The University of Texas at SanAntonio School of Music Presents Senior Recital
May 1, 2024
7:30pm Recital Hall
Antonio Zubillaga, baritone Anna Hakobyan, piano
“Quia fecit mihi magna” from Magnificat J. S. Bach (1685-1750)
An Sylvia Franz Schubert (1797 – 1828) Du bist die Ruh
Madamina from Don Giovanni W.A. Mozart (1756 - 1791)
From Old American Songs Aaron Copland (1900-1990)
Simple gifts
The dodger
“For the Mountains Shall Depart” from Elijah Felix Mendelssohn (1809 - 1847)
L’heure exquise Reynaldo Hahn (1874-1947) La bonne chanson AChloris
Palma verde, garza blanca Juan Bautista Plaza (1898-1965) Hillando el colpo del viento
Amapola Joseph Lacalle (1859 – 1937)
Venezuela Pablo Herrero Ibarz/Jose LuisArmenteros Sanchez (1942 – 2023, 1943– 2016) arr. Antonio Zubillaga (b. 1986)
Redencion Antonio Zubillaga (b. 1986)
Isaiah Valdez, cello
“Resta vicino a me” from Il Tabarro Giacomo Puccini (1858 – 1924)
Antonio Zubillaga is a student of Prof. Crystal Jarrell Johnson. This recital is given in fulfillment of the requirements for the Bachelor of Music Degree in Vocal Performance.
Quia fecit mihi magna
Johann Sebastian held a number of organist positions in the early 18th century and wrote well-known works including Toccata and Fugue in D minor. The Mass in B Minor, the Brandenburg Concertos, and The WellTempered Clavier.
In Leipzig's St. Thomas Church for his first Christmas as cantor in 1723, Bach premiered a newly composed setting of the Magnificat. He extended the Magnificat by inserting arrangements of various well-known Christmas songs between parts. It was a massive, joyful composition with a five-voice chorus and a vivid array of instruments. It was first written in the key of Eb-major and was Bach's largest composition of that kind up to that point. Ten years later he re-worked the piece changing the key to D-Major (a more trumpet friendly key) and removing the Christmas elements so the piece could be performed during other festivals in the church calendar. Bach passed away on July 28, 1750, in Leipzig, Germany. He is now regarded as one of the finest Western composers.
Text:
Quia fecit mihi magna qui potens est, et sanctum nomen eius.
Translation:
Because he who is mighty has done great things for me, and holy is his name.
Franz Schubert Was anAustrian composer of the late Classical and early Romantic periods. Widely known for his extensive contribution to the German lied repertoire. He wrote over six hundred vocal works despite having had a short life. His works also include seven symphonies, piano and chamber works. He died at the age of thirtyone. Du bist die ruh is a setting of the poet Ruckert and speaks of devotion to a lover in tender words that evoke peace. An Silvia is a setting of William Shakespeare Two Gentleman from Verona.
An Silvia
Was ist Silvia, saget an,
Dass sie die weite Flur preist? Schön und zart seh’ ich sie nah’n, Auf Himmels Gunst und Spur weist, Dass ihr alles untertan.
Ist sie schön und gut dazu? Reiz labt wie milde Kindheit; Ihrem Aug’ eilt Amor zu, Dort heilt er seine Blindheit, Und verweilt in süsser Ruh’.
Darum Silvia, tön’, o Sang, Der holden Silvia Ehren; Jeden Reiz besiegt sie lang,
Den Erde kann gewähren: Kränze ihr und Saitenklang!
Who is Silvia
Who is Silvia? what is she, That all our swains commend her? Holy, fair, and wise is she; The heaven such grace did lend her, That she might admired be.
Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair, To help him of his blindness; And, being helped, inhabits there.
Then to Silvia let us sing, That Silvia is excelling; She excels each mortal thing Upon the dull earth dwelling; To her let us garlands bring
Du bist die Ruh
Du bist die Ruh, Der Friede mild, Die Sehnsucht du, Und was sie stillt.
