Nature of love

Italian, German, French, English and Chinese songs make up the six groups of this program. Selections were chosen from classical to contemporary in order to take an audience on an emotional journey through music and text. Groups are distinguished by various musical features, such as differences in melody, harmony, rhythm, text and accompaniment. Learning these songs can provide an opportunity for singers to experience the beauty of love and nature. "Spirate pur spirate" and "Amorosi miei giorni" by Donaudy as well as "La Promessa" and "La pastorella dell' Alpi" by Rossini are in the style of opera composers; they all contain the splendid cantabile melodies which are typical of the Bel Canto style. In "Spirate pur spirate," the singer's flexible coloratura passages represent breeze wafting around the beloved. "Amorosi miei giorni" is in strophic form with ravishing arching climaxes to express the admiration for the singer's lover. In "La Promessa," the shape of the vocal line up to the high voice is supported by simple broken chords in the accompaniment. "La pastorella dell' Alpi" is a lively song full of humor in which the voice line almost imitates yodeling. The two operatic stylistic composers uses differential composing techniques to interpret the theme of love. Joseph Marx's "Waldseligkeit" and "Der bescheidene Schäfer" and Richard Strauss' "Die Nacht" and "Ständchen" are lieder from the late Romantic period. The triplet accompaniment of "Waldseligkeit" represents the shimmering and shaking of tree leaves in the forest. In "Der bescheidene Schäfer," the changing nature of the shepherd in the fast-slow-fast pattern, the speaker is expressing the frustration of shy shepherd throughout a spoken-style of music. In "Die Nacht," the long sustained vocal line is supported by chromatic accompaniment as emotion intensifies and expresses the fear that the love will be stolen. The buoyant melody of "Ständchen" over the broken-chord arpeggio accompaniment expresses the passion of the lover. All of songs in the set are tiding into nature by the singer, taking place in forest, dealing with shepherd, experiencing the beauty and fear outside the night, and delivering the human nature of love. "Per pietà, ben mio, perdona" is written for character Fiordiligi from Mozart's Così fan tutte ends the first half of the program in an exciting way about love. She is tempted and struggling with mood on stage. Because of inner wrestling in the recitative, Fiordiligi undergoes many mood changes. Her emotions vary progressively from peace, sorrow, and feverishness are expressed by the changes in her vocal line. "Beau soir," "Romance" and "C'est l'extase langoureuse" are melodies composed by Debussy. He sets the text more like spoken French and captures the atmosphere of the poetry. The vocal line of "Beau soir" is subtle and out of focus with the rhythm. The shape of the melody is stepwise because of the French spoken melody style. The prelude of "Romance" builds to a more direct harmony accompaniment to provide the vocal part with a lighter deduction. "C'est l'extase langoureuse," from the six songs cycle Ariettes oubliées, involves harmonic adventurous, stepwise chromatic melodies and an ambiguous tonality that represents the word "langoureuse.' The way of music is related to nature by the most important of romantic themes. "Nature, the gentlest mother" by Aaron Copland, "Waiting" by Henry Mollicone, and "We'll to the Woods, and Gather May" by C. Griffes make up the English group. These three English nature-themed songs are variant in style depending on the text treatment by composers. While both Copland and Mollicone use meter changes supporting a lyrical vocal line changed by the rhythm of the text, Griffes does not. "Nature, the gentlest mother" is selected from the Twelve Poems of Emily Dickinson. It is marked as a pastoral song, describing the beautiful nature by using the transparent textures in the piano as well as text painting by using trills and tempo changes. "Waiting," is one of the Seven Songs in Mollicone's song cycle, the lyric vocal lines, and occasional broken arpeggiated chords in accompaniment are longing for spring to arrive. Griffes is among an earlier generation of American composers, and his treatment of the text is more square. "We'll to the Woods, and Gather May" convey a delightful spirit of the girls hiking around the woods. "Father's Prairie, Mother's River" is a popular Mongolian song by the poet Xi Murong. She narrates a story of a prairie when she was obsessed with the beautiful nature scenes and longing for the return to nature. It is part of longing and humanity to maintain a beautiful place so that humans are able to rally their lovers to nature. In an art song recital, it is possible to recreate these themes of beauty, love, and nature. The arrangement of these pieces can provide ecstatic experiences both for the audience and performers. After analyzing the pieces harmonically and poetically, the singers and listeners will be rewarded with a unique satisfaction.