Taylor Day, soprano Javi Rodriguez, baritone

proudly presents the2020-2021 Student Artist Series

Taylor Day, sopranoJavi Rodriguez, baritone

withDaryl Shay, piano

Saturday, April 10, 20214:30 p.m., Livestreamed from Kitt Recial Hall

This Junior Recital is given in partial fulfillment of the requirements for the

Bachelor of Music Education degree.

“Busslied” Ludwig van Beethoven from Sechs Lieder von Gellert, op. 48 (1770-1827)

Taylor Day, sopranoDaryl Shay, piano

“Quiá fecit mihi magna” Johann Sebastian Bach from Magnificat in D Major, BWV 243 (1685-1750)

Javi Rodriguez, baritoneDaryl Shay, piano

“Fleur jetée” Cécile Chaminade“Viens, mon bien-aimé” (1857-1944)


“Chanson d’amour” Gabriel Fauré (1845-1924) “Soupir” Charles Marie Widor (1844-1937)


~ Intermission ~

Program

Please turn off or silence all electronic devices.Unauthorized audio and video recordings are prohibited.

Selections from 24 Italian Songs and Arias for 21st-Century Singers Judith Cloud Danza, danza fanciulla gentile (b. 1954) Intorno al idol mio


"Zueignung," op. 10, no. 1 Richard Strauss "Die Nacht," op. 10, no. 8 (1864-1949)


“The World Feels Dusty" Aaron Copland (1900-1990)

“Will There Really Be a Morning?" Lori Laitman (b. 1955)

“I Went to Heaven” George Walker (1922-2018)


Selections from from Let Us Garlands Bring, op. 18 Gerald Finzi Come Away, Come Away, Death (1901-1956) It Was a Lover and His Lass

“I Was Here” Stephen Flaherty from The Glorious Ones (b. 1960)


Program Notesby Taylor Day and Javi Rodriguez (2021)

LUDWIG VAN BEETHOVEN (1770-1827)“Busslied” from Sechs Lieder von Gellert, op. 48

Beethoven started to lose his hearing at the age of twenty-six and proclaimed himself deaf by thirty-one. By the age of forty-five, he was completely deaf and had a hard time communicating with colleagues. However, he did not stop composing. Veritably, some of his greatest works were written after becoming fully deaf. Beethoven was known for being the bridge from Classical music era into Romantic era compositions. Although he classified himself as a Classical composer, his compositions had most all of the characteristics of Romantic music: dynamic contrast, sharp contrast between songs, tempi, and even in orchestral color. “Busslied” is the sixth and longest song in Beethoven’s Sechs Lieder von Gellert, published in 1802. The texts, published as Geistliche Oden und Lieder (Spiritual Odes and Songs) in 1757, were written by Christian Gellert, an accomplished eighteenth-century German poet. In contrast to the other five Lieder in the cycle, which are strophic, “Busslied” can be considered in two distinct portions. The first is lamenting and has a lot of voice doubling with the accompaniment. It is set in A minor, and the tempo is set to poco adagio. The speaker pleads to God why he is cursing them, even though they are already overwhelmed with grief. In the second portion, Beethoven abandons the voice doubling and highlights the pianist underneath the vocal descant. It is in A major and a much faster tempo, allegro ma non troppo, praising God, thanking him for listening to their prayers, and guiding them to comfort.

JOHANN SEBASTIAN BACH (1685-1750)“Quiá fecit mihi magna” from Magnificat in D Major, BWV 243 Johann Sebastian Bach was one of the greatest Baroque composers to ever live. Living during the same period as the great scientist Isaac Newton, Bach was born in Eisenach, Germany, in 1685. Bach was born into a huge musical family, his father was head of all the town musicians, and much of his family made their livings through music. After his parents passed, his brother Johann Christof taught him to play the keyboard as well as how to compose music. Though he played many instruments, he became an exceptional organist, writing over 1,128 musical works throughout his entire life. One of Bach’s greatest accomplishments was his creation of The Well-Tempered Clavier, a grand collection of preludes and fugues in which Bach composed in all twenty-four major and minor keys. “Quiá fecit mihi magna” is the bass aria from Magnificat in D Major, one of Bach’s first large-scale choral compositions. Containing twelve movements, this entire work only takes thirty minutes to perform in its entirety, making it the perfect length to present during a church service. Bach’s attention to expressivity is clearly evident in

that this entire piece is based on a short verse from the Gospel of Luke: “because he is mighty, has done great things for me, and holy is his name!” In doing so, Bach is able to pay greater attention to text clarity. The Magnificat premiered at the Christmas festival of sacred music, but later was revised for the Mass of Easter Sunday.

