ABOUT SONGS OF TRAVEL. On the 17 December 1894, The Times (UK) published a two-and-a-half column piece on page six, entitled ‘Death of Mr. R.L. Stevenson’. It was the first article to be included after the daily stories of government, politics and Empire. In a lengthy tribute in the Pall Mall Gazette, he was referred to as ‘the most notable man in English letters’. At the time of Robert Louis Stevenson’s death, Ralph Vaughan-Williams was in the middle of his final year of studies at Cambridge. It’s likely that Vaughan-Williams would have read Stevenson’s books as a child, with Stevenson’s Treasure Island (1883) published when Vaughan-Williams was eleven years old. Louis Stevenson would never live to hear Vaughan-Williams’ settings of his Songs of Travel and Other Verses. In fact, they may have never been composed if it weren’t for the timing of his death. Further pieces in the Pall Mall Gazette in late 1894 to early 1895 would include the reprinting of three poems from the cycle (‘Whither must I Wander’, ‘I will Make you Brooches’ and ‘To the Heart of Youth’). These three poems would be the first three that Vaughan-Williams would set and publish only a few years later in his mid-twenties.

“The baritone has much to be thankful for. Nature has allowed him to be born without any inherent predilection for long hair or butterfly ties, and has endowed him with more actual gifts of tone colour, broadmindedness and sense of words than his fellows.”

– Harry Plunket Greene “Interpretation in Song” (1912)

All nine songs weren’t published in the Boosey & Hawkes / Hal Leonard editions that many of us are familiar with today. Rather, they were published in sets of various books of two or three songs that were sold separately and republished in magazines such as The Vocalist. (Although, it’s much more complex than that extraordinarily brief two-sentence recount.) The decisions of the order were not made by Vaughan-Williams, but by Boosey & Hawkes themselves – and their ordering doesn’t seem to have any specific reason behind it. So today, you’ll hear it in my chosen order based on the way I intend to portray them as a story of a persona in development. Today, I’ll be accompanied by Associate Artist, David Vance who provides thorough insight over the time I’ve worked with him on this programme and previous ones. He brings a vast literary and musical knowledge to the rehearsal room that leaves a strong impression on his audience in performance.

To break up today’s programme, you’ll be treated to the delightful tremolo fingering of Nicolas Serray with a delectable interpretation of Un Sueño en la Floresta (A Dream in the Forest) by Agustín Barrios. Nicolas’ portrayal stops you in your tracks for a moment (I always find I lose my sense of time) as he moves you through a gorgeous harmonic progression and arrangement, with a sense of virtuosic effortlessness. (The musically inclined should listen out for those glorious octaves about two thirds of the way through!) I’m thrilled to have Nicolas join me on stage for this programme as Guest Artist. There will be a future collaboration in 2019/2020 where we’ll be performing the famous John Dowland Lute Songs. A few years ago, I popped along to the Sydney Symphony Orchestra (SSO) alone one evening where the programme opened with Witold Lutosławski’s wartime-inspired Symphony No. 1. I was moved to tears. I continue to be moved by his music, and I’m thrilled that Wollongong’s own Richard Tognetti recently programmed Lutosławski’s Overture for Strings in a program with the Australian Chamber Orchestra (ACO). Lutosławski didn’t compose any voice and piano music for baritone voice (though he did compose the innovative Les Espaces Du Sommeil for Dietrich Fisher-Diskeau with orchestra), so I decided to break a rule and perform the opening and closing pieces from Five Songs for Female Voice and Piano in the original Polish by K. Illakowicz. Regarding the music – let me just quote a remark Tognetti made at that recent ACO concert in saying: ‘You’re very brave in being here tonight.’ Back to Vaughan-Williams briefly… the composer had a working friendship and teacher in French Impressionist composer, Maurice Ravel. Though Ravel was a few years younger than Vaughan-Williams, he certainly taught him a lesson or two in composition and orchestration – often via the post. Ravel’s last complete composition before his death was a set of songs for a film version of literary classic, Don Quixote. Though he had received the commission, unbeknownst to him – so did four or five other composers. These songs never made it into that film by Paul Morand and exist both in orchestrated and piano versions. Pierre Bernarc (a contemporary of Francis Poulenc) says these songs should be performed with a strong sense of character – not simply as just art songs. In this case – a crazy, irrational man driven by a goal to restore chivalry in his time. Following this – some staple arias from the international operatic repertoire. You’ll hear from a peeved, vengeful Count Almaviva from Mozart’s Le Nozze di Figaro (The Marriage of Figaro) in Hai gia vinta la causa as he decides to take his revenge on Figaro and Figaro’s bride to be – the witty Susanna. Finally, we’ll bring the afternoon to a close with the tragic Ah per sempre, io ti perdei (Ah, I’ve lost you forever) from the first act of I Puritani (The Puritans) by Bel Canto composer, Vincenzo Bellini. In this scene, Ricciardo cannot be comforted as he has learnt that he has lost the hand of Elvira, his betrothed. Forever.

