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.