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The Music Department of Wagner College presents Anthony Babino, guitar and baritone with Joyce Chung, piano Friday, April 17, 2009 at 7:30 p.m. Performance Center at Campus Hall Anthony Babino is a guitar student of Edward Brown & a vocal student of Kelly Birgfeld. Program from Die Schöne Müllerin Franz Schubert (1797-1828) 1. Das Wandern 2. Wohin? 3. Halt! 4. Danksagung an den Bach 5. Am Fierabend Joyce Chung, piano Adelita Francisco Tárrega (1852-1909) Prelude No. 4 in E minor Heitor Villa-Lobos (1887-1959) Anema E Core Salve D‟Esposito (1903-1983) Mala Femmena Totò (1898-1967) **Intermission** Walkin‟ Time Sal Salvador (1928-1999) Edward Brown, Jon Caro, guitar Steven Babino, bass All Of Me Seymour Simons (1896-1949) Gerald Marks (1900-1997) It‟s Only A Paper Moon Harold Arlen (1905-1986) Dr. Robert Delfausse, piano Steven Babino, bass How She Does It Anthony Babino (b. 1987) Melancholy Feeling Jeff Lederer, saxophone Steven Babino, bass I‟ll Be Back John Lennon (1940-1980) This Boy Paul McCartney (b. 1942) Tony Babino, guitar Steve Babino, bass Texts and Translations Das Wandern To Wander Das Wandern ist des Müllers Lust, Wandering is the miller's joy, Das Wandern! To Wander! Das muß ein schlechter Müller sein, It is indeed a very poor miller Dem niemals fiel das Wandern ein, Who never felt the urge to wander Das Wandern. To Wander! Vom Wasser haben wir's gelernt, From the water we„ve learned this, Vom Wasser! From the water! Das hat nicht Rast bei Tag und Nacht, It does not rest by day or night, Ist stets auf Wanderschaft bedacht, But is always bet on traveling, Das Wasser. The water. Das sehn wir auch den Rädern ab, We see it too in the mill-wheels, Den Rädern! The mill-wheels! Die gar nicht gerne stille stehn, They don't like to stand still, Die sich mein Tag nicht müde gehn, And go all day without tiring. Die Räder. The mill-wheels. Die Steine selbst, so schwer sie sind, Even the mill-stones, heavy as they are, Die Steine! The stones! Sie tanzen mit den muntern Reihn They join in the cheerful dance, Und wollen gar noch schneller sein, And want ever to go faster, Die Steine. The stones! O Wandern, Wandern, meine Lust, Oh, wandering, wandering, my delight, O Wandern! Oh, wandering! Herr Meister und Frau Meisterin, Oh, Master and Mistress, Laßt mich in Frieden weiter ziehn Let me go my way in peace, Und wandern. And wander! Wohin? Where to? Ich hört' ein Bächlein rauschen I hear a brooklet rushing Wohl aus dem Felsenquell, From a spring among the rocks, Hinab zum Tale rauschen Rushing down into the valley, So frisch und wunderhell. So fresh and wondrously clear. Ich weiß nicht, wie mir wurde, I don‟t know how it happened, Nicht, wer den Rat mir gab, Or who gave me the idea, Ich mußte auch hinunter But I couldn‟t resist following it right down Mit meinem Wanderstab. With my walking stick. Hinunter und immer weiter Down, always farther, Und immer dem Bache nach, And always along the bank, Und immer frischer rauschte And always brisker, Und immer heller der Bach. And clearer the brook rushed. Ist das denn meine Straße? Is this the way I am to go? O Bächlein, sprich, wohin? O, brooklet, speak! Where to? Du hast mit deinem Rauschen You have, with your rushing Mir ganz berauscht den Sinn. Entirely intoxicated my senses. Was sag' ich denn vom Rauschen? But why do I speak of rushing? Das kann kein Rauschen sein: That can't really be rushing: Es singen wohl die Nixen It must be the water-nymphs singing Tief unten ihren Reihn. Their roundelays in the depths. Laß singen, Gesell, laß rauschen Let it sing, my friend, let it rush, Und wandre fröhlich nach! And wander joyously after! Es gehn ja Mühlenräder There are mill-wheels turning In jedem klaren Bach. In every clear brook. Halt! Stay! Eine Mühle seh' ich blinken I see a mill showing Aus den Erlen heraus, Through the alders; Durch Rauschen und Singen Through the roaring and singing Bricht Rädergebraus. Bursts the noise of the wheel. Ei willkommen, ei willkommen, Hey, welcome, welcome! Süßer Mühlengesang! Sweet song of the mill! Und das Haus, wie so traulich! And the house, how comfortable it looks! Und die Fenster, wie blank! And the windows, how they glitter! Und die Sonne, wie helle And the sun, how brightly Vom Himmel sie scheint! It shines from Heaven! Ei, Bächlein, liebes Bächlein, Hey, brooklet, dear brooklet, War es also gemeint? Was this what was intended? Danksagung an den Bach Thanks to the Brook War es also gemeint, Was this what was intended, Mein rauschender