proudly presents the 2020-2021 Student Artist Series

Elizabeth Good, mezzo-soprano Tyrese Childs, tenor

with Daryl Shay, piano

This Junior Recital is given in partial fulfillment of the requirements for the Bachelor of Music Education degree.

Sunday, February 28, 2021 4:30 p.m., Livestreamed from Kitt Recital Hall Program

“Die Liebe hat gelogen,” D. 751 Franz Schubert “Am See,” D. 746 (1797-1828)

Tyrese Childs, tenor Daryl Shay, piano

“Bei dir ist es traut” from Fünf Lieder Alma Mahler (1879-1964)

“Sie liebten sich beide,” op. 13, no. 2 Clara Schumann (1819-1896)

“Sehnsucht,” op. 9, no. 7 Fanny Mendelssohn (1805-1847) Elizabeth Good, mezzo-soprano Daryl Shay, piano

Quatre petites mélodies Erik Satie I. Élegie (1866-1925) II. Danseuse III. Chanson IV. Adieu

Tyrese Childs, tenor Daryl Shay, piano

“Je demande à l’oiseau,” op. 51, no. 4 Amy Beach (1867-1944)

“Cantique” Nadia Boulanger (1887-1979) Elizabeth Good, mezzo-soprano Daryl Shay, piano

Please turn off or silence all electronic devices. Unauthorized audio and video recordings are prohibited. Selections from Siete canciones populares españolas Manuel de Falla I. El paño moruno (1876-1946) III. Asturiana VI. Canción

Tyrese Childs, tenor Daryl Shay, piano

~ Intermission ~

Selections from Syllables of Velvet, Sentences of Plush Juliana Hall IV. To Samuel Bowles the Younger (b. 1958) V. To Eugenia Hall I. To Eudocia C. Flynt

Elizabeth Good, mezzo-soprano Daryl Shay, piano

Selections from Three Poems of Robert Frost Elliott Carter I. Dust of Snow (1908-2012) II. The Rose Family Tyrese Childs, tenor Daryl Shay, piano

“La speranza al cor mi dice” Isabella Colbran from 24 Canzoncine, vol. 2, no. 1 (1785-1845)

“Le violette” Judith Cloud from 24 Italian Songs and Arias for 21st-Century Singers (b. 1954)

Elizabeth Good, mezzo-soprano Daryl Shay, piano

“Ideale” Francesco Paolo Tosti “Lasciami! Lascia ch’io respiri” from Quattro canzi d’amaranta (1846-1916) “L’alba sepàra dalla luce l’ombra” from Quattro canzi d’amaranta

Tyrese Childs, tenor Daryl Shay, piano Program Notes by Tyrese Childs and Elizabeth Good (2021)

FRANZ SCHUBERT (1797-1828) “Die Liebe hat gelogen,” D. 751 “Am See,” D. 746

Franz Schubert, born in 1797 outside of Vienna, Austria, was introduced to music at a young age. Taught by his father and eldest brother, Franz quickly gained music knowledge and experience through playing the viola in the Schubert family’s string quartet. This culminated in the young boy receiving a scholarship in 1808 to sing in Vienna’s imperial court chapel choir, as well as attend the Stadtkonvikt boarding school. There, he was able to study under other influential composers and instrumentalists of the time, ultimately setting Schubert on his path towards musical success. Nearly 200 years after his death, Franz Schubert remains one of the most prolific names in classical music of all time. The Austrian composer’s continued renown is likely due to his extensive catalogue of upwards of 1500 works which are variable in form. These include operas, symphonies, liturgical masses, and arguably his most recognizable style, Lieder—of which he has written more than 600. “Die Liebe hat gelogen,” or “Love Has Lied,” is one of the more heart-wrenching pieces within Schubert’s vast collection of Lieder, with text from German poet August von Platen. The poem highlights the anguish that occurs after being betrayed by a loved one, to the extent of pleading one’s heart to stop beating (“Lass ab, mein Herz, zu klopfen/Du armes Herz, lass ab!”) simply so that the pain doesn’t have to be felt anymore. This combined with Schubert’s dirge-like accompaniment creates a solemn landscape that is bound to speak to the soul of any that have felt the ache of heartbreak in their past. In contrast, “Am See” is a calmer, nature-centered piece. The text was written by Schubert’s friend and patron, Franz von Bruchmann, and is one of five texts of his that Schubert set to music. This particular poem was written at a time when Bruchmann was steering away from his family’s Catholic views, thus the emphasis on the man being part of nature, rather than being a creation of a specific god. The accompaniment is meant to represent the rise and fall of waves on the water, painting a serene picture of stars dancing gently atop the lake’s surface in the evening. The poem goes on to explain that even if a human became a lake, the stars would continue to play over the surface, emphasizing the idea that we are one with the world we live in. ALMA MAHLER (1879-1964) “Bei dir ist es traut” from Fünf Lieder

