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Chords and Strings, Centuries of Songs for Voice and Guitar

Suzi More & Daryl Hester

Songs from over 3 centuries for voice and guitar and lute, Sung by Suzi More and played by Daryl Hester.

The Artists

Miss More has performed throughout USA and abroad as soloist w/choruses and orchestras.Was an award-winning collaborator w/ composer Loretta Jankowski, of a song cycle entitled Phoenix, published internationally by Boosey & Hawkes,in 1993 presented at the Los Angeles, California (1989), and Little Rock, Arkansas, National Association of Teacher's of singing (NATS) conventions. She is a recipient of several Lila Wallace/Reader's Digest Incentive Grants, for performance and research. A member of the NATS, NJ, NYC and National chapters. Also, a composer of jazz, folk and children's songs. Her voice teachers and coaches include Franco Rossi-Roudett, Terrence Shook, Helen Fenstermacher, Chloe Owens, Daniel Ferro, Marlena Malas, Dorothea Discala, Frank Valentino, Deborah Taylor, and Dolores Cassinelli. She has appeared in master classes with Elly Amelling, Jerome Hines, Judith Raskin, and Dalton Baldwin. Ms. Morehead holds a B.A. degree from Rutgers University, M.A. degree from Jersey City State College, and pursued studies at the Academy of Vocal Arts, in Philadelphia, and New York University..

Daryl Hester, a resident of Iselin, New Jersey, B.A. Kean University (1983) began guitar studies at the age of 10. Continuing his guitar studies with John Varner during his college years he performed in master classes’ presented by guitarist Eliot Fisk, Raymond Burley, Alice Artz, John McFeeley and Lutist Paul Odette and Richard Savino. Upon graduation he continued his studies with the late Patrick O’Brien. Mr. Hester has made guest appearances on radio and TV and has performed throughout the metropolitan area In 1988 Mr. Hester made his New York recital debut at Carnegie Hall. Now a retired Music educator he is currently an Artist in residence for the Paterson Public Schools. Mr. Hester gives his thanks to God for equipping him with these musical treasures and allowing him to share them with the world.

Suzi More and Daryl Hester have been "early music" artists as well as performers of jazz, popular, classical and other genres. This CD is a composite of several very early compositions from the Renaissance period on music.Recorded and mastered by Max Caselnova at Clearcut Recording, Garfield, N.J.

Songs and The Composers 1. "Mi Primer Verso" by Ernesto Cordero Ernesto Cordero (b New York City) Conservatory of Music of Puerto Rico (1963) Madrid Royal Conservatory, Spain, diploma 1971. Post-graduate work in composition w/ Roberto Caggiano in Rome, Italy, from 1972 to 1974, Julian Orbón New York, 1977 to 1978. Studied guitar 1961 to 1964 w/Jorge Rubiano later worked w/ Regino Sáinz de la Maza (Spain) 1960s. Alirio Díaz and Claudio de Angelis (Italy)1972. Since 1971, taught composition and guitar in the music department of the University of Puerto Rico. Music director (1980 to 1997) International Guitar Festival of Puerto Rico. Cordero's works include eight concertos (four for guitar, two for violin, one for flute-piccolo and one for the Puerto Rican cuatro), a variety of chamber works in which the guitar appears in diverse ensembles and numerous guitar solos, some of which have become standards. 2. Nina by Giovanni Battista Pergolesi Giovanni Battista Pergolesi (1710-1736), Italian composer, violinist and organist. His best-known works include his Stabat Mater and the opera La serva padrona (The Maid Turned Mistress). His compositions include comic operas and sacred music. He died at a very young age of 26 of tuberculosis. 3. Amarilli, mia Bella by Giulio Caccini Giulio Romolo Caccini (1551 – 1618), Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the most influential creators of the new Baroque style. He was also the father of the composer Francesca Caccini and the singer Settimia Caccini. 4. Caro Mio Ben by Giuseppe Giordani Giuseppe Tommaso Giovanni Giordani (1751-1798, Italian composer, mainly of opera. Studied in Naples with Domenico Cimarosa and Niccolò Antonio Zingarelli. In 1774, appointed music director of the chapel of the Duomo of Naples. His first opera (L'Epponina) was released in 1779. His sacred drama La distruzione di Gerusalemme was a notable success at the Teatro San Carlo of Naples in 1787. He became maestro di cappella at the Cathedral of Fermo in 1791. 5. Come away death, 6. O mistress mine, 7. I am Gone Sir, 8.When that I was and a tiny little boy from "Four Songs of Twelfth NIght" by Garth Baxter Garth Baxter (b 1946) Earned music degrees from Pepperdine University and California State University at Northridge. Studied composition with Robert Hall Lewis, Joseph Wagner, and William Thornton. His compositions for chorus, orchestra, symphonic band, piano, organ, flute, voice, and guitar, as well as other instrumental combinations, have been performed throughout the world. His works are published by Columbia Music Company, ALRY Publications, Les Productions D.OZ, Voices of Training, Guitar Chamber Music Press and Mel Bay Publications. Has received numerous awards, commissions and honors for his music. His song cycle, From the Heart: Three American Women (Columbia Music Company) was the topic of a doctoral dissertation. Mr. Baxter recently completed the opera, Lily, with librettist Lisa VanAuken. The CD Katherine Keem Sings Songs and Arias by Garth Baxter was released in 2014 by Centaur Records. He is on the faculty of McDaniel College in Westminster, 9. Adela, 10. De Ronda, 11.In Jerez de la Fontera from "Tres Canciones Españolas" byJoquin Rodrigo Joaquín Rodrigo(1901-1999) At the age of three he lost his sight as a result of an epidemic of diphtheria, and from the outset of his career Rodrigo wrote all his works in braille. In 1927, went to Paris to enrol at the École Normale de Musique, where he studied for five years with Paul Dukas. He became known as both pianist and composer, and became friends with Falla, Honegger, Milhaud and Ravel, among others. Continued his studies of musicology in France at the Paris Conservatoire and at the Sorbonne. Worked in Germany, Austria and Switzerland before returning to Spain in 1939. His numerous compositions include eleven concertos for various instruments, more than sixty songs, choral and instrumental works, and music for theatre and cinema. 12. Great Day, 13. Keep Me from Sinkin down, 14 I Gotta Home Inna Dat Rock from "12 Negro Spirituals" arranged by William Grant Still William Grant Still (1895 – 1978) was an American composer, who composed more than 150 works, including five symphonies and eight operas. Often referred to as "the Dean" of African-American composers, Still was the first American composer to have an opera produced by the New York City Opera. Still is known most for his first symphony, until the 1950s the most widely performed symphony composed by an American. 15. Preludio pra ninar gente grande by Luiz Vieira Luiz Vieira Filho ( b 1928 ) Brazilian singer, songwriter and radio broadcaster Lost his other at age 2 and moved to Rio de Janeiro, at 10 to be raised by his grandfather in Alcântara, municipality of São Gonçalo. As a child he sang in circuses and amusement parks. At the age of eight, he produced his first composition. Early in his career he sang romantic songs, waltzes and samba-songs. Sang as an orchestra crooner in a cabaret in the Lapa in Rio de Janeiro , RJ, Brazil . He was hired by Tupi radio , through Paulo de Grammont . In 1950 ,he was contracted by the Tupi and Record radios, of São Paulo, that belonged to the Associated Broadcasters.The song Boy de Braçanã (1953) was his first success, He was a singer on radio and TV in São Paulo , until 1961 . He worked on National Radio ( CBN ) - 1959 . Meeting with Luiz Vieira , TV program Excelsior , channel 9, of São Paulo, debuted in 1962 . That same year Vieira won the charts with the song Prelude Pra Ninar Gente Grande , better known as Menino Passarinho . In 1963 recorded another great success, Peace of My Love (Prelude nº 2) . Made several air trips a week to do five television shows. Currently, announcer of Radio Manchete . The Songs. 1. "Mi Primer Verso" by Ernesto Cordero Mi Primer Verso Mi primer verso cómo fue ,quién sabe acaso lo soñé o lo lloré, o lo sentí, o lo pensé Acaso nunca lo escribí, no sé, no sé Translation: My first verse how it was, who knows what I dreamed or I cried, or I felt it, or I thought Maybe I never wrote it, I dont know, I dont know