CÉCILE CHAMINADE (1857-1944)“Fleur jetée” (1889)“Viens, mon bien-aimé” (1892)

Cécile Chaminade was born in Paris to an art-loving family. She started studying piano at the young age of seven, and, shortly after, she began to compose. Her sheer talent was noticed by well-known French pianist and composer George Bizet, and he even proclaimed her as his “little Mozart.” He encouraged Chaminade to study music at the Paris Conservatoire, but her father strictly prohibited this. However, she proceeded to study privately with the faculty at the Paris Conservatoire. In “Fleur jetée,” Chaminade writes block minor chords underneath a flowing vocal line. This imitates a funeral dirge and highlights the lamentation of text. The poem, written by Armand Silvestre, compares a broken heart to a wilting flower. Chaminade portrays this by alternating between minor and major modes to illustrate the ups and downs of a broken heart. “Viens, mon bien-aimé,” compared to “Fleur jetée,” is set in a major key and is a more inspiring poem. It is written in a velvety salon style, a style Chaminade was most known for. Like “Fleur jetée,” Chaminade uses chords under a sweeping vocal line, but instead of blocked chords, rolled chords depict a welcoming atmosphere.

GABRIEL FAURÉ (1845-1924)“Chanson d’amour”

French composer Gabriel Fauré was born in the year 1845 into a family of six siblings. Unlike many other composers, he was the only out of the six to find an interest in music. This may have been due to the fact that his father wasn’t a supporter of the arts. Nonetheless, his musical talent was so evident that he was frequently recognized by many other prominent composers which he certainly benefited from. He began studying music at age nine, focusing mostly on church music composed for the organ. His unique musical style has stayed consistent throughout his entire career, and as a result, Fauré helped establish the sound of the twentieth century greatly influencing many composers of this new generation. Fauré’s main areas of composition consisted of many flourishing small-scale works, symphonies, and beautiful operas. Though his music was not heavily sophisticated, his compositions became extremely popular, attracting people from all around the world. The sound of Fauré is unique in that it is gentle, kind, and easy to follow. Much of what reflects him as a person; easily approachable, positive, with a beautiful spirit. ¨Chanson d’amour¨ simply means ¨Love Song.¨ Its text was written by the poet Armand Silvestre and discusses one’s admirations of their lover, from their physical attributes, to the way they speak. As the song states: ¨I love everything that makes you

beautiful¨. With the incorporation of the small rondo structure, Fauré uses the refrain (repeating section) as a technique that highlights its central theme of romantic love. The beautiful consistent arpeggiated motion of the accompaniment demonstrates the sounds of a harp, thus producing this charming setting. As the song progresses, each phrase continues to get more and more dramatic, representing the growth of affection. As crescendos become more and more prominent, Fauré musically demonstrates the passion he feels regarding this person. “Chanson d’amour’’ modulates throughout its episodes (contrasting sections) illustrating this build of tension. Incorporating these modulations provides dramatic color to this work making it even more enjoyable to listen to. Lastly, the piece once more finishes with the refrain, but this time the phrase: “Where my kisses exhaust themselves” is sung through twice, exhibiting his eagerness of being together once again.

CHARLES MARIE WIDOR (1844-1937)“Soupir”

French composer Charles Marie Widor was the master of the organ symphony during the nineteenth century. Originally from the city of Lyon, France, he became without a doubt one of the most influential French composers of his time. As a child, Widor received all of his education from his father, and by the age of eleven he had already acquired an organist position. Reflecting the exquisite skills of Bach, Widor was also an exceptional organist. His amazing ten symphonies for organ are some of the most famous pieces that had ever been written. In his later years, Widor would say ¨he was born in an organ pipe. That being certainly true, he also composed a wide range of music, from ballets, opera, chamber music, and symphonies. “Soupir” or “Sigh” takes its text from the French poet Theophile Gautier. Widor sets this heart aching story in the key of g minor. The story tells of one who compares their love to a carnation being tossed into a stream. Their hearts shattered from all the love they gave this special person, yet it was for no good reason because they are no longer together. Their love is gone, just as the water from a stream, it cannot be brought back. Widor creates this somber atmosphere in the piece’s opening measure, having the piano steadily play minor triads, thus creating this serious setting for the listener. Each section gets more and more emotionally intense, with the climax arriving in the song’s last three measures. Marked double forte with an indicated sforzando in the accompaniment, the singer cries out “oh how will I get my love back.” Simple yet powerful, Charles Marie Widor’s attention to detail is what allows this piece to truly evoke one who is broken.

