REVERBERATIONS
PROGRAM
Concerto No. 1, Mvt. III: Rondo C. M. von Weber (1786-1826)
Lydia Gabriel Fauré (1845-1924)
Batti, batti, o bel Masetto W. A. Mozart (1756-1791)
Beau Soir Claude Debussy (1862-1918)
As it is Plenty Benjamin Britten (1913-1976)
Je Veux Vivre Charles Gounod (1818-1893)
PROGRAM
Hai gia vinta la causa! Mozart
Der Musensohn Franz Schubert (1797-1828)
Gretchen am Spinnrade Schubert
Sonata, Mvt II: Romanza Francis Poulenc (1899-1963)
Johanna Stephen Sondheim (1930-2021)
L’Ultima Canzone Francesco Paolo Tosti (1846-1916)
PROGRAM
Whither Must I Wander? Ralph Vaughan Williams (1872-1958)
Liebst du um Schönheit Clara Schumann (1819-1896)
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Rhapsody for Clarinet Willson Osborne (1906-1979)
All That Matters Barlow/Kennedy (b. 1971/b. 1969)
Black Is The Color of My True Love's Hair J.J. Niles (1892-1980)
Moving Too Fast Jason Robert Brown (b. 1970)
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PROGRAM NOTES
CLARINET CONCERTO NO. 1, MOVEMENT III:
RONDO
Carl Maria Friedrich Ernst von Weber was an early Romantic
era German composer, conductor, musician, and critic.
Though best known for his operas, Weber is a staple in the
standard clarinet repertoire, having written two concertos
and one concertino for clarinet in his lifetime. “Movement
III: Rondo” from his first concerto is a technical standard,
with fast runs and specific articulations found throughout
the duration of the piece. It is light and playful with a
recurring main theme to keep an ear out for, as is typical for
a Rondo movement.
PROGRAM NOTES
LYDIA
Lydia sur tes roses joues, Lydia, over your rosy cheeks,
Et sur ton col frais et si blanc, and over your neck, so fresh and white,
Roule étincelant sparkling, rolls
L'or fluide que tu dénoues. the fluid gold that you untie.
Le jour qui luit est le meilleur: The day which is gleaming is the best:
Oublions l'éternelle tombe. let us forget the eternal tomb.
Laisse tes baisers de colombe Let your dove's kisses
Chanter sur ta lèvre en fleur. sing on your blossoming lips.
Un lys caché répand sans cesse A hidden lily ceaselessly diffuses
Une odeur divine en ton sein: a divine scent in your breast:
Les délices, comme un essaim, like a swarm, delights
Sortent de toi, jeune Déesse! escape from you, young Goddess!
Je t'aime et meurs, ô mes amours! I love you and am dying, o my loves!
Mon âme en baisers m'est ravie. My soul is ravished by kisses.
O Lydia, rends-moi la vie, O Lydia, give me back my life,
Que je puisse mourir toujours! that I might die eternally!
Gabriel Fauré, born in 1845 in Pamiers, France, is renowned as a
master of French mélodie, a genre emphasizing the connection
between melody and text. His song “Lydia”, composed around 1870
to a poem by Leconte de Lisle, showcases beautiful lyricism and
flowing melodies. The poem is a heartfelt ode to a woman named
Lydia, portraying her as radiant and divine. Fauré enhances these
themes with delicate melodies and rich harmonic textures.
Lydia exemplifies Fauré’s clarity and lyricism, which set him apart
from other mélodie composers like Debussy and Duparc. Notably,
in measures 4-5, Fauré employs the Lydian mode—a nod to the
piece’s title—adding playfulness and joy. The final lines tie the
piece together with serene admiration, capturing the intimate,
poetic world of French mélodie.
PROGRAM NOTES
BATTI, BATTI, O BEL MASETTO
Batti, batti, o bel Masetto, Beat me, beat me, my Masetto,
la tua povera Zerlina! beat your poor Zerlina.
Starò qui come agnellina I’ll stay here like a lamb
le tue botte ad aspettar! and await your every blow.
Batti, batti la tua Zerlina! Beat me, beat your Zerlina!
