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Arizona State University

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School of Music
GRADUATE RECITAL SERIES

DEAI\NA.SHTPLEY
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,PIANO i

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Mmaxna CRISPIN, v'wzza.soPRANo
Jnuns SEIFERT, BARIToNE
Rnsncce VATBNTTI\o, woLIN
Moxrce SauBR, FLIJTE
Alnv PntnL, cELLo

KATZIN CONCBRT HALL.
April 1, 2001 . 5:00 p.m.

Sunday,

PROGRAM
SAnger till Dikter av Ernest Josephson,
Yrj6 Kilpinen
Opus 27 (pub. 1924)
t892-t959
Liten gosse
Vaggvisa
Figelungarna
Blomman
Avan och kardinalen
Miranda Crispin, mezzo- soprano

Piano Trio in F Major, Opus 42
(t862-63)
Allegro animaro
Allegro molto vivace
Andantino
Allegro con fuoco
Rebecca Valentino, violin
Ajay Patel, cello

Niels Gade

l8l7-1890

*xThere will be a l}-minute intermissiort**-

Sonata in C Major for flute and piano,
Opus 83, No. 2 (1827)
Adagio - Allegro

Friedrich Kuhlau
1786-1832

Larghettcr

Allegro vivace
Monica Sauer, flute
Sechs Lieder, Opus 48 (1884-88)

Edvard Grieg
1843-1907

Gruss (Heine)
Dereinst, Gedanke mein (Geibel)
Lauf der Welr (Uhland)
Die verschwi.egene Nachtigall (Walther von der Vogelweide)
Zur Rosenzeit (Goethe)
Ein Traum (Bodenstedt)
Judy M ay, me zzo - sop ranoe
******i<****>F***

This recital is given in partial fulfillment of the requircrnenrs
for the degree Masters of Music in piano accompanying.
Deanna Shipley is a studenr of Eckart Sellheim.
In respect for the performers and those audience members arouncl you, please turn
all beepers, cell phones, watches to their silent mode. Thank you.

,, 'Performance Events Staff

Manager

Paul W. Estes

Assistant Performance Events Staff Manager

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Perfor.manee Events Staff
Andrey Astaiza, RebeccaBell

William Cushing, Erin Dow
Kalic Ann McCany. Kelli McConnehey
Jamcs Parkinson. Crant Striemer
Makoto Taniai. Jcssica Wood

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school of Music

Main.Campus, P.O. Box 870405,Tcmpe, AZ 85287-0405
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yrjti Kilpinen,

a Finnish composer who studied in Helsinki. Vienna, and Berlin, was a composer
of many song cycies as weil as 750 other songs. His songs comprise seftings of Finnish, Swedish,
and German poets. Between the years 1922-1926, Kiipinen set mostly Swedish poets and the
Opus 27 set comes from this period. These five songs are the first in a set of 15 settings of the

poet Ernst Josephson.
Liten gosse
(Littie Boy)

Figelungarna
(Baby Birds)

A littie boy is now decorated with roses,

The baby birds flew out oftheb nest
with their parents for the first time.
It was fun to fly between the trees
and listen to the songs.

lilacs, ornaments, smooth grass, and moss.
Never again will he be woken uP
with a kiss from his mother.
He ran from the cliffs, from his sister.
He didn't want to listen to her pleading.
Lingonberry, wildfl owers captured his attention'
He had seen them from the fieldThe liule boy fell against a stone,
crashing down the hill.

It was a happy time,
and the first try went well.
No one thought about talons and hawks.

Roses and moss cover his legs;
there he sleeps in the earth.

Blomman
(The Flower)

Then everyone returned to their nest.
Is there any neater fairy taie than that?

The flower stood in the sun,

beautiful and red,
Out of the chalice drank a golden animal.
When he had drunk enouglq
in the summer's heat, through the leaves
he took hirself a trip.

Vaggvisa
(Cradle Song)
Swish, swish birch and linden,
sigh liule heart!
Weeping willow in the wind,
clear pearls spilling.

But the flower now shines more fascinated
by the golden animal's long-sucking kiss.

Under the hills' disPlaY of flowers,
Mommy, that once brought with her sieep,
cannot rock her child, cannot at her cradle sing'

But now I come to You,
and at your bed i wiil watch.
Maybe you will come to me yet as time passes.
Your cheeks were like roses,
your eyes were, as DaddY would
like yellow Forget-me-nots.

saY,

Kind mother, come tonight and kiss your girl
when I have said goodnight and rocked my doll,
and with your watch, forget-me-not!
And I shall promise to you that I will'
in time, gladly come to Your star.

I

Alvan och kardinalen
(The Fairy and the Cardinal)
Cne beautifi:l day, the Cardinal was enjoying the morning.
Can you guess what he then saw?

A totaily naked lairyl
She was nice and quick.
He ccvered tris eyes with fris hand

and said,

"My God, this isn't cleanl"

The little tarry smiled cheerfully and said,

"Look here, I advise you."
And after a while he took his hand from his
Yes, it was cieanl

eyes.

Then on his iand, flowers began to bloom
because she was the cielivery of the Spring.

*Special thanks to Camiila Borell for the Engiish translation and coaching of the Swedish text.

