FRANCHESKA LUGO
in collaboration with Dr. Jeong Eun Lee, piano SOPRANO
A pretty night with A Senior Recital
Saturday, April 19, 2025
UTSA Recital Hall
7:30 PM Works by: Obradors, Chausson, Schubert, Puccini, & more
The University of Texas at San Antonio School of Music presents Distinction Recital
Saturday, April 19th, 2025
7:30 PM UTSA Recital Hall
Program
Francheska Lugo, piano
Dr. Jeong-Eun Lee, piano
“Meine Seele hört im Sehen” from Neun deutsche Arien
Marissa Knopf, flute
George Frideric Handel (1685-1759)
Die Forelle Ständchen
Sept mélodies, Op 2
Sérénade italienne
Les Papillons
Nanny
Après un rêve
“O mio babbino caro” from Gianni Schicci
Brief intermission
Franz Schubert 797-1828)
Ernest Chausson (1855-1899)
Gabriel Fauré (1845-1924)
Giacomo Puccini (1858-1924)
Estrellita
Canciones Clásicas Españolas, Vol.1
El majo celoso
Con amores, la mi madre
Chiquitita la novia
Love Let the Wind Cry…How I Adore Thee
i carry your heart
Manuel Ponce (1882-1948)
Fernando Obradors (1897-1945)
Undine Smith Moore (1904-1989)
John Duke (1899-1984)
“Ain’t it a pretty night?” from Susannah Carlisle Floyd (1926-2021)
Francheska Lugo is a student of Prof Crystal Jarrell Johnson
Meine
Seele hört im Sehen
George Frideric Handel was a Baroque composer known for his dramatic oratorios, operas, and sacred music, but he also wrote a number of beautiful secular songs Meine Seele hört im Sehen (“My soul hears in seeing”) is one of his German arias, written during his time in Italy and later published in a collection titled Neun deutsche Arien (“Nine German Arias”) The text, by Barthold Heinrich Brockes, is filled with vivid imagery, describing how the soul can sense the divine through the beauty of nature The accompaniment, piano and flute for this performance, provides a light, dancing texture that brings the poetry to life This piece shows a more intimate, reflective side of Handel’s writing, highlighting his sensitivity to both language and expression
Meine Seele hört im Sehen, Wie, den Schöpfer zu erhöhen, Alles jauchzet, alles lacht Höret nur, des erblühnden
Frühlings Pracht
Die Forelle
Ist die Sprache der Natur, Die uns deutlich durchs Gesicht, Allenthalben mit uns spricht.
My soul hears by sight, how, in order to exalt the Creator, everything cheers, everything laughs Hear now, the blooming Spring's splendour is the language of nature, that distinctly through the face, speaks to us everywhere.
Translation by Hayden Muhl
Franz Schubert was an Austrian composer who is greatly celebrated for his lieder, which skillfully combine lyrical melodies with emotional depth. Die Forelle, “The Trout”, composed in 1817, is one of his most lively and well-loved songs. The piece tells the story of a trout swimming in a stream, unaware that a fisherman is trying to catch it. The music reflects the playful and carefree nature of the trout with a light, bubbly piano accompaniment that mimics the movement of the water, while the vocal line is bright and energetic. Schubert’s talent for creating vivid images through music is evident here, as the rapid piano passages capture the trout’s swift movements, and the melody itself mirrors the natural flow of the water. Though lighthearted, the song also carries a subtle sense of tension, as the trout’s innocence contrasts with the looming threat of the fisherman Die Forelle showcases Schubert’s ability to turn a simple story into a charming, expressive musical moment
In einem Bächlein helle,
Da schoß in froher Eil'
Die launische Forelle
Vorüber wie ein Pfeil.
Ich stand an dem Gestade
Und sah in süßer Ruh
Des muntern Fischleins Bade
Im klaren Bächlein zu.
In a limpid brook the capricious trout in joyous haste darted by like an arrow. I stood on the bank in blissful peace, watching the lively fish swim in the clear brook. (cont.)
Ein Fischer mit der Rute
Wohl an dem Ufer stand,
Und sah's mit kaltem Blute, Wie sich das Fischlein wand So lang dem Wasser Helle, So dacht ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht
Doch endlich ward dem Diebe
Die Zeit zu lang Er macht
Das Bächlein tückisch trübe, Und eh ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrogene an.
