George Frideric Handel (1685-1759) The Trumpet shall sound from Messiah Messiah is the most often performed

of any major work for choir and orchestra in existence, and is among Handels most recognizable and important compositions. It first premiered in Dublin, Ireland in 1742. The work is reflective of the life of Jesus as the Messiah. Charles Jennens was the librettist, taking the text from the King James Bible and the Book of Common Prayer. Messiah is structured in three parts, with movements for soprano, alto, tenor, and bass soloists, chorus, and orchestra. The Trumpet shall sound is the last of the bass solos, which takes place in part three of the work. It is a traditional da capo aria. The trumpet is also featured in this movement, as the truest instrumental solo in the entire work providing the elaborate interplay between instrument and bass soloist. In the original performance, the type of trumpet being used would have no valves, as both rotary and piston valve instruments had yet been invented, but a piccolo trumpet is often used in modern day performances. The text comes from 1Corinthians 15: 51-54, which tells of the coming Day of Judgment. Johannes Brahms (1833-1897) Die schne Magelone, Op. 33 Die schone Magelone is a song cycle composed by Johannes Brahms between 1861 and 1869. This was the largest attempt that Brahms made to compose an actual cycle, as opposed to a set or collection. The text for piece comes from Ludwig Tiecks romantic prose Liebesgeschichte der schnen Magelone und des Grafen Peter von Provence (The Romance of Magelone the Fair and Peter Count of Provence), written in 1796. Brahms used the poems from within the story as his text, which does not always present a concise story. The history of the story originated as an anonymous 15th century French prose, which was translated into German in 1527 by Veit Warbeck, which later led to Tiecks version. The story is about the relationship between Count Peter of Provence and Princess Magelone of Naples, who fall in love and are married. The couple is separated due to a series of unfortunate events. While apart, Peter becomes infatuated with the Muslim Princess Sulima. After many trials, Peter and Magelone are reunited and live out their days together. In the story, Traun! Bogen und pfeil sind gut fer den find is a song that Peter is reminded of, when he first leaves home as a young knight, headed for Naples. The setting by Brahms is a simple ABABA form with aggressive music to compliment the text references to the duties of a knight. Liebe kam aus fernen landen is the fourth song in the cycle. In the story, it is a love poem that Peter has written for Magelone shortly after their initial encounter. It is delivered to Magelone by her maid along with a valuable ring of Peters family. So willst du des armen is the fifth song in the cycle. It deals with the thoughts of uncertainty of what has just transpired and the joy that Peter feels now that he has found true happiness.
2 Traun! Bogen und Pfeil sind gut fr den Feind, hlflos alleweil der Elende weint; dem Edlen blht Heil, wo Sonne nur scheint, die Felsen sind steil, doch Glck ist sein Freund 4 Liebe kam aus fernen Landen und kein Wesen folgte ihr, und die Gttin winkte mir, schlang mich ein mit sen Banden. Da begann ich Schmerz zu fhlen, Trnen dmmerten den Blick: Ach! was ist der Liebe Glck, klagt ich, wozu dieses Spielen? Keinen hab ich weit gefunden, Sagte lieblich die Gestalt, fhle du nun die Gewalt, die die Herzen sonst gebunden. In Faith, bow and arrow are meet for the foe, helpless the whole while the wretched man weeps. For the noble happiness blooms wherever sun shines; The rocks are steep, but fortune is his friend. Love came from distant lands and no one followed her, and to me the goddess beckoned, and enmeshed me in sweet bonds. Pain I then began to feel, tears bedimmed my eyes, ah, what is loves happiness, I lamented, why this dallying? Far and wide no man Ive found, said the figure sweetly; but you: feel now that power which formerly bound hearts.

Alle meine Wnsche flogen in der Lfte blauen Raum, Ruhm schien mir ein Morgentraum, nur ein Klang der Meereswogen. Ach! wer lst nun meine Ketten? Denn gefesselt ist der Arm, mich umfleucht der Sorgen Schwarm; keiner, keiner will mich retten? Darf ich in den Spiegel schauen, den die Hoffnung vor mir hlt? Ach, wie trgend ist die Welt! Nein, ich kann ihr nicht vertrauen. O und dennoch la nicht wanken was dir nur noch Strke gibt, wenn die Einzge dich nicht liebt, bleibt nur bittrer Tod dem Kranken. 5 So Willst du des Armen dich gndig erbarmen? So ist es kein Traum? Wie rieseln die Quellen, wie tnen die Wellen, wie rauschet der Baum! Tief lag ich in bangen Gemuern gefangen, nun grt mich das Licht; wie spielen die Strahlen! Sie blenden und malen mein schchtern Gesicht. Und soll ich es glauben? Wird keiner mir rauben den kstlichen Wahn? Doch Trume entschweben, nur lieben heit leben: Willkommene Bahn! Wie frei und wie heiter! Nicht eile nun weiter, den Pilgerstab fort! Du hast berwunden, du hast ihn gefunden, den seligsten Ort!

