinist. He is considered to be one of the leading composers of the late Romantic era. While he
is widely recognized for his tone poems and operas, Strauss is a prolific Lieder composer with a
number of staple songs in standard repertoire. Strauss was married to a soprano, Pauline de Ahna,
so many of his songs were inspired by and written for her. This earlier song, “Die Nacht” is a fine
example of his ability to take simple text and create an intimate setting. The gentle poetry describes
the beauty of dusk and the wonder of how day slips into night. The poem ends with a tinge of
apprehension, as there is fear that the night will steal away the narrator’s beloved along with the
light. This sensitive text is beautifully paired with complex harmonics to perfectly illustrate the
subtle emotions of the scene. The piano begins with a single repeated note, before slowly
blossoming into a fuller chordal structure. This slow opening of the accompaniment parallels the
slow move from day to dusk. Alongside the cascading vocal lines, this piece truly encapsulates the
range of emotions that night brings.

Die Nacht The Night

Aus dem Walde tritt die Nacht, Night steps from the woods,
Aus den Bäumen schleicht sie leise, Slips softly from the trees,
Schaut sich um in weitem Kreise, Gazes about her in a wide arc,
 Nun gib Acht! Now beware!

Alle Lichter dieser Welt, All the lights of this world,

Alle Blumen, alle Farben All the flowers, all the colors
Löscht sie aus und stiehlt die Garben She extinguishes and steals the sheaves
Weg vom Feld. From the field.

Alles nimmt sie, was nur hold, She takes all that is fair,
Nimmt das Silber weg des Stroms Takes the silver from the stream,
Nimmt vom Kupferdach des Doms Takes from the cathedral’s copper roof
Weg das Gold. The gold.

Ausgeplündert steht der Strauch: The bush stands plundered:

Rücke näher, Seel’ an Seele, Draw closer, soul to soul,
O die Nacht, mir bangt, sie stehle Ah the night, I fear, will steal
Dich mir auch. You too from me.

Ständchen Richard Strauss

Another German song repertoire highlight, “Ständchen” is likely Strauss’s most popular song. Like
many of his other songs, this piece is quite theatrical in its setting and depicts a specific story. This
serenade takes place in a common fairytale scenario – a young lover calling up to a balcony for his
beloved. At the beginning of the song, the light accompaniment of broken arpeggiated chords
carries the serenade to the window. The buoyant vocal line with the fluttery accompaniment creates
a sense of excitement, tied with the thrill of not getting caught. Once the two lovers are united, the
mood shifts from one of urgency to satisfaction. However, the excitement still remains the same,
as the narrator describes the pure joy of their meeting. As the excitement builds, the piece ends
with a beautiful climax while celebrating how wonderfully this couple is paired.

Ständchen Serenade

Mach auf, mach auf! Doch leise, mein Kind, Open up, open up! But softly, my child,
Um Keinen vom Schlummer zu wecken! So that no one’s roused from slumber!
Kaum murmelt der Bach, kaum zittert im Wind The brook hardly murmurs, the breeze hardly
Ein Blatt an den Büschen und Hecken; moves A leaf on the bushes and hedges;
Drum leise, mein Mädchen, daß nichts sich regt, Gently, my love, so nothing shall stir,
Nur leise die Hand auf die Klinke gelegt! Gently with your hand as you lift the latch!

Mit Tritten, wie Tritte der Elfen so sacht, With steps as light as the steps of elves,
Um über die Blumen zu hüpfen, As they hop their way over flowers,
Flieg leicht hinaus in die Mondscheinnacht, Flit out into the moonlit night,
Zu mir in den Garten zu schlüpfen! Slip out to me in the garden!
Rings schlummern die Blüten am rieselnden Bach The flowers are fragrant in sleep
Und duften im Schlaf, nur die Liebe ist wach. By the rippling brook, only love is awake.
 Sitz nieder! Hier dämmerts geheimnisvoll Sit down! Dusk falls mysteriously here
Unter den Lindenbäumen. Beneath the linden trees.
Die Nachtigall uns zu Häupten soll The nightingale above us
Von unseren Küssen träumen Shall dream of our kisses
Und die Rose, wenn sie am Morgen erwacht, And the rose, when it wakes at dawn,
Hoch glühn von den Wonneschauern der Nacht. Shall glow from our night’s rapture.