Starò qui, starò qui I’ll stay here, I’ll stay here
le tue botte ad aspettar! and await your every blow.
Lascerò straziarmi il crine, I’ll let you pull my hair out,
lascerò cavarmi gli occhi, I’ll let you gouge my eyes out,
e le care tue manine and then happily I will kiss
lieta poi saprò baciar! your wonderfully sweet hands.
Batti, batti, o bel Masetto, Beat me, beat me, my Masetto,
la tua povera Zerlina! beat your poor Zerlina.
Starò qui come agnellina I’ll stay here like a lamb
le tue botte ad aspettar! and await your every blow.
O bel Masetto batti, batti, My Masetto beat me, beat me
Starò qui, starò qui I’ll stay here, I’ll stay here
le tue botte ad aspettar! and await your every blow.
Ah, lo vedo, non hai core! Ah, I see you have no heart!
Pace, pace, o vita mia! Let’s make up, my own true love.
In contenti ed allegria In happiness and joy
notte e dì vogliam passar! we must pass the days and nights.
Pace, pace, o vita mia! Let’s make up, my own true love.
In contenti ed allegria In happiness and joy
notte e dì vogliam passar! we must pass the days and nights.
Sì, sì, sì, sì, sì, sì, Yes,
notte e dì vogliam passar! we must pass the days and nights.
Sì, sì, sì, sì, sì, sì, Yes,
notte e dì vogliam passar! we must pass the days and nights.
“Batti, Batti, O Bel Masetto” is an aria from Mozart’s Don Giovanni
(1787). In this piece, Zerlina reassures her fiancé, Masetto, after an
encounter with Don Giovanni, playfully enticing his anger while
knowing he will forgive her. Though it seems like an apology, the
aria subtly mocks Masetto, showcasing Zerlina’s manipulation.
The music reflects this dynamic, starting gently with a steady bass
and soft phrases before becoming more lively. A mid-aria tempo
shift brings a serene tone, suggesting her wish for peace. Vocal
leaps near the end highlight the unfolding emotional shift and
Zerlina’s playful control.
PROGRAM NOTES
BEAU SOIR
Lorsque au soleil couchant les When at sunset the rivers are pink
rivières sont roses, And a warm breeze ripples the fields
Et qu’un tiède frisson court sur les of wheat,
champs de blé, All things seem to advise content -
Un conseil d’être heureux semble And rise toward the troubled heart;
sortir des choses
Et monter vers le cœur troublé; Advise us to savour the gift of life,
While we are young and the evening
Un conseil de goûter le charme d’être fair,
au monde For our life slips by, as that river
Cependant qu’on est jeune et que le does:
soir est beau, It to the sea - we to the tomb.
Car nous nous en allons, comme s’en
va cette onde:
Elle à la mer—nous au tombeau!
"Beau Soir" is a French art song composed by Claude Debussy
in 1888. It's set to a poem by Paul Bourget and is known for
its evocative and tranquil atmosphere, characteristic of
Debussy's Impressionistic style. Debussy was born March 25,
1918 in Paris, France. “Beau Soir” details a beautiful evening
where the rivers are turned rose-colored by the sunset and
the wheat fields are moved by a warm breeze. The reflection
is on the beauty of life and the need to savor fleeting
moments, especially youth and nature's beauty.
PROGRAM NOTES
AS IT IS PLENTY
Benjamin Britten, born in 1913 in Aldeburgh, UK, was a key
figure in 20th-century British music, known for works
spanning opera, chamber music, and orchestral pieces. His
most famous compositions include Peter Grimes and The
War Requiem. As a child, his mother hoped he would
become the “Fourth B” in classical music, alongside
Brahms, Bach, and Beethoven.
“As It Is Plenty” is the fifth song in Britten’s 1937 song cycle
On This Island, set to poems by W.H. Auden, whose
politically charged writing deeply inspired Britten. The
title suggests contentment, but Britten intended it as a
critique of the upper class.
