Student Recital: Tianming Qi, Voice

PURCELL: Strike the viol

PURCELL: We sing to him

STEFANO DONAUDY: Come l’allodoletta 

DONAUDY: Spirate, pur spirate

DONAUDY: Date abbiento al mio dolore

DONAUDY: Amorosi miei giorni

GABRIEL FAURE: Adieu 

FAURE: Ici bas

FAURE: Apres un Reve

—INTERMISSION—

ROBERT SCHUMANN: From Myrthen, op. 25
Leis’ rudern hier, mein Gondolier
Wenn durch die Piazetta
Was will die einsame Träne
Aus den östlichen Rosen
Zum Schluß

YONGXI HUANG: 怀念曲 Miss You

QING LIU: 越人歌 Yue Dynasty Song

RICHARD RODGERS: “You Are Beautiful” from Flower Drum Song

HENRY PURCELL (1659-1695)
Henry Purcell was born in London in 1659, and he was an English composer of the middle Baroque period. Henry Purcell was one of England's greatest baroque composers, known as “Orpheus Britannicus.” His compositions combine elements of Italian and French style, but his music creates a unique style that is representative of English baroque music. In his songwriting, he combines pungent English counterpoint with expressive, flexible, and dramatic word settings. Although he has written many instrumental works, including the Fantasia for Viola, the vast majority of his work is in the vocal/choral field. Dioclesian is an English tragicomic semi-opera by Henry Purcell with a libretto by Thomas Betterton. Its story is based on the loose life of Emperor Diocletian. The story is about a power struggle in ancient Rome, but it's really about a struggle between love and duty. It was adapted from The Prophetess, by John Fletcher and Philip Massinger. “Since from my dear” comes from this semi-opera. The song describes how the eyes of the Roman emperor Aurelian showed his deep longing for his lover and how sad he felt when she left. 

Henry Purcell was appointed organist of Westminster Abbey at the age of 20 and also served as gentleman of the chapel royal and keeper of the king's instruments. Early in his career, he was considered a master of the fashionable continental style favored by Charles II. He was also fascinated by older and more learned styles and was a master of complex counterpoint and harmonic surprise. Come, ye sons of art, his last royal ode for Queen Mary's birthday on April 30, 1694, is from the work of the poet Nahum Tate. The soloist and choir played a series of instruments to extol the Queen's virtues. “Strike the viol” is from Purcell's Come ye sons of art. Purcell uses a ground bass, eight bars in length, modulating from minor to major. In the text, many instruments are exhorted to sing and play in celebration of their "patroness" (i.e., Queen Mary). Their boundless joy at the occasion broke out into a long melisma note on the word "cheerful." Henry Purcell is best known for his more than 100 songs; a tragic opera, Dido and Aeneas; and his incidental music to a version of Shakespeare’s A Midsummer Night’s Dream called The Fairy Queen. Purcell was the most important English composer of his time, writing music that covered a wide range of areas: church, stage, court, and private entertainment. Purcell’s short setting of Nathaniel Ingelo’s “We sing to him” dates from 1688 and was published in volume one of Harmonia Sacra. Purcell demonstrates his responsiveness to the text, pointing important words and phrases. The imperative "hear" leaps up an octave, the "spring of mirth" curls down the scale, and "harmony" is richly scored. The "humble sonnets" rise as they "that praise rehearse," and Purcell’s harmony ingeniously sorts itself out for "music." They dance "whilst we sing" and "consecrate our art;" the music rises gloriously as they "offer up with every tongue a heart."

