School of Music

SENIOR RECITAL

EMILY LALIOTIS ’18, SOPRANO JINSHIL YI ’14, PIANO

SUNDAY, APRIL 22, 2018

SCHNEEBECK CONCERT HALL | 7:30 P.M.

From Così fan tutte………………………………………………………....Wolfgang Amadeus Mozart “In uomini, in soldati” (1756–1791) “Una donna quindici anni”

Drei Lieder der Ophelia………………………………………………………………….Richard Strauss

I. Wie erkenn’ ich mein Treulib (1864–1949) II. Guten Morgen, ‘s ist Sankt Valentinstag III. Sie trugen ihn auf der Bahre bloß

Je te veux………………………………………………………………………………………...Erik Satie La statue de bronze (1866–1925)

INTERMISSION Eight Poems of Emily Dickinson………………………………………………………...Aaron Copland I. Nature, the gentlest mother (1900–1990) II. There came a Wind like a bugle III. The World feels dusty IV. Heart, we will forget him V. Dear March, come in! VI. Sleep is supposed to be VII. Going to Heaven! VIII. The Chariot I Know Him So Well………………………………………………….Benny Andersson/Björn Ulvaeus

from Chess b. 1946/b.1945

Ava Price, mezzo-soprano Holding to the Ground……………………………………………………………………….William Finn

from Falsettos b. 1971 A Part of That……………………………………………………………………….Jason Robert Brown

from The Last Five Years b. 1970

Patterns……………………………………………………………………...Richard Maltby/David Shire from Closer than Ever b. 1937/b. 1937

Pulled Andrew Lippa from The Addams Family b. 1964

Reception following the performance in School of Music, Room 106

PERFORMER Emily Laliotis ’18, will graduate in May with bachelor’s degrees in music and religion. She is the student of Dr. Dawn Padula. Emily is the musical director of What She Said A Cappella, president of the Adelphian Concert Choir, and also sings in Voci D’Amici. She has sung with the Portland-based choir Cappella Romana, as well as with the Portland Symphonic Choir. Emily won first and third place in the National Association of Teachers of Singing regional competition, and was a finalist in the Concerto Aria competition at the University of Puget Sound. Emily has performed with the School of Music and Theatre Arts Department in Le Comte Ory (2015), RENT (2016) as Maureen, Opera Scenes (2017), and Into the Woods (2018) as the Baker’s Wife. She is founder of Songwriting Club and released an album of her original music, Single Step, in 2015. Emily is an active participant in the Balkan Music community, and studies Byzantine Chant under Alexander Khalil.

GUEST PERFORMERS Ava Price, mezzo-soprano ’18 is a senior vocal performance major from Portland, Ore. She is currently studying voice with Dr. Dawn Padula. She is a member of the Adelphian Concert Choir, which she also serves as treasurer for and the smaller choral ensemble, Voci D’amici. Ava also performs in the treble acapella group, What She Said. She also works for the Office of Academic Advising as a peer adviser. She has performed with the School of Music Opera Theater in Le Comte Ory (2015), the Opera Scenes program as Dame Quickly and Ma Moss (2017), and in Into the Woods as Little Red Riding Hood (2018). In her spare time, she enjoys being with her friends and family, reading Wikipedia articles, and watching historical drama televisions shows.

ACCOMPANIST Jinshil Yi ’14 is an avid collaborative pianist in high demand throughout the Tacoma-Seattle area. She has appeared in concerts with Northwest Sinfonietta Artistic Partner David Lockington, soprano Christina Kowalski, mezzo-soprano Dawn Padula, and baritone Ryan Bede. Since 2016, Jinshil has served as staff accompanist at the University of Puget Sound, working extensively with Steven Zopfi, Kathryn Lehmann, and Ed Hughes on the acclaimed Adelphian Concert Choir, Dorians, and Chorale. A heartfelt sacred music enthusiast, Jinshil loves expressing her faith through her work as pianist and organist for two churches in Lakewood, Wash. In addition to being on staff as a pianist for Tacoma Youth Chorus and Charles Wright Academy, she regularly partners with other Tacoma schools, choirs, and private music studios for music festivals, competitions, and concerts. Both her solo and collaborative playing have been broadcast on the radio, most recently on 98.1 KING FM following a concert tour of western Washington. Jinshil serves as managing director for Second City Chamber Series and is a soprano in the Symphony Tacoma Voices. Jinshil holds three undergraduate degrees cum laude from the University of Puget Sound in music, biochemistry, and politics and government with an international relations emphasis.

