The Senior Half Recitals of Alyssa Downing and Erin Dixon

Friday, November 22 2019, 4pm

Forbes Center for the Performing Arts

Süsse Stille, sanfte Quelle G.F. Handel

(1665-1759)

Süsse Stille was written by the famous Austrian composer, Georg Friedrich Handel.
Handel is known for all genres of music including, instrumental, sacred, and secular. This
Da Capo Aria is a voice and flute duet that had sweeping melodic lines that mimic and
echo each other. The poem is this piece was written by Barthold Heinrich Brockes. Many
of his poems were set by famous composers, and he is known as the first German to
cultivate nature poetry. The text is from a set named Earthly Pleasures in God. These
poems describe natural phenomena as aspects of God’s perfectly ordered universe. The
song goes through the emotions of beauty, hope, and peace. By the end of the B section,
the narrator is at peace with having eternal life with God in heaven.

Süsse Stille, sanfte Quelle ruhiger Sweet silence, gentle spring of peaceful
Gelassenheit! composure!
Selbst die Seele wird erfreut Even my soul will be pleased
Wenn ich mir nach dieser Zeit When, after a time
Arbeitsamer Eitelkeit Of diligent vanity
Jene Ruh vor Augen stelle I imagine that peace before my eyes
Die uns ewig ist bereit. That has been eternally prepared for us

Seguidilla Georges Bizet

from Carmen (1838-1875)

Georges Bizet began rehearsal for Carmen in October of 1874 and first performed the
opera-comique in March, just 4 months before Bizet’s sudden death. In this aria Carmen,
a gypsy, has just been arrested by Don José after attacking a woman with a knife. While
she is in prison alone with who begins as a respectable soldier, she sings her Seguidilla
to seduce him into letting her go. Mesmerized by her beauty and passion, he lets her go
thinking she is now his new lover. She of course runs away full of laughter.

Pres des remparts de Seville, Near the walls of Seville,

Chez mon ami, Lillas Pastia At my friend’s place, Lillas Pastia
J'irai danser la Seguedille I will dance the Seguedille
Et boire du Manzanilla. And drink Manzanilla.
J'irai chez mon ami Lillas Pastia. At the house of Lillas Pastia.

Oui, mais toute seule on s'ennuie, Yes, all alone one can get bored,
Et les vrais plaisirs sont a deux; And the real pleasures in life are for two;
Donc, pour me tenir compagnie, So, to keep my company,
 J'emmenerai mon amoureux! I’ll take lover!
Mon amoureux, il est au diable, My lover… he is the devil,
Je l'ai mis a la porte hier! I did away with him yesterday!

Mon pauvre coeur tres consolable, My poor heart is very consolable,

Mon coeur est libre comme l'air! My heart is free as a bird!
J'ai les galants a la douzaine, I have suitors by the dozen,
Mais ils ne sont pas a mon gre. But none of them are to my liking.
Voici la fin de la semaine; This is the end of the week
Qui veut m'aimer? Je l'aimerai! Who will love me? I will love him!

Qui veut mon ame? Elle est a prendre. Who wants my soul? It’s up for the taking.
Vous arrivez au bon moment! You’ve arrived at the right moment!
J'ai guere le temps d'attendre, I have little time to wait,
Car avec mon nouvel amant, Because with my new lover…

Pres des remparts de Seville, Near the walls of Seville,

Chez mon ami, Lillas Pastia! At my friend’s place, Lillas Pastia
Nous danserons la Seguedille We will dance the Seguedille
Et boire du Manzanilla. And drink Manzanilla.

Sweeter Than Roses Henry Purcell

(1659-1695)

Henry Purcell was an English composer known for his unique form of English Baroque
music. He was born in and spent his entire life in Westminster. Not much is known about
the details of Purcell’s life, but it was said he started composing at the age of nine. He
was an organist at Westminster Abbey, and his compositions popularized in the last 15
years of his life. Purcell has written more than 100 secular songs and around 40 duets.
He incorporates recitative and arias similar to an Italian solo cantata, as well as a ground
bass. Sweeter Than Roses has a recitative like quality I the beginning. In the B section
repeated chord progressions highlight the bass line.

