PROGRAM

I.

“Se è fedele” Scarlatti (1680-1725) “Se tu m’ami” Alessandro Parisotti (1853- 1913) “Caro mio ben” Giuseppe Giordani (1743- 1798) “” () George Fredric Handel (1685- 1759)

II.

“Als Luise Briefe” (1756- 1791) Gabriele Von Baumberg (1766- 1839) “Minnelied” (1809- 1847) “Vergebliches Ständchen” Johannes Brahms (1833- 1897) “Élégie” (1842- 1912) “Quia Respexit” (Magnificat) (1685- 1750) “” (1818- 1893)

III.

“Laurie’s ” (The Tender Land) Aaron Copland (1900- 1990) “Must The Winter Come So Soon” () (1910- 1981) “I Have Been Wandering” (Wuthering Heights) Bernard Herrman (1911- 1975) Charlotte Brontë (1818- 1855) “Come Ready And See Me” Richard Hundley (1931- 2018) James Purdy (1914- 2009) “I Bought Me A Cat” (Old American ) Aaron Copland (1900- 1990)

IV.

“One Hundred Easy Ways” (Wonderful Town) (1918- 1990) “Someone To Watch Over Me” George Gershwin (1898- 1937) “Far From The Home I Love” () Sheldon Harnick (1924- ) Jerry Bock (1928- 2010) “Till There Was You” (The Man) Meredith Wilson (1902- 1984) “Hold On” (The Secret Garden) (1947- ) Lucy Simon (1943- ) “Migratory V” (Myths And Hymns) Adam Guettel (1964- )

Se Florindo è fedele

“Se Florindo è fedele” was composed in 1698 by (1680- 1725), an Italian from the Period, best known for his and chamber cantatas. In total, he composed over forty operas and oratorios, including early operatic works such as “Il Pompeo” and “Gli equivoci nel sembiante”. Scarlatti was also the founder of the Neopolitan School of Music. The school was a group associated with of 17th and 18th century who studied or worked in Naples, Italy. “Se Florindo è fedele” comes from an opera named “La donna ancora è feldele”, which translates to “The Lady Still Is Faithful.” The piece itself is translated as “If Florindo Is Faithful,” and is overall very fun and playful. The singer states that if Florindo is faithful, she will fall in love with him, also stating that she can defend herself from flattering pleas, tears and laments. An echo can also be heard in the line “m’innamorerò” which can be a dialogue between the and the voice when she sings “I will fall in love.”

Italian:

Se Florindo è fedele Io m’innamorerò.

Potrà ben l’arco tendere Il faretrato arcier, Ch’io mi saprò defendere D’un guardo lusinghier. Preghi, pianti e quelere, Io non ascolterò. Ma se sarà fedele Io m’innamorerò.

English:

If Florindo is faithful I will fall in love.

The bow may be drawn By the archer. I can defend myself From a flattering glance. Sighs, pleas and laments I will not hear. But if he is faithful I will fall in love.

Se tu m’ami

“Se tu m’ami” was published in 1885 by Alessandro Parisotti (1853- 1913), who was an Italian composer and music editor from the Romantic Period. He compiled the three volume 24 Italian Songs And . Parisotti attributed the piece to Giovanni Batissta Pergolesi (1710- 1736), an Italian composer from the Baroque Period. Pergolesi was one of the important early composers of comic opera. He had written one of the greatest examples of comic opera, “La serva padrona,” translating to “The Servant Mistress”. However, scholars believe the composer of “Se tu m’ami” to be Parisotti. This flirtatious and entertaining piece translates to “If You Love Me.” The singer knows that a person likes her, but he is mistaken if he thinks that she will love only him.

Italian:

Se tu m’ami, se tu sospiri Sol per me, gentil pastor Ho dolor de’ tuoi martiri, Ho diletto del tuo amor, Ma se pense, che soletto Io ti debba riamar, Pastorello, sei soggetto Facilmente a t’innganar.

Bella rosa porporina Oggi Silvia sceglierà Con la scusa della spina Doman poi la sprezzerà. Ma degli uomini il consiglio Io per me non seguirò. Non perché mi piace il giglio. Gli altri fiori sprezzerò.