An angler with his rod stood on the bank cold-bloodedly watching the fish’s contortions
As long as the water is clear, I thought, he won’t catch the trout with his rod
But at length the thief grew impatient Cunningly he made the brook cloudy, and in an instant his rod quivered, and the fish struggled on it
And I, my blood boiling, looked on at the cheated creature.
Translation by Hayden Muhl Ständchen
Schubert’s ability to blend beautiful melodies with deep emotional expression is what makes his music so famously alluring Ständchen is one of Schubert’s most famous pieces, written in 1826 and set to a poem by Ludwig Rellstab
In this piece, the speaker serenades his beloved, asking her to join him under the peaceful, moonlit sky The melody flows effortlessly, with Schubert’s trademark lyrical style, while the piano accompaniment reflects the quiet beauty of the night The song moves between hope and yearning, capturing the delicate emotions of longing and love Schubert’s music, though often simple in its approach, speaks to universal feelings and continues to resonate deeply with audiences today
Leise flehen meine Lieder
Durch die Nacht zu Dir;
In den stillen Hain hernieder, Liebchen, komm’ zu mir!
Flüsternd schlanke Wipfel rauschen
In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht
Hörst die Nachtigallen schlagen?
Ach! sie flehen Dich, Mit der Töne süssen Klagen
Flehen sie für mich
Sie verstehn des Busens Sehnen
Kennen Liebesschmerz,
Rühren mit den Silbertönen
Jedes weiche Herz
Softly my songs plead through the night to you; down into the silent grove, beloved, come to me!
Slender treetops whisper and rustle in the moonlight; my darling, do not fear that the hostile betrayer will overhear us
Do you not hear the nightingales call?
Ah, they are imploring you; with their sweet, plaintive songs they are imploring for me
They understand the heart’s yearning, they know the pain of love; with their silvery notes they touch every tender heart (cont.)
Lass auch Dir die Brust bewegen, Liebchen, höre mich!
Bebend harr’ ich Dir entgegen!
Komm’, beglücke mich!
Sept mélodies, Op. 2
Let your heart, too, be moved, beloved, hear me!
Trembling, I await you! Come, make me happy!
Translation by Richard Wigmore
Ernest Chausson was a French Romantic composer known for his richly expressive harmonies and lyrical style
Composed in 1887, Sept mélodies is a song cycle that showcases Chausson’s emotive range, blending elegant French lyricism and early impressionistic color across pieces that move from the dreamy romance of Sérénade italienne, to the playful charm of Les papillons, and the painful grief of Nanny.
Sérénade italienne is a beautiful example of Chausson’s ability to blend French sophistication with a touch of Italian charm. This piece captures the romantic spirit of a serenade, with its sweeping melody and rich orchestral accompaniment. The song’s gentle rhythm evokes the warmth and beauty of an Italian evening, while the vocal line carries a sense of longing and passion.
Les papillons (“The Butterflies”), is light and playful, with a fluttering piano accompaniment that mimics the flight of butterflies, creating an airy, almost whimsical atmosphere The vocal line is equally fluid, dancing along with the piano and evoking a sense of freedom and joy The text, set to a poem by Leconte de Lisle, reflects the fleeting nature of life and love, much like the delicate, fleeting nature of butterflies
Unlike the playful Les papillons, Nanny is more introspective, capturing a sense of quiet longing and nostalgia This piece is also based on a poem by Leconte de Lisle and tells the story of grief through the lens of nature as a companion to sorrow The music reflects this theme of yearning through its gentle, flowing melody and lush, rich harmonies Chausson’s careful use of dynamics and phrasing adds emotional depth to the piece, and the piano accompaniment is both supportive and evocative, enhancing the intimate, wistful atmosphere
Sérénade italienne
Partons en barque sur la mer
Pour passer la nuit aux étoiles; Vois, il souffle juste assez d'air
Pour enfler la toile des voiles
Le vieux pêcheur italien
Et ses deux fils qui nous conduisent Écoutent, mais n'entendent rien
Aux mots que nos bouches se disent
Sur la mer calme et sombre, vois:
Nous pouvons échanger nos âmes, Et nul ne comprendra nos voix
Let's go out in a boat on the sea to spend the night under the stars Look, it's blowing just enough breeze to swell the canvas of the sails
The old Italian fisherman and his two sons, who sail us out, hear but understand nothing of the words we say to each other
Que la it l i l t les lames
On the calm dark sea, look! we can exchange our souls, and our voices will not be understood except by the night, the sky and the waves
Translation by Peter Low
Les Papillons
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
Nanny
Bois chers aux ramiers, pleurez, doux feuillages, Et toi, source vive, et vous, frais sentiers; Pleurez, ô bruyères sauvages, Buissons de houx et d'églantiers.