Habañera Georges Bizet

from Carmen (1838-1875)

Habañera, most famous for being Carmen’s entrance aria, is set to a dance-like Havana
melody and features Carmen teasing soldiers in the Seville town square by describing
love’s wild nature. This aria is especially playful because Carmen truly has no intention
of choosing just one lover at this time. She, of course, is a gypsy and prefers the
glamourous lifestyle of rebellion, lust, and freedom (foreshadowing!). Bizet’s unique
choice to only have Carmen sing when the accompanying music is within a dance form
communicates Carmen’s slow dance towards death. It is within this aria that we first see
Carmen’s true wild and spicy character light up the stage and begin her story of
obsession, love, and jealousy.
L'amour est un oiseau rebelle Love is a rebellious bird
Que nul ne peut apprivoiser, That nobody can tame,
Et c'est bien en vain qu'on l'appelle, And you call him quite in vain
S'il lui convient de refuser. If it suits him not to come
Rien n'y fait, menace ou prière, Nothing helps, neither threat nor prayer.
L'un parle bien, l'autre se tait, One man speaks well, the other’s silent,
Et c'est l'autre que je préfère, And it’s the other that I prefer.
Il n'a rien dit, mais il me plaît. He says nothing, therefore he pleases me.

L'amour! L'amour! L'amour! L'amour! Love! Love! Love! Love!

L'amour est enfant de bohème, Love is a gypsy’s child,

Il n'a jamais, jamais connu de loi, It has never, ever, known the law;
Si tu ne m'aimes pas, je t'aime, Love me not, then I love you;
Si je t'aime, prends garde à toi! If I love you, you’d best beware!
Si tu ne m’aimes pas, Love me not,
Si tu ne m'aimes pas, je t'aime! Love me not, then I love you
Mais si je t'aime, si je t'aime, But if I love you
Prends garde à toi! Then you better beware!

L'oiseau que tu croyais surprendre The bird you thought you caught
Battit de l'aile et s'envola, Beat its wings and flew away
L'amour est loin, tu peux l'attendre; Love stays a way, you wait and wait;
Tu ne l'attends plus, il est là! And when you least expect it, there it is!
Tout autour de toi, vite, vite, All around you turns faster and faster
Il vient, s'en va, puis il revient, It comes and goes, then returns
Tu crois le tenir, il t'évite, You think you have it and then it flees
Tu crois l'éviter, il te tient! You think you’re free and it won’t let go!

L'amour! L'amour! L'amour! L'amour! Love! Love! Love! Love!

L'amour est enfant de bohème, Love is a gypsy’s child,

Il n'a jamais, jamais connu de loi, It has never, ever, known the law;
Si tu ne m'aimes pas, je t'aime, Love me not, then I love you;
Si je t'aime, prends garde à toi! If I love you, you’d best beware!
Si tu ne m’aimes pas, Love me not,
Si tu ne m'aimes pas, je t'aime! Love me not, then I love you
Mais si je t'aime, si je t'aime, But if I love you
Prends garde à toi! Then you better beware!
In Uomini, in soldati W.A. Mozart
from Cosi fan tutte (1756-1791)

This aria is from Mozart’s Cosi fan tutte. It takes place in Act one Scene 2. The character
I portray in a witty maid named Despina. She serves two sisters whose fiancés just went
overseas, called to war. She finds the sisters wallowing in self-pity because their fiancés
are gone. Despina mocks the sisters and advises them to take on new lovers while their
men are away. She explains that men are always unfaithful, so why should women be
expected not to cheat? Despina has a cynical view on relationships and love, and
describes men as creatures that use women for pleasure. After listening to Despina, the
sisters decide there is no harm in innocent flirting and choose to pursue new lovers.

In uomini, in soldati, sperare fedelta? In men, in soldiers, you hope for loyalty?
Non vi fate sentir, per carita! Do not be heard, even for charity!
Di pasta simile son tutti quanti, Cut from the same cloth, every one of them,
Le fronde mobili, l'aure incostanti The leaves, furniture, and fickle breezes
Han piu degli uomini stabilita! are more stable than men!
Mentite lagrime, fallaci sguardi False tears, deceptive looks,
Voci ingannevoli, vezzi bugiardi Misleading voices, charming lies
Son le primarie lor qualita! Are their primary qualities!
In noi non amano che il lor diletto In that we dislike their pleasure,
Poi ci dispregiano, neganci affetto, Then they despise us, and deny us affection,
Ne val da barbari chieder pieta! It is futile to ask the barbarians for pity!
Paghiam o femmine, d'ugual moneta Let us females, pay them back with equal money
Questa malefica razza indiscreta This evil indiscreet race.
Amiam per comodo, per vanita! Let's love for convenience, for vanity!

