Compositions by: Amy Beach
Claude Debussy
Gustav Mahler
Florence Price
Undine Smith-Moore
Sat, Nov 16, 2024 @ 7:30PM
In Collaboration With:
Alexis Cairy, Soprano
Jared Kellman-Medina, Baritone
Catherine Nix, Soprano
Lydia Beasley, Soprano
Keith Beene, Violin
Isaiah Valdez, Cello
UTSA Recital Hall
Candidate for Graduate Certificate in Collaborative Piano
From the studio of Dr. Tracy Cowden
The Browning Songs
This Year’s at the Spring Ah, Love, but a Day!
I Send My Heart Up to Thee
Songs to the Dark Virgin
I Want to Die While You Love Me
Alexis Cairy, Soprano
Jared Kellman-Medina, Baritone
Selections from Lieder und Gesänge and Das Knaben Wünderhorn
Frühlingsmorgen
Erinnerung
Starke Einbildungskraft
Liebst Du Um Schönheit
Catherine Nix, Soprano
***** Intermission *****
Amy Beach (1867 – 1944)
Florence Price (1887 – 1953)
Undine Smith-Moore (1904 – 1989)
Gustav Mahler (1860 – 1911)
Quatre Chanson de Jeunesse
Pantomime
Clair de Lune
Pierrot
Apparition
Catherine Nix, Soprano
Three Songs with violin, cello, piano and voice
Mirage, Op. 100, No.1
Stella Viatoris, Op. 100, No. 2
June, Op. 51, No. 3
Lydia Beasley, Soprano
Keith Beene, Violin
Isaiah Valdez, Cello
Claude Debussy (1862 – 1918)
Amy Beach (1867 -1944)
Amy Beach (1867–1944) was a pioneering American composer and pianist, celebrated as the first American woman to compose a symphony, The Gaelic Symphony. The Browning Songs, Op. 44 (1899), is a collection of three art songs set to the poetry of Robert Browning. These works—“The Year’s at the Spring,” “Ah, Love, But a Day,” and “I Send My Heart Up to Thee”—highlight Beach’s lyrical and emotional sensitivity. Each song captures a different mood, from the optimism and renewal of spring in the first, to the introspection on love and time in the second, and the ethereal devotion in the third. Beach’s sophisticated harmonic language and expressive vocal lines showcase her Romantic style while emphasizing the profound depth of Robert Browning’s texts .
Florence Price (1887–1953) was a groundbreaking American composer and the first African American woman to have her symphony performed by a major orchestra. Price’s “Song to the Dark Virgin” is an art song composed in 1940, set to a poem by Langston Hughes. This piece celebrates the beauty, strength, and spirituality of Black identity through rich imagery and emotional depth. Price’s composition enhances Hughes’s words with dramatic and expressive harmonies, aligning the music with the poem’s profound reverence and intensity. Contralto Marian Anderson famously performed the song, elevating its recognition as a significant work in American art song repertoire. The song exemplifies Price’s unique ability to blend classical forms with African American musical traditions, capturing themes of cultural pride and empowerment
Undine Smith Moore (1904-1989), known as the “Dean of Black Women Composers,” was a significant American composer and educator. Born in Jarratt, Virginia, she demonstrated musical talent early on. Moore became the first graduate of Fisk University’s music program in 1926 and later earned a Master’s degree from Columbia University. She spent over 40 years teaching at Virginia State College (now Virginia State University), where she nurtured many students who went on to have influential careers. Moore composed more than 100 works, including choral pieces, arrangements of spirituals, and orchestral and chamber music. Undine Smith Moore’s “I Want to Die While You Love Me” is a poignant art song composed in 1975 for contralto and piano. It features a setting of a poem by Georgia Douglas Johnson, exploring themes of love, mortality, and emotional transcendence. The piece beautifully aligns with Johnson’s vivid imagery and profound longing, depicting a desire to preserve the peak of love’s intensity rather than witness its inevitable decline. The music’s expressive melodies and harmonies enhance the emotional depth of the text,
making it a signature example of Moore’s ability to blend lyrical poetry with evocative musical textures
Gustav Mahler (1860-1911) was an Austrian composer and conductor, renowned for his symphonies and song cycles which bridged the late Romantic era and modernism. Gustav Mahler’s songs “Erinnerung,” “Frühlingmorgen,” “Liebst du um Schönheit,” and “Starke Einbildungskraft” showcase his mastery of German Lied, combining expressive texts with imaginative musical settings. “Erinnerung” (“Remembrance”) reflects themes of love and longing, with lyrics by Richard Leander. It starts in F minor but intriguingly ends in G minor, blending duple and triple rhythms in the piano accompaniment to evoke emotional depth. “Frulingsmorgen” (Spring Morning) celebrate natures’s renewal employing light, lively rhythms and vibrant imagery of the countryside. Its joyful tone mirrors the optimism of spring “Liebst du um Schönheit” (If You Love for Beauty) is a delicate meditation on love, it rejects superficial beauty in favor of deeper, eternal affection. “Starke Einbildungskraft” (Strong Imagination) humorously explores fantasy and creativity, revealing Mahler’s playful side, often underscored by whimsical melodies.