English:

If you love me, if you sigh Only for me, gentle shepherd, I feel sorrow for your sufferings, I delight in your love, But if you think that I will love only you, Little shepherd, you are subject To deceive yourself easily.

The beautiful purple rose Today Sylvia will choose, With the excuse of its thorns Tomorrow, she will despise it. But the advice of men I will not follow Just because I like the lily I will not despise the other flowers.

Caro mio ben

Published in 1782, “Caro mio ben” was attributed to Giuseppe Giordani (1743- 1798), an composer from the Baroque Period. There have been thirty or more operas by Giordani that are largely forgotten; he is best known to all singers for this . It is believed, however, that the actual composer of the piece was either Tomasso Giordani (1730- 1806), who was an Italian composer from the Baroque Period. He was active in both England and Ireland, actually co-producing the first ever serious opera to be performed in Ireland. It can also be believed that Giuseppe’s father, Giuseppe Giordani senior to be the composer of “Caro mio ben” as well. This beautiful piece translates to “My Dear Beloved”. The singer is telling her lover that without him, her heart languishes.

Italian:

Caro mio ben, credimi almen, Senza di te, languisce il cor.

Il tuo fedel, sospira ognor, Cessa crudel, tanto rigor.

English:

My dear beloved, believe me at least, Without you, my heart languishes.

Your faithful one always sighs, Cease cruel one, so much punishment.

Ombra mai fu

George Fredric Handel (1685- 1759) was a German composer from the Baroque Period, well-known for his operas, oratorios and organ concertos. His most famous work was the oratorio “” with the famous “Hallelujah” chorus. It is among the most popular works in choral music, also becoming a staple for the holiday season. His opera Serse was first performed in 1738 on April 15th , with the adapted in 1694. The original libretto was written in 1654 by Nicolò Minato (1627- 1698). The opera is loosely based on the life of Xerxes I, who was commonly known as Xerxes the Great. The opera itself had a few elements that were taken from the Greek historian Herodutus’ account of Xerses with his invasion of Greece, but most of the opera’s story is fictional. The aria, translated as “Never Was Shade” is one of Handel’s best known melodies, often known as his “Largo”. The translates to “Tender And Beautiful Fronds.” It is performed by the character Serse who is thanking the tree for its shade, while also praising its beauty.

Italian:

Frondi tenere e belle Del mio platano amato Per voi, resplenda il Fato. Tuoni, Lampi, e procelle Non v’oltraggino mai la cara pace, Né giunga a profanarvi, austro rapace.

Ombra mai fu Di vegetabile, Cara ed amabile, Soave più.

English:

Tender and beautiful fronds Of my beloved plane tree, Fate shines for you. Thunder, lightning and storms Never disturb your dear peace, Nor may you by blowing winds be profaned.

Never was shade Of any plant Dear and lovable Or more sweet.

Als Luise Briefe

Wolfgang Amadeus Mozart (1756- 1791) was an Austrian composer from the Classical Period and was one of the most influential and prolific composers of his time. He is also considered to be one of the greatest classical composers of all time, having a profound influence on Western music. From a very young age, he was seen as a child , composing pieces from the age of five and performed before European royalty. Mozart composed more than 600 works, most that are acknowledged as pinnacles of symphonic, concerto, chamber, operatic and choral music. “Als Luise Briefe” was composed and published in 1787 to a poem written by Gabriele Von Baumberg (1766- 1839) a poet who was an acquaintance of Mozart’s. It is translated as “As Luise Was Burning The Letters Of Her Unfaithful Lover”. In the piece, the singer is burning the letters of her lover because he was writing to another woman. As she burns the letters, she realizes that those letters will still burn in her, even if they are destroyed. At the start of the second part of the poem, the piano has a fast paced sixteenth-note melody in the right hand, which is considered to be the fire in which the singer is burning the letters.

German:

Erzeugt von heisser Phantasie In einer schwärmerischen Stunde Zur Welt gebrachte, geht zu Grunde, Ihr Kinder der Melancholie!

Ihr Danket Flammen euer Sein, Ich geb euch nun den Flammen wieder, Und all die schwärmerischen Lieder, Denn ach! er sang nicht mir allein.