JUDITH CLOUD (b. 1954)Selections from 24 Italian Songs and Arias for 21st-Century Singers

Dr. Judith Cloud is an Arizona-based composer whose extensive knowledge of vocal pedagogy contributed to her being a successful “singer-friendly” composer. Cloud is an accomplished mezzo-soprano who taught at Northern Arizona University from 1989 to 2020.

Her most recent endeavor, 24 Italian Songs and Arias for 21st-Century Singer, are reimagined settings of the texts of the well-known 24 Italian Songs and Arias of the 17th and 18th Centuries, published by the Schirmer Library of Classics. “Intorno al idol mio” has a vivacious piano accompaniment that rolls springing eighth notes into the singer’s entrance. With the changing of meter and tempo rubato, Cloud composes this poem with the vocal line painting the word and text stress through the melodic lines. At m. 10, the piano changes into a softer melody to express sweet, rolling winds. “Danza, danza fanciulla gentile” starts with an homage to one of the most recognizable operatic arias, the Habanera from Bizet’s opera Carmen. With this piano part as the first thing, it sets the song to be fun and dance-like. The song “Danza, danza fanciulla gentile” is about dancing to songs that speak to the heart. The vocal line is set at a tempo of 60 and has exhilarating thirty-second notes to liven the text. Although written in 2/4, Cloud peppers triplets throughout to give a 6/8 feel, which adds a hint of the Tarantella in with the Habanera.

RICHARD STRAUSS (1864-1949) “Zueignung,” op. 10 no. 1 “Die Nacht,” op. 10 no. 8 Richard Georg Strauss was a musical giant during the late-nineteenth and early-twentieth centuries. He began writing music at the age of six, composing over 100 Lieder for voice and piano, some of which he later orchestrated. He was internationally recognized for his operas and symphonic compositions. Strauss’s compositions reflect his life, many capturing the love that he had for his wife, soprano Pauline de Ahna. In fact, most of his Lieder were composed specifically for her. Frequently he would bring her along to concerts he was conducting and would accompany her singing on the piano, or conduct her amongst the entire orchestra. Strauss’s opera compositions contained superb female singing roles, capturing the full attention of his audiences. His music demonstrated an in-depth understanding of voice and orchestra and how they should correlate. To him, every song must be communicated clearly, being easy to follow. Proper diction was emphasized for the purpose of being easily understood over the loud orchestra. Richard Strauss believed the text of all music must receive stress in order for its emotions to come off the page. It has been said that at times he would consider changing entire tempo markings of songs if it resulted in better clarity. Strauss’ compositions demonstrate his in-depth understanding of perfect blend and musical balance. Dynamics and exact articulations are written in both piano and voice parts, exhibiting the exact way he wished his pieces to be performed. “Zueignung,” op. 10, no.1, and “Die Nacht,” op. 10, no.8, was the first set of Lieder Richard Strauss published, doing so at the age of eighteen. The texts for “Zueignung” and “Die Nacht” both are poems by Herman von Gilm, an Austrian lawyer who wrote in secret, and his poems were later discovered after his death in 1864.

AARON COPLAND (1900-1990)“The World Feels Dusty” (1950)LORI LAITMAN (b. 1955)“Will There Really Be A Morning?” (1996)GEORGE WALKER (1922-2018)“I Went to Heaven” (1971)

Emily Dickinson was one of the most important American poets and these three contrasting settings of her poems by twentieth-century composers show the influence that her works still have in society. She wrote more than 1,100 powerful lyrics by the age of thirty-five. She wrote mainly about nature, but not in a dainty way. Her poems had deeper meanings and extreme states. All three of these poems deal with the topic of death, and the stark differences in the compositions illustrate how death can be grieved and perceived in many different ways.

