Download Kimberly Botsko, soprano

The Music Department of Wagner College
presents
Kimberly Botsko, soprano
with
Joyce Chung, piano
Saturday, April 19, 2008, at 5 p.m.
Campus Hall Performance Center
Kimberly Botsko is a student of Janet Pranschke.
Program
From Massimo Puppieno
Non so vivere
Con le donne
Alessandro Scarlatti (1660–1725)
Lied der Mignon
From Sechs Lieder, op.47
1. Minnelied
Der Jäger
Franz Schubert (1797–1828)
Felix Mendelssohn (1809–1847)
Cinq mélodies populaires grecques
1. Le réveil de la mariée
2. Là-bas, vers l’église
3. Quel gallant m’est comparable
4. Chanson des cueilleuses de lentisques
5. Tout gai!
Maurice Ravel (1875–1937)
Johannes Brahms (1883–1897)
Intermission
Antonín Dvořák (1841–1904)
From Rusalka
Rusalka’s Song to the Moon
Lord, O harken unto my crying
Sing a new song
Your Cheatin’ Heart
Crazy
Big Deal
I Told You So
Butterflies
Hank Williams (1923–1953)
Willie Nelson (b. 1933)
Al Anderson (b. 1950) and Jeffrey
Steele
Randy Travis (b. 1959)
Rissi Palmer (b.1981)
Anthony Babino, Jonathan Caro, guitars
John Biscuti, bass
Michael Parascandola, drums
Texts and Translations
Con Claudia dentro di Roma
Sulpizia condurò, l’idol che adoro;
così sarà colei ch’il cor m’accende,
più sicura in città che nelle tende.
Ah! With Claudia in Rome
I shall bring Sulpizia, the idol I adore;
thus she who enflames my heart,
will be safer in the city than in tents.
No, non so vivere lontano,
da quel bel che mi ferì.
Se vicino a me nol miro,
io deliro sospirando notte e dì.
No, I don’t want to live apart,
from the beauty who has smitten me.
If I do not see her near me,
I am delirious, sighing night and
day.
Ah! Se meco si sdegna l’idolo mio,
perché geloso avvampo al fiero ardor
Ah! If my idol distains me,
because I blaze jealously with the fierce
ardor
of amorous flames,
what can I do? Suffer my heart and be
silent!
dell’ amorose faci,
che, far poss’io? Soffri mio cor, e taci!
Con le donne che son belle
ci vuol pur gran sofferenza.
Le lor brame, i loro amori
sono effimere dei cori
che non han mai sussistenza.
With women who are beautiful
One must undergo great suffering.
Their desires, their love,
are the mayflies of hearts
which never have substance.
Lied der Mignon
Nur wer die Sehnsucht kennt
weiß, was ich leide!
Allein und abgetrennt
von aller Freude,
seh ich ans Firmament
nach jener Seite.
Mignon’s Song
Only one who knows longing
knows what I suffer!
Alone and cut off
from all joy,
I look into the firmament
in that direction.
Ach! der mich liebt und kennt,
ist in der Weite.
Es schwindelt mir,
es brennt mein Eingeweide.
Nur wer die Sehnsucht kennt
weiß, was ich leide!
Ah! He who loves and knows me,
is far away.
I am reeling,
my heart is burning.
Only one who knows longing
knows what I suffer!
Minnelied
Wie der Quell so lieblich klinget
und die zarten Blumen küßt,
wie der Fink im Schatten singet
und das nahe Lienbchen grüßt!
Love Song
How the fountain so lovely sounds
and kisses the tender flowers,
how the finch in the shade sings
and greets the nearby sweetheart!
Wie die Lichter zitternd schweifen
und das Gras sich grün erfreut,
wie die Tannen weithin greifen
und die Linde Blüten streut!
How the lights curve trembling
and the grass rejoices in its green,
how the firs reach out far
and the lime tree strews its blooms!
In der Linde süß Gedüfte,
in der Tannen Riesellaut,
in dem Spiel der Sommerlüfte
glänzet sie als Frühlingsbraut.
In the lime tree’s sweet fragrance,
in the fir’s loud rustling,
in the play of summer air
she appears as a spring bride.
Aber Waldton, Vogelsingen,
duft der Blüten, haltet ein,
licht, verdunkle, nie gelingen
kann es euch, ihr gleich zu sein!
But forest sounds, birdsong,
fragrance of blooms, cease,
light, die away, you can never
be like her!
