JENEVA MEDILLO

PROGRAM NOTES
DRAFT

Submitted to:
Prof. Mia Ariana P. Tanciongco
MP160
ASTURIANA LIEDER EINES FAHRENDEN GESELLEN

The lamenting song “Asturiana” is from Asturias in northern Spain.40 Falla took the
melody and text from this popular Asturian air, but his own accompaniment
reshapes the piece. The tale portrays a green pine tree weeping in sympathy when
seeing the protagonist of the song cry.
Lieder eines fahrenden Gesellen (Songs of a Wayfarer) is a song cycle by Gustav
Mahler on his own texts. The cycle of four Lieder for medium voice (often performed
by women as well as men) was written around 1884–85 in the wake of Mahler's
unhappy love for soprano Johanna Richter, whom he met while conductor of the
opera house in Kassel, Germany, and orchestrated and revised in the 1890s.

Por ver si me consolaba,
Arrime a un pino verde,
Por ver si me consolaba.
Por verme llorar, lloraba.
Y el pino como era verde,
Por verme llorar, lloraba.
To see whether it would console me,
I drew near a green pine,
To see whether it would console me.
Seeing me weep, it wept;
And the pine, being green,
seeing me weep, wept.
1. Wenn mein Schatz Hochzeit macht
Wenn mein Schatz Hochzeit macht,
Fröhliche Hochzeit macht,
Hab' ich meinen traurigen Tag!
Geh' ich in mein Kämmerlein,
Dunkles Kämmerlein,
Weine, wein' um meinen Schatz,
Um meinen lieben Schatz!
Blümlein blau! Verdorre nicht!
Vöglein süß! Du singst auf grüner
Heide.
Ach, wie ist die Welt so schön!
Ziküth! Ziküth!
Singet nicht! Blühet nicht!
Lenz ist ja vorbei!
Alles Singen ist nun aus.
Des Abends, wenn ich schlafen geh',
Denk' ich an mein Leide.
An mein Leide!
1. When my darling has her wedding-day
When my darling has her wedding-day,
her joyous wedding-day,
I will have my day of mourning!
I will go to my little room,
my dark little room,
and weep, weep for my darling,
for my dear darling!
Blue flower! Do not wither!
Sweet little bird - you sing on the green
heath!
Alas, how can the world be so fair?
Chirp! Chirp!
Do not sing; do not bloom!
Spring is over.
All singing must now be done.
At night when I go to sleep,
I think of my sorrow,
of my sorrow!

