J.S. Bach (1675–1750)Suite No. 6 in D major, BWV 1012 (arr. in G major for viola by Watson Forbes)

J.S. Bach’s sixth cello suite exemplifies the ideals of Baroque composers in form and style. As a composer, Bach was not esteemed as a landmark figure but rather known regionally in Germany and surrounding areas. In fact in his time, several contemporaries were more internationally known. Today his works have been thoroughly scrutinized by generations of theorists and musicians and held as the pinnacle of Baroque composition and the starting point for serious composers of tonal music since the early 19 th century. Interestingly, Bach was largely self-taught through laborious copying and arranging of other composers’ scores. He was especially interested in the organ works of German composer Dietrich Buxtehude and the instrumental works of Italian composers such as Corelli and Vivaldi. He was also aware of music by many other important composers throughout Europe.While his works for keyboard instruments show vividly his abilities at creating contrapuntal (busy, local harmonizing or embellishing of a main musical idea, theme, or melody) works with several simultaneously sounding voices, his works for solo instruments employ the same techniques, albeit with more limited options. The chaconne from Bach’s solo violin Partita No. 2 in D minor BWV 1004 is probably the most famous example of this; however, even in the cello suites, multiple lines weave throughout complex and virtuosic movements.

Suite No. 6 comprises a set of six movements that draw on common French dances. Originally it was written for a five-stringed instrument, and the range and complexity of chords reflects this although it has been arranged for four-stringed cellos and violas. To suit the idiom of the viola, it has been transposed down a fifth to G major rather than the original D major.The Prelude was not related to a dance form, but instead was commonly used as an introductory piece intended to establish the tonal center of the entire suite and as a technical warm-up. Here it is very artistic and full of musical motives, episodes, and virtuosic flourishes. The following dances include the slow, flowing and beautiful Allemande (French for “German dance”), the quick Courante (French for “running”), the stately Sarabande (a Spanish dance in triple time with emphasis on the second rather than first beat), the cheery Gavotte I/II (two French dances “of the mountain people” comprising a single movement), and the lively Gigue (a country-style stomping dance common in many countries across Europe).

While referencing the dance forms, these pieces were intended for instrumental performance and so invite thoughtful, musical flexibility in order to emphasize important musical lines and ideas. They consist of two halves (binary form), the first in the home (tonic) key and the second starting in the destination (dominant) key and returning to the original key via a tonal journey through related keys. Traditionally the first half is repeated to establish the character and key of the movement.

Claude Debussy (1862–1918)Mandoline composed 1883Debussy is one of the best known impressionist composers. Like Impressionistic paintings, Debussy’s music does not seek to tell a story or express a certain emotion, but rather evokes a mood or atmosphere. Debussy was particularly attracted to the poetry of Paul Verlaine, the poet of “Mandoline”. “Mandoline” is a very playful piece: the accompaniment resembles the careless plucking of a mandolin, although it is difficult on the piano. Conceived when he was dividing his time between the conservatory and entourage of Mme. von Meck, his Russian patron. This song was one of perhaps hundreds of small character pieces that were not meant to survive him. The intent of these small works was to amuse von Meck, who was the composer's lifeline to financial stability. Mandoline is an early work. He was somewhere between 19 and 21when Debussy composed it. He thrived under the aristocratic preconceived notions of artistic genius; his clumsy social skills and strong musical opinions were recognized as attributes of artistic complexity. Mandoline would most likely have been received as a particularly clever irony because of his position among von Meck's circle. He was a guest, but in light of his age and familial background, not really a social equal. Neither a servant nor a peer, Debussy was not in a position to compromise his relationship with his generous patron, and boring her with groveling or tentative conduct probably would have ended their relationship. He was determined to play the courtier's game and, by all historical accounts, he succeeded admirably. His time with von Meck was probably the only financially secure period of his life.

Ralph Vaughan Williams (1872–1958)Silent noon published 1925Ralph Vaughan Williams was born into a well-established English family (his great-uncle was Charles Darwin). Early family encouragement led to Vaughan Williams' musical studies. Alongside composing, Vaughan Williams worked as an organist, writer, lecturer, music editor, conductor, and folk-song collector. He was adamant that music should serve a social and cultural purpose as well as an artistic one; one of his most enduring endeavors was the compilation of The English Hymnal, for which he composed several original hymns and adapted many others from folk songs. Silent noon is the second of six songs in the cycle, The House of Life, one of Vaughan Williams' finest vocal collections from his early years. The songs, scored for voice and piano, are based on the six sonnets of the same collective title by Dante Gabriel Rossetti. Probably the most famous of the songs in the set is "Silent Noon.”

