proudly presents the 2020-2021 Student Artist Series

Sydney Murrell, mezzo- Jeanette Evins, piano

This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree.

Friday, April 23, 2021 7:30 p.m., Livestreamed from Kitt Recital Hall Program

“Non so più cosa son, cosa faccio” Wolfgang Amadeus Mozart from Le nozze di Figaro (1756-1791) “Si promette facilmente” “Vorrei punirti indegno” from La finta giardiniera

Selections from Liederkries, Op.39 Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgespräch Mondnacht Frülingsnacht

~Intermission~

“Werther! . . . Qui m’aurait di la place” Jules Massenet from Werther (1842-1912)

“A Letter from Sullivan Ballou” John Kander (b.1927) “George” William Bolcom from Cabaret Songs (b.1938) Program Notes by Sydney Murrell (2021)

WOLFGANG AMADEUS MOZART (1756-1791) Selections from Le nozze di Figaro and La finta giardiniera

Wolfgang Amadeus Mozart was born in Salzburg, Austria, into a musical family. Mozart was considered a child prodigy. He could read and write music by the age of five and was composing by the age of six. In 1781, Mozart moved to Vienna to become a freelance musician, which was uncommon during this time. Most composers worked for aristocratic patrons during the Classical period, since the rise of amateur musicians who were frequent music-buyers didn’t occur until the late-Classical period into the early-Romantic period. Despite being relatively famous, Mozart struggled with a spending addiction which left his wife and children poor upon his death at thirty-five years old. “Non so più cosa son, cosa faccio” is sung in Le nozze di Figaro by a prepubescent boy, Cherubino, to the maid Susanna discussing his conflict of emotions about women. He states that he is unable to understand his feelings of “love,” which are often portrayed as lust. Cherubino is a character who has high self-regard and is unable to understand why women are not drawn to him. He idolizes Figaro, the Count’s valet, for his ability to speak to women successfully, while additionally idolizing the Count—even if he is utterly terrified of him. La finta giardiniera was written at the age of nineteen in 1775. The title translates to “The Pretend Garden-Girl.” The discusses themes of domestic abuse, balancing love versus status, and mental illness. Arminda is a sharp, intense, self- centered woman who masks her insecurities with her large personality. She is deeply in love with Ramiro, a poet with little status, but is arranged to be married to Count Belfiore by her uncle, the Podestá. “Si promette facilmente” is sung to Belfiore after meeting for the first time. Arminda states that she will be the perfect, devoted wife. However, if he hurts her in any way, she will “use [her] hands to punish” Belfiore. “Vorrei punirti indegno” occurs in Act II of the opera. In NAU Lyric Theater’s recent production of La finta giardiniera, Ramiro expresses immense rage towards Arminda due to her disloyalty and lack of commitment and honesty. Ramiro has faithfully loved Arminda, while she has never returned an expression of love to him while also leaving him for Belfiore. Immediately after this confrontation, Belfiore enters searching for Violante, his ex-lover, who is hiding her identity from him. He talks about his undying love for Violante. Arminda overhears this and is overcome with rage. Her feelings of heartbreak towards Ramiro, and her anger towards Belfiore create a mental breakdown. “Vorrei punirti indengo” is Arminda’s presentation of rage. ROBERT SCHUMANN (1810-1856) Selections from Liederkreis, op. 39