  1. Nina by Giovanni Battista Pergolesi (1710-1736)
    Nina, Tre giorni son che Nina, che Nina, che Nina In letto se ne sta, in letto se ne sta. Pifferi, timbali, cembali, svegliate mia Ninetta, Svegliate mia Ninetta, acciò non dorma più. sveglia te mia Ninetta, sveglia te mia Ni netta, accio non dorma piu, accio non dorma piu. Translation: For three long days my Nina, my Nina, my Nina upon her bed has lain, upon her bed has lain Louder and louder, ye players all, awaken my Ninetta. Awaken my Ninetta, that she sleep no more.

  2. Amarilli, mia Bella by Giulio Caccini (1551-1618) Lyrics:Amarilli, mia bella, Non credi, o del mio cor dolce desio, D'esser tu l'amor mio? Credilo pur, e se timor t'assale, Prendi questo mio strale, Apri mi il petto e vedrai scritto in core: Amarilli, Amarilli, Amarilli è il mio amore. Translation: Amarilli, lovely Amarilli, Believest thee not, oh my heart's sweet desire tis thou my heart’s dearest wish? Believe, tis true: yet should a dread besiege thee doubt not, in vane tear my heart open, & there inscribed you'll see Amarilli, Amarilli, Amarilli, sweetest love art thee.

  3. Caro Mio Ben by Giuseppe Giordani (1751-1798) lCaro mio ben Credimi almen Senza di te Languisce il cor. Caro mio ben Senza di te. Languisce il cor. Il tuo fedel So spira ognor, Cessa, crudel Tanto rigor. Cessa, crudel Tanto rigor. Tanto rigor. Caro mio ben Credimi almen, Senza di te Languisce il cor.Caro mio ben Credimi almen. Senza di te Languisce il cor. Translation: My dearest love, please believe without you my heart is yearning. My dearest love, please believe without you. My heart is yearning. Your fan I know I will always be, please cease your cruelty quickly. Cease your cruelty quickly. Quickly. My dearest love, believe, without you my heart is yearning. My dearest love, believe without you my heart is yearning.

  4. Come away death (Four Songs of 12th Night Garth Baxter) Come away , come away death and in sad cypress let me be laid fly away fly away breath I am slain by a fair cruel maid my shroud of white stuck all with yew o prepare it my part of death no one so true did share it. Not a flower, not a flower sweet, on my black coffin let there be strown. Not a friend, not a friend greet my poor corpse,where my bones shall be thrown. A thousand thousand sighs to save Lay me o where sad true lover never find my grave to weep there.

  5. O mistress mine (Four Songs of 12th Night Garth Baxter) O mistress mine where are you roaming? O stay and hear your true loves coming That can sing both high and low trip no further pretty sweeting Journey's end in lover's meeting Ev'ry wise man's son doth know What is love? tis not here after Present mirth hath present laughter. What's to come is still unsure, in delay, there lies no plenty. Then come kiss me sweet and twenty youth's a stuff will not endure.

  6. I am Gone Sir (Four Songs of 12th Night Garth Baxter) I am gone sir and anon sir, I'll be with you again. In a trice like to the old vice, your need to sustain. Who with dagger of lath, in his rage and his wrath Cries ah ha to the devil.Like a mad lad, Pare thy nails dad Adieu good man, Devil!

8.When that I was and a tiny little boy (Four Songs of 12th Night Garth Baxter) When that I was and a tiny little boy with hey ho the wind and the rain. A foolish thing was but a toy but the rain it raineth ev'ry day But when I came to man's estate with a hey ho, the wind and the rain. Gainst knaves and thieves men shut their gates For the rain it raineth ev'ry day. But when I came alas! to wive with hey ho the wind and the rain. By swaggering could I never thrive And the rain it raineth ev'ry day. But when I came unto my beds with hey ho, the wind and the rain. With toss-pots still had drunken heads For the rain it raineth ev'ry day.

(Tres Canciones Españolas) - Rodrigo 9. Adela (Tres Canciones Españolas) - Rodrigo Una muchacha guapa, llamada Adela, los amores de Juan la llevan enferma, y ella sabía, que su amiga el tiempo iba pasando lo entretenía. y la pobre Adela, más blanca se ponía y más enferma, y ella sabía, que de sus amores se moriría. Translation: A pretty young girl. Called Adela, called Adela, The love of Juan. Made her ill, and she knew Her friend Dolores would nurse her. Time passed by And poor Adela, poor Adela, Became paler and paler And sicker ,and she knew That she would die of her love.

  1. De Ronda (Tres Canciones Españolas) - Rodrigo Manzanita colorada, ¿cómo no te caza el suelo? ¡ Toda la vida he andado, la resalada, por alcanzarte y no puedo! Dentro de mi pechotengo dos escaleras de vidrio Por una sube el querer la resalada por otra baja el carino. Translation Little colored apple How have you not fallen to the earth? All my life I have been trying, You beautiful thing, To reach you but not being able to! Within my breast I have Two ladders of glass: Desire climbs up the one,You beautiful thing, Affection descends the other.

11.In Jerez de la Fontera (Tres Canciones Españolas) - Rodrigo En Jerez de la Frontera En Jerez de la Frontera había un molinero honrado, Que ganaba sustento con un molino alquilado. Pero es casado con una moza como una rosa, como es tan bella, el corregidor nuevo prendó d'ella. En Jerez de la Frontera ríese la molinera, y al corregidor decía, Que amores le pedía: "Ay, sois gracioso, muy generoso, muy lisonjero, también caballero, mas quiero a mi molinero, es mi dueño. Translation: In Jerez de la Frontera Lived a respected miller Who earned his keep With a rented mill. But he was married To a lass Like a rose.As she was so beautiful The new magistrate Fell for her. In Jerez de la Frontera The miller's wife laughed And said to the magistrate, Who was begging for her love: "Oh you are elegant, Very generous,Very flattering,Also a gentlemen. But I love my miller, He is my master."

  1. Great Day (arranged by William Grant Still) Great Day, Great Day the Righteous Marching Great Day, God's gonna tear down Zion's walls. Great Day, Great Day the Righteous Marching Great Day, God's gonna tear down Zion's walls. Satan sure is feeling bad. God's gonna tear down Zion's walls. He lost the souls he thought he had. God's gonna tear down Zion's walls. Great Day, Great Day the Righteous Marching Great Day, God's gonna tear down Zion's walls. Great Day, Great Day the Righteous Marching Great Day, God's gonna tear down Zion's walls.