“The World Feels Dusty,” written in 1862, features broken meter and rhyme in the first two stanzas. This is unusual for Dickinson and further creates a sense of displacement and uneasiness with the text. It is the fourth setting in Aaron Copland’s Twelve Poems of Emily Dickinson song collection, published in 1950. He paints this eerie scene by having the piano start with a chord but then “resolves” it by creating dissonance. This can be an homage to Dickinson’s writing; at first superficial, but then revealing a deeper and intense meaning. Copland was the first American student to study composition at Fontainebleau in France under Nadia Boulanger, a teacher who shaped American musicians. After graduation, Copland returned to New York City and grew to be one of the most respected composers of the twentieth century.

It is tempting to interpret the poem “Will There Really Be a Morning?” in a light-hearted fashion, like a naïve child asking scholars, sailors, and wise men from the sky to answer her seemingly simple question. However, the metaphor for morning is questioning about Heaven and when death might arrive. In this setting by American composer Lori Laitman, sweeping vocal lines depict this internal conflict with accidentals and outbursts of emotions on high notes. Just like Aaron Copland, Laitman was given the opportunity to study under Nadia Boulanger in France. However, she chose against it and attended Interlochen Music Camp in Michigan instead. There she met Lauren Wagner, the soprano who would prompt Laitman to start composing solely for voice. Since then, she has called herself an “accidental” song composer. She is described by Fanfare magazine as being “one of the most talented and intriguing of living composers,” having written multiple operas, choral works, and songs using poems from contemporary and classical poets, such as Emily Dickinson.

George Walker began his musical career by taking piano lessons at age five. At the age of fourteen, he won a scholarship to attend Oberlin Conservatory of Music in Ohio. He was the first African American to graduate from the Curtis Institute of Music, earning degrees in composition and piano. Walker was also the first black doctoral

graduate of the Eastman School of Music in New York. Walker, like Aaron Copland, started a fellowship in France and studied with Nadia Boulanger. This whimsical poem “I Went to Heaven” describes a picturesque Christmas card on a snowy night. The quaint town is “lit with a ruby,” or perhaps a star or the moon, and is peacefully quiet. The irony is, she is “almost contented” in such a perfect town, much like how Heaven would be. Walker’s frantic piano part is contrasting to the seemingly straightforward vocal line. Towards the end of the song the repeated melodic line of “society” can be the singer reflecting on how she is not a part of this community yet and has a melancholy effect on the ritardando.

GERALD FINZI (1901-1956)Selections from Let Us Garlands Bring, op.18

Unlike most composers of this era, Gerald Finzi was neither a singer nor a piano master. As a child, Finzi was taught music privately. Once he grew older, he received valuable insight from Vaughan Williams, a prolific English composer of the twentieth century. Let Us Garlands Bring is a song cycle for a baritone voice and piano. Its lyrics derive from the great English poet William Shakespeare relating to the topic of love. This wonderful work premiered on October 12, 1942, the seventieth birthday of Ralph Vaughan Williams, the man to who the composition was dedicated. Though Let Us Garlands Bring was one of Finzi’s most successful works, the majority of his work revolved around choral compositions. This entire set consists of five poems, taking close to fifteen minutes to perform in its entirety. Long compositions were typical of Finzi as he was someone who put in tremendous amounts of time and detail to finish a single composition, paying very close attention to musical detail, polishing every aspect of his music in order to produce true masterpieces. The first of the five poems is “Come Away, Come Away Death.” The introduction projects this helpless dark image with a tempo marking of Lugubre. The listener is presented with a series of firmly struck B-minor chords evoking this negative image. The poem discusses how the only cure for loneliness is through the presence of love. One of Shakespeare’s most well-known poems, “It Was A Lover and His Lass,” concludes this song cycle. Fantastic, in that this piece exhibits the sheer joy one experiences when finally finding love. This song is quite bouncy, as demonstrated in the syncopated dance-like accompaniment. A complete opposite of “Come Away, Come Away Death.” The character in this case is happily expressing his well-being to the audience.