Quatre Chansons de Jeunesse is a collection of four mélodies composed in his early career, showcasing his developing artistic voice. These songs—Pantomime, Clair de Lune, Pierrot, and Apparition—draw from the poetry of Paul Verlaine, Théodore de Banville, and Stéphane Mallarmé, reflecting the literary symbolism influential in France at the time. The works blend lyrical vocal lines with evocative piano accompaniments, emphasizing mood and imagery rather than narrative. For instance, Clair de Lune creates a dreamlike atmosphere through delicate, flowing harmonies that complement Verlaine’s text. The suite highlights Debussy’s emerging impressionistic style, marked by fluidity and subtle emotional shading. Each piece maintains individual identity while contributing to a cohesive exploration of love, nature, and fantasy
Amy Beach - Browning Songs
Text by Robert Browning
The Year’s at the Spring
The year’s at the spring, And day’s at the morn; Morning’s at seven; The hill-side’s dew-pearl’d; The lark’s on the wing; The snail’s on the thorn; God’s in His heaven–All’s right with the world!
Ah, Love But a Day!
Ah, Love, but a day, And the world has changed! The sun’s away, And the bird estranged; The wind has dropped, And the sky’s deranged; Summer has stopped.
I send my heart up to thee I send my heart up to thee, all my heart In this my singing, For the stars help me, and the sea, and the sea bears part; The very night is clinging Closer to Venice’ streets to leave on space Above me, whence thy face May light my joyous heart to thee, to thee its dwelling place.
Florence Price - Songs to the Dark Virgin Text by Langston Hughes
Would
That I were a jewel, A shattered jewel, That all my shining brilliants Might fall at thy feet, Thou dark one.
Would
That I were a garment, A shimmering, silken garment, That all my folds Might wrap about thy body, Absorb thy body, Hold and hide thy body, Thou dark one.
Would
That I were a flame, But one sharp, leaping flame To annihilate thy body, Thou dark one.
Undine Smith-Moore - I want to die while you love you Text by Georgie Douglas Johnson I want to die while you love me, While yet you hold me fair, While laughter lies upon my lips And lights are in my hair. I want to die while you love me, And bear to that still bed, Your kisses turbulent, unspent To warm me when I’m dead. I want to die while you love me Oh, who would care to live Till love has nothing more to ask And nothing more to give! I want to die while you love me And never, never see The glory of this perfect day Grow dim or cease to be.
Gustav Mahler
Frühlingsmorgen
Text by Richard Leander
Es klopft an das Fenster der Lindenbaum.
Mit Zweigen blütenbehangen:
Steh' auf! Steh' auf!
Was liegst du im Traum?
Die Sonn' ist aufgegangen!
Steh' auf! Steh' auf!
Die Lerche ist wach, die Büsche weh'n!
Die Bienen summen und Käfer!
Steh' auf! Steh' auf!
Und dein munteres Lieb' hab ich auch schon geseh'n.
Steh' auf, Langschläfer!
Langschläfer, steh' auf!
Steh' auf! Steh' auf!
Erinnerung
Text by Richard Leander
Es wecket meine Liebe
Die Lieder immer wieder!
Es wecken meine Lieder
Die Liebe immer wieder!
Die Lippen, die da träumen
Von deinen heißen Küssen, In Sang und Liedesweisen
Von dir sie tönen müssen!
