Mark Crayton recitals

with James Janssen, harpsichord and Laura Handler, violoncello

Part 1

Giovanni Battista Bassani (1657 – 1712)

Nascere, nascere, dive puellule

Aria: Nascere, nascere
Recitativo: O amor
Aria: Dissipate, consternate
Recitativo: O flava pacis
Aria: Resonate
Aria: Alleluia

Tomaso Albinoni (1671 – 1751)

Filli, chiedi al mio core

Recitativo: Filli, chiedi al mio core
Aria: Senza il vanto
Recitativo: La fede è un certo incanto
Aria: Impara a serbar fede…

Antonio Scarlatti (1660 – 1725)

Clori vezzosa, e bella

Recitativo: Clori vezzosa, e bella
Aria: Volgi lo sguardo
Recitativo: Vivo, vivo penando
Aria: Si ben mio

Intermission

Part 2

Antonio Vivaldi (1678 – 1741)

Pianti, sospiri e dimandar mercede

Recitativo: Pianti, sospiri e dimandar
Aria: Lusinga è del nocchier
Recitativo: O ingannato nocchiero
Aria: Cor ingrato dispietato

George Frideric Handel (1685 – 1759)

Dolc’ è pur d’amor l’affanno

Aria: Dolc’ è pur d’amor l’affanno
Recitativo: Il viver sempre in pene
Aria: Se più non t’amo

Ombra felice… Io ti lascio, e questo addio

Liederkreis Op 39

1    In der Fremde
2    Intermezzo
3    Waldesgespräch
4    Die Stille
5    Mondnacht
6    Schöne Fremde
7    Auf einer Burg
8    In der Fremde
9    Wehmut
10 Zwielicht
11 In Walde
12 Frühlingsnacht

Quando incise su quell marmo
Vanne, o rosa fortunate

Il Barcaiolo
Leonora
L’amante spagnuolo
Il trovatore in caricatura

The inspiration for this recital came during the Lyric Opera of Chicago’s run of Handel’s Partenope. The cast was rich with countertenors and it was our practice to have lunch or dinner every day during the rehearsal period. Eventually we began discussing repertoire for countertenors, and our sense of responsibility to the next generation. We came to the conclusion that the mystique about the appropriateness for countertenors to sing specific repertoire needed to be challenged. Generally, we believed that if the color and technique of a person’s voice was suited to the music, then that person should be allowed to sing the music. We also felt that, as responsible singers, we should explore 'non-traditional' repertoire as a means to invite discussion and help expand the horizon for the next generation of countertenors. Our discussions have continued via email since the end of the run of the opera and have been very interesting. I wanted, with this recital, to present music originally written for other voice types in a style period not often visited by countertenors. Studying this music has been both rewarding musically and spiritually. Vocally it has been a great challenge and I feel that my musicianship has grown immensely as well as my appreciation for the many excellent artists who have performed this music before me. I hope you enjoy the concert!

Part 1

Carlo Arrigoni (1697 – 1744)

Cantata: Ti sento Amor, ti sento

Aria: Pur che tu m’ami…
Recitativo: Amarilli infelice….

Gavota: Allegro (D Minor) K64 L58
Andante (C Major) K132 L457
Vivo (G Major) K201 L129

Cantata: Care selve, amici prati

Aria: Care selve, amici prati
Recitativo: Ben mal'accorto e folle...
Aria: Placido in letto ombroso...

Sonata No. 6 in B-flat Major RV46

Largo
Allegro
Largo
Allegro

Cantata: Dolc’ è pur d’amor l’affanno

Aria: Dolc’ è pur d’amor l’affanno
Recitativo: Il viver sempre in pene
Aria: Se più non t’amo

Ridente la calma
Dans un bois solitaire
Abendempfindung an Laura
Sonata in D major K311

Allegro con spirito
Andante con espressione
Allegro

Sechs Lieder von Gellert

Bitten
Die Liebe des Nächsten
Vom Tode
Die Ehre Gottes aus der Natur
Gottes Macht und Vorsehung
Busslied

Il fervido desiderio
Dolente immagine
Vaga luna che inargenti

Sonata in B minor Op 40 No 2

Molto adagio e sostenuto
Allegro con fuoco e con espressione
Largo, mesto e patetico
Allegro
Presto

L’ora del ritrovo
Il trovatore in caricatura

During the 18th and 19th centuries, many evenings were spent making music as a pastime. These concerts, often impromptu, focused on music written by famous composers of the day. We are trying to recreate the same idea and mood with the presentation of this concert.