STEPHEN FLAHERTY (b. 1960)“I Was Here” from The Glorious Ones

One of Broadway’s legends, Stephen Flaherty is an American composer from Pittsburgh, PA. Flaherty is almost always identified with his trusted colleague, Lynn Ahren. Ahren, the lyricist of “I Was Here,’’ met Stephen Flaherty during a musical theater workshop in New York City, which was meant for lyricists and composers. After taking much interest in each other’s work, they decided to join forces, and now

thirty+ years later they are still going strong. Together, they have created some of Broadway’s most renowned musicals: Ragtime, Once on This Island, and the marvelous music from popular movie Anastasia. However, in his early career, Flaherty by himself would write both the lyrics and compositions for shows. Throughout the years, their marvelous musicals have received numerous awards such as the Tony Award for Best Musical and Golden Globes for Best Original Song. The musical The Glorious Ones is based on the book The Glorious Ones by Francine Prose. This hilarious musical premiered at the Mitzi E. Newhouse Theater on Broadway in 2007. The story tells of a traveling commedia dell ’arte actor during the seventeenth century in Italy. This was a time where many theater troupes would visit the towns of Italy and temporarily set up stages to perform. Actors would perform improvised comedy in a style that was silly, dirty, and crazy. Because many professional theatrical events were expensive during this time, these acts provided the lower-class towns people with a form of entertainment. “I Was Here” illustrates the triumphs and struggles one experiences in life and the imprint one can create by overcoming those obstacles. Flaminio Scala, the main character, exhibits one who is stubborn and incapable of evolving with the times of comedy, yet his passion for performing goes without saying. He performs this remarkable piece for the musical’s final number after passing away. Singing from heaven, he looks down on his legacy, a legacy that positively influenced comedy for future generations to come.

Texts and Translations

LUDWIG VAN BEETHOVEN (1770-1827)

“Busslied” from Sechs Lieder von Gellert, op. 48

An dir, allein an dir hab ich gesündigt,Und übel oft vor dir getan.Du siehst die Schuld, die mir den Fluch

verkündigt;Sieh, Gott, auch meinen Jammer an.

Dir ist mein Flehn, mein Seufzen nicht verborgen,

Und meine Tränen sind vor dir.Ach Gott, mein Gott, wie lange soll ich

sorgen?Wie lang entfernst du dich von mir?

Herr, handle nicht mit mir nach meinen Sünden,

Vergilt mir nicht nach meiner Schuld.Ich suche dich, laß mich dein Antlitz

finden,Du Gott der Langmut und Geduld.

Früh wollst du mich mit deiner Gnade füllen,

Gott, Vater der Barmherzigeit.Erfreue mich um deines Namens willen,Du bist mein Gott, der gern erfreut.

Laß deinen Weg mich wieder freudig wallen

Und lehre mich dein heilig RechtMich täglich tun nach deinem

Wohlgefallen;Du bist mein Gott, ich bin dein Knecht.

Herr, eile du, mein Schutz, mir beizustehen,

Und leite mich auf ebner Bahn.Er hört mein Schrei’n, der Herr erhört

mein FlehenUnd nimmt sich meiner Seele an.

Song of Penance

Against You alone have I sinned,and have often done evil before You.You see the guilt that deserves Your

curse;see also, God, my suffering.

From You I do not hide my prayers and sighs,

and my tears are before You.Ah, God, my God, how long should I

suffer?How long will You leave me?

Lord, treat me not according to my sins,

treat me not according to my guilt.I seek for You; let me find Your face,

God of forbearance and patience.

May you fill me early with Your grace,

God, Father of Mercy.Help me for Your name’s sake,You are my God, who gladly helps.

Let me once again happily walk your path

and teach me Your sacred lawso that I can mold myself daily to Your

will;You are my God, I am Your servant.

Lord, hurry to my aid, my Protector,

and lead me on the right path.He hears my cries, the Lord hears my

prayerand takes my soul in charge.

JOHANN SEBASTIAN BACH (1685-1750)“Quiá fecit mihi magna” from Magnificat

in D Major, BWV 243

Quia fecit mihi magna, qui potens est, et sanctum nomen eius.

CÉCILE CHAMINADE (1857-1944)“Fleur jetée”

Emporte ma folieAu gré du vent,Fleur en chantant cueillieEt jetée en rêvant,Emporte ma folieAu gré du vent:

Comme la fleur fauchéePérit l’amour:La main qui t’a touchéeFuit ma main sans retour.Comme la fleur fauchéePérit l’amour.

Que le vent qui te sècheO pauvre fleur,Tout à l’heure si fraîcheEt demain sans couleur,Que le vent qui te sèche,Sèche mon coeur!

“Viens, mon bien-aimé”

Les beaux jours vont enfin renaître,

Le voici, l’avril embaumé!Un frisson d’amour me pénètre,Viens! mon bien-aimé!

Ils ont fui, les longs soirs moroses,Déjà le jardin parfuméSe remplit d’oiseaux et de roses:Viens! mon bien-aimé!

