Saturday, May 13, :00 p.m. Andrew Hannau. Senior Recital. DePaul Recital Hall 804 West Belden Avenue Chicago

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1 Saturday, May 13, :00 p.m Andrew Hannau Senior Recital DePaul Recital Hall 804 West Belden Avenue Chicago

2 Saturday, May 13, :00 p.m. DePaul Recital Hall PROGRAM Andrew Hannau, baritone Senior Recital Saori Chiba, piano Johann Sebastian Bach ( ) No. 1, Ich will den Kreuzstab gerne tragen, BWV 56 (1726) Carl Loewe ( ) Drei Balladen, Op. 1 (1818) I. Edward III. Erlkönig Pietro Cimara ( ) Stornello (1911) Mattinata (1921) Gioachino Rossini ( ) Come un ape ne giorni d aprile from La Cenerentola (1817) Intermission

3 Program Anton Rubinstein ( ) Ночь, Op. 44 (1859) Pyotr Ilyich Tchaikovsky ( ) 6 Romances, Op. 6 (1869) VI. Нет, только тот, кто знал Florian Hermann ( ) Очи чёрные (1874) Ralph Vaughan Williams ( ) 3 Poems by Walt Whitman (1925) Nocturne A Clear Midnight Joy, Shipmate, Joy! Burton Lane ( ) Excerpts from On A Clear Day You Can See Forever (1965) On A Clear Day Hurry! It s Lovely Up Here! She Wasn t You Andrew Hannau is from the studio of Jeffrey Ray. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you.

4 PROGRAM NOTES Johann Sebastian Bach ( ) No. 1, Ich will den Kreuzstab gerne tragen, BWV 56 Duration: 8 minutes Johann Sebastian Bach composed Ich will den Kreuzstab gerne tragen, "I will gladly carry the suffering cross," early during his time as cantor of St. Thomas's School and city music director in Leipzig. The first performance occurred on October 27, 1726 and is the only known performance under the composer's direction. The text comes from the Gospel of Matthew and is painted musically with many repetitions of the phrases. In this movement, the text describes man's suffering, and his loyalty to the Lord and Savior. The movement is split into 3 different phrases, and you hear changes rhythmically in each one. The final phrases change to triplets, giving importance to the final words being said from the suffering. Bach had a vivid concept of death. He went from losing his first wife in 1720, to ten of his children suffering premature deaths. Carl Loewe ( ) Drei Balladen Op.1 (1818) Duration: 8 minutes Born in 1796, two months before Schubert, whom he outlived by 40 years, Loewe wrote about 400 songs over the course of his long life, The first Loewe selection, Edward, his Opus 1, No. 1, is a frightening and dramatic conversation between a son and the mother who has driven him to what turns out to have been his father s murder. Edward begins with the mother questioning her son about the blood on his sword. The rhythm and intensity change with each character, so you can hear when the piece maneuvers between mother and son. The son answers with claims that he killed his hawk, then his horse, but finally admits that it is his father whom he has killed. The mother then questions the future of her son, in which he says his wife, children, and castles will have to live without him. The intensity builds to a climax at the end when the mother asks what she will receive after his departure. The accompaniment bursts into a fortissimo as

5 Program Notes the son yells: "a curse from hell" and implicates his mother advised him to murder his father. Erlkönig, Goethe s horror story of a father and son on horseback, has been used by both Schubert and Loewe. Schubert s version is very popular due to its rather difficult accompaniment. Loewe s on the other hand has been said to be a more accurate rendition and favored by most performers. The father and son are pursued by the elf king, who tempts the resisting boy with pleasures, then threatens him with violence. Loewe's accompaniment is marked Geschwind (fast), with the vocal line evoking the galloping effect by repeated figures of 8th notes and dotted 8th notes. This helps create stress on words to fall correctly within the rhythmic structure. Loewe's version is less melodic than Schubert's, opening with minor keys and putting answering phrases in the major key of the dominant. The Erlking, who is always heard pianissimo, does not sing melodies, but instead delivers rising arpeggios that outline a single major chord: the home key. We finish the piece with the Erl-king attacking the boy, and leaving the father to find out that his son has died from the spirit. Pietro Cimara ( ) Stornello Mattinata Duration: 6 minutes Cimara was born in 1887 and is not completely well known. His works get performed semi-rarely, which is unfortunate since his style fits well with composers like Tosti, who has a great popularity. Cimara has a way of writing love songs and these two pieces are wonderful examples. Stornello is a beautiful love song, that tells of how it is to kiss your love, and the feelings and emotions it produces. Pietro Cimara has a wonderful use of imagery as we hear different fruits and aromas being said to describe how his emotions feel. The difference in meter between the accompaniment and singer gives a nice sense of freedom and flow to the performer, letting them focus on the triplets Cimara has added to important words. The final phrase is sung on a G, the tonic of the piece, finishing with the contentedness of the performer.