Robert Schumann was most known for his art songs, piano music, and orchestral works. In his art song writing, the piano functions as an equal partner, setting the atmosphere in some cases. In others, it is depicting the characters’ subconscious or underlying emotions. His deep love for his wife, Clara Wieck (an excellent piano virtuoso and composer herself) is evident in many of Schumann’s works. In 1840, Schumann wrote 138 art songs for Clara Wieck during their separation. During this time, Schumann developed the song cycles Dichterliebe, Liederkreis, and Frauenliebe und -leben. Schumann’s Liederkreis was derived from poetry written by Joseph von Eichendorff. Schumann wrote to his wife that “The Eichendorff cycle is mymost Romantic music ever and contains much of you in it, dear Clara.” While Schumann’s other cycles are knitted together through a character’s story or life, Liederkreis is considered to be a collection of songs that are bound together through themes of nature, seasons, and times of day. Additionally, each Lied evokes a different character with different scenarios and emotions. The opening song of the cycle, “In der Fremde,” discusses a character who has lost both of their parents. After losing them, the character discusses their deep loss, while having the desire to rest within the forest where they will also be forgotten. “In a Foreign Land” alludes to the loss the character is experiencing, and how their home land now feels foreign and lonely. This piece is through-composed. The melancholy presence of chromaticism within the accompaniment creates the character’s subconscious emotional state, while the voice provides surface level emotions. The second song, “Intermezzo,” has a dramatically different character and mood. In G major, the accompaniment highlights the off beats of the melody while the voice focuses on the large beats of the phrase. This creates a continuous stream of music that contributes to the character’s feeling of adoration, love, and light. Additionally, Eichendorff alludes to a love in which the lover “ . . . into the sky and swiftly wings its way to you”. This is present throughout many songs within the Liederkreis, where themes of love and adoration are whisked into the sky like birds. “Waldesgespräch” paints a scene through two character perspectives. The first character is a wanderer on horseback. The second character is initially painted as a lovely maiden who enchants the wanderer, only until the wanderer discovers that this lovely maiden is none other than the evil witch Lorelei. Lorelei exclaims that the wanderer shall never leave the forest. Typically, Lorelei is depicted as a siren who lures sailors into her destruction. Interestingly, Eichendorff placed Lorelei in the forest. Schumann depicts each character uniquely within the accompaniment. When referencing the wanderer, the accompaniment strongly presents a rhythmic motive that suggests the rider on horseback—much like how Schumann depicts the rider in his piece, “Erlkönig.” When the Lorelei speaks, the key Schubert and the accompaniment shifts to a sweet arpeggiated melody. Finally, the key changes again upon the rider’s realization of the witch’s identity with abrupt chords in the piano. Even though the Lorelei is now threatening the rider, her melody remains at a piano dynamic with a soothing arpeggiated accompaniment until she states that the rider will never leave the forest again through a sharp, assertive accompaniment in the piano. “Mondnacht” is considered by many musicologists and listeners to be one of Schumann’s loveliest pieces. The opening measures suggest a romantic starry night with the union of the earth and the sky. Repeated chords combined with a gently moving line in the accompaniment additionally provides a romantic scene while the vocal line moves smoothly above. The first phrase of the piece is eight measures long, and is repeated twice in order to form the first two stanzas. The simplicity of this piece alludes to the calm portrayal of the character comparing their lover to the beauties of a starry night and the loveliness of the earth around them. The final song in this set, “Frülingsnacht,” discusses a character’s celebration of being united with their lover. The voice depicts the happiness they feel that “she is mine, she is mine” through comparison to the gleaming moonlight, singing nightingales, and through the blooming flowers. The character says “to me it seems it cannot be” out of disbelief that their lover is finally with them. The lively accompaniment contains repeated sixteenth note chords that sustain throughout the piece in order to portray the character’s excitement and joy.

JULES MASSENET (1842-1912) “Werther . . . Qui m’aurait di la place” from Werther

Jules Émile Frédéric Massenet was a French Romantic composer who is most known for his . While he was known for his twenty-four operas, Massenet composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs, and more. Two notable operas performed frequently today are Manon and Werther. At the young age of eleven, Massenet attended the Paris Conservatoire under Ambroise Thomas. Massenet was an extremely successful composer which lead him to become the leading composer of opera in France in the late-nineteenth century. Later in his career, Massenet became a professor at the Paris Conservatoire and taught composition from 1878-1896. Werther discusses themes of love, loss, joy, grief, and suicide. The opera is set in Wentzler, Germany, at the house of Bailiff. In the prelude, Bailiff’s wife dies leaving his oldest daughter, Charlotte in charge of taking care of the children. Charlotte is to marry a man named Albert, whom her mother begged her to marry upon her death, yet he is absent from Charlotte’s life. Due to his absence, Charlotte is escorted by the young poet, Werther, to a ball. That night they dance together with undeniable chemistry. During the ball Albert returns, and Charlotte is reminded of her commitment to Albert and her mother. Act II of the opera is set three months after Albert and Charlotte’s marriage, while Werther has remained friends with the two of them. He is tormented by his love for Charlotte. Werther attempts to confess his love for Charlotte and she sends him away until Christmas. The beginning of Act III is where the aria “Werther . . . Qui m’aurait dit la place” takes place. Charlotte continuously reads Werther’s letter to her during his absence. She admits her love to him in private, yet worries about him due to his depression and loneliness. She is overcome by sadness as her sister Sophie enters the room. Werther arrives for Christmas, but when he tries to confess his love to Charlotte, she denies him again. Due to his overwhelming sadness over Charlotte’s rejection, Werther rushes off with Albert’s pistols in an attempt to kill himself. Charlotte is a tormented character who immediately has to battle the loss of her mother, her conflict within herself about the man she is to marry versus the man she loves, taking responsibility of her younger siblings, and maintaining overall mental health for herself. In her aria “Werther . . . Qui m’aurait dit la place”, she is tormented by her love for Werther and has obviously re-read his letters over and over. Her sadness overwhelms her as she is unsure as to choose love or to keep her promise to her late mother.

