THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair

presents

Senior Voice Recital

John Mathieu, Bass-Baritone assisted by

Maggie McLinden, Accompanist

Friday April 12, 2013 • 7:30 p.m.

Belhaven University Center for the Arts • Concert Hall

There will be a reception after the program. Please come and greet the performers.

Please refrain from the use of all flash and still photography during the concert.

Please turn off all pagers and cell phones.

PROGRAM

Zion’s Walls Aaron Copland • 1900 - 1990

The Little Horses

John Mathieu, Bass-Baritone; Maggie McLinden, Accompanist

Cantata: Ich habe genug Johann Sebastian Bach • 1685 - 1750

1. Ich habe genug

Ich habe genug I have enough

Ich habe den Heiland, I have taken the Saviour,

das Hoffen der Frommen, The hope of righteousness,

Auf meine begierigen Arme In my eager arms

genommen; Ich habe genug! I have enough!

Ich hab ihn erblickt, I have beheld Him,

Mein Glaube hat Jesum My faith has impressed Jesus

Ans Herze gedrückt; To my heart;

Nun wünsch ich, noch heute Now I wish, this very day

Mit Freuden With joy

Von hinnen zu scheiden. Henceforth to depart.

2. Ich habe genug

Ich habe genug I have enough

Mein Trost ist nur allein, My consolation is this alone,

Dass Jesus mein und I am Jesus’ beloved and

Ich sein eigen möchte sein. He is mine.

Im Glauben halt ich ihn, In faith I hold Him,

Da seh ich auch mit Simeon I see in Simeon

Die Freude jenes Lebens schon. The joy of the life to come.

Lasst uns mit diesem Manne ziehn! Let us be like this man!

Ach! möchte mich von meines Ah! Free my body from

Leibes Ketten These chains

Der Herr erretten; The Lord save me;

Ach! wäre doch mein Abschied hier, Ah! If my farewell were soon

Mit Freuden sagt ich, Welt, zu dir: With joy I say, world, to you:

Ich habe genug! I have enough!

3. Schlummert ein

Schlummert ein, ihr matten Augen, Slumber, you weary eyes,

Fallet sanft und selig zu, Fall softly and blissfully you,

Welt, ich bleibe nicht mehr hier, World, I do not stay here,

Hab ich doch kein Teil an dir, For I have no part with you,

Das der Seele könnte taugen. That is pleasing to my soul.

Hier muss ich das Elend bauen, Here I must be in misery

Aber dort, dort werd ich schauen But there, I look expectantly for

Süßen Friede, stille Ruh. Sweet peace, quiet peace.

4. Mein Gott!

Mein Gott! My God!

Wenn kömmt das schöne: Nun! When comes the beautiful: Now!

Da ich im Friede fahren werde I, in joy, go willfully

Und in dem Sande kühler Erde And in the cool Earth

Und dort bei dir im Schoße ruhn? And there within your bosom?

Der Abschied ist gemacht, My farewell is done,

Welt, gute Nacht! World, good night!

5. Ich freue mich

Ich freue mich auf meinen Tod, Joyfully I look to my death,

Ach! hätt er sich schon eingefunden. Ah! If only it were here.

Da entkomm ich aller Not, Then shall I escape the despair

Die mich noch auf der Welt gebunden. That binds me on Earth.

Conducted by Dr. Christopher Shelt

John Mathieu, Bass-Baritone; Josh Nichols, Organ; Julie Hudik, Oboe;

Shellie Brown, Violin; Jocelyn Zhu, Violin; Rachel Eason, Viola; Nancy Bateman, Cello

INTERMISSION

Il rival salvar tu dei…Suoni la tromba from I Puritani Vincenzo Bellini • 1801 - 1835

Giorgio: Il rival salvar tu dei, il rival salvar tu puoi. Giorgio: You must save your rival; you can save him.

Riccardo: Io nol posso . . . Riccardo: I cannot.

G: No? Tu nol vuoi? G: No? You do not wish to?

R: No! R: No!

G: Tu il salva! G: Save him!

R: No, ah! no, ei perirà . . . R: No, ah! no, he shall die.

G: Tu quell'ora ben rimembri che fuggi la prigioniera? G: Do you remember well that hour when the prisoner

escaped?

R: Sì . . . R: Yes . . .

G: E d'Arturo fu colpa intera? . . . G: And was the guilt entirely Arthur's?

R: Tua favella ormai . . . R: What you are saying now . . .

G: È vera! G: Is true!