ACKNOWLEDGEMENTS Emily would like to thank everyone who has ever encouraged her in her pursuit of music. She is eternally grateful to Dr. Dawn Padula for teaching her so much about her voice and herself. She is thankful for her many mentors in music, who have taught her that humility and listening are as important as any technical skill, especially Dr. Steven Zopfi, Jeff Caldwell, Alexander Khalil, Professor Kathryn Lehmann, Anne Whattoff, and John Michael Boyer. She wants to thank her What She Said family for the music and the friendship, and is most grateful for her friends and family, who make her laugh long and hard. She would like to thank her Mom, Dad, Katy, and Grace for supporting her education and loving her like a crazy. Finally, she thanks her first voice teacher, Michael Grant Hall (memory eternal) for showing an audacious little girl where her voice could take her.

PROGRAM NOTES AND TRANSLATIONS Written and Compiled by Emily Laliotis

Wolfgang Amadeus Mozart is one of classical music’s “big three.” Famous in his youth through his performances as a child prodigy, his notoriety continued as he composed masterful compositions in all genres of the classical era. Mozart’s symphonies, concertos, string quartets, sonatas, and operas are still widely performed. Of his more than 600 works, many of Mozart’s most famous were composed during his time in Vienna in the late 18th century, before his tragically early death at the age of 35. Così fan tutte premiered in 1790 in Vienna—the only time the opera was performed during Mozart’s lifetime. This opera buffa is a standard in the operatic repertoire, after popular opinion changed to consider it hilarious rather than vulgar and immoral. The plot revolves around two women and their fiancées, who, doubting the women’s devotion, disguise themselves as suitors to tempt the women. The ruse is aided by the maid, Despina, known for her cheekiness and wit. “In uomini, in soldati” occurs towards the end of the first act when Despina is making fun of the young women for their loyalty to men. Despina rants about the inherent infidelity and untrustworthiness of all men, stating that women should be free to have romance with whoever they want. In “Una donna, quindici anni,” Despina lectures the two women on how to succeed in the world, teaching them that a woman’s best qualities are those of deceit and charm. She speaks in asides to the audience, thrilled that her plan to trick these women is working. “In uomini, in soldati” “In men, in soldiers” from Così fan tutte Libretto by Lorenzo Da Ponte Translation by Naomi Gurt Lind In uomini, in soldati, sperare fedelta? In men? In soldiers you hope for fidelity? Non vi fate sentir, per carita! For pete's sake, don't let anyone hear you! Di pasta simile son tutti quanti, They're all made of the same dough. Le fronde mobili, l'aure incostanti Windblown branches, changeable breezes Han piu degli uomini stabilita! Have more stability than men! Mentite lagrime, fallaci sguardi False tears, suspicious glances, Voci ingannevoli, vezzi bugiardi Deceiving voices, lying vices Son le primarie lor qualita! Are the foremost of their qualities! In noi non amano che il lor diletto, They only love us when it suits their delight, Poi ci dispregiano, neganci affetto, Then they disparage us and deny us

affection, Ne val da barbari chieder pieta! It's useless to ask their pity! Paghiam o femmine, d'ugual moneta Let's pay them back in their own coin, Questa malefica razza indiscreta. This accursed, indiscreet race. Amiam per comodo, per vanita! Let's love for our convenience and vanity!

“Una donna quindici anni” “A woman of fifteen years” from Così fan tutte Libretto by Lorenzo Da Ponte Translation by Naomi Gurt Lind Una donna a quindici anni A woman of fifteen years De'e saper ogni gran moda Must know all the good methods, Dove il diavolo ha la coda Where the devil keeps his tail, Cosa e bene, e mal cos'e. What's good and what's bad. De'e saper le maliziette She must know the little malices Che innamorano gli amanti That enamour lovers: Finger riso, finger pianti To feign laughter, to feign tears, Inventar i bei perche, And invent good reasons. De'e in un momento dar retta a cento She must pay attention to a hundred at a time Colle pupille parlar con mille Speak through her eyes with a thousand Dar speme a tutti, sien belli o brutti, Give hope to all, be they handsome or ugly, Saper nascondersi senza confondersi, Know how to obfuscate without getting

confused Senz'arrossire saper mentire. And know how to lie without blushing. E qual regina dall'alto soglio And this queen from her high throne Col posso e voglio farsi ubbidir. Can make them obey with, "I can," and "I

want." (Par ch'abbian gusto di tal dottrina, (It seems they like this doctrine, Viva Despina che sa servir!) Long live Despina, who knows how to serve!)