Freund? My rushing friend? Dein Singen, dein Klingen, Your singing and your sounding, War es also gemeint? Was this what was intended? Zur Müllerin hin! To the maid of the mill! So lautet der Sinn. So the meaning resounds. Gelt, hab' ich's verstanden? Isn‟t that it? Have I understood it? Zur Müllerin hin! To the maid of the mill! Hat sie dich geschickt? Did she send you, Oder hast mich berückt? Or have you beguiled me? Das möcht ich noch wissen, I would like to know, Ob sie dich geschickt. Whether she has sent you. Nun wie's auch mag sein, Now whatever happens, Ich gebe mich drein; I‟m yielding; Was ich such', hab' ich funden, What I sought, I have found, Wie's immer mag sein. Whatever may happen. Nach Arbeit ich frug, I applied for work, Nun hab ich genug Now I have enough Für die Hände, fürs Herze For my hands and for my heart, Vollauf genug! Completely enough! Am Feierabend On the Restful Evening Hätt' ich tausend If only I had a thousand Arme zu rühren! Arms to move! Könnt' ich brausend If I could keep Die Räder führen! The mill wheels roaring! Könnt' ich wehen If I could blow Durch alle Haine! Through all the groves! Könnt' ich drehen If I could turn Alle Steine! All the mill-stones! Daß die schöne Müllerin So that the beautiful maid of the mill Merkte meinen treuen Sinn! Would notice my faithful nature! Ach, wie ist mein Arm so schwach! Ah, how feeble is my arm! Was ich hebe, was ich trage, What I can lift, what I can carry, Was ich schneide, was ich schlage, What I can chop, what I can strike, Jeder Knappe tut mir's nach. Any apprentice can do as well. Und da sitz' ich in der großen Runde, And there I sit in the great circle, In der stillen kühlen Feierstunde, In the quiet, cool hour of rest, Und der Meister spricht zu allen: And the master says to all: Euer Werk hat mir gefallen; "Your work has pleased me;" Und das liebe Mädchen sagt And the lovely maiden says Allen eine gute Nacht. To all a good night. Wilhelm Müller (1794 - 1827) Anema E Core English lyrics by: Harry Akst (1894-1963) Manny Curtis (b. 1911) My life, I'd give for you, anema e core I only live for you, anema e core I have but one desire and it's to love you With all my heart, with all my soul My whole life through From stars I'll make your crown and kneel before you I pray you'll take my hand, for I adore you Open up the doors leading to heaven A heaven mine and yours, anema e core Tenímmoce accussí, ánema e core Let's hold each other like this, soul and heart Nun ce lassammo cchiù, manco pe' n'ora Never leave each other anymore, not even for one hour Stu desiderio 'e te mme fa paura This desire for you frightens me Campá cu te, sempe cu te, pe' nun murí To live with you, always with you, so I won't die Che ce dicimmo a fá parole amare Why we tell bitter words to each other Si 'o bbene po' campá cu nu respiro If the goodness for living with one breath Si smanie pure tu pe' chist'ammore If you also yearn for this love Tenímmoce accussí, ánema e core Let's hold each other like this, soul and heart Italian lyrics by: Tito Manlio (?) Mala Femmena Evil Woman Femmena Woman Tu si na malafemmena You are a bad woman Chist'uocchie 'e fatto chiagnere.. You made these eyes cry Lacreme e 'nfamità. Tears and infamy. Femmena, Woman, Si tu peggio 'e na vipera, You are worse than a viper, M'e 'ntussecata l'anema, You intoxicated my soul, Nun pozzo cchiù campà. I can't live anymore. Femmena Woman Si ddoce comme 'o zucchero You are as sweet as sugar Però sta faccia d'angelo But your angel face Te serve pe 'ngannà... Is made to deceive... Femmena, Woman, Tu si 'a cchiù bella femmena, You are the most beautiful woman Te voglio bene e t'odio I love you and I hate you Nun te pozzo scurdà... I just can't forget about you All Of Me All of me Why not take all of me? Can't you see I'm no good without you? Take my lips I want to lose them Take my arms I'll never use them Your good-bye Left me with eyes that cry How can I Go on without you? You took the part That once was my heart So why not Why not take all of me? It Is Only A Paper Moon It is only a paper moon Sailing over a cardboard sea, But it wouldn't be make believe If you believed in me. It is only a canvas sky Hanging over a muslin tree, But it wouldn't be make believe If you believed in me. Without your love, It's a honky-tonk parade. Without your love, It's a melody played in a penny arcade. It's a Barnum and Bailey world, Just as phony as it can be, But it wouldn't be make believe If you believed in me. Yip Harburg (1896-1981) How She Does It She's