STEFANO DONAUDY (1879-1925)
Stefano Donaudy was an Italian operetta composer. Donaudy was born in Palermo, Sicily, on February 21, 1879. At the age of 13, he began to study harmony and counterpoint and wrote a one-act opera. He studied with the composer Guglielmo Zuelli, who competed with Puccini in his later years. His most popular song is "Vaghissima Sembianza" (Graceful Appearance). It is believed to have been created when Donaudy was about 13 years old. He became famous in 1918 with Thirty-six Solo Songs published by Thirty-six Arie di Stile Antico. “Come l'allodoletta” is one of the Thirty-six Solo Songs compositions, and its lyrics come from a poem by Stefano Donaudy's brother, Alberto Donaudy. The melodious note arrangement ranges from “pianissimo” (very soft) rounded notes to “forte” (loud) notes, allowing players and listeners to feel a range of vivid emotions. The sweet, soft beginning of the piece gradually increases and decreases the loudness of the smooth transition. The piece is richly ornamented with phrases, lines, and arpeggios. The most successful work of Donaudy's life was his publication of the Thirty-six Arie di Stile Antico. It is a collection of art songs, using modern poetry and romantic harmonies, but setting them in Renaissance musical forms. The song "Spirate, pur, Spirate" means that it has a light and hopeful tone, as it is about people asking for their love to be blessed. “Spirate, pur spirate” is a non-strophic song, as in ternary form rather than binary. In this song, Donaudy uses word painting in the vocals to show the breeze waving in the grass. There are more voices in this song than there are melodies in many other songs. This is perhaps not only an aria to George F. Handel and other Baroque composers, but also a reference to the beautiful melodies of these composers and the fluidity of the sound required to perform them. Donaudy's Thirty-six Arie di Stile Antico vary widely in tone, from Vaghissima sembianza (slow and deeply lyrical) to Amor mi tiene in pugno (lively and cheerful). Many of them retain the same strophic form—an introduction, the first verse, a repeat of the introduction used as an interlude, a second verse that repeats the melody of the first verse, and perhaps a short ending. “Date abbiento al mio dolore” is from Donaudy's Thirty-six Arie di Stile Antico. Although it is two simple and repetitive melodies with a short ending, Donaudy's beautiful melody and harmonies make it sound not dull. The high note at the end of the “pianissimo” voice, let the audience appreciate the romance of the song.

“Amorosi miei giorni” is in F major. This piece is a romantic, loving piece. The two parts of the song use the same melody, and the song has rich variations in rhythm and melody type. It uses an octave jumping technique similar to "sigh." The accompaniment melody gives a feeling of hope and romance, echoing the singer. The melody of the whole piece contains many variations of speed. For example, there are many musical terms in the score that refer to changes in speed: "rit," "a tempo," "dim," and ''Andante con espansione." In eight to eleven bars, the song goes through four tempo changes from slow back to full speed, and then back to full speed again. This has a very strict requirement on the singer's understanding of the song, which requires the singer to fully read the score and fully understand the meaning of the lyrics. Similarly, there are many musical terms on the score about the strength of the melody such as "pianissimo" and "dolcissimo." It clearly expresses the strong and weak processing and emotional direction of the song. The accompaniment also gives a lot of musical terms for rhythm changes and strong and weak changes. Each phrase of the song has a tie, which expresses the song's desire for the sound to have large, consistent lines in the melody. Therefore, when the singer sings the song, he needs to pay attention to the coherence during the phrases. The melody of the whole song begins with a soft and sweet melody, creating a rather wistful mood. The undulating melody in the middle expresses a direct and passionate lyricism. At the high G, the mood reaches its peak. As the pitch drops in a stepwise fashion, finally back to the topic, calm down.

GABRIEL FAURE (1845-1924)
Gabriel Fauré was a famous French composer, organist, pianist and teacher. He was born in Pamiers, France. He showed remarkable musical talent at an early age, so he began his musical training at a young age and achieved success. He composed more than 100 songs in different styles, with advanced harmonies and melodic structures—especially in his later years, although his deafness grew in the last 20 years of his life. After his talent and work were widely recognized, he died of pneumonia in Paris at the age of 79. “Ici bas” is a French art song composed by Fauré in 1873. It tells about the author's romanticism and melancholy dream, but the reality is cruel, just like flowers still have to experience death and birds' singing is very short. 

“Adieu” is from the suite Poème d’un jour, a set of three songs composed in 1878 by Fauré when he was the choirmaster of the Madeleine Church, based on the poems of the French poet Charles-Jean Grandmougin. This song cycle tells the story of a poet who meets the love of his dreams and expresses his love for her, but finally has to say goodbye to her. This piece is a ternary form, structural A–B–A, in the key of F major to F minor to F major. In some parts of the song, the composer used modified strophic to express the romance of French songs. The emotion expressed by the melody of the song is very direct, with few discordant melodies or harmonies interfering with the simple emotion expressed by the song. The beginning is bright and bright, and the flowers are still in full bloom, depicting that the poet is still full of fantasies about love; and the situation turns suddenly in the middle, depicting the poet's regret for the fleeting love, and the final calm shows the poet's extra calm and open-mindedness. The song expresses a kind of soft melody line, and soft beauty also reflects the calm of love in the song. In the last part of the song, it seems to tell us that the separation of love is only a part of our life. At the end of the song, the high F, which is soft and continuous, expresses the composer's attitude towards love.