R: Parla aperto! R: Speak clearly!

G: Ho detto assai! G: I have said enough!

R: Fu voler del Parlamento se ha colui la pena estrema; R: It was the will of Parliament if he has a death

dei ribelli l'ardimento in Artur si domerà. sentence; the rebels' boldness will be tamed by punishing

Arthur.

Io non l'odio, io nol pavento, ma l'indegno perirà. I do not hate him, I do not fear him, but the wretch shall die.

G: No! Un reo tormento or t'invade e accieca . . . G: No! Your bitter pain now overwhelms and blinds

Ah trema! Il rimorso e lo spavento la tua vita strazierà . . . you . . . Ah, tremble! Remorse and dread will torment your

life . . .

Se il rival per te fia spento un'altr'alma seco andrà! If your rival dies through you, another life will go with him!

R: Chi? R: Who?

G: Pensa, o figlio! Due vittime farai! e dovunque tu G: Consider, my son! You will have two victims!

n'andrai l'ombra lor ti seguirà! And wherever you go, their shades will follow you!

Se tra il buio un fantasma vedrai bianco, lieve . . . If through the darkness you see a white,

che geme e sospira sarà Elvira che s'aggira e ti fluttering phantom which laments and sighs

grida:io son morta per te. it will be Elvira who hovers near you and cries:

I died through you.

Quando il cielo è in tempesta più When the sky is darkened by storms, there is heard a

scuro, s'odi un'ombra affanosa, che freme . . . sarà restless ghost who rages . . . it will be Arthur who

Artur che t'incalza, ti preme, ti minaccia pursues you, oppresses you, threatens you with the

de' morti il furor! anger of the dead!

R: Se d'Elvira il fantasma dolente m'apparisca . R: If the grieving phantom of Elvira appears to me,

e m'incalzi e s'adiri, le mie preci, i sospiri mi sapranno pursues me and haunts me, my prayers and sighs

ottenere mercé will be able to obtain mercy.

Se l'odiato fantasma d'Arturo sanguinoso sorgesse If the abhorred phantom of Arthur should rise,

d'Averno, ripiombarlo agli abissi in eterno lo all bloody, from Hell, my tremendous fury would

farebbe il mio immenso furor, make him sink back into the abysses forever.

G: Sarà Elvira che mesta s'aggira e ti grida: G: It will be Elvira who sadly hovers near you

io son morta per te. Sarà Artur che t'incalza and cries: I died through you. It will be Arthur

e preme, ti minaccia de' morti il furor! who pursues you, oppresses you, threatens you with the

anger of the dead!

R: Se d'Elvira il fantasma dolente m'apparisca, R: If the grieving phantom of Elvira appears to me,

m'incalzi e s'adiri, mi sapranno i miei sospiri pursues me and haunts me, my sighs will be able

ottener da lei mercé. to obtain mercy from her.

G: Riccardo! Riccardo! il duol che sì mi accora G: Richard! Richard! Let the grief which

vinca la tua bell'anima . . . so moves me vanquish your noble soul . . .

R: Han vinto le tue lagrime . . . vedi . . . R: Your tears have vanquished me . . .

ho bagnato il ciglio. see, my eyes are wet.

R, G: Chi ben la patria adora onora la pietà. R, G: He who truly loves his country, honors mercy.

R: Forse, dell'alba al sorgere l'oste ci R: Perhaps, at the light of dawn the enemy will

assalirà . . . S'ei vi sarà! . . . attack us. . . If he is there! . . .

G: S'ei vi sarà? Ei perirà. G: If he is there? He will die.

R: Ei perirà, sì perirà . . . R: He will die, yes, he will die.

G: Mia man non è ancor gelida! con te combatterò, sì, sì. G: My hand is not yet cold! I will fight with you, yes.

R: Se armato ei poi verrà, per questa mano ei perirà. R: If he comes armed then, he will die by my hand.

G: Sia voce di terror . . . Patria, vittoria, onor. G: Let it be a voice of terror . . . Our country,

victory, honor.

G, R: Suoni la tromba, e intrepido io/tu G, R: Let the trumpet sound, and without fear I/you

pugnerò/pugnerai da forte. Bello è affrontar la morte will fight bravely. It is a fine thing to face death

gridando libertà! shouting, liberty!

Amor di patria impavido mieta i sanguigni allori, Let fearless love of our country reap the bloody

poi terga i bei sudori e i pianti la pieta laurels of victory, and then let mercy wipe away the noble

sweat and tears.