III.
Villanelle Cécile Chaminade

Like most women musicians during this time, Cécile Chaminade’s career began with much
disapproval from the male figures in her life, particularly her father. However, her mother
encouraged her career and taught her piano. When she was just eight years old, Georges Bizet
heard her play piano and coined her as a “little Mozart.” After her father’s death, Cécile focused
more seriously on her career as a pianist. She became immensely popular in the United States.
Throughout her life, she wrote approximately 400 compositions ranging from ballet to orchestral
pieces. One of the 100 songs she wrote is a charming piece called “Villanelle.” This quick-paced,
enchanting mélodie describes a French village party and the youthfulness of those in attendance.

Villanelle

Le blé superbe est rentré The superb wheat has returned

Fête aux champs, fête au village. Festivals in the fields, festivals in the village.
Chaque fillette, au corsage, Each little girl, in the bodice,
Porte un bleuet azuré, Wear an azure cornflower
Fête aux champs, fête au village! Festival in the fields, festivals in the village.

Les jeunes gens danseront Young people will dance

Ce soir, dans la grande allée: Tonight, in the main alley:
Et sous la nuit étoilée, And under the starry night,
Que de mains se chercheront How many hands will seek each other
Ce soir, dans la grande allée! Tonight, in the main alley!

Ce soir, dansez jusqu’au jour, Tonight dance until daylight

Aux gais sons de vos musettes! To the cheerful sound of your bagpipes!
Jeunes garçons et fillettes, Young boys and girls,
Chantez vos refrains d’amour, Sing your chorus of love,
Aux gais sons de vos musettes! To the cheerful sounds of your bagpipes!

Sans contrainte et sans remords Without constraint and remorse

Enivrez-vous de jeunesse: Get drunk on youth
La tristesse est pour les morts, Sadness is for the dead,
Pour les vivants l’allégresse, For the living joy,
Enivrez-vous de jeunesse!... Get drunk on youth!...
Fleurs Francis Poulenc

Accomplished composer and pianist, Francis Poulenc published a wide variety of French songs
during his lifetime. His vocal works are well-known to be intertwined with the poetry – setting
the text to closely match the style of the poet. His unique versatility in songs have led him to be a
staple composer in standard French repertoire. “Fleurs” is the final song in the set, Fiançailles
pour rire. As noted in the translation, this piece describes someone burning a flower from an old
relationship but reminiscing fondly on the memories from that time. Poulenc’s stacked chordal
accompaniment and simple, yet stunning vocal line creates space for reflection and peace. While
there is a sense of melancholy throughout the piece, there is also a recognition of acceptance.
Poulenc beautifully captures the process of grieving and acceptance that follows the end of a
romantic relationship.

Fleurs Flowers

Fleurs promises, fleurs tenues dans tes bras, Promised flowers, flowers held in your arms,
Fleurs sorties des parenthèses d’un pas, Flowers from a step’s parentheses,
Qui t’apportait ces fleurs l’hiver Who brought you these flowers in winter
Saupoudrées du sable des mers? Sprinkled with the sea’s sand?
Sable de tes baisers, fleurs des amours fanées Sand of your kisses, flowers of faded loves
Les beaux yeux sont de cendre et dans la cheminée Your lovely eyes are ashes and in the hearth
Un cœur enrubanné de plaintes A moan-beribboned heart
Brûle avec ses images saintes. Burns with its sacred images.

