Halfway to Somewhere

Halfway to Somewhere

Lydia Ochoa, voice

featuring

Enrique Ochoa, guitar

Dyan Meyer, piano

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

H. F. Johnson Recital Hall

program

Spesso vibra per suo gioco

Alessandro Scarlatti (1660–1725)

Lascia ch’io pianga

George Frideric Handel from Rinaldo (1685–1759)

Vezzosette e care

Andrea Falconieri (1585–1656)

Blaue Augen

Nachtwanderer

Johanna Kinkel (1810–1858)

Fanny Mendelssohn Hensel (1805–1847)

Liebeszauber Clara Schumann (1819–1896)

Two Songs, Op. 1

Gabriel Fauré

I. Le papillon et la fleur (1845–1924)

II. Mai

Early in the Morning

Ned Rorem (1923–2022)

The Monk and His Cat

Samuel Barber (1910–1981)

The Secret of Happiness

Paul Gordon from Daddy Long Legs (1963–2016)

Enrique Ochoa, guitar

Evermore Alison Krauss (b. 1951)

Enrique Ochoa, guitar

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.

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. connect

262-551-5859 facebook.com/carthagefinearts instagram.com/carthagefinearts

Spessovibrapersuogioco

Atthestartoftheseventeenthcentury,rhetoricalemphasisgainedgreatersophisticationthroughthedevelopmentofthe monodicstyle,orsolovocallineswithsingleinstrumentalaccompaniment.Simultaneously,thepracticeoffunctionaltonality becamemoredened WrittenbyAlessandroScarlatti,aBaroqueItaliancomposer,“Spessovibrapersuogioco”istheproduct ofmergingpredictableharmonicrelationshipswithevokingtext Formulaiccadencesmarktheendsofphrasesandthoughts TheanonymoustextexplainshowCupid(thegodoflove)forceshisvictimstofallinloveregardlessoftheirdesiresto experiencesuchpleasure Theallegro(fast)tempocombineswiththeenergetictripletgurespresentinthemelodytoportray Cupid’senthusiasmwhenthrowinglovedartsathischosenvictims.

Spessovibrapersuogioco

Spessovibrapersuogioco

Ilbendatopargoletto

Stralid’oroinumilpetto, Straldiferroinnobilcore

Poilanguendoinmezzoalfoco

Deldiversoaccesostraleperoggetto

Nonegualequestomanca, Equelvienmeno

Spessovibrapersuogioco

Ilbendatopargoletto

Stralid’oroinumilpetto, Straldiferroinnobilseno.

OftentheBlindfoldedBoy

Oftenforhisamusement

Theblindfoldedboypierces

Ahumblebreastwithgolden

Darts,Anobleheartwithironarrows

Then,amidtheamesofthe

Burningdart,languishinginvain, Onevictimpassesawaywhile

Anotherfallsfaint

Oftenforhisamusement

Theblindfoldedboypierces

Ahumblebreastwithgolden

Darts,Anobleheartwithironarrows.

TranslationbyKennethChalmers

Lasciach’iopianga

GeorgeFridericHandel,awellregardedcomposeroftheBaroqueEra,ismostfamouslyknownforhislargevocaland instrumentalcompositions Oneofhismostconsiderableandwell-knowncompositionsishisoperaRinaldo(1711) Rinaldo followsthestoryofGeneralGoredoandthemightyknightRinaldo,whoareatwarwiththekingofJerusalem,Argante,and hisevilenchantresswife,Armida.GeneralGoredopromisesRinaldohisdaughter’shandinmarriageaftertheyachieve victory.WhenAlmierna,GeneralGoredo’sdaughter,isabductedbytheevilenchantress,GeneralGoredoandRinaldo embarkonaquesttorescueAlmierna.“Lasciach’iopianga”expressesthedeepsorrowfulemotionsoftheheroineAlmierna aftersheisabductedbyArmidaandseparatedfromRinaldo Shemournsinherabductor’spalacegardenandpraysformercy, asthereisnohopeofescapingandseeingRinaldoagain Withsubduedaccompaniment,theariareliesonthepassionately owingmelodiclinetoconveyitsemotionalcontent

Lasciach’iopianga Lasciach’iopianga Miacrudasorte, echesospirilalibertà!