Ihr brennet nun, und bald, ihr Lieben, Ist keine Spur von euch mehr hier. Doch ach! der Mann, der euch geschrieben, Brennt lange noch vielleicht in mir.

English:

Generated by ardent fantasy. In a rapturous hour Bought into this world, perish, You children of melancholy!

You owe the flames to your existence, So I restore you now to the fire, With all your rapturous songs, For alas! He sang not to me alone.

You’ll burn now and soon, you love letters, There will be no trace of you here. But alas! The man who wrote you May perhaps still burn long in me.

Minnelied

Felix Mendelssohn (1809- 1847) was a German composer, pianist, organist and conductor of the early Romantic Period. His compositions included symphonies, concertos and piano music. Some of his best known works included the oratorio “Elijah”, the for “The Hebrides” and the overture and incidental music for “A Midsummer Night’s Dream”. His most famous solo piano compositions are “Songs Without Words”. He enjoyed early success in Germany, reviving interest in the music of Johann Sebastian Bach (1685- 1750), notably with the performance of the “St. Matthew ”. He also founded the Leipzipig Conservatory in 1843, which is the oldest university school of music in Germany. A minnelied is defined as a love song that is written by, or sung in the style of a medieval minnesinger, a German lyric poet and singer of the 12th to 14th century. The song “Minnelied” is sung tenderly to the “nearby sweetheart”, while also about the beauty of nature.

German:

Wie der Quell so lieblich klinget Und die zarten Blumen küßt, Wie der Fink im Schatten singet Und das nahe Lienbchen grüßt!

Wie die Lichter zitternd schweifen Und das Gras sich grün erfreut, Wie die Tannen weithin greifen Und die Linde Blüten streut!

In der Linde süß Gedüfte, In der Tannen Riesellaut, In dem Spiel der Sommerlüfte Glänzet sie als Frühlingsbraut.

Aber Waldton, Vogelsingen, Duft der Blüten, haltet ein, Licht, verdunkle, nie gelingen Kann es euch, ihr gleich zu sein!

English:

How the fountain so lovely sounds And kisses the tender flowers, How the finch in the shade sings And greets the nearby sweetheart!

How the lights curve trembling And the grass rejoices in its green, How the firs reach out far And the lime tree strews its blooms!

In the lime tree's sweet fragrance, In the firs loud rustling, In the play of summer air She appears as a spring bride.

But forest sounds, birdsong, Fragrance of blooms, cease, Light, die away, you can never Be like unto her!

Vergebliches Ständchen

“Vergebliches Ständchen”, translated as “Futile Serenade”, comes from “5 Romances and Songs, Op.84”, composed in 1881- 1882 by Johannes Brahms (1833- 1897). Brahms was a German composer, pianist and conductor of the Romantic Period, who was considered both a traditionalist and innovator by his contemporaries and later writers. Brahms’ works were also considered inspirations for generations of composers. This song was one of Brahm’s favorites. He professed to the music critic Eduard Hanslick in a letter, that it was one of his finest and wittiest pieces, “to prize above all others”. The text is drawn from the collection known as the Deutsche Volkslieder. It is a humorous dialogue between a persistent young man wanting to come inside and say goodnight to his intended – a clever young women, whose mother gave her good advice to send him home. Three bars from the end of the song, the pianist plays a sforzando, where the girl slams the window on the .

German:

Er: Guten Abend, mein Schatz, Guten Abend, mein Kind! Ich komm’ aus Lieb zu dir, Ach, mach mir auf die Tür Mach mir auf die Tür!

Sie: Mein Tür ist verschlossen Ich lass dich nicht ein; Mutter die rät mir klug Wärst du herein mit Fug, Wär’s mit mir vorbei!

Er: So kalt ist die Nacht, So eirsig der Wind, Dass mir das Herz erfreit, Mein Lieb erlöschen wird; Öffne mir, mein Kind!

Sie: Löschet dein Lieb; Lass sie löschen nur! Löschet sie immerzu, Geh heim zu Belt, zur Ruh! Gute Nacht, mein Knab!

English:

He: Good evening, my treasure, Good evening, sweet girl! I came from love of you, Ah, open the door, Open the door for me!

She: My door is locked, And I won’t let you in: My mother has advised me well! If you came in, It would be all over for me!