JOHN KANDER (b. 1927 ) “A Letter from Sullivan Ballou”

John Kander is a widely influential musical theatre composer who wrote notable shows such as Cabaret and Chicago. Kander had a strong, forty-year partnership with book writer, Fred Ebb, whom he wrote many musicals with throughout his career. Originally from Kansas City, MO, his strong love of the Midwest has influenced many of his compositions and inspirations. Kander believes that his upbringing is a large influence to his identity as a whole. According to the article “John Kander” written by James Leve: “As part of this long-standing tradition, one evening Kander sits at the piano surrounded by his brother, nieces and nephews, grandnieces and grandnephews, and Albert Stephenson, his husband . . . and performs his latest work. Kander is a family man who takes extra care and pride in his works in order to invoke a greater message.” “A Letter from Sullivan Ballou” was originally a letter written in 1861 by Major Sullivan Ballou during the American Civil War. Due to the growing tension of the war, Ballou wrote this letter to his wife in case he “should fall on the battle field.” One week after he wrote this letter, the war’s first major battle began on the plains of Manassas. Ballou was struck and killed as troops from Rhode Islanders advanced from Matthews Hill. John Kander wrote his setting of “A Letter from Sullivan Ballou” for Renée Fleming in 1999. The first performance was with the Washington Opera Orchestra at the White House. This piece effectively captures the drama and emotion of a man who knows he is upon his death while battling the longing to see his wife and children against his dedication to the war.

WILLIAM BOLCOM (b. 1938) “George” from Cabaret Songs

William Bolcom is an American composer from Seattle, WA. He specializes in chamber music, opera, vocal, choral, cabaret, ragtime, and symphonic music. Due to his background in piano, Bolcom has performed and recorded his compositions with his wife, mezzo-soprano Joan Morris. The duo primarily performs cabaret songs, show tunes, and American popular songs. In the early years of his career, Bolcom entered the University of Washington to study composition at the ripe age of eleven. Later, he studied at Mills College, Stanford University, and the Paris Conservatoire with famous composer Olivier Messiaen. Bolcom’s song set, Cabaret Songs, includes four volumes. Originally composed for his wife, Joan Morris, each song is written for a mezzo-soprano voice. Arnold Weinstein, professor of English at Columbia University, stated that the Cabaret Songs are “an elusive form of theater-poetry-lieder-pop-tavernacular-prayer . . . The scene is the piano, the cast is the singer.” These songs are each unique in character that combine wit, eroticism, and compositionally complexity. “George” has a large influence from the jazz style. This is evident in its highly chromatic nature in both the piano and the voice, its presence of dynamic contrast, and through the contrast in texture, while being highly syncopated. This piece discusses an energetic and loving man through the eyes of a friend. Within the pieces, George is murdered by a man in the United States Navy after being openly invited to George’s home where all people were welcome and he held performances for everyone and anyone.

Texts and Translations

WOLFGANG A. MOZART (1756-1791) “Non so più cosa son cosa faccio” I Don’t Know What I Am, What I Do from Le nozze di Figaro

Non so più cosa son, cosa faccio; I don’t know what I am, what I do: or di foco, ora sono di ghiaccio, now of fire, now of ice, ogni donna cangiar di colore, every woman change of color, ogni donna mi fa palpitar. every woman makes my heart throb.

So lo ai no mi d’amor, di di letto I know it is of love, of delight, mi si turba, mi s’altera il petto, my chest is upset, e a parlare mi sforza d’amore and speaking of it forces me to un desio ch’io non posso spiegar. lovea desire that I cannot explain.

Non so più cosa son, cosa faccio; I don’t know what I am, what I do: or di foco, ora sono di ghiaccio, now of fire, now of ice, ogni donna cangiar di colore, Every woman change of color, ogni donna mi fa palpitar. every woman makes my heart throb.

