Graduate rectial in voice

Includes recorded audio files in WAV and MP3 formats, 76:41 in length.Program\ud \ud Cantata No. 82 (Ich habe genug) . . . J.S. Bach (1685-1750)\ud Aria ??? Ich habe genug\ud Recitative\ud Aria ??? Schlummert ein\ud Recitative\ud Aria - Ich freue mich\ud \ud L???Horizon Chimerique, Op. 118 . . . Gabriel Faure (1845-19240\ud La me rest infinite\ud Je me suis embarque\ud Diane, Selene\ud Vaisseaux, nous voice aurons aimes\ud \ud INTERMISSION\ud \ud Four Songs . . . Stephen Collins Foster (1826-1864)\ud Hard Times\ud If You???ve Only Got a Moustache\ud My Old Kentuky Home\ud We???re Coming Father Abra???am\ud \ud Three Songs on Middle eastern Themes . . .George Chadwick (1854-1931)\ud Allah\ud Song of the Persian\ud Bedouin Love Song\ud \ud Four American Indian Songs . . Charles Wakefield Cadman (1881-1947)\ud From the Land of the Sky Blue Waters\ud The White Dawn is Stealling\ud Far Off I Hear a Lover???s Flute\ud The Moon Drops Low\ud \ud Three Songs of World War I . . . Charles E. Ives (1874-1954)\ud Tom Sails Away\ud He Is There\ud In Flanders Fields\ud \ud The Second Coming . . . Michael Kibbe (1945- )\ud (dramatic duet for baritone and cello)\ud \ud The music for this recital was chosen with two main criteria in mind: 1) to challenge myself in preparing music from some of the larger, collective forms of the standard vocal literature; and 2) to prepare and present music which is of special interest to me from both a musicalogical and performance viewpoint.\ud The first criteria was fulfilled by selecting, for the opening half of this recital, an entire German solo cantata with instrumental accompaniment and a complete cycle of French melodies. The second criteria was fulfilled by programming solely American songs for the second half of this recital.\ud Johann Sebatstian Bach???s Cantata BWV 82 (Ich habe genug) opens the recital. This work, written for the Festival of the Purification of Mary, stands at the crossroads between Bach???s earlier cantata style of arias, choruses and chorale verses and his later, more operatic style of cantata, using the da capo aria and secco recitative between arias. Using Biblical text for only the first aria, Bach paints three different musical pictures of the poet???s longing for the peace of death in the arms of Jesus while unifying them within a common tonal basis. The opening aria, in c minor, is a long and passionate cry for relief from the sufferings of the world, requiring great vocal intensity and stamina to carry the long, arching phrases to their conclusion. The second aria, in the relative E major, is a slumber song whose flowing melody requires delicacy and tenderness of presentation. The concluding aria, returning to c minor, contrasts the opening aria by requiring extended coloratura to express the ecstatic expectation of death within robust, dance-like music. \ud Completing the cantata is Gabriel Faure???s cycle of four melodies, L???Horizon Chimerique, Op. 118, written in 1922 and the last of Faure???s many melodies. The theme of the cycle is much the same as the cantata ??? the desire to escape the sufferings of the earth. The poet, Jean de la Ville de Mirmont, dreams of the sea as his escape but in the end must return to land, leaving a feeling of longing and resignation not found in the cantata. The challenge of the cycle is to combine the flowing melodic lines and the syllabically set poetry with the piano accompaniment to create the moods and feelings of the breezes, the sea, and the moon and the land. (See more in text