© Jeremy Boulton – 2019.

THE ARTISTS.

Jeremy Boulton | Baritone A former recipient of the Opera Australia Student Scholarship and graduate of the Talent Development Project, Jeremy has starred in the lead roles for productions of The Pirates of Penzance and The King & I. He was also a featured artist in the Schools Spectacular and Southern Stars. Jeremy has featured as a concert soloist for the Opera Australia Benevolent Fund, Sydney Conservatorium of Music (Early Music Ensemble), Argyle Orchestra (Hobart, Australia), Opera Projects Sydney, Con Voci (Wollongong) and Fiori Musicali (Armidale, NSW). He has also featured in the ensembles of Don Giovanni and I Pagliacci for the Sydney Conservatorium of Music. Jeremy is currently reading for a Bachelor of Music (Performance) at the Sydney Conservatorium of Music. Masterclasses include that by Jessica Pratt. In his spare time, Jeremy enjoys attending the symphony, opera, chamber music recitals, jazz and straight theatre. He also takes a keen interest in Australian politics and the work of Australian cartoonist, Michael Leunig. David Vance | Associate Artist (Collaborative Piano) David Vance studied piano with Nan Price and Greville Rothon (assistant to Claudio Arrau), He holds honours degrees in English literature (UNSW) and in music performance (Sydney University) and pursued further musical studies as an accompanist and conductor in Italy, Austria and England. He taught at the University of Sydney and the NSW Conservatorium of Music before his appointment in 1982 by the University of Wollongong with a specific brief to develop musical activities on campus. When he retired in 2012 as an Associate Professor, his contribution to the musical life of the university was recognised in the award of an Honorary Fellowship. He has subsequently devoted much of his time to the mentoring of young musicians. David has performed with some of Australia’s leading artists over many years, and has broadcast and recorded chamber music for the ABC. He remains active as an accompanist with a particular interest in vocal repertoire. Nicolas Serray |Guest Artist (Guitarist) Nicolas Serray is studying a Bachelor of Music (Performance) in Classical Guitar at the Sydney Conservatorium of Music. Currently in his final year, he learns from Russian virtuoso Vladimir Gorbach. Nicolas began his study at the Wollongong Conservatorium of Music and completed Grade 8 AMEB (Classical Guitar Performance) with A - Honours. At Wollongong High School of the Performing Arts (WHSPA), he received 96% in his Higher School Certificate (HSC) Extension Performance subject. Frequenting the Sydney and Illawarra music scenes in solo and ensemble recitals, Nicolas constantly collaborates with Australian popular music stars including upcoming artist, Emalia. Nicolas is a choice session guitarist for live performances and in the recording studio. He has also scored for dramatic works including 'A Midsummer Night's Dream' and 'Blood Wedding'.

Ralph Vaughan-Williams & Gustav Holst (composer of The Planets) walking in the Malvern Hills (Worcestershire).

Courtesy of the British Library

Witold Lutosławski reading a score.

Maurice Ravel smoking and composing at the piano.

PROGRAMME. Jeremy Boulton | Baritone David Vance | Piano

Ralph Vaughan-Williams – Songs of Travel (1904) (in re-arranged order)

I. The Vagabond II. Whither must I Wander III. The Roadside Fire IV. Let Beauty Awake V. The Infinite Shining Heavens VI. Youth & Love VII. In Dreams VIII. Bright is the Ring of Words IX. I Have Trod the Upward and the Downward Slope

Nicolas Serray | Guitarist Augustìn Barrios – Un Sueño en la Floresta (A Dream in the Forest) (1918) Jeremy Boulton | Baritone David Vance | Piano

Witold Lutosławski – Five Songs for Female Voice and Piano

I. Morze (The Sea) V. Dzowny cerkiewne (Church Bells)

Maurice Ravel – “Don Quichotte à Dulcinée" (Don Quixote to Dulcinea)

I. Chanson romanesque II. Chanson épique III. Chanson à boire

Wolfgang Amadeus Mozart – Le Nozze di Figaro (The Marriage of Figaro)

“Hai gia vinta la causa/Vedro mentre io sospiro”

Vincenzo Bellini – I Puritani (The Puritans)

“Or dove fuggo io mai/Ah per sempre”

TEXTS & TRANSLATIONS.

