This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education. Ms. Rogers studies voice with Jana Young.https://digitalcommons.kennesaw.edu/musicprograms/1511/thumbnail.jp

Brent, Brenda

Rogers, Delaney

English

DigitalCommons@Kennesaw State University

Kennesaw State UniversityCollege of the ArtsSchool of MusicpresentsSenior RecitalDelaney Rogers, sopranoBrenda Brent, pianoSaturday, April 26, 2014 7:00 p.m.Music Building Recital Hall One Hundred Twenty-fifth Concert of the 2013-14 Concert SeasonProgramI.G. F. HANDEL (1685-1759)Ch’io mai vi possa (Pietro Metastasio) from Siroe F. GASPARINI (1665-1737)Caro laccio, dolce nodo II.JOHANNES BRAHMS (1833-1897)Dein blaues Auge (Groth) Wie Melodien zieht es mir (Groth) Der Jäger (Halm)III.GABRIEL FAURÉ (1845-1924)Aurore (Silvestre) En prière (Bordèse) Mandoline (P. Verlaine)IV.RICKY IAN GORDON (b. 1965)Once I was A horse with wings Will there really be a morning? (Emily Dickinson)V.W. A. MOZART (1756-1791)Vedrai carino (Lorenzo da Ponte) from Don Giovanni This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education.Ms. Rogers studies voice with Jana Young.Program NotesI.GEORGE FREDERIC HANDEL (1685-1759)German born Baroque composer, Handel was not encouraged to practice music as a child. Only later was his father pressured into allowing young Handel to study music. Handel wrote both sacred and secular music, in a variety of genres which is characterized by the ornate style of the Baroque. Some of Handel’s most famous vocal works are numerous cantatas, several operas, including Saul, and Messiah, an oratorio containing the ever-popular “Hallelujah” chorus.Ch’io mai vi possa aria comes from Handel's opera seria, Siroe, rè di Persia, in which Emira sings of her love for the Prince, Siroe. The role of Siroe was pre-miered the year of Handel’s death by one of the famous castrati, Senesino.Ch'io mai vi possaCh'io mai vi possa lasciar d'amare,Non lo credete, pupille care!Nè men per gioco v'ingannerò, nò.Voi foste, e siete le mie faville,E voi sarete, care pupille,Il mio bel foco fin ch'io vivrò.That I will ever be able to stop loving youNo, don't believe it, dearest eyes! Not even to joke would I deceive you about this.You alone are my sparks, and you will be, dearest eyes, my beautiful fire as long as I live.FRANCESCO GASPARINI (1665-1737)Francesco Gasparini was an Italian baroque composer known mainly for his op-eras, some of which are Roderico (1694), Tigrane (1724), and Ambleto (1705). He was also the musical director of the Ospedale della Pietá (a convent, orphanage, and music school in Venice) which became known for its exceptional performanc-es and music students.Caro laccio, dolce nodo is the second piece in “Cantate da camera a voce sola, Op.1” which, translated, means “solo songs for the chamber.” Caro laccio, dolce nodoCaro laccio, dolce nodo,che legasti il mio pensier;so ch'io peno e pur ne godo,son contento e prigionier.Dainty meshes, net enticefulThat entangles my fancy freeEven though woeful I yet am blissfulHeld a captive, I would not flee.II.JOHANNES BRAHMS (1833-1897)Johannes Brahms is one of the most well-known and beloved German composers of the 19th century. His compositions included choral and orchestral works, piano cycles, chorale preludes for organ, and an abundance of other small-scale works and songs during his lifetime. Brahms used a classical framework for his composi-tions and preferred writing music that did not refer to specific scenes or narratives, explaining why he never wrote an opera or a symphonic poem. Dein blaues Auge was composed and published in 1873 with text from poet Klaus Johann Groth which appears in the “Klänge” section of Groth’s Hundert Blätter, Paralipomena zum Quickborn of 1854. One author describes this piece saying, “The mood of welcome tranquility after pain is given weight by the intensity of Brahms’ harmonies and his occasional shifts to the minor mode.”Dein Blaues AugeDein blaues Auge hält so still,Ich blicke bis zum Grund.Du fragst mich, was ich sehen will? Ich sehe mich gesund. Es brannte mich ein glühend Paar,Noch schmerzt das Nachgefühl;Das deine ist wie See so klarUnd wie ein See so kühl.Your blue eyes keep so still,That I can gaze upon their very depths.You ask me, what do I want to see?I see my own well-being.A glowing pair burned me once;The scar still hurts, still hurts.Yet your eyes are like the sea so clear,And like the sea, so cool and detached.One of Brahms’ most popular songs, Wie Melodien, was written in 1886. In fact, the popularity of this piece lead him to rework the melody into his