Halfway to Somewhere

carthage music department presents

program Spesso vibra per suo gioco

Alessandro Scarlatti (1660–1725)

Lascia ch’io pianga George Frideric Handel from Rinaldo (1685–1759) Vezzosette e care

Blaue Augen

Halfway to Somewhere Lydia Ochoa, voice

Nachtwanderer

Liebeszauber

Andrea Falconieri (1585–1656)

Johanna Kinkel (1810–1858)

Fanny Mendelssohn Hensel

(1805–1847)

Two Songs, Op. 1 I. Le papillon et la fleur II. Mai

featuring Enrique Ochoa, guitar Dyan Meyer, piano

Gabriel Fauré (1845–1924)

Early in the Morning

Ned Rorem (1923–2022)

The Monk and His Cat

Samuel Barber (1910–1981)

The Secret of Happiness from Daddy Long Legs Enrique Ochoa, guitar

Saturday, April 1, 2023 | 2 p.m.

H. F. Johnson Recital Hall

Clara Schumann (1819–1896)

Evermore

Enrique Ochoa, guitar

Paul Gordon (1963–2016)

Alison Krauss (b. 1951)

acknowledgements There is an incredible list of people I owe profound appreciation to. First, Peg, thank you for your continuous musical guidance and expertise. My years as a music student at Carthage are complete because of you. Second, Dyan, thank you for agreeing to collaborate with me for this recital. You are such an inspiration in my life! It has been wonderful to establish such a neat relationship with you over the last three-and-a-half years. Thank you to the entire faculty of the Carthage Music Department. You all inspire and provide copious amounts of encouragement, and I am so thankful to have been on the receiving end. Thank you for creating a home away from home! Thank you, Luke, for being the best homie. Lindy, Esme, and I love you. To all my friends, mentors, teachers, and extended family, you all rock. Thank you for shaping me into the person I am today. Thank you, Josh, Becky, and Joel for being the coolest older siblings a girl could ever have. I am so blessed to call you all my best friends. And last but certainly not least, to the world’s greatest parents, thank you for your unconditional support and love. Look! Your preaching about the Parable of the Talents finally paid off! But seriously, Mar and Q, you are my biggest role models; I aspire to be even a fraction of the people you are. I love you both with my whole entire heart. Thank you all for being a part of this special moment that combines all of my halfway points into this celebratory final destination!

This recital is given in partial fulfillment of the requirements for the B.A. in Music: Music Education. Lydia Ochoa is a student of Prof. Peg Cleveland.

upcoming events Away from the Mirror Saturday, April 1 • 7:30 p.m.

Wartburg Theater *Tickets Required. Visit carthage.edu/tickets for ticket information

April Choral Concert Sunday, April 2 • 2 p.m.

A. F. Siebert Chapel Student Recital: Lane Breimhorst Monday, April 3 • 7:30 p.m.

H. F. Johnson Recital Hall Student Recital: Massimo Manfredini Wednesday, April 5 • 7:30 p.m.

H. F. Johnson Recital Hall Student Recital: Liu, But, and Fulkerson Tuesday, April 11 • 7:30 p.m.

A. F. Siebert Chapel Jazz Ensemble Concert Wednesday, April 12 • 7:30 p.m.

A. F. Siebert Chapel

Fine Arts at Carthage acknowledges that the land on which our building stands is part of the traditional Potawatomi, Sioux, Peoria, Kickapoo, and Miami peoples past, present, and future.

These homelands reside along the southwest shores of Michigami, North America’s largest system of freshwater lakes. We honor with gratitude the land itself, and the people who have stewarded it throughout the generations. Many Indigenous peoples thrive in this place—alive and strong, andthis calls us to commit to continuing to learn how to be better stewards of the land we inhabit as well.

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Spesso vibra per suo gioco At the start of the seventeenth century, rhetorical emphasis gained greater sophistication through the development of the monodic style, or solo vocal lines with single instrumental accompaniment. Simultaneously, the practice of functional tonality became more defined. Written by Alessandro Scarlatti, a Baroque Italian composer, “Spesso vibra per suo gioco” is the product of merging predictable harmonic relationships with evoking text. Formulaic cadences mark the ends of phrases and thoughts.

