Charlotte Collett | Soul of My Heart (Alma del core)

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Classical: Romantic Era Classical: Baroque Moods: Type: Vocal
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Soul of My Heart (Alma del core)

by Charlotte Collett

This album consists of tender songs of the heart from the 16th to the 19th centuries composed by such masters as Franz Schubert, George Frideric Handel and Gabriel Faure.
Genre: Classical: Romantic Era
Release Date: 

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Tracks

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1. Come Again, Sweet Love
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1:39 album only
2. I Attempt from Love's Sickness to Fly
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2:00 album only
3. Apre's un reve (After a Dream)
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2:20 album only
4. Canzonetta: "Ridente La Calma"
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2:35 album only
5. Canzonetta: Sebben Crudele (Tho' not deserving)
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2:45 album only
6. Cantata: Vittoria, mio core! (Victorious My Heart Is!)
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2:29 album only
7. Rodelinda , HWV 19, Act I: "Art Thou Troubled?"
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2:55 album only
8. Alma del core (Soul of My Heart)
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2:51 album only
9. Alcina, HWV 34, Act II: "Verdi Prati" (Verdant Meadow)
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2:51 album only
10. Ave Maria, Op. 52, No. 6
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5:29 album only
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ABOUT THIS ALBUM


Album Notes
Soul of My Heart (Alma del core)


I first learned Ave Maria as a girl of 12 in a choir in Harlem. In elementary school, I was chosen by the school’s guidance counselor to receive a partial scholarship to study classical piano at the Metropolitan Music School on Central Park West in Manhattan, my first real experience outside of my immediate neighborhood. My teacher, Sophie Solotaroff, a child of Russian Jewish immigrants, taught me about matzos and chicken soup and used to tell me that I needed more “schmaltz” in my playing. Also, at the time I was growing up, choosing an instrument to play in a band or an orchestra in a New York City public middle school was common. I chose the violin, one of my sisters chose the cello, and a neighbor, whose parents were from sub-Saharan Africa, chose the viola. We used to practice in our apartment in the projects.
J’ai appris l’Ave Maria pour la première fois dans une chorale de Harlem, alors que j’étais une petite fille 12 ans. À l’école primaire je fut sélectionnée par le conseiller d’orientation scolaire pour recevoir une bourse afin d’étudier le piano classique à la Metropolitan Music School de Central Park West à Manhattan, ma première expérience en dehors de mon quartier. Mon professeur, Sophie Solotaroff, une enfant d’émigrés juifs russes, me fit découvrir le pain sans levain et la soupe de poulet. Elle avait l’habitude de me dire que j’avais besoin de plus de « schmaltz » (« graisse d’oie ») dans mon jeu. De même, à l’époque de mon enfance, choisir un instrument pour jouer dans un groupe ou dans un orchestre à New York était chose courante. Je choisis le violon, une de mes sœurs le violoncelle, et un voisin, dont les parents étaient originaires de l’Afrique sub-saharienne, choisit l’alto. Nous pratiquions dans notre appartement dans la cité.

I later auditioned for the High School of Music and Art and spent those three years playing in an
orchestra. Thus, I experienced classical music in church and in the public schools of New York City. During a trip to France, a friend told me that French people liked classical music. I returned to Brooklyn and told this to my teacher, who has an operatic voice, unlike me, and who was classically trained. He taught me the songs on this CD. My teacher, Alburtt Rhodes, opened access to singing songs that I might never have attempted. I was also reminded of that little girl in the church choir learning songs that recalled intense feelings of religious devotion.

Plus tard, je passai une audition pour intégrer la High School of Music and Art, et passai trois années à jouer dans un orchestre. Ainsi, mon expérience de la musique classique se fit dans une église et dans écoles publiques de New York. Lors d’un voyage en France, un ami me dit que les Français aimaient la musique classique. Je revins à Brooklyn et le dis à mon professeur de chant, lequel a une voix d’opéra, contrairement à moi, et qui est de formation classique. Il m’apprit les chansons enregistrées sur ce CD. Ce professeur, Alburtt Rhodes, m’ouvrit à la possibilité de chanter des chansons que je n’aurais peut-être jamais tentées autrement. Je me souvins aussi cette petite fille dans la chorale de l’église, apprenant des chants qui me rappelaient à de profonds sentiments de dévotion religieuse.


The Songs: 3 in English, 1 in French, 1 in Latin, 5 in Italian
1. Come Again, Sweet Love – Because of love, I sigh, I weep, I faint.
D'amour, je soupire, je pleure, je m'évanouis.

2. I Attempt from Love’s Sickness to Fly – Love can make us seek ruin and can cause us to love those that hate.
L'amour peut nous mener à la ruine et nous faire aimer ceux-là mêmes qui nous haïssent.

3. Après un rêve (After a Dream) In a slumber…I dreamt of happiness, passionate mirage. …You called me and I left the earth to run away with you towards the light…Alas! Sad awakening from dreams! … O night, give me back your lies…return O mysterious night.

4. “Ridente la calma” (May a happy calm arise) Canzonetta. Let neither anger nor fear disturb the happy calm in my soul.
Que ni la colère, ni la peur, ne troublent l'heureuse tranquillité de mon âme.

5. Sebben Crudele (Tho’ not deserving) Canzonetta. I love you in spite of your cruel scorn.
En dépit de votre cruel dédain, je vous aime.

6. Vittoria, mio core! (Victorious my heart is!) Cantata. My heart is victorious because it has broken the chains of love.
Victorieux est mon coeur qui a rompu les chaînes de l'amour.

7. Art Thou Troubled? - The beauty of music will calm the soul.
Par sa beauté la musique apaise l'âme.

8. Alma del core (Soul of My Heart) – My heart shall remain faithful.
Mon coeur restera fidèle

9. Verdi Prati (Verdant Meadow) The beauty of green meadows will fade but will come again.
La verdoyante beauté des prairies pâlira, mais à nouveau reverdira

10. Ave Maria


Canzonetta: a short, cheerful, lively and secular song.
Une courte chanson profane, joyeuse et entraînante.
Cantata: a vocal composition with an instrumental accompaniment, typically in several movements.
Une composition vocale avec un accompagnement instrumental, constituée de plusieurs mouvements.


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