The piece features a striking separation between the vocal
line and piano, with repeated melodies but varied lyrics
and accompaniment. While the tempo remains constant
once established, dynamics and articulation are essential,
providing the vocalist with tools to convey the song’s
message. These musical details enhance the performance,
deepening the audience's experience.
PROGRAM NOTES
JE VEUX VIVRE
Ah! Ah!
Je veux vivre I want to live
Dans ce rêve qui m'enivre; In this dream that dreads me;
Ce jour encore, This day again,
Douce flamme, Sweet flame,
Je te garde dans mon âme I keep you in my soul
Comme un trésor! Like a treasure!
Cette ivresse This intoxication
De jeunesse Of youth
Ne dure, hélas! qu'un jour! Do not last, alas! that one day!
Puis vient l'heure Then comes the time
Où l'on pleure, Where we cry,
Le cœur cède à l'amour, The heart gives way to love,
Et le bonheur fuit sans retour. And happiness flees without return.
Je veux vivre, etc I want to live, etc
Loin de l'hiver morose Away from the gloomy winter
Laisse-moi sommeiller Let me sleep
Et respirer la rose And breathe the rose
Avant de l'effeuiller. Before stripping it.
Ah! Ah!
Douce flamme, Sweet flame,
Reste dans mon âme Stay in my soul
Comme un doux trésor Like a sweet treasure
Longtemps encore! Long time again!
""Je veux vivre" is a lively aria from Romeo et Juliette, an opera by Charles
Gounod, based on Shakespeare's play. Sung by Juliette in Act 1, the aria
expresses her desire for freedom and the joys of youth, wishing to live freely
and love without societal constraints or an arranged marriage.
Gounod's signature lush melodies and vibrant orchestration shine through,
with a bright, sparkling melody and playful rhythm that reflect Juliette's
innocence and optimism. The aria, set in a lilting waltz, captures both her
youthful exuberance and the Renaissance Verona setting. It’s one of the most
iconic moments in the opera, loved by sopranos for its soaring vocal line and
lively orchestral accompaniment, offering a glimpse of Juliette’s carefree
dreams before her tragic fate.
When listening to "Je veux vivre," pay attention to the joyful, flowing melody
and the dynamic interplay between Juliette’s voice and the accompaniment.
The lively waltz rhythm and the expressive high notes highlight her youthful
energy and unrestrained emotions.
PROGRAM NOTES
HAI GIA VINTA LA CAUSA!
Hai già vinta la causa! "You've won the case already"!
Cosa sento? What do I hear?
In qual laccio cadea? What trap have I fallen into?
Perfidi! io voglio di tal modo punirvi, Scoundrels! I'll punish you in this way,
A piacer mio la sentenza sarà. The decision will be how I want it.
Ma s'ei pagasse la vecchia pretendente? But if he pays off the old plaintiff?
Pagarla! In qual maniera? Pay her! How?
E poi v'è Antonio And then there's Antonio,
Che all'incognito Figaro ricusa Who won't give his niece in
Di dare una nipote in matrimonio. marriage to the nobody Figaro.
Coltivando l'orgoglio di questo mentecatto.. To nurture that lamebrain's pride…
Tutto giova a un raggiro... Everything's useful for the plot…
Il colpo è fatto. The die is cast.
Vedrò mentr'io sospiro Shall I, while I'm sighing,
Felice un servo mio? See one of my servants happy?
E un ben che invan desio, And the good thing I want in vain,
Ei posseder dovrà? Shall he have it?
Vedrò per man d'amore Shall I see the woman who woke in me
Unita a un vile oggetto A feeling she doesn't have for me
Chi in me destò un affetto, United to a vile object
Che per me poi non ha? By the hand of love?
Ah no! lasciar in pace Ah no! I won't leave
Non vo' questo contento, This happiness in peace,
Tu non nascesti, audace, You weren't born, rash person,
Per dare a me tormento, To torture me,
E forse ancor per ridere And maybe to laugh
Di mia infelicità. At my unhappiness.
Già la speranza sola Now only the hope
delle vendette mie Of the revenges I'll have
Quest'anima consola, Consoles this soul
E giubilar mi fa. And makes me rejoice.