  2. Keep Me from Sinkin down (arranged by William Grant Still) Oh Lord, Oh My Lord, Oh My good Lord Keep me from Sinkin down, Oh Lord, Oh My Lord, Oh My good Lord Keep me from Sinkin down, I keep lookin up on high, Keep me from Sinkin down, To my home up in the sky. Keep me from Sinkin down,

14 I Gotta Home Inna Dat Rock (arranged by William Grant Still) I Gotta Home Inna Dat Rock, Don't you see? I Gotta Home Inna Dat Rock, Don't you see? Between the earth and sky, thought I heard my savior cry. You Gotta Home Inna Dat Rock, Don't you see? Rich man Divas lived so well, Don't you see? Rich man Divas lived so well, Don't you see? Rich man Divas lived so well, That he died and went to Hell. He had no home Inna Dat Rock, Don't you see?

  1. Preludio pra ninar gente grande (menino passarinho) Composição: Luiz Vieira Quando estou nos braços teus, Sinto o mundo bocejar Quando estás nos braços meus, Sinto a vida descansar. No calor do teu carinho, Sou menino-passarinho Com vontade de voar, Sou menino-passarinho, Com vontade de voar. Translation: Prelude for lullabies big people (little bird) Composição: Luiz Vieira When I'm in your arms, I feel the world yawning When you're in my arms, I feel life resting. In the warmth of your affection, I'm a little bird In the mood to fly, I'm a little bird, In the mood to fly
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Suzi More and Angela Manso Perform Two Songs of Clara Plaut

Suzi More & Angela Manso

When Max Kowalski, left Germany for England (1939) his student, Clara Plaut, wrote and dedicated these two songs to him. "Weltende"  (Else Lasker-Schüler) & Lebewohl (Eduard Mörike). She later emigrated to NYC, United States.

CLARA PLAUT was born 12 July 1890, received Social Security number 125-26-9814 (indicating New York) and, Death Master File says, died May 1969.

Very little is known about this lady who studied music composition with the Holocaust composer, Max Kowalski (1882-1956) Clara Plaut.

It is only known that she wrote these two songs for Max, who was shortly imprisoned in Buchenwald Concentration Camp and dedicated them to him when he left Germany for England in 1939.

The recording of the two Clara Plaut works (Max Kowalski's student) is finished, now, to do more research into this woman's life.

We have been researching for almost a year and found very little information on her except that she did leave Germany (possibly 1947) and settled in NYC. No news on if she ever wrote another song. Only found out that, although she had been married and had a daughter named Hannah, she was known as "Aunt Clara" and I don't think she ever remarried.

The Songs:

Track 1-Weltende means "World's End" and the poet was Else Lasker Schuler. Else Lasker-Schüler was a Jewish German poet and playwright famous for her bohemian lifestyle in Berlin. She was one of the few women affiliated with the Expressionist movement. Born: February 11, 1869, Elberfeld, Germany, Died: January 22, 1945, Jerusalem, Israel

Track 2-Lebewohl, means Farewell, something like Handel's Ombra mai fu which was saying good bye to the dear forest and trees where the singer had found respite and peace This poem was written by Eduard Mörike Eduard Friedrich Mörike (8 September 1804 – 4 June 1875) was a German Romantic poet and writer of novellas and novels.

Max Kowalski(1882-1956) was born in Kowal, Poland. His family moved the next year to Frankfort, Germany, where he grew up, studied and earned Doctorates in both Music and Law (his specialty was Copyrights). His teacher of compostition was Bernhard Sekles and voice, Alexander Heineman. In Germany from 1913 till 1931, Max Kowalski was a prolific composer of beautiful lieder in the Romantic style. Although he was Jewish, Max Kowalski wrote music of all styles and genres, from Japanese, Chinese, Danish, Arabic, French and that of many great German authors,he even wrote a Marienlieder in his Opus 12. He was friend to many other composers, artists and performers and every song cycle he wrote was quickly published until Adolf Hitler and the Third Reich took over the country. In the late 30's Kowalski was very involved with the "Kulterbund" in Frankfort, Germany and his music continued to have popularity in their orchestral concerts. He is mentioned and highlighted by his presence at the last Kulturbund concert(1938) in Martin Goldsmith's book entitled "The Inextinguishable Symphony". By the end of 1938, Kowalski was arrested and spent time in Buchenwald but within a month he was released and he fled to England where he spent the rest of his life teaching voice, singing in a Synagogue and making a humble living. Although no music of his was ever published again, he kept writing new works, 18 new song cycles in manuscripts which singers performed in concerts and on radio. Opus 1 is his first composition dated 1913 and first published by Leukart in Germany. It had been out-of-print many years until Dr. Walter Foster of Recital Publications in Huntsville, Texas took up the commitment to bring as many of Max Kowalski's song cycles to the public as possible. So far, all of his 17 previously published cycles have been reprinted. In addition, several of the manuscripts are being printed as 1st editions by Dr. Foster.

A New Jersey native, Miss More has performed extensively throughout the United States and abroad. She has been soloist and has appeared in numerous operatic roles performing with the Festival Chorus of New Jersey, the Masterwork Chorus and Orchestra, Orpheus Chamber Singers, the Plainfield Symphony, Ars Musica Antiqua, the Garden State Chorale, the State Repertory Opera, Jersey Lyric Opera, Choral Baccarelli (Sao Paulo, Brazil), the Academy of Vocal Arts Opera Theatre (Philadelphia, PA), Montclair Chamber Orchestra, and numerous others. In 1989, she was the award-winning collaborator along with composer Loretta Jankowski, of a song cycle entitled Phoenix, published internationally by Boosey & Hawkes, in December 1993. The work, featuring Ms. More, was presented at both the Los Angeles, California (1989), and Little Rock, Arkansas, national Association of Teacher's of singing (NATS) conventions. She is a recipient of several Lila Wallace/Reader's Digest Incentive Grants, for performance and research. She is a member of the NATS, NJ, NYC and National chapters. Also, a composer of jazz, folk and children's songs. Her voice teachers and coaches include Franco Rossi-Roudett, Terrence Shook, Helen Fenstermacher, Chloe Owens, Daniel Ferro, Marlena Malas, Dorothea Discala, Frank Valentino, Deborah Taylor, and Dolores Cassinelli. She has appeared in master classes with Elly Amelling, Jerome Hines, Judith Raskin, and Daltin Baldwin. Ms. More holds a B.A. degree from Rutgers University, M.A. degree from Jersey City State College, and pursued studies at the Academy of Vocal Arts, in Philadelphia, and New York University. She worked as voice teacher, chorus director and Orff specialist at the Newark School of the Arts for over 30 years. As well as taught over 20 years in the New Jersey Public Schools as music specialist.