Printemps, roi fleuri de la verte année, O jeune dieu, pleure! Été mûrissant, Coupe ta tresse couronnée; Et pleure, Automne rougissant
L'angoisse d'aimer brise un cœur fidèle
Terre et ciel, pleurez: oh! que je l'aimais! Cher pays, ne parle plus d'elle: Nanny ne reviendra jamais
Après un rêv
Snow-coloured butterflies swarm over the sea; beautiful white butterflies, when might 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
*Bayadère refers to a female dancer, often from India
Translation by Richard Stokes
Woods, dear to the doves, weep, soft leaves, and you, lively spring, and you, cool paths; weep, o wild heathers, holly and sweet-briar bushes.
Spring, king covered in the flowers of the green year, o young god, weep! Ripening summer, Cut your crowned tress; and weep, reddening Autumn
The anguish of loving breaks a faithful heart Earth and sky, weep: oh, how I loved her! Dear country , do not speak of her again: Nanny will never return
Translation by Christopher Goldsack
Gabriel Fauré was a French composer, organist, and teacher whose music bridges the Romantic and early modern eras Known for his elegant melodies and subtle harmonies, Fauré greatly influenced the development of French art song, or mélodie “Après un rêve” (“After a Dream”) is one of his most famous and frequently performed songs, composed around 1877 The piece describes a dream in which the narrator escapes with a lover into a heavenly world, only to wake up to the sorrow of reality. With its soaring vocal line and rich, expressive piano accompaniment, the song captures both the beauty of the dream and the aching sadness of waking. The piece’s simplicity and charm lie in its subtle dynamics and gentle phrasing, making Après un rêve a deeply expressive and evocative work that continues to resonate with listeners.
(cont.)
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage,
Tes yeux étaient plus doux, ta voix pure et sonore,
Tu rayonnais comme un ciel éclairé par l’aurore;
Tu m’appelais et je quittais la terre
Pour m’enfuir avec toi vers la lumière,
Les cieux pour nous entr’ouvraient leurs nues,
Splendeurs inconnues, lueurs divines entrevues
Hélas! hélas, triste réveil des songes, Je t’appelle, ô nuit, rends-moi tes mensonges;
Reviens, reviens, radieuse,
Reviens, ô nuit mystérieuse!
O mio babbino caro
In sleep made sweet by a vision of you I dreamed of happiness, fervent illusion, Your eyes were softer, your voice pure and ringing, You shone like a sky that was lit by the dawn;
You called me and I departed the earth
To flee with you toward the light, The heavens parted their clouds for us, We glimpsed unknown splendours, celestial fires
Alas, alas, sad awakening from dreams!
I summon you, O night, give me back your delusions; Return, return in radiance, Return, O mysterious night!
Translation by Richard Stokes
Giacomo Puccini was one of the most celebrated Italian opera composers of the late Romantic era, known for his unforgettable melodies, lush orchestration, and emotionally driven characters “O mio babbino caro” (“Oh my dear papa”) is a soprano aria from his one-act opera Gianni Schicchi, composed in 1918 In this aria, the character Lauretta pleads with her father to let her marry the man she loves, threatening to throw herself into the river if he says no Despite its dramatic context, the aria is charming and sweet, showcasing Lauretta’s tenderness and youthful passion. Its flowing melody and heartfelt emotion have made it one of Puccini’s most beloved and frequently performed pieces.
O mio babbino caro
Mi piace, è bello, bello
Vo’ andare in Porta Rossa
A comperar l’anello!
Sì, sì, ci voglio andare!