–Translation by: Naomi Gurt Lind

Richard Strauss was a German composer best-known for his tone poems and operas in the late-Romantic style. Born into a family of musicians, Strauss showed an early affinity for music—he began composing at the age of six, and by the end of his schooling in 1882, he had over 140 works to his name. During his lifetime, Strauss also became well known for his conducting, performing with major opera houses and orchestras all over the world. His marriage to soprano Pauline de Ahna is said to be one of the reasons he wrote primarily for the soprano voice. During the Nazi regime, Strauss was the President of the Reich Music Chamber, though it is widely believed that he did not support the fascist, anti-Semitic regime. Drei Lieder der Ophelia consists of three songs in the voice of the famous Ophelia, who goes mad with grief after the death of her father in Hamlet. The cycle is written in a markedly different style from Strauss’ typical Lieder—in fact, they were composed in 1918, when new musical ideas were starting to infiltrate his strictly romantic style. The chromaticism in the pieces reflects the mental illness with which Ophelia struggles. Wie erkenn’ ich mein Treulib opens the cycle, beginning with a chromatic theme that pervades the entire movement. This figure represents the undercurrent of delusion that lies beneath the poem, in which Ophelia tells the story of a dead true love. Guten Morgen, ‘s ist Sankt Valentinstag is frantic—the vocal line leaps around while the piano changes tonality rapidly beneath it. The text depicts an extended fantasy about a young maiden and her lover. Sie trugen ihn auf der Bahre bloß is an exploration into the depths of Ophelia’s grief. She sings about a dead lover, and her sorrow is punctuated by short, frenzied phrases, heard in the piano and voice. The piece resigns to Ophelia’s deep sadness, but also her hope of peace to all souls. Wie erkenn’ ich mein Treulib How can I tell my true love from Drei Lieder der Ophelia Poetry by Karl Joseph Simrock Translation by Laura Prichard Wie erkenn' ich mein Treulieb How can I tell my true-love Vor den Andern nun? From another? An dem Muschelhut und Stab By his cockle hat and staff Und den Sandalschuh'n? And his sandal shoes.

Er ist todt und lange hin, He is dead and long gone, Todt und hin, Fräulein; Dead and gone, [young] Lady! Ihm zu Häupten grünes Gras, At his head, green grass, Ihm zu Fuß ein Stein. O, ho! At his feet, a stone. Oh-ho! Auf seinem Bahrtuch, weiß wie Schnee,-- On his bier, white like snow, Viel liebe Blumen trauern; Many lovely flowers mourn. Sie gehn zu Grabe naß, o weh! They go wet to the grave, O me! Vor Liebesschauern. from love’s showers. Guten Morgen, ‘s ist Sankt Valentinstag Good morning, it’s Valentine’s Day from Drei Lieder der Ophelia

Poetry by Karl Joseph Simrock Translation by Sharon Krebs

Guten Morgen, 's ist Sankt Valentinstag, Good morning, it's Valentine's Day, So früh vor Sonnenschein So long before sunshine Ich junge Maid am Fensterschlag I, a young maid at the window, Will euer Valentin sein. Wish to be your valentine. Der junge Mann tut Hosen an, The young man in some trousers, Tät auf die Kammerthür, Opened up the door to his chamber, Ließ ein die Maid, die als Maid Let the maiden in, who as a maiden Ging nimmermehr herfür. Nevermore came forth. Bei Sankt Niklas und Charitas! By Saint Nicholas and Charity! Ein unverschämt Geschlecht! A shameless sex! Ein junger Mann thut's, wenn er kann, A young man does it whenever he can, Fürwahr, das ist nicht recht. Truly, that is not right. Sie sprach: Eh' ihr gescherzt mit mir, She said: Before you jested with me, Verspracht ihr mich zu frei'n. You promised to wed me. Ich bräch's auch nicht, bei'm Sonnenlicht, By the sunlight, I would not break my word Wär'st du nicht kommen herein. If you had not come in. Sie trugen ihn auf der Bahre bloß She bore him on his bier naked from Drei Lieder der Ophelia