got these legs that drive me wild She's got a charm that makes you wanna smile I don't know how she does it, but she does it She'll make you angry when you see her with other guys That charm you love can also be something you despise I don't know how she does it, but she does it She won‟t make me jealous, or break my heart „Cause I‟ve been down that road once too many times before She won‟t make me jealous, I‟d give my love But I‟ve come to realize love makes a fool out of the wise She's got these eyes so bright, wild and wide A piercing stare could lead to my demise I don't know how she does it, but she does it Melancholy Feeling I walked into the bar with a melancholy feeling And though I‟d been there before There was never a night like this I‟ve had my share of loneliness and heart-ache But nothing could prepare me for what was at stake Another scotch on the rocks Drown my sorrows in a glass The jukebox in the corner sighs as the wee small hours pass I couldn‟t comprehend, I just couldn‟t understand The reason why she left me for another man I‟d like to tell you about her I want to tell you about my woman I want to tell you about how she broke my heart Early the next morning I woke up in my bed And slowly I got up A slight pounding in my head Everyone had told me that I would be alright But in my heart I knew that I‟d be back at the bar tonight I‟d like to tell you about her I want to tell you about my woman I want to tell you about how she broke my heart I’ll Be Back You know, if you break my heart I'll go But I'll be back again 'cause I told you once before goodbye But I came back again I love you so I'm the one who wants you Yes I'm the one who wants you You could find better things to do Than to break my heart again This time I will try to show that I'm Not trying to pretend I thought that you would realize That if I run away from you That you would want me to But I got a big surprise I want to go, oh But I hate to leave you You know I hate to leave you You, if you break my heart I'll go But I'll be back again This Boy That boy took my love away Though he‟ll regret it someday But this boy wants you back again That boy isn‟t good for you Though he may want you too This boy wants you back again Oh and this boy would be happy just to love you But oh my that boy won‟t be happy till he‟s seen you cry This boy wouldn‟t mind the pain Would always feel the same if this boy gets you back again This boy Program Notes Harold Arlen Harold Arlen may be the most well-known unknown composer of the 20th century. He wrote over 400 songs attributed to the great American songbook, many of which were massive hits from the 30's and 40's, including the entire score to the classic movie, The Wizard of Oz. Songs such as “Over the Rainbow”, “Get Happy”, “Stormy Weather”, “It's Only a Paper Moon”, “I've Got the World on a String”, “That Old Black Magic”, “Blues In The Night”, “One For My Baby (And One More For The Road)”, “Come Rain Or Come Shine”, and “Last Night When We Were Young” are just a few of many which distinguish him as one of the most successful and prolific songwriters of the era. In fact, “Over The Rainbow” was voted as the number one song of the 20th century by the Recording Industry of America and the National Endowment for the Arts. The lyrics to “It‟s Only A Paper Moon” were written by Yip Harburg, an American popular song lyricist who also collaborated with Arlen on “Over The Rainbow”. Anthony Babino Anthony has been writing songs from an early age, and has also studied composition with Professor Barbara Wesby for two years. He has already composed in a wide array of styles and genres, including pop, rock, blues, jazz & classical. Over the course of the last two years, he has been working on his debut album of original songs. The album, “Desolate Town” features 14 original compositions, including the acoustic driven “How She Does It” and the jazz-inspired, “Melancholy Feeling”. In the fall of 2005, Anthony recorded “How She Does It” aboard the John Lennon Educational Tour Bus accompanied by legendary jazz guitarist Pat Metheny, who played lead guitar. Metheny commented on the song‟s untypical chord progression, especially its use of secondary chords. It was inspired by the melodic genius of Paul McCartney. Anthony recently re-recorded this song for his new album, with lead guitar parts orchestrated and played by Mick Gaffney. “Melancholy Feeling” was inspired by a combination of the Harold Arlen/Johnny Mercer classic, “One for My Baby (And One More For The Road), and