ROBERT SCHUMANN (1810-1856): From Myrthen, op. 25
Schumann’s song cycle “Myrthen,” op. 25 was composed in 1840, the year known as Schumann's "Liederjahr" (Year of Song), during which he composed 168 songs. Schumann wrote a number of wonderful pieces in this year, both in the genre and in the history of 19th-century song. Among them are both the Liederkreis, op. 24 (Heine) and op. 39 (Eichendorff); the Kerner-Lieder, op. 35; Frauenliebe und–Leben, op. 42; and Dichterliebe, op. 48, which along with op. 39 is perhaps Schumann’s most well-known and frequently performed song cycle. "Myrthen," a song cycle Robert Schumann gave to his wife, Clara, as a wedding gift, is a collection of literary inspiration, like a wedding wreath. The 26 songs depict marriage, family life, parenthood, separation, longing, drunken reflection, flirting, journeys into the unknown, and moments of deep personal reflection that seem to transcend any human relationship. There are elements of symmetry and circulation in “Myrthen,” which begins with this title and the song "Widmung" (Dedication) and ends with the song "Zum Schluss" (Ending), in which the lover presents his beloved with an unfinished wreath, and love will be complete once they are in heaven.

YONGXI HUANG (1917-2003): 怀念曲 Miss You
The lyrics of "I Miss You" are a lyric poem, expressing the protagonist's love and memory for his lover. The melody of this song is beautiful, although the lyrics are only a few words, but the writer's missing feelings are expressed incisively and vividly. The lyrics can be divided into two parts, "holding the tear-stained letter, put in traveling water, when it comes to your home, let it strike your heart." The author let the "traveling water" send the deep yearning feeling to the lover. The water does not know when it can send the author's yearning for the lover to the lover's side, the audience felt the author's sadness from the song.

QING LIU (1974-): 越人歌 Yue Dynasty Song
“Yue Dynasty Song,” together with other folk poems of the Chu Dynasty, is the artistic source of Chu Ci. It is the earliest translated work in China. It reflects the harmonious coexistence of people of different ethnic groups and expresses the lyric of love across classes. Its pronunciation of the ancient Yue language was recorded in Shuo Yuan by Liu Xiang in the Han Dynasty.

RICHARD RODGERS (1902-1979): “You Are Beautiful” from Flower Drum Song
"You Are Beautiful" is an aria from the musical. In the 1958 version, the aria appears in act one, where TA and her aunt, Madam Liang, are discussing the search for a wife. In the 2002 version, it is about Wang Ta, a young Chinese American, expressing his love to his lover, Wu Mei-li. Mei-li is very sad that she can't be with Wang Ta because of her previous engagement. Ta expresses his love to her by telling the beautiful story of Flower Boat Maiden. "You Are Beautiful" begins with Wang Ta telling the story of a Chinese flower boat girl, so the melody has a steady oscillation between E and F. The theme of the song appears in bar 16, when Wang Ta describes his lover Mei-li, "you are beautiful, small, and shy." The theme of the song begins with a beautiful and soft melody. Wang Ta is gently expressing her love to her lover Mei-li. There are two main types of structures that make up this beautiful melody. The next two bars follow the same pattern as the first two bars, but the only difference is that they stop on the tonic. The type of rhythm starts on the lyrics, "You are the girl whose eyes..." The composer used syncopated rhythm to push the mood. The line sense of the vocal and the consistent bass lines of the accompaniment make the syncopated rhythm more coherent. The orchestral arrangement uses a lot of parallel fourths. In terms of sound processing, the song needs to be sung more coherently and the vowels and consonants between the lyrics need to be better connected. Therefore, singers need to have a strong breath support.

HENRY PURCELL: Since from my dear
Since from my dear
My dear, my dear
Since from my dear
My dear, my dear
My dear, my dear beloved sight
I was so rudely torn
My soul has never, never never
Has never, never never known delight
Unless it were to mourn
To mourn, unless
Unless it were to mourn

But oh! alas, alas
With weeping eyes
And bleeding, bleeding heart I lie
Thinking on her
On her, whose absence ‘tis
That makes me wish to
Die, die, die, die
Makes me, makes me wish to
Die, die, die

PURCELL: Strike the viol
Strike the viol, touch the lute,
Wake the harp, inspire the flute.
Sing your patroness’s praise,
In cheerful and harmonious lays.