The fortepiano of Mozart's day was elegant and graceful in appearance and possessed virtues that have subsequently been lost in the technological development of the piano. Although the instrument is incapable of the fortissimo of today's concert grand, the fortepiano's wide spectrum of tone colors, well-balanced treble and bass, and immediate response make it possible for the player to attain the delicate shadings, textural clarity, and sudden changes of dynamic required in the music of Mozart, Haydn, Clementi, and Beethoven. The five-octave fortepiano used by James Janssen was made in 1986 by John Lyon and is a copy of Mozart's own piano, built by the Viennese piano maker, Anton Walter.

Three Songs of William Blake Op 20

Dream Valley
The Wild Flower’s Song
Daybreak

The Black Dress
Black is the color of my true love’s hair
Evening
The Robin and the Thorn

Three Songs from Shakespeare

Take, O Take
When Icicles hang by the Wall
Orpheus With His Lute

Let Us Garlands Bring

Come away, come away, death
Who is Silvia?
Fear no more the heat o’ the sun
O Mistress Mine
It was a lover and his lass

Intermission

Part 2

Haviranosan No Haiku
Rose
A Greek Wassail

Lily Manzer
The Lark Ascending

Humanities

From Seamus, Who Wanted to be Hospitable
About Peri, Who was Nearsighted
About Cory, Who Wanted to be Loved

Cantata: See, from the silent grove

Recitativo: See from the silent grove
Aria: Charming sounds ye sweetly languish
Recitativo: Apollo heard the foolish swain
Aria: Sounds tho’ charming can’t relieve thee

Beauty and Love
About the sweet bag of a bee

The jolly jolly breeze

Orpheus with his lute
Go, rose, my chloe’s bosom grace

Cupid, make your virgins tender

What is’t to Us
Of all the torments

Suite in G Z661

Prelude
Almaine
Courant
Sarabande

Jigg, ZD223
Chacone in G ZT680

Be welcome then, Great Sir
Lord, what is Man?
Evening hymn
Sweeter than roses

While the great baroque composers of continental Europe (think Bach, Handel, Vivaldi or Lully) were grinding out Masses, oratorios, concertos and other big public works, across the Channel their English counterparts were perfecting the common song.

Composers such as John Blow, Henry Lawes, Maurice Greene and Henry Purcell may have spent their careers serving their kings in the Chapel Royal or their God at Westminster Cathedral, but their hearts were in the streets where ballads and bawdy lyrics reigned.

Countertenor Mark Crayton and his cohorts, harpsichordist James Janssen and cellist Laura Handler, brought a nice selection of English baroque songs and a couple of harpsichord pieces to the Phillips Collection on Sunday. The opening set of recitatives and arias by Johann Christoph Pepusch were excerpted from a cantata, but the rest were just songs - songs of love or nature (or both), songs of welcome to the king and sacred songs - and the only one that had any pretensions to grandeur was the Purcell anthem Lord, What Is Man with its extended recitative and ornate 'Hallelujah'. Most delightful was a chronicle of the agonies of uncertain love, I Pass All My Hours by Pelham Humphreys, in which a lover alternates between feeling that 'there is no hell like loving too well' and that 'there are no joys above the pleasures of love'.

Crayton has a nice way with this kind of music. He sounds comfortable in the range, handles the texts as if he cares about them and clearly understands this idiom. He sings accurately, and he and the instrumentalists maintained an agreeable sense of ensemble. On his own, Janssen played a set of variations over a ground (a repeated bass figure) by G B Draghi and a Purcell Suite and Chaconne, with carefully focused restraint.

website by Linden Lea

	Cantata Italiana
	Desiderato
	Italian Afternoon
	Liederabend
	Withe Diverse Pleasures
	Native Tongue note to promoters