The anonymous text explains how Cupid (the god of love) forces his victims to fall in love regardless of their desires to experience such pleasure. The allegro (fast) tempo combines with the energetic triplet figures present in the melody to portray Cupid’s enthusiasm when throwing love darts at his chosen victims.

Spesso vibra per suo gioco Spesso vibra per suo gioco Il bendato pargoletto Strali d’oro in umil petto, Stral di ferro in nobil core.

Often the Blindfolded Boy Often for his amusement The blindfolded boy pierces A humble breast with golden Darts, A noble heart with iron arrows.

Poi languendo in mezzo alfoco Del diverso acceso strale per oggetto Non eguale questo manca, E quel vien meno.

Then, amid the flames of the Burning dart, languishing in vain, One victim passes away while Another falls faint.

Spesso vibra per suo gioco Il bendato pargoletto Strali d’oro in umil petto, Stral di ferro in nobil seno.

Often for his amusement The blindfolded boy pierces A humble breast with golden Darts, A noble heart with iron arrows.

Translation by Kenneth Chalmers

Lascia ch’io pianga George Frideric Handel, a well regarded composer of the Baroque Era, is most famously known for his large vocal and instrumental compositions. One of his most considerable and well-known compositions is his opera Rinaldo (1711). Rinaldo follows the story of General Goffredo and the mighty knight Rinaldo, who are at war with the king of Jerusalem, Argante, and his evil enchantress wife, Armida. General Goffredo promises Rinaldo his daughter’s hand in marriage after they achieve victory. When Almierna, General Goffredo’s daughter, is abducted by the evil enchantress, General Goffredo and Rinaldo embark on a quest to rescue Almierna. “Lascia ch’io pianga” expresses the deep sorrowful emotions of the heroine Almierna after she is abducted by Armida and separated from Rinaldo. She mourns in her abductor’s palace garden and prays for mercy, as there is no hope of escaping and seeing Rinaldo again. With subdued accompaniment, the aria relies on the passionately flowing melodic line to convey its emotional content.

Lascia ch’io pianga Lascia ch’io pianga Mia cruda sorte, e che sospiri la libertà!

Leave me to weep Let me weep My cruel fate, And that I should have freedom.

Il duolo infranga queste ritorte de’ miei martiri Sol per pietà.

The duel infringes within these twisted places, in my sufferings I pray for mercy.

Vezzosette e care With the rise of the Italian opera house in the seventeenth century, the prominence of text in vocal music increased considerably. Text became the vehicle of dramatic storytelling that captivated audiences. Meanwhile, secular music also gained popularity because of its heightened expressivity and stylistic appeal. Composers of this period mastered the relationship between music and text to heighten the emotional content. Written by the Italian lutenist and composer Andrea Falconieri, “Vezzosette e care” is an example of an early Italian secular song that showcases a strong relationship between music and text.

For example, the opening phrase in the vocal line instills a sense of urgency, as there is not a cadence, or feeling of completion, until after the conclusion of the idea, which is a question. The music intentionally sets the question to a quick rhythmic melody to expose the narrator’s concern without delay.

Vezzosette e care Vezzosette e care Pupillette ardenti, Chi v’ha fatto avare De’bei rai lucenti?

S’io rimiro i vostri sguardi Scorgo sol fulmini e dardi Ne veder so piu quel riso Che rendeva si vago il viso.

Charming and dear Charming and dear Fervent eyes, Who has made you stingy With your beautiful, lustrous gleams?

If I gaze at your face Lightnings and darts are my greeting Ne’er I see of smiles a presage That make your countenance so elusive.

Blaue Augen Nineteenth-century Germany marks a time of great musical development through the influence of controversial composers.