Der Jäger
Mein Lieb ist ein Jäger,
und grün ist sein Kleid,
und blau ist sein Auge,
nur sein Herz ist zu weit.
The Hunter
My love is a hunter,
and green is his clothing,
and blue are his eyes,
only his heart is too open.
Mein Lieb ist ein Jäger,
trifft immer in’s Ziel,
und Mädchen berückt er,
so viel er nur will.
My love is a hunter,
he always hits his mark,
and he captivates the maidens,
as many as he wants.
Mein Lieb ist ein Jäger,
kennt Wege und Spur,
zu mir aber kommt er
durch die Kirchthüre nur.
My love is a hunter,
he knows all the paths and trails,
but to me he will come
only through the door of the church.
Cinq mélodies populaires grecques
Le reveil da la mariée
Réveille-toi, réveille-toi, perdrix
mignonne,
Ouvre au matin tes ailes.
Trois grains de beauté, mon coeur en est
brûlé!
Vois le ruban d'or que je t'apporte,
Pour le nouer autour de tes cheveux.
Si tu veux, ma belle, viens nous marier!
Dans nos deux familles, tous sont alliés!
Five Popular Greek Melodies
The Song of the Bride
Awake, awake, my darling partridge,
Là-bas, vers l’église
Vers l’église Ayio Sidéro,
l’église, ô Vierge sainte,
l’église Ayio Costanndino
se sont reunis,
rassemblés en nombre infini,
du monde, ô Vierge sainte,
du monde tous les plus braves!
Yonder, by the Church
By the church of Saint Sidereus,
the church, o blessed Virgin,
the church of Saint Constantine,
they are reunited,
assembled in infinite numbers,
the world’s, o blessed Virgin,
all the world’s most decent people!
Quel galant m'est comparable,
d'entre ceux qu'on voit passer?
Dis, dame Vassiliki?
Vois, pendus à ma ceinture,
pistolets et sabre aigu. . .
Et c'est toi que j'aime!
What gallant compares with me,
among those one sees passing by?
Tell me, lady Vassiliki!
See, hanging on my belt,
my pistols and my curved sword.
And it is you whom I love!
Open to the morning your wings.
Three beauty marks; my heart is on fire!
See the ribbon of gold that I bring,
To tie round your hair.
If you want, my beauty, we shall marry!
In our two families, everyone is related!
Chanson des cueilleuses de lentisques
O joie de mon âme,
joie de mon coeur,
trésor qui m’est si cher;
joie de l’âme et du coeur
toi que j’amie ardemment,
tu es plus beau, qu’un ange.
Song of the lentil gatherers
O joy of my soul,
joy of my heart,
treasure which is so dear to me;
joy of my soul and heart
you whom I love ardently,
you are more handsome than an angel.
O lorsque tu parais,
ange si doux,
devant nos yeux.
Comme un bel ange blond,
sous le clair soleil,
Hélas! tous nos pauvres coeurs
soupirent!
O when you appear,
angel so sweet,
before our eyes,
like a fine, blonde angel,
under the bright sun,
Alas! all of our poor hearts sigh!
Tout gai!
Tout gai! gai, Ha, tout gai!
Belle jambe, tireli, qui danse;
Belle jambe, la vaisselle danse,
Everyone is joyous!
Everyone is joyous, joyous!
Beautiful legs, trala, which dance,
Beautiful legs; even the dishes are
dancing!
Tra la la, la la la!
Tra la la, la la la!
Rusalka’s Song to the Moon
Silver moon upon the deep dark sky,
through the vast night pierce your rays.
This sleeping world you wander by,
smiling on men’s homes and ways.
Oh moon ere past you glide,
tell me, oh where does my loved one
bide?
Tell him, oh tell him, my silver moon,
mine are the arms that shall hold him.
That between waking and sleeping,
he may think of the love that enfolds
him.
Light his path far away,
tell him, oh tell him who does for him
stay!
Human soul, should it dream of me,
let my memory wakened be.
Moon, do not wane!
Lord, O harken unto my crying:
Lend Thine ear to my pray’r.
For Thou hast been my refuge and my shield:
And Thou wert ever my sure defense from the foe.
Let me dwell evermore within Thy sanctuary.
I shall be safe beneath Thy wings.
O God, Thou art my strength and stay:
Early will I seek Thee.
