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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE GRADUATE RECITAL IN VOICE An artistic performance presented in nartial satisfaction of the requirements for the degree of Master of Arts in Music by Kay Hennenfent January 1984 The artistic performance of Kay Hennenfent is aporoved: Daniel~essner~~ David w. Scott Curt Ailen, Committee Chairperson California State University, Northridge ii ABSTRACT GRADUATE RECITAL IN VOICE by Kay Hennenf'ent Master of' Arts in Music The music for this recital was chosen to present a program of' works encompassing a variety of' styles, languages, and dramatic situations. The Mozart aria Schon lacht der holde Frilhlin~, K. 580, was the earliest representative on the program, and was a typical Classical example in its three movement form (fastslow-fast). It offered challenges in asnects of' vocal tech- nique with its numerous coloratura passages and wide range. Mozart composed the piece in Vienna in 1789. It was orig- inally written as an insertion aria for the German version of' Paisiello's Il Barbiere di Sivip,lia. The text expresses an unrelieved trapedy, although the music is quite joyous in character. Especially apnealinr; to me vrere the Drei Lieder der Ophelia, 0~. n7 by Richard Strauss. iii The texts were taken from the fifth scene of the fourth act of Shakespeare's Hamlet Prince of Denmark. German by Karl Simrock. trast to the Mozart aria. The texts were translated into These pieces offer a strong conThey were composed in 1918, and represent the culmination of German Romantic Lieder. are striking in dramatic intensity and detail. depicts the ~rowin~ madness of Ophelia: They Each song the first with its wandering motifs, unresolved dissonances, and harsh chords; the second with her senseless, vulgar chattering and alternation in the niano betvreen major and minor; and the third, a rambling, chromatic accompaniment, with unexpected melodic turns that lapse into a Landler based on fragments of a folk son.rr. The other three Strauss songs from Op. G9 were chosen to balance the Lieder portion, and represent a more "typical" Strauss. The first, third, and fifth songs of the set were chosen, utilizing the poetry of Achim von Arnim and Heinrich Heine. The scene and aria from Les Huguenots by Keyerbeer presented the Romantic operatic style with portions of cabaletta, recitative, trio (ensemble), obbligato flute, and cadential decorations. The Chansons de Ronsard of Darius Nilhaud were commissioned by the famous French soprano Lily Pons in 1941. They are excellent nieces for a recital depicting various moods and delightful accompaniments. The difficulty lies in their high tessitura and use of bitonality. iv The last piece on the pro~ram, Jeffery V. Cotton's Dream i·Ii thin a Dream was a new composition which offered many challenges. The range of nearly three octaves and use of the voice for special effects, including gutteral laughter, indeterminate nitches, quarter tones, gasps, etc., require relative nitch and an excellent rhythmic sense. v CALIFORNIA STATE UNIVERSITY, NORTHRIDGE MUSIC DEPARTMENT presents Kay Hennenfent Soprano in her *Graduate Recital assisted by CAROL ROBERTS, piano April 9, 1983 Recital Hall PROGRAM 5:00p.m. Schon lacht der holde Friihling ...............•.......•. W. A Mozart (1756-1791) All egro Andante Allegro Ruth PowelL violin Selections from Funf Kleine Ueder, Op. 69 ........................ Richard Strauss Der Stem (1864-1949) Einerlei Schlectes Wetter Drei Ueder der Ophelia, Op. 67 ....•..•.............. Richard Strauss Wie erkenn ich mein Treulieb vor andem nun Guten Morgen's ist Sankt Valentinstag Sie trugen ihn auf der Bahre bloss "0 beau pays de Ia Touraine" &om Les Hugumots ....................•...... Giacomo Meyerbeer (1791-1864) Deborah Mayhan, soprano Janis Shibata, soprano Leanna Goon, mezzo-soprano Larry Kaplan, flute INTERMISSION vi Chan10n1 de RonNrd ......••..•••.•..•..•.....•.••. Darius Milhaud (1892-1974) A une Fontaine A Cupidon Tai&-tois, babillarde Dieu vous gard' Dream Within a Dream ............................ Jeffrey V. Cotton (b. 1957) Dr. Daniel Kessner, conductor Dana WiUumsen, cello Larry Kaplan, flute Mike Will~ams, piano •In partial fulfillment of the requirements for the Master of Arts Degree. vii