Poetry by Karl Joseph Simrock Translation by Laura Prichard

Sie trugen ihn auf der Bahre bloß, She bore him on his bier naked Leider ach, leider, den Liebsten: Alas, alas, [her] darling! Manche Thräne fiel in des Grabes Schoß; - Many tears fell in the grave’s lap - Fahr' wohl, meine Taube! Farewell, farewell, my dove! Mein junger frischer Hansel ist's der mir gefällt "It’s my young, sweet Hansel, Und kommt er nimmermehr? who loves me - and he’ll nevermore Er ist todt, o weh! He is dead, woe is me! In dein Totbett geh', To your deathbed go, Er kommt dir nimmermehr. He’ll never come to you again Sein Bart war weiss wie Schnee, His bed was white as snow, Sein Haupt wie Flachs dazu. His hair like flax. Er ist hin, er ist hin, He is gone, he is gone, Kein Trauern bringt Gewinn: No mourning will profit you: Mit seiner Seele Ruh'! Peace to his soul Und mit allen Christenseelen! darum bet' ich! – And to all Christian souls! For that I pray! Gott sei mit euch! God be with you!

Erik Satie, a French composer known for breaking with French Romanticism, is said to be one of the first composers to usher in the age of the Parisian avant-garde. Satie is associated with Dadaism and Surrealism. He is well known for his innovative compositions, but his career as a cabaret pianist meant that he dabbled in popular music as well. The two songs on this program are among Satie’s cabaret-style compositions, appealing to a wider audience than some of his other pieces. Je te veux was composed around the turn of the 20th century, in Satie’s secondary cabaret style. It was inspired by Paulette Darty, who Satie accompanied for many years. The text is a meditation on the passionate love between two lovers, and is supported by a lyrical melody and sentimental piano. The tune gained popularity in many areas—it can even be heard in a commercial for Cesar dog food. Je te veux I want you

Poetry by Henry Pacory Translation by Laura Sylvis

J'ai compris ta détresse, I have understood your distress, Cher amoureux, dear lover, Et je cède à tes voeux: and I yield to your wish: Fais de moi ta maîtresse. make me your mistress. Loin de nous la sagesse, Modesty shall be far from us, Plus de tristesse, no more sadness J'aspire à l'instant précieux I long for the precious moment Où nous serons heureux: when we will be happy: Je te veux. I want you. Je n'ai pas de regrets, I have no regrets, Et je n'ai qu'une envie: and I want only one thing: Près de toi, là, tout près, next to you, there, so close, Vivre toute ma vie. to live all of my life. Que mon coeur soit le tien Let my heart be yours Et ta lèvre la mienne, and your lips be mine, Que ton corps soit le mien, let your body be mine, Et que toute ma chair soit tienne. and let all of my flesh be yours. J'ai compris ta détresse, I have understood your distress, Cher amoureux, dear lover, Et je cède à tes voeux: and I yield to your wish: Fais de moi ta maîtresse. make me your mistress. Loin de nous la sagesse, Modesty shall be far from us, Plus de tristesse, no more sadness J'aspire à l'instant précieux I long for the precious moment Où nous serons heureux: when we will be happy: Je te veux. I want you. Oui, je vois dans tes yeux Yes, I see in your eyes La divine promesse the divine promise Que ton coeur amoureux that your loving heart Vient chercher ma caresse. comes to seek my caress. Enlacés pour toujours, Enlaced forever, Brûlés des mêmes flammes, burned with the same flames, Dans des rêves d'amours, in dreams of love, Nous échangerons nos deux âmes. we will exchange our two souls.

Le Statue de bronze paints the picture of a stately frog personified: she experiences longing, weariness, and a good meal. In the piano, one can hear the croaking of the frog as she stands as still as a statue. Le Statue de bronze The Bronze Statue

Poetry by Léon-Paul Fargue Translation by Shawn Thuris

La grenouille The Frog Du jeu de tonneau Of the barrel game S'ennuie, le soir, sous la tonnelle... Grows weary at evening, beneath the arbor... Elle en a assez! She has had enough! D'être la statue Of being the statue Qui vas prononce un grand mot: Le Mot! Who is about to speak a great word: The