a fondness for Van Morrison. Salve D’Esposito Salve D‟Esposito studied piano and composition at the Conservatory of San Pietro a Majella in Naples, where he graduated at the age of 16. Soon thereafter he began his career as a performer in France and then in London, England, where he worked and lived for two years. In 1942 he moved with his family to Rome, where he would live for the remainder of his life. In 1948 he composed music to the poet Tito Manlio‟s verse, “Me so 'mbriacato 'e sole.” The song garnered him worldwide acclaim as a songwriter, and just two years later, he composed his most famous song, “Anema E Core”. The song, another which featured lyrics by Tito Manlio, was a big hit and was featured in a movie of the same title, starring Eddie Fisher. It has since become a standard of the Neapolitan canon, and has been recorded by numerous artists, including Eddie Fisher & Perry Como. John Lennon John Lennon was a singer, guitarist, pianist, and along with Paul McCartney, principal songwriter of the English pop/rock group The Beatles. The Beatles attained massive worldwide success as well as critical acclaim during the 1960‟s. “I‟ll Be Back” and “This Boy” were co-written by Lennon and McCartney, but are both recognized as songs written predominantly by Lennon. “I‟ll Be Back” is the last song on The Beatles‟ 1964 album, A Hard Days Night. The song was inspired by Del Shannon‟s “Runaway”, a huge hit in 1961. Lennon intended it to be a waltz in 6/8, but changed the original electric guitar arrangement to be a more folk-like, acoustic ballad in 4/4. This song contains one of the more unusual structures in any Beatles song, featuring two-and-one-half verses, no chorus, and two distinctly different bridges. “This Boy” was recorded on October 17th, 1963 at Abbey Road Studio‟s, and was featured as the B-side to the number one hit, “I Want To Hold Your Hand”. The inspiration for the three-part vocal arrangement came from The Beatles‟ admiration of Smokey Robinson and the Miracles, as well as the Everly Brothers. Gerald Marks Gerald Marks was an American composer most well known for the song "All of Me" which he co-wrote with Seymour Simons. Simons was an American jazz musician and composer as well. “All of Me”, which was written in 1931 and first recorded by the vaudeville vocalist Belle Baker, has been recorded more than 2,000 times, making it one of the most recorded songs of its era. Such notable artists as Frank Sinatra, Louis Armstrong, Ella Fitzgerald, Benny Goodman, Billie Holiday, Dean Martin, and Django Reinhardt have recorded versions of it. Gerald Marks also wrote the songs "That's What I Want for Christmas" for the film Stowaway starring Shirley Temple, and "Is It True What They Say About Dixie" recorded by Al Jolson and Rudy Vallee. Paul McCartney Paul McCartney is a multi-instrumentalist, singer and songwriter who is still actively writing, recording and touring. He originally achieved success as a member of The Beatles, writing some of the groups biggest hits and most beloved songs until their dissolution in 1970. After successfully launching a solo career and releasing two albums, McCartney, along with his wife Linda, proceeded to form a new band they called Wings. Wings consistently topped the Billboard charts throughout the 1970‟s, once again establishing McCartney as one of the great songwriters and performers of the latter part of the 20th century. In 1980 Wings disbanded, and McCartney has been a solo artist ever since. He has been nominated for the coveted Album of the Year award four times for his work as a solo artist. In addition to his groundbreaking work in the pop/rock genre, he has also written oratorio‟s, orchestral works, and most recently won the Classical Album of the Year in the classical BRIT awards for his Oratorio, “Ecce Cor Meum”. Sal Salvador Sal Salvador was a bebop jazz guitarist and composer. He was born in Monson, Massachusetts and began his professional career in New York City in the 1940‟s. He was on the staff of Columbia Records as well as Radio City Music Hall, and was highly revered as a session guitarist. A few years later he joined Stan Kenton‟s band where he was featured as a soloist, and eventually formed his own group, the Sal Salvador Quintet. Later, he taught guitar at the University of Bridgeport in Connecticut. He was also the author of several instructional books and video‟s for the guitar ranging from beginners to advanced guitarists. “Walkin‟ Time” originates from a book called “Jazz For Two Guitars” from 