My soul thirsteth after Thee:
And in my flesh I long for Thee,
In a barren and a dried up land,
Where is no water.
And daily will I lift up my hands in Thy name:
And I will bless Thee for all Thy loving kindness
My whole life long. . .
Sing a new song
Sing a new song unto the Lord with gladness,
For with His right hand wrought He victory.
Let the heav’ns rejoice before Him,
And let the earth be glad!
Let the sea roar, and the fullness thereof,
The earth’s four corners,
And all within it dwelling!
Let the floods clap their hands,
Let all the hills be joyful together,
Praising God, the Lord!
Fields and forests rejoice together,
Woods and forests be ye joyful before the Lord.
Your Cheatin’ Heart
Your cheatin’ heart will make you weep
You’ll cry and cry and try to sleep.
But sleep won’t come the whole night through,
Your cheatin’ heart will tell on you.
When tears come down like fallin’ rain
You’ll toss around and call my name.
You’ll walk the floor the way I do.
Your cheatin’ heart will tell on you.
Crazy
Crazy, crazy for feelin’ so lonely
I’m crazy, crazy for feelin’ so blue.
I know you’d love me as long as you wanted,
And then some day you’d leave me for somebody new.
Worry, why do I let myself worry,
Wondrin’ what in the world did I do?
Crazy for thinkin’ that my love could hold you,
I’m crazy for tryin’,
Crazy for cryin’
And I’m crazy for lovin’ you!
Big Deal
Well, he used to be mine, not so very long ago.
I was crazy to ever let him get away.
But, girl you should know better
than to go bragging in my face.
So, forgive me for what I’m ‘bout to say.
Big deal. So what? Who cares?
You just got lucky that’s all it was.
Shut up.
Don’t wanna hear another word about candlelight
and long stemmed roses,
and how you’re falling head over heels in love.
So what? Big Deal.
He’s perfect. I heard you
the first ten time that you told me.
Yeah, yeah it’s amazing, his loving.
You can’t believe I let him go, oh woah.
I regret it. There, I said it.
You call yourself a friend, but you just keep a-rubbing it in.
Congratulations, I’m just so happy for you.
I can’t contain the way I feel.
I Told You So
Suppose I called you up tonight
and told you that I love you,
and suppose I said I want to come back home.
And suppose I cried and said I think I’ve finally learned my lesson
and I’m tired of spending all my time alone.
If I told you that I realized you all I ever wanted
and it’s killin’ me to be so far away,
would you tell me that you missed me too,
and would we cry together?
Or would you simply laugh at me and say. . .
I told you so, oh I told you so.
I told you someday you’d come crawling back
and asking me to take you in.
I told you so, but you had to go.
Now I found somebody new
and you will never break my heart in two again.
If I got down on my knees and told you I was your forever,
would you get down on yours too and take my hand?
Would you get that old-time feeling?
Would we laugh and talk for hours
the way we did when our love first began?
Would you tell me that you’ve missed me too,
and that you’ve been so lonely,
and you’ve waited for that day that I returned,
and would we live and love together
and that I’m your one and only?
Or would say the tables fin’lly turned?
Would you say. . .
Butterflies
Why settle when it comes to love?
You can’t make more than what’s barely enough
and why did I cheat myself
by lyin’ to my heart that there’s no one else.
I guess it was still learnin’ its okay to want the best
To hold out for perfection and damn the rest.
I want fireworks
Like the 4th of July,
and love that’s true blue
Like a clear summer sky.
I want passion so strong
that it makes me wanna cry.
I want nothing short of,
butterflies.
I’m sorry it took me so long
to figure out I’m worth it
And true love’s worth waitin’ on.
Forgive me, you’re the only one who can
’cause you’re the only heart,
the only heart I’ll ever have.
And I don’t wanna break you
Or leave you on my sleeve.
I just want to save you
’cause I want what you need.
I wanna feel the lightness of my soul
I’ll be half until I’m whole,
and when it’s really love I’ll know.
