Victoria Becker Senior Recital

From the studio of Dr. Susan Olson

Victoria Becker A S E N I O R R E C I T A L

SATURDAY APRIL 9TH 7:30PM UTSA Recital Hall Rob Mikulski, Piano Dr. Oswaldo Zapata, Trumpet

THIS RECITAL IS IN DEDICATION TO MY MOTHER, LEA. HAPPY BIRTHDAY

Let the Bright Seraphim

G E O R G E

F R I D E R I C

H A N D E L

( 1 6 8 5 - 1 7 5 9 )

George Frideric Handel was born in Halle, Brandenburg into a non-music family, though he showed talent as a musician at a young age. After receiving a law degree and spending time in Venice studying under influential composers, Handel became well-known as a German baroque composer who excelled in compositions of operas, oratorios, and instrumental works. Handel composed over 1000 da capo arias that took part in his operas and oratorios.

Handel’s Samson was premiered in 1743 and was (and continues to be) one of his most popular oratorios alongside Messiah. Samson is a three act oratorio and, while mostly performed as a concert, also has been performed as an opera on stage. Let the Bright Seraphim is performed at the very end of the Samson. It summons the seraphim and cherubim to hail Samson, the dead hero and his triumph over the Philistines. The trumpet replies back to the singer as a symbol of the seraphim replying back to the Isrealite woman.

Let the bright Seraphim in burning row their loud uplifted angel-trumpets blow.

Let the cherubic host, in tuneful choir, touch their immortal harps with golden wire.

Let the bright Seraphim in burning row their loud uplifted angel-trumpets blow.

Four Serious Songs J O H A N N E S

B R A H M S

( 1 8 3 3 - 1 8 9 7 )

Johannes Brahms was born in Hamburg, Germany and showed immense musical talent at the young age of seven. Brahms wrote more than 200 songs that were included in symphonies, chamber music, piano works, choral works, song cycles and song sets. Brahms was known throughout most of his career for his romantic style that played with ideas of Roma (gypsy folk music), and later for some light impressionism.

Brahms’ Four Serious Songs is a song cycle that was composed in 1896. Brahms had dealt with a lot of death in his life and in anticipation of one of his best friends' death, Clara Schumann, he wrote this song cycle. The text of these pieces come from the Luther Bible. The first three pieces are about oppression, death and transience of life while the last of the four pieces are about faith, hope, and charity. .

I I . I C H W A N D T E M I C H I I . S O I R E T U R N E D Ich wandte mich und sahe an alle, die Unrecht leiden unter der Sonne; Und siehe, da waren Tränen derer, Die Unrecht litten und hatten keinen Tröster, Und die ihnen Unrecht täten, waren zu mächtig, Daß sie keinen Tröster haben konnten.

Da lobte ich die Toten, die schon gestorben waren Mehr als die Lebendigen, die noch das Leben hatten; Und der noch nicht ist, ist besser, als alle beide, Und des Bösen nicht inne wird, das unter der Sonne geschieht.

So I returned, and considered all the oppressions that are done under the sun; and behold the tears of such as were oppressed, and they had no comforter; and on the side of their oppressors there was power; but they had no comforter.

Wherefore I praised the dead which are already dead more than the living which are yet alive.

Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun.

I V . W E N N I C H M I T M E N S C H E N U N D M I T E N G E L S Z U N G E N R E D E T E

I I V . T H O U G H I S P E A K W I T H T H E T O N G U E S O F M E N

Wenn ich mit Menschen - und mit Engelzungen redete, und hätte der Liebe nicht, so wär ich ein tönend Erz, oder eine klingende Schelle.

Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass or a tinkling cymbal.

Und wenn ich weissagen könnte und wüßte alle Geheimnisse und alle Erkenntnis, und hätte allen Glauben, also, daß ich Berge versetzte, und hätte der Liebe nicht, so wäre ich nichts.

And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing.

Und wenn ich alle meine Habe den Armen gäbe, und ließe meinen Leib brennen und hätte der Liebe nicht, so wäre mir's nichts nütze.

Wir sehen jetzt durch einen Spiegel in einem dunklen Wort, dann aber von Angesicht zu Angesichte.

Jetzt erkenne ich's stückweise; dann aber werde ichs erkennen, gleichwie ich erkannt bin.

Nun aber bleibet Glaube, Hoffnung, Liebe, diese drei; aber die Liebe ist die größeste unter ihnen.

And though I bestow all my goods to feed the poor, and though I give my body to be burned, it profiteth me nothing…

For now we see through glass, darkly; but then face to face: now I know in part, but then shall I know even as also I am known.