1966. The book contains several original duets written by Salvador, which he performed publicly alongside guitarist Allen Hanlon. Franz Schubert Franz Schubert is highly regarded for his original melodic and harmonic writing style. The contributions he made to the German Lied alone are astounding, having written over 600 songs during the course of his short lifetime. In addition to writing lieder, he composed nine symphonies, chamber music, piano music, string quartets, orchestral music, liturgical music and more. Die Schöne Müllerin (“The Lovely Maid of the Mill”), the first of his two song cycles, was composed during the autumn of 1823. It consists of twenty songs for tenor voice and piano, but is often sung by other voices, transposed to a lower range. The text was selected from a collection of poems published two years prior by the German poet, Wilhelm Müller. The story is relatively simple: a young man wandering the countryside discovers a mill alongside a brook. He proceeds to go to work for the miller, and eventually falls in love with the miller‟s beautiful daughter. His love, however, is unrequited, as the millers daughter falls in love with a hunter. In his despair, the wanderer drowns himself in the brook. Many of the songs are addressed to the brook itself, thus making it a symbolic character in the story. The piano accompaniment reflects the pastoral imagery of the text, ever-changing with the different moods of the wanderer. In the beginning, the brook serves as an inspiration to the young man, and the accompaniment is flowing. Later, as the wanderer becomes distressed, the piano accompaniment becomes more intense. Overall, the song cycle is less a tragic love story than a metaphor on the Romantic conviction that true love on this earth finds its fulfillment only in death. A typical performance lasts around sixty to seventy minutes. Francisco Tárrega Francisco Tárrega was a Spanish guitarist and composer. He began studying the classical guitar in 1862, but as the instrument was not very popular throughout Europe at the time, Tárrega's father insisted that he study the piano as well. As a result, Francisco became accomplished on both instruments at an early age. He entered the Madrid Conservatory in 1874, and received extensive training in theory, harmony and the piano. By 1877 he was earning his living as a music teacher and concert guitarist. In 1880, he gave recitals in Paris and London, and was hailed as „the Sarasate of the guitar‟. Within a few years he displayed a wide repertory that included not only his own compositions, but also piano works by Mendelssohn, Beethoven, Chopin, Gottschalk, Thalberg and others which he arranged for the guitar. His compositions for solo guitar, not all of which have been published, comprise approximately 78 original works and 120 transcriptions; he also made 21 transcriptions for two guitars. Among his most famous works are Lágrima, Danza Mora, Recuerdos de la Alhambra, Capricho Árabe, and Adelita. Adelita is a beautiful and lyrical piece written in the romantic style. It is subtitled as a Mazurka, and is written in the form of a polish dance. The piece is usually played at a moderate, flowing tempo, with the accent stressed on the beat of two, as opposed to a waltz which is accented on the beat of one. From 1885 to 1903, Tárrega consistently gave concerts throughout Spain. He then toured Italy in 1903. In 1906, at the height of his fame, however, he was afflicted with paralysis of the right side from which he never fully recovered. Tárrega's influence on the guitar in the 20th century is simply immeasurable. Totò Antonio de Curtis, or Totò, was born in the Rione Sanità, a poor area of Naples, Italy. He is beloved in Italy as a film and theatre actor, writer, singer, and songwriter. He was best known for his comedic roles, but in the latter part of his life showed that he was comfortable in dramatic portrayals as well. Totò starred in 108 films, five of which he wrote, and four of which he composed the music for. In addition, he was a poet, and was also a writer and composer for numerous stage variety shows. “Mala Femmena” is not only one of his most well known songs, but is also one of the most beloved Neapolitan songs. Heitor Villa-Lobos Heitor Villa-Lobos has often been described as “the single most significant creative figure in 20th-century Brazilian art music”. This is due not only to his international recognition as a composer, but also to his achievement in creating unique compositional styles in which