Ich weihe dir
Voll Lust und Schmerz Zur Wohnung hier Mein Aug’ und Herz.
Kehr’ ein bei mir, Und schliesse du Still hinter dir Die Pforten zu.
Treib andern Schmerz Aus dieser Brust. Voll sei dies Herz Von deiner Lust.
Dies Augenzelt Von deinem Glanz Allein erhellt, O füll’ es ganz.
You are repose
You are repose and gentle peace. You are longing and what stills it.
Full of joy and grief I consecrate to you my eyes and my heart as a dwelling place.
Come in to me and softly close the gate behind you.
Drive all other grief from my breast. Let my heart be full of your joy.
The temple of my eyes is lit by your radiance alone: O, fill it wholly!
Wolfgang Amadeus Mozart, was anAustrian composer from the classical period. Despite living a relatively short life, he became one of western music's most prolific composers with over eight-hundred works in most genres common to the period. During his lifetime he composed as many as twenty-two operas spanning multiple genres including opera seria, singspiel and opera buffa. Madamina or the catalogueAria is from Don Giovanni (1788) one of Mozarts best known and performed operas. The character Leporello explains to one of Don Giovanni’s angry lovers about the “impressive” amount of ladies that his master has “conquered” through the years.
Madamina, Il catalogo è questo
Madamina, il catalogo è questo
Delle belle che amò il padron mio; un catalogo egli è che ho fatt'io; Osservate, leggete con me.
In Italia seicento e quaranta; In Alemagna duecento e trentuna; Cento in Francia, in Turchia novantuna; Ma in Ispagna son già mille e tre.
V'han fra queste contadine, Cameriere, cittadine, V'han contesse, baronesse, Marchesane, principesse. E v'han donne d'ogni grado, D'ogni forma, d'ogni età.
Nella bionda egli ha l'usanza Di lodar la gentilezza, Nella bruna la costanza, Nella bianca la dolcezza.
Vuol d'inverno la grassotta, Vuol d'estate la magrotta; È la grande maestosa, La piccina è ognor vezzosa.
Delle vecchie fa conquista
Pel piacer di porle in lista; Sua passion predominante È la giovin principiante.
Non si picca – se sia ricca, Se sia brutta, se sia bella; Purché porti la gonnella, Voi sapete quel che fa.
Mmm, mmm.... Voi sapete quel che fa.
Young lady, this is the catalogue
Young lady, this is the catalogue
Of the beautiful women loved by my master It is a catalogue I drafted myself Look, read with me.
In Italy, six hundred and forty; In Germany, two hundred and thirty-one; Ahundred in France, ninety-one in Turkey; But in Spain, they're already one thousand and three.
Among these, peasants Maids, city dwellers
There are countesses, baronesses Marchionesses, princess. There are women from every level Every shape, every age.
His custom is to praise The blonde for her kindness, The brunette for her loyalty, The white for her sweetness.
He wants a tubby woman in winter Aslim woman in summer; [He says] tall women are majestic Small women, always charming.
He seduces old women
For the pleasure of having them in his list; His main passion Is the young inexperienced.
He doesn't care if she's rich If she's ugly, if she's beautiful: As long as she wears a skirt, You know what he does...
Hmm, hmm...
You know what he does...
Aaron Copland was born in Brooklyn, New York, and studied piano and composition before traveling to Europe for a while. He rose to prominence as one of the twentieth century's most prominent composers, with a distinctive blend of classical, folk, and jazz genres. Fanfare for the Common Man, El Salon Mexico, and Appalachian Spring, for which he earned the Pulitzer Prize, were among Copland's most notable works. Copland was also an Oscarwinning composer of film music, and a prolific songwriter. The Dodger is part of a collection of Old American Songs premiered in 1955 based onAmerican folk songs. The origin of the traditional song is unknown but it’s most prominent use was during the campaign of Grover Cleveland in 1884 to mock his Republican counterpart. Simple Gifts is an arrangement of a well-known traditional shaker hymn.