PURCELL: We sing to him
We sing to him, whose Wisdom formed the Ear,
Our Songs, let him who gave us Voices, hear;
We joy in God, who is the Spring of Mirth,
Who loves the Harmony of Heav’n and Earth;
Our humble Sonnets shall That Praise rehearse,
Who is the Musick of the Universe.
And whilst we sing, we consecrate our Art,
And offer up with every Tongue a Heart.

STEFANO DONAUDY: Come l’allodoletta 
Come l'allodoletta per li prati,
Like the little skylark through the meadows,

così fugge la pace e l'allegranza
So flee peace and happiness

da un cor gentile in cui sol regna amore!
From a gentle heart in which love rules alone!

Passa ogni gioia, passa ogni dolzore
Every joy, every sweetness passes

da un cor gentile in cui sol regna amore;
From a gentle heart in which love rules alone;

e l'alma che ne sente la gravanza,
And the soul which feels the weight of it

sen' muore di gelo come un fior!
Dies of cold like a flower! 

DONAUDY: Spirate, pur spirate
Spirate pur, spirate attorno a lo mio bene,
Breathe, still breathe around my beloved,

aurette, e v'accertate
Little breezes, and find out

s'ella nel cor mi tiene.
If she holds me in her heart,

Spirate, spirate pur, aurette!
Breathe, breathe, little breezes 

Se nel suo cor mi tiene, v'accertate,
Find out, blessed breezes,

aure beate, aure lievi e beate!
Breezes light and blessed.

DONAUDY: Date abbiento al mio dolore
Date abbiento al mio dolore,
Give relief to my sorrow,

care luci disdegnose,
Dear disdainful eyes,

poi che un vostro sguardo pose
Because one look of yours put

dolci pene nel mio cuore.
Sweet pains into my heart. 

Per le pene dell'amore
By the pains of love

voi sapete, luci care,
You know, dear eyes,

ciò che val d'essere avare
What it is worth to be miserly

d'un sol sguardo adulatore.
Of a single adoring look. 

Date abbiento al mio dolore!
Give relief to my sorrow! 

DONAUDY: Amorosi miei giorni
Amorosi miei giorni,
My amorous days,

chi vi potrà mai più scordar,
Who could ever forget you,

or che di tutti i beni adorni,
Now that, adorned with all the blessings,

date pace al mio core
You give peace to my heart

e profumo ai pensieri
And perfume to my thoughts? 

Poter così, finchè la vita avanza,
To be able, so, as life advances,

non temer più gli affanni
To fear no longer the anxieties

d'una vita d'inganni,
Of a life of deceptions,

sol con questa speranza:
With this hope alone:

che un suo sguardo sia tutto il mio splendor
That one look of his (hers) may be all my splendor

e un suo sorriso sia tutto il mio tesoro!
And one smile of his (hers) may be all my treasure! 

Chi di me più beato,
Who more blessed than I,

se accanto a sè così non ha
If she (he) does not thus have beside her (him)

un dolce e caro oggetto amato,
A sweet and dear beloved object,

sì che ancor non può dire
So that she (he) cannot yet say

di saper cos'è amore?
She (he) knows what love is? 

Ah, ch'io così, finchè la vita avanza,
Ah, may I so, as life advances,

più non tema gli affanni
Fear no longer the anxieties

d'una vita d'inganni,
Of a life of deceptions,

sol con questa speranza:
with this hope alone:

che un suo sguardo sia tutto il mio splendor
That one look of his (hers) may be all my splendor

e un suo sorriso sia tutto il mio tesoro!
And one smile of his (hers) may be all my treasure! 

GABRIEL FAURE (1845-1924): Adieu 
Comme tout meurt vite, la rose déclose,
How swiftly all things die, the rose in bloom,

Et les frais manteaux diaprés des prés;
And the cool dappled mantle of the meadows;

Les longs soupirs, les bien-aimées, fumées!
Long-drawn sighs, loved ones, all smoke!

On voit dans ce monde léger changer
In this fickle world we see our dreams

Plus vite que les flots des grèves, nos rêves,
Change more swiftly than waves on the shore,

Plus vite que le givre en fleurs, nos cœurs!
Our hearts change more swiftly than frosted flowers!