II. Ging heut’ Morgen über’s Feld Gustav Mahler

IV. Die zwei Blauen Augen von meinem Shatz (1860-1911)
from Songs of a Wayfarer

Gustav Mahler was both a conductor and composer within the late romantic period. Most
of his music was inspired by the many sorrows and challenges he endured within his
lifetime including his conversion to Catholicism (to avoid anti-semantic persecution) and
the loss of many children. Mahler likely wrote ‘Songs of a Wayfarer’ during a heart
wrenching crush for soprano Johanna Richter who was set to get married to someone
else. This second movement tells of how the simple pleasures of nature can distract one
from feelings buried deep down. Though it is generally a happy and characterized
movement, it ends with the Wayfarer realizing his love has truly left him and that he will
never be as happy as the rest of the world. The fourth and final movement describes how
the eyes of their lover have caused them so much pain and heartache that they can no
longer bare it. It is only in their dreams that they are able to find peace by temporarily
forgetting the sorrow; where everything is lovely again.
II

Ging heut' Morgen über's Feld, As I walked through the field this morning
Tau noch auf den Gräsern hing; dew still hung on every blade of grass.
Sprach zu mir der lust'ge Fink: The merry finch spoke to me:
"Ei du! Gelt? Guten Morgen! Ei gelt? "Hey! Isn't it? Good morning! Don't you think
Du! Wird's nicht eine schöne Welt? The world is going to be beautiful?
Zink! Zink! Schön und flink! Chirp! Chirp! Pretty and brisk!
Wie mir doch die Welt gefällt!" How the world delights me!"

Auch die Glockenblum' am Feld Also, the bluebells in the field

Hat mir lustig, guter Ding', merrily with good spirits
Mit den Glöckchen, klinge, kling, tolled out to me with bells (ding, ding)
Ihren Morgengruß geschellt: their morning greeting:
"Wird's nicht eine schöne Welt? "Isn't it a beautiful world?
Kling, kling! Schönes Ding! Ding, ding! Pretty and brisk!
Wie mir doch die Welt gefällt! Heia!" How the world delights me!"

Und da fing im Sonnenschein And then, in the sunshine,

Gleich die Welt zu funkeln an; the world suddenly began to glitter;
Alles Ton und Farbe gewann everything gained sound and color
Im Sonnenschein! in the sunshine!
Blum' und Vogel, groß und Klein! Flower and bird, great and small!
"Guten Tag, ist's nicht eine schöne Welt? "Good day, isn’t it a beautiful world?
Ei du, gelt? Schöne Welt!" Hey, isn't it? A beautiful world?"

Nun fängt auch mein Glück wohl an? Now will my happiness begin also?
Nein, nein, das ich mein', No, no - the happiness I seek
Mir nimmer blühen kann! can never bloom for me!

IV

Die zwei blauen Augen von meinem Schatz, The two blue eyes of my darling
Die haben mich in die weite Welt geschickt. have sent me into the wide world.
Da mußt ich Abschied nehmen I had to say goodbye
vom allerliebsten Platz! To the dearest of places!
O Augen blau, O blue eyes,
warum habt ihr mich angeblickt? why did you gaze on me?
Nun hab' ich ewig Leid und Grämen! Now I will have eternal sorrow and grief.

Ich bin ausgegangen in stiller Nacht I went out into the quiet night
wohl über die dunkle Heide. well across the dark heath.
Hat mir niemand Ade gesagt. Ade! No one bade farewell. Farewell!
Mein Gesell' war Lieb und Leide! My only companions are love and sorrow!
 Auf der Straße steht ein Lindenbaum, On the road there stood a linden tree,
Da hab' ich zum ersten Mal im Schlaf and there for the first time I found rest
geruht! Unter dem Lindenbaum, in sleep! Under the linden tree
Der hat seine Blüten über mich geschneit, The blossoms fell upon me like snow.

Da wußt' ich nicht, wie das Leben tut, There I did not know what life will do,
War alles, alles wieder gut! There everything was well again!
Alles! Alles, Lieb und Leid All! All, love and sorrow
Und Welt und Traum! and world and dream!

Noël Gabriel Fauré

(1845-1924)

Fauré was a French composer, organist, pianist, and teacher. His music has been
described as the end of Romanticism, and he is referred to as a master of French art
song. The song, Noël tells the Christmas story of the 3 wise men following the north star
to where baby Jesus sleeps. They see baby Jesus open his eyes as they come to him
with gifts. The sweeping arpeggios in the piano accompaniment paint a picture of the
night sky on the day the Messiah was born. The piece was originally written with carillons
in mind, but instead the piano imitates a bell-like quality. Noël is not the typical Christmas
tune, but produces a beautiful, musical line.