My desires all flew into the blue realm of breezes, fame seemed to me a dream, but a sound of the sea waves. Ah, who will now loose my chains? For my arms are fettered, a swarm of sorrows flies about me, will no one, no one deliver me? Dare I gaze into the glass that hope holds before me? Ah, how deceptive is the world! No, I cannot trust it. Oh, but do not let falter what alone still gives you strength; If the only one does not love you, to the sufferer remains but bitter death.

Do you mean thus, on the poor man, to take gracious pity? Is this then not a dream? How the streams ripple, how the waves sound, how the tree rustles! Deep I lay, within fearful walls, captive; Now I am greeted by light; How the beams play! They dazzle and reflect my timid face. And shall I believe it? Will no one rob me of this precious illusion? But dreams vanish, only loving is living, oh welcome path! How clear, how cheerful! Hasten now no further, away with your staff! You have overcome, you have found it, that most blissful place!

Gaetano Donizetti (1797-1848) Bella Siccome un angelo from Don Pasquale Gaetano Donizetti was one of the leading Italian composers of nineteenth century bel canto opera, which also included composers like Rossini and Bellini. His best known work is Lucia di Lammermoor, which was premiered in 1838. Donizetti had a tragic life, losing all three of his children, as well as his wife to cholera, and his own diagnosis to syphilis. By 1845, he was institutionalized, and after struggles with insanity, he passed away in 1848. Don Pasquale is one of Donizettis best known works. It is classified as opera buffa, or comic opera, premiered in Paris in 1843. The story all takes place in a single day. Ernesto, who is the nephew Don Pasquale, loves the young widow Norina. His uncles dislike of this decision leads him to attempt to marry a young lady who may receive his inheritance instead of Ernesto. In the very first scene of the opera, Don Pasquales friend, Dr. Malatesta, tells him of his beautiful, intelligent, kind (and fictitious) sister, who will be the perfect bride for him.

Bella siccome un angelo in terra Pellegrino, fresca siccome il giglio che s'apre in sul mattino, occhio che parla e ride, sguardo che i cor conquide, chioma che vince l'ebano, sorriso incantator Alma innocente, ingenua, che s medesma ignora, modestia impareggiabile, bont che vinnamora Ai miseri pietosa, gentil, dolce, amorosa Il ciel l'ha fatta nascere per far beato un cor.

Beautiful as an angel on a pilgrimage to earth, fresh as the lily that opens upon morning, eyes that speak and laugh, a glance that conquers hearts, hair that transcends ebony, an enchanting smile An innocent, ingenuous soul that disregards itself, incomparable modesty, goodness that makes you fall in love Merciful to the poor, gentle, sweet, affectionate Heaven made her be born in order to make a heart happy.

Claude Debussy (1862-1918) Ballades de Franois Villon, L 119 Claude Debussy was a French Composer most readily identified as the primary figure of the Impressionist music style, which strives to create suggestions or atmospheres rather than strong emotions or follow a programmatic structure. Debussy is probably best known for his piano and orchestra pieces like Clair de Lune or Prlude l'aprs-midi d'un faune, but he also made an impressive contribution to French song literature. Debussys three ballades, written in 1910 are among his best songs. These two songs come from that group and are settings of poems written by Franois Villon (c.1431-1463?), a medieval poet, thief, and vagabond in France. Ballade que feit Villon requeste de sa mre pour prier Nostre-Dame is essentially a long prayer, written in the Roman-Catholic tradition, to the Virgin Mary. Debussy was not thought of as very religious, but he is really able to capture the right tone for this prayer. The music is very modal, and never overstates itself. In stark contrast, Ballade de femmes Paris Is completely over the top, with Villons poetry joking about how the women of Paris are second to no one in terms of chattiness and gossip.
Ballade que feit Villon requeste de sa mre pour prier Nostre-Dame Dame du ciel, rgente terrienne, Emperire des infernaux palus, Recevez-moi, votre humble chrtienne, Que comprise soie entre vos lus, Ce nonobstant qu'oncques rien ne valus. Les biens de vous, ma Dame et ma Matresse Sont trop plus grands que ne suis pcheresse, Sans lesquels biens me ne peut mrir N'avoir les cieux. Je n'en suis menteresse. En cette foi je veuil vivre et mourir. A votre Fils dites que je suis sienne ; De lui soient mes pchs abolus; Pardonnez-moi comme l'Egyptienne, Ou comme il fit au clerc Theophilus, Lequel par vous fut quitte et absolus, Combien qu'il et au diable fait promesse Prservez-moi que je naccomplisse ce! Vierge portant, sans rompure encourir, Le sacrement qu'on clbre la messe. En cette foi je veuil vivre et mourir. Femme je suis pauvrette et ancienne, Qui riens ne sait ; oncques lettres ne lus; Au moutier vois, dont suis paroissienne, Paradis peint, o sont harpes et lus, Et un enfer o damns sont boullus: L'un me fait peur, l'autre joie et liesse. Ballad made at the request of his mother, for a prayer to Our Lady Lady of Heaven, Regent of the earth, empress of the infernal swamps, receive me, your humble Christian woman, let me be numbered among your elect, although I am unworthy. Your goodness, my Lady and my Mistress, is far greater than my sinfulness, without this goodness, no soul can merit heaven nor gain it. I do not speak falsely: In this faith would I live and die. Say to your Son, I am His; Through Him let my sins be swept away: May He forgive me as He forgave the woman of Egypt, or the priest Thophilus, who through your intercession was acquitted and absolved, although he had made a pact with the devil. Preserve me from ever doing such a thing! Virgin bearing without blemish the sacrament we celebrate at Mass. In this faith would I live and die. I am a poor old woman, ignorant and unlettered; In my parish church I see a picture of paradise with harps and lutes, and hell where the damned are boiled: One frightens me, the other brings joy and gladness.