À vous l’on se croyait fidèle, cruelle,
To you I thought I would be faithful, cruel one,

Mais hélas! les plus longs amours sont courts!
But alas! the longest loves are short!

Et je dis en quittant vos charmes, sans larmes,
I say, taking leave of your charms, without tears,

Presqu’au moment de mon aveu, Adieu!
Almost at the moment of my avowal, Farewell.

FAURE: Ici bas
Ici-bas tous les lilas meurent,
Down here all lilacs are dying,

Tous les chants des oiseaux sont courts;
all the songs of the birds are short;

Je rêve aux étés qui demeurent
I dream of the summers which last

Toujours...
Forever...

Ici-bas les lèvres effleurent
Down here lips touch

Sans rien laisser de leurs velours;
without parting with any of their velvet;

Je rêve aux baisers qui demeurent
I dream of the kisses which last

Toujours…
Forever...

Ici-bas tous les hommes pleurent
Down here all men weep for

Leurs amitiés ou leurs amours;
their friendships or their loves;

Je rêve aux couples qui demeurent toujours
I dream of the couples who last

Toujours…
Forever...

FAURE: Apres un Reve
Dans un sommeil que charmait ton image
In sleep made sweet by a vision of you

Je rêvais le bonheur, ardent mirage,
I dreamed of happiness, fervent illusion,

Tes yeux étaient plus doux, ta voix pure et sonore,
Your eyes were softer, your voice pure and ringing,

Tu rayonnais comme un ciel éclairé par l’aurore;
You shone like a sky that was lit by the dawn;

Tu m’appelais et je quittais la terre
You called me and I departed the earth

Pour m’enfuir avec toi vers la lumière,
To flee with you toward the light,

Les cieux pour nous entr’ouvraient leurs nues,
The heavens parted their clouds for us,

Splendeurs inconnues, lueurs divines entrevues.
We glimpsed unknown splendours, celestial fires.

Hélas! hélas, triste réveil des songes,
Alas, alas, sad awakening from dreams!

Je t’appelle, ô nuit, rends-moi tes mensonges;
I summon you, O night, give me back your delusions;

Reviens, reviens, radieuse
Return, return in radiance,

Reviens, ô nuit mystérieuse!
Return, O mysterious night!

ROBERT SCHUMANN: Leis’ rudern hier, mein Gondolier
Leis’ rudern hier, mein Gondolier!
Row gently here, my gondolier!

die Flut vom Ruder sprühn
ply the water gently

So leise lass, dass sie uns nur vernimmt,
So that only she, to whom we glide,  

zu der wir zieh’n!
shall hear us coming!

O könnte, wie er schauen kann, der Himmel reden traun,
Oh, if only heaven could speak as it can see,

Er spräche Vieles wohl von dem,
It would tell much about what the 

was Nachts die Sterne schau’n!
stars discern at night!

Nun rasten hier, mein Gondolier
Now stay here, my gondolier

Ins Boot die Ruder! Sacht!
gently into the boat with your oar!

Auf zum Balkone schwing’ ich mich,
While I climb the balcony, 

doch du hältst unten Wacht.
you keep watch beneath.

O wollten halb so eifrig nur dem Himmel wir uns weih’n,
Oh, if we devoted ourselves to heaven half as eagerly

Als schöner Weiber Diensten traun – wir könnten Engel sein!
As we seek favours of fair women, we could be angels!

SCHUMANN: Wenn durch die Piazetta
Wenn durch die Piazzetta
When through the Piazzetta

Die Abendluft weht,
The night air drifts,

Dann weisst du, Ninetta,
Then you know, Ninetta,

Wer wartend hier steht.
Who’s waiting here.

Du weisst, wer trotz Schleier
You know who, despite your veil

Und Maske dich kennt,
And mask, recognizes you;

Wie Amor die Venus
As Amor knows Venus

Am Nachtfirmament.
In the night sky.

Ein Schifferkleid trag’ ich
At that very hour

Zur selbigen Zeit,
I’ll come dressed as a gondolier,

Und zitternd dir sag’ ich:
And trembling, tell you:

Das Boot liegt bereit!
The boat lies ready!

O komm, wo den Mond
O come now, while the moon

Noch Wolken umzieh’n,
Is still covered in clouds,

Lass durch die Lagunen,
Let us flee, my love,

Mein Leben, uns flieh’n!
Across the lagoons!