He: The night is so cold, And the wind so icy That my heart will freeze, And my love will be extinguished! Open for me, sweet girl!

She: If your love starts dying, Then let it be extinguished! If it keeps dying, Go home to bed, and rest! Good night, my boy!

Élégie

The song “Elegy” was published in 1872 and written by Jules Massenet (1842- 1912). Massenet was a French composer of the Romantic Period who was best known for his operas, writing more than 30. The two operas of his that are most frequently staged are “Manon” and “Werther”. The “Élégie” was one of the most popular melodies in Europe in the last decade of the nineteenth century. The song was originally written as incidental music for “Les Érinnyes”, the French language version of the Aeschylus’ Greek tragedy about Clytemnestra and Orestes. An elegy is defined as a song or poem expressing sorrow or lament. It is typically for someone who has died, which is heard clearly throughout the piece due to the minor quality and slowness. The song is a dramatic and almost operatic expression of loss.

French:

Ô, doux printemps d’autre fois, vertes saisons, Vous avez fui pour toujours! Je ne vois plus le ciel bleu, Je n’entends plus les chants joyeux des oiseaux! En emportant mon bonheur, Ô bien-amé, tu t’en es allé! Et c’est en vain que le printemps revient! Oui, sans retour, Avec toi, le gai soleil, Les jours riants sont partis! Comme en mon coeur tout est sombre et glacé! Tout est flétri Pour toujours!

English:

O sweet spring of another time, green seasons, You have fled forever! I no longer see the blue sky, I no longer hear the happy sounds of birds! By taking my happiness, O beloved, you went away! And it is in vain that spring returns! Yes, no return With you, the happy sun, The laughing days are gone! As in my heart everything is dark and frozen! Everything is withered Forever!

Quia Respexit

“Quia Respexit” comes from the Magnificat by Johann Sebastian Bach (1685- 1750), who was a German composer from the Baroque Period. It is a musical setting of the biblical canticle Magnificat with twelve movements. This particular version was published in 1733 for the feast of the Visitation. In Christianity, the Visitation was the visit of Mary, the mother of Jesus to St. Elizabeth, who was the mother of John the Baptist. It was recorded in the Gospel of Luke. The Visitation is also the name of a Christian feast day that commemorates this visit.

Bach was known for his instrumental compositions of the “” and “Goldberg Concertos and for his organ music and preludes and fugues. One of his most famous is “Toccata And Fugue in D Minor”. The Magnificat was one of his first liturgical compositions on a Latin text and one of his most popular vocal works. Throughout the Magnificat, the words spoken are the words which Mary says when she visits Elizabeth. “Quia Respexit” is an aria and is the third movement. It is sung by a and is usually accompanied by an oboe. Typically, the voice shares a “contemplative duet” with the oboe, and then changes to a “simple, more declamatory style”. “Quia Respexit” translates to “Because He Has Looked”.

Latin:

Quia respexit humilitatem, Humilitatem ancillae suae. Ecce, ecce. Ecce enim ex hoc beatam Beatam me dicent.

English:

Because he has looked upon the lowliness The lowliness of his servant. Behold, behold. Behold, for from now on They’ll deem me blessed.

Ave Maria

The “Ave Maria” comes from the Latin Prayer of the same name, translated as the Hail Mary Prayer, the prayer to the mother of Jesus. There are many different versions of the “Ave Maria”, the most famous being written by . However, the one that will be sung today is the version by Charles Gounod (1818- 1893). Gounod was a French composer from the Romantic Period. He wrote twelve operas, some of the most popular being “” and “Roméo et Juliette”. Gounod also composed a large amount of church music, songs and popular short pieces. His version of the “Ave Maria” is one of his well-known pieces. Gounod originally published the piece in 1853 and titled it as “Méditation sur le Premier Prélude de Piano de S. Bach”. He superimposed the “Ave Maria” over a slightly changed version of J. S. Bach’s “Prelude and Fugue in C major, BWV 846”. Even though this prelude was written in the Baroque Period, people were familiar with the tune, since Baroque music was making a comeback. It was the first prelude and fugue in “The Well-Tempered Clavier”, a series of 48 preludes and fugues by Bach.