Wolfgang Amadeus Mozart (1756–1791)Non so piu cosa son From Le nozze di Figaro (the marriage of Figaro) composed 1786The marriage of Figaro is a comic opera composed in 1786 in four acts. Although Mozart was from Saltsburg Austria German was not the stylish language of the day for operatic composers so Mozart’s music frequently had Italian lyrics. The lyrics in this opera are by Lorenzo Da Ponte the story is based on a stage comedy by Pierre Beaumarchais Marriage de Figaro (1784).Although the play by Beaumarchais was at first banned in Vienna because of its satire of the aristocracy, considered dangerous in the decade before the French Revolution, the opera became one of Mozart's most successful works.

“Non so più cosa son” is sung by the character Cherubino in Act I of Le nozze di Figaro. Cherubino is a “pants role” (a young man played by a woman). He is a page under the employment of Count Almaviva in Seville. Cherubino is at the age where a young man begins to notice women and he can hardly control his new desires. He has he made a nuisance of himself in a number of ways: by trying to kiss Susanna, the Countess’ maid, stealing a ribbon from the countess, being caught alone with the gardener’s daughter, Barbarina, and forcing Susanna to listen to a love song that he has written for all women.

In this aria, Cherubino reflects on himself and his new found desires after Susanna calls him crazy. The aria jumps back and forth between fast, slow, and moderate tempos and sweeping and angular lines, which imitate Cherubino’s excitement and unbridled passion.

Kol Nidrei, Op. 47 (arr. for viola by Luke Hubbard)Max Bruch (1838–1920)Contemporary with and rival to Johannes Brahms, German composer Max Bruch occupied a celebrated place in the musical culture of Europe both as a violinist and composer. His violin concerti and smaller works with orchestra are valued recognized by classical music lovers around the world due their memorable melodies and rich orchestral colors and textures. Kol Nidrei was originally written for cello and orchestra at the height of the composer’s popularity. It combines Hebrew melodies into a recitation in two sections—the first a poignant and moving lament, the second a singing, worshipful and brighter episode developed with a lively and virtuoso flare that draws back to a gentle and peaceful close.

Nocturne for piano No. 4 in A major, by John FieldJohn Field was an Irish concert pianist and composer, active during the early 1800’s. His music had a strong influence on early Romantic composers such as Chopin and Liszt. Field invented the “piano nocturne’’, which is a type of piece that sets a night-time, dreamy mood, without any particular storyline. The nocturne is characterized by sonorous, decorated melodies in the right hand, with accompaniment in the left hand that is often reminiscent of a guitar.

Johannes Brahms (1833–1897)Zwei gesange (two songs) published 1884Brahms wrote these two songs specifically for his dear friends Amalie and Joseph Joachim. The couple had recently split, and as Brahms had given them an earlier version of Geistliches Wiegenlied for their wedding, he felt a new version of that work paired with a romantic song scored specifically for them to perform together might lead them toward reconciliation.

1. Gestillte Sehnsucht (Stilled Desire). Here, the pain of the protagonist is given relief by the gentle bird songs and breezes of the evening. Brahms evokes the scene with a gently rippling accompaniment, punctuated by occasional dissonances in the viola. A central climax portrays the height of the poet's anguish then returns to the gentle music of the opening.

2. Geistliches Wiegenlied (Lullaby for the Christ child).This was first completed in an earlier version in 1863. Brahms revised it in 1864, and again for this Opus. The song opens with a quotation of the old hymn "Josef, lieber Josef mein" (Joseph, My Dear Joseph), setting the context of the song as a lullaby Mary sings to the baby Jesus. The gently rocking figures that permeate this peaceful and evocative song are typical lullaby gestures. Set to a text from the Spanisches Liederbuch, attributed to Lope de Vega and translated by Emanuel Geibel and Paul Heyse, His lullaby (as he wrote to violinist Joseph Joachim not long before the latter wed contralto Amalie Schneeweiss) is just that, a "marvelous old Catholic song," consoling, soothing, and soft-edged, rising only briefly to highlight the momentary distress of the infant Jesus. Mary implores the angels surrounding the wind-whipped palm trees to hush the treetops. Her child is asleep.

Mandoline (mandolin)Poem by Paul VerlaineLes donneurs de serenadesEt les belles écouteusesEchangent des propos fadesSous les ramures chanteuses.

C’est Tircis et c’est Aminte,Et c’est l’éternel Clitandre,Et c’est Damis qui pour mainteCruelle fait maint vers tendre.

Leurs courtes vestes de soie,Leurs longues robes à queues,Leur élégance, leur joieEt leurs molles ombres bleues,

Tourbillonent dans l’extaseD’une lune rose et grise,Et la mandoline jaseParmi les frissons de brise.

The givers of serenadesAnd the lovely women who listenExchange insipid wordsUnder the singing branches.