Word! Elle aimerait mieux être avec les autres She would love to be with the others Qui font des bulles de musique Who make music bubbles Avec le savon de la lune With the soap of the moon Au bord du lavoir mordoré Beside the lustrous bronze tub Qu'on voit, là-bas, luire entre les branches... That one sees there, shining between the

branches... On lui lance à coeur de journée At midday one hurls at her Une pâture de pistoles A feast of discs Qui la traversent sans lui profiter That pass through without benefit to her Et s'en vont sonner And will resound Dans les cabinets In the chambers De son piédestal numéroté! Of her numbered pedestal! Et le soir, les insectes couchent And at night, the insects go to sleep Dans sa bouche... In her mouth… Aaron Copland is one of the most-loved U.S. American composers of the 20th century. And American, he was. Copland is best remembered for incorporating American themes into his music—patriotism, pastoralism, and traces of Jazz and Folk music are all hallmarks of Copland’s work. He studied in France with the famous Nadia Boulanger for three years before returning to the United States to begin his career in earnest. In the mid-1930’s, Copland grew tired of the disconnect between the American public and classical music. He worked for the rest of his career to bridge the gap by making classical music more accessible. Eight Poems of Emily Dickinson were composed in 1950 as a part of the larger work, Twelve Poems of Emily Dickinson. The number was reduced when Copland orchestrated eight of them between 1958 and 1970, hoping for them to reach a broader audience. Copland took special care to embody Emily Dickinson’s eccentric voice in the music, using large leaps and meter changes to pay homage to the poet. Copland even visited Dickinson’s home in Massachusetts during composition, wanting to be true to the poet’s spirit. Nature, the gentlest mother and There came a wind like a bugle both deal with themes of nature—in the latter, Dickinson personifies the ebb and flow storm, which Copland echoes in the piano. The world feels dusty joins Sleep is supposed to be, Going to Heaven!, and The Chariot in exploring with curiosity different attitudes towards death. The range of moods in these pieces is wide, expressing Dickinson’s many conflicting feelings. Sleep is supposed to be and The Chariot are the only two movements that have obviously repeated material. Heart, we will forget him is indicative of a lost love, while Dear March, come in! is a reflection on the coming of spring, as personified by March, who comes to pay the narrator a visit.

Nature, the gentlest mother Nature the gentlest mother, Impatient of no child, The feeblest or the waywardest,-- Her admonition mild In forest and the hill By traveller is heard, Restraining rampant squirrel Or too impetuous bird. How fair her conversation, A summer afternoon,— Her household, her assembly; And when the sun goes down Her voice among the aisles Incites the timid prayer Of the minutest cricket, The most unworthy flower. When all the children sleep She turns as long away As will suffice to light her lamps; Then, bending from the sky, With infinite affection And infinite care, Her golden finger on her lip, Wills silence everywhere. There came a wind like a bugle There came a wind like a bugle; It quivered through the grass, And a green chill upon the heat So ominous did pass We barred the windows and the doors As from an emerald ghost; The doom’s electric moccasin That very instant passed. On a strange mob of panting trees, And fences fled away, And rivers where the houses ran The living looked that day. The bell within the steeple wild The flying tidings whirled. How much can come And much can go, And yet abide the world! The world feels dusty The World — feels dusty When We stop to die — We want the Dew — then — Honors — taste dry —

Flags — vex a Dying face — But the least fan Stirred by a friend's Hand — Cools — like the Rain — Mine be the Ministry When thy Thirst comes — Dews of Thyself to fetch — And Holy Balms — Heart, we will forget him Heart, we will forget him! You and I, to-night! You may forget the warmth he gave, I will forget the light. When you have done, pray tell me, That I my thoughts may dim; Haste! lest while you’re lagging, I may remember him! Dear March, come in! Dear March, come in! How glad I am! I looked for you before. Put down your hat— You must have walked— How out of breath you are! Dear March, how are you? And the rest? Did you leave Nature well? Oh, March, come right upstairs with me, I have so much to tell! I got your letter, and the bird’s; The maples never knew That you were coming,—I declare, How red their faces grew! But, March, forgive me— And all those hills You left for me to hue; There was no purple suitable, You took it all with you. Who knocks? That April! Lock the door! I will not be pursued! He stayed away a year, to call When I am occupied. But trifles look so trivial As soon as you have come, That blame is just as dear as praise And praise as mere as blame. Sleep is supposed to be Sleep is supposed to be, By souls of sanity, The shutting of the eye.