Latin:

Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus, Et Benedictus fructus ventris tui Jesus. Sancta Maria mater Dei, Ora pro nobis peccatoribus, Nunc, et in hora mortis nostrae. Amen.

English:

Hail Mary, full of grace, The Lord is with thee, blessed are thou amongst women, And blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, Pray for us sinners, Now and at the hour of our death. Amen.

Laurie’s Song

Aaron Copland (1900-1990) was a very well-known American composer, composition teacher, writer and later a conductor of his own and other American music. Some of his best-known works include “Appalachian Spring”, “Lincoln Portrait”, and “Third Symphony”. He was referred to by peers and critics as “The Dean Of American Composers”. The slow and open changing harmonies at the beginning of his pieces are what people typically consider to be the sound of American music, because they evoke the vast American landscape and pioneer spirit. The Tender Land is an opera that tells the story of a farm family living in the Midwest of the United States. Copland got inspiration from the Depression-era and the book Let Us Now Praise Famous Men. The opera was composed from 1952 to 1954 and premiered in April 1st, 1954. In “Laurie’s Song” the high-school senior and daughter of the Moss family is graduating and is singing how she is feeling about it. For me this piece resonates, because, as Laurie says in the song, “I’ll be graduated soon”.

Must The Winter Come So Soon

The opera Vanessa was written by Samuel Barber (1910- 1981), an American composer of orchestral, opera, choral and piano music. He is one of the most celebrated composers of the 20th century. The music critic Donal Henahan stated about Barber, “Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim”. Some of his best-known works include “” and “”. His opera Vanessa was awarded a Pulitzer Prize. The opera was composed in 1956- 1957 and premiered in 1958. It tells the story of Vanessa, who is waiting for her lover Anatol, a man that she has not seen in 20 years. She lives in a secluded country home with The Old Baroness and Vanessa’s niece, Erika. The song “Must The Winter Come So Soon” is sung by Erika, who asks Vanessa why winter has to come so quickly, bringing a dreariness with it. The winter can also be a metaphor for Vanessa’s life, as she is grieving the fact that she may be too old to find love.

I Have Been Wandering

Bernard Herrmann (1911- 1975) was an American composer who was best known for composing movies. He won an Academy Award for the movie The Devil And Daniel Webster, which was later renamed Money Can Buy. He was mainly known for his collaboration with the director Alfred Hitchcock, most famously with Psycho, North By Northwest, The Man Who Knew Too Much and Vertigo. He also composed scores for other films such as Citizen Kane, Taxi Driver and the TV show The Twilight Zone.

The opera Wuthering Heights was written by Herrmann from 1943 to 1951. However, it had to wait for a complete theatrical performance until 2011, which was the centenary of Herrmann’s birth. The opera was based on the book by the same name, written by Emily Brontë (1818- 1848), which tells the story of two families that owned large country estates living on the Yorkshire Moors, the Earshaws and the Linton’s. The opera tells the story of the relationship between Cathy Earshaw and Heathcliff, whose love-affair reeks on their lives and the people around them. The song “I Have Been Wandering Through The Green Woods” came from a poem written by Charlotte Brontë (1816- 1855), Emily’s older sister. It is sung by Cathy, depicting all the beauty that is seen in nature.

Come Ready And See Me:

“Come Ready And See Me” was written by Richard Hundley (1931- 2018), an American pianist and composer of art songs for voice and piano. In 1987, he was declared one of the standard American composers for vocalists by the International American Music Competition. Some of Hundley’s pieces included “Wild Plum” and “Spring”. “Come Ready And See Me” was perhaps one of Richard Hundley’s best known works. It was composed in 1971 and dedicated to Jeffrey L. Cerza, a friend of Hundley’s who died at an early age. The song is set to a poem written by James Purdy (1914- 2009), an American novelist, short-story writer, poet and playwright. The song to me is about waiting for someone. It could be a family member, or someone to love. However, the wait is growing short because as it says in the song, “for the years are running out.”

I Bought Me A Cat

“I Bought Me A Cat” was published in Aaron Copland’s (1900- 1990) Old American Songs, Set I. It was published in 1950 and was the fifth and final song in the set. Copland said in a letter, that Lynn Riggs (1899- 1954) had sung “his version” of the piece. Copland also intended to use the song for the unfinished musical comedy Tragic Ground. The piece is a cumulative verse, like “The Twelve Days Of Christmas”. It is a children’s song, singing about the animals that are seen on a farm and incorporating farm noises. The line that is repeated at the end of each verse is “my cat said fiddle-eye-fee”.