The Dodger
Traditional
Yes the candidate’s a dodger, Yes a well-known dodger. Yes the candidate’s a dodger, Yes and I’m a dodger too.
He’ll meet you and treat you, And ask you for your vote. But look out boys, He’s a-dodgin’for your note.
Yes we’re all dodgin’ A-dodgin’, dodgin’, dodgin’. Yes we’re all dodgin’ Out away through the world.
Yes the preacher he’s a dodger, Yes a well-known dodger. Yes the preacher he’s a dodger Yes and I’m a dodger too.
He’ll preach you a gospel, And tell you of your crimes. But look out boys, He’s a-dodgin’for your dimes.
Yes we’re all dodgin’. . . etc.
Yes the lover he’s a dodger, Yes a well-known dodger. Yes the lover he’s a dodger, Yes and I’m a dodger too.
He’ll hug you and kiss you, And call you his bride, But look out girls, He’s a-tellin’you a lie.
Yes we’re all dodgin’. . . etc.
Simple Gifts
Traditional/Shaker
‘Tis the gift to be simple, ’tis the gift to be free ’tis the gift to come down where you ought to be And when we find ourselves in the place just right ‘Twill be in the valley of love and delight.
When true simplicity is gained
To bow and to bend we shan’t be ashamed To turn, turn will be our delight ‘Till by turning, turning we come round right.
‘Tis the gift to be simple, ’tis the gift to be free ’tis the gift to come down where you ought to be And when we find ourselves in the place just right ‘Twill be in the valley of love and delight.
Felix Mendelssohn was German composer, pianist and organist of the early romantic period. He was renowned in his early years as a music prodigy and performed throughout Europe. Later in his life he moved to England where he composed Elijah, an oratorio in the style of the baroque composers Handel and Bach, who he greatly admired. Elijah, based on the biblical story, was set to English and German text in parallel while being composed. This oratorio was a great success when it premiered in august of 1846 in the Birmingham Town Hall in its English version. Mendelssohn died in 1847 at a young age suffering from poor health in his later years.
For the Mountains Shall depart
For the mountains shall depart, and the hills be removed; but thy kindness shall not depart from me, neither shall the covenant of Thy peace be removed.
(Isaiah LIV 10)
The second half of the program is comprised of songs that reflect my personal journey and heritage. We will encounter Venezuelan composers and song with deep personal connections to me. Most of them signify a small part of why I became a musician and what kind of musician I strive to be. Of special importance are the last three pieces, two of which where either arranged or composed by me, and of which I will speak more below. The last song of the recital marks a cathartic moment. It’s a piece with which I planned on auditioning to UTSAback in 2007. An audition I never attended as I found myself paralyzed by fear of failure. This is why the song if fitting to conclude my many years of work and development as an artist and to serve as a personal reminder of the things that I can accomplish if I work hard.
Reynaldo Hahn de Echenagucia was a French composer, conductor, music critic, and vocalist of Venezuelan origin. He is most known for his mélodie, of which he composed over 100. Hahn was born in Caracas, but his family relocated to Paris when he was three years old. Hahn was a prolific composer. His vocal works include secular and sacred works, lyric scenes, cantatas, oratorios, operas, comic operas, and operettas. His orchestral works include concertos, ballets, tone poems, and incidental music for plays and films. He often performed his own music. l'heure exquise and La bonne chanson are part of one of his most known song cycles 7 chansons grises which translates to seven gray songs, based on poems by Paul Verlaine and published in 1893.
l'heure exquise
La lune blanche
Luit dans les bois;
De chaque branche
Part une voix
Sous la ramée...
Ô bien aimée.
L'étang reflète,
The exquisite hour
The white moon
Gleams in the woods;
From every branch
There comes a voice.
Beneath the boughs.
O my beloved.
The pool reflects, Profond miroir, Deep mirror, La silhouette
Du saule noir
Où le vent pleure...
Rêvons, c'est l'heure.
Un vaste et tendre
Apaisement
Semble descendre
Du firmament
Que l'astre irise...