Ilduoloinfranga questeritorte de’mieimartiri Solperpietà.

Leavemetoweep Letmeweep Mycruelfate, AndthatIshouldhavefreedom

Theduelinfringes withinthesetwistedplaces, inmysuerings Iprayformercy.

Vezzosetteecare

WiththeriseoftheItalianoperahouseintheseventeenthcentury,theprominenceoftextinvocalmusicincreased considerably.Textbecamethevehicleofdramaticstorytellingthatcaptivatedaudiences.Meanwhile,secularmusicalsogained popularitybecauseofitsheightenedexpressivityandstylisticappeal Composersofthisperiodmasteredtherelationship betweenmusicandtexttoheightentheemotionalcontent WrittenbytheItalianlutenistandcomposerAndreaFalconieri, “Vezzosetteecare”isanexampleofanearlyItaliansecularsongthatshowcasesastrongrelationshipbetweenmusicandtext Forexample,theopeningphraseinthevocallineinstillsasenseofurgency,asthereisnotacadence,orfeelingofcompletion, untilaftertheconclusionoftheidea,whichisaquestion.Themusicintentionallysetsthequestiontoaquickrhythmic melodytoexposethenarrator’sconcernwithoutdelay.

Vezzosetteecare

Vezzosetteecare

Pupilletteardenti, Chiv’hafattoavare

De’beirailucenti?

S’iorimiroivostrisguardi

Scorgosolfulminiedardi

Nevedersopiuquelriso

Cherendevasivagoilviso

Charminganddear

Charminganddear

Ferventeyes, Whohasmadeyoustingy

Withyourbeautiful,lustrousgleams?

IfIgazeatyourface

Lightningsanddartsaremygreeting

Ne’erIseeofsmilesapresage

Thatmakeyourcountenancesoelusive

BlaueAugen

Nineteenth-centuryGermanymarksatimeofgreatmusicaldevelopmentthroughtheinuenceofcontroversialcomposers. Althoughmalecomposersreceivethemostacknowledgement,therearemanywomencomposerswhodeservetoberecognized fortheircontributions,includingJohannaKinkel.Asanincrediblyintelligentandmusicallygiftedindividual,JohannaKinkel wasoftenviewedasovereducatedandtherefore,unfeminine.Herlifewasmarkedwithdicultcircumstances,yetshedidnot stoppursuingtangiblemusicopportunities Asaneducatedwoman,Johannasurroundedherselfwithotheryoung intellectuals,includinghersecondhusband,GottfriedKinkel Manyofherworkswerepublishedunderherpseudonym,J Mathieux,toescapetheprejudicesagainstwomeninthemale-dominatedcircleofcomposers Johannaprovedhermusical independenceandinvolvementasaninuentialgurewithovereightyworkspublished “BlaueAugen,”therstofsixsongs fromSechsLieder,Op.17,setsoneofherhusband’spoems.Ittellsthestoryofamythologicaljewelanditscomfortingpresence inabeloved’seyes.Thepianoaccompanimentaccentuatestheeortlessmelody;thenotesshineoofthepage,embodyingthe jewelhighlightedinthetext.

BlaueAugen

InahnungsvollemGlanze

RuhtstillNeaplestiefesMeer, EsziehnimdunklenKranze

DieBergeschweigendringsumher.

Drinliegt,sosagtdieKunde, EinunbekannterEdelstein, DrumbrichtausseinemGrunde

EinzauberhafterhellerSchein

Undwennduscheidest

VondemsüßenLande,

Blueeyes

Naples’sdeepsearests

Quietlyinominousbrightness, Silently,thedarkmountainrange Embracesthesea.

Accordingtomythology, Anunknownjewelliesinthesea, That’swhyamagicbrightshine

Isreectedfromitsground

Andifyouleave

Thesweetland,

BleibtdirdasHerz

GefesseltdortamStrande.

DochmichrißlosvomWehe

DerLiebstenAugewunderbar, Undwennhineinichspähe, WirdmirdergroßeZauberklar:

Esstrahlt,alsobdrinschliefe, DesZauberdemantsWunderschau, UndwiedesMeeresTiefe, BlauistdasAug'derholdenFrau

Yourheartiscaught Andkeptatthebeach.