note to promoters				These are Mark Crayton's most popular programs but he is happy to work with you on a program to suit your particular requirements.
Cantata Italiana				with James Janssen, harpsichord and Laura Handler, violoncello Part 1 Giovanni Battista Bassani (1657 – 1712) Nascere, nascere, dive puellule Aria: Nascere, nascere Recitativo: O amor Aria: Dissipate, consternate Recitativo: O flava pacis Aria: Resonate Aria: Alleluia Tomaso Albinoni (1671 – 1751) Filli, chiedi al mio core Recitativo: Filli, chiedi al mio core Aria: Senza il vanto Recitativo: La fede è un certo incanto Aria: Impara a serbar fede… Antonio Scarlatti (1660 – 1725) Clori vezzosa, e bella Recitativo: Clori vezzosa, e bella Aria: Volgi lo sguardo Recitativo: Vivo, vivo penando Aria: Si ben mio Intermission Part 2 Antonio Vivaldi (1678 – 1741) Pianti, sospiri e dimandar mercede Recitativo: Pianti, sospiri e dimandar Aria: Lusinga è del nocchier Recitativo: O ingannato nocchiero Aria: Cor ingrato dispietato George Frideric Handel (1685 – 1759) Dolc’ è pur d’amor l’affanno Aria: Dolc’ è pur d’amor l’affanno Recitativo: Il viver sempre in pene Aria: Se più non t’amo
Desiderato				with James Janssen, piano Part 1 Wolfgang Amadeus Mozart (1756 – 1791) Ombra felice… Io ti lascio, e questo addio Robert Schumann (1810 – 1856) Liederkreis Op 39 1 In der Fremde 2 Intermezzo 3 Waldesgespräch 4 Die Stille 5 Mondnacht 6 Schöne Fremde 7 Auf einer Burg 8 In der Fremde 9 Wehmut 10 Zwielicht 11 In Walde 12 Frühlingsnacht Intermission Part 2 Vincenzo Bellini (1801 – 1835) Quando incise su quell marmo Vanne, o rosa fortunate Gaetano Donizetti (1797 – 1848) Il Barcaiolo Leonora L’amante spagnuolo Il trovatore in caricatura A note from Mark Crayton The inspiration for this recital came during the Lyric Opera of Chicago’s run of Handel’s Partenope. The cast was rich with countertenors and it was our practice to have lunch or dinner every day during the rehearsal period. Eventually we began discussing repertoire for countertenors, and our sense of responsibility to the next generation. We came to the conclusion that the mystique about the appropriateness for countertenors to sing specific repertoire needed to be challenged. Generally, we believed that if the color and technique of a person’s voice was suited to the music, then that person should be allowed to sing the music. We also felt that, as responsible singers, we should explore 'non-traditional' repertoire as a means to invite discussion and help expand the horizon for the next generation of countertenors. Our discussions have continued via email since the end of the run of the opera and have been very interesting. I wanted, with this recital, to present music originally written for other voice types in a style period not often visited by countertenors. Studying this music has been both rewarding musically and spiritually. Vocally it has been a great challenge and I feel that my musicianship has grown immensely as well as my appreciation for the many excellent artists who have performed this music before me. I hope you enjoy the concert!
Italian Afternoon				with James Janssen, harpsichord and Laura Handler, violoncello Part 1 Carlo Arrigoni (1697 – 1744) Cantata: Ti sento Amor, ti sento Aria: Pur che tu m’ami… Recitativo: Amarilli infelice…. Domenico Scarlatti (1685 –1757) Three Sonatas Gavota: Allegro (D Minor) K64 L58 Andante (C Major) K132 L457 Vivo (G Major) K201 L129 Antonio Vivaldi (1678 –1741) Cantata: Care selve, amici prati Aria: Care selve, amici prati Recitativo: Ben mal'accorto e folle... Aria: Placido in letto ombroso... Intermission Part 2 Antonio Vivaldi Sonata No. 6 in B-flat Major RV46 Largo Allegro Largo Allegro George Frideric Handel (1685 – 1759) Cantata: Dolc’ è pur d’amor l’affanno Aria: Dolc’ è pur d’amor l’affanno Recitativo: Il viver sempre in pene Aria: Se più non t’amo
Liederabend				with James Janssen, fortepiano Part 1 Wolfgang Amadeus Mozart (1756 – 1791) Ridente la calma Dans un bois solitaire Abendempfindung an Laura Sonata in D major K311 Allegro con spirito Andante con espressione Allegro Ludwig van Beethoven (1770 – 1827) Sechs Lieder von Gellert Bitten Die Liebe des Nächsten Vom Tode Die Ehre Gottes aus der Natur Gottes Macht und Vorsehung Busslied Intermission Part 2 Vincenzo Bellini (1801 – 1835) Tre Ariette Il fervido desiderio Dolente immagine Vaga luna che inargenti Muzio Clementi (1752 – 1842) Sonata in B minor Op 40 No 2 Molto adagio e sostenuto Allegro con fuoco e con espressione Largo, mesto e patetico Allegro Presto Gaetano Donizetti (1797 – 1848) L’ora del ritrovo Il trovatore in caricatura A note from Mark Crayton During the 18th and 19th centuries, many evenings were spent making music as a pastime. These