And now abideth faith, hope, charity, these three; but the greatest of these is charity.

Si, Mi Chiamano Mimì G I A C O M O

P U C C I N I

( 1 8 5 8 - 1 9 2 4 )

Giacomo Puccini was born in Tuscany, Italy following a family line of two centuries of musical directors. Puccini followed in his family shoes and became the organist at the Cathedral of San Martino in Lucca when he came of age. Puccini was inspired by Verdi’s opera, Aida and knew his passion was in opera. Puccini mostly wrote in the romantic style and some of his better known operas are La Bohème, Tosca, and Madama Butterfly. .

Si, Mi Chiamano Mimì is from the four act opera, La Bohème(1895). La Bohème is about four friends that are struggling financially in the early 1800's Paris, France.

Mimì introduces herself to Rodolfo in the first act with the song, Si, Mi Chiamano Mimì, and the two fall deeply in love, although Mimì did not tell Rodolfo that she is ill and ultimately cannot afford medication. After trying to sell their belongings for medicine, Mimì dies from her illness and Rodolfo is left weeping at her side. .

Si, Mi Chiamano Mimì G I A C O M O

Sì, Mi chiamano Mimì ma il mio nome è Lucia.

La storia mia è breve.

A tela o a seta ricamo in casa e fuori...

Son tranquilla e lieta ed è mio svago far gigli e rose.

Mi piaccion quelle cose che han sì dolce malìa, che parlano d'amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia...

Lei m'intende?

Mi chiamano Mimì, il perché non so.

Sola, mi fo il pranzo da me stessa.

Non vado sempre a messa, ma prego assai il Signore.

Vivo sola, soletta là in una bianca cameretta: guardo sui tetti e in cielo; ma quando vien lo sgelo il primo sole è mio il primo bacio dell'aprile è mio!

Germoglia in un vaso una rosa...

Foglia a foglia la spio!

Cosi gentile il profumo d'un fiore!

Ma i fior ch'io faccio, Ahimè! non hanno odore.

Altro di me non le saprei narrare.

Sono la sua vicina che la vien fuori d'ora a importunare.

P U C C I N I

( 1 8 5 8 - 1 9 2 4 )

Yes, they call me Mimi but my true name is Lucia.

My story is short.

A canvas or a silk I embroidery at home and abroad...

I am happy and at peace and my pastime is to make lilies and roses.

I love all things that have gentle sweet smells, that speak of love, of spring, of dreams and fanciful things, those things that have poetic names ...

Do you understand me?

They call me Mimi, I do not know why.

Alone, I make lunch by myself.

I do not go to church, but I pray a lot to the Lord.

I stay all alone there in a white room and look upon the roofs and the sky but when the thaw comes The first sun, like my first kiss, is mine!

Buds in a vase...

Leaf and leaf I spy!

That gentle perfume of a flower!

But the flowers that I make, Alas! no smell.

Other than telling you about me, I know nothing.

I am only your neighbor who comes out to bother you.

Chi il bel sogno di Doretta G I A C O M O

P U C C I N I

( 1 8 5 8 - 1 9 2 4 )

Puccini wrote La rondine, a three act opera, in 1917. This opera is about starcrossed lovers, Magda and Ruggero, that fall in love unexpectedly. After living a happy life it ended prematurely due to Magda's past. She leaves Ruggero to save him from her past. Magda is listening to the poet, Prunier, sing a ballad about a girl who rejects a king. While listening to him play, Magda finishes the song by adding a verse that tells about a girl that falls for a student. .

Chi il bel sogno di Doretta potè indovinar?

Il suo mister come mai come mai fini

Who could Doretta's beautiful dream ever guess?

Her mystery how come it's never how come it's never ending

Ahimè! un giorno uno studente in bocca la baciò e fu quel bacio rivelazione: fu la passione!

Alas! One day a student kisses her on the lips and it was such a kss revelation: It was passion!

Folle amore!

Folle ebbrezza!

Chi la sottil carezza d'un bacio così ardente mai ridir potrà?

Crazy love!

Crazy intoxication!

Who could this subtle carress of such flaming a kiss ever describe;

Ah! mio sogno!

Ah! mia vita!

Che importa la ricchezza se alfine è rifiorita la felicità!

O sogno d'or poter amar così!

Ah! my dream!

Ah! my life!

Who cares about riches if it finally flourishes happiness!

Oh golden dream to be able to love like this!