Les filles de Cadix Pauline Viardot

Pauline Viardot was a talented mezzo-soprano and established composer. Because she was a
musician in a society that did not lift up female composers, her music tends to be lesser known.
However, because her pieces are such gems, it is no surprise that her songs are gaining more
familiarity over time. This piece includes the famous poetry written by Louis Charles Alfred de
Mussett and has been set to music by many composers. In Viardot’s rendition, she draws much
attention to the voice by using simpler accompaniment. This charming melody captures the
coquettish nature of the poetry and creates the vivid scenery of what it feels like to be walking in
the streets of Cadiz, Spain.

Les filles de Cadix The Girls of Cadiz

Nous venions de voir le taureau, We'd just left the bullfight,

Trois garçons, trois fillettes, Three boys, three girls,
Sur la pelouse il faisait beau The sun shone on the grass
Et nous dansions un boléro And we danced a bolero
Au son des castagnettes. To the sound of castanets.
'Dites-moi, voisin, 'Tell me, neighbor,
 Si j'ai bonne mine, Am I looking good,
Et si ma basquine And does my skirt
Va bien, ce matin. Suit me, this morning?
Vous me trouvez la taille fine ?... Have I a slender waist?
Ah! ah! Ah! Ah!
Les filles de Cadix aiment assez cela. The girls of Cadiz are rather fond of that.

Et nous dansions un boléro And we were dancing a bolero,

Un soir, c'était dimanche. One Sunday evening.
Vers nous s'en vint un hidalgo A hidalgo came towards us,
Cousu d'or, la plume au chapeau, Glittering in gold, feather in cap,
Et la poing sur la hanche: And hand on hip:
'Si tu veux de moi, 'If you want me,
Brune au doux sourire, Dark beauty with the sweet smile,
Tu n'as qu'a le dire, You've only to say so,
Cet or est à toi. And these riches are yours.'
-- Passez votre chemin, beau sire... Go on your way, fine sir.
Ah! Ah! Ah! ah!
Les filles de Cadix n'entendent pas cela.' The girls of Cadiz don't take to that.

IV.
“So anch’io la virtù magica” Gaetano Donizetti

Gaetano Donizetti is known as one of the primary contributors to the bel canto era. Along with
Bellini and Rossini, Donizetti greatly contributed to the style of singing that would later impact
composers such as Verdi. Over the course of his lifetime, he wrote almost 70 operas. Most of his
success was grounded in Naples, Italy. His first successful opera was his opera seria Zoraida di
Granta. However, his most well-known operas are his comedies L’elisir d’amore and Don
Pasquale.

In mid-19th century Rome, bachelor Don Pasquale does not approve of his nephew’s love interest,
Norina. In order to keep his inheritance away from his nephew, Ernesto, Don Pasquale decides he
will marry instead, and asks his friend, Dr. Malatesta, to arrange it. Without Don Pasquale or
Ernesto’s knowledge, Dr. Malatesta creates a plan where he will have Norina pretend to be
someone else and trick Don Pasquale into marrying her. Norina will then go crazy which will drive
Don Pasquale out his mind… all of which will be to avenge him for messing with Norina and
Ernesto’s faith. Over the course of the opera, the audience gets an inside look into this amusing
prank around love. At the beginning of the opera, prior to all of the mischief, Norina sings her aria
“So anch’io la virtù magica”. As she is sitting alone in her home reading a romance novel, Norina
realizes that she knows much more about love than this silly little book. While imagining herself
with the handsome knight, she amuses herself with the thought that she knows how to use love to
her advantage. Her daydreaming is characterized by her playful and humorous nature, all of which
will come to her advantage later in the opera.
 "Quel guardo,il cavaliere That look,pierced the knight
in mezzo al cor trafisse, in the middle of the heart,
Piegò il ginocchio e disse: He folded his body, bent at his knees and said
Son vostro cavalier. I am your knight.
E tanto era in quel guardo And so it was in that look
Sapor di paradiso, a taste of paradise,
Che il cavalier Riccardo, That the knight Richard,
Tutto d'amor conquiso, Conquered by love,
Giurò che ad altra mai, Swore that never to another
Non volgeria il pensier." Woman would he ever think about."
Ah, ah! Ah, ah!