Because He Who is Mighty

The Great Almighty has done great things for me, and holy is his name!

Broken Flower

Carry off my follyat the whim of the wind,oh flower which I picked while I sangand threw away as I dreamed.Carry off my follyat the whim of the wind! Like flowers scythed down,love dies.The hand that once touched younow shuns my hand forever.Like flowers scythed down,love dies. May the wind that withers you,oh poor flower,a moment ago so freshand tomorrow all faded.May the wind that withers youwither my heart!

Come, My Beloved

Fair days will at last soon be with us again,

now that scented April is here!An amorous frisson pierces my frame,come, my beloved!

The long, gloomy evening now has fled,the fragrant garden already teemswith birds and roses:come, my beloved!

Soleil, de ta brûlante ivresse,J’ai senti mon coeur enflammé,Plus enivrante est ta caresse,Viens! mon bien-aimé!

Tout se tait, de millions d’étoilesLe ciel profond est parsemé,Quand sur nous la nuit met ses voiles:Viens! mon bien-aimé!

GABRIEL FAURÉ (1845-1924)“Chanson d’amour”

J’aime tes yeux, j’aime ton front,Ô ma rebelle, ô ma farouche,J’aime tex yeux, j’aime ta boucheOù mes baisers s’épuiseront.

J’aime ta voix, j’aime l’étrangeGrâce de tout ce que tu dis,Ô ma rebelle, ô mon cher ange,Mon enfer et mon paradis!

J’aime tout ce qui te fait belle,De tes pieds jusqu’à tes cheveux,Ô toi vers qui montent mes vœux,Ô ma farouche, ô ma rebelle!

CHARLES MARIE WIDOR (1844-1937)“Soupir”

J’ai laissé de mon sein de neigeTomber un oeillet rouge à l’eau.Hélas ! comment le reprendrai-jeMouillé par l’onde du ruisseau?

Voilà le courant qui l’entraîne!Bel oeillet aux vives couleurs,Pourquoi tomber dans la fontaine?Pour t’arroser j’avais mes pleurs!

Sun, I feel your intoxicating glowignite my heart;your caress is more passionate still,come, my beloved!

All falls silent, the deep skyis scattered with millions of stars,when night folds us in her veils:come, my beloved!

Love Song

I love your eyes, I love your brow,o my rebel, O my wild one,I love your eyes, I love your mouthwhere my kisses shall dissolve.

I love your voice, I love the strangecharm of all you say,o my rebel, O my dear angel,my inferno and my paradise!

I love all that makes you beautifulfrom your feet to your hair,o you the object of all my vows,o my wild one, O my rebel.

Sigh

I left my breast of snowdrop a red carnation in the water.Alas! how will I take it backwet by the wave of the stream?

This is the current that drives it!Beautiful carnation with bright colors,why fall into the fountain?To water you I had my tears!

JUDITH CLOUD (b. 1954)Two Selections from 24 Italian Songs and

Arias for 21st-Century Singers

“Danza, danza fanciulla gentile”

Danza, danza, fanciulla,al mio cantar;danza, danza fanciulla gentile,al mio cantar.Gira leggera, sottile al suono,al suono dell’onde del mar.Senti il vago rumoredell’aura scherzosache parla al corecon languido suon,e che invita a danzarsenza posa, senza posa,che invita a danzar.Danza, danza, fanciulla gentile,al mio cantar.

“Intorno al idol mio”

Intorno all’idol mio spirate pur, spirate,Aure, Aure soavi e grate,E nelle guancie eletteBaciatelo per me,Cortesi, cortesi aurette!

Al mio ben, che riposaSu l’ali della quiete,Grati, grati sogni assisteteE il mio racchiuso ardoreSvelate gli per me,O larve, o larve d’amore!

Dance, Dance, Gentle Young Girl

Dance, dance, young girlto my song;Dance, dance, gentle young girlto my song;Twirl lightly and softly to the sound,to the sound of the waves of the sea.Hear the vague rustleof the playful breezethat speaks to the heartwith its languid sound,and invites you to dancewithout stopping, without stoppingthat invites you to dance.Dance, dance, gentle young girlto my song.

Around My Idol

Around my idol, Breathe, merely breathe,winds sweet and graciousand on the favored cheeks.Kiss him for me, courtly breezes!