One Hundred Easy Ways

Wonderful Town is a musical, written by Leonard Bernstein (1918- 1990), an American composer, conductor and pianist. He is one of the most significant composers of the 20th century. According to the music critic Donal Henahan, he was “one of the most prodigiously talented and successful musicians in American history”. Some of his works include the incidental work and . His best-known work is , which is still performed worldwide and was also made into an Academy-Award winning film. Based off of Joseph A. Fields (1895- 1966) and ’s (1911- 2004) 1940 play , the musical premiered in 1953. It tells the story of two sisters, Ruth and Eileen as they move from Ohio to City. Eileen wants to become an actress and Ruth wants to become a writer. In the song “One Hundred Easy Ways”, Ruth sings about the many ways to “lose a man”, something that she feels she does so easily, unlike her sister Eileen who seems to easily attract men.

Someone To Watch Over Me

George Gershwin (1898- 1937) was a well-known American composer and pianist. Some of his best-known works include the compositions Rhapsody In Blue, and An American In Paris. Some of his other well-known songs include “Swanee”, “Fascinating Rhythm” and the standard known as “I Got Rhythm”. He also composed the opera Porgy And Bess which gave birth to the hit “Summertime”. “Someone To Watch Over Me” was written in 1926 for Gertrude Lawrence (1898- 1952), an English actress, singer, dancer and musical comedy performer in the musical Oh Kay. This sentimental piece is about finding someone to love, having “someone to watch over me”.

Far From The Home I Love

Fiddler On The Roof was a Broadway musical that opened in 1964. The music was written by American musical theater composer Jerry Bock (1928- 2010) and the lyrics by Sheldon Harnick (1924- ), an American lyricist and . It was a very successful musical that opened in 1964. The musical tells the story of Tevye in the village of Anatevka, who is trying to maintain the Jewish religious and cultural traditions as outside influences intrude upon him and his family’s lives. However, three of his daughters want to marry for love, which breaks tradition from the village. In the song “Far From The Home I Love,” the second-oldest daughter Hodel is at the train station with Tevye. She is leaving to be with her fiancé, Perchik after he was arrested and sent to Siberia. She sings about how her home is with him. Tevye knows that the world is changing, so he must change with it.

Till There Was You

The Music Man was a musical that was written by Meredith Wilson (1902- 1984), an American composer, conductor, musical arranger, playwright and author. This musical is Wilson’s most famous work. He called it “an Iowan’s attempt to pay tribute to his home state” and premiered in 1957 on Broadway. It tells the story of con man Harold Hill who poses as a boy band organizer and leader. He sells instruments and uniforms to Mid-western towns, promising to train the members of the new band. However, before he does anything, he leaves the town without giving any music lessons. In the town of River City however, Marian who is a prim, proper and bookish librarian, sees through him. When he helps her younger brother Winthrop with his lisp and helps him overcome his social awkwardness, she starts to fall in love with him. In the song “Till There Was You”, Marian tells Harold about how she has fallen in love with him, having made a difference in her life.

Hold On

The Secret Garden premiered on Broadway in 1991. Based off of the book by Frances Hodgson Burnett (1849- 1924), it tells the story of a young girl named Mary Lennox who is sent to live with her uncle whom she has never met, after her parents pass away. While she is there, she discovers a secret garden. The script and lyrics were written by Marsha Norman (1947- ), an American playwright, screenwriter and novelist. The music was written by Lucy Simon (1943- ), an American composer for theater and popular songs. In the song “Hold On,” Martha, a chambermaid who has become friends with Mary over time at the house, soothes Mary after her uncle’s brother threatens to send Mary away, telling her to stay strong. This song can be a metaphor for all that has happened in the past year with COVID.