Parlo d’amor vegliando, I speak of love while watching, parlo d’amor sognando, I speak of love while dreaming, a l’aqua, a l’ombra, in the water, in the shade, ai monti, ai fiori, in the mountains, in the flowers, a l’erbe, ai fonti, in the herbs, in the springs, a l’eco, a l’aria, ai venti, in the echo, in the air, and in the winds. che il suon de’ vani accenti Take away the sounds of vain accents, portano via con sè. take them away;

E se non ho chi m’oda, And if the one I want doesn’t hear me, parlo d’amor con me. I will talk about love with me.

“Si promette facilmente” They Promise Lightly from La finta giardiniera

Si promette facilmente They promise lightly, dagl’amanti d’oggidì; the rains of today; e la semplice zitella se lo crede, poverella, and the simple-minded spinster believes it, poor girl, e si fida a dir di sì. and trusts them enough to say,“yes.” Io però non fo così. I, however, don’t do so. Patti chiari e patti schietti, Arrangements clear and arrangements straight-forward, pria di dirvi sì o no. before telling you yes or no.

Voi sarete l’idol mio, You will be the idol mine, il mio ben, la mia speranza. My beloved, my hope.

Ma se mai, com’è lusanza, But if ever, as is usual, mi mancaste, m’ingannaste, you should fail me, you should deceive me, io le mani adoprerò. I will use my hands to beat you.

“Vorrei punirti indegno” I Would Like to Punish You, Worthless from La finta giardiniera Man

Vorrei punirti indegno, I would like to punish you, worthless man, vorrei strapparti il core, I would like to tear out your heart, ardo nel sen di sdegno, I burn in my breast with anger, ma mi trattiene amore, che sospirar mi fa. but I am restrained by love, which makes me sigh. Questa mercede, ingrato, This reward, you thankless man, tu rendi all’amor mio? you offer my love? Ah! mi confondo, oh Dio, fra l’ira e la Ah! I’m torn, oh God, between wrath and pietà. pity.

ROBERT SCHUMANN (1810-1856) Selections from Liederkreis, op. 39

“In der Fremde” In a Foreign Land

Aus der Heimat hinter den Blitzen rot From my homeland, beyond the red Da kommen die Wolken her, lightning, the clouds come drifting in, Aber Vater und Mutter sind lange tot, but father and mother have long been Es kennt mich dort keiner mehr. dead, now no one knows me there.

Wie bald, ach wie bald kommt die stille How soon, ah! How soon till that quiet Zeit, Da ruhe ich auch, und über mir time when I too shall rest, Rauscht die schöne Waldeinsamkeit, beneath the sweet murmur of lonely Und keiner kennt mich mehr hier. woods, forgotten here as well. “Intermezzo”

Dein Bildnis wunderselig I bear your beautiful likeness Hab’ ich im Herzensgrund, deep within my heart, Das sieht so frisch und fröhlich it gazes at me every hour Mich an zu jeder Stund’. so freshly and happily. Mein Herz still in sich singet My heart sings softly to itself Ein altes, schönes Lied, an old and beautiful song Das in die Luft sich schwinget that soars into the sky Und zu dir eilig zieht. and swiftly wings its way to you.

“Waldesgespräch” A Forest Dialogue

„Es ist schon spät, es ist schon kalt, “It is already late, already cold, Was reit’st du einsam durch den Wald? why ride lonely through the forest? Der Wald ist lang, du bist allein, The forest is long, you are alone, Du schöne Braut! Ich führ’ dich heim!” you lovely bride! I’ll lead you home!”

„Groß ist der Männer Trug und List, “Great is the deceit and cunning of men, vor Schmerz mein Herz gebrochen ist, my heart is broken with grief, wohl irrt das Waldhorn her und hin, the hunting horn echoes here and there, o flieh’! Du weißt nicht, wer ich bin.” o flee! You do not know who I am.”

„So reich geschmückt ist Ross und Weib, “So richly adorned are steed and lady, so wunderschön der junge Leib; so wondrous fair her youthful form, jetzt kenn’ ich dich—Gott steh’ mir bei! now I know you—may God protect me! Du bist die Hexe Loreley.” You are the Witch Lorelei.”