“Hai già vinta la causa!” Is an aria from Mozart’s opera Le Nozze di Figaro. It
translates to “You have already won the case.” Mozart composed Le Nozze di
Figaro in 1786. "Hai già vinta la causa!" is sung by Count Almaviva who is
desperate to keep his servants Susanna and Figaro from marrying so that he
can have Susanna. The count is hopeful that he would win in a court fight
against the couple until he overhears Susanna telling Figaro that they have
already won the case, at which point he screams in a fury , "Hai già vinta la
causa!" at having been tricked. The aria demonstrates Mozart's ability to
capture the characters' feelings using music.
PROGRAM NOTES
DER MUSENSOHN
Durch Feld und Wald zu schweifen, Roaming through field and wood,
Mein Liedchen weg zu pfeifen, whistling my song,
So geht’s von Ort zu Ort! thus I go from place to place!
Und nach dem Takte reget, And all keep time with me,
Und nach dem Mass beweget and all move
Sich alles an mir fort. in measure with me.
Ich kann sie kaum erwarten, I can scarcely wait for them,
Die erste Blum’ im Garten, the first flower in the garden,
Die erste Blüt’ am Baum. the first blossom on the tree.
Sie grüssen meine Lieder, They greet my songs,
Und kommt der Winter wieder, and when winter returns
Sing’ ich noch jenen Traum. I am still singing my dream of them.
Ich sing’ ihn in der Weite, I sing it far and wide,
Auf Eises Läng’ und Breite, the length and breadth of the ice.
Da blüht der Winter schön! Then winter blooms in beauty!
Auch diese Blüte schwindet, This blossom, too, vanishes,
Und neue Freude findet and new joys are found
Sich auf bebauten Höhn. on the cultivated hillsides.
Denn wie ich bei der Linde For when, by the linden tree,
Das junge Völkchen finde, I come upon young folk,
Sogleich erreg’ ich sie. I at once stir them.
Der stumpfe Bursche bläht sich, The dull lad puffs himself up,
Das steife Mädchen dreht sich the demure girl whirls
Nach meiner Melodie. in time to my tune.
Ihr gebt den Sohlen Flügel You give my feet wings,
Und treibt, durch Tal und Hügel, and drive your favourite over hill and dale,
Den Liebling weit von Haus. far from home.
Ihr lieben, holden Musen, Dear, gracious Muses,
Wann ruh’ ich ihr am Busen when shall I at last find rest again
Auch endlich wieder aus? on her bosom?
Franz Schubert, a central figure of the Romantic period, composed Der
Musensohn in 1822 to a text by Johann Wolfgang von Goethe. The song reflects
the hyperactive energy of the Muse’s son, driven by the need to share his music
and his inspiration from his surroundings. The lively melody and energetic
accompaniment capture the character’s constant movement, mirroring his
pursuit of artistic expression and journey with love through the seasons.
Schubert’s use of rhythm and key signatures create a sense of excitement, as
the Muse’s son eagerly spreads his song from place to place, fully immersed in
the joy of his life. In performing Der Musensohn, the singers focus is to capture
the character’s enthusiasm and energy. The music invites the performer to
embrace the excitement of living in the moment, sharing his joy, and the
freedom that comes from being swept up in the act of creation.
PROGRAM NOTES
GRETCHEN AM SPINNRADE
Meine Ruh’ ist hin, / Mein Herz ist My peace is gone / My heart is heavy;
schwer, I shall never / Ever find peace again.
Ich finde sie nimmer / Und When he’s not with me, / Life’s like
nimmermehr. the grave;
Wo ich ihn nicht hab’ / Ist mir das The whole world / Is turned to gall.
Grab, My poor head / Is crazed,
Die ganze Welt / Ist mir vergällt. My poor mind / Shattered.
Mein armer Kopf / Ist mir verrückt My peace is gone / My heart is heavy;
Mein armer Sinn / Ist mir zerstückt. I shall never / Ever find peace again.