Pianist Angela Manso has served as musical/director/pianist for over forty operas and musical theater productions, including twenty for New York City's Bel Canto Opera Company. She served as assistant conductor for the Carnegie Hall performance of Mrs. H.H.A. Beach's Grand Mass in E-Flat Major, a work that was subsequently recorded in the Newport Classics label. Ms. Manso was the official accompanist for the first World Harmonica Championship on the Isle of Jersey, U.K., during which she performed in recital with harmonica virtuoso, Cham-Ber Huang, and accompanied internationally renowned artist Larry Adler and Mr. Huang performing the Bach Double Violin Concerto arranged for two harmonicas. As a composer, her Prayer for Mankind was performed by the Central City Chorus with Director Mr. Charles Pilling and organist Harry Huff. Women Singing, a women's choir directed by Ms. Phyllis Clark, performed Ms. Manso's O Son of Spirit! (originally written for eight-part mixed choir and arranged for four-part women's voices by Ms. Clark for the concert). The Celestial Tree was performed by Monica Jalili, soprano, and Angela Manso, pianist, at the Festival of the Arts presented by Global Music in New York City in 2002. Ms. Manso's chamber piece, Dawn, written for women's voices, harp, Native American flute, and Tibetan bells and ting-shas, was presented at the New York Baha'i convention in 2001.

The transcribing and printing of scores for both songs was done by Glenn Tiedemann, who has done many tracks for the recent Kowalski recording project, finished in June on the 60th year anniversary of Max Kowalski's death.

Tracks were recorded at the Newark School of the Arts, Newark, NJ by Max Caselnova and the vocals were later added by Miss More in the Sweet Sixteen Recording Studio, Cornville, Arizona and mastered there and final mastering took place at Fox Studios in Rutherford, NJ by Max Caselnova.

Lyrics and Translations follow:

Weltende of Else Lasker Schuler

Es ist ein Weinen in der Welt, Als ob der liebe Gott gestorben wär, Und der bleierne Schatten, der niederfällt, Lastet grabes schwer.   Komm, wir wollen uns näher verbergen... Das Leben liegt in aller Herzen Wie in Särgen.  Du! wir wollen uns tief küssen -- Es pocht eine Sehnsucht an die Welt. An der wir sterben müssen.

English Translation There is a cry in the world, As if the dear God had died, And the leaden shadow that falls, Loads great silence. Come, we want to hide more ... Life is in all hearts As in coffins. You! We want to kiss deeply - There is a longing for the world. At which we must die.

Lebewohl poem of Eduard Mörike

Wer hat dich, du schöner Wald, Aufgebaut so hoch da droben? Wohl den Meister will ich loben, Solang noch mein' [Stimm'] erschallt: Lebe wohl, Lebe wohl, du schöner Wald! Tief die Welt verworren schallt, Oben einsam Rehe grasen. Und wir ziehen [froh] und blasen, Daß es tausendfach verhallt: Lebe wohl, Lebe wohl, du schöner Wald!

Banner, der so kühle wallt! Unter deinen grünen Wogen Hast du treu uns auferzogen Frommer Sagen Aufenthalt! Lebe wohl, Lebe wohl, du schöner Wald! Was wir still gelobt im Wald, Wollen's draußen ehrlich halten, Ewig bleiben treu die Alten: [Bis das letzte Lied verhallt: Lebe wohl, Schirm' dich Gott, du deutscher Wald !

English Translation Who has made you, you beautiful forest, Built so high up there?
I want to praise the Master As long as I still have voice. Farewell, Farewell, you beautiful forest! Deeply bewildering the world sends out sounds, Lonely deer grazing above, And we go forth and blow the horn So that it resounds a thousand-fold: Farewell, Farewell, you beautiful forest!

Who has made you, you beautiful forest, Built so high up there?
I want to praise the Master As long as I still have voice. Farewell, Farewell, you beautiful forest! Deeply bewildering the world sends out sounds, Lonely deer grazing above, And we go forth and blow the horn So that it resounds a thousand-fold: Farewell, Farewell, you beautiful forest!

Lebewohl

"Lebe wohl!" - Du fühltest nicht,

Was es heißt, dies Wort der Schmerzen:

Mit getrostem Angesicht

Sagtest du′s und leichtem Herzen.

Lebe wohl! - Ach, tausendmal

Hab′ ich mir es vorgesprochen.

Und in nimmersatter Qual

Mir damit das Herz gebrochen. Lebewohl

"Farewell!" - You do not feel,

What it means is this word of pain:

With a confident countenance

Said it, and light heart.

Farewell! - Oh, a thousand times

I've said it before.

And in nimmeratter agony

I broke my heart.

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Three Songs of the Sea (Blue Remixes)

Suzi More

Three Songs of the Sea is a tale of love and longing with a Celtic feeling...A remix of three songs from Suzi More's first CD "Blue" Suzi is joined by Baritone Daniel McCarthy in this version.

NOTES About Suzi More- Suzi More is not only a composer of children's songs and lyrical ballads, but an educator of pop and jazz vocalists. A classically trained vocal artist, her recital work and language studies readied her to perform on the operatic stage. But college courses in the Jazz Music Department at Livingston College, Rutgers University, led her to work with an array of brilliant artists including Kenny Barron (piano), Mike Ridley (Jazz Ensemble) as well as a visiting Professor, Jimmy Giuffre (counterpoint). A love of Jazz harmonies and progressions was further developed in several years of Jazz Piano with Duke Anderson who had been friend and student of Art Tatum. Duke had been the music of Looney Tunes Cartoons, noted for his rapid technique and style, to this day difficult to emulate. She also knew the artistry of Ella Fitzgerald, Cleo Lane, Ertha Kitt and Billy Holiday, and if you listen carefully, she might just sound like them. These are the last three songs from her first original album of tunes penned "Three Songs of the Sea" are "Blue", "When" and "Vessel" and tell a story of waiting and longing and return. Suzi is joined in these songs by Dan McCarthy, Baritone, an avid fan of sound since the day of his birth he, always strived to keep it interesting. Dan started his first music lessons on guitar under the tutelage of jazz legend Van Moretti at the young age of 9. He continued to pursue his musical studies in voice with Susan Reid of the Metropolitan Opera until she retired and now is a student Reegan McKenzie, also a performer with the Metropolitan Opera. All songs have been written, including lyrics, melodies and harmonic accompaniments by Suzi with digital arrangements by Kendell Kardt. New recording and re-mastering done by Max Caselnova, Fox Studios, Rutherford, NJ

Songs Lyrics from the Three Songs of the Sea

Song #1. Blue Sail oh ship across the water, Sail oh ship across the sea. Ever steering rugged water Cold and dark and harsh they be Though your stern be strong and steady and your sails are flapping free. Can you ever bring my lover Back to where his heart should be, Blue, Blue, Blue were your eyes as blue as the skies Blue Blue blue is my soul now I'm without you Deep, Deep I've never known pain that could be Deep Deep Deep in my heart as deep as the sea. Song # 2. When When will my heart rejoice again ? when will my sad days go away? when I hear your sweet voice again and you come back to me to stay. Then will my heart know gladness never to weep in sadness. your happy smile will bring the sunshine back to my poor life if this can't be I will wait in the darkness that I live in today, here I must stay where I see you in my dreaming .Ah...

Song # 3 Vessel

  1. My lover is a sailor man he sails across the deep blue sea and every dream that I may have is that he's coming back to me.

Chorus:Haul away Joe, Haulin the bow, there's a young maiden waiting for me Haul away Joe see the wind blow I'm going back to my gentle lady.

2, My sailor is so proud and strong His song is loud and clear and free and after all the lands he'll see he'll bring that vessel back to me.