A Major Violin Sonata, Op. 100. Although the meaning of the poem is elusive, as Brahms sets the words to music, the feeling can “speak” for the words as if the sensations are fleeting and unable to be captured.Wie MelodienWie Melodien zieht esMir leise durch den Sinn,Wie Frühlingsblumen blüht es,Und schwebt wie Duft dahin.Doch kommt das Wort und faßt esUnd führt es vor das Aug',Wie Nebelgrau erblaßt esUnd schwindet wie ein Hauch.Und dennoch ruht im ReimeVerborgen wohl ein Duft,Den mild aus stillem KeimeEin feuchtes Auge ruft.It moves like a melody,Gently through my mind;It blossoms like spring flowersAnd wafts away like fragrance.But when it is captured in words,And placed before my eyes,It turns pale like a gray mistAnd disappears like a breath.And yet, remaining in my rhymesThere hides still a fragrance,Which mildly from the quiet budMy moist eyes call forth.Der Jäger (The Hunter), also by Halm, is a young girl's lament over the fact that her love interest is a successful hunter-not of animals, but of other girls. Resembling a lively waltz, Der Jäger is among Brahms' least harmonically adventurous songs.Der JägerMein Lieb ist ein Jäger, und grün ist sein Kleid,Und blau ist sein Auge, nur sein Herz ist zu weit.Mein Lieb ist ein Jäger, trifft immer ins Ziel,Und Mädchen berückt er, so viel er nur will.Mein Lieb ist ein Jäger, kennt Wege und Spur,Zu mir aber kommt er durch die Kirchtüre nur!My love is a hunter, and green is his clothing,and blue are his eyes, only his heart is too open.My love is a hunter: he always hits his mark,And he captivates the maidens, as many as he wants.My love is a hunter - he knows all the paths and trails,but to me he will come only through the door of the churchIII.GABRIEL FAURÉ (1845-1924)Considered a master of the French art song, Gabriel Fauré was born in 1845. Some of his well-known works include “Clair de lune”, Requiem, and "Après un rêve". He made only a meager amount on his compositions, however. He held positions as organists and music directors of churches until late in his lifetime when his hearing diminished substantially. Fauré’s harmonic and melodic innova-tions influenced many composers after his death in 1924. In the following songs, Fauré uses poetry by Silvestre, Bordèse, and Verlaine, who were all famous for their work at the time. In the following song, poetry by Paul Silvestre describes a scene at sunrise in a garden. Fauré’s use of varied harmonic colors emphasize the scene described. AuroreDes jardins de la nuit s'envolent les étoiles,Abeilles d'or qu'attire un invisible miel,Et l'aube, au loin tendant la candeur de ses toiles,Trame de fils d'argent le manteau bleu du ciel.Du jardin de mon coeur qu'un rêve lent enivreS'envolent mes désirs sur les pas du matin,Comme un essaim léger qu'à l'horizon de cuivre,Appelle un chant plaintif, éternel et lointain.From the gardens of the night the stars fly away,Golden bees attracted by an unseen honey,And the dawn, in the distance, spreading the brightness of its canvas.Weaves silver threads into the sky’s blue mantle.From the garden of my heart, intoxicated by a languid dream,My desires fly away with the coming of the morn,Like a light swarm to the coppery hori-zon, Called by a plaintive song, eternal and far away.Ils volent à tes pieds, astres chassés des nues,Exilés du ciel d'or où fleurit ta beautéEt, cherchant jusqu'à toi des routes inconnues,Mêlent au jour naissant leur mourante clarté.They fly to your feet, stars chased by the clouds,Exiled from the golden sky where your beauty blossomed,And, seeking to come near you on un-charted paths,Mingle their dying light with the dawning day.En PriereSi la voix d'un enfant peut monter jusqu'à Vous,Ô mon Père,Écoutez de Jésus, devant Vous à ge-noux, La prière!Si Vous m'avez choisi pour enseigner vos loisSur la terre, Je saurai Vous servir, auguste Roi des rois,Ô Lumière!Sur mes lèvres, Seigneur, mettez la vérité Salutaire,Pour que celui qui doute, avec humilitéVous révère!Ne m'abandonnez pas, donnez-moi la douceur Nécessaire,Pour apaiser les maux, soulager la douleur,La misère!Révèlez Vous à moi, Seigneur en qui je croisEt j'espère:Pour Vous je veux souffrir et mourir sur la croix,Au calvaire!If the voice of a child can reach You,O my Father,Listen to the prayer of Jesus, on his knees before You!If You have chosen me to teach your lawson earth,I will know how to serve You, noble King of kings,O Light!On my lips, Lord, place the salutary truth,In order that he who doubts should with humility revere You!Do not abandon me, give me the necessary gentleness,To ease suffering, to