Butmybeloved’seyes

Pulledmeawayfromthepain, AndifIlookintohereyes, ThenIunderstandthemagic

Hereyeisasbrightasif

Thejewelsleepsinit, Thegracefulwoman’seyeis

Asblueasthedepthofthesea

Nachtwanderer

TranslationbyAnjaBunzel

FannyMendelssohnHenselwasaGermancomposerandpianistoftheearlyRomanticEra.Duetothesocialconventions abouttheroleofwomenduringthenineteenthcentury,Fanny’sexceptionalmusicalabilitieswerestied,encouragingherto pursuemusicinaprivatesphere.Hermusicaltalentsrivaledthoseofheryoungerbrother,Felix,afamouslyknownRomantic composerandpianist,yetthelackofsocialsupporttowardswomendiscouragedherfrompublishingherworksduringher lifetime FannypublishedsomeofherworksunderFelix’sname,whomshesharedastrongrelationshipwith,butreceived greaterrecognitionafterherdeathduetoFelix’seortstopublishherworks Hercompositionsnumberover400,alldeserving ofconsiderableacknowledgementalongsidepiecescomposedbyhermalecounterparts SechsLieder,Op 7,isacycleofsix songsforvoiceandpiano “Nachtwanderer,”therstsongofthecycle,usesthetextfromapoemwrittenbyJosephvon Eichendor,amajorpoetandcriticofthetime.Thepoemillustratesagurewanderingthroughnatureatnight,observing sightsandhearingsoundsthatdistracttheirthoughts.Ascendinganddescendingmelodiclinesresembletheswellsofthewind andaowingstream.Theuncertaintyofthenight/darkisreectedthroughsuspensefulandtenseresolutionsattheendsof phrases.

Nachtwanderer

IchwandredurchdiestilleNacht, DaschleichtderMondsoheimlichsacht OftausderdunkelnWolkenhülle, UndhinundherimTal, ErwachtdieNachtigall

Dannwiederallesgrauundstille

OwunderbarerNachtgesang, VonfernimLandderStrömeGang, LeisSchauernindendunkelnBäumen-IrrstdieGedankenmir, MeinwirresSingenhier, IstwieeinRufennurausTräumen.

Nightwalker Iwanderthroughthequietnight; themoonoatssosecretlyandgently, oftenoutfromadarkcoverofclouds. Andhereandthereinthevalley anightingaleawakens butthenallisgrayandstillagain

Owonderfulnightsong fromdistantparts-therushingofastream andthesoftshudderinginthedarktrees confusemythoughts.

Myclamoroussinginghere isonlylikeacryfrommydreams.

TranslationbyEmilyEzust

Liebeszauber

ClaraWieckSchumannisperhapsthemostacclaimedmusicalfemalegureoftheRomanticEra.Clarawasmostrecognizedas

adistinguishedvirtuosopianist;fromayoungage,hercareerourishedasaperformer(wheresheperformedmanyofherown pieces!).ClarastayedproductivethroughoutmostofhermarriagetoRobertSchumannbygivingconcertsandcomposing,all whileassumingthemainresponsibilityofraisingtheireightchildren.Compositionsdatingfromherlateryearsarelessin number,mostlyrelatingtoherhusband’ssueringmentalhealth.Nevertheless,herentiremusicalcareerisdenedwithgreat successandcredibility “Liebeszauber,”thethirdsonginhercycleSechsLieder,Op 13,showcasesClara’smusicalexpertisein theconnesofthemale-imposedeld “Liebeszauber”showcasesherartisticcontrolthroughthecontrastingtriplemeterinthe accompanimentagainsttheduplemeterofthevocalline,afeaturethatprovidesthepiecewithanexcitingmomentum

Liebeszauber

DieLiebesaßalsNachtigall ImRosenbuschundsang; EsogderwundersüßeSchall DengrünenWaldentlang

Undwieerklang,-dastiegimKreis AustausendKelchenDuft, UndalleWipfelrauschtenleis’, UndleisergingdieLuft;

DieBächeschwiegen,dienochkaum GeplätschertvondenHöh’n, DieRehleinstandenwieimTraum UndlauschtendemGetön

Undhellundimmerhelleroß

DerSonneGlanzherein, UmBlumen,WaldundSchluchtergoß SichgoldigroterSchein

IchaberzogdenWaldentlang UndhörteauchdenSchall Ach!wasseitjenerStund’ichsang, WarnurseinWiderhall.