SCHUMANN: Was will die einsame Träne
Was will die einsame Träne?
Why this solitary tear?

Sie trübt mir ja den Blick.
It troubles my gaze.

Sie blieb aus alten Zeiten
It has remained in my eye

In meinem Auge zurück.
From days long past

Sie hatte viel leuchtende Schwestern,
It had many shining sisters

Die alle zerflossen sind,
Who have all vanished,

Mit meinen Qualen und Freuden,
Vanished with my joys and sorrows

Zerflossen in Nacht und Wind.
In night and wind.

Wie Nebel sind auch zerflossen
Like mist, those tiny blue stars

Die blauen Sternelein,
Have also vanished

Die mir jene Freuden und Qualen
That smiled those joys and sorrows

Gelächelt ins Herz hinein.
Into my heart.

Ach, meine Liebe selber
Ah, my love itself

Zerfloss wie eitel Hauch!
Vanished like a mere breath of air!

Du alte, einsame Träne,
Old, solitary tear,

Zerfliesse jetzunder auch!
Vanish now as well!

SCHUMANN: Aus den östlichen Rosen
Ich sende einen Gruss wie Duft der Rosen,
I send a greeting like the scent of roses,

Ich send’ ihn an ein Rosenangesicht.
I send it to a rose-like face.

Ich sende einen Gruss wie Frühlingskosen,
I send a greeting like spring’s caressing,

Ich send’ ihn an ein Aug voll Frühlingslicht.
I send it to eyes that brim with spring’s light.

Aus Schmerzensstürmen, die mein Herz durchtosen,
From anguished storms that rage through my heart,

Send’ ich den Hauch, dich unsanft rühr’ er nicht!
I send a breath—may it cause you no harm!

Wenn du gedenkest an den Freudelosen,
When you think of me in my sadness,

So wird der Himmel meiner Nächte licht.
The sky of my nights will then be made bright.

SCHUMANN: Zum Schluß
Hier in diesen erdbeklommnen
Here in these earth-stifled

Lüften, wo die Wehmut taut,
Breezes, where sadness dissolves like dew,

Hab ich dir den unvollkommnen
I’ve fashioned you that imperfect

Kranz geflochten, Schwester, Braut!
Garland, sister, bride!

Wenn us, ndroben aufgenommen,
When we are received above

Gottes Sonn’ entgegenschaut,
And God’s sun looks upon us,

Wird die Liebe den vollkommnen
Love shall fashion for us the perfect

Kranz uns flechten, Schwester, Braut!
Garland, sister, bride!

YONGXI HUANG (1917-2003): 怀念曲 Miss you
把印着泪痕的笺，
Holding the tear-stained letter,

交给那旅行的水，
Put in traveling water,

何时流到你屋边，
When it comes to your home,

让它弹动你心弦。
Let it strike your heart.

我曾问南归的燕,
I once asked a big swallow who had returned to the south,

可带来你的消息?
Does it bring you news?

他为我命运呜咽,
It cries for my fate

希望似梦心无依。
Hope is like a dream and the heart has no support

QING LIU: 越人歌 Yue Dynasty Song
今夕何夕兮  
What day is it

搴舟中流
Rowing in the lake

今日何日兮
What day is it today

得与王子同舟
Boating with the prince

蒙羞披好兮
I am very grateful to the prince for his love 

不訾诟耻
For not objecting to my poverty

心几烦而不绝兮
Though my heart is restless

得知王子
Get to know the prince

山有木兮木有枝
There are trees on the hill and trees have no branches.

心悦君兮君不知
I like you, but you don't know it

RICHARD RODGERS: “You Are beautiful” from Flower Drum Song
Along the Hwang Ho Valley where young men walk and dream,
A flower boat with singing girls came drifting down the stream.
I saw the face of only one come drifting down the stream.

You are beautiful, small and shy.
You are the girl whose eyes met mine
Just as your boat sailed by.

This I know of you, nothing more,
You are the girl whose eyes met mine
Passing the river shore.

You are the girl whose laugh I heard,
Silver and soft and bright;
Soft as the fall of lotus leaves
Brushing the air of night.

While your flower boat sailed away,
Gently your eyes looked back on mine,
Clearly you heard me say,
You are the girl I will love some day.

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