UPH CONSERVATORY OF MUSIC | CLASSICAL PERFORMANCE PRESENTS

A SENIOR CLASSICAL VOCAL RECITAL BY

Clarissa
Theophilia
soprano
JACKLYN LAU, PIANO

THURSDAY
13/04/2023

W.A. MOZART G. CACCINI J.S. BACH G.F. HANDEL V. BELLINI F. SCHUBERT

J. BRAHMS E. CHARLES F. LISZT A. SUKARLAN N. NOREM G.C. MENOTTI D. MALLOY
 PROGRAM
UN MOTO DI GIOJA WOLFGANG AMADEUS MOZART
from Le Nozze di Figaro (1756 – 1791)

AMARILLI MIA BELLA GIULIO CACCINI

(1551 – 1618)

MEIN GLÄUBIGES HERZE JOHANN SEBASTIAN BACH

(1685 -1750)

MALINCONIA, NINFA GENTILE VINCENZO BELLINI

(1801 – 1835)

I KNOW THAT MY REDEEMER LIVETH GEORGE FRIDERIC HANDEL

from Messiah (1685 – 1759)

GRETCHEN AM SPINNRADE FRANZ SCHUBERT

(1797 - 1828)

VERGEBLICHES STÄNDCHEN JOHANNES BRAHMS

(1833 – 1897)
INTERMISSION

BATTI, BATTI, O BEL MASETTO WOLFGANG AMADEUS MOZART

from Don Giovanni (1756 – 1791)

WHEN I HAVE SUNG MY SONGS ERNEST CHARLES

(1895 – 1984)

OH! QUAND JE DORS FRANZ LISZT

(1811 – 1886)

HUJAN TURUN SEPANJANG JALAN ANANDA SUKARLAN

YANG FANA ADALAH WAKTU (B. 1968)

THE LORDLY HUDSON NED ROREM

(1923 – 2022)

HELLO! OH, MARGARET, IT’S YOU GIAN CARLO MENOTTI

from The Telephone (1911 – 2007)

NO ONE ELSE DAVE MALLOY

from Natasha, Pierre, and the Great Comet of 1812 (B. 1976)
 BIOGRAPHY
Clarissa Theophilia (b. 2001) started her musical journey at her local church, joining
the children's choir and youth choir. Through choir, she learn how to sing and
become very passionate about the voice. She joined her middle school and high
school choir (GS Smarta Choir and LUMEN Choir). During her time in her school
choir, she joined Penabur International Choir Festival (PICF), winning the silver
medal with GS Smarta Choir (2015) and Gold Medal with LUMEN Choir (2017). She
also joined the Grand Concert Tour with Jakarta Oratorio Society and Jakarta
Symphony Orchestra in 2017 and 2018, performing Mendelssohn's Symphony no.2 in
cities around Indonesia and Singapore. She also performed in Konser Akbar Monas
(2019) as a member of Jakarta Oratorio Society, performing Beethoven's Symphony
no.9. She still actively serves in her local church in the church music department,
mainly training the children's and women's choir. Clarissa also has a very deep love
towards musical theater. Her passion in musical theater grew in her high school year,
later landing her first role as the supporting cast in her annual high school
production, Allegiance (2019), playing the character of Hannah Campbell. She later
continued her musical theater training in Indonesia Menuju Broadway Online and
Offline Conservatory (2021-2022) and was selected as one of the 11 student who
receive Indonesia Kaya & Ruang Seni Pertunjukan's Musical Theater Scholarship
program abroad.

Clarissa has the opportunity to perform on various

stages. She was a part of GIE dalam Musikal as
ensamble in TEMAN Musical's show in Festival
Musikal Indonesia (2022), performed in Java Jazz
Festival with Sri Hanuraga and UPH Conservatory
students (2022), was a part of Centre Stage
Community's musical production such as Off The
Record (2022), Broadway Through Time (2022),
and Little Woman (2023), playing the role of
Marmee March. she also successfully done her
junior vocal recital back in July (2022) . She was
a part of VOXCOM UPH and has performed in
many UPH stages such as UPH Festival (2021-
2022), Reverberation (2022), and many concert
throughout her years in UPH.

