Coxe, Stephen

Fortin,, Martina

Montgomery, Kelly

Montgomery,, Kelly

ODU Viola da Gamba Consort

Raydo, Rebecca

Samarzea,, Madeline

Teply, Lee

English

Old Dominion University

 OLD DOMINION UNIVERSITY Department of Music         FACULTY RECITAL  Dr. Kelly Montgomery Contralto   ODU Viola da Gamba Consort Rebecca Raydo, Treble Dr. Stephen Coxe, Tenor Dr. Kelly Montgomery, Tenor Martina Fortin, Bass  Dr. Lee Teply, harpsichord Dr. Stephen Coxe, harpsichord Madeline Samarzea, Dance      Diehn Fine and Performing Arts Chandler Recital Hall  Monday, February 24, 2014                      7:30 PM “A Viol Evening”   From Radamisto                                                                        George F. Handel           Somni Dei                                                                                  (1685-1759)  From La Didone          Tremulo spirito  Pietro F. Cavalli  (1602-1676) Absalon Josquin des Prez (c. 1450/55 – 1521)  From The Fairy Queen           Hark, how all things in one sound rejoice           Hush, no more, be silent  Henry Purcell (1659-1695)  From King Arthur          What power art thou?     -Intermission-  From Dances           Bransle (1571)           Bransle de Bourgoigne I (1571)           Bransle de Bourgoigne II (1571)           La Gaillarde (1571)           Saltarello (1583)  Pierre Phalese  (1510-1575) I take no pleasure  Henry Purcell  (1659-1695)  Loving above himself  John Blow (1649-1708)  The moon is down Stephen Coxe (b. 1966)      PROGRAM NOTES Loving above himself   Pour Celadon, he sighs, and sighs in vain; The fair Eugenia must not love, Nor has a shepherd reason to complain When tow’ring thoughts his ruin prove. But Celadon his stars will often blame With all the passion of the mind and tongue; Complaining words and notes increase his flame; The Nymph won’t see it but commends the song.  Alas, ‘tis plain what causes still his Fate: What can a verse or note avail? Birth, Fortune, are as hills of greatest height – They overlook a lowly, lowly Dale.   The moon is down  The Moon is down, The Pleiades.  Midnight, The hours flow on, I lie, alone.  – Sappho of Eressos (ca. 615-570 B.C.E.)                    .    PROGRAM NOTES  Sommi Dei    Supreme Gods    Sommi Dei,                  Supreme Gods, Che scorgete I mali miei,  Take heed of my sufferings, Proteggete un mesto cor!  Protect an unhappy soul!  This is the opening aria from the opera, “Radamisto”, set in 53 AD Thrace.  The premise is the ravages of power through war versus the resiliency of love, in this case, the love between Radmisto and Zenobia - the happily married Tracian King and Queen.  Unfortunately, the tyrannical Tiridate, ruler of neighboring Armenia, has it in his head to capture Zenobia and call her his own.  The problem with this is his marriage to Polissena, the sister of Radamisto.  In the end, Tiridate reunites with his wife, as Radamisto and Zenobia confirm and profess their love for each other in a final duet.  Tremulo Spirito    Tremulous Spirit  Alle ruine del mio Regno adunque   Thus I, an old woman, survive sopravivo decrepita,      the destruction of my kingdom, e son giunta a riputar il pianto testimon  and lower myself to consider weeping  trivial de’ miei dolori!             but a trivial witness of my sorrow!              Onde va l’alma mia cercando oltra le  Hence, my soul seeks beyond tears lagrime il tenore di lamentarsi,  a fitting way to bemoan, mentre in questa notte in un punto   in this night when all at once I have lost perdei Regno, Patria, Marito, e  kingdom, country, husband, and my figli miei.    children.  Tremulo spirito, flebile e languido,  Tremulous spirit, weeping and weary,  escivi subito.    go quickly; Volati, l’anima ch’Erebo torbido,  Fly, spirit, that turbid and greedy Erbus cupido, aspetta là.    awaits. Povero Priamo, scordati d’Hecuba,  Poor Priamus, forget Hecuba, forlorn vedova misera    widow: Causano l’ultimo horrido esilio  Paris and Helen cause the final terrible Parided Elena    exile.  From the opera “La Didone”, the plot is loosely based on the Aeneid, specifically Book 4.  Busenello’s second libretto replace’s Dido’s suicide with a happy ending in which she marries Iarbas, King of Getuli.  Iarbas saves Dido from herself after Aeneas abandons her.  In this aria, Hecuba is mourning her exile, in addition to the loss of her children and husband to war and evil kings.     PROGRAM NOTES  Sommi Dei    Supreme Gods    Sommi Dei,                  Supreme Gods, Che scorgete I mali miei,  Take heed of my sufferings, Proteggete un mesto cor!  Protect an unhappy soul!  This is the opening aria from the opera, “Radamisto”, set in  53 AD Thrace.  The premise is the ravages of power through war versus the resiliency of love, in this case, the love between Radmisto and Zenobia - the happily married Tracian King and Queen.  Unfortunately, the tyrannical Tiridate, ruler of neighboring Armenia, has it in his head to capture Zenobia and call her his own.  The problem with this is his marriage to Polissena, the sister of Radamisto.  In the end, Tiridate reunites with his wife, as Radamisto and Zenobia confirm and profess their love for each other in a final duet.  Tremulo Spirito    Tremulous Spirit  Alle ruine del mio Regno adunque   Thus I, an old woman, survive sopravivo decrepita,      the destruction of my kingdom, e son giunta a riputar il pianto testimon  and lower myself to consider weeping  trivial de’ miei dolori!             