Alma Mahler was an extremely intellectual and highly literary composer with a fascinating personality. Musically active starting at the age of nine, she composed nearly fifty songs for voice and piano, but only seventeen survived. Mahler married multiple times, and her second marriage was to Gustav Mahler, whose last name she took. He insisted that she give up composing as a condition of their marriage, which led her into a depression. She had multiple affairs, the first one being with Walter Gropius, whom she eventually married after Mahler died. She then had another affair with Franz Werfel, whom she married soon after she and Gropius separated. Her interesting relationship with men was mentioned in her autobiography, And the Bridge is Love. She was interested in men who had a fondness for fame and greatness, yet she had a tendency to discard them; she believed her purpose was to nurture their talent and be active in their progress towards creative achievement. “Bei dir ist es traut” takes its text from a poem written by Rainer Maria Rilke (1875- 1926), a Bohemian-Austrian poet and novelist whose works were often described as “mystical.” In this poem, the singer tells her lover how sweet it is to be with him, but only in secret, for no one can know that they are here. This piece is meant to be sung the way the poem might be spoken: with passion, but not too loudly in case someone hears.

CLARA SCHUMANN (1819-1896) “Sie liebten sich beide,” op. 13, no. 2

Clara Schumann was a German pianist, piano teacher, and composer. Being a child prodigy trained by her father, she started touring at age eleven. Later in life, she married composer Robert Schumann, and together they had eight children. He died in 1856 after having a mental collapse two years prior and was admitted to a sanatorium. She continued her European concert tours for decades after his death, and began teaching piano in 1878 at Dr. Hoch’s Konservatorium in Frankfurt. She wrote a mixture of compositions that included works for orchestra, chamber music, Lieder, and many character pieces for solo piano. “Sie liebten sich beide” is a Lied based on a poem written by Heinrich Heine, who gained his international literary reputation from the publication of Buch der Lieder, a collection of his published poems. Many of these poems were set as Lieder by composers like Clara Schumann. It is a rather melancholy poem about two ships passing in the night, for they loved each other but both refused to admit it. They saw each other as enemies, which led to them nearly dying of love. The tonality of this piece establishes the mournful meaning of the poem, written in G minor with many accidentals methodically placed in the accompaniment that bestows a bittersweet feeling upon the listener. FANNY MENDELSSOHN (1805-1847) “Sehnsucht,” op. 9, no. 7

Fanny Mendelssohn was a German composer and pianist who composed over 460 pieces of music, comprised of piano trios, quartets, an orchestral overture, cantatas, over 125 pieces for the piano, and over 250 Lieder. Many of her works were published under her brother’s name, Felix Mendelssohn, due to the reservations of her family and the social conventions about the roles of women at the time. A number of her works are miscredited as his in his Opp. 8 and 9 collections. However, in 1846, Fanny Mendelssohn published Op. 1 with a collection of her songs. The year after putting together her first opus, she died suddenly of a stroke. Fanny was the oldest of four children, and although Felix was the youngest, he and Fanny formed the closest bond due to their shared passion for music. In 1842, after Felix Mendelssohn had published some of Fanny’s songs under her name, Felix was received by Queen Victoria at Buckingham Palace. The Queen expressed her intention of singing to Felix one of her favorite songs written by him, which he had to embarrassingly confess was actually written by Fanny. “Sehnsucht” is one of Fanny’s Lieder that was misattributed to Felix Mendelssohn. The author of this text is unknown, although it is thought to be written by Johann Gustav Droysen, a German historian. “Sehnsucht” translates as “longing, yearning, or desire.” In this poem, the singer longs for silence and peace as they stand in the meadow at night. They are listening closely to their dreams which roam about in the wind.

ERIK SATIE (1866-1925) Quatre petites mélodies

Erik Satie is often revered for being “eccentric” in regards to his musical stylings due to the use of forms and tonal structures that were deemed unconventional for the nineteenth century and its devotion to the Romantic styles. However the French composer’s lifestyle is frequently described in this manner as well. Satie studied at the Paris conservatory, only to drop out and find work as a café pianist. At thirty-two, he became recluse in his apartment, refusing to allow anyone inside, and in 1905 began studying music at the Schola Cantorum, where he furthered his avant-garde blend of music and life. Despite his eccentricities, Erik Satie was able to form very strong bonds with other dedicated musicians, the most notable of these bonds being with Claude Debussy. The two were close until they came to a falling out in 1917, with Debussy’s passing the following year. The first piece of Satie’sQuatre petites mélodies is a eulogy for the late composer, and is one of the few pieces in which Satie showcases his true emotions by way of the expansive vocal line. “Élegie” is unique to the composer’s style in this way, allowing the sorrow to bleed through not only the voice part, but also through the comparatively bare piano accompaniment. This piece was completed in late September of 1920, with “Danseuse,” “Chansons,” and “Adieu” composed in the months following. AMY BEACH (1867-1944) “Je demande à l’oiseau,” op. 51, no. 4

Amy Beach, an American composer and pianist, was the first successful American female composer of larger-scale art music, namely her “Gaelic” Symphony. This was the first symphony composed and published by an American woman. She was quite successful although she did not have European training under her belt, like most composers of her time. Beach used her position as the top female American composer to help young musicians succeed, as well. She worked at the New England Conservatory of Music, coaching young composers, musicians, and students. Beach wrote not only symphonic works, but also spent time on choral works, chamber music, and of course her art songs, of which she wrote nearly 150. “Je demande à l’oiseau” takes its text from the poem titled “L’exilé” written by French poet Armand Silvestre (1837-1901), a popular poet among French composers. “Je demande à l’oiseau” is a somber love song in which, in each verse, the singer asks a different part of nature to do something for her lover. First, she asks a passing bird to send a kiss on to her lover. Then, she asks the breeze for her lover’s breath to dry her tears. To end the song, she asks the sun to give her fiery, divine soul to her lover. The tempo marking for this piece is “Lento con espressione,” meaning “slow, with expression,” making it hauntingly beautiful.