Ralph Vaughan-Williams – Songs of Travel (1904) (in re-arranged order)

I. The Vagabond

Give to me the life I love, Let the lave go by me, Give the jolly heaven above And the byway nigh me. Bed in the bush with stars to see, Bread I dip in the river – There's the life for a man like me, There's the life for ever. Let the blow fall soon or late, Let what will be o'er me; Give the face of earth around And the road before me. Wealth I seek not, hope nor love, Nor a friend to know me; All I seek, the heaven above And the road below me. Or let autumn fall on me Where afield I linger, Silencing the bird on tree, Biting the blue finger. White as meal the frosty field - Warm the fireside haven - Not to autumn will I yield, Not to winter even! Let the blow fall soon or late, Let what will be o'er me; Give the face of earth around, And the road before me. Wealth I ask not, hope nor love, Nor a friend to know me; All I ask, the heaven above And the road below me.

II. Whither must I Wander

Home no more home to me, whither must I wander? Hunger my driver, I go where I must. Cold blows the winter wind over hill and heather: Thick drives the rain and my roof is in the dust. Loved of wise men was the shade of my roof-tree, The true word of welcome was spoken in the door - Dear days of old with the faces in the firelight, Kind folks of old, you come again no more.

Home was home then, my dear, full of kindly faces, Home was home then, my dear, happy for the child. Fire and the windows bright glittered on the moorland; Song, tuneful song, built a palace in the wild. Now when day dawns on the brow of the moorland, Lone stands the house, and the chimney-stone is cold. Lone let it stand, now the friends are all departed, The kind hearts, the true hearts, that loved the place of old. Spring shall come, come again, calling up the moorfowl, Spring shall bring the sun and rain, bring the bees and flowers; Red shall the heather bloom over hill and valley, Soft flow the stream through the even-flowing hours. Fair the day shine as it shone on my childhood - Fair shine the day on the house with open door; Birds come and cry there and twitter in the chimney - But I go for ever and come again no more.

III. The Roadside Fire

I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night, I will make a palace fit for you and me Of green days in forests, and blue days at sea. I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom; And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night. And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.

IV. Let Beauty Awake

Let beauty awake in the morn from beautiful dreams, Beauty awake from rest! Let beauty awake For beauty's sake In the hour when the birds awake in the brake And the stars are bright in the west! Let beauty awake in the eve from the slumber of day, Awake in the crimson eve! In the day's dusk end When the shades ascend, Let her wake to the kiss of a tender friend, To render again and receive!

V. The Infinite Shining Heavens

The infinite shining heavens Rose, and I saw in the night Uncountable angel stars Showering sorrow and light. I saw them distant as heaven, Dumb and shining and dead, And the idle stars of the night Were dearer to me than bread. Night after night in my sorrow The stars [stood]1 over the sea, Till lo! I looked in the dusk And a star had come down to me.

VI. Youth & Love

To the heart of youth the world is a highwayside. Passing for ever, he fares; and on either hand, Deep in the gardens golden pavilions hide, Nestle in orchard bloom, and far on the level land Call him with lighted lamp in the eventide. Thick as stars at night when the moon is down, Pleasures assail him. He to his nobler fate Fares; and but waves a hand as he passes on, Cries but a wayside word to her at the garden gate, Sings but a boyish stave and his face is gone.

VII. In Dreams

In dreams unhappy, I behold you stand As heretofore: The unremember'd tokens in your hand Avail no more. No more the morning glow, no more the grace, Enshrines, endears. Cold beats the light of time upon your face And shows your tears. He came and went. Perchance you wept awhile And then forgot. Ah me! but he that left you with a smile Forgets you not.

VIII. Bright is the Ring of Words

Bright is the ring of words When the right man rings them, Fair the fall of songs When the singer sings them, Still they are carolled and said – On wings they are carried – After the singer is dead And the maker buried. Low as the singer lies In the field of heather, Songs of his fashion bring The swains together. And when the west is red With the sunset embers, The lover lingers and sings And the maid remembers.

IX. I Have Trod the Upward and the Downward Slope

I have trod the upward and the downward slope; I have endured and done in days before; I have longed for all, and bid farewell to hope; And I have lived and loved, and closed the door.

Witold Lutosławski – Five Songs for Female Voice and Piano

I. Morze (The Sea)

A float on furrowed water the fluffy down drifts onward, And after it like small boats in succession Snowy feathers of geese and white ducklings. So swimming, and running Running, so swimming Swimming and running, Running on, On towards white and distant breakers. And the Mediterranean appears sky blue, Yet deeper, Like an unsleeping mondter the tide moves within it, In the swell all is rocking down and feathers, Gulls and gannets, Boats and barges.

V. Dzowny cerkiewne (Church Bells)

We like the bells pealing, Ringing, From high church singing, We like it when from the steeple joy leaps above the roof tops. But then we also like the sound of the church bells When they are angry, When in their fear of descending night time They thunder their heads on rooftops.

