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/,0' ' The idea for this recital an exploration of various Romance Language dialects through art song initially came out of a desire to perform two of the pieces on tonights program: La descolorida by Osvaldo Golijov, and Heitor Villa-Lobos famous Bachianas Brasileiras No. 5. Looking for a connection between the two pieces that could inspire the rest of a recital program, I discovered that the Spanish dialect of La descolorida, Galician, is a close relative of Portuguese, the native tongue of Villa-Lobos, who was from Brazil. Having always been drawn to the study of languages, especially through song and poetry, I decided to expand this connection outward to other languages, particularly the lesser sung dialects of France and Spain, and the Portuguese of Portugal, which is largely unknown by classical singers. Thus, tonights recital program was born. Studying and performing these songs, I have been struck by how the particularities of a language fuse with the music to create a unique soundscape. We are often aware of this when singing in a foreign language why else is it so difficult to come up with good, idiomatic, singable translations? yet the influence of the language itself on the composer is easily taken for granted. The sounds of Occitan sound perfectly at home in the bubbly and boisterous arrangements Joseph Canteloube scored for these French mountainside folk songs. If we substitute standard French for the original texts, the effect isnt the same French is altogether too legato and elegant for these songs. Or consider the stark contrast between the sounds of Portuguese and Brazileiro (Brazilian Portuguese), and the resulting differences in composition heard on tonights program. To be sure, there are myriad factors contributing to their differences: geographical and social influences on the composers, where and with whom they studied, time period in which the works were composed, to name a few.
Just ask yourself, however how different would this piece be if it were in another language? Would the total effect be the same? Would the impressionist quality of Mar de Setembro suffer without the muffled, hazy sounds of Portugal? Would the exuberance of the second movement of Bachianas Brasileiras No. 5 still carry if not for the variance of vocalic color we find in Brazil? It feels like a chicken or the egg type of question, and perhaps therein lies the real answer: that in these songs, and in all great art songs, we seek to find that perfect fusion of text and music, by which both art forms may be elevated, and a scenario is created in which we would not want one without the other.
Chants dAuvergne
Arranged by Joseph Canteloube The Chants dAuvergne (Songs of the Auvergne) comprises arrangements of thirty folksongs of the Auvergne, located in the central, mountainous region of France. The songs give an impression of a pastoral society, and agriculture remains to this day the predominant economy. Born in nearby Annonay with familial roots in Auvergne, Joseph Canteloube was a passionate devotee of folksong all his life. A musicologist as well as a composer, he collected French folksongs for publication, claiming that peasant songs often rise to the level of purest art in terms of feeling and expression, if not in form. For the folksongs of Chants dAuvergne, he gathered and orchestrated them over a span of more than thirty years (1924 1955). The arrangements you hear on tonights program are Canteloubes own piano reductions of his original, colorful orchestrations. Peasant dance music is inextricably linked to folksong, and we hear this represented in Malurous quo uno fenno (Happy is he who has a woman), which Canteloube classified as a bourre, a dance in quick double or triple
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meter with an upbeat beginning in the last measure of the bar. One can imagine a lively, merry dance party during the interlude. Spinning songs (i.e. songs which evoke the act of a spinning wheel, often from the point of view of a shepherdess) are a popular folksong tradition as well. Canteloubes arrangement of Lo fiolaire (The Spinning Girl) lifts the folksong into art song territory with inventive harmonic changes accompanying the different verses of the girls brief story. And what would a collection of folksongs be without something for the children? Lou coucut is a silly song meant to tickle the tongue and elicit giggles from young and old alike. Canteloubes raucous arrangement is the perfect accompaniment.
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sadness, Mompou ascribes a haunting lyricism to these songs. Damunt de tu noms les flors (Above you only flowers) is like a tribute to raw grief, with the music fixated on one solitary, sorrowful motive. The second in the set, Aquesta nit un mateix vent (Tonight the same wind) enters an eery, otherworldly realm of a dream in which two lovers cannot connect physically. The music is bizarrely disjunct in turn. Finally, there is an acceptance of what is, in Jo et pressentia com la mar (I sensed you were like the sea), and a sense of release as the music carries away the infinite memory of the beloved.
La descolorida
Osvaldo Golijov Originally conceived as a single song for soprano Dawn Upshaw and pianist Gil Kalish, this piece subsequently took on a life of its own. It was also published for soprano and string quartet, soprano and string orchestra, and solo string instrument with piano (no voice). In addition, the orchestral version made its way into Golijovs Pasion Segun San Marcos (Passion of St. Mark). Within the context of this larger work, the song is appropriated to represent Peters guilt after having thrice denied Jesus. Seen in this light, the text and music become especially poignant. transparent. The poem, by Rosala de Castro, is written in Gallega, the language of the Galicia region in Spain. At the time de Castro began composing poetry, Gallega was seen as the lesser language of the poor, unruly, and uneducated. De Castro challenged this notion by publishing Its beauty is in its simplicity, sparsely textured and
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a collection of poetry titled Cantares Gallegos (Galician Songs) in 1863. Its date of publication, May 17, has been commemorated every year since 1963 as the Da das Letras Gallegas (Galician Literature Day).
Mar de Setembro
Fernando Lopes-Graa Joseph Canteloube would have found a like-minded friend in Fernando LopesGraa, for a permanent focus of Lopes-Graas work was related to the collection and reinterpretation of Portuguese folk music. In addition to his multiple volumes of Canes Populares Portuguesas (Popular Portuguese Songs) for solo voice and guitar, he is perhaps best known outside of Portugal for his twenty-four cycles of Canes Regionais Portuguesas (Regional Portuguese Songs), which are his own harmonizations of traditional Portuguese folk songs for mixed choir. Outside of his work with folk music, he was known for a clear and concise style utilizing neo-modal harmonies, chromaticism and even polytonality. The songs of Mar de Setembro provide us with exceptional use of musical colors, particularly via the interplay between voice and piano, which is most often indirect, especially in regards to rhythm. The texts are from a larger collection of poems of the same name by Eugnio de Andrade, one of Portugals most celebrated poets of the 20th century. They seem to follow the course of a relationship in and out of time, and take place among the beaches of the Bay of Biscay in Northern Spain, referencing places such as Bilbao, Bermeo, and Cantabria. The waves, sand and other characteristics of the beach stand in for descriptions of the lover. Lopes-Graa exploits this above all other themes in the poetry, creating music awash with only sensation of the sea, the wind, and abstract feelings. Sometimes we catch up to a blissful present moment (Canao escrita nas areias de Laga); other times we find ourselves reflecting with a certain distant detachment (Mar de Setembro); still other times the past is all too recent and raw (Um nome). In
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the end, we are left with a one-sided portrait of a relationship, distinct yet incomplete, and our imaginations must fill in the gaps.
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