Chorus:Haul away Joe, Haulin the bow, there's a young maiden waiting for me Haul away Joe see the wind blow I'm going back to my gentle lady.

  1. He's covered miles from east and west my happy sailor man sails he and hangs and hauls among the best till he can steer back here to me.

Chorus:Haul away Joe, Haulin the bow, there's a young maiden waiting for me Haul away Joe see the wind blow I'm going back to my gentle lady.

  1. My lover is a sailor man he sails across the deep blue sea and every dream that I may have is that he's coming back to me.

Chorus:Haul away Joe, Haulin the bow, there's a young maiden waiting for me Haul away Joe see the wind blow I'm going back to my gentle lady.

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Schubert: Der Hirt auf dem Felsen, D. 965, Op. posth. 129 (Live)

Suzi More, Victoria Griswold & Walter Terry MacWilliams

"The Shepherd on the Rock" by Franz Schubert, in German is "Der Hirt auf dem Felsen" D 965, Opus posth. 129. It Is a Lied for soprano, clarinet, and piano by Franz Schubert, composed in 1828. This CD from a "live" concert in the 1980s.

"The Shepherd on the Rock" in German is "Der Hirt auf dem Felsen" D 965, Opus posth. 129, a Lied for soprano, clarinet, and piano by Franz Schubert, composed in 1828.

Der Hirt auf dem Felsen was composed in 1828 during the final months of his life.

The Lied was written for an operatic soprano, Pauline Anna Milder-Hauptmann, a friend of Schubert. She had requested a piece that would show not only her exquisite technical abilities in phrasing and range but one that would show that she could have a great range of emotions.. It was published a year and a half after Schubert's death. Milder sang it for the first time at the House of the Blackheads in Riga on 10 February 1830.

The performers on this track are Suzi More, soprano with Victoria Griswold, piano and Walter "Terry" MacWilliams. From a performance in the early 1980's in Plainfield, New Jersey.

A New Jersey native, Miss More has performed extensively throughout the United States and abroad. She has been soloist and has appeared in numerous operatic roles performing with the Festival Chorus of New Jersey, the Masterwork Chorus and Orchestra, Orpheus Chamber Singers, the Plainfield Symphony, Ars Musica Antiqua, the Garden State Chorale, the State Repertory Opera, Jersey Lyric Opera, Choral Baccarelli (Sao Paulo, Brazil), the Academy of Vocal Arts Opera Theatre (Philadelphia, PA), Montclair Chamber Orchestra, and numerous others. In 1989, she was the award-winning collaborator along with composer Loretta Jankowski, of a song cycle entitled Phoenix, published internationally by Boosey & Hawkes, in December 1993. The work, featuring Ms. Morehead, was presented at both the Los Angeles, California (1989), and Little Rock, Arkansas, National Association of Teacher's of Singing (NATS) conventions. Under auspices of the United States Embassy, Ms. Morehead toured Brazil. She is a recipient of several Lila Wallace/Reader's Digest Incentive Grants, for performance and research. She is a member of the National, New Jersey and New York Chapters of the National Association of Teachers of Singing, as well as a composer of jazz, folk and children's songs. Her voice teachers and coaches include Franco Rossi-Roudett, Terrence Shook, Helen Fenstermacher, Chloe Owens, Daniel Ferro, Marlena Malas, Dorothea Discala, Frank Valentino, Deborah Taylor, and Dolores Cassinelli. She has appeared in master classes with Elly Amelling, Jerome Hines, Judith Raskin, and Dalton Baldwin. Ms. More holds a B.A. degree from Rutgers University, M.A. degree from Jersey City State College, and pursued studies at the Academy of Vocal Arts, in Philadelphia, and New York University. She has worked as voice teacher, chorus director and Orff specialist at the Newark School of the Arts for over 25 years as well as taught several years in the Passaic School district as music specialist.

Victoria Griswold is a classical pianist who has concertized in Europe, Brazil and throughout the New York metropolitan area. At her debut recital in NYC, one reviewer characterized her as "an elegant pianist." She received her Bachelor and Master of Music degrees from Manhattan School of Music. In Europe she recorded new works of William Thomas McKinley with such orchestras as the Warsaw Philharmonic, the London Symphony Orchestra and the Royal Liverpool Philharmonic. She is currently working on a recording of piano music by women composers. Her musical background also includes appearances as pianist and Music Director for professional musical theatre productions, Music Director and harpsichordist for Ars Musica Antiqua, and early music ensemble and as church organist. She also served as staff accompanist at New Jersey City University for six years. Ms. Griswold taught piano for 30 years in her private studio and has adjudicated many young people's competitions and auditions sponsored by such organizations as the New Jersey Symphony, the Livingston Symphony, the Music Educators of New Jersey, the Andrew DeGrado Foundation and the New Jersey Music Teachers Association. Victoria Griswold is also the owner of the Plainfield Music Store, a retail establishment specializing in printed music.

Walter "Terry" MacWilliams was a graduate of the New England Conservatory of Music in Boston, he played classical music with the clarinet. Terry performed in Boston, New York City, New Jersey and Chicago. Like Schubert, he did not live long, he died a few years after this collaboration in 1986.

The re-mastering and cover art were done by Max Caselnova of Fox Recording Studio, Rutherford,, New Jersey.

About the lyrics: There are seven verses in all, the first four and the last were from poetry of Wilhelm Müller. The fifth and sixth verses were written by Karl August Varnhagen von Ense.

'Der Hirt auf dem Felsen'" 

Wilhelm Müller – "Der Berghirt"  Wenn auf dem höchsten Fels ich steh', In's tiefe Tal hernieder seh', Und singe. Fern aus dem tiefen dunkeln Tal Schwingt sich empor der Widerhall Der Klüfte. Je weiter meine Stimme dringt, Je heller sie mir wieder klingt Von unten. Mein Liebchen wohnt so weit von mir, Drum sehn' ich mich so heiß nach ihr Hinüber.

English Translation: When, from the highest rock up here, I look deep down into the valley, And sing, Far from the valley dark and deep Echoes rush through, upward and back to me, The chasm. The farther that my voice resounds, So much the brighter it echos From under. My sweetheart dwells so far from me, I hotly long to be with her Over there.

Varnhagen – "Nächtlicher Schall"  In tiefem Gram verzehr ich mich, Mir ist die Freude hin, Auf Erden mir die Hoffnung wich, Ich hier so einsam bin. So sehnend klang im Wald das Lied, So sehnend klang es durch die Nacht, Die Herzen es zum Himmel zieht Mit wunderbarer Macht.

English Translation: I am consumed in misery, Happiness is far from me, Hope has on earth eluded me, I am so lonesome here. So longingly did sound the song, So longingly through wood and night, Towards heaven it draws all hearts With amazing strength.

Wilhelm Müller – "Liebesgedanken" [3] Der Frühling will kommen, Der Frühling, meine Freud', Nun mach' ich mich fertig Zum Wandern bereit

English Translation: The Springtime will come, The Springtime, my happiness, Now must I make ready To wander forth.

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Mozart's "Exultate, Jubilate!"

Suzi More

Suzi More sings Mozart's (Jan 27, 1756-Dec 5, 1701) religious solo motet (composed for a singer, whose technical skill he admired. Its first performance was on Jan 17, 1773. This recording from a "live " concert in Dunellen, NJ, Oscar Ravina, directing

This religious solo motet was composed by Wolfgang Amadeus Mozart (January 27, 1756 – December 5,1791) for a singer, whose technical excellence he admired. Its first performance was on January 17, 1773.