So anch'io la virtu magica I too know the magical power

D'un guardo a tempo e loco, of a look at the right time and place,
So anch'io come si bruciano I know how the heart burns
I cori a lento foco, in slow fires,
D'un breve sorrisetto of a brief smile
Conosco anch'io l'effetto, I know the effect,
Di menzognera lagrima, Of lying tears,
D'un subito languor, On a sudden languor,
Conosco i mille modi I know a thousand ways
Dell'amorose frodi, love can fraud,
I vezzi e l'arti facili The charms and arts are easy
Per adescare un cor. To fool the heart.
Ho testa bizzarra, I have a bizarre mind
son pronta vivace, I possess a ready wit,
Brillare mi piace scherzar: I like joking:
Se monto in furore If I get furious
Di rado sto al segno, I'm rarely able to remain calm,
Ma in riso lo sdegno fo presto a cangiar, But my disdain can soon turn to laughter,
Ho testa bizzarra, I have a bizarre mind
Ma core eccellente, ah! But an excellent heart, ah!

V.
La farfalletta Vincenzo Bellini

As one of Italy's most important composers, Vincenzo Bellini is best known for his bel canto
melodies. His skill for pairing music and text, all while emphasizing the voice's beauty, is evident
in all of his operas and songs. During the 1820s, Bellini composed a set of fifteen collected
compositions for voice and piano titled Composizioni da Camera. "La farfalletta," the first piece
in this set, is a “canzoncina” - a little song. Bellini's famous operatic techniques are translated into
smaller scale intricacies in his songs. Bellini intertwines florid imagery with an enchanting melody
to truly showcase the voice's beauty and dramatic elements.

La farfalletta The little butterfly

 Farfalletta, aspetta aspetta; Little butterfly, wait, o, wait,
non volar con tanta fretta. don't fly away so quickly.
Far del mal non ti vogl'io; I don't mean to harm you,
ferma appaga il desir mio. stop and fulfil my wish.

Vo' baciarti e il cibo darti, I want to kiss you and to feed you,
da' perigli preservarti. to save you from danger.
Di cristallo stanza avrai You shall have a crystal room
e tranquilla ognor avrai. and will always live in peace.

L'ali aurate, screzïate, I know that April gemmed

so che Aprile t'ha ingemmate, your golden, variegated wings,
che sei vaga, vispa e snella, I know you're pretty, lively and graceful,
fra tue eguali la più bella. among your equals the most beautiful.

Ma crin d'oro ha il mio tesoro, But my beloved has golden hair,

il fanciullo ch'amo e adoro; the lad I love and adore.
E a te pari vispo e snello, And as you, he's lively and graceful,
fra i suo'eguali egli è il più bello. among his equals the most beautiful.

Vo' carpirti, ad esso offrirti; I want to snatch and offer you to him;
più che rose, gigli e mirti dearer than roses, lilies and myrtles,
ti fia caro il mio fanciullo, my lad will be to you
ed a lui sarai trastullo. and you will be his plaything.

Nell'aspetto e terso petto In his looks, in his pure bosom,

rose e gigli ha il mio diletto. my darling has roses and lilies.
Vieni, scampa da' perigli, Come, escape from danger,
non cercar più rose e gigli. seek roses and lilies no more.

Vaga luna, che inargenti Vincenzo Bellini

Another highlight from Vincenzo Bellini’s Italian song repertoire is his piece “Vaga luna, che
inargenti”. This delicate song is a serenade from afar, hoping that the moon will carry the loving
words to their other half. In true style of Bellini, this piece truly allows the voice to show off its
beauty and natural skill. The light accompaniment adds to the texture of the piece but gives the
voice room to soar. While this song is simple in nature, it captures the beauty of singing and the
emotion behind a far-away-love.