Und wollen die Gedanken
Der Liebe sich entschlagen, So kommen meine Lieder
Zu mir mit Liebesklagen!
So halten mich in Banden
Die Beiden immer wieder!
Es weckt das Lied die Liebe!
Die Liebe weckt die Lieder!
The lindentree taps at the window Branches heavy with blooms; Get up! Get up!
Why do you lie dreaming?
The sun is overhead! Get up! Get up!
The lark is up, the bushes blow!
The bees buzz, and the beetles! Get up! Get up!
And I've already seen your jolly lover Get ujp, lazybones!
Lazybones, get up! Get up! Get up!
My love awakens the songs again and again! My songs awaken Love again and again!
And should thoughts wish To free themselves of love, So come my songs to me With laments of this love.
These lips, that dream Of your ardent kisses, In singing and melodies Of you must resound.
So keep me in bonds These two ever more. Song arouses Love! Love arouses Song!
Starke Einbildungskraft
Text by Volkslieder (Folksongs)
Mädchen:
Hast gesagt, du willst mich nehmen, So bald der Sommer kommt!
Der Sommer ist gekommen, ja kommen, Du hast mich nicht genommen, ja nommen!
Geh', Büble, geh'! Geh', nehm' mich!
Gelt, ja? Gelt, ja? Gelt, ja du nimmst mich noch?
Büble:
Wie soll ich dich denn nehmen, Dieweil ich doch schon hab'?
Und wenn ich halt an dich gedenk', So mein' ich alle weile: Ich wär' schon bei dir!
Liebst du um Schönheit
Text by Friedrich Rückert
Liebst du um Schönheit, O nicht mich liebe!
Liebe die Sonne, Sie trägt ein gold'nes Haar!
Liebst du um Jugend, O nicht mich liebe!
Liebe den Frühling, Der jung ist jedes Jahr!
Liebst du um Schätze, O nicht mich liebe.
Liebe die Meerfrau, [Die]1 hat viel Perlen klar.
Liebst du um Liebe, O ja, mich liebe!
Liebe mich immer, Dich lieb' ich immerdar.
Girl:
You said that you wanted to take me, As soon as Summer came! The summer has come, yes come, But you have not taken me, not taken me! Hey, boy! Take me!
Eh, yes? Won't you? Won't you take me yet?
Boy:
Why should I then take you, If I already have you?
When I think of you, It seems to me the entire time, That I am already with you!
If you love for beauty, Oh do not love me!
Love the sun, It has gold hair!
If you love for youth, Oh do not love me!
Love the spring-time That is young each year!
If you love for wealth, Oh do not love me!
Love the mermaid, [Who]1 has many limpid pearls!
If you love for love, Oh yes, love me!
Love me forever; I will love you forevermore!
Pantomime
Text by Paul Verlaine
Pierrot qui n'a rien d'un Clitandre
Vide un flacon sans plus attendre, Et, pratique, entame un pâté.
Cassandre, au fond de l'avenue, Verse une larme méconnue Sur son neveu déshérité.
Ce faquin d'Arlequin combine L'enlèvement de Colombine Et pirouette quatre fois.
Colombine rêve, surprise De sentir un cœur dans la brise Et d'entendre en son cœur des voix.
Clair de Lune
Text by Paul Verlaine
Votre âme est un paysage choisi
Pierrot, who has nothing about him of a Clitander, Empties a bottle without a second thought, And opens up and makes a start on a pâté.
Cassandra, at the bottom of the road, sheds a quiet tear for her dispossessed nephew.
This creature of Harlequin contrives In the abduction of Columbine And pirouettes four times.
Columbine dreams, surprised To sense a heart breaking And to hear voices in her own heart.
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.
Tout en chantant sur le mode mineur
L'amour vainqueur et la vie opportune,
Ils n'ont pas l'air de croire à leur bonheur
Et leur chanson se mêle au clair de lune,
Au calme clair de lune triste et beau, Qui fait rêver les oiseaux [dans]1 les arbres
Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.
Your soul is a lovely garden, and go
There masque and bergamasque charmingly, Playing the lute and dancing and also Sad beneath their disguising fanchise.
All are singing in a minor key
Of conqueror love and life opportune, Yet seem to doubt their joyous revelry
As their song melts in the light of the moon.