  1. Exsultate, jubilate, o vos animae beatae, dulcia cantica canendo, cantui vestro respondendo, psallant aethera cum me.

  2. English:Rejoice, resounding with joy, o you blessed ones, singing such sweet songs, and In response to your singing, let the heavens sing forth with me.

  3. Recitative Fulget amica dies, jam fugere et nubila et procellae; exorta est justis, inexspectata quies. Undique obscura regnabat nox, surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date.

  4. English:The friendly day comes forth shining both clouds and storms have gone away now; for the righteous ones, there arises an gentle calm. Before, all was the Dark night reigning over all. arise, be happy at last, you who were fearful. and rejoice in this beautiful dawning. bring bouquets with lilies within your hand.

3.Tu virginum corona, tu nobis pacem dona, tu consolare affectus, unde suspirat cor. 3. English: You the crowned of virgins, grant us peace, Console our sadness, which makes our hearts sigh.

  1. Alleluja, alleluja!

  2. English:Alleluja, alleluja!

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Suzi More Sings Max Kowalski, 6 Japanischer Frühling

Suzi More & Angela Manso

6 Songs of a 10 Song Cycle of Max Kowalski, Opus 19 from the manuscript. The very first songs that the artist ever heard, found for 2 cents a piece in a a used music bin in Pedelson's Music Store, NYC over 35 years ago.

Max Kowalski(1882-1956) was born in Kowal, Poland. His family moved the next year to Frankfort, Germany, where he grew up, studied and earned Doctorates in both Music and Law (his specialty was Copyrights). His teacher of compostition was Bernhard Sekles and voice, Alexander Heineman. In Germany from 1913 till 1931, Max Kowalski was a prolific composer of beautiful lieder in the Romantic style. Although he was Jewish, Max Kowalski wrote music of all styles and genres, from Japanese, Chinese, Danish, Arabic, French and that of many great German authors,he even wrote a Marienlieder in his Opus 12. He was friend to many other composers, artists and performers and every song cycle he wrote was quickly published until Adolf Hitler and the Third Reich took over the country. In the late 30's Kowalski was very involved with the "Kulterbund" in Frankfort, Germany and his music continued to have popularity in their orchestral concerts. He is mentioned and highlighted by his presence at the last Kulturbund concert(1938) in Martin Goldsmith's book entitled "The Inextinguishable Symphony". By the end of 1938, Kowalski was arrested and spent time in Buchenwald but within a month he was released and he fled to England where he spent the rest of his life teaching voice, singing in a Synagogue and making a humble living. Although no music of his was ever published again, he kept writing new works, 17 new song cycles in manuscripts which singers performed in concerts and on radio. Opus 1 is his first composition dated 1913 and first published by Leukart in Germany. It had been out-of-print many years until Dr. Walter Foster of Recital Publications in Huntsville, Texas took up the committment to bring as many of Max Kowalski's song cycles to the public as possible. So far, 11 of his 17 previously published cycles have been reprinted. As well as one cycle from the manuscripts, Opus 18, Sieben Gedichte von Hafiz (1933)

A New Jersey native, Miss More has performed extensively throughout the United States and abroad. She has been soloist and has appeared in numerous operatic roles performing with the Festival Chorus of New Jersey, the Masterwork Chorus and Orchestra, Orpheus Chamber Singers, the Plainfield Symphony, Ars Musica Antiqua, the Garden State Chorale, the State Repertory Opera, Jersey Lyric Opera, Choral Baccarelli (Sao Paulo, Brazil), the Academy of Vocal Arts Opera Theatre (Philadelphia, PA), Montclair Chamber Orchestra, and numerous others. In 1989, she was the award-winning collaborator along with composer Loretta Jankowski, of a song cycle entitled Phoenix, published internationally by Boosey & Hawkes, in December 1993. The work, featuring Ms. More, was presented at both the Los Angeles, California (1989), and Little Rock, Arkansas, national Association of Teacher's of singing (NATS) conventions. She is a recipient of several Lila Wallace/Reader's Digest Incentive Grants, for performance and research. She is a member of the NATS, NJ, NYC and National chapters. Also, a composer of jazz, folk and children's songs. Her voice teachers and coaches include Franco Rossi-Roudett, Terrence Shook, Helen Fenstermacher, Chloe Owens, Daniel Ferro, Marlena Malas, Dorothea Discala, Frank Valentino, Deborah Taylor, and Dolores Cassinelli. She has appeared in master classes with Elly Amelling, Jerome Hines, Judith Raskin, and Daltin Baldwin. Ms. Morehead holds a B.A. degree from Rutgers University, M.A. degree from Jersey City State College, and pursued studies at the Academy of Vocal Arts, in Philadelphia, and New York University.

She has worked as voice teacher, chorus director and Orff specialist at the Newark School of the Arts for over 27 years. As well as has taught over twenty years in the New Jersey school systems, now retired.

Pianist Angela Manso has served as musical/director/pianist for over forty operas and musical theater productions, including twenty for New York City's Bel Canto Opera Company. She served as assistant conductor for the Carnegie Hall performance of Mrs. H.H.A. Beach's Grand Mass in E-Flat Major, a work that was subsequently recorded in the Newport Classics label. Ms. Manso was the official accompanist for the first World Harmonica Championship on the Isle of Jersey, U.K., during which she performed in recital with harmonica virtuoso, Cham-Ber Huang, and accompanied internationally renowned artist Larry Adler and Mr. Huang performing the Bach Double Violin Concerto arranged for two harmonicas. As a composer, her Prayer for Mankind was performed by the Central City Chorus with Director Mr. Charles Pilling and organist Harry Huff. Women Singing, a women's choir directed by Ms. Phyllis Clark, performed Ms. Manso's O Son of Spirit! (originally written for eight-part mixed choir and arranged for four-part women's voices by Ms. Clark for the concert). The Celestial Tree was performed by Monica Jalili, soprano, and Angela Manso, pianist, at the Festival of the Arts presented by Global Music in New York City in 2002. Ms. Manso's chamber piece, Dawn, written for women's voices, harp, Native American flute, and Tibetan bells and ting-shas, was presented at the New York Baha'i convention in 2001. Final Mastering and Artwork by Max Caselnova at Clearcut Studios, Garfield, NJ.

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Suzi Sings Simple Tunes for Toddlers

Suzi More

Suzi sings some of the most beloved children's folk songs, in most of the selections she is accompanied by Miss "Angie" Angela Manso, not only a classical artist/accompanist for Suzi's concerts but a funny lady too.