NADIA BOULANGER (1887-1979) “Cantique”

A French composer, conductor, and teacher, Nadia Boulanger is most known for having taught many of the key composers and musicians of the twentieth century. Boulanger taught Leonard Bernstein, Aaron Copland, Quincy Jones, Astor Piazzolla, and Philip Glass, to name a few. She accepted students from all backgrounds, as long as they had a desire to learn. Her father was a professor of voice at the Paris Conservatory, so Boulanger was surrounded by music growing up. She studied composition there as well, alongside notable composer Gabriel Fauré. Boulanger may just be the most important woman in the history of classical music, although she saw her gender as being no barrier to her achievement. She was also the first woman to conduct many major US and European orchestras, including the BBC Symphony, Boston Symphony Orchestra, and the New York Philharmonic. Boulanger’s works range from vocal to chamber to orchestral to song cycles. Some say that she is the most influential teacher since Socrates. The text for “Cantique” comes from the poem titled “Sœur Béatrice” written by Belgian playwright and poet Maurice Maeterlinck (1862-1949), who was Flemish but wrote his literature in French. In 1911, he won the Nobel prize for Literature. “Cantique” is a simple, yet beautiful piece of music with a steady accompaniment of quarter-note chords to underlie the floating melody above. The tempo marking is “très modéré,” meaning “very moderately.” The words of the piece are not sung to anyone in particular, but sung to each person that needs to hear the words. The piece is to be sung quite delicately, without much change in dynamics except at the second verse, right in the middle of the piece, where the singer says “No one with a soul has not died when love wept.”

MANUEL DE FALLA (1876-1946) Selections from Siete canciones populares españolas

Manuel de Falla is considered to be the most prominent Spanish composer of the early-twentieth century, using his music to showcase his immense national pride to a worldwide audience of listeners and performers alike. Born in Cádiz, Spain, de Falla was taught piano by his mother, and soon moved to Madrid to study composition and music history under the tutelage of Felipe Pedrell. It was with Pedrell as his mentor that Manuel de Falla began composing works of Spanish nationalism that are heard frequently today. In 1907, the composer moved to Paris where he met French composers Claude Debussy and Maurice Ravel who served as great inspiration to de Falla, despite his rejection of the impressionist techniques frequently utilized by his mentors. Two years later, de Falla was offered a contract that allowed him to compose in Paris full time. It was in this period that his work Siete canciones populares españolas was born. Each song within this set began from a folk melody or theme native a specific region of Spain, which Manuel de Falla then merged into his own creation, being sure to incorporate specific regional nuances as well. For example, the set begins with “El paño moruno,” based on the Andalusian folk song “El paño.” The melody of de Falla’s creation is akin to that of the original, with a few changes to allow for harmonic variation. A key component of the source folk song is its typical guitar accompaniment . In order to bring the piece closer to the realm of classical music, the piano accompaniment contains material reminiscent of guitaristic features such as rasgueado, which is a quick strumming technique frequently employed in the flamenco music of Andalucia. “Asturiana,” or “Asturian Song,” is a sorrowful folk melody of yearning stemming from Asturias, a region in northern Spain. While the tune and lyrics are maintained, much like “El paño moruno,” the accompaniment alludes to instruments typically heard in the melodies region of origin. The wistful air characteristic of this piece comes from frequent use of the accompaniment’s pedal tone, and the floating 16th-note ostinati, representative of the bagpipes and gaita, or whistle flute, that are native to the Asturias respectively. The only piece within the set that disturbs the pattern is “Canción.” This piece is based on a melody that is well known throughout the majority of Spain rather than being specific to a certain region. Although the text speaks of betrayal by a loved one, Manuel de Falla’s accompaniment depicts that the song, while pensive, ultimately tells the tale of acceptance of the past, and moving forward to be rid of the ache. To end the song, she asks the sun to give her fiery, divine soul to her lover. The tempo marking for this piece is “Lento con espressione,” meaning “slow, with expression,” making it hauntingly beautiful. JULIANA HALL (b. 1958) Selections from Syllables of Velvet, Sentences of Plush