Although male composers receive the most acknowledgement, there are many women composers who deserve to be recognized for their contributions, including Johanna Kinkel. As an incredibly intelligent and musically gifted individual, Johanna Kinkel was often viewed as overeducated and therefore, unfeminine. Her life was marked with difficult circumstances, yet she did not stop pursuing tangible music opportunities. As an educated woman, Johanna surrounded herself with other young intellectuals, including her second husband, Gottfried Kinkel. Many of her works were published under her pseudonym, J. Mathieux, to escape the prejudices against women in the male-dominated circle of composers. Johanna proved her musical independence and involvement as an influential figure with over eighty works published. “Blaue Augen,” the first of six songs from Sechs Lieder, Op. 17, sets one of her husband’s poems. It tells the story of a mythological jewel and its comforting presence in a beloved’s eyes. The piano accompaniment accentuates the effortless melody; the notes shine off of the page, embodying the jewel highlighted in the text.

Blaue Augen In ahnungsvollem Glanze Ruht still Neaples tiefes Meer, Es ziehn im dunklen Kranze Die Berge schweigend rings umher.

Blue eyes Naples’s deep sea rests Quietly in ominous brightness, Silently, the dark mountain range Embraces the sea.

Drin liegt, so sagt die Kunde, Ein unbekannter Edelstein, Drum bricht aus seinem Grunde Ein zauberhafter heller Schein.

According to mythology, An unknown jewel lies in the sea, That’s why a magic bright shine Is reflected from its ground.

Und wenn du scheidest Von dem süßen Lande,

And if you leave The sweet land,

Bleibt dir das Herz Gefesselt dort am Strande.

Your heart is caught And kept at the beach.

Doch mich riß los vom Wehe Der Liebsten Auge wunderbar, Und wenn hinein ich spähe, Wird mir der große Zauber klar:

But my beloved’s eyes Pulled me away from the pain, And if I look into her eyes, Then I understand the magic.

Es strahlt, als ob drin schliefe, Des Zauberdemants Wunderschau, Und wie des Meeres Tiefe, Blau ist das Aug' der holden Frau.

Her eye is as bright as if The jewel sleeps in it, The graceful woman’s eye is As blue as the depth of the sea.

Translation by Anja Bunzel

Nachtwanderer Fanny Mendelssohn Hensel was a German composer and pianist of the early Romantic Era. Due to the social conventions about the role of women during the nineteenth century, Fanny’s exceptional musical abilities were stifled, encouraging her to pursue music in a private sphere. Her musical talents rivaled those of her younger brother, Felix, a famously known Romantic composer and pianist, yet the lack of social support towards women discouraged her from publishing her works during her lifetime. Fanny published some of her works under Felix’s name, whom she shared a strong relationship with, but received greater recognition after her death due to Felix’s efforts to publish her works. Her compositions number over 400, all deserving of considerable acknowledgement alongside pieces composed by her male counterparts. Sechs Lieder, Op. 7, is a cycle of six songs for voice and piano. “Nachtwanderer,” the first song of the cycle, uses the text from a poem written by Joseph von Eichendorff, a major poet and critic of the time. The poem illustrates a figure wandering through nature at night, observing sights and hearing sounds that distract their thoughts. Ascending and descending melodic lines resemble the swells of the wind and a flowing stream. The uncertainty of the night/dark is reflected through suspenseful and tense resolutions at the ends of phrases.

Nachtwanderer Ich wandre durch die stille Nacht, Da schleicht der Mond so heimlich sacht Oft aus der dunkeln Wolkenhülle, Und hin und her im Tal, Erwacht die Nachtigall Dann wieder alles grau und stille.

Night walker I wander through the quiet night; the moon floats so secretly and gently, often out from a dark cover of clouds.

And here and there in the valley a nightingale awakens but then all is gray and still again.

O wunderbarer Nachtgesang, Von fern im Land der Ströme Gang, Leis Schauern in den dunkeln Bäumen -Irrst die Gedanken mir, Mein wirres Singen hier, Ist wie ein Rufen nur aus Träumen.

O wonderful nightsong from distant parts - the rushing of a stream and the soft shuddering in the dark trees confuse my thoughts.