Vaga luna Lovely moon

Vaga luna, che inargenti Lovely moon, you who shed silver light
Queste rive e questi fiori On these shores and on these flowers
ed ispiri agli elementi And breathe the language
 il linguaggio dell’amor; Of love to the elements,
testimonio or sei tu sola You are now the sole witness
del mio fervido desir, Of my ardent longing,
ed a lei che m’innamora And can recount my throbs and sighs
conta i palpiti e i sospir. To her who fills me with love.

Dille pur che lontananza Tell her too that distance

Il mio duol non può lenir, Cannot assuage my grief,
che se nutro una speranza, That if I cherish a 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 hours of sorrow,
che una speme lusinghiera That a flattering hope
mi conforta nell’amor Comforts me in my love.

La serenata Paolo Tosti

Paolo Tosti was an Italian popular song composer who composed hundreds of pieces in his
lifetime. Characterized by tuneful melodies and intense emotional colors, Tosti’s pieces are well-
known for their combination of Italian art-song and Neapolitan pop-song. “La serenata” is a
prominent example of Tosti’s unique, yet comfortable song-style. The lyrical melody is
memorable and simple yet showcases the flexibility and beautiful nature of the voice. This
passionate vocal line is intertwined with driving piano melody to create the image of this
serenade flying away to reach a loved one.

La serenata The serenade

Vola, o serenata: Fly, o serenade

La mia diletta è sola, My beloved is alone,
e, con la bella testa abbandonata, with her beautiful head hidden
posa tra le lenzuola: under the sheets:
O serenata, vola, O serenade, fly.
O serenata, vola. O serenade, fly.

Splende Pura la luna, The moonlight is purê,

l’ale il silenzio stende, Wings of silence stretch out,
e fietro i veni dell’alcova and behind the veils of the dark alcove
bruna la lampada s’accende. the lamp burns.
Pura la luna splende. The pure moonbeams shine.
Pura la luna splende. The pure moonbeams shine.

Vola, o serenata. Fly, o serenade.

Vola, o serenata, vola. Fly, o serenade, fly.
Ah! là. Ah! là. Ah! là. Ah! là.
 Vola, o serenata: Fly, o serenade:
La mia diletta è sola, My beloved is alone,
ma sorridendo ancor mezzo assonnata But still smiling half asleep,
torna fra le lenzuola: She has returned beneath the sheets:
O serenata, vola. O serenade, fly.
O serenata vola. O serenade, fly.

L’onda sogna su‘l lido The waves dream on the shore,

e’l vento su la fronda; and the wind blows through the branches;
e a’ baci miei ricusa ancore un nido and my kisses don’t result in a nest
la mia signora bionda. by my blonde lady.
Sogna su’l lido l’onda. Dreaming on the shore, are the waves.
Sogna su’l lido l’onda. Dreaming on the shore, are the waves.

Vola, o serenata, Fly, o serenade.

Vola, o serenata, vola. Fly, o serenade, fly.
Ah! là. Ah! là. Ah! là. Ah! là.

VI.
Eve-Song Jake Heggie

One of America’s most prominent contemporary composers, Jake Heggie, has produced several
operas and various vocal, orchestral, and chamber works. However, his innovative take on opera
and vocal works are what set him apart today. The following three songs come from a cycle of
seven songs called Eve-Song. In this cycle, Heggie uses text from Phillip Littell’s poetry about the
biblical character Eve to add more contemporary commentary to her story. Heggie explores
various types of songs – from recitative to lullaby to musical theater, all within this cycle.

While the Bible suggests that Adam was the one to name all of the Earth’s animals, “Good” offers
Eve the chance to identify some animals as well. This harmonically complex song full of
syncopated rhythms expresses the excitement that Eve feels being trusted with this role.

