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[[program]] V SIX LOVE SONGS Dello Joio Eyebright* Why so pale and wan, fond lover? Meeting at Night The Dying Nightingale All Things Leave Me How Do I Love Thee *Figwort (a plant supposed to remedy scrofula) VI SIETE CANCIONES POPULARES Palla El Paño moruno--The Moorish Cloth The delicate cloth lost its preciousness when a spot fell on it. Ay! Seguidilla Murciana--Dance from Murcia province If you live in a tiled-roof house, have a care of your neighbor for we can meet on the road. Then your fickleness will be bought with money as worthless as you. Asturiana--Lament from Asturias The pine trees weep with me when I go to them, weeping, for comfort. Jota--Dance from Northern Spain They say we are not in love, because they don't see us speak. I have left your window and house where your mother can't see us. Adíos, till tomorrow. Nana--Lullaby Sleep, my heart, my little morning star, until tomorrow. Cancíon--Song I enter treacherous pools when I look into your eyes for they say you do not love me anymore. Help me legendary spirits, for all is lost. Polo Ay! I guard such a fearful pain in my breast that I cannot speak of it to anyone. Only the lover who so pained me understands. Ay! THIS CONCERT IS BEING BROADCAST OVER WAMU-FM 88.5. [[/printed program]] [[newspaper clipping]] Joy McLean Voice Recital Is Troubled By Charles Crowder Yesterday's concert at the Phillips Gallery brought a voice recital by Joy McLean, a most sensitive and penetrating musical talent here in Washington. Her program centered on the type of song that calls for projection of mood and text. The first group of familiar Schumann songs found Miss McLean in the sort of vocal trouble that often is attributed to extreme nervousness. At most closed consonants her voice broke. Shifting from one "register" to another, the vocal flow stopped short. And so it continued throughout the program. What a confusing afternoon it was! Most confusing for the thoughts as to the cause. If was obvious that Miss McLean was having throat difficulties. Singers have been known to sing through and above this, only allowing it to effect the subtleties of projection. Perhaps this voice needs the strong discipline of a most astringent vocal technician. Her fine musicianship needs a fuller outlet. Lucy Brown, a well-seasoned pianist with singers, was Miss McLean's partner. So many problems in emergency adjustments beset a program-gone-wrong that it was not clear just what part Miss Brown is willing to play in the interplay of voice/piano. She is evidently capable of producing the most pianistic sort of accompaniment. Hers was the differentiation of styles going from Strauss to Poulenc to Dello Joio's handsome set of six love songs. What a curious reading of Poulenc's "Le Carpe" (Le Bestiare). Miss Brown plays it very dryly. Perhaps we will have the chance to hear Miss McLean soon under more favorable circumstances. [[/newspaper clipping]] [[end page]] [[start page]] [[note]] [[pre-printed]] Lucy Brown 100 West 91st Street, New York City 24 [[/pre-printed]] 5/16/63 Dearest Joy, I have thought about you so much these last few days, and wish I could see you and talk to you. I want you to know that preparing the recital and working with you was deeply satisfying to me, and I appreciate more than I can [[/note]] [[letter]] 305 T Street, N.W. Washington 1, D.C. May 16, 1963 Dear Joy, Thank you for so many things--for the kind words that mean so much to me, for your faith and love, for your respect, for the joy of working a little with you, for the promise of the future, for the exquisite intentions so clearly telegraphed through all of your vocal difficulties. Thanks again for Lucy. What a wonderful person! I don't think it necessary to say any more than that. How seldom does one meet so complete a person, a person whose art and life are so linked that she and her personality both as artist and person are so clearly one. I could love Lucy for music alone, but how can you separate them? Let's sing again quickly. I did not tell you how much I enjoyed getting to hear something of the Pilgrim songs. They must be sung again quickly. I am not sure that they are great song literature, but they represent a more than competent talent and they are certainly grateful to both voice and piano. I can't agree that they are overwritten accompaniment-wise. Lucy certainly manages to play them as accompaniments. I thought she could. Your next program must not be so strenuous vocally. We must plan interesting resting places--if you know what I mean. I talked with one critic who was profoundly impressed by the glimmerings that shone through. He felt that the sooner you sing again, the better. I agree. [[handwritten]] Love, [[/handwritten]] [[/letter]]
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