My clamorous singing here is only like a cry from my dreams.

Translation by Emily Ezust

Liebeszauber Clara Wieck Schumann is perhaps the most acclaimed musical female figure of the Romantic Era. Clara was most recognized as

a distinguished virtuoso pianist; from a young age, her career flourished as a performer (where she performed many of her own pieces!). Clara stayed productive throughout most of her marriage to Robert Schumann by giving concerts and composing, all while assuming the main responsibility of raising their eight children. Compositions dating from her later years are less in number, mostly relating to her husband’s suffering mental health. Nevertheless, her entire musical career is defined with great success and credibility. “Liebeszauber,” the third song in her cycle Sechs Lieder, Op. 13, showcases Clara’s musical expertise in the confines of the male-imposed field. “Liebeszauber”showcases her artistic control through the contrasting triple meter in the accompaniment against the duple meter of the vocal line, a feature that provides the piece with an exciting momentum.

Liebeszauber Die Liebe saß als Nachtigall Im Rosenbusch und sang; Es flog der wundersüße Schall Den grünen Wald entlang.

Love’s magic Love, as a nightingale, Perched on a rosebush and sang; The wondrous sound floated Along the green forest.

Und wie er klang, - da stieg im Kreis Aus tausend Kelchen Duft, Und alle Wipfel rauschten leis’, Und leiser ging die Luft;

And as it sounded, there arose a scent From a thousand calyxes, And all the treetops rustled softly, And the breeze moved softer still;

Die Bäche schwiegen, die noch kaum Geplätschert von den Höh’n, Die Rehlein standen wie im Traum Und lauschten dem Getön.

The brooks fell silent, barely Having babbled from the heights, The fawns stood as if in a dream And listened to the sound.

Und hell und immer heller floß Der Sonne Glanz herein, Um Blumen, Wald und Schlucht ergoß Sich goldig roter Schein.

Brighter, and ever brighter The sun shone on the scene, And poured its red glow Over flowers, forest and glen.

Ich aber zog den Wald entlang Und hörte auch den Schall.

Ach! was seit jener Stund’ ich sang, War nur sein Widerhall.

But I made my way along the path And also heard the sound.

Ah! all that I’ve sung since that hour Was merely its echo.

Translation by Richard Stokes

Two Songs, Op. 1 The refined and gentle style of Gabriel Fauré earned him great recognition as an forerunning composer of his generation.

Gabriel Fauré, a twentieth-century French composer, embraced elegant and subtle expressions, especially within the intimate musical forms, including piano, vocal, and chamber works. His first publication, Op. 1, a set of two songs for voice and piano with poetry by Victor Hugo, exemplifies his knack for creating beautifully serene musical moments. The first song, “Le papillon et la fleur,” explains the relationship between a jealous stationary flower and a free-traveling butterfly, told from the perspective of the flower. The piano portrays the two characters through its contrasting accompaniment: chordal patterns act as the foundation to the vocal line (representing the earth-bound flower) while lively piano interludes embody the floating butterfly. The second song, “Mai,” carries a sweet and graceful melody within formulated phrase structures. Consistent arpeggiated accompaniment creates a perfectly balanced relationship between the piano and the vocal line, highlighting the elegance of the melody. Both pieces act as introductory examples of the unique personality Fauré would soon discover and use to define his musical style.

Le papillon et la fleur La pauvre fleur disait au papillon céleste : Ne fuis pas!

Vois comme nos destins sont différents. Je reste, Tu t'en vas!

The butterfly and the flower The humble flower said to the heavenly butterfly: Do not flee!

See how our destinies differ. Fixed to earth am I, You fly away!

Pourtant nous nous aimons, nous vivons sans les hommes Et loin d'eux, Et nous nous ressemblons, et l'on dit que nous sommes Fleurs tous deux!

Yet we love each other, we live without men And far from them, And we are so alike, it is said that both of us Are flowers!

Mais, hélas ! l'air t'emporte et la terre m'enchaîne.

Sort cruel!

Je voudrais embaumer ton vol de mon haleine Dans le ciel !