The silhouette
Of the black willow
Where the wind is weeping...
Let us dream, it is the hour.
Avast and tender
Consolation
Seems to fall
From the sky
The moon illumines...
C'est l'heure exquise. it is the exquisite hour.
La bonne chanson
La dure épreuve va finir Mon coeur, souris à l'avenir!
Ils sont finis, les jours d'alarmes Où j'étais triste jusqu'aux larmes! J'ai tu les paroles amères Et banni les sombres chimères! Mes yeux, exilés de la voir
De par un douloureux devoir Mon oreille, avide d'entendre
Les notes d'or de sa voix tendre
Tout mon être et tout mon amour
Acclament le bienheureux jour Où, seul rêve et seule pensée Me reviendra la fiancée!
AChloris
S'il est vrai, Chloris, que tu m'aimes, Mais j'entends, que tu m'aimes bien, Je ne crois point que les rois mêmes Aient un bonheur pareil au mien.
Que la mort serait importune De venir changer ma fortune Ala félicité des cieux!
Tout ce qu'on dit de l'ambroisie
Ne touche point ma fantaisie
Au prix des grâces de tes yeux.
The good song
The hard test will end.
My heart, smile at what is to come! They are finished, the days of alarms, when I was sad to the point of tears! I have killed the bitter words, and banished the dark fantasies! My eyes, exiled from the sight of her by a painful duty, My ear, avid to hear the golden notes of her tender voice, all my being and all my love hail the happy day when, my only dream and my only thought, my fiancée will return to me!
To Chloris
If it be true, Chloris, that you love me, (And I'm told you love me dearly), I do not believe that even kings Can match the happiness I know. Even death would be powerless
To alter my fortune
With the promise of heavenly bliss! All that they say of ambrosia Does not stir my imagination Like the favour of your eyes!
Juan Bautista Plaza was one of the most prolific Venezuelan composers of the twentieth century. Originally a medical student at the Central University of Venezuela he eventually left to study under Jesús María Suárez. He studied in the School of Sacred Music Composition in Rome, Italy, on a scholarship from theArchdiocese of Caracas to which he later returned to be the Chapel Master at the Caracas Cathedral. He would hold this prestigious position until 1948. He spent most of his life cataloging Venezuelan music and teaching music history at the Superior Music School in Caracas, going on to teach many other well-known Venezuelan musicians. The two pieces in this recital are part of his song cycle Siete Canciones Venezolanas which are settings of poems by Luis Barrios Cruz.
Palma Verde, Garza Blanca
Palma Verde, Garza Blanca
Celedonia en el estero
Muchacha de ojos baldios
Que no saben lo que pienso
Muchacha de ojos baldios
Celedonia en el estero
Te voy a ensenar muchacha
Los caminitos del viento
Muchacha de ojos baldios
Celedonia en el estero
Palma Verde, Garza blanca
Caminitos del silencio
Muchacha de ojos baldios
Que no sabe lo que anhelo
Palma verde, Garza blanca
Caminitos del silencio
Hilando el copo del vientoSpanish (Español)
Las palmas están hilando, Hilando el copo del viento, Para hacer su traje lindo
La novia luna de enero.
Las palmas están hilando, Hilando el copo del viento, Para tejer escarpines
A los nacidos luceros.
Las palmas están hilando, Hilando el copo del viento, Para la mortaja blanca
De mis difuntos anhelos.
Green Palm tree, White Heron
Green Palm tree, white heron
Celidonia in the marsh
Girl of wondering eyes
Which don’t know what I think
Girl of wondering eyes
Celidonia in the marsh
I’m going to show you
The little paths of the wind
Girl of wondering eyes
Celidonia in the marsh
Green palm tree, white heron
Little paths of silence
Girl of wondering eyes
Which don’t know what I long for Green Palm, white heron
Little paths of silence.
Spinning the Puff of Wind
The palm trees are spinning, Spinning the puff of wind
To make a fine suit
For the January Bride's moon.
The palm trees are spinning, Spinning the puff of wind
To knit some bootees
For the newborn morning stars.