La joie avoir me fais, haute Desse, A qui pcheurs doivent tous recourir, Combls de foi, sans feinte ne pareses. En cette foi je veuil vivre et mourir. Ballade des femmes de Paris Quoiqu'on tient belles langagires Florentines, Vnitiennes, Assez pour tre messagres, Et mmement les anciennes; Mais soient Lombardes, Romaines. Genevoises, mes prils, Pimontoises, Savoisiennes, Il n'est bon bec que de Paris. De beau parl tiennent chayres, Ce dit-on, les Napolitaines, Et que sont bonnes caquetires Allemandes et Prussiennes, Soit Grecques, gyptiennes, De Hongrie ou d'autres pays, Espagnoles ou Castellannes, Il n'est bon bec que de Paris. Brettes, Suisses n'y savent gure, Ne Gasconnes et Toulousaines; De Petit Pont deux harengres Les concluront, et les Lorraines, Anglches ou Calaisiennes, (Ai-je beaucoup de lieux compris?) Picardes de Valenciennes Il n'est bon bec que de Paris. Prince, aux dames parisiennes De bien parler donnez le prix ; Quoi quon die d'Italiennes, Il n'est bon bec que de Paris.

Give me the joy, exalted Goddess, to whom all sinners must resort, full of faith, without insincerity or sloth. In this faith would I live and die. Ballad of the women of Paris Although they praise as fine talkers Florentine, Venetians, good enough to be go-betweens, even the old women too; Yet be they from Lombardy, Rome, Geneva, heaven help me, Piedmont, Savoy; For the gift of the gab give me Paris. Those who hold professorships in loquacity are, they say, the Neapolitans, and outstanding as chatterboxes are the Germans and the Prussians, yet be the Greeks, Egyptians, from Hungary or other lands, Spaniards or Castilians, for the gift of gab give me Paris. The Bretons, the Swiss know nothing about it, neither do they in Gascony or Toulouse; Two jabberers from the Petit-Pont would soon settle them, and also those from Lorraine, England or Calais, (Have I included enough places?) Picardy, of Valenciennes For the gift of gab give me Paris. Prince, to the Parisian ladies present the prize for good talking; Whatever they may say of the Italians, for the gift of gab give me Paris.

Charles Ives (1874-1954) Selections from 114 Songs Charles Ives was an American modernist composer known for his eclectic and experimental composition style. He used such techniques as polytonality, polyrhythm, and quarter tones while intertwining pieces of family hymn tunes and other traditional songs in many of his works. Born in Danbury Connecticut, he attended Yale to study music, but after school, he decided to pursue a career in the insurance business, while continuing to write music for personal enjoyment. Ives music was not always generally accepted during his lifetime but its reception has improved over time, thanks in large part to Leonard Bernstein and other conductors willing to take on the challenge of interpreting his music. In song literature, one of Ives largest contribution was his large collection titled 114 Songs, published in 1922, which is a microcosm of many of the composition techniques he used as well being a showcase of his style. The song Two Little Flowers was a collaborative effort between Ives and his wife, Harmony, who supplied the poetry. The subject of the piece is their daughter, Edith. Edith was a very special child to them, because they were never able to have a child together, but were able to adopt Edith in 1916. Harmony originally wrote the text of this song as a poem after observing Edith at play with a childhood friend. The accompaniment is full of irregular rhythms and unresolved major ninth chords, while at the same time the melody appears to be simple in nature. A master of miniature forms, Ann Street is one of the shortest compositions Ives wrote at only 20 measures total. The text comes from a poem found in a newspaper written by Maurice Morris. Ann Street is a real New York street, located in the financial district of Manhattan. It is actually one of the older streets in the city, appearing on maps as far back as 1728. The composition of this piece may be short in duration, but not in