In “Even,” Eve sits beside a river and observes the world of Eden around her. As she watches, a
sense of wonder and sadness settles in. The long, arching vocal line is accompanied by a gently
swirling piano figure – the introduction of the winding, seductive snake motif that will be
developed in the later songs of the cycle.

“Snake” tells the infamous story of Eve eating the forbidden fruit, but this time from her
perspective. The swing rhythms and jazz elements parallel her urge to try something new and her
curiosity. Eve follows the snake who convinces her to take a bite, leading to her great awakening.
One small bite of this fruit brings a wide range of tastes and emotions she has never experienced
before.
 Good

Good Morning Whoever you are.

Good Morning. Do you have a name yet?
Let me name you.
It must be the right name
So I don’t Forget.
What Shall I name you?
What Is your name?
I have not Eaten yet.
Are you slow?
Are you fleet?
Are you obedient?
Are you Good to eat?
Mm..
Almost Ev’rything is good to eat.
Good morning.
If I could I would eat the world
Because it’s Good.
Mm.

Even

in the evening I am at peace.

in the evening I hear ev’rything more clearly
ev’rything
to the hearer all the world does sing
with a ringing and a quickening
overhead the birds wheel and turn
overhead the setting sun
reddening no longer burns
at the water’s edge a wind brushes by me
with a susurration:
grass and leaves
flowers glow against the dark’ning trees
eyesight and the light both go
ev’ry evening the forest darkens
in the evening my senses sharpen
I have no peace at night
I have no peace at night
 Snake

Snake, is it true
About the fruit?
My intuition tells me what you say about this fruit is true.
I’d like to find out, snake.
I’d love to know.
Go ahead in front of me
Where I can see you.
I will follow you.
Oh!
The snake is in the tree.
Where I cannot see him.
He is now the color of Shadows.
Very few things are
As visible as I am
When I’m clean.
When a thing is visible,
It always means that the thing,
The tree frog, or that fruit,
means to be seen.
Visibility’s
A warning
or
An invitation
And it never tells you
Which.
What’s visible will either
Feed you,
Mate with you,
Or kill you.
Either way you gain
Experience.
Here goes.
Sweet.
Sour.
Salty.
Bitter.
And the taste of air,
Of rottenness,
Earth,
And water.
Now I know.
 VII.
I Never Saw a Moor Richard Pearson Thomas

Richard Pearson Thomas is a modern American composer who is making an impact today with
his vocal works. His works have been performed by various opera companies and orchestras across
the United States. His commissioned opera, A Wake or a Wedding was premiered by CSUF’s
Opera Department. Thomas is also a well-skilled pianist who continues to collaborate with
vocalists across the country. Among his most common vocal works are “I Never Saw a Moor”
which is coming to be a classic in today’s modern vocal repertoire. This ethereal piece is simple,
but nothing short of astonishing. The poetry, by Emily Dickinson, touches on the idea of
unyielding faith. Thomas’s interpretation of this poetry begins with a simple statement of certainty
in the midst of the unknown. The simple accompaniment and more open harmonic structure allow
for more focus on the vocal line. As the song continues, the accompaniment broadens to add
support to the voice as it climactically declares words of faith.

I Never Saw a Moor

I never saw a Moor —

I never saw the Sea —
Yet know I how the Heather looks
And what a wave must be.

I never spoke with God

Nor visited in Heaven —
Yet certain am I of the spot
As if the charts were given —

Ballad of the Boy Who Went to Sea Richard Pearson Thomas

“Ballad of the Boy Who Went to Sea” is an art song that is quite operatic in nature. Richard
Pearson Thomas coordinates the vocal line and accompaniment to tell this melancholic narrative.
His use of forward motion accompaniment and pulsing rhythms parallel the dramatic movement
of the story. Thomas creates room for the vocalist to tell the story by adding vocal elements that
vary between spoken-like phrases and long over-arching melodic lines. He harmonically shifts
throughout the piece in order to increase the intensity. At the very end of the piece, the vocal line
sings a capella, creating a touching ending to the story. The piano concludes the song by playing
the simple melodic line that ties the entire piece together.