An American composer of art songs and vocal chamber music, Juliana Hall remains one of our country’s most prolific art song composers. Her song cycle Syllables of Velvet, Sentences of Plush, from which these three songs are taken from, is a beautiful collection that enlivens the words of Emily Dickinson that she wrote in multiple letters. Each song is titled “To _____,” indicating the recipients of the letters. This cycle was one of Hall’s earlier works, being published by Boosey & Hawkes in 1995. In 1987, Hall earned her master’s degree in composition, although her focus had originally been on piano performance. Hall’s teachers recognized her composition potential and urged her to make this switch. In 1989, Hall was awarded a Guggenheim Fellowship in Music Composition. She writes both tonally and atonally, with melody and half-spoken text, gracefully animating the words of these world-renowned poets. This first letter that Hall set to music, “To Samuel Bowles the younger,” was written from Dickinson to Bowles in 1885. This is one of twelve letters that she wrote to him. The letter “To Eugenia Hall” was written by Dickinson around early 1876, one of her first letters to Hall. Apparently they were cousins, for upon some research into Dickinson’s letter archives, she signs “Cousin Emily” at the end. It appears that Eugenia, or “Genie” as Dickinson called her, brought her flowers. “To Eudocia C. Flint” was not a letter, but rather a poem that Dickinson included in a letter to Eudocia Converse Flynt. She wrote to Flynt in July 1862, while her only other two letters that have been recorded were in 1882. This poem provided the composer with the title for her song collection: Syllables of Velvet, Sentences of Plush.

ELLIOTT CARTER (1908-2012) Selections from Three Poems of Robert Frost

Once described as “one of America’s most distinguished creative artists in any field” by Aaron Copland, contemporary composer Elliott Carter has left his mark on the world through his musical poeticism, and thus continues to be celebrated worldwide. Born in New York City in 1908, Carter was pushed to pursue composition by his mentor Charles Ives. This lead him to study under well-known composers of the era such as Holst, Boulanger, and Piston, some while attending Harvard and others while studying music in Paris. Not only did Carter focus on composing, but he also enjoyed teaching, and held positions at various schools mainly on the east coast. While many of his early works were written in the neoclassical style, it wasn’t until four years into his teaching career that Elliott Carter combined his many influences into his own recognizable style. Blending European and American modern styles, the composer created a strong reputation for himself right up until his 2012 passing, winning himself two Pulitzer Prizes, as well as being presented with high honors from American, German, and French institutions of the arts. In 1942, before his personal style was fully developed, Elliott Carter composed his Three Poems of Robert Frost set. Frost’s poetry was and continues to be loved by many, with the author being known for stating that when it comes to poetry, “its unsaid part is its best part.” It seems as though Carter took this quote as a challenge, adding musical aspects that bring the “unsaid” that Frost speaks of a little closer to the surface. The opening piece “Dust of Snow” depicts a scenario in which a crow’s movements cause snow to fall from the branch above onto the head of the person below. While one might infer that this was an inconvenience based on the poem alone, Carter provides the audience with a lighter, more optimistic feel with his accompaniment and melody, ultimately clarifying the meaning of Frost’s poem. A similar deepening of the source material’s meaning occurs in the centerpiece of Carter’s work “The Rose Family.” The composer takes the audience through the thought process of a person questioning the true definition of beauty. The piece begins with a relaxed feel, with a majority of the poem’s text occurring within the first page, which represents the introspective thought process of this individual. Carter then leads the individual’s thinking to be more frantic, signaled by the acceleration and shifting tonality of the next section of the music. As the music calms, Carter highlights the final words of the text by accompanying the melody only with blocked chords, allowing the audience to hear the profound final realization that the short-lived distress has brought the individual to: “You, of course, are a rose—But were always a rose.”

ISABELLA COLBRAN (1785-1845) “La speranza al cor mi dice” from 24 Canzoncine, vol. 2, no. 1

A powerful and brilliant opera singer from Spain, Isabella Colbran worked with opera composer Gioachino Rossini in the creation of a number of operatic roles, usually written with her voice in mind. Between 1815 and 1823, Rossini composed eighteen operas for her, including Elisabetta, regina d’Inghilterra, Otello, Armida, and La donna del lago. Rossini and Colbran married in 1822, and for the next two years she performed his operas in Vienna, Venice, and London. She retired from the stage in 1824 due to her voice showing severe signs of strain. Colbran herself composed four song collections dedicated to the Empress of Russia, her teacher Crescenti, the Queen of Spain, and Prince Eugène de Beauharnais. “La speranza al cor mi dice” was the first in her collection of songs dedicated to the Empress of Russia. Her experience as an opera singer has had a great influence on her compositions, as you might hear with this piece. This poem was written by Italian poet and librettist Pietro Metastasio (1698- 1782). He was considered the most important writer of opera seria libretti. “La speranza al cor mi dice” is a dramatic and melancholy song about hope and love. The tempo marking is tempo di minuetto ma con moto, which means “the tempo of a minuet, but with motion.” The ascending triplet accompaniment that continues throughout the entire piece in the right hand symbolizes the hope for joy that the singer is feeling. Colbran wrote multiple trills and grace notes into this piece, which is most likely influenced by her operatic background. Multiple fermatas placed toward the end of the piece perfectly exemplify the dramatics that Colbran desired to include.