Currently, Clarissa is in her final years at

Universitas Pelita Harapan's Conservatory of
Music, taking Classical Vocal Performance as her
major under the guidance of Josephine Polim in
her first three years and Cindy Tannos in her
fourth year. Her experience in UPH has definitely
helped her to become a better musician and
performer and she hopes to continue her education
in musical theater in the future while gaining
more experience in the industry as a professional
performer.
WOLFGANG AMADEUS MOZART
27 JANUARY 1756 – 5 DECEMBER 1791

BORN IN A MUSICAL FAMILY, MOZART WAS ONE OF THE MOST GENIUS

AND INFLUENTIAL CLASSICAL COMPOSER OF ALL TIME. HIS WORKS
INCLUDES ALMOST ALL OF THE GENRES IN THE CLASSICAL MUSIC, NOT
ONLY FOR THE ORCHESTRA AND CHAMBERS, BUT FOR VOICES TO SUCH AS
OPERA, CHORAL, AND LOTS OF VOCAL MUSIC TOO. THE YOUNG, YET
ARROGANT COMPOSER WROTE HIS FIRST OPERA AT 11 YEARS OLD AND
LATER ON IN HIS LIFE, HE MADE MANY FAMOUS OPERA INCLUDING THE
MARRIAGE OF FIGARO, DON GIOVANNI, THE MAGIC FLUTE AND COSI FAN
TUTTE. SADLY, HIS LIFE ENDS QUITE EARLY IN HIS 30’S. HIS LEGACY AS A
COMPOSER KEEPS

UN MOTO DI GIOIA IS AN ARIA IN LE NOZZE THE FIGARO OR THE

MARRIAGE OF FIGARO. BUT THIS ARIA WAS ONLY ADDED 3 YEARS AFTER
THE PREMIERE OF THE OPERA, REPLACING THE EXISTING ARIA “VENITE,
INGINOCCHIATEVI”. THE LIBRETTIST OF THIS OPERA IS LORENZO DA
PONTE, WHICH ALSO HELPED MOZART IN HIS OTHER OPERA SUCH AS DON
GIOVANNI. THIS ARIA IS SUNG WHEN SUSANNA IS TRYING TO DRESS
CHERUBINO AS A BRIDE BEFORE THE WEDDING. SUSSANA IS ABOUT TO
MARRY FIGARO BUT THEY SOON FIND OUT THAT THE COUNT IS TRYING TO
SABOTAGE THEIR WEDDING. SUSANNA HAVE A BRILLIANT IDEA OF
DRESSING CHERUBINO, THE COUNT’S PAGE, AS A GIRL TO CONFUSE
EVERYONE AT THE WEDDING. HER EXCITEMENT ABOUT HER PLAN IS
MIXED WITH HER FEAR OF ITS FAILURE. SHE WANTS THE PLANS TO GO
SMOOTHLY TO UNCOVER THE SABOTAGE, BUT SHE IS ALSO AFRAID THAT
THINGS MIGHT GO WRONG. THIS ARIA CAPTURES SUSANNA’S FEELING
WHILE ALSO GIVE THE CONFLICT INSIDE OF HER.

UN MOTO DI GIOIA AN EMOTION OF JOY

from Le Nozze di Figaro Translation: John Glenn Paton

UN MOTO DI GIOIA AN EMOTION OF JOY

MI SENTO NEL PETTO, I FEEL IN MY HEART
CHE ANNUNZIA DILETTO THAT SAYS HAPPINESS IS COMING
IN MEZZO IL TIMOR! IN SPITE OF MY FEARS.
SPERIAM CHE IN CONTENTO LET US HOPE THAT THE WORRY
FINISCA L'AFFANNO WILL END IN CONTENTMENT. FATE
NON SEMPRE È TIRANNO AND LOVE
IL FATO ED AMOR. ARE NOT ALWAYS TYRANTS.
GIULIO CACCINI
8 OCTOBER 1551 – 10 DECEMBER 1618