he combined contemporary European techniques with elements of Brazilian nationalism. Villa-Lobos composed many different types of music, including chamber music, orchestral music, vocal works, string quartets, and works for solo guitar. His most well known guitar works include the virtuoso 12 études, a concerto first performed by famed guitarist Andrés Segovia in 1956, and the five preludes (completed in 1940). The Five Preludes were actually originally a set of six. Unfortunately, the final prelude, described as the “finest” by Villa-Lobos himself, was ultimately lost. Prelude No. 4 in E minor is a homage to the Brazilian Indians, and evokes the atmosphere and spirit of both nature and Brazil. In this piece in particular, Villa-Lobos takes advantage of the guitar‟s sympathetic resonances, employing the use of natural harmonics to articulate the melody further. The middle section of the Prelude features the melody on the bass strings accompanied by arpeggios in the treble. This technique is reminiscent of a similar one used in Prelude No. 2 as well as Study No. 11. Biography Anthony Babino Born and raised in Staten Island, N.Y., Anthony Babino is a Senior Music major and Marketing minor at Wagner College. Anthony has been playing guitar since the age of 9, studying with several teachers including Richie Castellano (Blue Oyster Cult), as well as Professor Edward Brown for the last four years. He has also studied voice at Wagner with Garyallen Glass and Kelly Birgfeld, and took private composition lessons from Professor Barbara Wesby for two years. For the last three years, he has been an active member in the Wagner College Choir, serving as Secretary the last two semesters. He has also participated in the Wagner College Guitar Ensemble, Jazz Ensemble, Stretto, and Chamber Singers. In 2005, Anthony received a Bertelsmann Foundation Scholarship Award for his original song "Racquel". Later that year, he was selected to participate in the 2005 Music Player LIVE Series, and was chosen to record his original song "How She Does It", accompanied by legendary jazz guitarist Pat Metheny. The recording took place on board the John Lennon Educational Tour Bus in NYC, and was included in the 10th Anniversary book which was released later that year. Anthony was the 2008 winner of the Stanley Drama Award for Musical Composition, and also had the honor of performing at Carnegie Hall as part of the Wagner College Choir. Anthony also frequently performs with his younger brother Steven. The duo, known as The Babino Brothers, have already performed at many high profile events and venues, such as The Rainbow Room in NYC, The Richmond County Ballpark (performed the national anthem prior to The Beach Boys Concert), The University Club NYC, The St. Regis, and Cipriani, where the brothers performed on stage with the cast of Jacques Brel Is Alive & Well & Living In Paris. For the past 4 years, he and his brother have performed once each month for developmentally disabled people at On Your Mark, a wonderful not-for-profit organization, located on Staten Island, which is dedicated to helping children and adults with disabilities. Steven Babino Steven Babino is currently a senior at Susan E. Wagner High School on Staten Island. Over the past several years, he has performed at numerous events and was among the first recipients of the YMCA Triangle Sports Award. Steven has been a member of the Staten Island Children‟s Theatre and Music Theatre International, where he was involved in productions of “Guys and Dolls”, “Thoroughly Modern Millie”, “Wall To Wall Sondheim”, and a Disney workshop production of “Mulan”. He recently sang on his first major television commercial for “Dove” soap, and provided bass guitar and vocal harmonies for his brother Anthony‟s upcoming CD. Acknowledgements Thank you so much to everyone who helped me with this recital: Ed Brown for his guidance, as well as imparting his incredible knowledge of the guitar unto me for the last four years. Kelly Birgfeld for her constant support and masterful knowledge of the voice. Joyce Chung for all of her help with the music, as well as sharing her amazing talent. Dr. “Doc” Delfausse for accompaniment. Jon Caro for stage-managing and accompaniment Jeff Lederer for sharing his incredible musicianship. My brother Steven for sharing his incredible bass and vocal talents. My parents, for their constant unwavering support, and for all that they have done to help me prepare for today.
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