JUDITH CLOUD (b. 1954) “Le violette” from 24 Italian Songs and Arias for 21st-Century Singers

An Arizona-based composer, Judith Cloud has written a wide repertoire of art songs as well as large-scale vocal, choral, and instrumental works. “Le violette” comes from Cloud’s collection of accessible songs, 24 Italian Songs and Arias for 21st-Century Singers. She received the first-place prize in the Sorel Medallion Competition for one of her choruses, as well as receiving third place before that for another one of her choral works. Cloud attended the North Carolina School of the Arts and Florida State University where she received vocal performance degrees studying under soprano Janice Harsanyi. She studied composition with Robert Ward, who encouraged her to keep singing but also keep composition in her life. Cloud was a voice professor at Northern Arizona University for thirty-one years, from 1989-2020. Venetian librettist Adriano Morselli (fl. 1676-1691), who authored “Le violette,” has had his libretti set to music by composers such as Vivaldi, Scarlatti, and Gabrielli. The nature of the poetry is reflected in Cloud’s writing, beginning immediately with bright and lively arpeggiating open chords in combination with the soaring melodic line.

FRANCESCO PAOLO TOSTI (1846-1916) “Ideale” “Lasciami! Lascia ch’io respiri” from Quattro canzi d’amaranta “L’alba sepàra dalla luce l’ombra” from Quattro canzi d’amaranta

Italian composer Sir Francesco Paolo Tosti began studying music at the age of eleven, yet struggled to achieve success until later in his life, often finding his compositions met with rejection during the publication step. This, coupled with illness that resulted in him being bed-ridden for months, left Tosti in a position of poverty, with many accounts attributing his survival to a diet of stale bread and oranges. With luck on his side however, Tosti met composer and pianist Giovanni Sgambati, who then became his patron, ultimately resulting in the composer’s appointment as curator of Italy’s Musical Archives by Queen of Italy, Margherita of Savoy. In 1875, Tosti moved to London, where his high society connections allowed him to garner fame fairly quickly. By 1880, the composer had been appointed as singing master to the British Royal Family which only allowed his career to grow further, allowing Tosti to become the most popular composer in England by 1885, with publishers paying him large sums for as few as twelve publications a year. Tosti passed in 1916, but his fame remains, with his works continually performed in the present day. “Ideale,” “Lasciami! Lascia ch’io respiri,” and “L’alba sepàra dalla luce l’ombra,” while not originally programmed in a set of three, unfold a narrative of a dream- like, yet forbidden love when performed altogether. Beginning with “Ideale,” Tosti sets a text by poet Carmelo Errico which describes how just the thought of this person brings the speaker great joy and wishes that the face of this ideal love visits him once again, this time in reality. The story then shifts with “Lasciami! Lascia ch’io respiri,” taking us to a moment in time after the ideal love from which the previous song has been realized. The title translates to “Leave me! Let me breathe,” in which the speaker is now tormented by ever encroaching sunrise after spending the evening with his dream lover. Along with the sunrise comes the fear that this tangible dream will disappear with the day, much like the literal dream highlighted in “Ideale.” Thus, the speaker is begging the heavens to allow the two lovers to remain in this state forever. Quickly realizing that the heavens are not bound to mortal feelings such as love, the final piece begins. “L’alba sepàra dalla luce l’ombra” is one of Tosti’s most well known pieces, simply due to the sheer passion that the text contains. In the set’s narrative, this piece comes as a frustrated acceptance to the loss of a love that was never meant to be permanent, despite the character’s desires. With the dawn closing in, he is now met with hopelessness, as nothing can be done to stop the passage of time and the loss of his love. That being said, the character’s only solution to his problem is death. Whether literally or figuratively is left to be decided by the listener, but Tosti gives a hint towards the outcome, ending the sorrow-filled song on a major chord, leaving the listener with a feeling of hope for the future of the character. Texts and Translations

FRANZ SCHUBERT (1797-1828) “Die Liebe hat gelogen,” D. 751 Love Has Lied

Die Liebe hat gelogen, Love has lied. Die Sorge lastet schwer, The worry is heavy. Betrogen, ach, betrogen Betrayed, oh betrayed am I Hat alles mich um her! by everything around me

Es fliessen heiße Tropfen Warm tears flow Die Wange stets her ab, forever flowing down my cheeks. Lass ab, mein Herz, zu klopfen, My heart, stop your beating. Du armes Herz, lass ab! You poor heart, let go!

“Am See,” D. 746 By the Lake

In des Sees Wogenspiele Playing in the lake’s waves, Fallen durch den Sonnenschein falling through sunshine, Sterne, ach, gar viele, viele stars, oh, so many Flammend leuchtend stets hinein. in lustrous flame always glowing

Wenn der Mensch zum See geworden, If man became a lake, In der Seele Wogenspiele playing in the soul’s waves, Fallen aus des Himmels Pforten falling from the heavenly gates Sterne, ach, gar viele, viele. would be stars, oh, so many.

ALMA MAHLER (1879-1964) “Bei dir ist es traut” from Fünf Lieder I Am at Ease with You

Bei dir ist es traut, I am at ease with you. Zage Uhren schlagen Timid clocks strike Wie aus alten Tagen, as in days of old. Kann mir ein Liebes sagen, Say something sweet to me, Aber nur nicht laut! but not too loudly!