Program Notes
Alessandro Scarlatti has often been referred to as the founder of Neapolitan opera. Born
in Palermo, Sicily, he was brought up in Rome, and it was for Rome that his earliest operas, and
many of his later ones, were composed. The libretto for Massimo Puppieno, a three-act opera,
was written by Aurelio Aureli in 1684. The libretto was revised fifteen times between the years
of 1685 and 1729, but only one of the revisions was made by Aureli himself. Today, only the
settings by Carlo Pallavicino and Scarlatti still exist. First performed in Naples in 1695 at the
Saint Bartholomew Theater, the opera takes place in Rome in 235 A.D. “Non so vivere” from
Act I, is sung by Elio, a captain under Roman Emporer Puppieno, who has just delivered
Puppieno’s wife Claudia to the city of Rome. In love with Sulpizia, a noble Roman girl in love
with Flavio, Elio secretly declares his love for the idol who has captured his heart. In Act III,
Elio discovers that his love for Sulpizia is not returned, and sings “Con le donne,” which
describes the consequences that one encounters when one loves a beautiful woman.
The Austrian composer Franz Schubert made many contributions to orchestral music,
chamber music, piano music and, especially the German lied, or art song. From the age of 17
Schubert was composing masterful songs that ranked with the best produced over the next 100
years. He sought out verse that conveyed meaning and was suited for musical realization.
Schubert’s search led him to more than 150 poets over a 17-year career. He set texts by some of
the greatest poets of his own and the preceding generations (Schiller, Goethe, Klopstock, Heine,
Rückert) but also gave voice to his friends (Mayrhofer, Schober, Bauernfeld, Ottenwalt, Spaun)
and an array of minor poets from Hölty to Stolberg. “Lied der Mignon” by Goethe was set in
1826 as part of Schubert’s Opus 62, and expresses the great loneliness, deep pain and solitude
one feels.
Felix Mendelssohn was one of the most gifted and versatile prodigies of his time.
Standing at the forefront of German music during the 1830s and 1840s, Mendelssohn acted as
conductor, pianist, organist and composer. His musical style was fully developed before he was
20 and drew upon a variety of influences, including the complex chromatic counterpoint of Bach,
the formal clarity and gracefulness of Mozart, and the dramatic power of Beethoven and Weber.
Not known for his lieder, Mendelssohn’s piano accompaniments are simple in relation to the
strophic settings of the poetry. The text for “Minnelied” is by poet Johann Ludwig Tieck (17731853). The poem reflects that even though things in nature are beautiful, nothing can come close
or equal to one’s sweetheart.
Johannes Brahms was a true composer of song. Within a period of forty-three years
(1953-1896) he published 190 solo lieder, five songs for one or two voices, two songs with viola,
twenty duets and sixty vocal quartets for solo voices, all with piano accompaniment. An avid
reader of poetry by both established and contemporary authors, Brahms had specific criteria a
text had to fulfill before he set it to music: the poem must have left room for musical
enhancement. Once a poem was chosen, Brahms would recite it until he felt he could achieve a
musical declamation so effortless and natural that it would coincide with the meter, rhythm and
form of the text. Capable of evoking both light and serious moods, most of his songs explore
themes like the passion of love, an unrewarded heart, loneliness, a longing for home and the
passing of life. Der Jäger (1884) is a strophic piece, comprised of three stanzas to the same
music, with an imitating bass line. The text was written by Friedrich Halm, a contemporary poet.
One of the most original and sophisticated musicians of the twentieth century, French
composer Maurice Ravel explored new musical possibilities along with his contemporary
Debussy. Composed between 1904 and 1906, Cinq mélodies populaires grecques is a cycle of
five Greek folksongs. Michel de Calvocoressi (1877-1944), a writer and critic, compiled the
texts for the cycle. After the cycle was completed, Ravel revisited them and orchestrated
numbers one and five; the remaining three were orchestrated by another hand.
Antonín Dvořák (1841-1904) was a Czech nationalist composer of the late Romantic
period. Known primarily for his nine symphonies, he also composed a variety of other works
including ten operas. The opera Rusalka, Dvořák’s most popular operatic work, was written in
1900 to a libretto by Jaroslav Kvapil. When the libretto was completed in autumn 1899, it was
shown to four different composers before Dvořák agreed to set it. Influenced by a number of
literary works, the lyric fairy tale in three acts bears elements of Hans Christian Andersen’s The
Little Mermaid, the French legend of Melusine (a water nymph), and Friedrich de la Motte
Fouquée’s Undine (1811). The first performance was at the National Theatre in Prague in 1901
and was a great success. Scholars believe it represents Dvořák at the height of his maturity,
exercising superb control over musical and dramatic resources. One of the most popular arias
from the opera is “Mĕsíčku na nebi hlubokém” (“Song to the Moon”). From Act I, it is set in a
meadow by a lake. Rusalka, the water nymph, has fallen in love with a human prince. Horrified
by this, Vodník (a water gnome) tells her that she must ask the help of Ježibaba (a witch).