Migratory V

Adam Guettel (1964- ) is an American composer-lyricist of musical theater and opera. His best-known work is Light In The Piazza. His score for To Kill A Mockingbird was nominated for a Tony Award. Myths And Hymns, originally known as Saturn Returns is a song cycle consisting of fourteen songs. It performed Off- Broadway, premiering in 1998. It is based on Greek myths and concerns the relationship of humans and Gods, both past and present. “Migratory V” is the fifth piece in the song cycle. The Migratory V can reference to the V formation that geese fly in, while working as a team. They honk to encourage each other to keep going, they rotate in formation so the others are not tired and they protect each other if one of the geese is wounded, sick or gets shot down.

Thank You To...

My Parents. Mom and dad, words and gratitude cannot express how thankful I am to have incredible parents. You have been my cheerleaders and moral support throughout my entire life. I know that I can ask you for advice, guiding me in the right direction, being my rock, my support system and making me laugh from your humor. Thank you for everything that you have done for me. I love you both so much.

My Sisters. Katie, Allie and , we may fight a lot, as siblings do, but I am so glad you three are my younger sisters. Thank you for putting up with me growing up, with all of my musical escapades. Thank you for making me laugh because of your sass, your humor and your wit. You three are all so compassionate, kind and caring in your own ways, becoming your own people as you grow older, something that I could not be prouder of. Thank you three for being the best younger sisters I could ask for. I love you three very much.

My Relatives. I cherish the moments when I am able to visit you, and when you are able to visit me. You have been my cheerleaders throughout the many different activities that I have done in my life, from swim meets back in high school, to marching band, to concerts and musicals. I am very grateful you are all a part of my life. I love you all so much.

Kathy Soroka. I don’t know what to say, because these past four years have truly been a blessing. You have been an important part of my life. Since freshman year, you have been the one to help me “find my sound.” You were the one to push me to be the best that I can be, having never-ending confidence in me when at times, I even doubted myself, because you knew that I would get to where I needed to be. Thank you so much for the lessons and everything that you have taught me.

Mr. Stevens. Thank you for being such a great music therapy professor for me these past four years. During my college experience, you have been one of the people who taught me so much about music therapy. You helped me find the population that I wanted to work with, answered any questions that I asked, or were just able to have a conversation anytime. Thank you for everything.

Music Professors. All of you have become such a wonderful part of my life these past four years. For the four years that I have been here, you have been so supportive of me, ever since meeting you all during my visits and audition before coming to Mercyhurst, allowing me to grow as a person and a musician. Thank you all sincerely.

My Music Teachers From Home. I don’t think that I would be where I am today without any of you. At a young age, you all instilled a passion for music in me during my elementary to high school years, and I cannot be more grateful for that. Thank you so much for everything.

Brenda Dawe. I know that you probably can’t be with me today, but you are one of the most important people in my life. You were one of the first voice teachers that I had, starting me off on the right foot with my singing. You helped me prepare for my voice auditions for college, having faith in me and cheering me on in my accomplishments inside and outside of my lessons. I cannot thank you enough for all that you have done for me.

My Roommate. Ruthe, I can officially say, that we made it. The past four years have been such a whirlwind for each other in our own ways. I’m glad we found each other sophomore year, rooming together since then. From the many jokes and laughter that we shared in our apartment, I could not ask for a better roommate. You are the best, thank you so much.

Larissa, Jessica, Olivia And Katey. Well, your little freshie is officially a senior. During freshman year, you four all took me under your wing, becoming one big happy family in the process. You all helped me out, guiding me through the music program and cheering me on during my first forum performance. We all made so many memories, from movie nights and outings to sing-alongs in the car and helping me when I was feeling stressed out. Thank you all for the memories and fun times. I love you four so dearly.

Maria And Kimmy. When I joined concert freshman year and chamber choir my sophomore year, you both became my soprano one buddies right off the bat. We had so much fun in rehearsals and concerts, sharing many laughs and jokes with one another. Thank you ladies for making music with me. I love you both so dearly.

My Music Friends. To my dear friends in the music department, I love each and everyone of you. You all made being a music major one of the best times for me these past four years. The music department is truly one of the most tightly knit groups that I have ever met. Words of wisdom from the senior, savor every experience that you have because it does go by faster than you think. You are all the loveliest bunch of ladies and gentlemen that I have met, and I promise to visit when I can.