Niels Withelm Gade, composer, conductor, violinist, and educator, was the most imporlant
figure in 19s-centruy Danish music. In the 1840's, he was given a grant from the government to
study music in Leipzig, where he met Robert Schumann and Felix Mendelssoh:r-Bartholdy. He
became the assistant conductor of the Gewandhaus Orchestra under Mendelssohn-Bartholdy and
later succeeded him as chief conductor. He retumed to Copenhagen in 1848 and remained chiefly
there unrii his death. The Piano Trio Opus 42 was pubtished in Leipzig in i 863 and is one of his
most important works.

a German-born Danish composer who studied in Hamburg with C.F.L.
Schwenke, who in turn had been a sfudent of C.P.E Bach- When, in 1810, Harnburg was invaded

Friedrich Kuhlau was

was invaded by Napoleon's troops, he fled to Copenhagen and remained there until his death.
Although primarily known for his piano works, Kuhlau also wrote many works for flute and
piano, solo flute, and flute ensemble. There are seven flute sonatas and three of them comprise
Opus 83 which were written n 1827 and pubiished in Bonn. Kuhlau drew his inspiration Aom the
Viennese Classical composers and his work influenced later Danish music tlrroughout the 19'h
century.

Edvard Grieg, perhaps the best-known Scandinavian composer, was a prolific composer of
songs. He once remarked to his biographer, "When I write songs, my principal goal is not to
compose music but to do justice to the poet's most intirnate intentions. My task is to allow the
tert to speak." In the Opus 48 set, Grieg sets German poetry instead ofNorwegian, something he
had not done since his Opus 4 songs in 1864. The set was written between 1884 and 1889 and
was published in Leipzig in 1889. Grieg said in a letter in 1900 tbat his wife, Nin4 was the only
true interpreter of his songs and that all of them were wriften for her.

Grufi

Lauf der Welt

(Greeting)
op.48, no. 1 (1884)

(The Way of the World)
op.48, no.3 (1889)

I-leinrich Heine

Ludwig(frtlond

Gently moves through my spirit
a lovely pealing sound;
ring ouf little spring song,
ring out into the distance.

Every evening I go out

Go out, up to the house,
where the violets bud;

if you
say,

I

see a rose,
send her my greeting.

Dereinst, Gedanke mein
(One day, my thought)
op. 48 no. 2 (i884)
Emanuel Geibel

One day, my thought,
you will find peace.
lf love's passion
will not let you rest,
in the cool earth,
there you will sleep soundly,

there without love or pain
you will find peace.
What in life
you did not find"
when it has vanishd
it will be given to you;
then without wounds
and without pain

you will find peace.

up the meadow path.
She is looking out from her summer house,
it stands just beside the way.
We have never yet introduced ourselvesthat is just dre way of the world.

I

do not know how it happened,
but for a long time I have been kissing her,
I do not ask, she does not say yes,

but neither does she ever say no.
When lips gladly rest on lips,
we do not prevent it, it seerns good to us.
The breeze piays with the rose,
it does not ask, "Do you love me?"
The iittie rose cools itseH in the dew,
it does not say, 'oGive!"
I love her, she loves me,
but neither one says, "I love you!"

'l

Die verschwiegene Nachtigall
(The Secretive Nightingale)
op. 48, no. 4 (1889)
after ll/alther von der lrogelweide

Under the lime trees bY the heath
where I sat with my beiovd
there you may find
how we two
broke the flowers and the grass.
Before the wood with a sweet sound"
Tandaradei!
the nightingaie sang in the vailey.
came walking to the pasturg
my beloved came before me there.

I

I was received as a noble ladY,
and so I shail always be haPPY.
Did he offier me kisses?
Tandaradei!
See, how red my mouth isl

How

I

rested there,

You are fading, sweet roses,
my love did not deceive you;
ah, you bloomed for the hopeless one,
whose soul is torn by affliction!

Ein Traum
(A Dream)
op. 48, no. 6 (1889)

Friedrich von Bodenstedt

I

once dreamed a beautiful dream:

a blond maiden loved me'
it was in the green woodland gladg
it was in the warrn springtime:
the buds were blooming the brook was sweiling
from the village far away churchbells were chiming-we were completely filied with joy,
engulfed in happiness.

And more beautifui yet than that drearn,
it happened in reaiity:
it was in the green woodland glade,
it was in the warm springtime;

if anyone should know,
God forbid, I would be ashamed.
How my darling ernbraced me,
no one may know, but he and I;
and a little bird,

the brook was sweiling the buds were blooming
churchbells were chiming from the village--

Tandaradei!
who had better keeP the secret.

i held you tight, I held you long
and now will never iet you go!

Zur Rosenzeit

O vernal woodland glade,
you will live in me for all time!
There reality became a dleam,
there the dream became reality!

(The Time of Roses)
op.48, no.5 (1889)
Johann Wolfgang von Goethe

You are fading sweet roses,
my love did not deceive You;
ah, you bloomed for the hopeless ong
whose soul is torn by affliction!
Sonowfuily I think of those days,
when I, angei, set my hea* on You'
and looking out for the first little bud,
want early in the.morning to my garden;
carried all the blossoms, all the fruits
to your very feel and before your face,
hope was beating in mY heart.

*English translation by Dr. David Fanning