Rusalka sings to the moon that she waits for her beloved.
For Opus 99, Dvořák set verses from a number of different Psalms included in the Bible
of Kralice, the first complete Czech language translation of the Bible. His Biblical Songs (1894)
was the last set of songs that he composed and is thought to be his most personal. The songs
suggest an almost chant-like performance, reminiscent of typical sacred music.
Your Cheatin’ Heart was written in 1952 by Hank Williams. An American country
music singer, guitarist and songwriter, Williams was a member of the Drifting Cowboys. In
1946, he auditioned for Fred Rose, who signed him to a songwriting contract with Acuff-Rose
Publications. Rose produced all of Williams’ recordings, edited his songs, and collaborated with
him on several occassions, including Mansion on the Hill (1948) and Kaw-Liga (1953). Your
Cheatin’ Heart, made popular by Patsy Cline, was a message to his former wife and reflected his
unsettled life. Influenced by southern gospel and black music, he helped to bridge the gap
between country and popular music. Williams’s compositions were recorded by entertainers
such as Tony Bennett and Frankie Laine. When the Country Music Hall of Fame was formed in
1961, Williams was one of three men who were honored with membership.
The famous Crazy is not as readily associated with its composer Willie Nelson as it is
with Patsy Cline. Nevertheless, Nelson grew from the six-year-old boy who received mail-order
guitar lessons to an icon in the worlds of both country music and American popular culture.
When Nelson moved to Tennessee he was unable to land a record deal, but did receive a
publishing contract with Pamper Music. While he was touring with Ray Price and the Cherokee
Cowboys, many of Nelson’s songs became hits for some of country and pop music’s biggest
stars of the time including Funny How Time Slips Away (Billy Walker), Hello Walls (Faron
Young), Pretty Paper (Roy Orbison), and most famously Crazy (Patsy Cline). A number of
deals were signed before Nelson succeeded in gaining complete creative control over his music;
the latter came with Columbia Records and the release of the critically acclaimed, popular
concept album Red Headed Stranger (1975). Nelson has collaborated with a number of artists
including Waylon Jennings, Bob Dylan, Bonnie Raitt, Johnny Cash, Emmylou Harris, Toby
Keith, Al Green, Carole King, and the Beach Boys. A recipient of numerous awards and
recognitions, Nelson has crossed into acting and, in 2004, became an activist for many
organizations including the Animal Welfare Institute.
Al Anderson succeeded in making a name for himself in a number of ways, including
numerous solo compositions and collaborations with various writers, and playing guitar with The
New Rhythm and Blues Quartet (NRBQ). Anderson, from Windsor, Connecticut, began his
musical career at a very young age. He took formal guitar lessons, but learned mostly by ear.
He also spent much of his time listening to country music, which would later have a huge impact
on both his singing and guitar playing. Some of his early influences included James Burton,
Duane Eddy, Johnny Cash and Chet Atkins. Anderson’s first band experience came at the age of
11 and was followed by a number of other bands throughout high school. In the summer of
1967, his band (The Wildweeds) had their first big regional hit entitled No Good to Cry, which
was picked up by another popular southern band. The song climbed to the eighty-eighth spot on
the national charts. It was also recorded by the Florida band Hourglass and later turned up on the
Allman Brothers box set Dreams, where it was credited to “songwriter unknown.” In 1971
Anderson joined NRBQ on guitar, and releasing his first solo album in 1973. He left the quartet
in 1993, after a dozen albums, and moved on to a career as a solo guitarist and songwriter. His
hit single Big Deal (2000), co-written with Jeffrey Steele, was made famous by LeAnn Rimes
and earned Anderson the BMI Country Award in 2000.
I Told You So was released in 1988 by American country music singer Randy Travis.
Travis, active since 1985, has recorded more than a dozen albums and has had more than thirty
singles on the Billboard Hot Country Songs chart. I Told You So reached the top of the charts in
June 1988 and remained there for two weeks. At the American Music Awards in 1989 it won
Favorite Country Single. Recently, the song was re-recorded by American idol winner Carrie
Underwood for her 2007 album Carnival Ride.
Rissi Palmer was born in 1981 in Pittsburgh, Pennsylvania. Her love of music stemmed
from her parents’ love of country music, including Patsy Cline, Johnny Cash, and Dolly Parton.