E R N E S T

C H A U S S O N

Hébé

( 1 8 5 5 - 1 8 9 9 )

After obtaining a law degree, Ernest Chausson entered into the Paris Conservatory and studied under Jules Massenet and César Frank. Along with his teachers, Chausson was largely influenced by Richard Wagner, resulting in a French operatic and sacred style. Chausson composed works for choral music, voice and orchestra, operas, and chamber music. .

Hébé was composed in 1882 and is from Greek origin. Louise Ackermann wrote the poem Hébé in 1863. The poem is about a divine cupbearer that comes to the gods and offers them the elixir of youth. There is a slight sense of intimacy between Hébé and the gods in some moments. Chausson uses Phrygian mode to evoke a mood of antiquity..

Les yeux baissés, rougissante et candide, Vers leur banquet quand Hébé s’avançait, Les dieux charmés tendaient leur coupe vide, Et de nectar I’enfant la remplissait.

Nous tous aussi, quand passe la jeunesse, Nous lui tendons notre coupe à l’envi.

Quel est le vin qu’y verse la déesse?

Nous l’ignorons, il enivre et ravit.

Ayant souri dans sa grâce immortelle, Hébé s’éloigne; on la rappelle en vain.

Longtemps encor sur la route éternelle, Notre œil en pleurs suit l’échanson divin.

When Hebe, guileless and with lowered gaze, Blushingly drew near their feast, The delighted gods proffered empty goblets Which the child replenished with nectar.

And we too, when youth fades, Vie in proffering her our goblets.

What is the wine she dispenses?

We do not know; it elates and enraptures.

Having smiled with her immortal grace, Hebe goes on her way—you summon her in vain.

For a long time still on the eternal path, We follow the cup-bearer with weeping eyes.

Les Papillons

Les Papillons instantly begins with text-painting of fluttering butterflies with a quick, repetitive motif in the accompaniment. The poem, written by Théophile Gautier, is about flying across valleys and forests to find the perfect rose to kiss. At the end of the poem the poet puts himself in the story saying that he would die happily to kiss his perfect flower.

Les papillons couleur de neige Volent par essaims sur la mer; Beaux papillons blancs, quand pourrai-je Prendre le bleu chemin de l’air?

Savez-vous, ô belle des belles, Ma bayadère aux yeux de jais, S’ils me pouvaient prêter leurs ailes, Dites, savez-vous où j’irais?

Sans prendre un seul baiser aux roses À travers vallons et forêts, J’irais à vos lèvres mi-closes, Fleur de mon âme, et j’y mourrais.

Snow-coloured butterflies swarm over the sea; beautiful white butterflies, when might I take to the azure path of the air?

Do you know, O beauty of beauties, my jet-eyed bayadère— were they to lend me their wings, do you know where I would go?

Without kissing a single rose, across valleys and forests I’d fly to your half-closed lips, flower of my soul, and there would die.

Le temps des lilas Le temps des lilas was composed in 1886. The poem was written by Maurice Boucher, a close friend of Chaussons’, in 1876. The poem emphasized change, loss and nostalgia of things past. This voice and piano are thought to be one of Chausson’s most famous mélodies. He used the piece in an orchestral song cycle called Poème de l’amour et de la mer, Opus 19.

Le temps des lilas et le temps des roses Ne reviendra plus à ce printemps-ci; Le temps des lilas et le temps des roses Est passé, le temps des œillets aussi.

Le vent a changé, les cieux sont moroses, Et nous n’irons plus courir, et cueillir Les lilas en fleur et les belles roses; Le printemps est triste et ne peut fleurir.

Oh! joyeux et doux printemps de l’année, Qui vins, l’an passé, nous ensoleiller, Notre fleur d’amour est si bien fanée, Las! Que ton baiser ne peut l’éveiller!

Et toi, que fais-tu?

Pas de fleurs écloses, Point de gai soleil ni d’ombrages frais; Le temps des lilas et le temps des roses Avec notre amour est mort à jamais.

The time for lilac and the time for roses Will return no more this spring; The time for lilac and the time for roses Is past, the time for carnations too.

The wind has changed, the skies are sullen, And no longer shall we roam to gather The flowering lilac and beautiful rose; The spring is sad and cannot bloom.

Oh sweet and joyous springtime That came last year to bathe us in sun, Our flower of love is so far faded, That your kiss, alas, cannot rouse it!

And what do you do? No blossoming flowers, No bright sun, and no cool shade; The time for lilac and the time for roses With our love has perished for evermore.