There is Thyrsis and AmyntasAnd there's the eternal Clytander,And there's Damis who, for many aHeartless woman, wrote many a tender verse.

Their short silk coats,Their long dresses with trains,Their elegance, their joyAnd their soft blue shadows,

Whirl around in the ecstasyOf a pink and grey moon,And the mandolin prattlesAmong the shivers from the breeze.

Non so più cosa son cosa faccio, (I don’t know anymore what I am, or what I’m doing,)Lyrics by: Lorenzo Da PonteNon so più cosa soncosa faccio, or di foco, ora sono di ghiaccio ogni donna cangiar di colore ogni donna mi fa palpitar.

Solo ai nomi d’amor, di diletto, mi si turba, mi s’altera il petto, e a parlare mi Sforza d’amore un desio che non posso spiegar

Non so più...Parlo d’amor vegliando,all acqua, all’ombra, ai monti,ai fiori, all’erbe, ai fonti, all’eco, all’aria, ai venti, che il suon dei vani accenti portano via con se.Parlo d’amor vegliando...e se non ho chi m’odaparlo d’amor con me!

I don’t know anymore what I am,what I’m doing,now I am burning hot, now I am ice cold,every woman [makes me] change color,every woman makes me tremble.

At the mere words of love, of delight,my heart is troubled, is upset,and to speak of lovea desire forces me which I cannot explain

I don’t know anymore...I speak of love [when I am] awake,to the water, to the shade, to the mountains,to the flowers, to the grass, to the springs,to the echo, to the air, to the winds,which [carry away with them]the sound of futile words.I speak of love...And when I have nobody who listens to meI speak of love to myself!

Stillte Sehnsucht (stilled longing)Poem by Friedrich Ruckert (1788–1866)In gold’nen abendschein getauchet,Wie feierliech die walder stehn!In leise Stimmen der Voglein hauchetDes abend vindes leises Weh’n.Was lispeln die winde,Die Vogelein? Sie Lispeln die Welt in SchlummerIn Schlummer ein.

Ihr Wunsche, die ihr stets euch regetIm herzen sonder rast und ruh!Du Sehnen, das die Brust beweget,Wann ruhest du,Wann schlumerst du?

Beim Lispeln der Winde,Der Voglelein,Ihr sehnden Wunsche, Wann schlaft ihrWann schlaft ihr ein?

Steeped in a golden evening glowHow solemnly the forests stand!in gentle voices the little birds breatheinto the soft fluttering of evening breezes.what does the wind whisper,And the little birds?They whisper the world into slumber.Into slumber.

You, my desires, that stirIn my heart without rest or peace!you longings that move my heart,When will you rest,When will you sleep?

By the whispering of the wind,and of the little birds? You yearning desires when will you fall asleep?When will you fall asleep?

Ach, wenn nicht mehr in gold’ne fernen Mein Geist auf Traumgefieder eilt,Nicht mehr an ewig fernen sternenMit sehnendem Blick mein Auge weilt;Dann lispeln die Winde, Die VogeleinMit meinem sehnen Mein Leben ein.

Alas, when no longer into the golden distancedoes my spirit hurry on dream-wings,when no more on the eternally distant starsdoes my longing gaze rest;Then the windand the little birdswill whisper away my longing,Along with my life.

Geitliches Wiegenlied (Lullaby for the Christ child)Die ihr schwebet um diese palmenIn nacht und wind,Ihr heil’gen engel, stillet die wipfel!Es schlummert mein kind.

Ihr palmen von BethlehemIn windesbrausen,Wie mögt ihr heute so sornig sausen!O rauscht nicht also,Schweiget neiget euch leis’und lind,

Stilet die wipfel!Es schlummert mein kind.

Der himmelsknabe duldet bescwerde;Ach, wie so müder ward vom leid der erde,Ach, nun im schlaf ihm, leise gesänftigt,die qualzer rinnt,

Stilet die wipfel!Es schlummert mein kind.

Grimmige kälte sauset hernieder,Womit nur deck’ ich des kindleins glider!O all ihr engel, Die ihr geflügelt wandelt im wind,

Stilet die wipfel!Es schlummert mein kind.

You who float about these palm trees in the wind at nightyou holy angels, quiet the branches!my child is asleep.

You palms of Bethlehem,in the rushing windhow can you today swish so angrily?Oh do not rustle like that!Be quiet, lean down softly and gently;

Hush your branches!My child is asleep

The heavenly boy has to endure hardship;Ah, how weary he is with the sorrow of earth.Ah, now in sleep he is gently consoled,His pain dissolves.

Quiet those branches.My child is asleep.

Grim cold blows upon us;With what shall I cover the baby’s limbs?O all you angels,Who on you wings wander in the wind,

Quiet the branches!My child is asleep