complexity. What starts with a pedal note in the bass line, quickly evolves into large leaps and wild rhythms, depicting what a busy Manhattan through-way might be like. The Rainbow (So may it be!) was composed in 1921 by Ives, and it text comes from the British poet, William Wordsworth. Wordsworths poem, written in 1802, describes the joy that he feels when he sees a rainbow has been with him since he was a child, and that his childhood shaped the man that he has become. Ives was originally inspired by this poem to write a chamber music piece entitled The Rainbow, but it is likely that the song existed in some form prior to the instrumental work. In comparison to some of the pieces, Charlie Rutlage might be considered to be fairly straightforward. The text comes from John A. Lomaxs Cowboy Songs and other Frontier Ballads. The piece starts at a moderate tempo, with a simple accompaniment but by the climax of the story, the tempo has become very rapid with a complex and cluster-filled piano part. In his typical style, Ives quotes an old folk song titled Whoopee Ti Yi Yo in one section of the piece. Andrew Lloyd Webber (b. 1948) All I Ask of You from The Phantom of the Opera Andrew Lloyd Webber has been a very successful composer in the realm of musical theater, winning a total of 7 Tony Awards, 4 Grammys, and even an Academy Award.. His early hits were Joseph and the Amazing Technicolor Dreamcoat (1968), followed by Jesus Christ Superstar (1970). Two other shows, Evita (1978) and Cats (1981), were also very successful. Phantom of the Opera may very well be considered Webbers greatest success. It premiered in London in 1986, and opened on Broadway on January 26, 1988. Both productions are currently still going, with the New York Production being the longest-running show in Broadway history with over 10,000 performances. Phantom of the Opera takes place in 1905 at a fictitious opera house in Paris. At the center of the story is the horribly disfigured Phantoms obsession with the young singer Christine. To complicate things, the new patron Raoul, who was also a childhood friend of Christine, also has strong feelings for her. All I Ask of You is part of the Act I finale. After a murder has taken place during a performance, Raoul rushes out with Christine to the roof, and while there, he vows to protect and love her always. When the Phantom, who is hiding in the shadows, overhears this conversation, he plans to take revenge against Raoul, setting up a spiral of events to take place in the second half of the musical. Sarah Brightman and Steve Barton sang the roles in the original West End/Broadway productions but countless other duets have recorded it. Jason Robert Brown (b. 1970) Its Hard to Speak my Heart from Parade Jason Robert Brown has seen a fair amount of success in recent decades in the contemporary music theater scene. He has become associated with being a very progressive minded writer. His first widely marked success came with Songs for a New World in 1995. Other large projects include The Last Five Years (2001) and the tweener musical 13 (2007). Parade opened in 1998, and despite a large amount of awards and nominations including a Tony Award for Best Original Score, it was not well received by the general public, closing with less than 100 regular performances. The story is an adaptation of the 1913 trial of Leo Frank, a Jewish factory manager in the state of Georgia who was accused of raping and murdering a 13 year old girl who worked in his factory. In what was viewed by many as an unfair trial, Franks death sentence was changed to life in prison. On the way to prison, Frank was taken by an angry mob and hanged from an oak tree. Its Hard to Speak my Heart is Leos statement to the courtroom during his trial, in which he tries to explain himself as innocent. This song is very representative of Jason Robert Browns trademark style of combining popular song structure with more theatrical text settings. Cole Porter (1891-1964) Where is the Life that Late I Led? from Kiss Me Kate Cole Porter was an American composer and songwriter, who is probably remembered more today for his songs than many of his musicals, but they were immensely popular in their time. Anything Goes in 1934 was his biggest early success. Porter continued to write music for new shows throughout the 30s and 40s, but it was not until 1948 that he wrote what is perhaps his best work, Kiss Me, Kate. It was seen as a response to the new more integrated style being written by Rodgers & Hammerstein, which emphasized the overarching story much more. Kiss Me, Kate ran for 1,077 performances in its initial Broadway run, and won the first ever Tony Award for Best Musical. The story is a show within in a show, in which the stage actor Fred Graham is both directing and starring in a musical version of Shakespeares The Taming of the Shrew, as Petruchio, while his ex-wife Lilli Vanessi plays Katherine. Lets just say that the two of them do not always get along very well together, and this becomes evident both on and off stage. After Petrucio marries Katherine, and has attempted to tame her, he seems to wish that he were still a bachelor as he sings Where is the Life That Late I Led?, a colorful illustration of old girlfriends in which it may be more Fred speaking than Petrucio.