Love’smagic Love,asanightingale, Perchedonarosebushandsang; Thewondroussoundoated Alongthegreenforest

Andasitsounded,therearoseascent Fromathousandcalyxes, Andallthetreetopsrustledsoftly, Andthebreezemovedsofterstill;

Thebrooksfellsilent,barely Havingbabbledfromtheheights, Thefawnsstoodasifinadream Andlistenedtothesound

Brighter,andeverbrighter Thesunshoneonthescene, Andpoureditsredglow Overowers,forestandglen

ButImademywayalongthepath Andalsoheardthesound Ah!allthatI’vesungsincethathour Wasmerelyitsecho.

TranslationbyRichardStokes

TwoSongs,Op.1

TherenedandgentlestyleofGabrielFauréearnedhimgreatrecognitionasanforerunningcomposerofhisgeneration. GabrielFauré,atwentieth-centuryFrenchcomposer,embracedelegantandsubtleexpressions,especiallywithintheintimate musicalforms,includingpiano,vocal,andchamberworks.Hisrstpublication,Op.1,asetoftwosongsforvoiceandpiano withpoetrybyVictorHugo,exemplieshisknackforcreatingbeautifullyserenemusicalmoments.Therstsong,“Le papillonetlaeur,”explainstherelationshipbetweenajealousstationaryowerandafree-travelingbuttery,toldfromthe perspectiveoftheower Thepianoportraysthetwocharactersthroughitscontrastingaccompaniment:chordalpatternsact asthefoundationtothevocalline(representingtheearth-boundower)whilelivelypianointerludesembodytheoating buttery Thesecondsong,“Mai,”carriesasweetandgracefulmelodywithinformulatedphrasestructures Consistent arpeggiatedaccompanimentcreatesaperfectlybalancedrelationshipbetweenthepianoandthevocalline,highlightingthe eleganceofthemelody.BothpiecesactasintroductoryexamplesoftheuniquepersonalityFauréwouldsoondiscoveranduse todenehismusicalstyle.

Lepapillonetlafleur

Lapauvreeurdisaitaupapilloncéleste: Nefuispas!

Voiscommenosdestinssontdiérents Jereste, Tut'envas!

Pourtantnousnousaimons,nousvivonssansleshommes Etloind'eux, Etnousnousressemblons,etl'onditquenoussommes Fleurstousdeux!

Mais,hélas!l'airt'emporteetlaterrem'enchaîne Sortcruel!

Jevoudraisembaumertonvoldemonhaleine Dansleciel!

Maisnon,tuvastroploin!Parmideseurssansnombre Vousfuyez, Etmoijeresteseuleàvoirtournermonombre Amespieds

Tufuis,puistureviens;puistut'envasencore Luireailleurs

Aussimetrouves-tutoujoursàchaqueaurore Touteenpleurs!

Oh!pourquenotreamourcouledesjoursdèles, Ômonroi, Prendscommemoiracine,oudonne-moidesailes Commeàtoi!

Mai

PuisqueMaitouteneursdanslesprésnousréclame. Viens!netelassepasdemêleràtonâme Lacampagne,lesbois,lesombragescharmants, Leslargesclairsdeluneauborddesotsdormants:

Lesentierquinitoùlechemincommence. Etl'air,etleprintempsetl'horizonimmense. L'horizonquecemondeattachehumbleetjoyeux, Commeunelèvreaubasdelarobedescieux.

Viens,etqueleregarddespudiquesétoiles, Quitombesurlaterreàtraverstantdevoiles Quel'arbrepénétrédeparfumetdechants Quelesoueembrasédemididansleschamps;

Etl'ombreetlesoleil,etl'onde,etlaverdure, Etlerayonnementdetoutelanature,

Thebutterflyandtheflower

Thehumbleowersaidtotheheavenlybuttery: Donotee!

Seehowourdestiniesdier FixedtoearthamI, Youyaway!

Yetweloveeachother,welivewithoutmen Andfarfromthem, Andwearesoalike,itissaidthatbothofus Areowers!

Butalas!Thebreezebearsyouaway,theearthholdsmefast Cruelfate!