CACCINI IS AN ITALIAN COMPOSER FROM THE BAROQUE ERA AND ONE OF

THE FOUNDERS OF THE OPERA GENRE. HE STARTED OUT A SINGER BUT HE
ALSO PLAYS MANY INSTRUMENTS THROUGHOUT HIS YOUTH. HIS MOST
FAMOUS AND INFLUENTIAL WORK IS HIS OPERA, EURIDICE WHERE HE
WROTE THE MUSIC ALONGSIDE JACOPO PERI. EURIDICE IS THE EARLIST
SURVIVING OPERA AND WAS CONSIDERED THE OPERA THAT REALLY
STARTED THE GENRE. BUT HIS INFLUENCE IN THE MUSIC WORLD IS MORE
THAN JUST HIS WORKS, CACCINI WAS ALSO A TEACHER HIMSELF,
TEACHING MANY YOUNG MUSICIANS AND SINGER WHILE ALSO MAKING
HIS MUSIC. HIS SONG, AMARILLI, MIA BELLA WAS AN INSTANT HIT
AMONGS SINGER, EVEN UNTIL NOW. CACCINI SAID THAT THIS SONG
MAYBE HAD MORE RECOGNITION THAN IT DESERVES. BUT MANY
TEACHERS AND SINGERS AGREE THAT THIS IS SONG IS VERY VERSATILE
AND CAN BE SONG BOTH BY BEGINNERS AND ALSO PROFESSIONALS.

AMARILLI, MIA BELLA LYRIC WAS WRITTEN BY ALESSANDRO GUARINI

AND THIS SOLO MADRIGAL TELLS THE STORY OF A LOVER WHO TRIES TO
PROVE HIS LOVE TO THE GIRL NAME AMARYLLIS. THERE IS A LOT OF PAIN
YET ALSO LOVE IN THIS SONG. THE LYRIC IMPLIES THAT AMARYLLIS
DOUBTS HER LOVER’S LOVE SO THE LOVER TRIES TO PROVE HIS LOVE
EVEN TO THE EXTREME, IMPLYING HER TO OPEN HIS HEART TO SEE FOR
HERSELF HIS HEART IS ONLY FOR HER. THE LEGATO PHRASE IN THIS SONG
EMPHASIZE THE LONGING OF THE LOVER TOWARDS AMARYLLIS BECAUSE
EVEN THOUGH HE’S WITH HER, HIS LOVE MAY NOT BE ENOUGH FOR
AMARYLLIS.

AMARILLI, MIA BELLA AMARYLLIS, MY LOVELY ONE

Translation: Katherine McGuire

AMARILLI, MIA BELLA, AMARYLLIS, MY LOVELY ONE,

NON CREDI, O DEL MIO COR DO YOU NOT BELIEVE,
DOLCE DESIO, D'ESSER TU O MY HEART'S SWEET DESIRE,
L'AMOR MIO? THAT YOU ARE MY LOVE?
CREDILO PUR: BELIEVE IT THUS:
E SE TIMOR T'ASSALE, AND IF FEAR ASSAILS YOU, DOUBT
DUBITAR NON TI VALE. NOT ITS TRUTH.
APRIMI IL PETTO OPEN MY BREAST AND SEE
E VEDRAI SCRITTO IN CORE: WRITTEN ON MY HEART:
AMARILLI, AMARILLI, AMARYLLIS, AMARYLLIS,
AMARILLI È IL MIO AMORE. AMARYLLIS, IS MY BELOVED.
JOHANN SEBASTIAN BACH
31 MARCH 1685 – 28 JULY 1750

BORN IN GERMANY, BACH WAS THE MOST PROMINENT BAROQUE

COMPOSER AND HAS COMPOSED MANY CONCERTOS, SUITES, CHORAL
MUSIC, AND ALSO SACRED MUSIC SUCH AS CANTATA AND MASSES. HE
WAS A VIRTUOSO KEYBOARDIST AND WAS BORN IN A MUSICAL FAMILY.
MANY HISTORIANS AGREE THAT BACH’S WORK REALLY REPRESENTS THE
ESSENCE OF THE BAROQUE ERA, WITH A LOT OF ELEMENTS LIKE
POLYRHYTHMIC TEXTURE, THEME AND VARIATIONS, AND COUNTERPOINT
IN HIS WORK. HE WAS ORIGINALLY FAMOUS BECAUSE OF HIS VIRTUOSIC
KEYBOARD PLAYING, BUT THEN HIS COMPOSITION STARTS GET A LOT
MORE ATTENTION ESPECIALLY AFTER HIS DEATH.

THE ARIA, MEIN GLÄUBIGES HERZE IS A PART OF BACH’S CANTATA, ALSO

HAT GOTT DIE WELT GELIEBT (FOR GOD SO LOVED THE WORLD). THIS
CANTATA WAS MADE FOR THE SECOND DAY OF PENTECOST. THE LYRICS
ARE TAKEN FROM THE BIBLE, SOME ARE A WORD FOR WORD, SOME ARE
ADAPTED FOR THE CANTATA. THIS CANTATA SPECIFICALLY TAKEN THE
LYRICS FROM JOHN 3:16-21 AND ACTS 10:42-48. THE TEXT OF MEIN
GLÄUBIGES HERZE REALLY CELEBRATE BEING IN THE PRESENCE OF GOD
BECAUSE HE IS HERE, HE IS NEAR.