Suzi More is an educator and composer of not only children's songs but of many other styles and genres. She also has finished a 10 year project to record all of the originally published works of Max Kowalski (1882-1956) Holocaust Composer, who she researched in Germany and England over a 22 year period, leading her to give papers in London and eventually meet the composer's daughter who left her all of the composer's works, published and in manuscript. Because of Suzi, the works have all been republished and manuscripts are being printed as first editions. New performers in Europe have begun to produce his works 60 years after his death thanks to Suzi. She was an Orff/Kodal'y instructor as well as Children's Chorus Director in addition to being a Voice Teacher and Voice Chair at the Newark School of the Arts, Newark, NJ. In this album, Suzi uses very well loved children's songs which she used for over thirty years working with tiny children and their mothers and fathers in her classrooms at the arts school. Included are a few folk songs done in Orff treatment which is a style of composition Suzi is noted for in Children's music. One, the Qoudlibet on Old Aunt Dinah consists of four songs, Chimmy Chimmy Co Co Pop, Old Aunt Dinah, Riding in the Buggy Miss Mary Jane and Who's that tapping at the Window. Pianist Angela Manso has served as musical/director/pianist for over forty operas and musical theater productions, including twenty for New York City's Bel Canto Opera Company. She served as assistant conductor for the Carnegie Hall performance of Mrs. H.H.A. Beach's Grand Mass in E-Flat Major, a work that was subsequently recorded in the Newport Classics label. Ms. Manso was the official accompanist for the first World Harmonica Championship on the Isle of Jersey, U.K., during which she performed in recital with harmonica virtuoso, Cham-Ber Huang, and accompanied internationally renowned artist Larry Adler and Mr. Huang performing the Bach Double Violin Concerto arranged for two harmonicas. As a composer, her Prayer for Mankind was performed by the Central City Chorus with Director Mr. Charles Pilling and organist Harry Huff. Women Singing, a women's choir directed by Ms. Phyllis Clark, performed Manso's "O Son of Spirit!" (originally written for eight-part mixed choir and arranged for four-part women's voices by Ms. Clark for the concert). The Celestial Tree was performed by Monica Jalili, soprano, and Angela Manso, pianist, at the Festival of the Arts presented by Global Music in New York City in 2002. Ms. Manso's chamber piece, Dawn, written for women's voices, harp, Native American flute, and Tibetan bells and ting-shas, was presented at the New York Baha'i convention in 2001. Mastered by Max Caselnova at Fox Recording, Rutherford, NJ.

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Suzi Loves Coffee: Cantata of J. S. Bach, BWV 211

Suzi More, Paul Rogers, Steven Farris & Oscar Ravina

Suzi More, Soprano, with Steven Farris, Baritone and Paul Rogers, Tenor sing Johann Sebastian Bach's "Coffee Cantata" BWV 211 with the JCLO, with Oscar Ravina conducting. circa 1986.

The Story of this Coffee Cantata, a charming and hilarious cantata about a young lady's addiction to Coffee. Written by the Great Johann Sebastian Bach. 1685-1750. In the distant past there was a little diva named Suzi More who was asked (by it's founder, Peter Munoz) to take over a little orchestral ensemble in Jersey City called the JCLOS (Jersey City Little Orchestra Society). this was between the years 1984-1987. She found some funding from cultural organizations in that county and provided a few years of wonderful chamber music programs for senior centers and nursing homes and churches of the neighborhood. One year, they decided to do a major concert with chorus, orchestra and soloists. A good friend of Suzi's named Oscar Ravina, who had played the violin in several concerts with her, brought friends and students which turned out to be a wonderful pickup group to perform the Bach Coffee Cantata. Suzi sang the soprano part of Lizzy. A baritone named Steven Farris sang the role of Schlendrian, and a tenor named Paul Rogers sang the part of Erzähler. These two singers had worked in other concerts with Suzi over a period of several years. Suzi had sung with Steven who was the Bass in an acapella quartet called The Orpheus Chamber Singers. Paul Rogers had sung for years with Michael May, the assistant to David Randolph who had been the longtime director of the Masterwork Chorus and Orchestra. Suzi met Michael when she was singing the part of the "Woman" in Carl Orff's Carmina Burana, in a performance with the Plainfield Symphony. The Plainfield Symphony had hired Randolph and the Masterwork Chorus to sing with their orchestra and chosen soloists. From then on, Suzi performed in many of the programs and concerts that Michael May scheduled in the dozen years that she knew him till he died. This recording was lost for many years and now that it is found, Suzi tried for months to contact the people she worked with in order to get updates on their recent performances. Oscar is deceased, Paul is nowhere on the web and Suzi thinks he got married and took his wife's last name or maybe he may be deceased also. Lastly, she tried to get in touch with Steven and has found that he had left the field of music altogether in order to sell dog food in California. Not only did he sell it, but he became a top administrator in the company and has never written her back. A list of the pieces, their German lyrics and a rough translation to English done by Suzi More follow: Coffee Cantata BWV 211 Liesgen (Soprano), Erzähler (Tenor), Schlendrian (Bass)
1. Rezitativ Tenor Schweigt stille, plaudert nicht, Und höret, was itzund geschicht: Da kömmt Herr Schlendrian, Mit seiner Tochter Liesgen her, Er brummt ja wie ein Zeidelbär; Hört selber, was sie ihm getan!
1. Recitative Tenor Be still, make no sound, And listen to what is going on: Enters Schlendrian and daughter Lizzy, Like a bear huffing; Listen to his fussing. 2. Arie( Bass) Hat man nicht mit seinen Kindern, Hunderttausend Hudelei! Was ich immer alle Tage, Meiner Tochter Liesgen sage, Gehet ohne Frucht vorbei.
2. Aria Bass With children there are thousands of tribulations each day with them. Anything I say to my daughter Lizzy, goes in one ear and out.
3. Rezitativ Bass/Soprano Schlendrian Du böses Kind, du loses Mädchen, Ach! wenn erlang ich meinen Zweck: Tu mir den Coffee weg! Liesgen Herr Vater, seid doch nicht so scharf! Wenn ich des Tages nicht dreimal Mein Schälchen Coffee trinken darf, So werd ich ja zu meiner Qual Wie ein verdorrtes Ziegenbrätchen.
3. Recitative Bass/Soprano Schlendrian Wicked naughty girl, Ah! When will I see the end of this terrible habit! Lizzy Father sir, but do not be so harsh! If I can’t have three times daily, a little cup of coffee, in despair I know I’ll simply die and shrivel up. 4. Arie Soprano Ei! wie schmeckt der Coffee süße, Lieblicher als tausend Küsse, Milder als Muskatenwein. Coffee, Coffee muss ich haben, Und wenn jemand mich will laben, Ach, so schenkt mir Coffee ein!
4. Aria Soprano Ah! How sweet the taste of coffee is. Sweeter than a thousand kisses, better than muscatel wine. Ah, I must have coffee, and, if, you’d be mine only, Bring on my coffee to me!
5. Rezitativ Bass/Soprano Schlendrian Wenn du mir nicht den Coffee lässt,
So sollst du auf kein Hochzeitfest, Auch nicht spazierengehn. Liesgen Ach ja! Nur lasset mir den Coffee da! Schlendrian Da hab ich nun den kleinen Affen! Ich will dir keinen Fischbeinrock nach itzger Weite schaffen. Liesgen Ich kann mich leicht darzu verstehn. Schlendrian Du sollst nicht an das Fenster treten Und keinen sehn vorübergehn! Liesgen Auch dieses; doch seid nur gebeten Und lasset mir den Coffee stehn! Schlendrian Du sollst auch nicht von meiner Hand Ein silbern oder goldnes Band Auf deine Haube kriegen! Liesgen Ja, ja! nur lasst mir mein Vergnügen! Schlendrian Du loses Liesgen du, So gibst du mir denn alles zu?
5. Recitative Bass/Soprano Schlendrian If you won’t stop this coffee for me, you won’t go out to anything To weddings, parties, concerts, not even to go out walking. Lizzy Okay then! But please leave the coffee be. With me. Schlendrian Now I've got her where I want her. “I’ll buy you no stylish dress in fashion." Lizzy I can easily handle that. Schlendrian You won’t stay at the window or see anyone that you’d like to. Lizzy This too I don’t care about but let my coffee stay with me! Schlendrian From me you'll never ever get lovely ribbons for hair or bonnet! Liesgen Anything you say don’t take my coffee away! Schlendrian You naughty Lizzy, you’d give all of that to me?
6. Arie Bass Mädchen, die von harten Sinnen, Sind nicht leichte zu gewinnen. Doch trifft man den rechten Ort, O! so kömmt man glücklich fort. 6. Aria Bass Girls can be quite stubborn and not very easy to convince. But if you know the right words, you may find that you have won the battle. 7. Rezitativ Bass/Soprano Schlendrian Nun folge, was dein Vater spricht! Liesgen In allem, nur den Coffee nicht. Schlendrian Wohlan! so musst du dich bequemen, Auch niemals einen Mann zu nehmen. Liesgen Ach ja! Herr Vater, einen Mann! Schlendrian Ich schwöre, dass es nicht geschicht. Liesgen Bis ich den Coffee lassen kann? Nun! Coffee, bleib nur immer liegen! Herr Vater, hört, ich trinke keinen nicht. Schlendrian So sollst du endlich einen kriegen!
7. Recitative Bass/Soprano Schlendrian Now do what your father tells you! Lizzy In all things but coffee. Schlendrian All right then! So you’ll be happy without ever finding a mate Liesgen Oh yes! Father, a husband! Schlendrian I swear it won’t happen. Lizzy Till I give up coffee? OK! Coffee, I’ll leave it forever! Listen, I’ll quit it! Schlendrian So finally you'll get one!
8. Arie Soprano Heute noch, Lieber Vater, tut es doch! Ach, ein Mann! Wahrlich, dieser steht mir an! Wenn es sich doch balde fügte, Dass ich endlich vor Coffee, Eh ich noch zu Bette geh, Einen wackern Liebsten kriegte! 8. Aria Soprano Today, my father, make it happen! Ah, a husband! this is what suits me! Let it happen soon, then, instead of coffee before bed, I will have a darling lover!
9. Rezitativ Tenor Nun geht und sucht der alte Schlendrian, Wie er vor seine Tochter Liesgen Bald einen Mann verschaffen kann; Doch, Liesgen streuet heimlich aus: Kein Freier komm mir in das Haus, Er hab es mir denn selbst versprochen Und rück es auch der Ehestiftung ein, Dass mir erlaubet möge sein, Den Coffee, wenn ich will, zu kochen.
9. Recitative Tenor Now old Schlendrian makes haste to find a husband for Lizzy. But she secretly spreads the word:that no one can court her unless he promises in a contract that she may brew coffee whenever she wants.
10. Chor (Terzett) Soprano/Tenor/Bass Die Katze lässt das Mausen nicht, Die Jungfern bleiben Coffeeschwestern. Die Mutter liebt den Coffeebrauch, Die Großmama trank solchen auch, Wer will nun auf die Töchter lästern!
10. Chorus (Trio) Soprano/Tenor/Bass The Cats do not give up their mousing,The young sisters always will love their coffee. mother still keeps her coffee-habit, grandma too. So how can anyone say a thing about what their daughters do!