The palm trees are spinning, Spinning the puff of wind
For the white shroud
Of my dead dreams.
Jose Maria LaCalle Was a Spanish composer and woodwind player born in Cadiz, Spain. He came to the United States and was part of many prominent bands including under the direction of Phillip Sousa.
LaCalle is best known for his songAmapola which he wrote in 1920 and has become an important part of the rhumba repertoire, being covered by many of the world's most renowned tenors such asAndrea Bocelli and Plácido Domingo.
Amapola
De amor en los hierros de tu reja
De amor escuché la triste queja
De amor que sonó en mi corazón
Diciéndome así
Con su dulce canción
Amapola, lindísima Amapola
Será siempre mi alma, tuya sola
Yo te quiero, amada niña mía
Igual que ama la flor la luz del día
Amapola, lindísima Amapola
No seas tan ingrata y ámame
Amapola, Amapola
¿Cómo puedes tú vivir tan sola?
Poppy
Of love between the posts of your gate
Of love I heard the sad lament
Of love that sounded in my heart telling me so with its sweet song
Poppy, beautiful Poppy
My soul, will always be only yours
I love you, my beloved girl
Just as the flower loves the light of day
Poppy, beautiful Poppy
Don’t be so ungrateful and love me poppy, poppy
How can you live so alone?
Pablo Herrero Ibarz and José LuisArmenteros Sánchez were composers and founders of the Spanish group Los Relampagos. Venezuela was written in 1980 and quickly became a sort of unofficial hymn to the country of the same name. Many artists have covered the song in different styles and genres from traditional Venezuelan folk instrumentation to commercial pop. It is a song that speaks to the Venezuelan diaspora especially as the composers captured a feeling of longing for the country. I arranged this song to fit into my chamber set because of it’s sentimental value and as an homage to the country in which I was born and which I love.
Venezuela
Llevo tu luz y tu aroma en mi piel, Y el cuatro1en el corazón, Llevo en mi sangre la espuma del mar, Y tu horizonte en mis ojos.
No envidio el vuelo ni el nido al turpial. Soy como el viento en la mies. Siento el Caribe como a una mujer... Soy así... ¿Que voy a hacer?
Soy desierto, selva, nieve y volcan, Y al andar dejo una estela Y el rumor del llano en una canción Que me desvela.
La mujer que quiero tiene que ser Corazon, fuego y espuela, Con la piel tostada como una flor De Venezuela.
Con tus paisajes en mis sueños me iré
Por esos mundos de Dios; Y tus recuerdos al atardecer Me harán más corto el camino...
Entre tus playas quedó mi niñez, Tendida al viento y al sol... Y esa nostalgia que sube a mi voz, Sin querer se hizo canción.
De los montes quiero la inmensidad Y del rio la acuarela, Y de ti, los hijos
Que sembrarán nuevas estrellas.
Y si un día tengo que naufragar Y el tifón rompe mis velas, Enterrad mi cuerpo cerca del mar... En Venezuela..
Venezuela
I carry your light and your scent on my skin
And the cuatro* in my heart I carry in my blood the sea foam And your horizon in my eyes
I don't envy the flight nor the nest to the troupial I'm like the wind in the harvest I feel the Caribbean Sea like a woman I'm like this.. What can I do?
I am desert, jungle, snow, and volcano And when I walk, I leave a trail And the rumor of the plains in a song That makes me lose sleep
The woman I love has to be Heart, fire and spur With tanned skin like a flower
Of Venezuela
With your landscapes in my dreams I'll go Through those worlds of God
And your memories at sunset Will shorten the path
Between your beaches my childhood was left Lying in the wind and the sun
And that nostalgia that climbs to my voice Unintentionally, became a song
From the mountains I want the immensity And from river the watercolor And of you, the children That will plant new stars
And if one day I have to shipwreck And the typhoon breaks my sails Bury my body close to the sea
In Venezuela…
Antonio Zubillaga (16 July 1986 – ). The piece Redención was written as part of a three song cycle which depicts my struggle to reconcile the person I wanted to be while growing up in Venezuela and the person I am now having gone through many turbulent periods in life. Redención is the culminating piece in the cycle and is a sort of triumphant and bittersweet victory cry of redemption.