In my love who restson the wings of peacepleasant dreams provoke.And my hidden ardorreveal to him for meo spirits of love.

RICHARD STRAUSS (1864-1949) “Zueignung,” op. 10, no. 1

Ja, du weisst es, teure Seele,Dass ich fern von dir mich quäle, Liebe macht die Herzen krank,Habe Dank.

Einst hielt ich, der Freiheit Zecher,Hoch den Amethysten-Becher,Und du segnetest den Trank,Habe Dank.

Und beschworst darin die Bösen,Bis ich, was ich nie gewesen,Heilig, heilig an’s Herz dir sank,Habe Dank!

“Die Nacht,” op. 10, no. 8

Aus dem Walde tritt die Nacht,Aus den Bäumen schleicht sie leise,Schaut sich um in weitem Kreise,Nun gib Acht!

Alle Lichter dieser Welt,Alle Blumen, alle FarbenLöscht sie aus und stiehlt die GarbenWeg vom Feld.

Alles nimmt sie, was nur hold,Nimmt das Silber weg des StromsNimmt vom Kupferdach des DomsWeg das Gold.

Ausgeplündert steht der Strauch:Rücke näher, Seel’ an Seele,O die Nacht, mir bangt, sie stehleDich mir auch.

Dedication

Yes, dear soul, you knowthat I’m in torment far from you,Love makes hearts sick—be thanked.

Once, reveling in freedom,I held The amethyst cup aloftand you blessed that draught—be thanked.

And you banished the evil spirits,till I, as never before,holy, sank holy upon your heart—be thanked.

Night

Night steps from the woods,slips softly from the trees,gazes about her in a wide arc,now beware!

All the lights of this world,all the flowers, all the colorsshe extinguishes and steals the sheavesfrom the field.

She takes all that is fair,takes the silver from the stream,takes from the cathedral’s copper roofthe gold.

The bush stands plundered:draw closer, soul to soul,ah the night, I fear, will stealyou too from me.

AARON COPLAND (1900-1990)“The World Feels Dusty”

The world feels dusty,when we stop to die . . . We want the dew thenHonors taste dry . . .

Flags vex a dying faceBut the least fanstirred by a friend’s handCools like the rain

Mine be the ministrywhen thy thirst comes . . . Dews of thyself to fetch and holy balms.

LORI LAITMAN (b. 1955)“Will There Really Be a Morning?”

Will there really be a morning?Is there such a thing as day?Could I see it from the mountainsIf I were as tall as they?

Has it feet like water-lilies?Has it feathers like a bird?Is it brought from famous countriesOf which I have never heard?

Oh, some scholar! Oh, some sailor!Oh, some wise man from the skies!Please to tell a little pilgrimWhere the place called morning lies!

GEORGE WALKER (1922-2018)“I Went to Heaven”

I went to Heaven, -’T was a small townLit with a rubyLathed with downStiller than the fieldsAt the full dewBeautiful as picturesNo man drewPeople like the mothOf mechlin, framesDuties of gossamerAnd eider namesAlmost contentedI could be’Mong such uniqueSociety

GERALD FINZI (1901-1956)Two Selections from Let Us Garlands Bring

“Come Away, Come Away Death”

Come away, come away, death,And in sad cypress let me be laid;Fly away, fly away, breath;I am slain by a fair cruel maid.My shroud of white, stuck all with yew,O prepare it!My part of death, no one so trueDid share it.Not a flower, not a flower sweet,On my black coffin let there be strown;Not a friend, not a friend greetMy poor corpse, where my bones shall be thrown:A thousand, thousand sighs to save,Lay me, O whereSad true lover never find my grave,To weep there!

“It Was A Lover and His Lass”

It was a lover and his lass,With a hey, and a ho, and a hey nonino,That o’er the green cornfield did pass.In springtime, the only pretty ring time,When birds do sing, hey ding a ding a ding;Sweet lovers love the spring.Between the acres of the rye,With a hey, and a ho, and a hey nonino,These pretty country folks would lie,In springtime, the only pretty ring time,When birds do sing, hey ding a ding a ding;Sweet lovers love the spring.This carol they began that hour,With a hey, and a ho, and a hey nonino,How that life was but a flowerIn springtime, the only pretty ring time,When birds do sing, hey ding a ding a ding;Sweet lovers love the spring.And therefore take the present time,With a hey, and a ho, and a hey nonino,For love is crownèd with the primeIn springtime, the only pretty ring time,When birds do sing, hey ding a ding a ding;Sweet lovers love the spring.