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Suzi More sings Loretta Jankowski, Phoenix

Suzi More & Angela Manso

Phoenix is an art song by Loretta Jankowski. A powerful work dedicated to the spiritual growth in all women and men who have had to struggle with unknown fears.

This was a song cycle written in 1989 which won the NATS (National Association of Teachers of Singing) Art Song Composition Competition. Music by Loretta Jankowski, lyrics by Susan Morehead (aka Suzi More), this song cycle was originally performed by Susan Morehead, soprano and Victoria Griswold, piano at the NATS Convention in California. The original tessitura of this song was extremely high and deemed too difficult for most soprano voices, hence, this recording is a later performance with lower notes. It is recorded with Suzi More and Angela Manso.

A New Jersey native, Miss More has performed extensively throughout the United States and abroad. She has been soloist and has appeared in numerous operatic roles performing with the Festival Chorus of New Jersey, the Masterwork Chorus and Orchestra, Orpheus Chamber Singers, the Plainfield Symphony, Ars Musica Antiqua, the Garden State Chorale, the State Repertory Opera, Jersey Lyric Opera, Choral Baccarelli (Sao Paulo, Brazil), the Academy of Vocal Arts Opera Theatre (Philadelphia, PA), Montclair Chamber Orchestra, and numerous others. In 1989, she was the award-winning collaborator along with composer Loretta Jankowski, of a song cycle entitled Phoenix, published internationally by Boosey & Hawkes, in December 1993. The work, featuring Ms. More, was presented at both the Los Angeles, California (1989), and Little Rock, Arkansas, national Association of Teacher's of singing (NATS) conventions. She is a recipient of several Lila Wallace/Reader's Digest Incentive Grants, for performance and research. She is a member of the NATS, NJ, NYC and National chapters. Also, a composer of jazz, folk and children's songs. Her voice teachers and coaches include Franco Rossi-Roudett, Terrence Shook, Helen Fenstermacher, Chloe Owens, Daniel Ferro, Marlena Malas, Dorothea Discala, Frank Valentino, Deborah Taylor, and Dolores Cassinelli. She has appeared in master classes with Elly Amelling, Jerome Hines, Judith Raskin, and Dalton Baldwin. Ms. Morehead holds a B.A. degree from Rutgers University, M.A. degree from Jersey City State College, and pursued studies at the Academy of Vocal Arts, in Philadelphia, and New York University.

Pianist Angela Manso has served as musical/director/pianist for over forty operas and musical theater productions, including twenty for New York City's Bel Canto Opera Company. She served as assistant conductor for the Carnegie Hall performance of Mrs. H.H.A. Beach's Grand Mass in E-Flat Major, a work that was subsequently recorded in the Newport Classics label. Ms. Manso was the official accompanist for the first World Harmonica Championship on the Isle of Jersey, U.K., during which she performed in recital with harmonica virtuoso, Cham-Ber Huang, and accompanied internationally renowned artist Larry Adler and Mr. Huang performing the Bach Double Violin Concerto arranged for two harmonicas. As a composer, her Prayer for Mankind was performed by the Central City Chorus with Director Mr. Charles Pilling and organist Harry Huff. Women Singing, a women's choir directed by Ms. Phyllis Clark, performed Ms. Manso's O Son of Spirit! (originally written for eight-part mixed choir and arranged for four-part women's voices by Ms. Clark for the concert). The Celestial Tree was performed by Monica Jalili, soprano, and Angela Manso, pianist, at the Festival of the Arts presented by Global Music in New York City in 2002. Ms. Manso's chamber piece, Dawn, written for women's voices, harp, Native American flute, and Tibetan bells and ting-shas, was presented at the New York Baha'i convention in 2001.

This recording was done in Plainfield, New Jersey at the French School of Music studios in 1998. Recorded by Robert Speiden and remastered in 2012 by Max Caselnova of Clearcut Recording Studio, Garfield, New Jersey.

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