Redención
Turbia el agua que bebí Mil errores cometí
Sin compas que me guiara
Una tormenta sin fin
Redención
Buscas redención oi
Con disfraces me vestí Vi los pasos desde lejos Y corrí hasta perderlos
Redención
Toda memoria enublece La tozuda alma envejece
Redención
Redemption
Turbulent waters I drank A thousand mistakes I made Without a compass to guide me An endless storm
Redemption
You’re looking for redemption, I heard Costumes I wore I saw the steps from afar And I ran until I lost them
Redemption
All memories will fade The stubborn soul will age
Redemption
Giacomo Puccini Was born into a long line of late Baroque composers, he is regarded as the most influential composer of Italian opera in the 19th-20th centuries after Verdi. Though he began with late 19th-century classic Romantic Italian opera, he eventually developed his work in the realistic verismo style, of which he became one of the great composers.
His best-known operas, La bohème (1896), Tosca (1900), Madama Butterfly (1904), and Turandot (1924), are among the most frequently performed and recorded today.
Resta vicino a me is an Aria from the one act opera Il Tabarro. Il Tabarro is part of Il Trittico which comprises three different one act operas in one work (Il tabarro, Suor Angelica, and Gianni Schicchi) which was premiered in 1918 at the Metropolitan Opera in New York.
Resta Vicino a me!
Resta vicino a me!.... Non ti ricordi altre notti, altri cieli ed altre lune?....
Perchè chiudi il tuo cuore?
Rammentati le ore che volavano via su questa barca trascinate dall'onda!....
Ritorna come allora.... ritorna ancora mia! quando tu m'amavi ardentemente, e mi cercavi, e mi baciavi, Resta vicino a me! La notte è bella!....
Stay here, close to me!
Stay here, close to me!.... Don't you remember
Other nights, other skies and other moonlights?
Why thus close your dear heart?
Remember the sweet hours, We spent in this barge, Swept away by the tide!
Oh, return to me as it was!
Return to me and be mine
Remember how you loved me
With ardent passion....
You were after me, How you kissed me....
Keep close to me! The night is divine!
Acknowledgments
First of all, I want to thank everybody who attended this recital in person or virtually. All of you have been a pivotal part of my development as an artist and my journey here at UTSA.
To all of my choir people thank you for always making my day better and sharing your voices and support. Thank you for being vulnerable and open and encouraging me to be one with the group and always present.
To CJJ studio-mates, I truly don’t know where I would be as a performer without all of y’alls support and constructive criticism. I will miss being part of our studio family and hearing all of you grow in your artistry.
To Dr. Minkyung Lee and my NVC friends thank you for re-igniting my passion for music and for building me up and setting me on the right path.
To the boys at PMA, my Alpha Psi brothers and especially my taiwanese wonder twins. Your constant brotherly love keeps me going even when I feel like I should stop. I love y’all.
To the lunch group I want to say that I would not have enjoyed my time at UTSAeven half as much if you were not there to always make me laugh, cry and to trauma bond with. The fact that i’m crossing the stage is a testament to y’alls caring personalities and the love that you have made me feel through the years.
To Anna Hakobyan thank you for always catching me when I make mistakes. You are nothing short of amazing.
To the UTSAvoice faculty thank you for allowing me to grow and giving me opportunities to perform and learn.
To Dr. Howell thank you for allowing me to be my silly, kookie self on stage, for supporting my funny bits and always being one of my biggest supporters.
To Professor Crystal Jarrell Johnson thank you for believing in me and always pushing me when I needed to be pushed, leaving me alone when I needed to be left alone and encouraging me when I needed it most. I owe you my whole voice and sanity.
And lastly to my family and my husband. Without you none of this would have been possible and I love you more than words can express.
Thank you all!