E se l’amassi indarno,
Andrei sul Ponte Vecchio,
Ma per buttarmi in Arno!
Mi struggo e mi tormento!
O Dio, vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!
Oh my dear papa
I like him, he is so handsome
I want to go to Porta Rossa
To buy the ring!
Yes, yes, I want to go there!
And if my love were in vain, I would go to the Ponte Vecchio
And throw myself in the Arno!
I am pining, I am tormented!
Oh God, I would want to die!
Father, have pity, have pity!
Father, have pity, have pity!
Translation by Classic FM
Estrellita
Manuel Ponce was a Mexican composer, pianist, and music educator who played a vital role in shaping modern Mexican classical music Often called the “father of Mexican musical nationalism,” Ponce masterfully blended European Romanticism with traditional Mexican folk styles Composed in 1912, Estrellita (“Little Star”) is one of his most beloved works. Written in a tender, romantic style, the piece expresses deep yearning through its soaring vocal line and rich harmonic accompaniment. The singer addresses the estrellita high above, saying she will die without the love of her beloved and pleads for the star to come down and tell her if he loves her, even just a little.
I dedicate this piece to my late aunt, Amelia Treviño, whose love and support were a monumental influence on my passion for music.
Estrellita del lejano cielo, que miras mi dolor, que sabes mi sufrir, baja y dime si me quiere un poco porque yo no puedo sin su amor vivir
Tú eres estrella, mi faro de amor, tú sabes que pronto he de morir
Baja y dime si me quiere un poco porque yo no puedo sin su amor vivir
Canciones Clásicas Españolas, Vol.1
Little star from the distant sky, That watches my pain, That knows my suffering, Come down and tell me if you like me a little
Because I can't live without your love
You are, Little star, my beacon of love, You know that I will soon die
Come down and tell me if you like me a little
Because I can't live without your love
Translation by Valeriu Raut
Fernando Obradors was a Spanish composer best known for his contributions to the art song repertoire, particularly his settings of standard Spanish poetry. His most well-known song cycle, Canciones clásicas españolas, is a collection of Spanish art songs that draws on traditional folk texts and styles, blending classical vocal writing with the color and rhythm of Spanish popular music Across the cycle, Obradors showcases a wide emotional range from the dramatic and fiery El majo celoso to the tender, lullaby-like Con amores, la mi madre, and the playful spirit of Chiquitita la novia The cycle as a whole highlights Obradors’s skill in marrying expressive melody with vivid storytelling, capturing the essence of Spanish musical tradition in art songs
In El majo celoso (“The Jealous Suitor”), the speaker mocks a jealous lover, playfully teasing him for his possessiveness The music is vibrant and spirited, full of rhythmic energy and light humor The vocal line is expressive and colorful, while the accompaniment adds sparkle and drive with bold harmonies and crisp articulation
Con amores, la mi madre offers a gentle and reflective contrast to the livelier selections within this song cycle The text recalls a tender, almost dreamlike memory of a mother sending her child to bed with thoughts of love Obradors captures this intimate moment with a graceful, flowing vocal line and a subtly expressive accompaniment that adds warmth without overwhelming the simplicity of the melody
Chiquitita la novia paints a lively portrait of a young bride who, despite her small stature, is bursting with personalit and charm. The music mirrors this with quick, spirited rhythms, a light but expressive vocal line, and colorful piano accompaniment that captures both the humor and affection in the text. Obradors’s writing is full of character, balancing flirtation and fun with a touch of folk influence in both melody and rhythm. Chiquitita la novia is a brief but bright moment that adds variety and energy to the cycle, giving both singer and audience a chance to enjoy the charm of Spanish musical storytelling at its most playful.
El majo celoso
Del majo que me enamora
He aprendido la queja
Que una y mil veces suspira Noche tras noche en mi reja:
Lindezas, me muero
De amor loco y fiero
Y quisiera olvidarte
Mas quiero y no puedo!
Le han dicho que en la Pradera
Me han visto con un chispero
Desos de malla de seda
Y chupa de terciopelo
Majezas, te quiero,
No creas que muero
De amores perdida
Por ese chispero
Con amores la mi madre
Con amores, la mi madre,
Con amores me dormí;
Así dormida soñaba
Lo que el corazón velaba,
Con más bien que merecí.