Six Songs for High Voices N E D

R O R E M

( 1 9 2 3 - P R E S E N T )

Ned Rorem has made a huge impact on American art songs. New York Times Magazine has even called him “the world’s best composer of art songs”. Rorem has won many awards, including the Pulitzer Prize and a Grammy. Beyond art song, Rorem has composed three symphonies, several orchestral works, four piano concertos, chamber works, and ten operas.

Ned Rorem’s Six Songs for High Voices is a song cycle that was composed in 1953.

Rorem uses a number of poets in this song cycle including Robert Browning and John Dryden. Six Songs for High Voices offers an entertaining duet between the voice and piano that interplay and complement each other at the same time.

I N A G O N D O L A ( B R O W N I N G )

R O N D E L A Y

( D R Y D E N )

The moth's kiss, first!

Kiss me as if you made believe You were not sure, this eve, How my face, your flower, had pursed Its petals up; so, here and there You brush it, till I grow aware Who wants me, and wide open I burst.

Chloe found Amyntas lying, All in tears, upon the plain, Sighing to himself, and crying, Wretched I, to love in vain!

Kiss me, dear, before my dying; Kiss me once, and ease my pain.

The bee's kiss, now!

Kiss me as if you enter'd gay My heart at some noonday, A bud that dares not disallow The claim, so all is rendered up, And passively its shattered cup Over your head to sleep I bow.

Sighing to himself, and crying, Wretched I, to love in vain!

Ever scorning, and denying To reward your faithful swain.

Kiss me, dear, before my dying; Kiss me once, and ease my pain.

S O N G F O R ( D R Y D E N )

A

G I R L

Young I am, and yet unskill'd How to make a lover yield; How to keep, or how to gain, When to love, and when to feign.

Take me, take me, some of you, While I yet am young and true; Ere I can my soul disguise, Heave my breasts, and roll my eyes.

Stay not till I learn the way, How to lie, and to betray: He that has me first, is blest, For I may deceive the rest.

Could I find a blooming youth, Full of love, and full of truth, Brisk, and of a jaunty mien, I should long to be fifteen.

Ever scorning, and denying To reward your faithful swain.--Chloe, laughing at his crying, Told him, that he loved in vain.

Kiss me, dear, before my dying; Kiss me once, and ease my pain.

Chloe, laughing at his crying, Told him, that he loved in vain; But, repenting, and complying, When he kissed, she kissed again: Kissed him up, before his dying; Kissed him up, and eased his pain.

P I P P A ’ S S O N G ( B R O W N I N G )

The year's at the spring, And day's at the morn; Morning's at seven; The hill-side's dew-pearl'd; The lark's on the wing; The snail's on the thorn; God's in His heaven, All's right with the world!

Acknowledgements

D R .

O L S O N

This has been the greatest journey of my life and I am so grateful to have had you by my side, guiding me through for every second of it. I will never be able to thank you enough for all of the support and knowledge that you gave me in and out of our lessons. You gave me a family when mine was so far away, so now you're stuck with me forever!

I love you so Dr. Olson.

B O B E R T

ROB! Being able to make beautiful music with you for the last four years has been the highlight of my college experience. You’ve seen the breakthroughs and the breakdowns, and through it all you’ve stuck with me... even when I skip a whole verse and you have to improvise. I hope to keep making beautiful music with you outside of this because I never feel more alive than when we get to absolutely kill it on stage.

M O M & D A D I know that this has been an emotional rollercoaster for all of us but I could not have made it this far without your support. You believed in me when I did not and you pushed me to be the best version of myself. There are no words to express my graditude towards you but I will continue to give back all of the love that you smother me with. (; I love you from the bottom of my heart.

D A D

&

A M Y

Your support and love have helped push me along this long journey and I am so happy to get to show you that it was all worth it. I feel so lucky to have parents like you that even from miles and miles away I can still feel your love. Thank you for everything you’ve done for me. I love you to the moon and back.

A N N A

You are my rock, my soulmate, my best friend, my sister, and I am the absolute luckiest person in the world to have you here by my side. I LITERALLY could not have made it this far without you and I will be forever grateful for everything you have and will do for me. I can’t wait to see what is in store for us but I know we’ll grow old together and still be singing loud and proud with our wobbly voices.

I love you forever.

F A M I L Y

&

F R I E N D S

Miko, Tom, Andrew, cutter, Nana, Pa, brothers…. There are so many people that I want to thank that I could write an essay… and we all know how much I love writing.

To keep it short and sweet though; I really am so grateful for all that you have done for me and I’m so glad to share what I love with all of you. I am so excited to continue this journey with all of you by my side. I love you all so much.