Meine Ruh’ ist hin, / Mein Herz ist It’s only for him / I gaze from the
schwer, window,
Ich finde sie nimmer / Und It’s only for him / I leave the house.
nimmermehr. His proud bearing / His noble form,
Nach ihm nur schau’ ich / Zum Fenster The smile on his lips, / The power of
hinaus, his eyes,
Nach ihm nur geh’ ich / Aus dem Haus. And the magic flow / Of his words,
Sein hoher Gang, / Sein’ edle Gestalt, The touch of his hand, / And ah, his
Seines Mundes Lächeln, / Seiner Augen kiss!
Gewalt. My peace is gone / My heart is heavy;
Und seiner Rede / Zauberfluss. I shall never / Ever find peace again.
Sein Händedruck, / Und ach, sein Kuss! My bosom / Yearns for him.
Meine Ruh’ ist hin, / Mein Herz ist Ah! if I could clasp / And hold him,
schwer, And kiss him/ To my heart’s content,
Ich finde sie nimmer / Und And in his kisses /Perish!
nimmermehr.
Mein Busen drängt sich / Nach ihm
hin.
Ach dürft’ ich fassen / Und halten ihn.
Und küssen ihn / So wie ich wollt’
An seinen Küssen / Vergehen sollt’!
Franz Schubert (1797-1828), an Austrian composer, transformed the art song with his
expressive melodies and harmonies. Composed in 1814 at just 17 years old, Gretchen am
Spinnrade is based on a scene from Johann Wolfgang von Goethe’s Faust, where Gretchen,
alone and spinning, reflects on her love for Faust. The piano’s spinning wheel motif
symbolizes Gretchen’s anxious, restless energy.
This song exemplifies Schubert’s ability to blend poetry and music, with the
accompaniment creating a sense of movement and internal conflict. In D minor, the piece
features expressive harmonic shifts and contrasting dynamics typical of Schubert's
Romantic style. The cyclical form, with the repetitive piano motif, mirrors Gretchen's
obsessive emotions and turmoil.
When listening, focus on the piano’s repeated notes, mimicking the spinning wheel and
reflecting Gretchen's anxiety. Pay attention to the dynamic changes and expressive
phrasing in the vocal line, which convey her emotional depth and inner conflict, while
shifts in harmony and tempo enhance the increasing tension in Gretchen’s mind.
PROGRAM NOTES
SONATA FOR CLARINET, MOVEMENT II:
ROMANZA
Francis Jean Marcel Poulenc was an early twentieth
century French composer and pianist. Though known
best for his piano works, he wrote for a wide spread of
instruments and combinations. Poulenc died before
the premiere of the piece by Benny Goodman on April
10th, 1963, and Goodman was thus accompanied by
Leonard Bernstein instead. The second movement is a
slow, sentimental piece, filled with longing,
melancholy, and grief. The melody is simple and
memorable as it melts into itself, bringing many
emotions to the surface.
PROGRAM NOTES
JOHANNA
"Johanna" is a song from Stephen Sondheim's
musical "Sweeney Todd: The Demon Barber of Fleet
Street." In this hauntingly beautiful piece, Anthony
Hope expresses his deep longing and love for
Johanna, the daughter of Sweeney Todd. The song
captures the themes of hope and desire amidst the
darkness of the story, showcasing Anthony's
idealistic view of love in contrast to the grim
realities surrounding them. The melody is lyrical,
allowing the audience to feel Anthony's yearning as
he dreams of a future with Johanna.
PROGRAM NOTES
L’ULTIMA CANZONE
M’han detto che domani They told me that tomorrow
Nina vi fate sposa, Nina, you will be a bride.
Ed io vi canto ancor la serenata. yet still I sing my serenade to you!
Là nei deserti piani Up on the barren plateau,
Là, nella valle ombrosa, down in the shady valley,
Oh quante volte a voi l’ho ricantata! Oh, how often I have sung it to you!
Foglia di rosa Rose-petal
O fiore d’amaranto O flower of amaranth,
Se ti fai sposa though you marry,
Io ti sto sempre accanto. I shall be always near.