Iwouldperfumeyourightwithmyfragrantbreath Inthesky!

Butno,youittoofar!Amongcountlessowers Youyaway, WhileIremainalone,andwatchmyshadowcircle Roundmyfeet

Youyaway,thenreturn;thentakeightagain Toshimmerelsewhere Andsoyoualwaysndmeateachdawn Bathedintears!

Ah,thatourlovemightowthroughfaithfuldays, Omyking, Takerootlikeme,orgivemewings Likeyours!

May

Sincefull-oweringMaycallsustothemeadows, Come!Donottireofminglingwithyoursoul Thecountryside,thewoods,thecharmingshade, Vastmoonlightsonthebanksofsleepingwaters

Thepathwhichendswheretheroadbegins, Andtheairandthespringtime,theimmensehorizon, Thehorizonwhichthisworldpresses,humbleandjoyous, Likealiptothehemofheaven’srobe.

Come,andlettheglanceofthebashfulstars, Whichfallsonearththroughsomanyveils, Letthetreeimpregnatedwithperfumesandsongs, Letthebreezeembracedbynoonintheelds;

Andtheshadowandthesun,andthewave,andthegreenness, Andtheglowofallnature

Fassentépanouir,commeunedoubleeur, Labeautésurtonfrontetl'amourdanstoncœur!

Causetobloomlikeadoubleower, Thebeautyofyourfaceandtheloveinyourheart.

EarlyintheMorning

Thedevelopmentoftheartsonginthenineteenthcenturycanbeattributedtotheriseofgreatpoets Richinexpressionand imagery,poemsimprovedinqualityandmaturity Itwasnotlongbeforepoetryandmusicunitedtoproducetheartsong, whichexistedasanestablishedmusicformbytheendofthenineteenthcentury “EarlyintheMorning”isatwentieth-century artsongthatexemplieshowtheuniqueblendbetweenpoetryandmusiccancreateasingleentity.Writtenforvoiceand piano,“EarlyintheMorning”setsRobertHillyer’snostalgicpoemtodreamlikemusiccomposedbyNedRorem,aleading Americancomposerofartsongs.Thispiecepaintsafar-opictureofalovelysummermorningspentoutsideatacafé.The poemdescribessightsandsmellsofthemorningthroughtheperspectiveofthenarrator.Visualimageryandoating accompanimentsetthescene,invitinglistenerstoescapetothebeautyofthewistfulmoment

Earlyinthemorning Ofalovelysummerday, Astheyloweredthebrightawning Attheoutdoorcafe, Iwasbreakfastingoncroissants Andcafeaulait

Undergreenerylikescenery, RueFrançoisPremier

Theywerehosingthehotpavement Withadashofashingspray Andasmellofsummershowers Whenthedustisdrenchedaway. Undergreenerylikescenery, RueFrançoisPremier, Iwastwentyandalover AndinParadisetostay, Veryearlyinthemorning Ofalovelysummerday.

SamuelBarber,oneofthemostcelebratedAmericancomposersofthetwentiethcentury,wasmostrecognizedforhiseortless melodies,challengingrhythmicstructures,andaestheticappeal.BornintoadistinguishedIrish-Americanfamily,hefound greatinterestinIrishliteratureandpoetry.OneofBarber’smostsuccessfulandperformedsongcycles,HermitSongs,Op.29, includestextswrittenbyanonymousIrishmonks,providingwindowsintotheirvariouslives Barberdiscoveredthetexts duringhistriptoIrelandin1952 “TheMonkandHisCat”istheeighthoftensongsinthecycle Awhimsicalmelody intertwineswithtrickyasymmetricalrhythmsandaexibletreatmentofmetergroups Ascendingdissonanteighthnotesarea characteristicmotifthatrecursthroughoutthepiece,resemblingcatpawswalkingacrossthepianokeys “TheMonkandHis Cat”contrastsplayfulmomentsandsophisticatedthoughtsusingtheexpressivequalitiesofthepianoandthehumanvoice.

Pangur,whitePangur, Howhappyweare

Alonetogether,Scholarandcat

TheMonkandHisCat

Eachhashisownworktododaily; Foryouitishunting,forme,study.