relieve sorrow,the misery!Reveal Yourself to me, Lord, in whom I believeand hope:For You I wish to suffer and to die on the cross,at Calvary!Describing a scene at an elegant party, Paul Verlaine, one of the most influential poets of his time, includes literary references to appeal to the educated listener of the time. The beautiful text in the next song, written by Stéphan Bordèse, describes Jesus Christ’s prayer at Calvary, to His Father before His atonement.MandolineLes donneurs de sérénadesEt les belles écouteusesThe givers of serenadesAnd the lovely women who listenÉchangent des propos fadesSous les ramures chanteuses.C'est Tircis et c'est Aminte,Et c'est l'éternel Clitandre,Et c'est Damis qui pour mainteCruelle fit maint vers tendre.Leurs courtes vestes de soie,Leurs longues robes à queues,Leur élégance, leur joieEt leurs molles ombres bleues,Tourbillonnent dans l'extaseD'une lune rose et grise,Et la mandoline jaseParmi les frissons de brise.Exchange insipid wordsUnder the singing branchesThere is Thyrsis and AmyntasAnd there's the eternal Clytander,And there's Damis who, for many aHeartless woman, wrote many a tender verse.Their short silk coats,Their long dresses with trains,Their elegance, their joyAnd their soft blue shadows,Whirl around in the ecstasyOf a pink and grey moon,And the mandolin chattersAmid the trembling of the breeze.IV.RICKY IAN GORDON (b. 1965)Born in 1956 to a very musical family, Gordon, was bound for the arts. As a young child he immediately took interest in music and poetry and “became obsessed with opera. In sixth grade, [his] show-and-tell was Die Walkure.” His passion for poetry flowed into his music when he set his first poem to music at 14, and by age 18 he realized he wanted to compose for the rest of his life. His music is very emotional and actively moving, if sometimes difficult to grasp. Once I was lyrics were also by Ricky Gordon. They describe two phases of life, a young child and a young adult, stating that through everything, music tells us what we need to know.Once I wasOnce I was, there were ribbons in my hairThere were leaves of streaming gold everywhereIf a boy said, "Hello", I would hide, trembling so, trembling soNow I barely know what the meaning of 'No' isNow I am, past an audience I stareWhat is gold is how the lights touch my hairAll the boys turn to men, all the leaves change againStill I answer, "Yes" though I know what will happenAs these phases come and goMusic tells me what I need to know! Horse with wings. As the title suggests, this piece has substantial whimsy in it that is not only exemplified by the words, but also through the music. Gordon also in-volves the use of text painting, for example the three note pattern representing the Trinity on the word “Kyrie” and an especially noticeable example at the end of the piece where the text “fly” is on a sustained pitch in the upper register.Horse with wingsI wanna cry.I wanna feel the world around me whirling by.I wanna cry for those that live, and those that die.You sing a lullaby. I wanna cry.I wanna pray,that all my wishes could come true after today,and should I put a word for you in,should I say an extra Kyrie?I wanna pray.I wanna lie.I wanna think that things are better than they are.I wanna think we’ve gotten further,and that far is just an inch away.I wanna lie.A horse with wings,I wanna think of things like that and other things.I want two brothers, one who laughs, and one who sings.I hope the future brings a horse with wings.I wanna knowthe things they told me way back then were really so.I wanna make a little mark before I go,not barely just get by,I wanna fly!Will There Really be a Morning?  is a work set to an Emily Dickinson text. The song has atypical leaps in the vocal line with a large range which makes the song move in unexpected directions, mimicking the train of thought in the text.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!V.WOLFGANG AMADEUS MOZART (1756-1791)Mozart was one of the most prolific and influential composers of the classical era. Born in 1756 in Salzburg, Austria, to a musical father, he quickly showed prodi-gious abilities, excelling in the keyboard and violin, and he even began composing by the age of 5. These compositions would exceed 600 by his death at age 35. One of Mozart’s most famous operas, Don Giovanni, is based on the legend of Don Juan who it a young promiscuous nobleman who continuously takes sexual advantage of young ladies and fights any man in his way. This aria occurs when Zerlina, a peasant girl, arrives to find her fiancée, Masetto, beaten and bruised. She sings this song to heighten his spirits and remind him of her love for him.Vedrai, carino Vedrai, carino,Se sei buonino,Che bel rimedioTi voglio dar.