All'alba! Sia voce di terror: patria, vittoria, onor. At dawn! Let it be a voice of terror: our country, victory,

honor.

John Mathieu, Bass-Baritone; Dr. Christopher Shelt, Baritone; Maggie McLinden, Accompanist

Fin ch’han dal vino from Don Giovanni Wolfgang Amadeus Mozart • 1756 - 1791

Finch' han del vino calda la testa, Till they have some wine and are hot-headed,

Una gran festa fa' preparar. Let's prepare a great party.

Se trovi in piazza qualche ragazza, If in the piazza you find some girl,

Teco ancor quella cerca menar. Try to make her come here with you.

Senza alcun ordine la danza sia, Let the dance be wild,

Chi 'l minuetto chi la follia, A menuet, a folia,

Chi l' alemanna farai ballare. And an allemande you shall lead.

Ed io frattanto dall' altro canto Meanwhile I shall have my own fun

Con questa e quella vo'amoreggiar. Making love to this or that girl.

Ah la mia lista doman mattina Ah, my list tomorrow morning

D' una decina devi aumentare. Shall have at least ten new entries.

Le temps des lilas Ernest Chausson • 1855 - 1899

Le temps des lilas et le temps des roses The time of lilacs and the time of roses

Ne reviendra plus à ce printemps-ci; Will no longer come again to this spring;

Le temps des lilas et le temps des roses The time of lilacs and the time of roses

Est passée, le temps des œillets aussi. Has passed, the time of carnations also.

Le vent a changé, les cieux sont moroses, The wind has changed, the skies are morose,

Et nous n'irons plus courir, et cueillir And we will no longer run to pick

Les lilas en fleur et les belles roses ; The lilacs in bloom and the beautiful roses;

Le printemps est triste et ne peut fleurir. The spring is sad and cannot bloom.

Oh ! joyeux et doux printemps de l'année, Oh! Joyful and gentle spring of the year,

Qui vins, l'an passé, nous ensoleiller, That came last year to bathe us in sunlight,

Notre fleur d'amour est si bien fanée, Our flower of love is so wilted,

Las ! que ton baiser ne peut l'éveiller! Alas! that your kiss cannot awaken it!

Et toi, que fais-tu? Pas de fleurs écloses, And what about you? No budding flowers,

Point de gai soleil ni d'ombrages frais ; No bright sun at all nor cool shade,

Le temps des lilas et le temps des roses The time of lilacs and the time of roses,

Avec notre amour est mort à jamais. Along with our love, is dead forever.

Le colibri Le vert colibri, le roi des collines, The hummingbird, green prince of heights,

Voyant la rosée et le soleil clair, feeling the dew and seeing the sun's clear light

Luire dans son nid tissé d'herbes fines, shining into his nest of woven grass,

Comme un frais rayon s'échappe dans l'air. shoots up in the air like a gleaming dart.

Il se hâte et vole aux sources voisines, Hurriedly he flies to the nearby marsh

Où les bambous font le bruit de la mer, where the waves of bamboo rustle and bend,

Où l'açoka rouge aux odeurs divines and the red hibiscus with the heavenly scent

S'ouvre et porte au coeur un humide éclair. opens to show its moist and glistening heart.

Vers la fleur dorée, il descend, se pose, Down to the flower he flies, from above,

Et boit tant d'amour dans la coupe rose, and from the rosy cup drinks so much love

Qu'il meurt, ne sachant s'il l'a pu tarir! he dies, not knowing if he could drink it dry.

Sur ta lèvre pure, ô ma bien-aimée, Even so, my darling, on your pure lips

Telle aussi mon âme eut voulu mourir, my soul and senses would have wished to die

Du premier baiser qui l'a parfumée. on contact with that first full-fragrant kiss.

Four Scriptural Songs

I. Denn es gehet dem Menschen Denn es gehet dem Menschen For that which befalleth the sons of men

wie dem Vieh; befalleth beasts;

wie dies stirbt, so stirbt er auch; even one thing befalleth them:

und haben alle einerlei Odem; as the one dieth, so dieth the other;

und der Mensch hat nichts mehr yea, they have all one breath;

denn das Vieh: so no man hath preeminence over a beast:

denn es ist alles eitel. for all is vanity.

Es fährt alles an einem Ort; All go unto one place;

es ist alles von Staub gemacht, all are of the dust,

und wird wieder zu Staub. and all turn to dust again.