Ein Tor geht irgendwo A gate opens somewhere outside. Drausen im Blütentreiben, Out there in the blossoming flowers, Der Abend horcht an den Scheiben, the evening listens at the window panes. Lass uns leise bleiben, Let us keep quiet Keiner weiss uns so! so no one knows we’re here! CLARA SCHUMANN (1819-1896) “Sie liebten sich beide,” op. 13, no. 2 They Loved One Another

Sie liebten sich beide, doch keiner They loved one another, but neither Wollt’ es dem andern gestehn; wished to tell the other; Sie sahen sich an so feindlich, they gave each other such hostile looks, Und wollten vor Liebe vergehn. yet nearly died of love.

Sie trennten sich endlich und sah’n sich In the end they parted and saw Nur noch zuweilen im Traum; each other but rarely in dreams. Sie waren längst gestorben It was so long ago they had died. Und wussten es selber kaum. But they scarcely knew it.

FANNY MENDELSSOHN (1805-1847) “Sehnsucht,” op. 9, no. 7 Longing

Fern und ferner schallt der Riegen. The sounds of the dance fade farther and farther away. Wohl mir, um mich her ist Schweigen It is well for me that around me there is auf der Flur. silence on the meadow. Zu dem vollen Herzen nur Only to my full heart Will nicht Ruh’ sich neigen. peace does not want to come.

Horch! Die Nacht schwebt durch die Listen! Night is wafting through the Räume. spaces. Ihr Gewand durch rauscht die Bäume Night’s garments rustle through the trees, lispelnd leis’. whispering softly. Ach, so schweifen liebeheiss Ah, that is exactly how my wishes and dreams, Meine Wünsch’ und Träume burning with love, roam about. ERIK SATIE (1866-1925) Quatre petites mèlodies

I. Élegie Elegy

Que me font ces vallons, ces palais, ces What do these valleys, palaces, and chaumières, cottages do to me, Vains objets dont pour moi le charme est vain objects whose charm to me have envolé? vanished? Fleuves, rochers, forêts, solitudes si Rivers, rocks, forests, lonely places so chères, dear, Un seul être vous manque et tout est a single being you lack, always dépeuplé! depopulated!

II. Danseuse Dancer

Le crabe sort sur ses pointes The crab comes out on pointe Avec ses bras en corbeille with its arms rounded, Il sourit jusqu’aux oreilles. smiling from ear to ear.

La danseuse d’Opéra An opera dancer, Au crabe toute pareille, like a crab, Sort de la coulisse peinte comes out from the wings painted, En arrondissant les bras. rounding their arms.

III. Chanson Song

C’est mon trésor, c’est mon bijou It is my treasure, it is my jewel, Le joli trou par où the pretty hole where Ma vigueur se réveille . . . my vigor awakens . . . Oui, je suis fou, fou, fou, Yes, I am crazy, crazy, crazy Du trou de ma bouteille for the hole of my bottle.

IV. Adieu Farewell

Amiral, ne crois pas déchoir Admiral, don’t think you fall from grace En agitant ton vieux mouchoir waving your old handkerchief? C’est la coutume de chasser That is just the custom of chasing away Ainsi les mouches du passé. the flies of the past.

AMY BEACH (1867-1944) “Je demande à l’oiseau,” op. 51, no. 4 I Ask the Passing Bird

Je demande à l’oiseau qui passe I ask the passing bird Sur les arbres, sans s’y poser, on the trees, without landing on them. Qu’il t’apporte, à travers l’espace, May he bring you, through space, La caresse de mon baiser. the caress of my kiss.

Je demande à la brise pleine I ask the full breeze De l’âme mourante des fleurs, of the dying soul of flowers, De prendre un peu de ton haleine to take some of your breath, Pour en venir sécher mes pleurs. to come dry my tears.

Je demande au soleil de flamme, I ask the flaming sun, Qui boit la sève et fait les vins, who drinks the sap and makes the wines, Qu’il aspire toute mon âme, that he sucks up all my soul, Et la verse à tes pieds divins! and pour it at your divine feet!

NADIA BOULANGER (1887-1979) “Cantique” Hymn

À toute âme qui pleure, To every soul that weeps, à tout péché qui passe, to every sin inflicted, J’ouvre au sein des étoiles I extend in the stars mes mains pleines de grâces. my hands full of grace.

Il n’est péché qui vive No one lives who has not sinned quand l’amour a parlé; when love spoke. Il n’est d’âme qui meure No one with a soul has not died quand l’amour a pleuré . . . when love wept.

Et si l’amour s’égare And if love strays aux sentiers d’ici-bas, on the paths here below, Ses larmes me retrouvent its tears find me et ne s’égarent pas . . . and do not stray. MANUEL DE FALLA (1876-1946) Selections from Siete canciones populares españolas

I. El paño moruno The Moorish Cloth

Al paño fino, en la tienda, The fine cloth, in the store, Una mancha le cayó; a stain set in; Por menos precio se vende, for a lower price it is sold, Porque perdió su valor. because it has lost its value. ¡Ay! Oh!