2. Ging heut morgen übers Feld
Ging heut morgen übers Feld,
Tau noch auf den Gräsern hing;
Sprach zu mir der lust'ge Fink:
"Ei du! Gelt? Guten Morgen! Ei gelt?
Du! Wird's nicht eine schöne Welt?
Zink! Zink! Schön und flink!
Wie mir doch die Welt gefällt!"
Auch die Glockenblum' am Feld
Hat mir lustig, guter Ding',
Mit den Glöckchen, klinge, kling,
Ihren Morgengruß geschellt:
"Wird's nicht eine schöne Welt?
Kling, kling! Schönes Ding!
Wie mir doch die Welt gefällt! Heia!"
Und da fing im Sonnenschein
Gleich die Welt zu funkeln an;
Alles Ton und Farbe gewann
Im Sonnenschein!
Blum' und Vogel, groß und klein!
"Guten Tag, ist's nicht eine schöne
Welt?
Ei du, gelt? Schöne Welt?"
Nun fängt auch mein Glück wohl an?
Nein, nein, das ich mein',
Mir nimmer blühen kann!
2. I walked across the fields this
morning
I walked across the fields this morning;
dew still hung on every blade of grass.
The merry finch spoke to me:
"Hey! Isn't it? Good morning! Isn't it?
You! Isn't it becoming a fine world?
Chirp! Chirp! Fair and sharp!
How the world delights me!"
Also, the bluebells in the field
merrily with good spirits
tolled out to me with bells (ding, ding)
their morning greeting:
"Isn't it becoming a fine world?
Ding, ding! Fair thing!
How the world delights me!"
And then, in the sunshine,
the world suddenly began to glitter;
everything gained sound and color
in the sunshine!
Flower and bird, great and small!
"Good day, is it not a fine world?
Hey, isn't it? A fair world?"
Now will my happiness also begin?
No, no - the happiness I mean
can never bloom!
MY SOUL, ART THOU STILL DOWNCAST?
“My Soul, Art Thou Still Downcast?” is a new oratorio piece composed exclusively for
the Church of Christ by Brother Rod Ramos, a minister of the gospel and Dean of the
College of Music of New Era University. It was written for the purpose of the 2 nd
International Voice Competition that was held last December 1, 2019 at the College
of Music Performing Arts Theater. Its text is from Psalms 41:12 (Knox Bible).
My soul, art thou still downcast?
Art thou never at peace
Wait for the Lord,
Never cease to cry out to Him
My soul, hast thou decided?
Wilt thou wait for the answer?
Seek now the Lord
Finding peace in worship of Him!
Cry out to Almighty Father!
In thankfulness to Him
In thankfulness to the Father!
Cry out to Almighty Father!
In thankfulness to Him
With reverence, call to the Father!
To my Lord and champion, my God!
Cry out to Him!
In thankfulness, in thankfulness
My soul, art thou still downcast?
In patient silence I wait for Him with songs of praise!
My soul, hast thou decided?
I will take my refuge in God!
MINNELIED
Minnelied is composed by Johannes Brahms. It is a poem also set into music by
Schubert. It tells of a comparison of his love to life around him, that everything is
lifeless without her.
Holder klingt der Vogelsang,
Wenn die Engelreine,
Die mein Jünglingsherz bezwang
Wandelt durch die Haine.
Röter blühen Tal und Au,
Grüner wird der Wasen,
Wo die Finger meiner Frau
Maienblumen lasen.
Ohne sie ist alles tot,
Welk sind Blüt’ und Kräuter;
Und kein Frühlingsabendrot
Dünkt mir schön und heiter.
Traute, minnigliche Frau,
Wollest nimmer fliehen;
Daß mein Herz, gleich dieser Au,
Mög’ in Wonne blühen!
Delightfully sound the birdsongs
when the pure angel
who conquered my young heart
wanders through the wood.
Redder bloom the valleys and meadows,
Greener becomes the grass
where the fingers of my lady
Are picking little mayflowers.
Without her, everything is dead.
Blossoms and herbs are wilted;
and no spring sunset
would seem to me as fair and fine.
Darling, lovely woman,
Never wish to flee;
that my heart, as well as this meadow,
might bloom in joy!
3. Ich hab' ein glühend Messer
Ich hab' ein glühend Messer,
Ein Messer in meiner Brust,
O weh! Das schneid't so tief
In jede Freud' und jede Lust.
Ach, was ist das für ein böser Gast!
Nimmer hält er Ruh', nimmer hält er Rast,
Nicht bei Tag, noch bei Nacht, wenn ich
schlief.
O Weh!
Wenn ich in dem Himmel seh',
Seh' ich zwei blaue Augen stehn.
O Weh! Wenn ich im gelben Felde geh',
Seh' ich von fern das blonde Haar
Im Winde wehn.
O Weh!
Wenn ich aus dem Traum auffahr'
Und höre klingen ihr silbern' Lachen,
O Weh!
Ich wollt', ich läg auf der schwarzen Bahr',
Könnt' nimmer die Augen aufmachen!
3. I have a red-hot knife
I have a red-hot knife,
a knife in my breast.
O woe! It cuts so deeply
into every joy and delight.
Alas, what an evil guest it is!
Never does it rest or relax,
not by day or by night, when I would
sleep.
O woe!
When I gaze up into the sky
I see two blue eyes there.
O woe! When I walk in the yellow field,
I see from afar her blond hair
waving in the wind.
O woe!
When I start from a dream
and hear the tinkle of her silvery laugh,
O woe!
Would that I lay on my black bier -
Would that I could never again open my
eyes!
DEH VIENI, NON TARDAR
Le nozze di Figaro (The Marriage of Figaro) was one of Mozart's most successful
operas. The first of three collaborations between Mozart and Italian librettist
Lorenzo da Ponte, the opera's libretto is adapted from Beaumarchais' play, Le
mariage de Figaro.
Giunse alfin il momento
Che godrò senz'affanno
In braccio al idol mio
Timide cure uscite dal mio petto!
A turbar non venite il mio diletto
O come par che all'amoroso foco
L'amenità del loco,
La terra e il ciel risponda.
Come la notte i furti miei risponda.
Deh vieni, non tardar, o gioia bella
Vieni ove amore per goder t'appella
Finche non splende in ciel notturna face
Finche l'aria e ancor bruna,
E il mondo tace.
Qui mormora il ruscel, qui scherza l'aura
Che col dolce susurro il cor ristaura
Qui ridono i fioretti e l'erba e fresca
Ai piaceri d'amor qui tutto adesca.
Vieni, ben mio, tra queste piante ascose.
Vieni, vieni!
Ti vo' la fronte incoronar di rose.
AD UNA STELLA
Ad una stella [Pour une étoile], again to a poem by Andrea Maffei, bathing in the
beautiful nocturnal tonality of A-flat major, is a masterpiece of melodic purity and
expressiveness, and could take its place among the most beautiful opera arias.
The moment finally arrives Bell’astro della terra,
When I'll enjoy without haste Luce amorosa e bella,
In the arms of my beloved... Come desia quest’anima
Fearful anxieties get out of my heart! Oppressa e prigioniera
Do not come to disturb my delight. Le sue catene infrangere,
Oh, how it seems that to amorous fires Libera a te volar!
The comfort of the place,
Earth and heaven respond, Gl’ignoti abitatori
As the night responds to my ruses. Che mi nascondi, o stella,
Cogl’angeli s’abbracciano
Oh come, don't be late, my beautiful joy Puri fraterni amori,
Come where love calls you to enjoyment Fan d’armonie cogl’angeli
Until night's torches no longer shine in the sky La spera tua sonar.
As long as the air is still dark
And the world quiet. Le colpe e i nostri affanni
Here the river murmurs and the light plays Vi sono a lor segreti,
That restores the heart with sweet ripples Inavvertiti e placidi
Here, little flowers laugh and the grass is fresh Scorrono i giorni e gli anni,
Here, everything entices one to love's Nè mai pensier li novera,
pleasures Nè li richiama in duol.
Come, my dear, among these hidden plants.
Come, come! Bell’astro della sera,
I want to crown you with roses. Gemma che il cielo allieti,
Come alzerà quest’anima
Oppressa e prigioniera
Dal suo terreno carcere
Al tuo bel raggio il vol!
Beautiful star of the earth,
Amorous and beautiful light,
How desires this soul,
Oppressed and imprisoned,
To break its chains,
Free to fly to you!
The unknown inhabitants
That you hide from me, oh star,
Embrace with the angels
In pure brotherly love,
Making in harmony with the angels
Your sphere to sound.
Our faults and worries
Are secrets to them there;
Carefree and calm,
The days and years run by,
With no thought of counting them,
Nor recalling them in sadness.
Beautiful star of the night,
Gem in which heaven delights,
If only this soul could rise, this soul,
Oppressed and imprisoned,
From its earthly jail
To your beautiful ray in flight.
DRINK TO ME ONLY WITH THINE EYES LET BEAUTY AWAKE