MEIN GLÄUBIGES HERZE MY FAITHFUL HEART

Translation: Francis Browne

MEIN GLÄUBIGES HERZE, MY FAITHFUL HEART, REJOICE,

FROHLOCKE, SING, SCHERZE, SING, BE MERRY,
DEIN JESUS IST NAH! YOUR JESUS IS CLOSE!
WEG JAMMER, AWAY WITH SORROW,
WEG KLAGEN, AWAY WITH LAMENTATION
ICH WILL EUCH NUR SAGEN: I SHALL JUST SAY TO YOU :
MEIN JESUS IST DA. MY JESUS IS HERE.
DEIN JESSUS IST DA YOUR JESUS IS HERE
VINCENZO BELLINI
3 NOVEMBER 1801 – 23 SEPTEMBER 1835

BORN IN A MUSICAL FAMILY, BELLINI IS A CHILD PRODIGY. LEARNING

PIANO AT JUST 3 YEARS OLD AND STARTING COMPOSING AT 6 YEARS OLD,
BELLINI HAS MADE PEOPLE ASTOUNDED BY HIS TALENT. GROWING UP HE
CONTINUED HIS PASSION IN MUSIC AND BECAME AN OPERA COMPOSER.
HIS FIRST OPERA WAS ADELSON E SALVINI AND HE CONTINUES TO WRITE
10 MORE OPERAS THROUGHOUT HIS LIFE. HE WAS KNOWN FOR HIS LONG-
FLOWING MELODIC LINES FOR WHICH HE WAS NAMED "THE SWAN OF
CATANIA". BESIDE COMPOSING FOR OPERAS, BELLINI ALSO COMPOSED
MANY SACRED AND SECULAR WORKS FOR VOCALS AND OTHER
INSTRUMENTS.

MALINCONIA, NINFA GENTILE IS FROM A COLLECTION OF FIFTEEN PIECES,

COMPOSIZIONI DA CAMERA. IT WAS BELIEVED THAT HIS COLLECTION WAS
MADE BY BELLINI WHEN HE WAS YOUNG BUT WAS ONLY PUBLISHED
AFTER HIS DEATH. THIS IS A SHORT AND SORROWFUL WORK. IT WAS VERY
OPERATIC YET THE ACCOMPANIMENT HAS A VERY COMFORTABLE SOUND,
PICTURING THE FRAGILE AND GENTLE NYMPH (A FEMALE DEITY FROM
GREEK MYTHOLOGY). AS THE NYMPH GRANTS THE WISHES OF A MAN,
THEY SWEAR TO PROTECT THE GIFT WHICH WAS THE BEAUTIFUL NATURE
AND THE NYMPH ITSELF.

MALINCONIA, NINFA GENTILE MELANCHOLY GENTLE NYMPH

Translation: anonymous

MALINCONIA, NINFA GENTILE, MELANCHOLY, GENTLE NYMPH,

LA VITA MIA CONSACRO A TE; I DEVOTE MY LIFE TO YOU.
I TUOI PIACERI CHI TIENE A VILE, ONE WHO DESPISES YOUR PLEASURES
AI PIACER VERI NATO NON È. IS NOT BORN TO TRUE PLEASURES.

FONTI E COLLINE I ASKED THE GODS

CHIESI AGLI DEI; FOR FOUNTAINS AND HILLS;
M'UDIRO ALFINE, THEY HEARD ME AT LAST;
PAGO IO VIVRÒ, I LIVE SATISFIED
NÉ MAI QUEL FONTE CO' DESIR MIEI, EVEN THOUGH, WITH MY DESIRES, I NEVER
NÉ MAI QUEL MONTE TRAPASSERÒ. GO BEYOND THAT FOUNTAIN AND MOUNTAIN.
GEORGE FRIDERIC HANDEL
23 FEBRUARY 1685 – 14 APRIL 1759