STEPHEN FLAHERTY (b. 1960)“I Was Here” from The Glorious Ones

Why does a boy carve his name on a treeOr the first born inherit the throne?What is a sculptor aspiring to beWhen he spends half his life carving stone?Kings built their tombs for the agesPoets and fools fill up their pagesWhat are we hoping for?What do we fear?I say we yearn to leave something that lastsTo be known for what little we’ve doneMen tell their children the tales of their pastAnd each man gives his name to his sonSomething in song or in storySomething in blood, something of glorySomething that won’t fade away in a yearWell, I will not flicker, I like an emberDo many man flicker and die?I will something behind to rememberSomehow I must, don’t ask me whyI have no sons, at least none I can claimAnd no patience for carving in stoneAll that I have are my skill and my nameAnd this chance to make both of them knownThis is my key to the portalHow I can leave something immortalSomething that time cannot make disappearSomething to say “I was here.”

Artist Profiles

TAYLOR DAY (soprano) is a junior choral music education major at Northern Arizona University. She has been involved in numerous choirs throughout her musical career. At Northern Arizona University, she has participated in Women’s Ensemble, University Singers, and Chamber Singers, along with the extracurricular club, Jacks on Broadway. Day is very involved with American Choral Directors Association and is the President Elect of the NAU ACDA student chapter. She has studied voice with Christine Graham since her freshman year of college. Outside of being a full-time student, Day runs her own business and is passionate about working hard. Upon graduating, Day hopes to become a high school choir teacher and further her education by pursuing a master’s degree in choral conducting.

JAVI RODRIGUEZ (baritone) is a junior choral education major at Northern Arizona University. Throughout his years at NAU, Rodriguez has participated in multiple ensembles, those being Men’s Chorale, University Singers, Chamber Choir, The Highlanders (an all-male a cappella group), Lyric Theater, and Shrine of the Ages Choir. Rodriguez is a part of the Club NAU Baseball team, and whenever he is needed, he also sings for the Church of the Red Rocks located in Sedona, AZ. For the past three years Rodriguez has been studying voice with Robert Saunders at NAU. Though music had been a part of his life from a young age, he had never considered pursuing music as a career until his second year in college. “It wasn’t until I heard the Men’s Chorale sing for the first time, their sound was so powerful and beautiful, goosebumps came across my skin. It was as if my body were telling me this is where I was supposed to be.” Upon graduating, Rodriguez aspires to get his master’s in choral conducting, in hopes of directing at the high school or college level. Rodriguez’s career goal is to help children of all ages experience the true power of music, with desires that music will also speak to them.

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

Taylor Day would like to thank:

My mom, dad, brother, and "Nanny" for their support and unconditional love.

Prof. Christine Graham for her abundance of vocal guidance and being an exceptional voice teacher for three years.

Greg Hebert for encouraging me and inspiring me to become a choral educator.

The Kitt Recital Hall staff for making this recital happen and run smoothly.

Daryl Shay for his incredible piano skills and being so willing to share them with his students.

Javi Rodriguez for being such an amazing and talented recital partner. I’m so lucky to share the stage with you.

My roommates and friends I have made here at Northern Arizona University. I am so grateful for friends like you all.

Javi Rodriguez would like to thank:

My amazing parents, Jaime and Victoria, for their continuous support, love, and encouragement.

Janessa Rodriguez for always having my back, being such a wonderful sister, and pushing me to become successful in life.

Samantha Yanez for your unconditional love and everyday support when I need it most.

Dr. Robert Allen Saunders for your loads of time and guidance, for bringing out the best in my voice and for believing in me more than I do myself.

Dr. Edith Copley for simply being yourself, showing me every day that my dreams can surely become reality with hard work and dedication, and for pushing me to be the best musician possible.

Dr. Ryan Holder for his amazing mentorship and the opportunities you have helped me to be a part of.

Prof. Gibson for giving me so many opportunities to experience the beauty of music.

Daryl Shay for your hours of time and patience, and amazing piano skills.

My brothers for always supporting me and being my homies when I most needed you to be.

All my wonderful peers in the NAU School of Music for being at my side throughout these years, for your encouragement, support, and advice. I wouldn’t be here if it weren’t for all of you.

Taylor Day, soprano Javi Rodriguez, baritone

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