Domani avrete intorno Tomorrow you'll be surrounded
Feste sorrisi e fiori by celebration, smiles and flowers,
Né penserete ai nostri vecchi amori. and will not spare a thought for our past love;
Ma sempre notte e giorno yet always, by day and by night,
Piena di passione with passionate moan
Verrà gemendo a voi la mia canzone. my song will sigh to you.
Foglia di menta Mint-flower,
O fiore di granato, O flower of pomegranate,
Nina, rammenta Nina, remember
I baci che t’ho dato! the kisses I gave you!
Francesco Paolo Tosti, born in 1846 in Ortona, Italy, became a celebrated
composer of Italian art songs, known for his romantic melodies reflecting
Italian romanticism. His 1905 composition L’Ultima Canzone explores
themes of love, longing, and nostalgia, with lyrics like “They told me that
tomorrow Nina, you are getting married. But I still sing to you...” conveying
the pain of parting.
Similar to Verdi and Puccini, Tosti’s music evokes deep sentimentality and
passion. The piece begins in D minor, creating a sorrowful, aching tone, but
shifts to D major, adding a nostalgic, reminiscent feeling. Tempo changes
emphasize emotional moments, allowing the tenor to linger on beautiful
notes that enhance the sense of longing. While the melody repeats, subtle
differences between verses—such as ascending or descending phrases—add
emotional depth. Through its expressive melody and heartfelt lyrics,
L’Ultima Canzone beautifully captures love and longing, drawing listeners
into its emotional world.
PROGRAM NOTES
WHITHER MUST I WANDER?
Whither Must I Wander? was composed by Ralph Vaughan
Williams in 1913, based on a poem by A.E. Housman. It
reflects Vaughan Williams' connection to English folk
music and classical composition, influenced by his ties to
the countryside and his admiration for Housman’s themes
of loss and the passage of time.
Written for voice and piano, the piece features a flowing,
lyrical melody that mirrors the narrator's existential
longing and search for meaning. The music subtly shifts
harmonically, echoing the ups and downs of memories
and yearning for better times.
When listening, focus on the delicate relationship
between voice and piano, with the accompaniment
providing emotional depth and support for the melody.
The wide vocal range and harmonic progressions convey
both the sense of searching and eventual resignation,
showcasing Vaughan Williams’ ability to blend folk
simplicity with emotional complexity.
PROGRAM NOTES
LIEBST DU UM SCHÖNHEIT
Liebst du um Schönheit, If you love for beauty,
O nicht mich liebe! O love not me!
Liebe die Sonne, Love the sun,
Sie trägt ein gold’nes Haar! She has golden hair!
Liebst du um Jugend, If you love for youth,
O nicht mich liebe! O love not me!
Liebe den Frühling, Love the spring
Der jung ist jedes Jahr! Who is young each year!
Liebst du um Schätze, If you love for riches,
O nicht mich liebe! O love not me!
Liebe die Meerfrau, Love the mermaid
Sie hat viel Perlen klar! Who has many shining pearls!
Liebst du um Liebe, If you love for love,
O ja, mich liebe! Oh yes, love me!
Liebe mich immer, Love me always;
Dich lieb’ ich immerdar! I shall love you forever!
“Liebst du um Schönheit” is one of Clara Schumann most notable
works: "Liebst du um Schönheit" is a romantic love song composed
in 1841, exactly a year after Claras marriage to Robert. Claras
marriage most likely influenced the song. This is the second piece in
Opus 12. The piece was written during the Romantic period and
depicts various sorts of love with beautiful imagery, concluding that
deeming love is the greatest form of love. Each verse is slightly
different from one another, this is considered a modified strophic. A
performer should feel free while performing and should portray the
story with empathy and love. This piece is often performed by
women but can also be performed by men.
PROGRAM NOTES
RHAPSODY FOR CLARINET
Willson Osborne was a neoclassical American
composer of the twentieth century. Few of his works
have remained accessible to the public, with the most
popular being his Rhapsody. Initially written for
unaccompanied bassoon, it was also intended to be
played by the clarinet, and it has become a common
recital piece for clarinetists. The piece is varied,
atonal, and said to be written as “abstract music”. The
piece changes time signatures frequently and
♭
alternates seamlessly between B major and G minor,
with stylistic notes such as “incalzando” (pressing),
“molto sostenuto e rubato” (very sustained, supported,
and elongated), “stringendo” (with quickening tempo),
“fiero” (proud, noble), and “patetico” (movingly, with
feeling) common throughout the duration of the piece.