HÄNDEL WAS ONE OF THE MOST INFLUENTIAL AND FAMOUS COMPOSERS

FROM THE BAROQUE ERA. GROWING UP, HANDEL HAD THE OPPORTUNITY
TO LEARN TO PLAY SEVERAL INSTRUMENTS SUCH AS ORGAN, VIOLIN, AND
HARPSICHORD WHICH LATER HELPED HIM IN HIS COMPOSITION JOURNEY.
HÄNDEL PAVED HIS WAY IN THE MUSIC COMMUNITY AS AN ORGANIST, AN
OPERA COMPOSER, AND LATER AS AN ORATORIO COMPOSER WHICH MADE
HIM A PROMINENT COMPOSER AMONGST THE MUSIC COMMUNITY. EVEN
THOUGH THE MASSIVE SHIFT FROM THE OPERA WORLD TO THE ORATIO
WORLD IS THE RESULT OF THE LACK OF INTEREST IN OPERA IN BRITAIN,
HANDEL IS PROVING TO THE WORLD THAT HE IS STILL SURVIVING AND HIS
SKILL IN MAKING GRAND CHORAL WORKS FITS PERFECTLY IN HIS
ORATORIO COMPOSITION. NO DOUBT, HIS MOST SUCCESSFUL AND
GREATEST ORATORIO IS MESSIAH. CONSISTING OF CHORAL, ARIA, DUETS,
RECITATIVE, AND ORCHESTRA PARTS, MESSIAH HAS BEEN THE MOST
POPULAR ORATORIO IN THE WESTERN WORLD. MESSIAH CONSISTS OF
THREE PARTS WITH DIFFERENT THEMES THAT WERE TAKEN FROM THE
BIBLE.

I KNOW THAT MY REDEEMER LIVETH IS THE OPENING ARIA FOR THE THIRD
PART OF MESSIAH WHICH HAS THE THEME OF THE PROMISE OF ETERNAL
LIFE. THIS ARIA WAS RIGHT AFTER THE INFAMOUS HALLELUJAH CHORUS,
THE LAST SONG OF THE SECOND ACT. I KNOW THAT MY REDEEMER LIVETH
REFLECT AN EXPRESSION OF FAITH IN REDEMPTION, ALONGSIDE THE
ANNOUNCEMENT OF THE SECOND COMING OF CHRIST. HANDEL USES A
LOT OF WORD PAINTING THROUGHOUT THE WHOLE SONG. ONE OF THE
EXAMPLES IS THE RISING PATTERN OF THE PHRASE ‘FOR NOW IS CHRIST
RISEN’. THIS ARIA HAS A VERY CONSOLING RHYTHMS AND, IN ITS
SIMPLICITY REMINDS US THAT CHRIST HAS WON AND WE WILL SEE HIM
AGAIN IN HIS SECOND COMING.

I KNOW MY REDEEMER LIVETH

I KNOW THAT MY REDEEMER LIVETH

AND THAT HE SHALL STAND
AT THE LATTER DAY, UPON THE EARTH

AND THOUGH WORMS DESTROY THIS BODY

YET IN MY FLESH SHALL I SEE GOD

FOR NOW IS CHRIST RISEN FROM THE DEAD

THE FIRST FRUITS OF THEM THAT SLEEP
FRANZ PETER SCHUBERT
13 JANUARY 1797 - 19 NOVEMBER 1828

FRANZ SCHUBERT WAS A COMPOSER FROM THE LATE CLASSICAL ERA TO

THE EARLY ROMANTICISM ERA. HE IS KNOWN AS THE GREATEST LIEDER
COMPOSER ALONG WITH ROBERT SCHUMANN. SCHUBERT MANAGED TO
CREATE MORE THAN 600 SECULAR VOCAL WORKS (MOSTLY LIEDER, 7
COMPLETE SYMPHONIES, SACRED MUSIC, OPERAS, INCIDENTAL MUSIC
AND MANY MORE). SCHUBERT WORKS WITH A LOT OF GREAT POEMS FROM
THE MOST NOTABLE POETS FOR HIS LIEDER SUCH AS SCHILLER, HEINE,
GOETHE, MULLER, AND MANY MORE. HE ALSO MADE 2 OF THE BEST SONG
CYCLES IN GERMAN WHICH ARE DIE SCHONE MULLERIN AND
WINTERREISE. ALTHOUGH HE WAS NOT AS FAMOUS AS THE OTHER GREAT
COMPOSERS WHEN HE WAS ALIVE, HIS WORK BECAME MORE POPULAR
YEARS AFTER HIS DEATH AND BECAME ONE OF THE GREATEST
COMPOSERS OF ALL TIME.