Maurice Ravel – “Don Quichotte à Dulcinée" (Don Quixote to Dulcinea)

I. Chanson Romanesque Were you to tell that the earth Offended you with so much turning, I'd dispatch Panza to deal with it: You'd see it still and silenced. Were you to tell me that you are wearied By a sky too studded with stars - Tearing the divine order asunder, I'd scythe the night with a single blow. Were you to tell me that space itself, Thus denuded was not to your taste - As a god-like knight, with lance in hand, I'd sow the fleeting wind with stars. But were you to tell me that my blood Is more mine, my Lady, than your own, I'd pale at the admonishment And, blessing you, would die. O Dulcinea.

II. Chanson épique

Good Saint Michael who gives me leave To behold and hear my Lady, Good Saint Michael who deigns to elect me To please her and defend her, Good Saint Michael, descend, I pray, With Saint George onto the altar Of the Madonna robed in blue. With a heavenly beam bless my blade And its equal in purity And its equal in piety As in modesty and chastity: My Lady. (O great Saint George and great Saint Michael) Bless the angel watching over my vigil, My sweet Lady, so like unto Thee, O Madonna robed in blue! Amen.

III. Chanson à boire

A fig for the bastard, illustrious Lady, Who to discredit me in your sweet eyes, Says that love and old wine Are saddening my heart and soul! I drink To joy! Joy is the only goal To which I go straight... when I'm... drunk! A fig for the jealous wretch, O dusky mistress, Who whines and weeps and vows Always to be this lily-livered lover Who dilutes his drunkenness!

Wolfgang Amadeus Mozart – Le Nozze di Figaro (The Marriage of Figaro)

“Hai gia vinta la causa/Vedro mentre io sospiro”

"You've won the case already"! What do I hear? What trap have I fallen into? Scoundrels! I'll punish you in this way, The decision will be how I want it. But if he pays off the old plaintiff? Pay her! How? And then there's Antonio, Who won't give his niece in marriage to the nobody Figaro. To nurture that lamebrain's pride... Everything's useful for the plot... The deed is done. Shall I, while I'm sighing, See one of my servants happy? And the good thing I want in vain, Shall he have it? Shall I see the woman who woke in me A feeling she doesn't have for me United to a vile object By the hand of love? Ah no! I won't leave This happiness in peace, You weren't born, rash person, To torture me, And maybe to laugh At my unhappiness. Now only the hope Of the revenges I'll have Consoles this soul And makes me rejoice.

Vincenzo Bellini – I Puritani (The Puritans)

“Or dove fuggo io mai/Ah per sempre”

Where do I flee? ... Where ever it cloaks The horrendous troubles of mine? Like those songs They resonate to me bitter tears! O Elvira, Elvira, or my sweet sigh, Forever, forever, I lost you! Without hope and love, in this life What remains to me? Oh! Forever I have lost you, flower of Love, oh hope of mine; what's left of my Life will be filled with pain! When I wandered year after year under the power of blind luck, I challenged calamities and cares in the hope of your Love.

UPCOMING LOCAL EVENTS.

Anna & Sako | Wollongong

Ticket Price $20-$25 + BF

Date/Time

28th September, 2019 6:30 pm – 8:30 pm

Location

Wesley Uniting Church

Tickets sakodermenjian.com

It’s not often that a musical genre can transcend place so seamlessly, from the dance halls of South America to the concert halls of Europe. Argentinian composer, Astor Piazzolla (1900-1992), achieved just that. Under the tutelage of Nadia Boulanger (1997-1979), Piazzolla founded his unique style that we enjoy as a rare concert hall treat today. Violinist Anna Da Silva Chen (ABC Young Performer Awards, SSO Soloist) and guitarist Sako Dermenjian (Sydney Eisteddfod 1st Prize Winner, Official TEDx Speaker) perform stunning renditions of the fiery tango of Astor Piazzolla, alongside the classics of Enrique Granados and Niccolò Paganini – all in a programme that will stun concertgoers with its virtuosity and tickle all musical fancies.

A REDKITE September Afternoon

with Mark Matthews (Pianist & Composer)

2:30pm | 21st of September

$20 donation to Redkite at the door.

SPONSORS.

WOULD YOU LIKE TO SUPPORT OUR LOCAL CLASSICAL MUSICIANS?

Place an advertisement in our next programme, ‘EXSULTATE!’ on the 17th August, 2019.

Contact Jeremy Boulton on 0450 342 313 or info@jeremyboulton.com.au for more details.

ACKNOWLEDGEMENTS.

Pamela Mildenhall Phil Harris | Star Struck Photos

Downtown Newsagency Deirdre Backhouse

Aaron Kernaghan | GongOpera.com.au Yve Repin OAM | Steel City Strings

Illawarra Choral Society Robyn | Figtree Evening VIEW Club Rachael | The Church on the Mall

Anne & Billy Boulton ABC Illawarra

Mark Matthews Desireé Savage | Illawarra Mercury

Wollongong Conservatorium of Music Sydney Conservatorium of Music

P.H.

“Competitions are for horses, not artists.”

– Béla Bartók