„Du kennst mich wohl von hohem Stein “You know me well, from its towering schaut still mein Schloss tief in den Rhein. rock, my castle looks silently into the Rhine. Es ist schon spät, es ist schon kalt, It is already late, already cold, kommst nimmermehr aus diesem Wald!” you shall never leave this forest again!”

“Mondnacht” Moonlit Night

Es war, als hätt’ der Himmel, It was as though Heaven die Erde still geküßt, had softly kissed the Earth, daß sie im Blütenschimmer so that she in a gleam of blossom von ihm nur träumen müßt’. had only to dream of him. Die Luft ging durch die Felder, The breeze passed through the fields, die Ähren wogten sacht, the corn swayed gently to and fro, es rauschten leis die Wälder, the forests murmured softly, so sternklar war die Nacht. the night was so clear with stars. Und meine Seele spannte And my soul spread weit ihre Flügel aus, her wings out wide, flog durch die stillen Lande, flew across the silent land, als flöge sie nach Haus’. as though flying home.

“Frülingsnacht” Spring Night

Überm Garten durch die Lüfte Over the garden, through the air hört’ ich Wandervögel ziehn, I heard birds of passage fly, das bedeutet Frühlingsdüfte, a sign that spring is in the air, unten fängt’s schon an zu blühn. flowers already bloom below. Jauchzen möcht’ ich, möchte weinen, I could shout for joy, could weep, ist mir’s doch, als könnt’s nicht sein! for it seems to me it cannot be! Alte Wunder wieder scheinen All the old wonders come flooding back, mit dem Mondesglanz herein. gleaming in the moonlight. Und der Mond, die Sterne sagen’s, And the moon and stars say it, und im Traume rauscht’s der Hain, and the dreaming forest whispers it, und die Nachtigallen schlagen’s: and the nightingales sing it: „Sie ist Deine, sie ist Dein!” “She is yours, is yours!”

JULES MASSENET (1842-1912) “Werther!... Qui m’aurait dit la place” from Werther

Werther!… Werther!… Qui m’aurait dit Werther! who could have foretold the la place que dans mon cœur il occupe place that he would occupy in my heart aujourd’hui? today?

Depuis qu’il est parti, malgré moi, tout Since he departed, despite myself, me lasse! everything wearies me! Et mon âme est pleine de lui! And my soul is filled with him!

Ces lettres! Ces lettres! Ah! je les relis These letters! These letters! Ah! I read sans cesse . . . them over and over . . . Avec quel charme… mais aussi quelle So beautifully written . . . but also with tristesse! such sadness! Je devrais les détruire . . . Je ne puis! I should have destroyed them . . . but I cannot! “Je vous écris de ma petite chambre; “I write you from my little room; un ciel gris et lourd de Décembre the December sky is grey and heavy, pèse sur moi comme un linceul . . . weighing on me like a shroud . . . Et je suis seul! Seul! toujours seul!” and I am alone! Alone! always alone!”

Ah! personne auprès de lui! Ah! no-one near to him! pas un seul témoignage de tendresse ou not a single token of tenderness or even même de pitié! of pity! Dieu! comment m’est venu ce triste God! how did I ever have the sad courage, d’ordonner cet exil et cet courage to command this exile and this isolement? isolation?

“Des cris joyeux d’enfants montent sous “The happy shouts of children rise up ma fenêtre, under my window, des cris d’enfants! Et je pense à ce temps some happy shouts if children! And I si doux think of that time so sweet où tous vos chers petits jouaient autour de when all your dear little ones played nous! around us! Ils m’oublieront peut-être?” Will they perhaps forget me?”

Non, Werther, dans leur souvenir No, Werther, in their memory votre image reste vivante . . . et quand your image remains alive… and when vous re-viendrez . . . you return . . . Mais doit-il revenir? But will he return? Ah! ce dernier billet me glace Ah! this last letter chills me et m’épouvante! and terrifies me!

“Tu m’as dit: à Noël, et j’ai crié: Jamais! “You said to me: At Christmas, and I cried: Never! On va bientôt connaître qui de nous disait One will soon know which of us spoke vrai! the truth! Mais si he ne dois reparaître au jour fixé, But if I do not return on that appointed devant toi, ne m’accuse pas, pleure-moi!” day, do not blame me, weep for me!”

“Ne m’accuse pas, pleure-moi!” “Do not blame me, weep for me!”