III. Asturiana Asturian Song

Por ver si me consolaba, To see if it would console me, Arrímeme a un pino verde tie me up to a green pine. Por verme llorar, lloraba. Upon seeing me cry, it cried. Y el pino como era verde The pine tree, because it was green. Por verme llorar, lloraba. Upon seeing me cry, it cried.

VI. Canción Song

Por traidores, tus ojos Because they are traitors, your eyes, Voy a enterrarlos; I’m going to bury them; No sabes lo que cuesta, you don’t know what it costs, “Del aire” “In the Air,” Niña, el mirarlos dear, to see them. “Madre, a la orilla” “Mother, on the shore”

Dicen que no me quieres, They say you don’t love me, Ya me has querido . . . for what was lost, Váyase lo ganado “Mother, on the shore,” “Del aire” but you loved me once . . . Por lo perdido. Away with what was won, “Madre, a la orilla.” “In the air” JULIANA HALL (b. 1958) Selections from Syllables of Velvet, Sentences of Plush

IV. To Samuel Bowles the Younger

Had I not known I was not asleep, I should have feared I dreamed, So blissful was their beauty, But Day and they demurred.

Take all away from me, but leave me Ecstasy, And I am richer then, than all my fellowmen. Is it becoming me, to dwell so wealthily, When at my very door are those possessing more, In boundless poverty?

V. To Eugenia Hall

My little benefactor, The flowers are very sweet, and I am surprised and charmed. I raise only robins on my farm, and a blossom is quite a guest.

I. To Eudocia C. Flynt

All the letters I could write, Were not fair as this— Syllables of Velvet— Sentences of Plush— Depths of Ruby, — Hid, Lip, for Thee, Play it were a Humming Bird And sipped just Me— ELLIOTT CARTER (1908-2012) Selections from Three Poems of Robert Frost

I. Dust of Snow

The way a crow Shook down on me A dust of snow From a hemlock tree

Has given my heart A change of mood And saved some part Of a day I had rued.

II. The Rose Family

The rose is a rose, And was always a rose. But the theory now goes That the apple’s a rose,

And the pear is, and so’s the plum, I suppose. The dear only knows What will next prove a rose.

You, of course, are a rose— But were always a rose

ISABELLA COLBRAN (1785-1845) “La speranza al cor mi dice” Hope Tells My Heart from 24 Canzoncine, vol. 2, no. 1

La speranza al cor mi dice Hope tells my heart che sarò felice ancor that I will know joy again. ma la speme ingannatrice But love’s deceit appears, and with it, fears. poi mi dice il mio timor. Yet hope comes again and foretells joy to come. JUDITH CLOUD (b. 1954) “Le violette” from The Violets 24 Italian Songs and Arias for 21st- Century Singers

Rugiadose, Dewy, Odorose scented, Violette graziose, pretty violets, Voi vi state you are standing Vergognose, bashful, Mezzo ascose half-hidden fra le foglie, among the leaves, e sgridate and you scold Le mie voglie, my desires, Che son troppo ambiziose. that are too ambitious.

FRANCESCO PAOLO TOSTI (1846-1916) “Ideale” Ideal

Io ti seguii come iride di pace I followed you like a rainbow of peace Lungo le vie del cielo: along the streets of the sky. Io ti seguii come un’amica face I followed you like the face of a friend De la notte nel velo. veiled by night

E ti sentii ne la luce, ne l’aria, And I felt you in the light, in the air, Nel profumo dei fiori; in the smell of the flowers; E fu piena la stanza solitaria and the lonely room was filled Di te, dei tuoi splendori. with you, with your splendors

In te rapito, al suon de la tua voce, In you I was enraptured, and the sound of your voice Lungamente sognai; I dreamed of for a long while; E de la terra ogni affanno, ogni croce, and everything on earth, every affection, every torment, In quel giorno scordai. I forgot that day.

Torna, caro ideal, torna un istante Come back, ideal darling, come back for a moment A sorridermi ancora, to smile again, E a me risplenderà, nel tuo sembiante, and on me, your face will shine Una novella aurora. a new dawn. “Lasciami! Lascia ch’io respiri” Leave Me! Let Me Breathe from Quattro canzi d’amaranta

Lasciami! Lascia ch’io respiri, Leave me! Let me breathe, Lascia ch’io mi sollevi! Let me rise! Ho il gelo nelle vene.Ho tremato. I have frost in my veins. I tremble. Ho nel cor non so che ambascia . . . In my heart, I know not what troubles me. Ahimè, Signore, è il giorno! Alas, my lord, the morning! Il giorno viene! The morning comes!

Ch’io non lo veda! I don’t see it! Premi la tua bocca su’ miei cigli, Press your mouth to my eyelashes, Il tuo cuore sul mio cuore! and your heart to my heart! Tutta l’erba s’insanguina d’amore. All the grass is stained with the blood of love, La vita se ne va, quando trabocca. and life flees when it is overflowing

Trafitta muoio, e non dalla tua spada. Thus being pierced, I will die, but not from your sword. Mi si vuota il mio petto, e senza schianto. My chest empties itself, without being crushed. Non è sangue? Isn’t that blood? Ahi, Signore, è la rugiada! Oh lord, it’s dew! L’alba piange su me tutto il suo pianto. Dawn spills all over me, its sorrow.