Sleep is the station grand Down which on either hand The hosts of witness stand! Morn is supposed to be, By people of degree, The breaking of the day. Morning has not occurred! That shall aurora be East of eternity; One with the banner gay, One in the red array,— That is the break of day. Going to Heaven! Going to heaven! I don’t know when, Pray do not ask me how,— Indeed, I ’m too astonished To think of answering you! Going to heaven!— How dim it sounds! And yet it will be done As sure as flocks go home at night Unto the shepherd’s arm! Perhaps you ’re going too! Who knows? If you should get there first, Save just a little place for me Close to the two I lost! The smallest “robe” will fit me, And just a bit of “crown”; For you know we do not mind our dress When we are going home. I ’m glad I don’t believe it, For it would stop my breath, And I ’d like to look a little more At such a curious earth! I am glad they did believe it Whom I have never found Since the mighty autumn afternoon I left them in the ground. The Chariot Because I could not stop for Death He kindly stopped for me The carriage held but just ourselves And Immortality We slowly drove, he knew no haste And I had put away My labor, and my leisure too For his civility We passed the school where children played

Their lessons scarcely done We passed the fields of gazing grain We passed the setting sun We paused before a house that seemed A swelling of the ground The roof was scarcely visible The cornice but a mound Since then 't is centuries; but each Feels shorter than the day I first surmised the horses' heads Were toward eternity Benny Andersson and Björn Ulvaeus are both Swedish songwriters who have co-composed the musicals Chess and Mamma Mia!. They are best known for being a part of the musical group ABBA. The group rose to fame in the 1970s after they won the Eurovision Song Contest in 1974 with their song “Waterloo.” Since then ABBA has become one of the most successful bands of all time. The prominent use of synthesizer and personal lyrics mark their musical style. Chess started as a successful concept album to raise money for the first production. The story centers around two men, an American grand master, and a Soviet grand master, during a chess tournament at the height of the Cold War. It also centers around their fight over the same women. I Know Him So Well is a duet by the characters Florence and Svetlana, who are both involved with the American grand master. In this song, they both sing about the heartbreak that he has caused them, though neither knows about the other. I Know Him So Well Lyrics by Tim Rice [FLORENCE] Nothing is so good it lasts eternally Perfect situations must go wrong But this has never yet prevented me Wanting far too much for far too long. Looking back I could have played it differently Won a few more moments who can tell But it took time to understand the man Now at least I know I know him well Wasn't it good? Wasn't he fine? Isn't it madness He can't be mine? But in the end he needs A little bit more than me -- More security [SVETLANA] He needs his fantasy And freedom [FLORENCE] I know him so well. [SVETLANA] No one in your life is with you constantly No one is completely on your side And though I move my world to be with him

Still the gap between us is too wide. Looking back I could have played it differently Learned about the man before I fell But I was ever so much Younger then now at least I know I know him well Wasn't it good? Wasn't he fine? Isn't it madness [BOTH] He won't be mine? Didn't I know How it would go? If I knew from the start Why am I falling apart? [SVETLANA] Wasn't it good? Wasn't he fine? [FLORENCE] Isn't it madness He won't be mine? But in the end he needs a Little bit more than me -- More security [SVETLANA] He needs his Fantasy and freedom [FLORENCE] I know him so well [SVETLANA] It took time to understand him [BOTH] I know him so well. William Finn has had many successes in his career as a composer and lyricist, an example of which is the highly popular 25th Annual Putnam County Spelling Bee. He studied music at Williams College, and received the Hutchinson Fellowship for composition. He has collaborated on several projects with the notable writer James Lapine. Lapine worked extensively with Stephen Sondheim, writing the book for shows such as Sunday in the Park with George and Into the Woods. He has been nominated for twelve Tony awards since 1984, winning three of those nominations. Falsettos was the first project written in collaboration between James Lapine and William Finn—it is comprised of March of the Falsettos and Falsettoland, two parts of a trilogy of one-act musicals. The story follows Trina, her ex-husband Marvin, their son Jason, Marvin’s boyfriend Whizzer, and their psychiatrist Mendel. These characters navigate broken families, relationships, and a Bar Mitzvahs as Mendel and Trina fall in love, Whizzer and Marvin break up and reconnect, and Jason becomes a Bar Mitzvah. “Holding to the Ground” is sung by Trina during the second act when Whizzer is giving an early diagnosis of AIDS. She is baffled by how much she has come to care for her ex-husband’s lover, and just how far from her expectations her life has turned out.