In the calm moonlight, so lovely fair
That makes the birds dream in the slender trees, While fountains dream among the statues there; Slim fountains sob in silver ecstasies.
Pierrot
Text by Théodore Faullin de Banville
Le bon Pierrot, que la foule contemple, Ayant fini les noces d'Arlequin,
Suit en songeant le boulevard du Temple.
Une fillette au souple casaquin
En vain l'agace de son oeil coquin ; Et cependant mystérieuse et lisse
Faisant de lui sa plus chère délice,
La blanche lune aux cornes de taureau
Jette un regard de son oeil en coulisse
À son ami Jean Gaspard Deburau.
Good old Pierrot, at whom the crowd gapes, having concluded Harlequin's wedding, walks along the Boulevard du Temple, lost in thought.
A girl in a supple garment vainly teases him with a mischievous look; And meanwhile, mysterious and smooth, taking her sweetest delight in him, the white moon, bull-horned, throws a furtive glance at her friend Jean Gaspard Deburau.
Apparition
Text by Stéphane Mallarmé
La lune s'attristait. Des séraphins en pleurs
Rêvant, l'archet aux doigts, dans le calme des fleurs
Vaporeuses, tiraient de mourantes violes
De blancs sanglots glissant sur l'azur des corolles.
-- C'était le jour béni de ton premier baiser.
Ma songerie aimant à me martyriser
S'enivrait savamment du parfum [de tristesse]1
Que même sans regret et sans déboire laisse
La cueillaison d'un Rêve au cœur qui l'a cueilli.
J'errais donc, l'œil rivé sur le pavé vieilli
Quand avec du soleil aux cheveux, dans la rue
Et dans le soir, tu m'es en riant apparue
Et j'ai cru voir la fée au chapeau de clarté
Qui jadis sur mes beaux sommeils d'enfant gâté
Passait, laissant toujours de ses mains mal fermées
Neiger de blancs bouquets d'étoiles parfumées.
The moon was saddened. Dreaming of weeping seraphs, Bow in hand, amid the stillness of gossamer flowers,
The faint tones they drew from their viols, White sobs gliding over the blossom’s azure heart
– It was the blessed day of your first kiss. My reverie, taking pleasure in my pain, Knowingly intoxicated me with the fragrance of sadness
That itself[,] with neither sorrow nor bitterness[,] Abandons the harvesting of a Dream to the heart that has gleaned it.
I was wandering[,] then, my eye fixed on the ancient cobbles
When[,] with the sun in your hair, and in the evening light of the street, You appeared to me[,] laughing, And I thought I had seen the fairy[,] its head garlanded with light[,]
Who all that time ago passed over the enchanted array of nameless desires and unheard-of delights.
Amy Beach - Songs Op. 51 and Op. 100
Text by Erich Jansen
O sunny days of June divine, Fresh beauty each hour discloses! Of blossoming meadows, and zephyrs benign, And in the gardens with fruit and vine, Heart's-ease and Roses!
Heart's-ease and Roses; a perfume strong The mellowing vineyards are giving! The nights so lang'rous, the days so long! So beaming the brow and so ringing the song! Such joy but in living!
You leafy arbor all tremulous there, Doth sigh as at night it reposes, Rich blessings fill all the scented air With rapture surpassing; and ev'rywhere Heart's-ease and Roses!
Text by Bertha Ochsner
Now the mountaintop all purple Rises thro' a mist of silver, While the moon, a disc of cobwebs, Shining in the pallid heavens, Ghostlike thro' the evening shadows.
Now the lofty eucalyptus
Stretches forth its chalky branches Toward the lovely, lustred heavens, While the drowsy westwind sighing Sings the theme of lamentation.
Stella Viatoris
Text by Jessie Hague Nettleton Dun grows the sky; The cloudrack dark In the west hangs low.
The wind moans by; The bare trees ply their futile weaving Sad and slow;
But o'er the east
The grim clouds part A fleece of white, A space of blue Aloft, afar, There's a single star, Like the kindness of God Shining thro'.