Adormecióme el favor
Que amor me dió con amor;
Dió descanso a mi dolor
La fe con que le serví
Con amores, la mi madre,
Con amores me dormí!
Chiquitita la novia
Chiquitita la novia,
Chiquitito el novio,
Chiquitita la sala, Y el dormitorio,
Por eso yo quiero
Chiquitita la cama
Y el mosquitero
From the cutie that I am in love with I have learned the complaint
That one and a thousand times he sighs
Night after night at my window:
Beauties, I die
Of love crazy and fierce
And I wish I could forget you
But I want to and cannot!
They have told him that in the meadow
They have seen me with some nobody
Dressed in a silk shirt
And a jacket of velvet
Cutie, I love you
Don’t think that I am dying
Of lost love
For that lowlife
Translation by Lisette
Oropesa
With loves, my mother,
With loves I fell asleep;
That way asleep I dreamt
That which the heart safeguarded,
With more goodness than I deserved.
I was lulled to sleep with the kindness
That love gave me with love; It gave rest to my pain
The faith with which I served it
With loves, my mother,
With loves I feel asleep!
Translation by Lisette
Oropesa
Tiny the girlfriend,
Tiny the boyfriend,
Tiny the living room,
And the bedroom,
For that reason I want
For the bed to be tiny
As well as the mosquito net
Translation
by
Lisette Oropesa
Love Let the Wind Cry…How I Adore Thee
Undine Smith Moore was a pioneering African American composer, educator, and advocate for music rooted in both classical traditions and the Black experience. Often referred to as the “Dean of Black Women Composers,” she believed in music as a powerful tool for social change and emotional expression “Love Let the Wind Cry How I Adore Thee” is one of her most celebrated vocal works Inspired by a translation of a Greek poem by Sappho, this art song combines lyrical beauty with dramatic intensity Moore’s use of shifting tonality, expressive vocal lines, and rich piano textures brings the text to life in a deeply emotional and modern way expressing true adoration for another
Love let the wind cry
On the dark mountain, Bending the ash trees
And the tall hemlocks
With the great voice of Thunderous legions, How I adore thee.
Let the hoarse torrent
In the blue canyon, Murmuring mightily
Out of the gray mist
Of primal chaos
Cease not proclaiming How I adore thee
Let the long rhythm
Of crunching rollers, Breaking and bursting
On the white seaboard
Titan and tireless, Tell, while the world stands, How I adore thee
Love, let the clear call
Of the tree cricket, Frailest of creatures, Green as the young grass, Mark with his trilling Resonant bell-note, How I adore thee.
Let the glad lark-song
Over the meadow, That melting lyric
Of molten silver, Be for a signal
To listening mortals, How I adore thee
But, more than all sounds, Surer, serener, Fuller of passion
And exultation,
Let the hushed whisper
In thine own heart say, How I adore thee.
i carry your heart
John Duke was an American composer best known for his art songs, which reflect his deep love for poetry and his gift for setting English texts with sensitivity and nuance Duke believed in making classical music accessible through the beauty of the human voice and meaningful texts “i carry your heart” is one of his many settings of poetry by E E Cummings, whose unconventional syntax and heartfelt imagery celebrate deep, unconditional love Duke’s music enhances the poem’s intimacy and sincerity through warm harmonies and lyrical vocal lines, creating a piece that feels both personal and timeless This song offers the performer a chance to connect deeply with the text and share a moment of emotional vulnerability with the audience
i carry your heart with me(i carry it in my heart)i am never without it(anywhere i go you go,my dear;and whatever is done by only me is your doing,my darling) i fear no fate(for you are my fate,my sweet)i want no world(for beautiful you are my world,my true) and it’s you are whatever a moon has always meant and whatever a sun will always sing is you here is the deepest secret nobody knows (here is the root of the root and the bud of the bud and the sky of the sky of a tree called life;which grows higher than soul can hope or mind can hide) and this is the wonder that's keeping the stars apart i carry your heart(i carry it in my heart)
Ain’t it a pretty night?