concerts, often impromptu, focused on music written by famous composers of the day. We are trying to recreate the same idea and mood with the presentation of this concert. The Viennese fortepiano The fortepiano of Mozart's day was elegant and graceful in appearance and possessed virtues that have subsequently been lost in the technological development of the piano. Although the instrument is incapable of the fortissimo of today's concert grand, the fortepiano's wide spectrum of tone colors, well-balanced treble and bass, and immediate response make it possible for the player to attain the delicate shadings, textural clarity, and sudden changes of dynamic required in the music of Mozart, Haydn, Clementi, and Beethoven. The five-octave fortepiano used by James Janssen was made in 1986 by John Lyon and is a copy of Mozart's own piano, built by the Viennese piano maker, Anton Walter.
Native Tongue				A Celebration of British and American Song with James Janssen, piano Part 1 Roger Quilter (1877 – 1953) Three Songs of William Blake Op 20 Dream Valley The Wild Flower’s Song Daybreak John Jacob Niles (1892 – 1980) The Black Dress Black is the color of my true love’s hair Evening The Robin and the Thorn Ralph Vaughan Williams (1872 – 1958) Three Songs from Shakespeare Take, O Take When Icicles hang by the Wall Orpheus With His Lute Gerald Finzi (1901 – 1956) Let Us Garlands Bring Come away, come away, death Who is Silvia? Fear no more the heat o’ the sun O Mistress Mine It was a lover and his lass Intermission Part 2 David W Solomons (b 1953) Haviranosan No Haiku Rose A Greek Wassail Ronald William Hill (b1953) Lily Manzer The Lark Ascending Gregory Peebles (b 1977) Humanities From Seamus, Who Wanted to be Hospitable About Peri, Who was Nearsighted About Cory, Who Wanted to be Loved
Withe Diverse Pleasures				with James Janssen, harpsichord and Laura Handler, violoncello Johann Christoph Pepusch (1667 – 1752) Cantata: See, from the silent grove Recitativo: See from the silent grove Aria: Charming sounds ye sweetly languish Recitativo: Apollo heard the foolish swain Aria: Sounds tho’ charming can’t relieve thee Pelham Humphreys (1647? – 1674) I pass all my hours Henry Lawes (1596 – 1662) Beauty and Love About the sweet bag of a bee John Eccles (1668 – 1735) The jolly jolly breeze Giovanni Battista Draghi (1640 – 1710) Ground: Scocca pur From The Second Part of Musick’s Hand-Maid, rRevised and corrected by Henry Purcell Maurice Greene (1696 – 1755) Orpheus with his lute Go, rose, my chloe’s bosom grace Daniel Purcell (1664 – 1717) Cupid, make your virgins tender John Blow (1649 – 1708) What is’t to Us Of all the torments Henry Purcell (1659 – 1695) Suite in G Z661 Prelude Almaine Courant Sarabande Jigg, ZD223 Chacone in G ZT680 Be welcome then, Great Sir Lord, what is Man? Evening hymn Sweeter than roses
review				Washington Post April 12, 2005 by Joan Reinthaler Mark Crayton recital: Withe Diverse Pleasures While the great baroque composers of continental Europe (think Bach, Handel, Vivaldi or Lully) were grinding out Masses, oratorios, concertos and other big public works, across the Channel their English counterparts were perfecting the common song. Composers such as John Blow, Henry Lawes, Maurice Greene and Henry Purcell may have spent their careers serving their kings in the Chapel Royal or their God at Westminster Cathedral, but their hearts were in the streets where ballads and bawdy lyrics reigned. Countertenor Mark Crayton and his cohorts, harpsichordist James Janssen and cellist Laura Handler, brought a nice selection of English baroque songs and a couple of harpsichord pieces to the Phillips Collection on Sunday. The opening set of recitatives and arias by Johann Christoph Pepusch were excerpted from a cantata, but the rest were just songs - songs of love or nature (or both), songs of welcome to the king and sacred songs - and the only one that had any pretensions to grandeur was the Purcell anthem Lord, What Is Man with its extended recitative and ornate 'Hallelujah'. Most delightful was a chronicle of the agonies of uncertain love, I Pass All My Hours by Pelham Humphreys, in which a lover alternates between feeling that 'there is no hell like loving too well' and that 'there are no joys above the pleasures of love'. Crayton has a nice way with this kind of music. He sounds comfortable in the range, handles the texts as if he cares about them and clearly understands this idiom. He sings accurately, and he and the instrumentalists maintained an agreeable sense of ensemble. On his own, Janssen played a set of variations over a ground (a repeated bass figure) by G B Draghi and a Purcell Suite and Chaconne, with carefully focused restraint. copyright © 2005 The Washington Post