My Fellow Music Therapy Majors. To my fellow Music Therapist majors, getting to be in the same major with you has been nothing short of a fantastic time. Getting to discuss clinicals, planning out sessions and just getting to be in the same major with all of you has been one of the best parts about my time here. I love you all so dearly, and I know each and every one of you are going to be amazing Music Therapists in the future. Who knows, we could one day work together again, but until then, I promise to visit when I can.

The Mercyhurst Athletic Band. My fellow band members, the time has come for me to leave. I don’t think I could have gone through rehearsals or games without any of you there. You all have become such good friends of mine and I’m so thankful for the memories that have been made. Thank you to my mellophone buddies for sticking through music and marching with me. Thank you to the staff for making us sound as good as we do and knowing how great we can be. I promise to visit when I’m able.

The Stage Crew. Stage Crew, I don’t think that any of this could come together without you all, truly. Thank you for helping my recital come together and run so smoothly, I appreciate each and every one of you for your help with this special performance and to also be a part of it. Thank you, truly.

My Friends. My dearest wonderful friends, you all mean so much to me. Over my four years of college, I have been able to meet so many of you wonderful people. We have all shared so many memories, jokes, laughs and heartfelt conversations. Thank you all for being such an important part of my life. Thank you for making memories, I will miss you all so dearly.

Thank you to everyone for being able to listen to me perform today. It means the world to me to have such a wonderful group of people who have impacted my life in such a positive way. From the bottom of my heart, thank you for everything. Thank you, thank you, thank you.

BIOGRAPHIES

Megan Shoen is a senior music therapy major with her primary instrument being voice. Ever since she was a child growing up in Owego, New York, Megan could be heard singing around the house for her father, mother and three younger sisters. In high school, she was heavily involved in many different music programs with lead roles in many musicals including Beauty and the Beast and . When she discovered music therapy, Megan knew that was what she wanted to pursue. It combined two of her favorite things-music and volunteering- and would allow her to make a positive impact in people’s lives.

At Mercyhurst, Megan has had many performance opportunities. In her sophomore year, she sang in a trio with the jazz ensemble in its Christmas concert. She has sung in concert choir and in the chamber choir since her sophomore year, performing a solo last year, during the small ensembles concert. She was also honored to win the Aria Competition in February of this year. This spring, Megan performed in the D’Angelo Opera Department production of Magnificent Masks. She has also performed Mellophone in the Mercyhurst Athletic Band for four years, holding a leadership position in her senior year. She has studied with Katherine Soroka for the past four years, whom she would like to thank for helping her find her sound. In the future, Megan plans to work with the geriatric population as a music therapist. She plans to do an internship, and plans to take her boards to become board certified.

Mezzo Soprano and collaborative pianist Katherine Soroka has been a vocal accompanist since her fellowship days at Aspen Music Festival. As a vocalist she is known for her passion for conveying the song text and connecting with audiences, acclaimed as “masterful” with “heartfelt vocalism” (Post Gazette) and for “finding both lush lines and dramatic intensity… commanding the stage”. (TribLive)

A winner of the Pittsburgh Concert Society Auditions, Katherine has performed world premiers by composers Judith Shatin and David Stock, and sung works by Betty Oliviero, Chinery Ung and Noah Zahler. She is an avid recitalist, having performed a Frick Museum Music For Exhibitions concert with Pittsburgh’s Chatham Baroque, in numerous and Pittsburgh venues and at regional universities including Allegheny College and Chatham and Mercyhurst Universities.

Katherine has performed as soloist with the Knoxville Symphony Orchestra, Edgewood Symphony and Pittsburgh Civic Orchestra. She has narrated and sung with the Pittsburgh Symphony Orchestra in Tiny Tots and Schooltime educational concerts. Recent operatic roles included Ulrica in Un ballo in maschera, Klytaemnestra in Elektra, Dinah in and Baba in The Medium. She also has performed musical in summer stock and regional theatre and at the Pittsburgh Playhouse.

Katherine has had the great pleasure of being Megan Shoen’s voice teacher as adjunct faculty voice instructor and vocal accompanist at Mercyhurst University. She maintains a private studio in Pittsburgh and Foxburg. Katherine also served in the senior management of the New York Philharmonic, as Executive Director of the Grand Teton Music Festival and on the faculty and administration of Manhattan School of Music.