La nuit descend du haut des cieux, The night descends from the top of the skies,
Le givre au toit suspend ses franges. The white frost on the roof suspends its fringes.
Et, dans les airs, le vol des anges And, in the sky, the flight of the angels
Éveille un bruit mystérieux. Awakes a mysterious noise.

L'étoile qui guidait les mages, The star which guided the magi,
S'arrête enfin dans les nuages, Stops finally in the clouds,
Et fait briller un nimbe d'or And shines a golden nimbus
Sur la chaumiére où Jésus dort. Round the cottage where Jesus sleeps.

Alors, ouvrant ses yeux divins, Then, opening its divine eyes,
L'enfant couché, dans l'humble crèche, The reclining child in the humble crib,
De son berceau de paille fraîche, A cradle of fresh straw,
Sourit aux nobles pélérins. Smiles to noble the pilgrims.

Eux, s'inclinant, lui disent: Sire, They, being inclined, say to him: Lord,
Reçois l'encens, l'or et la myrrhe, Receive this incense, gold and the myrrh,
Et laisse-nous, ô doux Jésus, And let us, oh gentle Jesus,
Baiser le bout de tes pieds nus. Kiss the end of your naked feet.

Comme eux, ô peuple, incline-toi, See how they, oh people, are inclined,
Imite leur pieux exemple, Follow their pious example,
Car cette étable, c'est un temple, Because this cattle shed, it is a temple,
Et cet enfant sera ton roi! And this child will be your king!
Aufträge Robert Schuman
(1886-1963)

Aufträge is a lively, love song by Schuman. The character is speaking to a messenger

and telling them to give a message to their sweetheart. The messenger must tell the lover
how much they are adored and explain that there is not enough time to go see them in
person. The piece embraces the fantasy of falling more in love through separation and
the idea that “Absence makes the heart grow fonder.”

Nicht so schnelle, nicht so schnelle! Not so fast, not so fast!

Wart ein wenig, kleine Welle! Wait a moment, little wave!
Will dir einen Auftrag gebe I’ve a message to give you
An die Liebste mein. For my sweetheart.
Wirst du ihr vorüberschweben, If you glide past her,
Grüsse sie mir fein! Greet her fondly!

Sag, ich wär mitgekommen, Say I’d have come too,

Auf dir selbst herab geschwommen: Sailing on your back:
Für den Gruss einen Kuss And would have boldly
Kühn mir zu erbitten, Begged a kiss for my greeting,
Doch der Zeit Dringlichkeit But pressing time
Hätt es nicht gelitten. Did not allow it.

Nicht so eilig! halt! erlaube, Not so fast! Stop! Allow me,

Kleine, leichtbeschwingte Taube! Little light-winged dove,
Habe dir was aufzutragen To entrust you with something
An die Liebste mein! For my sweetheart!
Sollst ihr tausend Grüsse sagen, Give her a thousand greetings,
Hundert obendrein. And a hundred more.

Sag, ich wär mit dir geflogen, Say, I’d have flown with you
Über Berg und Strom gezogen: Over mountain and river:
Für den Gruss einen Kuss And would have boldly
Kühn mir zu erbitten; Begged a kiss for my greeting,
Doch der Zeit Dringlichkeit But pressing time
Hätt es nicht gelitten. Did not allow it.

Warte nicht, dass ich dich treibe, Don’t wait for me to drive you on,
O du träge Mondesscheibe! You lazy old moon!
Weisst’s ja, was ich dir befohlen You know what I ordered you to do
Für die Liebste mein: For my sweetheart:
Durch das Fensterchen verstohlen Peep secretly through the window-pane
Grüsse sie mir fein! And give her my love!

Sag, ich wär auf dich gestiegen, Say I’d have climbed on you
 Selber zu ihr hinzufliegen; And flown to her in person:
Für den Gruss einen Kuss And would have boldly
Kühn mir zu erbitten, Begged a kiss for my greeting,
Du seist schuld, Ungeduld That it’s my fault
Hätt mich nicht gelitten. Impatience did not allow it.

Behold, a Virgin Shall Conceive G. F. Handel

Oh Thou That Tellest Good Tidings to Zion (1685-1759)
from Messiah

Handel, an extremely influential composer of the Baroque period, debuted his incredibly
famous Messiah in the Spring of 1742. Originally an oratorio written for Easter, Messiah
has become one of the most influential and popular works of the Holiday season. Though
this recitative and aria is the contralto’s first solo within the oratorio, it is then propelled by
the power of the chorus to further emphasize the beauty behind the Virgin Mary and the
“glory of the Lord”! It was important to me to feature Handel in this recital as I auditioned
for the School of Music with his music and wanted to play patronage to his musical
inspiration throughout my time at JMU.