Carlisle Floyd was an American composer and librettist, widely regarded as one of the founding figures of American opera His works often explore themes from the American South, blending classical operatic traditions with folk and spiritual influences “Ain’t it a Pretty Night” is an aria from Floyd’s 1955 opera Susannah, which tells the story of a young woman wrongfully accused of sinfulness by her conservative rural community In this captivating aria, Susannah gazes up at the night sky and dreams of a world beyond her small Tennessee town Her words express a deep longing for freedom, curiosity, and a life greater than the one she knows Floyd captures her youthful hope and vulnerability through sweeping vocal lines and a tender, lyrical accompaniment that mirrors the stillness and beauty of a Southern night Listen closely as the subtle musical foreshadowings of Susannah’s tragic fate lie within the gentle harmonies
Ain't it a pretty night!
The sky's so dark and velvet-like and it's all lit up with stars It's like a great big mirror reflectin' fireflies over a pond
Look at all them stars, Little Bat
The longer y'look the more y'see
The sky seems so heavy with stars that it might fall right down out of heaven and cover us all up in one big blanket of velvet all stitched with diamon's.
Ain't it a pretty night.
Just think, all those stars can all peep down an' see way beyond where we can: they can see way beyond them mountains to Nashville and Asheville and Knoxville
I wonder what it's like out there, out there beyond them mountains
Where the folks talk nice, an' the folks dress nice like y'see in the mail order catalogs
I aim to leave this valley some day An' find out for myself: to see all the tall buildin's and all the street lights an' to be one o'them folks myself
I wonder if I'd get lonesome fer the valley though, fer the sound of crickets an' the smell of pine straw, fer soft little rabbits an' bloomin' things an' the mountains turnin' gold in the fall.
But I could always come back if I got homesick fer the valley. So I'll leave it someday an' see fer myself. Someday I'll leave an' then I'll come back when I've seen what's beyond them mountains.
Ain't it a pretty night
The sky's so heavy with stars tonight
That it could fall right down out of heaven
An' cover us up, and cover us up, In one big blanket of velvet and diamon's
Mami & Anthony
Acknowledgments
I cannot thank you both enough for your unwavering support of my dream Mami, you have shown me what it means to be a strong, independent woman, and I will always value that You have been my rock through all the loss and uncertainty we’ve faced, and your strength has carried me more times than I can count Anthony, you make me proud to be your big sister You may not realize how much it means to me when you say you’re proud of me because I will always be just as proud, if not more, to be your sister In every timeline, in every universe, I hope we’re always written into each other’s story I love you both so much
Tia Meli
You are the reason I found my way to music. From every Selena song we belted together in your truck, to the concerts you unknowingly put on for the whole house during your showers, to every time you encouraged me to join choir, you single-handedly led me to music. Every note I sing and every student I teach will carry a piece of you. Though you are no longer here, you live on in every melody I sing and in the heart of my teaching. This recital is for you.
Professor Crystal Jarrell Johnson
Words are not enough to thank you for the wisdom, guidance, and support you’ve shared with me over the past four years You believed in me even when I struggled to believe in myself, and that trust has made all the difference I will carry the skills, confidence, and artistry you’ve helped me develop into every future musical endeavor Thank you for shaping me into the singer and musician I am today #CJSLAY
Dr. Yoojin Muhn
Dr Muhn, you are truly one of a kind I will forever be grateful for the humility, musicianship, and contagious joy that you bring to our choral program Your infectious love for music and people inspires me every day You often remind chamber singers that we are “planting the seeds” for future generations of UTSA choirs, but I believe the most valuable seed is the one you planted in my heart. 영원히감사합니다!
Dr. Jeong-Eun Lee
Thank you for being the incredibly talented, humble, and kind person that you are. This recital would not have been possible without your thoughtful coaching, unwavering support, and the beauty you bring to every note you play You are a dream collaborator, and I am incredibly grateful to have had the opportunity to learn from you and share this music together
Friends & Family
As I close this chapter in my musical journey, I want to thank the many friends and family members who have supported me along the way and traveled to San Antonio from all over Texas While I’d love to thank each of you by name, this program would quickly turn into a novel, and we all know no one has time for that Each of you has played a vital role in shaping not only the musician I’ve become but also the person I am today I am endlessly grateful for your love, encouragement, and presence in my life