È naturale,Non dà disgusto,E lo spezialeNon lo sa far.È certo balsamoChe porto addosso:Dare tel possoSe’l vuoi provar.I will give you such good medicine if you behave, my darling.It’s completely natural. And you’ll love how it tastes.You can’t get it at the drugstore. I carry it with me all the time.I can let you have some, if you like.Interim DirectorMichael AlexanderWoodwindsCecilia Price, FluteTodd Skitch, Flute Christina Smith, Flute Elizabeth Koch Tiscione, Oboe Dane Philipsen, Oboe John Warren, Clarinet Laura Najarian, Bassoon Sam Skelton, SaxophoneBrass and PercussionDoug Lindsey, TrumpetLester Walker, Jazz TrumpetJason Eklund, HornThomas Witte, HornTom Gibson, TromboneWes Funderburk, Jazz TromboneBrian Hecht, Bass Trombone Bernard Flythe, Tuba/EuphoniumMichael Moore, TubaJustin Chesarek, Jazz PercussionJohn Lawless, PercussionStringsHelen Kim, Violin Kenn Wagner, ViolinCatherine Lynn, Viola Allyson Fleck, Viola Charae Krueger, Cello Joseph McFadden, Double BassElisabeth Remy Johnson, Harp Mary Akerman, Classical GuitarTrey Wright, Jazz GuitarMarc Miller, Jazz BassEnsembles & ConductorsLeslie J. Blackwell, Choral ActivitiesAlison Mann, Choral ActivitiesOral Moses, Gospel ChoirEileen Moremen, OperaMichael Alexander, OrchestrasCharles Laux, OrchestrasJohn Culvahouse, Concert BandDavid T. Kehler, Wind EnsembleWes Funderburk, Jazz EnsemblesSam Skelton, Jazz EnsemblesJustin Chesarek, Jazz CombosMarc Miller, Jazz CombosTrey Wright, Jazz CombosVoiceCarolyn DorffAdam KirkpatrickEileen MoremenOral MosesLeah PartridgeValerie WaltersJana YoungPianoJudith Cole, Collaborative Piano & Musical  TheatreRobert HenryTyrone Jackson, Jazz PianoJohn Marsh, Class PianoDavid WatkinsSoohyun YunMusic History & AppreciationDrew DolanEdward Eanes Doug LindseyJohn MarshKatherine MorehouseHarry PriceTrey WrightMusic EducationJanet BonerKathleen CreasyJohn CulvahouseMargaret GrayburnCharles JacksonCharles LauxAlison MannAngela McKeeRichard McKeeHarry PriceTerri TalleyAmber Weldon-StephensMusic Theory, Composition & TechnologyJudith ColeKelly FrancisJennifer Mitchell Laurence SherrBenjamin WadsworthJeff YunekChamber MusicAllyson Fleck Bernard FlytheCharae KruegerCatherine LynnJoseph McFaddenHarry PriceKenn WagnerJohn WarrenSoohyun YunEnsembles in ResidenceAtlanta Percussion TrioFaculty Jazz ParliamentGeorgia Youth Symphony Orchestra & ChorusKSU Faculty Chamber PlayersKSU Faculty String Trio  School of Music StaffJulia BeckerBob BeckleanDominic BrunoSteve BurtonDavid DalySusan M. Grant RobinsonJoseph GreenwayDan HeskethJune MauserSchool of Music Faculty and StaffUpcoming EventUnless otherwise noted, all events will take place at 8:00 pm in Morgan Concert Hall.We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 770-423-6650 to request services.Monday, April 28Percussion EnsembleKennesaw State University School of MusicThe School of Music at KSU has dedicated, vibrant, and talented faculty and staff that are completely devoted to teaching, performing, scholarship, and serving our community. It is an incredibly exciting place to study, boasting state-of-the-art fa-cilities with opportunities to produce and explore music in a dynamic place that is ahead of the curve for what it means to be a musician in the 21st century. Our students come from the leading musical honor organizations across the region and are poised to lead the cultural offerings and musical education in our area and beyond for years to come. We welcome you to attend a concert, meet our faculty and staff, and feel the en-ergy and excitement that our students exude. We are fully committed to our pur-pose as educators, performers, and scholars. We hope that you will find as much enjoyment in our product as we do in producing it. Connect with the School of MusicFor more information about the School of Music, connect with us online at the web-sites below. Tweet at us during tonight’s concert from Morgan Hall’s Tweet Seats to connect with fellow concertgoers during the performance.facebook.com/musicKSU     twitter.com/musicKSU     youtube.com/musicKSUksutv.kennesaw.edu/musicKSU      musicKSU.comPlease consider a gift to the Kennesaw State University School of Music. http://community.kennesaw.edu/GiveToMusic 

Senior Recital: Delaney Rogers, soprano

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Senior Recital: Delaney Rogers, soprano

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