“Oui, de ces yeux si pleins de charmes, “Yes, with those beautiful eyes ces lignes tu les reliras! you will read these lines over and over! Tu les mouilleras de tes larmes . . . You will bathe them with your tears . . . O Charlotte, et tu frémiras!” Oh Charlotte, and you will shudder!”

. . . tu frémiras! tu frémiras! . . . you will shudder! you will shudder! Artist Profiles

SYDNEY MURRELL (mezzo-soprano) is a senior vocal performance major at Northern Arizona University. Murrell is originally from Gilbert, AZ, and graduated from Campo Verde High School. For the first three years of her undergraduate degree, Murrell studied voice with Deborah Raymond. She has participated in several NAU Lyric Theater productions, including Gilbert and Sullivan’s Pirates of Penzance, Mozart’s Die Zauberflöte (1st Spirit), Puccini’s Gianni Schicchi (Lauretta) and Suor Angelica (Suor Dolcina), and, currently, Mozart’s La finta giardiniera (Arminda). In addition, Murrell has participated in many ensembles during her time at NAU. These ensembles include the Shrine of the Ages choir under the direction of Dr. Edith Copley, High Altitude vocal jazz under the direction of Dr. Ryan Holder, and the all-treble a cappella group, The Axecidentals, which she serves as Vice President. Murrell has a deep passion for performance and hopes to continue her education in opera performance. She would not be where she is today without all of the wonderful directors and teachers that have influenced her musicianship over the years. Murrell is from the voice studio of Cynthia Skelley-Wohlschlager.

JEANETTE EVINS (piano) is a collaborative piano master’s student at Northern Arizona University. She received her bachelor’s degree in music education at Grand Canyon University. At NAU, she has had the privilege of playing for the NAU Lyric Theater scenes programs, as well as being a featured soloist with the NAU Wind Symphony and the accompanist for NAU Shrine of the Ages Choir. Most recently, Evins has accompanied NAU Lyric Theater’s opera scenes and their production of Mozart’s La finta giardiniera. Acknowledgements

Sydney Murrell would like to thank:

Mom and Dad, Mark and Janna Murrell, for your constant support and unconditional love. I would not be able to be where I am in life without you. Thank you for supporting my choice to pursue music as a career, and teaching me how to be a kind human. I love and am grateful for you both more than you know.

Dr. Cynthia Skelley-Wohlschlager for providing a safe, inclusive, and positive space to learn. You have provided an amazing space for students to feel welcome, supported, and stretched out of their comfort zone. Thank you for helping me gain confidence in myself as a person and a musician, I can’t wait to continue my studies with you.

Deborah Raymond for providing a wonderful foundation for me in my first three years of college. Thank you for pushing me to pursue a degree in vocal performance, and convince me that I have what it takes to perform. Thank you for all of the books, videos, organizational techniques, and honesty that you have given me.

Jeanette Evins for collaborating with me during this recital and being an amazing friend. You are an extremely strong musician, while being one of the most kind and humble people I have ever met.

My sister and brother, Lydia and Tucker Murrell, for being the best siblings I could ask for.

My Aunts and Uncles: Richard and Sally Compton, and Jeff and Cary Tolbert for all of the musical conversations we share! Having other musicians in the family have been incredibly helpful to me, and have helped me feel supported and understood in ways that are unique to other members of our family. Thank you for being here in person today.

My Grandmother, Jonna Wilson, for being here today, and all of our deep conversations about life and history. You are one of the smartest women I have ever met. Thank you for being here in person today.

Devin Garcia for being my daily support. Your unconditional love and sweetness keep me sane. I love you.

Olga Garcia for always being a warm, kind presence in my life. Thank you for accepting me into your family. Thank you for being here today. Matthew Flora for convincing me to apply to NAU for music. Your love for your students and the many conversations about life saved me in high school. I consider you family, and I thank you for believing in me.

Dr. Ryan Holder and Dr. Edith Copley for enriching my experience in choral music. You both are massive influences on my musicianship, and I would not have considered NAU without hearing your ensembles and being directed under you in honor choirs.

Talia Ruiz, Sarah Irvin, Elisabeth (Elly) Ditmore, Catherine Chambers, Myah Parrish, and Stephanie Baker for being foundational friends to me. Your constant love and support mean the world to me. Thank you for being such amazing humans. I love you all deeply.

My Axee sisters (past and present): Thank you for being an outlet and a source of a support system throughout my undergraduate degree.

I could not have finished college without you all.

The Kitt Recital Hall staff for making this recital possible.