but a trivial witness of my sorrow!              Onde va l’alma mia cercando oltra le  Hence, my soul seeks beyond tears lagrime il tenore di lamentarsi,  a fitting way to bemoan, mentre in questa notte in un punto   in this night when all at once I have lost perdei Regno, Patria, Marito, e  kingdom, country, husband, and my figli miei.    children.  Tremulo spirito, flebile e languido,  Tremulous spirit, weeping and weary,  escivi subito.    go quickly; Volati, l’anima ch’Erebo torbido,  Fly, spirit, that turbid and greedy Erbus cupido, aspetta là.    awaits. Povero Priamo, scordati d’Hecuba,  Poor Priamus, forget Hecuba, forlorn vedova misera    widow: Causano l’ultimo horrido esilio  Paris and Helen cause the final terrible Parided Elena    exile.  From the opera “La Didone”, the plot is loosely based on the Aeneid, specifically Book 4.  Busenello’s second libretto replace’s Dido’s suicide with a happy ending in which she marries Iarbas, King of Getuli.  Iarbas saves Dido from herself after Aeneas abandons her.  In this aria, Hecuba is mourning her exile, in addition to the loss of her children and husband to war and evil kings.     PROGRAM NOTES  Absalon   Based on a biblical story, Absalon was the 3rd son of King David of Israel.  2 Samuel 14:25 describes him as the most handsome man in the kingdom. Absalom eventually rebelled against his father and was killed during the Battle of Ephraim Wood.  The piece performed this evening by Gambas, was originally composed for soprano, alto, tenor, and bass voices to the text below:  Absalon, fili mi,    Absalom, my son Quis de tut moriar pro te,   Would that I had died instead of you, Fili mi, Absalon?    My son, Absalom?  Quis de tut moriar pro te,   Let me live no longer,  sed descendam in infernum plorans. but descend into hell, weeping.   Hark, How All Things in One Sound Rejoice (Fairy Queen)  Hark! Hark! How all things in one sound rejoice, Hark! And the world seems to have one voice, to have one voice.  Hush, no more, be silent (Fairy Queen)  Hush, no more, be silent, all. Sweet repose has clos’d her eyes, Soft as feather’d snow does fall! Softly, softly steal from hence, No noise, no noise disturb her sleeping sense.  What power art thou? (King Arthur)  What power art thou who from below hast made me rise unwillingly and slow From beds of everlasting Snow? See’st thou not how stiff, how stiff and wond’rous old,  Far far unfit to bear the bitter cold. I can scarcely move or draw my breath, can scarcely move or draw my breath: Let me let me freeze again, let me let me freeze again to Death, Let me let me freeze again to Death.  Cold Genius’ aria from the semi-opera, King Arthur. The plot is based on the battles between King Arthur’s Britons and the Saxons, rather than the legends of Camelot.  This work is part of the “machine play” genre, wherein the music is subordinate to the visual spectacle.  Special effects included: people disappearing through trap doors, moveable scenery, illusionistic painting, gorgeous costumes, “flying” actors, and fireworks.  In this scene cupid has awakened the reluctant spirit of winter, Cold Genius.  PROGRAM NOTES   Absalon   Based on a biblical story, Absalon was the 3rd son of King David of Israel.  2 Samuel 14:25 describes him as the most handsome man in the kingdom. Absalom eventually rebelled against his father and was killed during the Battle of Ephraim Wood.  The piece performed this evening by Gambas, was originally composed for soprano, alto, tenor, and bass voices to the text below:  Absalon, fili mi,    Absalom, my son Quis de tut moriar pro te,   Would that I had died instead of you, Fili mi, Absalon?    My son, Absalom?  Quis de tut moriar pro te,   Let me live no longer,  sed descendam in infernum plorans. but descend into hell, weeping.  Hark, How All Things in One Sound Rejoice (Fairy Queen)  Hark! Hark! How all things in one sound rejoice, Hark! And the world seems to have one voice, to have one voice.  Hush, no more, be silent (Fairy Queen)  Hush, no more, be silent, all. Sweet repose has clos’d her eyes, Soft as feather’d snow does fall! Softly, softly steal from hence, No noise, no noise disturb her sleeping sense.   What power art thou? (King Arthur)  What power art thou who from below hast made me rise unwillingly and slow From beds of everlasting Snow? See’st thou not how stiff, how stiff and wond’rous old,  Far far unfit to bear the bitter cold. I can scarcely move or draw my breath, can scarcely move or draw my breath: Let me let me freeze again, let me let me freeze again to Death, Let me let me freeze again to Death.  Cold Genius’ aria from the semi-opera, King Arthur. The plot is based on the battles between King Arthur’s Britons and the Saxons, rather than the legends of Camelot.  This work is part of the “machine play” genre, wherein the music is subordinate to the visual spectacle.  Special effects included: people disappearing through trap doors, moveable scenery, illusionistic painting, gorgeous costumes, “flying” actors, and fireworks.  In this scene cupid has awakened the reluctant spirit of winter, Cold Genius.  

Dr. Kelly Montgomery: Contralto

https://digitalcommons.odu.edu/cgi/viewcontent.cgi?article=1027&amp;context=musicperformance_faculty

Dr. Kelly Montgomery: Contralto

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