“L’alba sepàra dalla luce l’ombra” The Dawn Divides the Light from the from Quattro canzi d’amaranta Shadows

L’alba sepàra dalla luce l’ombra, The dawn divides the light from the shadows E la mia voluttà dal mio desire. and my will from my desire. O dolce stelle, è l’ora di morire. O sweet stars, it is time to die. Un più divino amor dal ciel vi sgombra. A more divine love clears you from the skies.

Pupille ardenti, O voi senza ritorno Gleaming eyes, oh you who won’t return. Stelle tristi, spegnetevi incorrotte! Sad stars, extinguish yourselves. Morir debbo. Veder non voglio il giorno, I must die. I don’t want to see the day, Per amor del mio sogno e della notte. for the love of my dream and of the night.

Chiudimi, O Notte, nel tuo sen materno, Close around me, oh Night, in your maternal way, Mentre la terra pallida s’irrora. as the pale earth covers itself in dew. Ma che dal sangue mio nasca l’aurora From my blood, the dawn is born E dal sogno mio breve il sole eterno! and from my brief dream, the eternal sun! Artist Profiles

ELIZABETH GOOD (mezzo-soprano) is a junior choral music education major at Northern Arizona University. In her time at NAU, Good has participated in multiple ensemble, including Women’s Chorale, University Singers, Northern Voices and High Altitude vocal jazz, the all-treble a cappella group the Axecidentals, Chamber Choir, and Shrine of the Ages. She is also a part of the Sedona Academy of Chamber Singers, a semi-professional choir in residence at the Church of the Red Rocks in Sedona, AZ. Good was also the accompanist for University Singers her freshman year, and has accompanied voice students here and there throughout her time at NAU. She has been studying voice with Prof Christine Graham since her freshman year of college. Good currently serves on the executive boards of both the Axecidentals and the NAU American Choral Directors Association Student Chapter. Upon graduating, she aspires to work as a choir teacher at the middle or high school level.

TYRESE CHILDS (tenor) is a junior choral music education major at Northern Arizona University. Originally from Fargo, ND, Childs has taken part in many ensembles at NAU such as Men’s Chorale, University Singers, Chamber Choir, Shrine of the Ages Choir, Jacks on Broadway, and the NAU Highlanders. In addition to these groups, he is honored to hold the position of music intern at the Church of the Red Rocks in Sedona, AZ. Outside of school, Childs prides himself on writing and recording his own music to release to a plethora of streaming platforms, accumlating over 417,000 individual streams throughout his time at NAU. He has studied voice with Dr. Ricardo Pereira since the beginning of his college career in 2018. Childs currently serves as Music Director for the NAU Highlanders and, upon graduating, plans to continue directing musical groups of all levels in a school, as well as community setting.

DARYL SHAY (piano) is an educator, accompanist, and performer in the Flagstaff community. His experience in piano, trumpet and guitar includes classical, jazz, pop, and rock & roll. With over twenty-five years’ experience in the Flagstaff community, Shay has appeared in performances with Flagstaff Symphony Orchestra, Flagstaff Musical Theatre, and NAU Theatre. Shay has taught music at Thomas Elementary School, Killip Elementary School, Mountain School, and Flagstaff Arts & Leadership Academy. Shay is currently a staff accompanist at Northern Arizona University; teaches in the NAU Community Music and Dance Academy and Curry Summer Music Camp at NAU and plays piano at Black Bart’s Steakhouse. Acknowledgements

Elizabeth Good would like to thank:

My mom, dad, and younger sister for supporting me and encouraging me every day to pursue what I love.

Noah Levie for his unconditional love and support.

Prof. Christine Graham for her vocal guidance and believing in me these past three years.

Dr. Edith Copley and Dr. Ryan Holder for their wonderful mentorship and the opportunities they have given me throughout my time at NAU.

Robin Neely and Robert Heyde for inspiring me to become a choral educator and for their wisdom, friendship, and mentorship.

Daryl Shay for your outstanding piano skills and your precious time.

The Kitt Recital Hall staff for making this recital possible.

Franz Liszt for creating the idea of a recital in the modern sense of the word.

All of my wonderful and supportive friends at NAU who have ever ceased to encourage me.

Tyrese Childs would like to thank:

My wonderful family for always loving and supporting me, no matter the distance.

Meg Neil and Eve Hanson for teaching me the true meaning of friendship, and for being there through the ups and downs of the world.

Sara Lichtblau and Eliza Lewis-O’Connor for inspiring me to pursue music, and setting me up with the tools and techniques I need to be successful.

Dr. Ricardo Pereira for helping me navigate, maintain, and most importantly find my voice over the past three years.

Dr. Edith Copley and Dr. Ryan Holder not only for providing me with opportunities to grow and challenge myself, but for giving me wisdom that I can forever use to continue that growth for myself.

Daryl Shay for lending his wonderful piano skills, as well as his precious time, effort, and understanding throughout the year.

All my friends that have given me their love, support, words of affirmation, and encouragement. I would be lost without you.