Holding to the Ground Book by James Lapine

I was sure growing up I would live the life My mother assumed I'd live Very Jewish, very middle-class, and very straight Where healthy men stayed healthy men And marriages were long and great I smile, I don't complain I'm trying to keep sane as the rules keep changing Families aren't what they were Thank God there's a husband and a child Whom I adore But then there's more So many more There's always more Life is never what you planned Life is moments you can't understand And that is life I'm plain, I don't astound I hold to the ground As the ground keeps shifting Keeping my balance square Trying not to care about this man who Marvin loves But that's my life He shared my life Yes, that's my life Life is never what you planned Life is moments you can't understand And that is life Holding to the ground As the ground keeps shifting Trying to keep sane As the rules keep changing Keeping up my head As my heart falls out of sight Everything will be all right Everything will be all right Jason Robert Brown, musical theatre composer, lyricist, and playwright, is considered one of the foremost musicians in musical theatre today. He is well known for using elements of pop and rock music in his compositions, writing in a highly contemporary style. Brown has won Tony awards for his work on Parade and The Bridges of Madison County. Brown cites Stephen Sondheim as a major influence in his career. Brown composed and wrote The Last Five Years at the turn of the century—it premiered in Chicago in 2001. The story follows the five-year relationship of Jamie, novelist, and Cathy, actor. The narrative is highly innovative in the way it is told. Brown tells each character’s story in opposite order; while Jamie’s story is told chronologically, Cathy’s moves backwards, beginning with the end of the relationship. The show has been performed numerous times around the world, and most recently, was adapted into a film. A Part of That happens somewhere in the middle of Cathy’s story. This rowdy number is a reflection on their relationship, good and bad. Cathy admires Jamie’s genius, but is constantly frustrated by his inability to communicate when he is in a mood. For Cathy, it is justified because she is a part of his life.

A Part of That Lyrics by Jason Robert Brown One day we're just like "Leave it to Beaver" One day it's just a typical life And then he's off on A trip to Jamie-land Staring catatonic out the window Barely even breathing all the while And then he'll smile His eyes light up and deep within the ground Without a sound A moment comes to life And I'm a part of that Next day it's just like It never happened We're making dinners We're making plans Then he gets on the Mule train to Jamie-land Handful after handful of Doritos Circling the apartment, logging miles And then he smiles His eyes light up And how can I complain? Yes, he's insane But look what he can do And I'm a part of that And it's true I tend to follow in his stride Instead of side by side I take his cue True, but there's no question There's no doubt I said I'd stick it out And follow through And when I do Then he smiles And where else can I go? I didn't know The rules do not apply And then he smiles And nothing else makes sense While he invents The world that's passing by And I'm a part of that Aren't I? I'm a part of that

Richard Maltby, Jr. and David Shire have been collaborators on lyrics and music (respectively) since they met in college at Yale University. They worked together to write musicals like Baby and Big, both of which were nominated for Tony Awards. Maltby also has been recognized for his work on Ain’t Misbehavin’ and Fosse, both of which are the only two musical revues to have ever won Tony Awards. Shire has supplemented musical theater with a successful film and TV career, composing for movies such as Saturday Night Fever. Closer Than Ever is a two-act musical revue without a plot that opened off-Broadway in 1989. The musical lacks dialogue, and instead is a series of self-contained songs that deal with themes present in the lives of Shire and Maltby, their friends and family. Patterns is a song was originally written for the musical Baby. The song tackles the ways that the middle-aged character sees her life being lived out in endless patterns that seem to leave her in the same place she began. Patterns Lyrics by David Shire Patterns in my life that I trace ev'ry day Patterns as I say the things I always say Patterns in the ceiling as I lie awake Why are patterns haunting ev'ry move I make? Just look, here I am on cue, again Upset, feeling torn in two, again Afraid, saying I’m okay Making little jokes Till I run away, again And yet today I am not the same I feel my life slipping from its frame Strange feelings rise, feelings with no name And I can't face them So I shake them hard Fold them up And tuck them safely away Again Patterns that begin as I walk through a door Patterns in the curtains and the kitchen floor Patterns in the day's routines I must arrange Patterns in the ways I try...but never change Just look, as I’m thrown a curve again I leap, then I lose my nerve again In tears, running home I go Secretly relieved Safe with what I know, again And yet I know I am not the same Inside my heart is something I can't tame I feel my mind bursting into flame And I must change Or else I’ll break apart Or break away And end up having to start Again Patterns through the day I seem to use to give my life a shape