But alas! The breeze bears you away, the earth holds me fast.

Cruel fate!

I would perfume your flight with my fragrant breath In the sky!

Mais non, tu vas trop loin! Parmi des fleurs sans nombre Vous fuyez, Et moi je reste seule à voir tourner mon ombre A mes pieds.

But no, you flit too far! Among countless flowers You fly away, While I remain alone, and watch my shadow circle Round my feet.

Tu fuis, puis tu reviens ; puis tu t'en vas encore Luire ailleurs.

Aussi me trouves-tu toujours à chaque aurore Toute en pleurs !

You fly away, then return; then take flight again To shimmer elsewhere.

And so you always find me at each dawn Bathed in tears!

Oh ! pour que notre amour coule des jours fidèles, Ô mon roi, Prends comme moi racine, ou donne-moi des ailes Comme à toi!

Ah, that our love might flow through faithful days, O my king, Take root like me, or give me wings Like yours!

Mai Puisque Mai tout en fleurs dans les prés nous réclame.

Viens! ne te lasse pas de mêler à ton âme La campagne, les bois, les ombrages charmants, Les larges clairs de lune au bord des flots dormants :

May Since full-flowering May calls us to the meadows, Come! Do not tire of mingling with your soul The countryside, the woods, the charming shade, Vast moonlights on the banks of sleeping waters.

Le sentier qui finit où le chemin commence.

Et l'air, et le printemps et l'horizon immense.

L'horizon que ce monde attache humble et joyeux, Comme une lèvre au bas de la robe des cieux.

The path which ends where the road begins, And the air and the springtime, the immense horizon, The horizon which this world presses, humble and joyous, Like a lip to the hem of heaven’s robe.

Viens, et que le regard des pudiques étoiles, Qui tombe sur la terre à travers tant de voiles.

Que l'arbre pénétré de parfum et de chants.

Que le souffle embrasé de midi dans les champs;

Come, and let the glance of the bashful stars, Which falls on earth through so many veils, Let the tree impregnated with perfumes and songs, Let the breeze embraced by noon in the fields;

Et l'ombre et le soleil, et l'onde, et la verdure, Et le rayonnement de toute la nature,

And the shadow and the sun, and the wave, and the greenness, And the glow of all nature

Fassent épanouir, comme une double fleur, La beauté sur ton front et l'amour dans ton cœur!

Cause to bloom like a double flower, The beauty of your face and the love in your heart.

Early in the Morning The development of the art song in the nineteenth century can be attributed to the rise of great poets. Rich in expression and imagery, poems improved in quality and maturity. It was not long before poetry and music united to produce the art song, which existed as an established music form by the end of the nineteenth century. “Early in the Morning” is a twentieth-century art song that exemplifies how the unique blend between poetry and music can create a single entity. Written for voice and piano, “Early in the Morning” sets Robert Hillyer’s nostalgic poem to dreamlike music composed by Ned Rorem, a leading American composer of art songs. This piece paints a far-off picture of a lovely summer morning spent outside at a café. The poem describes sights and smells of the morning through the perspective of the narrator. Visual imagery and floating accompaniment set the scene, inviting listeners to escape to the beauty of the wistful moment.

Early in the morning Of a lovely summer day, As they lowered the bright awning At the outdoor cafe, I was breakfasting on croissants And cafe au lait Under greenery like scenery, Rue François Premier.

They were hosing the hot pavement With a dash of flashing spray And a smell of summer showers When the dust is drenched away.

Under greenery like scenery, Rue François Premier, I was twenty and a lover And in Paradise to stay, Very early in the morning Of a lovely summer day.