6 Program Notes Written 10 years later, Mattinata is a different kind of love song. It is dedicated to the mother of the performer, as it praises everything the mother has done for us. The rolling and fast accompaniment in 9/8 time contrasts with the slower and more laid out notes of the singer. The notes always lead up to a climax that happens twice in this piece. The passion and fire that arises from these climaxes gives the singer freedom to really ring the high note and give a sense of control to the piece as a whole. These are two of Cimara s most popular pieces, due to the flowing rhythms and jumping of range that show the true potential of the singer. Gioachino Rossini ( ) Come un ape ne giorni d aprile from La Cenerentola Duration: 5 minutes Rossini was born 1792 in Pesaro, Italy. One of the most well-known composers, he had a flourishing career writing operas and sacred music. La Cenerentola was incredibly successful, as it follows the story of what we know as Cinderella. In this piece, we are thrown into the world of a grand ball, in which Prince Ramiro is to find a bride. The Prince doesn t want his status to have an effect on the girl he chooses, or rather, the girl that chooses him. So he makes a plan for Dandini, his valet, to disguise himself as the Prince so that he can meet the woman without his status causing fabricated affection. The aria Come un ape ne giorni d aprile is sung by Dandini disguised as the Prince. Dandini lives his life in the shadow of the Prince, so this scene is an extravagant experience for him. The piece is in two sections (AB). Section A begins with Dandini singing both to and about the two evil stepsisters and their father. Dandini responds in the A section by comparing the choosing of a bride to a bee flying around in April: there are so many flowers to choose from that he simply cannot hurry. The A section ends inconclusively, as it began in F, but ends on a unison C, the dominant to the key of F major in the B section. In the B section, Dandini repeats the same text over and over, At the end of our comedy, what a tragedy will ensue, in an incredibly virtuosic way. Each repetition of the text adds a layer of difficulty, leading to a big finish as Dandini ends on a high F.

7 Program Notes Anton Rubinstein ( ) Ночь, Op. 44 Duration: 3 minutes Noch, or night was written by Anton Rubinstein, who was a proficient pianist, composer, and conductor. He was an important figure in Russian culture, and the music that came from there. Noch was one of his popular love songs, as it speaks of the burning desire and love that the singer has for their friend. The accompaniment matches the singer almost the whole time, pushing forward the excitement but sorrow the singer feels as well when they hear whispers and murmurs in the dark of their love. The voice maneuvers through a wide range from low notes to high notes during the passionate admittance of love. The piece slows down to a quiet whisper, as the singer professes their love one last time. Pyotr Ilyich Tchaikovsky ( ) Нет, только тот, кто знал Duration: 3 minutes Adding on to the set of love songs is None but the Lonely Heart written by Tchaikovsky. It is the final song in a set of six romances for voice and piano. It was dedicated to Alina Khvostova and premiered in The singer suffers, and says that people who have longed to see someone again are the only ones who can truly understand their suffering. The one they loved is gone forever, in which now the singer can only live a life of loneliness. The dynamics show the true emotion of each part, as crescendos and decrescendos appear during parts of remembrance but fall to a soft piano during parts of loneliness and despair. The accompaniment follows with an uncomplicated chord structure, letting the voice make most of the decisions in how they want to show their emotion. Alone with grief is the last thing the singer can share, as the song comes to an end. Florian Hermann ( ) Очи чёрные Duration: 3 minutes This piece is a haunting tune called Ochi chyornye, or, in English, Dark Eyes. A song about lost love, it is incredibly popular in the Russian culture, and is one of the most well-known folk songs of its time. This version was made incredibly popular by Dmitri Hvorostovsky, and is always in demand whenever he performs a recital. The accompaniment has big, powerful

8 Program Notes chords that lead to the singer s opening notes. The singer has complete freedom in the beginning, creating an air of suspense as the dynamic increases to a fortissimo before the next verses begin. The passion of the words keep moving forward as the next verses describe lands where no suffering is known and love and peace reigns. The dark eyes beckon to this land, and leave the singer in a suffering rush, saying how he would be able to smile again if it wasn t for those dark eyes that have tempted him to this impossible land. The piece concludes on a high G, with the performer now tormented knowing that he will never be happy again by these tempting eyes. Ralph Vaughan Williams ( ) 3 poems by Walt Whitman Duration: 7 minutes Ralph Vaughan Williams, born in 1872 was an incredible composer of English music. He wrote opera music, ballets, chamber music, and had an inspiration from English folk-song. His 3 poems by Walt Whitman prove his versatility, and ability to take meaningful poems and give them reason with music. Walt Whitman had an enormous career, and his poems also struck a chord with people. Nocturne brings us into a ghost like area, foggy, in a floating space. The accompaniment has a straight quarter note movement almost the entire time, creating a mysterious, solemn atmosphere. This mysterious sound is connected into the second piece, A Clear Midnight, which also contains many high, floating notes in the major key. It is a warm-hearted song, which finishes in major. This gives a good introduction to the next piece, Joy, Shipmate, Joy! Which enters strong and confident with an aggressive accompaniment that moves the music forward. The climax of the set seems to come when the ship has finally leaped, and set sail to the lands of Joy.

9 Andrew Hannau May 13, 2017 Program Notes Burton Lane ( ) Excerpts from On A Clear Day You Can See Forever Duration 9 minutes Burton Lane s On a Clear day you can see Forever is a popular broadway show that made its debut in It was made into a film as well, and sung by the likes of Barbra Streisand, which gave it more leverage during its day. The music is cheerful, and full of happiness and love. The first song of the set is a classic, giving the show its name. It speaks on how a clear day can let you see forever if you just use all of your senses, and look around at the life you live. Hurry! It s lovely up here! Is made most famous by Barbra Streisand, and recorded by Bryn Terfel as well. It s a cheery song, in which Daisy Gamble is telling the plants and flowers to finally bloom so they can experience the wonderful world up here. They will be showered with love and happiness by everyone passing by, so they must hurry! She wasn t you, a love song in which Edward finally realizes that no one compares to Daisy, is a Broadway favorite. Also sung by Bryn Terfel, it is a beautiful piece that lets the singers show their true range, and emotion, closing the trio of songs perfectly. Notes by Andrew Hannau.

10 804 West Belden Avenue Chicago, IL music.depaul.edu

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