Yourshiningeyewatchesthewall; Myfeebleeyeisxedonabook

Yourejoicewhenyourclawsentrapamouse; Irejoicewhenmymindfathomsaproblem

Pleasedwithhisownart

Neitherhinderstheother; Thusweliveever

Withouttediumandenvy.

Pangur,whitePangur, Howhappyweare, Alonetogether,Scholarandcat

TheSecretofHappiness

TheheartwarmingCinderellastoryofthemusicalDaddyLongLegsfollowsanorphanedyoungwoman,Jerusha,andher mysteriousbenefactor,nicknamed“DaddyLongLegs,”whodecidestoanonymouslyfundJerusha’scollegeeducationsoshe canbecomeanauthor TheonlyconditionofthearrangementfromDaddyLongLegsrequiresJerushatowriteletterstohim reportingherprogressandimpressionsofcollege,ofwhichhewillneverreciprocate Despiteneverreceivingaletterbackfrom DaddyLongLegs,Jerushagrowsfondofherbenefactorandcondesinhis“older”andwiserbeing.Throughthegenerosityof DaddyLongLegs,Jerushamaturesinknowledge,relationships,andpurpose.“TheSecretofHappiness”exposesJerusha’s determinationtodiscoverhertruemeaningofhappiness,whichsheultimatelyproclaimsistoliveinthepresent.Therepetitive melodiclineandguitaraccompanimentaredrivenbytheinspiringtext.Thisupliftingsongencourageslistenerstoreectand relatewithJerushaabouttheperceptionofndingtruehappiness

I'vediscovered,thesecretofhappinessis,Learninghowtoglide I'vediscovered,thesecretofhappinessis,Justenjoytheride... Don'tletyourjourneybetaintedbyprideand...

I'vediscovered,thesecretofhappinessis,Nottomournthepast I'vediscovered,thesecretofhappinessis,Nottoruntoofast! Youcanstillbeatthembycominginlastcause, Thesecret,thesecretofhappinessis

I'vediscovered,thesecretofhappinessis,Nottobeafraid I'vediscovered,thesecretofhappinessis,Allillusionsfade! Don'tfearthefuture,you'lljustbedelayedcause, Thesecret,thesecretofhappinessis,Livinginthenow, Livinginthetimeittakestoblink,Ithink,ishow, We'remeanttobeliving...

I'vediscovered,thesecretofhappinessis,Followingmywill I'vediscovered,thesecretofhappinessis,Thoughwecanrunthathill, Happinesscomeswhenwelearntobestill,and, Thesecret,thesecretofhappinessis

Thesecretofhappinessisclear, Thesecretofhappinessisnear, Thesecretofhappinessishere...

ThealbumsDogTrainandPhiladelphiaChickens,kidsCDswithrathergoofyoriginalmusicorganizedbySandraBoynton, werethealbumsofchoiceformyfamily’slongsummerroadtrips.Crammedintoourminivanforhoursonend,thesixofus grewprettyfamiliarwiththelyricsofallthesongs.Asweetsongwithabeautifulmessage,“Evermore,”sungbyAlisonKrauss, wasoneofourfavoritesfromDogTrain.Thishiddengemreliesonthelyricstoconveyitsmeaning:thecomfortfoundinthe unwaveringpresenceoflove,applicabletoanysituation,despitesignicantchangesinlife.Evenmoreso,thissongholdsa heightenedsentimentalvaluetomydadandI,asthiswasthesongweperformedformyschool’stalentshowwhenIwasin fourthgrade Inmanyways,“Evermore”isthesongthatbeganmyloveformusic(andthedebutofmydadandI’sband,“The GeezerandTheGirl”) Elevenyearslater,hereweareperformingitastheconclusiontomyundergraduatevoicerecital

TheforestsofAprilawakenfromsleep

Andowersunfoldthroughthesnow

Andthewindrusheshighandtheriverrunsdeep Anditsingswhatyoualreadyknow

EvermoreIwillloveyou

EvermoreIwillstay

Everrightheretoholdyou

Neversofaraway

AndthoughIknowsometimesyougo

Tondyourwayalone

EvermoreIwillloveyou

Youareevermyown

Thoughnothing’sascertainasseasonsandtime Andnothingwillbeasbefore Stilleverywayandalways,it’scertainthatI’m Withyouforeverandevermore