Ballad of the Bot Who Went to Sea

I met the boy who went to sea when I was seventeen.

His hair was black as night and his eyes a dusty green.
I heard him singing on the dock before the boats went out.
And when they came back full o’fish, he was singing just as loud.
 To catch my ear he hit a note so pure and high,
then tipped his hat and smiled as I came passing by.
He’d follow at a distance when he’d see me heading home.
He memorized my patterns so he’d know I’d be alone.

He met me in the market when my mother couldn’t see,

And offered little shells which he had sought for me.
When the summer came one night a whisp’rin in the rain,
I heard his gentle tenor sweetly singing this refrain:

Sleep well! Softly, navigate the night.

I will guard you ‘til the break of light.
I will row you to the shore at down,
and love you ‘til the stars and moon and sea are gone.

The boy who went to sea lived beyond the cemetery

where my folks were not allowed to trespass nor to tarry.
Those people had another way they chose to worship God.
That didn’t bother me at all, which some found rather odd.

When my mother found him out, she forbade me leave the house.
“He’ll bring you sorrow! He can’t take you for a spouse – it’s a shame to God!”
she hissed and hit me with her broom,
then sent me up to pray all alone in my room.

His folk sent him longer out to sea.

Six weeks later he snuck on back to me.
He crawled into my room and slid into my bed.
and promised me when next he came we’d run away and wed.

Then he said:
Sleep well! Softly, navigate the night.
I will guard you ‘til the break of light.
I will row you to the shore at down,
and love you ‘til the stars and moon and sea are gone.

In the morning when I woke, the sky was thick and grey.
The boy who stole my heart had stolen off away.
I hurried to the bay where the sea was rough and green.
It crashed upon the rocks the worst I’d ever seen.

Come back! I hollered in the wind

But I have never seen that boy again.

My mother says my sin has brought me to this place.

 When I go out to market I have to hide my face
I’ll wait until the day my boy rises from the sea.
For now I’ll hold his son and sing the song he sang to me:

Sleep well! Softly, navigate the night.

I will guard you ‘til the break of light.
I will row you to the shore at down,
and love you ‘til the stars and moon and sea are gone.

I’m Yours! Richard Pearson Thomas

This frisky and lively piece is one of Richard Pearson Thomas’s cabaret songs. “I’m Yours!” is
set in a waltz-like tempo as if to imitate the dance-like behaviors that come along with falling in
love. Full of flirtation, the text is paired with a playful and tuneful melody. This tongue-in-cheek
song encapsulates the charming stage of budding romance.

I’m Yours!

I’ll spy you and you’ll spy me

And oh, what a caught couple we’ll be
I’ll motion you and you’ll motion me
And oh, what an emotional couple we’ll be
I’ll move to you and you’ll move to me
And oh, what an anxious couple we’ll be
I’m all yours so take me
Spy my motions, move me, I’m yours!

I’ll tease you and you’ll tease me

Oh, what a delighted couple we’ll be
I’ll tickle you and you’ll tickle me
And, oh, what a ticklish couple we’ll be
I’ll touch you and you’ll touch me
And oh, what a sensitive couple we’ll be
I’m all yours so take me
Tease me, tickle me, touch me, I’m yours!

I’ll hold you and you’ll hold me

And oh, what an intimate couple we’ll be
I’ll kiss you and you’ll kiss me
And oh, what a passionate couple we’ll be
I’ll wrestle you and you’ll wrestle me
And oh what a spent couple we’ll be
I’m all yours so take me
Spy my motions, move me,
Tease me, tickle me, touch me,
Hold me, kiss me, wrestle me,
I’m yours!