Wer weiß, ob der Geist des Menschen Who knoweth the spirit of man

aufwärts fahre, that goeth upward,

und der Odem des Viehes unterwärts unter and the spirit of the beast that goeth

die Erde fahre? downward to the earth?

Darum sahe ich, daß nichts bessers ist, den Wherefore, I perceive there is nothing better,

daß der Mensch fröhlich sei in seiner Arbeit, that a man should rejoice in his own works;

denn das ist sein Teil. for that is his portion:

Denn wer will ihn dahin bringen, for who shall bring him

daß er sehe, was nach ihm geschehen wird? to see what shall be after him?

III. O Tod, wie bitter bist du O Tod, wie bitter bist du, O death, how bitter

wenn an dich gedenket ein Mensch, is the remembrance of thee to a man

der gute Tage und genug hat that liveth at rest in his possessions,

und ohne Sorge lebet; unto the man that hath nothing to vex him,

und dem es wohl geht in allen Dingen and that hath prosperity in all things:

und noch wohl essen mag! yea, unto him that is yet able to receive meat!

O Tod, wie bitter bist du! O death, how bitter art thou!

O Tod, wie wohl tust du dem Dürftigen, O death, acceptable is thy sentence to the needy,

der da schwach und alt ist, and to him whose strength faileth, that is now in the

last age,

der in allen Sorgen steckt, and is vexed with all things,

und nichts Bessers zu hoffen, and to him that despaireth,

noch zu erwarten hat! and hath lost patience!

O Tod, wie wohl tust du! O death, how acceptable is thy sentence!

At The River Aaron Copland

John Mathieu, Bass-Baritone; Maggie McLinden, Accompanist

PROGRAM NOTES

Copland wrote his second American song cycle in 1952

after achieving enormous popularity in his first cycle. In

the premier performance, Copland accompanied

legendary baritone William Warfield. Zion’s Walls is

one of the most well-known revivalist songs, credited to

John McCurry and The Little Horses is a traditional

Southern lullaby.

Ich habe genug was written in February 1727 for the

Feast of the Purification of Mary. This beautiful cantata

has become one of Bach’s most famous works,

reworked for high voice as well. Bach almost perfectly

paints his text here, especially in the famous aria

Schlummert ein (Softly Slumber)…He ends the work

with Simeon’s powerful statement to God—with joy I

go, in peace.

Il rival salvar tu dei…The Puritan, Riccardo is promised

Elvira’s hand in marriage, but she has fallen for a

Royalist, Arturo. Arturo aids a spy in escaping and is has

become a fugitive. Giorgio and Riccardo argue over

what Elvira’s reaction would be to Arturo’s death. They

both agree that if he is fighting for the Royalists, he

must die. They sing the famous war duet Suoni la

tromba to end the second act.

Fin ch’han dal vino (‘Till they are tipsy)…Don Giovanni is

up to no good again and commands his servant

Leporello to throw a wild party. By the end of the night

he will add ten to his list!

Maurice Bouchor’s poem Le temps des lilas comes from

his volume of poetry entitled “La mort de l’amour.” (The

death of love)…This is perhaps Chausson’s most famous

melody, which he also used in the third movement of

his orchestral song cycle Poѐme de l’amour et de la mer.

Chausson wrote Le colibri as part of his seven songs of

Opus 2. He brilliantly fuses music and poetry,

continuing with the Parnassian poet Charles Marie René

Leconte de Lisle’s objectivity, and precise description.

Chausson uses such powerful imagery, color, and veiled

sensuality in this work.

Four Scriptural Songs…Brahms composed this cycle in

anticipation of his friend Clara Schumann’s death in

1896. The first song Denn es gehet dem Menschen is

taken from Ecclesiastes 3: 19-22, talking about God’s

plan for each person. He reminds us that we are no

better than the animals, from dust we came, and to

dust we return. O tod, wie bitter bist du comes from

the book of Ecclesiasticus which is not found in the

Hebrew Bible. This song bridges the way to the final

song of the cycle which, like the cantata, displays death

as joyous. This is my favorite song to interpret in this

program.

DEPARTMENT OF MUSIC MISSION STATEMENT

The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence

in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-

bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative

understanding of the musical arts from a Christian world and life view in order to equip students to influence the world

of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for

vocational roles in performance, church music, and education. The Belhaven University Music Department exists to

multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in

every aspect of their artistic discipline.