It is a from a poem by the seventeenth-century English poet Ben Jonson translated

Ralph Vaughan Williams was an English composer of symphonies, chamber music,
from the Greek Philostratus. He suggests that lovers find each other's glances so
opera, choral music, film scores, and song. He was an avid collector of English folk
intoxicating that they have no need to drink wine. Its original title is “To Celia” and is
music and song. Let Beauty Awake is the second song of Songs of Travel, the song
one of the most quoted poems in English literature.
cycle. The piano accompaniment paints an aural picture of the wanderer witnessing
the beauty of the day's morning, it's passing to evening.

Drink to me only with thine eyes,

And I will pledge with mine;
Or leave a kiss but in the cup, Let Beauty awake in the morn from beautiful dreams,
And I'll not look for wine. Beauty awake from rest!
The thirst that from the soul doth rise Let Beauty awake
Doth ask a drink divine; For Beauty’s sake
But might I of Jove's nectar sup, In the hour when the birds awake in the brake
I would not change for thine. And the stars are bright in the west!

I sent thee late a rosy wreath, Let Beauty awake in the eve from the slumber of day,
Not so much honouring thee Awake in the crimson eve!
As giving it a hope, that there In the day’s dusk end
It could not withered be. When the shades ascend,
But thou thereon didst only breathe, Let her wake to the kiss of a tender friend,
And sent'st it back to me;
To render again and receive!
Since when it grows, and smells, I swear,
Not of itself, but thee.
O DEL MIO AMATO BEN CHANSON TRISTE

O del mio amato ben is the eighteenth in the set of 36 airas composed by Stefano
Donaudy compiled in the Arie di Stile Antico. It is probably the most famous aria
from the set as it is sung by many of the greatest singers of the twentieth and
twenty-first centuries. The words describe an Italian romance that only can be
expressed with the lush and grandeur of Neoromantic music.
Duparc' s first melodie, was composed in 1868 and was originally set for piano; it was later
orchestrated. This work was dedicated to the composer's brother-in-law, M. Leon
MacSwiney, an amateur singer.