Tonya Pacetti-Perkins is a pianist with years of experience collaborating with instrumentalists and vocalist in the San Antonio Area in her youth. She began her piano studies at the age of 7 with Thelma Gonzalez Landon at the Lackland Music Academy in San Antonio, Texas. In 1997, she was inspired by the piece Miràge which was composed by Elisenda Fábregas and commissioned by the San Antonio International Piano Composition, Following this inspiration, she auditioned and became part of Dr. Fábregas' studio at the University of Texas at San Antonio in 1998, where she focused on expanding her piano repertoire and technique. During her studies she was recognized by the Piano Area for her accompaniment efforts. After years of focusing on her corporate career, and family, she has returned to her piano studies, and is currently the first student in the UTSA collaborative piano performance certificate program. Tonya is studying under Dr. Tracy Cowden and Dr. Jeong-Eun Lee as they define a program for the San Antonio area rooted in the Eastman School of Music tradition and the teachings of Dr. Jean Barr. Tonya is excited to bring a fresh perspective to collaborative piano and highlighting the works of underrepresented composers.
Alexis Cairy is a Minnesota native now pursuing her Master of Music in Vocal Pedagogy and Vocal Performance at the University of Texas San Antonio under the instruction of Prof. John Nix. Ms. Cairy received her Bachelor of Music in Vocal Performance from the University of Colorado, Boulder where she studied voice and pedagogy under Dr. John Seesholtz. Ms. Cairy is an active chorister, performer and teacher in San Antonio. Stage credits include Minnesota Opera’s Project Opera The Nightingale, Nightingale, Memory Boy, Chorus, Music of Mozart, Marcellina. Minnesota Opera MainStage Rusalka, chorus. Eklund Opera, Jake Heggie’s It’s a Wonderful Life, Chorus/Mrs. Johnson, Hansel und Gretal, Mutter. UTSA Lyric Theatre, The Kidnapping of Europa, Europa, The Firetower a new opera, June. Competition includes, The Schubert Club Bruce P. Anderson Scholarship Competition, finalist and third place recipient, NATS 2023, Semi finalist, The Metropolitan Opera Laffont Competition, Encouragement Award. Teaching, Ensemble Music Schools, Voice instructor, The University of Northwestern – St. Paul, Voice Instructor, Lutheran Summer Music, Faculty Voice Instructor and Assistant Musical Theater Director.
Baritone Jared Kellman-Medina is a Senior at The University of Texas at San Antonio majoring in Music Education. He is a young rising performer in the San Antonio area, with performances with San Antonio Zoo during DreamWeek San Antonio and as a guest artist for the San Antonio Choral Society. Jared is dedicated to service and academic excellence. He is a part of UTSA's Honors College, has been named to the Dean's list for multiple semesters, and recently a First Place Winner in the 2023 UTSA COLFA Research Conference in the Undergraduate Lecture-Performance category. Jared has a passion for his community. To name some of his extracurriculars, he is President of the Nu Eta chapter of Phi Mu Alpha Sinfonia, Vice president of the UTSA student chapter of the American Choral Directors Association, and a two-time Summer House Institute cohort member. Jared is a voice student of Professor Crystal Jarrell Johnson. National Finalist, Semifinalist, and Spirituals Award winner at the George Shirley Vocal Competition in 2023 and 2024, and a National Semifinalist in the NATS Hall Johnson Spirituals Competition. He has also performed in the community of San Antonio, as Jared has performed at the. His most prominent work has been with the UTSA Lyric Theatre, where he has bloomed in various roles. He has portrayed roles with the UTSA Lyric Theatre in their production of Don Giovanni (Title Role), Count Carl Magnus-Malcom (A Little Night Music), Godspell (Jesus) and was a part of the ensemble in their Die Zauberflöte and Cendrillon (Ensemble) productions. Mr. Kellman-Medina has plans to attend graduate school for Opera performance to pursue a career in opera. He aims to sing opera internationally, making opera more accessible to underrepresented and underprivileged communities and breaking the stereotype of the black opera singer.
