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The program consisted of musically and technically challenging pieces. Ballade, Sonata No. 3 Op. 27 By Eugene Ysaye is a very demanding and intense work where the tension is growing throughout the piece into a furious culmination. Sonata in A major for piano and violin by Cesar Franck is a romantic melancholic work that was composed as a wedding gift for Eugene Ysaye���s wedding. It prompts feelings of tenderness and nostalgia in 1st and 4th movement. The energetic and vigorous fantasia-like 3d movement follows the energetic and vigorous 2d movement. Strauss sonata for violin and piano is a very challenging piece that demands a very sensible and sensitive ensemble between the piano and the violin. / Mary Pappert School of Music; / Music Performance / MM / Recital

Typically, the art song recital is a performance event of primary importance within the university environment; however, the career Heldentenor entering academia may find that the aggressiveness of timbre and the scale of loudness he has developed to sing Wagner's heavily orchestrated, very long roles are inappropriate for the performance of most art song repertoire. If the Heldentenor possesses an appropriate pitch structure, he can adapt his technique to sing as a baritone and develop the warmth of timbre and nuance of expression appropriate to the intimate qualities of recital performance. Art song recital performance conditions and those of some Wagnerian tenor roles are described and contrasted, emphasizing the acoustical challenges and demands upon stamina that drive the Heldentenor toward specialization. The acoustics of audibility and voice type are described. A method for adapting the Heldentenor to recital baritone is presented, incorporating exercises developed from the acoustical principles examined within this document. Examples are presented of power spectra and the application of these techniques to repertoire, documenting the efficacy of the author's method in adapting the Heldentenor from the least intimate of repertoires to the most refined.

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This recital explores the solo viola literature of the 20th and 21st centuries. Pieces range in date from 1922 to 2005 and present the various styles and techniques of virtuoso viola playing developed in the modern era. The selection of pieces presented on this recital chronicles the viola���s journey to become a legitimate solo instrument in the 20th century. Works performed include: Cadenza per viola sola by Krzysztof Penderecki, Purple Rhapsody for Viola and Orchestra by Joan Tower, Suite for Viola Solo (Unfinished) by Ernest Bloch, Lamentations of Jeremiah for Viola Solo by Milton Barnes, and Sonata for Viola and Piano Op. 25 No. 4 by Paul Hindemith. Works by both male and female composers are presented, and a wide variety of compositional styles are represented, including works by Polish, American, Canadian, and German composers. <br>Works performed encompass three periods of the modern era: Hindemith - early 20th century, Bloch and Barnes - mid-20th century, Penderecki and Tower - present day. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

The master of music recital, being one of my final musical endeavors before the completion of my graduate degree in vocal performance, featured a wide variety of repertoire. As a new member of the tenor fach, finding music that is challenging and appropriate for my level of development was difficult. The recital featured works by Stefano Donaudy, Hugo Wolf, ��duardo Lalo, Gabriel Faur��, Georges Bizet, and Samuel Barber. Each musical set presented its own challenges. The Italian set by Donaudy featured smooth legato vocal lines intertwined with a thick musical texture and lavish supportive harmonies. The German Wolf set featured more angular and tonally progressive music that was very different from the Donaudy set. The French set featured two famous tenor arias from operas by Lalo and Bizet respectively and a well-known, but little performed, song cycle by Faur��, each appropriate for the union of a vocal fach transition and performance of a master of music recital. The most challenging set of the recital was the Barber settings of poems by James Joyce - a set which challenged me to utilize the full extent of my vocal and artistic talents. This set solidified the growing nature of challenge throughout the progression of the recital and placed a final exclamation point on the growth and development I have displayed as a vocalist, artist, and performer the past two years. Overall, the completion of the recital required the utmost sensitivity to the artistic needs of the music and the utilization of my full vocal development in order to do justice to the spirit of the music. / Mary Pappert School of Music; / Music Performance / MM; / Recital;