PROGRAM NOTES
ALL THAT MATTERS
"All That Matters" is a song from the 2015 Broadway
musical Finding Neverland, which was composed by Gary
Barlow and Eliot Kennedy, with a book by James Graham.
The musical is based on the life of J.M. Barrie, the author
of Peter Pan, and tells the story of how Barrie found
inspiration to write the beloved tale. Gary Barlow, known
for his work as a member of the British pop group Take
That, brings his pop sensibilities to the musical, while
Eliot Kennedy is known for his collaboration with Barlow
in the music industry. The song is performed by the
character of J.M. Barrie, reflecting his emotional journey
and connection to the characters he meets.
Written in the contemporary musical theater style, "All
That Matters" combines elements of pop ballads with the
expressive qualities of musical theater. The song
showcases Barlow's ability to blend modern sounds with
the emotional depth of a Broadway show. The song is an
example of a typical Broadway ballad but with a modern
twist in its musical arrangement. It’s dynamic shifts reflect
Barrie’s internal conflict and resolution, offering a moving
and powerful moment in the musical.
In "All That Matters," listen for the emotional shift in the
vocal line as the character of J.M. Barrie reflects on the
importance of love and creativity. Pay attention to the
melody that builds in intensity, when the music swells.
Additionally, notice how the orchestration gradually
expands, enhancing the emotional depth of the song.
PROGRAM NOTES
BLACK IS THE COLOR OF MY TRUE LOVE'S
HAIR
"Black is the Color of My True Love's Hair" is an
English art/ folk song that has been interpreted by
various artists, including John Jacob Niles. John Jacob
Niles was born in 1892 in Kentucky. Niles developed a
passion for traditional music from a young age, which
led him to travel extensively throughout the
Appalachian region to collect folk songs and stories.
The song expresses deep emotional longing and love,
using the imagery of a beloved's hair as a symbol of
beauty and affection. Niles' rendition captures the
haunting quality of the lyrics, emphasizing the pain of
separation and the depth of feeling associated with
true love.
PROGRAM NOTES
MOVING TOO FAST
Jason Robert Brown, born in 1970, is a prominent
contemporary musical theatre composer, known for
his intricate melodies and storytelling. Moving Too
Fast is an energetic song from The Last Five Years.
The musical depicts a relationship from two opposite
timelines, Jamie's is told chronologically, and Cathy’s
is in reverse.
This song consists of Jamie’s excitement over his
sudden success as a novelist. Its rapid tempo, jazz-
infused piano, and shifting key signatures capture his
exhilaration and ambition. However, the breathless
pacing and syncopation hint at his impulsiveness and
foreshadow potential conflict.
Performing Moving Too Fast requires precision and
emotional depth, balancing both the joy of
achievement and the tension of moving at a very quick
pace.
RED BANK REGIONAL
BOARD OF EDUCATION
Superintendent: Dr. Louis Moore
Business Administrator: Ms. Debra Pappagallo
President: Mr. Patrick Noble
Vice President: Ms. Tara Gibb
Ms. Memone Crystian
Ms. Emily Doherty
Mr. John Garofalo
Ms. Nicole Woods
Mr. John Venino
Ms. Ursula Henry
Ms. Jennifer Lipp
RED BANK REGIONAL
ADMINISTATION
Principal: Mr. Julius Clark
Assistant Principal: Mr. Robert Donohoe
Assistant Principal: Mr. Nicholas Timpone
VPA STAFF
Supervisor of Visual & Performing Arts: Ms. Lisa Boyle
Director of Instrumental Bands: Ms. Kathryn Sarlo
Director of Vocal and Choral Studies: Mr. Brian Krajcik
Director of Strings Studies: Mr. Jeffrey Boga
Director of Piano Studies: Ms. Victoria Borrelli