After rejecting a Rhythm and Blues deal with Flyte Tyme Records, Palmer sang jingles for
Barbie commercials, performed on the television show Dance Fever, and competed on Star
Search. She finally signed a publishing deal with Song Planet in Nashville, where she wrote
with many talented composers in the industry. Her music eventually reached 1720
Entertainment president Terry Johnson who signed her two days later. “Butterflies” is from her
first self-titled album, released in October 2007.
The Performers
Kimberly Botsko, of Glenwood, New Jersey, is a senior at Wagner College, where she is
majoring in music and minoring in business with a concentration in marketing. She has honed
her vocal technique for ten years with Barbara Smith-Davis and more recently with Janet
Pranschke. She is also studying piano with Joyce Chung. Kimberly has also had the opportunity
to work with other Wagner faculty musicians in chamber music and the College Choir. A
member of the latter for four years, she has toured with them in ten states along the eastern
seaboard, including: New York, New Jersey, Connecticut, and Florida. She has also performed
at Carnegie Hall.
Academically, Kimberly has excelled in all areas of the music and liberal arts programs,
appearing on the Dean’s List and holding a GPA of 3.7. She has gained a sturdy foundation in
music history, taking classes that include the Baroque, Renaissance, Classical, Romantic, and
Twentieth Century periods. For her senior project, Kimberly chose to research the inclusion of
ethnic songs within Dvořák’s Ninth Symphony, From the New World.
Kimberly has performed radio jingles and commercial voice-overs and has served as cohost and performed interviews on a local television program, Around the Lot. She has also
performed the National Anthem at the New Jersey State Fair for six years.
Upon graduation in May, Kimberly plans to pursue her dream of performing.
Joyce Chung, B.M., M.M., The Juilliard School, scholarship student of Adele Marcus. Awards
and prizes include First Place in Taiwan's National Piano Competition, Theresa Kleppel Piano
Prize from Juilliard, Koszciuszko Foundation's Chopin Competition, Artists International's
Young Artists Piano Award and The Distinguished Alumni’s Award. As recitalist and guest
artist, Ms. Chung has given performances at Juilliard, Yale University, Harvard University,
Avery Fisher Hall, Weill Recital Hall at Carnegie Hall, Alice Tully and Merkin Halls, toured
Taiwan, Korea, Japan, Guam and through-out North America with highest critical acclaim. She
has also made numerous appearances as soloist in collaboration with the New York All-City
Orchestra, Staten Island Symphony and Staten Island Chamber Music Players.
Ms. Chung is the elected President of The Associated Music Teachers League and was
the Chairman of the Young Musicians auditions at Steinway Hall and concert at the Weill
Recital Hall, Carnegie Hall of the Associated Music Teachers League from 1998 to 2005. She
was on the faculty of The Academy of the Arts at The College of Staten Island, and has been an
Adjunct Assistant Professor at Wagner College since 1987.
Anthony Babino is a junior at Wagner College where he is majoring in music.
John Biscuti is a Senior music major at Wagner College. A composer and multi-instrumentalist,
John also works in recording and producing, and plays in several local bands.
Jonathan Caro is a junior music major and a member of the Pre-Med Society at Wagner. He is
a member of the Wagner College Choir, the Guitar Ensemble and the Wagner music tutor.
Mike Parascandola is a senior at Baruch College where he is majoring in marketing. He is also
the percussionist for The Delay.
Acknowledgments
I would like to thank everyone who had a hand in the production of this recital. Without the help
of these individuals this performance would not have reached its full potential. Dr. Schulenberg,
you allowed your student to have a creative hand in the selection and production of this recital,
and I cannot thank you enough. John, my fellow senior music major and stage manager, thank
you for all of the time and effort you put into collaborating with me on the country pieces. You
are a talented and gifted musician. It was a pleasure working with you, and I am forever
grateful. To my band, I am indebted to you! You all added dimension and depth to some of
country music’s best. Anthony and Jon, thank you for lending your amazing guitar skills to the
country set. It would not have been the same without you. Mike, you kept us together. Thanks
for your patience and sharing your percussion skills with the rest of us. Janet, after four years
you have instilled a great sense of technique in me, and a deeper understanding of what singing
is all about. Thank you for helping me find my voice. And last, but certainly not least, Professor
Chung I don’t know if I could have done this without you! Thank you for sharing the stage with
me, it was an honor.