CANDLER CONCERT SERIES - Arts at Emory - Emory University

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Program Mein Herz ist wie die dunkle Nacht (Der Mond) Felix Mendelssohn Bei der Wiege (1809–1847) Frage An’dres Maienlied A Charm of Lullabies, op. 41 Benjamin Britten A Cradle Song (1913–1976) The Highland Balou Sephestia’s Lullaby A Charm The Nurse’s Song Old American Songs Aaron Copland Simple Gifts (1900–1990) Little Horses At the River Ching-a-Ring Chaw —Intermission— Three Early Songs George Crumb Night (b. 1929) Let It Be Forgotten Wind Elegy Shéhérazade Maurice Ravel Asie (1875–1937) La flûte enchantée L’indifférent Five Poems of Max Jacob Francis Poulenc Chanson bretonne (1899–1963) Cimetière La petite servante Berceuse Souric et Mouric Program subject to change. Sasha Cooke will be signing CDs in the lobby immediately following the performance. 2
program notes Selected Songs of Felix Mendelssohn Born in Germany in 1809, Felix Mendelssohn was regarded not only as a composer, but also as a pianist, organist, and conductor. During his career he spent time travelling throughout Europe, including a great deal of time in England. Much of Mendelssohn’s vocal music was for sacred use, but he also composed a large volume of songs for voice and piano. The songs performed on this evening’s program come from a variety of collections from throughout his life. Unlike many of his contemporaries, Wagner, Berlioz, and Liszt, there was not much of an evolution of musical style during Mendelssohn’s life. While composing during the Romantic era, his works remained fairly conservative and favor many of the conventions of the classical style. A Charm of Lullabies, op. 41 Written in 1947, A Charm of Lullabies was composed for mezzo soprano Nancy Evans. She had recently completed performances of the title role in Benjamin Britten’s opera The Rape of Lucretia. A Charm of Lullabies is Britten’s only vocal work between 1940 and 1965 not written for the voice of tenor Peter Pears. The five songs in the cycle are on poems of William Blake, Robert Burns, Robert Greene, Thomas Randolph, and John Philip. All of the songs are lullabies of one sort or another, greatly varied in musical style and dramatic intent, and are unconventional in their reflections of meanings and moods not usually thought of as related to cradle songs. They are a prime example of Britten’s ability to complement text and music. He captures the essence of each poem with a musical atmosphere that seems a perfect fit, and then surprises us with unpredictable twists in melodic, harmonic, and rhythmic elements. Old American Songs Aaron Copland was one of the most respected American classical composers of the twentieth century. By incorporating popular forms of American music such as jazz and folksong into his compositions, he created pieces that were both exceptional and innovative. As a spokesman for the advancement of indigenous American music, Copland made great strides in liberating it from European influence. The Old American Songs were arranged in two sets in 1950 and 1952. Both the piano and orchestral versions of Copland’s arrangements 3
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Page 19 and 20: Sponsors $100-$299 Dr. Ann Uhry Abr
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CANDLER CONCERT SERIES - Arts at Emory - Emory University

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