Catherine Nix continues to delight audiences across the country with her vocal versatility and creative recital programming. She is equally comfortable in the musical genres of opera, oratorio, sacred works, orchestral works, and intimate chamber ensemble settings. Her warm vocal timbre is evenly balanced with the clarity of her coloratura. In addition to fulfilling her schedule of performance engagements, Dr. Nix serves on the voice faculty of St. Philip's College and Musical Arts Center of San Antonio. She enjoys sharing her love of vocal literature, diction, and pedagogy with her students and finds their creativity a catalyst for renewed energy in her own performing.Dr. Nix is also in demand as a workshop clinician. She has worked with church musicians across the country, and she specializes in the ministry of the Catholic cantor. You may email her with questions about voice lessons or performances
Soprano Lydia Beasley is an Assistant Professor of Practice in Voice at the University of Texas San Antonio School of Music. She has performed with Peabody Opera, Emerald City Opera, The Figaro Project, Erie Opera, Birmingham Music Club, and University of Alabama Opera in such roles as Mimì in La Bohème, Donna Anna in Don Giovanni, Countess Almaviva in Le nozze di Figaro, Frau Fluth in Die lustigen Weiber von Windsor, Marietta in Naughty Marietta, and Mrs. Garland in the world premiere of Amir Zaheri’s Freedom and Fire! A Civil War Story. An experienced oratorio soloist, she has appeared in Texas, Alabama, Maryland, Pennsylvania, Virginia, and Italy in Mendelssohn’s Elijah, Poulenc’s Gloria, Honegger’s King David, Haydn’s Creation and Lord Nelson Mass, and Monteverdi’s Vespers of 1610. Lydia holds a B.M., summa cum laude, from Shenandoah Conservatory, an M.M. from Peabody Conservatory, and a D.M.A. from the University of Alabama. Previous teaching appointments include Trinity University, the University of Alabama, Mercyhurst University, Southern Virginia University, and Judson College. She is a member of the National Association of Teachers of Singing and has previously served on the National Opera Association’s Opera Production Committee and the Board of Directors of the Children’s Chorus of San Antonio.
Isaiah Valdez, a 22-year-old native of Harlingen, Texas, embarked on his musical journey at Vernon Middle School, laying the foundation for his passion for music. His formative years were shaped under the guidance of Dr. Tido Janssen at UTRGV, where he honed his skills and developed a deep appreciation for the cello.
Continuing his musical pursuits at the University of Texas at San Antonio (UTSA), Isaiah studied under esteemed teachers such as Dr. Yi Qun Xu, Holgen Gjoni, and Bonnie Hampton. Engaging in multiple masterclasses with renowned musicians like Julien Swartz, Brook Speltz, Santiago Cañón Valencia, and Emilio Colon enriched his musical perspective.
Isaiah is an active participant in chamber music at UTSA, showcasing his versatility and commitment to musical collaboration. Beyond performance, he finds joy in composing across various genres. His composition, Silent Cartography, a suite for solo piano, garnered acclaim and awards at UTSA's COLFA Research Conference in 2021.
In Fall 2024, Isaiah had the honor of making his solo debut with the San Antonio Community Orchestra, performing Elgar's Cello Concerto, a milestone that marks a significant step in his performing career.
Currently pursuing a Master's degree in Cello Performance and Pedagogy at UTSA, Isaiah aspires to follow in the footsteps of his mentors. His overarching goal is to continue his musical education and ultimately become a distinguished music educator at the university level. Isaiah Valdez's dedication to his craft, coupled with his diverse musical pursuits, paints a vibrant portrait of a promising and aspiring musician on the brink of a successful career.
Keith Beene is a 4th-year Performance major at UTSA currently studying the Violin under the guidance of Dr. Stephanie Westney. Keith has performed as Concertmaster for the UTSA Orchestra and has performed with the Central Texas Philharmonic, the Laredo Philharmonic, and the Hip-Hop ensemble known as the Illharmonic Orchestra. On top of his orchestral experience, Keith has also studied abroad at the Music Across the Pond Chamber Program in London and was a member of the 2024 Texas Music Festival. In addition to his academic studies, Keith has performed as Concertmaster for Trinity Baptist Church, has performed freelance as an R&B Violinist, performs frequently in student recitals, and has performed in chamber ensembles for weddings and private events all around Texas.
Thank you to the UTSA Music Faculty for your support as I navigated through to complete this certificate. I love the creation of this program. It is an amazing step forward in offering options for instrumentalists with interests outside of the traditional MM tract. To the vocalists and instrumentalists performing with me, I thank you for your efforts working on this program. Thank you for being gracious with you time and talent. To Dr. Cowden, thanks for helping to get me over the finish line.