O del mio amato ben perduto incanto!
Lungi è dagli occhi miei
chi m'era gloria e vanto!
Or per le mute stanze
sempre lo [cerco e]1 chiamo
con pieno il cor di speranze?
Ma cerco invan, chiamo invan!
E il pianger m'è sì caro,
che di pianto sol nutro il cor.
Oh, lost enchantment of my dearly beloved!
Far from my eyes is he
who was, to me, glory and pride!
Now through the empty rooms
I always seek him and call him
with a heart full of hopes?
But I seek in vain, I call in vain!
And the weeping is so dear to me,
that with weeping alone I nourish my heart.
Dans ton cœur dort un clair de lune,
Un doux clair de lune d'été,
[Et loin de]1 la vie importune,
Je me [viens perdre en]2 ta clarté.
J'oublierai les douleurs passées,
Mon amour, quand tu berceras
Mon triste cœur et mes pensées
Dans le calme aimant de tes bras.
In your heart sleeps a moonlight,
A soft summer moonlight,
[And far from] 1 unwelcome life,
I am losing myself in your clarity.
I will forget the past pains,
My love, when you cradle
My sad heart and my thoughts
In the loving calm of your arms.

Mi sembra, senza lui2, triste ogni loco.
Notte mi sembra il giorno;
mi sembra gelo il foco.
Se pur talvolta spero
di darmi ad altra cura,
sol mi tormenta un pensiero:
Ma, senza lui, che farò?
Mi par così la vita vana cosa
senza il mio ben.
It seems to me, without him, sad everywhere.
The day seems like night to me;
the fire seems cold to me.
If, however, I sometimes hope
to give myself to another cure,
one thought alone torments me:
But without him, what shall I do?
To me, life seems a vain thing
without my beloved.
Tu prendras ma tête malade,
Oh ! [certain soir sur]3 tes genoux,
Et lui diras une ballade
Qui semblera parler de nous ;
Et dans tes yeux pleins de tristesse,
Dans tes yeux alors je boirai
Tant de baisers et de tendresses
Que peut-être je guérirai.
You will take my head sick,
Oh ! [some evening on] 3 your knees,
And tell him a ballad
Who will seem to speak of us;
And in your eyes full of sadness,
In your eyes then I will drink
So many kisses and tenderness
May I heal?
GAANO KO IKAW KAMAHAL ARAW-ARAW SA MAYNILA

Gaano Ko Ikaw Kamahal is a Kundiman written by Levi Celerio and composed by Araw-araw sa Maynila is a Kundiman written by Dr. Bien Lumbera and composed by
Ernani Cuenco. It speaks of great love for someone that is unending and he is even Lucio D. San Pedro. It is a piece sung in the musical “Palabas Bukas” by the Manila
willing to prove so. MET. It is about finding one’s true love in the streets of Manila, likening them to an
open door, comforting and inviting.

Ikaw lamang ang aking iibigin magpakailanman Araw-araw sa Maynila may pintong biglang bumubukas
Ang pag-ibig ko sa iyo ay tunay Parang tanghalang maisisiwalat
Nais ko sanang patunayan Tagpong asam na maganap
Huwag ka nang mag-alinlangan Mukhang tagal nang hinanap
Ang pag-ibig ko'y hindi kukupas
Tulad din ng umagang may pag-asang sumisikat Taong naghahabol sa buong maghapon
Ang ating buhay maikli aking Hirang Takot na maubos ang gintong panahon
Kung kaya kailangan ang pagsuyong wagas kailanman Ay di makapansing may ulilang ibong hanap
Ang sumpa ko sa iyo ay asahan May unting lilim at doon sisilong
Ikaw lamang ang aking iibigin magpakailanman
Narito ka ngayon at ang dapit hapon
Ang pag-ibig ko'y hindi kukupas Biglang naging payong
Tulad din ng umagang may pag-asang sumisikat Na masisilungan
Ang ating buhay maikli aking Hirang Kuung biglang umambon
Kung kaya kailangan
Ang pagsuyong wagas kailanman Sa ingay ay gulo ng mga lansanagan
Ang sumpa ko sa Iyo'y asahan May pintong bumukas, ikaw ang nariyan
Ikaw lamang ang aking iibigin magpakailanman Kulimlim na langit ay nagkakabalangaw
Ang sumpa ko sa iyo'y asahan Sa katahimikang marahang gumapang
Ikaw lamang ang aking iibigin magpakailanman. May awit sa pusong sa hangi’y lumutang