Laurie’s Song Aaron Copeland

from The Tender Land (1900-1990)

The Tender Land tells the story of a farm family in the Midwest during the depression era.
The character, Laurie, is about to graduate high school and falls in love with a boy, Martin.
They make plans to elope, but eventually Marvin leaves her. Laurie decides to leave her
small town anyway and take on the world on her own. This aria is filled with curiosity and
determination as Laurie sets off to discover herself and the world around her. Originally
written for television, The Tender Land captures a radiant musical energy with its key and
meter changes and freely flowing melodic lines.

Lord, I Just Can’t Keep From Cryin’ Margaret Bonds

(1913-1972)

Margaret Bonds was a brilliant pianist, composer, and civil rights activist most dynamic
during the time of the Civil Rights Movement. Born in Chicago, she studied piano with
Florence Price before moving to Harlem to attend Julliard. It was in New York where she
met poet and revolutionist Langston Hughes. Hughes and Bonds quickly became “like
blood relatives” and the two created quite the legacy of artistic collaboration throughout
much of the Harlem renaissance: Bonds writing for Hughes and vice versa. Though the
text of Lord, I Just Can’t Keep from Cryin’ is by Willie Johnson and Willie B. Harris, this
spiritual is not unlike many of her other creations and collaborations honoring the peril
and hardships of ancestors past. It is incredibly important to me that I continue to do the
same, giving thanks and celebrating the strength of female musicians before me who
challenged all to be all. Without women like Bonds I would not be where I am today.
 Vanilla Ice-cream Joe Masteroff
from She Loves Me (1919-2018)

She Loves Me, is a musical written by Jerry Brock with lyrics by Sheldon Harnick. Brock
was a musical theater composer who was raised in Queens, New York. He studied piano
and had a love for jazz. The character I portray is a feisty, young woman named Amelia.
Georg and Amelia both work at a shop. They are always bickering and have an extreme
distaste for each other. They both write to anonymous pen pals, where they are
unknowingly writing to each other. The two arrange to have a date via the letters, where
Georg finds out Amelia is the one he has been writing too, but Amelia does not know yet.
She believes she has been stood up and later takes a sick day from work. Georg goes to
her apartment worried and brings her vanilla ice cream. He tells her that he saw a fat,
bald man waiting outside the cafe, who said he had to go to work and not make his date,
and that could be the man who was her pen pal. The song Vanilla Ice-Cream takes place
after this conversation as Amelia writes to her pen pal about their missed date and reflects
on her feelings for Georg.

I Love Play Rehearsal Joe Iconis

from Be More Chill (1981-present)

Mr. Joe Iconis is a Manhattan native inspired to create and change the world of Musical
Theatre that before inspired him. His hit musical Be More Chill opened on Broadway on
February 13, 2019 after extremely successful runs both as a Jersey and an Off-
Broadway production. The show tells the tale of a social outcast named Jeremy that
basically takes a pill (presented by a representation of Keanu Reeves, of course) that
tells you exactly what to do in order to be cool. I had the exciting opportunity of seeing
this show in New York alongside some of my most favorite people in March and am
humbled to dedicate this song to the MRD saxophone section for bringing me so much
dang joy. Woo woo. ♡

My Friend Cy Coleman
from The Life (1929-2004)

Heavily influenced by both classical and jazz piano, Cy Coleman spent much of his early
life as a child prodigy in the Bronx. Coleman and collaborator Joseph McCarthy wrote
many successful jazz numbers including Witchcraft and The Best is Yet to Come.
Coleman worked with David Newman (book) and Ira Gasman (lyrics) to complete The
Life before it’s Off-Broadway run in 1990, then completely re-wrote it before its opening
on Broadway in 1997. The show tells of the “pulsating life” of Times Square in the 80s:
sex, money, and drugs. In this song, Queen (portrayed by Alyssa) is about to get on a
bus leave her town and friend Sonja (portrayed by Erin) who took the fall by claiming self-
defense for a murder that Queen actually committed. Though neither of us ended up
committing murder while at JMU, we’d like to dedicated this song to the many friends and
family who helped us get to where we are today. Thank you.
We’d be honored if you’d join us at Emmanuel Episcopal Church shortly after the recital for a reception.
660 South Main Street, Harrisonburg, VA 2280