Patterns through the house That give me comfort When I need escape Patterns that lead me nowhere At all. Andrew Lippa was born in Leeds, England, but grew up in Michigan. Lippa attended the University of Michigan, where he graduated with a bachelor’s degree in Music Education. After teaching middle school music in New York for several years, Lippa began to get involved in the theater community. His first musical, John & Jen, premiered in Connecticut in 1993. Since then, he has written, produced, and performed in a variety of productions with success. The Addams Family is one of Lippa’s most successful projects. It premiered on Broadway in 2010 after a trial run in Chicago. Despite the show’s loyal fan following, it was neither popular among critics nor awards. The show follows the perennial Addams family (based on the cartoons by Charles Addams) as their daughter, Wednesday, brings her “normal” boyfriend home to their decidedly un-normal home. Pulled is sung by Wednesday Addams at the beginning of the show, as she is exploring how her newfound love is changing her characteristically dark and sadistic personality. Wednesday is shocked as she adjusts to the feeling of happiness, stemming from her love for her partner, who is later revealed to be her fiancée. Pulled

Lyrics by Andrew Lippa I don't have a sunny disposition. I'm not known for being too amused. My demeanor's locked in one position. See my face? I'm enthused. Suddenly, however, I've been puzzled. Bunny rabbits make me want to cry. All my inhibitions have been muzzled, And I think I know why. I'm being pulled in a new direction, But I think I like it. I think I like it. I'm being pulled in a new direction. Through my painful pursuit, Somehow birdies took root. All the things I detested impossibly cute. God! What do I do? Pulled Mother always said be kind to strangers, But she doesn't know what they destroy. I can feel the clear and present dangers, When she learns that the boy Has got me pulled in a new direction, But I think I like it. I think I like it. I'm being pulled in a new direction, But this feeling, I know is impossible, So I'll confide that I've tried but I can't let it go. It's disgustingly true! Pulled, pulled, pulled!

Puppy dogs with droopy faces, Unicorns with dancing mice, Sunrise in wide open spaces, Disney World, I'll go there twice! Butterflies and picnic lunches, Bunches of chrysanthemums, Lollipops and pillow fights and Christmas eve, Sugar plums! String quartets and Chia Pets, And afternoon banana splits, Angels watching as I sleep, And Liberace's Greatest Hits! Have got me pulled in a new direction! If they keep insisting, I'll stop resisting. Just watch me pulled in a new direction. I should stay in the dark, Not obey every spark, But the boy has a bite, Better far than his bark! And you bet I'll bite too, Do what's truly taboo, As I'm pulled in a new direction!

UPCOMING SCHOOL OF MUSIC EVENTS

Free unless noted otherwise.

Monday, April 23 and Tuesday, April 24 Chamber Music Concerts I and II

Alistair MacRae, director Schneebeck Concert Hall, 7:30 p.m.

Friday, April 27 Jazz Orchestra

Tracy Knoop, director Schneebeck Concert Hall, 7:30 p.m.

Saturday, April 28

Adelphian Concert Choir

Steven Zopfi, conductor Kilworth Memorial Chapel, 4:00 p.m.

Sunday, April 29

Flute Day

Schneebeck Concert Hall, 2 p.m.

Monday, April 30 Clarinet Ensemble

Jennifer Nelson, director Wheelock Student Center, 6:30 p.m.

Monday, April 30

Percussion Ensemble

Jeffery Lund, director Schneebeck Concert Hall, 7:30 p.m.

Tuesday, May 1

Chorale/Dorian Singers

J. Edmund Hughes and Kathryn Lehmann, conductors Kilworth Memorial Chapel, 7:30 p.m.

Wednesday, May 2 Pops on the Lawn

Karlen Quad, 4:00 p.m.

The School of Music at University of Puget Sound is dedicated to training musicians for successful music careers and to the study of music as a liberal art. Known for its diverse and rigorous educational program, personalized attention to students, the

stature of its faculty, and the superior achievements in scholarship, musicianship, and solo and ensemble performance, the school maintains the highest professional

standards while providing academic and performance opportunities to all university students. Through faculty, student, and guest artist colloquia, workshops,

performances, and a vibrant Community Music Department, the School of Music enriches the cultural life of the campus and community.

pugetsound.edu/music | Tacoma, WA | 253.879.3700

Community Music, a division of the School of Music, welcomes people of all ages and

skill levels to be part of our campus community through music.

pugetsound.edu/communitymusic | 253.879.3575

Puget Sound is committed to being accessible to all people. If you have questions about event accessibility, please contact 253.879.3931,

accessibility@pugetsound.edu, or pugetsound.edu/accessibility