The Music Department would like to thank our many community partners for their support of Christian Arts Education at

Belhaven University through their advertising in “Arts Ablaze 2012-2013.” It is through these and other wonderful

relationships in the greater Jackson community that makes many of our concerts possible at Belhaven. We praise God

for our friends and are truly thankful for their generosity. Please mention The Arts at Belhaven University when you visit

our community partners.

For a complete listing of Music Department scheduled spring semester programs, please visit our website at

http://www.belhaven.edu/music/recitals.htm. A complete listing of major Belhaven University arts events may be

found at http://www.belhaven.edu/arts/schedule.htm.

Thank you to those working behind the scenes to make today’s program a success: music faculty supervisor, Dr. Stephen Sachs; student workers –house manager, Alexis Butler; ushers, Rebekah Saks &Daniel Nasif; stage manager, Thorburn McGee; stagehands, Daniel Hause; recording/sound, Clay Coward; lighting, Cierra Lee; reception assistant, Dixie Lee Trimm; videographer, Morgan Robertson; photographer, Mrs. Mathieu; page turner, Lydia Jones.

UPCOMING EVENTS

Saturday, April 13, 2:30pm, Concert Hall Tianna Rogers Junior Piano Recital

Saturday, April 13, 7:30pm, Concert Hall Choral and Vocal Arts: Jazz Vibrations

Monday, April 15, 7:30pm, Concert Hall Best of Belhaven II

Thursday, April 25, 3:00pm, Concert Hall Rebekah Saks Senior Collaborative Piano Recital

Friday, April 26, 7:30pm, Northminster Bapt. Church Joshua Nichols Senior Organ Recital

DEPARTMENT OF MUSIC, FACULTY AND STAFF

Dr. Stephen Sachs, pianist, chair • Dr. Paxton Girtmon, director of bands, woodwind specialist • Sylvia Hong, pianist • Dr. Andrew

Sauerwein, composer, theorist • Dr. Christopher Shelt, coordinator of vocal activities, director of choral ensembles, Singing

Christmas Tree director • Song Xie, violinist, director of string ensembles • Nancy Bateman, cello adjunct • Dennis Bonds, jazz guitar

adjunct • Richard Brown, string bass adjunct • Melvin Champ, assistant band director adjunct • Sybil Cheesman, flute adjunct • Lee

Craig, drill team instructor • Dr. Dennis Cranford, music theory adjunct • Tyler Kemp, staff accompanist • Mark Davis, low brass

adjunct • Kenneth Graves, clarinet adjunct • Carol Durham, organ adjunct • Gena Everitt, vocal adjunct • Dr. Rebecca Geihsler, vocal

adjunct • Christina Hrivnak, vocal adjunct • Kenneth Graves, clarinet adjunct • Amy Houghton, classical guitar adjunct, director of

guitar ensembles • Owen Rockwell, percussion adjunct, director of percussion ensembles • Amanda Mangrum, harp adjunct • Randy

Mapes, double reed adjunct • Carolyn Sachs, piano adjunct • Margaret Sprow, music ministries adjunct • Lloyd Turner, trumpet

adjunct • Valerie Tate, administrative assistant

DEPARTMENT OF MUSIC, MUSIC MAJORS

Michael Adkins • Grace Andrews • Oswald Gray Barnes • Daniel Bravo • Skyler Bready • Jenae’ Brown • Jimmy Brown • Thomas Kyle

Carter • Jessica Charitos • Clay Coward • Andrew Craig • Stephen Craig • Brooke Edwards • John Farrar • Levi Scott Foreman •

Rachel Gari • Dorothy Claire Glover • Cory Gray • Byron Hammond • Eric Hartzog • Daniel Hause • Daniel Hicks • Andrew Horton •

Emmberly Jefferson • Lydia Jones • Temperance Jones • Joy Kenyon • Brooke Kressin • Cierra Lee • John Mathieu • Rachael

McCartney • Joseph McCullough • Thorburn McGee • Maggie McLinden • Christina Mohrman • Lydia Moore • William Murphy •

Daniel Nasif • Joshua Nichols • Justin Nipper • Ruth Picha • Heather Plyler • Grace Anna Randall • Elisabeth Roberts • Morgan

Robertson • Tianna Rogers • Kaitlin Rowan • Alexandra Sahli • Rebekah Saks • Sadie Sasser • Clarence Smith • Alexia Valente •

Megan van der Bijl • Rachel Walczak • Anne Wegener • Amanda Williams • Ellen Wise • Julie Wolfe • Jocelyn Zhu

DEPARTMENT OF MUSIC, DECEMBER 2012 GRADUATES

William Anthony Peacock