The Monk and His Cat Samuel Barber, one of the most celebrated American composers of the twentieth century, was most recognized for his effortless melodies, challenging rhythmic structures, and aesthetic appeal. Born into a distinguished Irish-American family, he found great interest in Irish literature and poetry. One of Barber’s most successful and performed song cycles, Hermit Songs, Op. 29, includes texts written by anonymous Irish monks, providing windows into their various lives. Barber discovered the texts during his trip to Ireland in 1952. “The Monk and His Cat” is the eighth of ten songs in the cycle. A whimsical melody intertwines with tricky asymmetrical rhythms and a flexible treatment of meter groups. Ascending dissonant eighth notes are a characteristic motif that recurs throughout the piece, resembling cat paws walking across the piano keys. “The Monk and His Cat” contrasts playful moments and sophisticated thoughts using the expressive qualities of the piano and the human voice.

Pangur, white Pangur, How happy we are Alone together, Scholar and cat.

Each has his own work to do daily; For you it is hunting, for me, study.

Your shining eye watches the wall; My feeble eye is fixed on a book.

You rejoice when your claws entrap a mouse; I rejoice when my mind fathoms a problem.

Pleased with his own art Neither hinders the other; Thus we live ever Without tedium and envy.

Pangur, white Pangur, How happy we are, Alone together, Scholar and cat.

The Secret of Happiness The heartwarming Cinderella story of the musical Daddy Long Legs follows an orphaned young woman, Jerusha, and her mysterious benefactor, nicknamed “Daddy Long Legs,” who decides to anonymously fund Jerusha’s college education so she can become an author. The only condition of the arrangement from Daddy Long Legs requires Jerusha to write letters to him reporting her progress and impressions of college, of which he will never reciprocate. Despite never receiving a letter back from Daddy Long Legs, Jerusha grows fond of her benefactor and confides in his “older” and wiser being. Through the generosity of Daddy Long Legs, Jerusha matures in knowledge, relationships, and purpose. “The Secret of Happiness” exposes Jerusha’s determination to discover her true meaning of happiness, which she ultimately proclaims is to live in the present. The repetitive melodic line and guitar accompaniment are driven by the inspiring text. This uplifting song encourages listeners to reflect and relate with Jerusha about the perception of finding true happiness.

I've discovered, the secret of happiness is, Learning how to glide I've discovered, the secret of happiness is, Just enjoy the ride...

Don't let your journey be tainted by pride and...

I've discovered, the secret of happiness is, Not to mourn the past I've discovered, the secret of happiness is, Not to run too fast!

You can still beat them by coming in last cause, The secret, the secret of happiness is…

I've discovered, the secret of happiness is, Not to be afraid I've discovered, the secret of happiness is, All illusions fade!

Don't fear the future, you'll just be delayed cause, The secret, the secret of happiness is, Living in the now, Living in the time it takes to blink, I think, is how, We're meant to be living...

I've discovered, the secret of happiness is, Following my will...

I've discovered, the secret of happiness is, Though we can run that hill, Happiness comes when we learn to be still, and, The secret, the secret of happiness is...

The secret of happiness is clear, The secret of happiness is near, The secret of happiness is here...

Evermore The albums Dog Train and Philadelphia Chickens, kids CDs with rather goofy original music organized by Sandra Boynton, were the albums of choice for my family’s long summer road trips. Crammed into our minivan for hours on end, the six of us grew pretty familiar with the lyrics of all the songs. A sweet song with a beautiful message, “Evermore,” sung by Alison Krauss, was one of our favorites from Dog Train. This hidden gem relies on the lyrics to convey its meaning: the comfort found in the unwavering presence of love, applicable to any situation, despite significant changes in life. Even more so, this song holds a heightened sentimental value to my dad and I, as this was the song we performed for my school’s talent show when I was in fourth grade. In many ways, “Evermore” is the song that began my love for music (and the debut of my dad and I’s band, “The Geezer and The Girl”). Eleven years later, here we are performing it as the conclusion to my undergraduate voice recital.

The forests of April awaken from sleep And flowers unfold through the snow And the wind rushes high and the river runs deep And it sings what you already know Evermore I will love you Evermore I will stay Ever right here to hold you Never so far away And though I know sometimes you go To find your way alone Evermore I will love you You are ever my own Though nothing’s as certain as seasons and time And nothing will be as before Still every way and always, it’s certain that I’m With you forever and evermore