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Thu, May 9, 2024
8:00 pm
- 9:00 pm

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Tim Manley ’24 (Voice) performs a senior recital.

DOWLAND The First Booke of Songes or Ayres

1. My Thoughts Are Wing’d With Hopes

2. If My Complaints Could Passions Move

3. Now, O Now I Needs Must Part

4. Come Again: Sweet Love Doth Now Invite

PURCELL Arise, Ye Subterranean Winds

SCHUBERT Schwanengesang

4. Ständchen

5. Aufenthalt

Prometheus

INTERMISSION

TCHAIKOVSKY None but the Lonely Heart

VAUGHAN WILLIAMS The House of Life

2. Silen Noon

3. Love's Minstrels

BACH St. Matthew Passion

64. Am Abend, da es kühle war (Recitative)

65. Mache dich, mein Herze, rein (Aria)

Download PDF Program

Published in 1597 in London, Dowland’s First Booke of Songes or Ayres was originally composed for soloist and lute. The lyrics are all anonymous, with the exception of My Thoughts Are Wing’d With Hopes, which has words ascribed to George, Earl of Cumberland (1558-1605). The selected songs are all melancholy love songs, typical of Dowland’s style.

Arise, Ye Subterranean Winds is an aria from the musical setting of the play The Tempest, or The Enchanted Island. This play is a comedic adaptation by John Dryden and William D’Avenant of Shakespeare’s The Tempest. The source of the music had always been attributed to Henry Purcell, but more recently this has been cast into doubt and it is thought that perhaps Purcell’s student, John Weldon, actually composed most of it. The aria is strongly influenced by the da capo arias that were popular in Italy at the time, and makes extensive use of word painting, for example the upward leaps given to the word “arise”.

Prometheus was composed by Franz Schubert in 1819, and is set to a poem by Johann Wolfgang von Goethe with the same name. The song is a dramatic, accusatory rant to the gods from Prometheus: a Titan and god of fire in Greek mythology, known for defying the gods by stealing fire from them and giving humanity science and technology.

The song cycle Schwanengesang was one of Schubert’s last compositions, written in 1828. The title means “Swan Song”, and was coined by Schubert’s publisher, likely as a marketing tactic. Ständchen (serenade) and Aufenthalt (dwelling place), both have text set by Ludwig Rellstab.

None but the Lonely Heart, much like Prometheus, uses text written by the influential German writer Goethe. Tchaikovsky’s melancholic composition, set to the Russian translation of the text, is the last in a cycle of six “romances” written for voice and piano in 1869, and it was premiered in Moscow in 1870.

The House of Life was composed by Vaughan Williams in 1903. From the same time as the well known “Songs of Travel”, The House of Life is a collection of six sonnets by the English writer Dante Gabriel Rossetti. The sonnets are all based on the theme of love, and combine natural metaphors with hopeful imagery to project a pure and positive image.

Bach’s St. Matthew Passion is an oratorio setting of the gospel of St. Matthew. It is a truly momentous composition, clocking in at about three hours of incredible music. The recitative Am Abend, da es kühle war and its aria Mache dich, mein Herze, rein (purify yourself, my heart) are the last, and perhaps most profound, recit/aria pair of the whole work. At this point in the story, Joseph of Arimathea has collected Jesus’ body from Pilate and is about to bury it in the tomb, laying him to rest while asking his heart to be made pure.



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Published in 1597 in London, Dowland’s First Booke of Songes or Ayres was originally composed for soloist and lute. The lyrics are all anonymous, with the exception of My Thoughts Are Wing’d With Hopes, which has words ascribed to George, Earl of Cumberland (1558-1605). The selected songs are all melancholy love songs, typical of Dowland’s style.

Arise, Ye Subterranean Winds is an aria from the musical setting of the play The Tempest, or The Enchanted Island. This play is a comedic adaptation by John Dryden and William D’Avenant of Shakespeare’s The Tempest. The source of the music had always been attributed to Henry Purcell, but more recently this has been cast into doubt and it is thought that perhaps Purcell’s student, John Weldon, actually composed most of it. The aria is strongly influenced by the da capo arias that were popular in Italy at the time, and makes extensive use of word painting, for example the upward leaps given to the word “arise”.

Prometheus was composed by Franz Schubert in 1819, and is set to a poem by Johann Wolfgang von Goethe with the same name. The song is a dramatic, accusatory rant to the gods from Prometheus: a Titan and god of fire in Greek mythology, known for defying the gods by stealing fire from them and giving humanity science and technology.

The song cycle Schwanengesang was one of Schubert’s last compositions, written in 1828. The title means “Swan Song”, and was coined by Schubert’s publisher, likely as a marketing tactic. Ständchen (serenade) and Aufenthalt (dwelling place), both have text set by Ludwig Rellstab.

None but the Lonely Heart, much like Prometheus, uses text written by the influential German writer Goethe. Tchaikovsky’s melancholic composition, set to the Russian translation of the text, is the last in a cycle of six “romances” written for voice and piano in 1869, and it was premiered in Moscow in 1870.

The House of Life was composed by Vaughan Williams in 1903. From the same time as the well known “Songs of Travel”, The House of Life is a collection of six sonnets by the English writer Dante Gabriel Rossetti. The sonnets are all based on the theme of love, and combine natural metaphors with hopeful imagery to project a pure and positive image.

Bach’s St. Matthew Passion is an oratorio setting of the gospel of St. Matthew. It is a truly momentous composition, clocking in at about three hours of incredible music. The recitative Am Abend, da es kühle war and its aria Mache dich, mein Herze, rein (purify yourself, my heart) are the last, and perhaps most profound, recit/aria pair of the whole work. At this point in the story, Joseph of Arimathea has collected Jesus’ body from Pilate and is about to bury it in the tomb, laying him to rest while asking his heart to be made pure.



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