"GRETCHEN AM SPINNRADE" WAS SCHUBERT'S FIRST SUCCESSFUL LIED

AND WAS WRITTEN WHEN HE WAS JUST 16. THE TEXT WAS WRITTEN BY
GOETHE AND IT TELLS THE STORY OF A YOUNG MAIDEN NAMED
GRETCHEN WHO WAS FALLEN MADLY IN LOVE WITH MAN NAME FAUST. AS
SHE SPINS HER SPINNING WHEEL, SHE THINKS ABOUT FAUST AND HOW
BROKEN SHE IS THAT SHE CANNOT BE WITH HIM. BUT AS SHE CONTINUES
HER SPINNING, THE MORE SHE LOSES HER SENSE OF REALITY. BUT THE
HEART-BROKEN GRETCHEN SOON REALIZE THAT THE REALITY IS THAT
SHE AND FAUST ARE NOT TOGETHER AND SHE HAS TO ACCEPT IT. HER
PASSIONATE FEELINGS TOWARDS FAUST. THERE IS A PATTERN PLAYED IN
THE ACCOMPANIMENT, BOTH BY THE RIGHT AND LEFT HAND
THROUGHOUT THE WHOLE SONG. THE RIGHT HANDS PLAY THE PATTERN
OF A SPINNING WHEEL WHILE THE LEFT HAND REPRESENTS THE FOOT
TREADLE. BOTH GIVES A VERY CLEAR DIRECTION OF THE SONG AND GAVE
THE DRIVE OF PASSION, ESPECIALLY IN THE CLIMAX MOMENT OF THE
SONG.
GRETCHEN AM SPINNRADE GRETCHEN AT THE SPINNING-WHEEL
Translation: Richard Stokes

MEINE RUH’ IST HIN, MY PEACE IS GONE

MEIN HERZ IST SCHWER, MY HEART IS HEAVY;
ICH FINDE SIE NIMMER I SHALL NEVER EVER
UND NIMMERMEHR. FIND PEACE AGAIN.

WO ICH IHN NICHT HAB’ WHEN HE’S NOT WITH ME,

IST MIR DAS GRAB, LIFE’S LIKE THE GRAVE;
DIE GANZE WELT THE WHOLE WORLD
IST MIR VERGÄLLT. IS TURNED TO GALL.

MEIN ARMER KOPF MY POOR HEAD

IST MIR VERRÜCKT IS CRAZED,
MEIN ARMER SINN MY POOR MIND
IST MIR ZERSTÜCKT. SHATTERED.

NACH IHM NUR SCHAU’ IT’S ONLY FOR HIM

ICH ZUM FENSTER HINAUS, I GAZE FROM THE WINDOW,
NACH IHM NUR GEH’ IT’S ONLY FOR HIM
ICH AUS DEM HAUS. I LEAVE THE HOUSE.
SEIN HOHER GANG, HIS PROUD BEARING HIS NOBLE FORM,
SEIN’ EDLE GESTALT, THE SMILE ON HIS LIPS,
SEINES MUNDES LÄCHELN, THE POWER OF HIS EYES,
SEINER AUGEN GEWALT. AND THE MAGIC FLOW
UND SEINER REDE ZAUBERFLUSS. OF HIS WORDS,
SEIN HÄNDEDRUCK, THE TOUCH OF HIS HAND,
UND ACH, SEIN KUSS! AND AH, HIS KISS!

MEIN BUSEN DRÄNGT SICH MY BOSOM

NACH IHM HIN. YEARNS FOR HIM.
ACH DÜRFT’ ICH FASSEN AH! IF I COULD CLASP
UND HALTEN IHN. AND HOLD HIM,
UND KÜSSEN IHN AND KISS HIM
SO WIE ICH WOLLT’ TO MY HEART’S CONTENT,
AN SEINEN KÜSSEN AND IN HIS KISSES
VERGEHEN SOLLT’! PERISH!
 JOHANNES BRAHMS
7 MAY 1833 – 3 APRIL 1897
JOHANNES BRAHMS WAS A GERMAN COMPOSER, PIANIST, AND
CONDUCTOR OF THE ROMANTIC PERIOD. BORN IN HAMBURG INTO A
LUTHERAN FAMILY, BRAHMS SPENT MUCH OF HIS PROFESSIONAL LIFE IN
VIENNA. BRAHMS HAS BEEN CONSIDERED AS BOTH A TRADITIONALIST
AND AN INNOVATOR. MANY CONTEMPORARIES FOUND HIS MUSIC TOO
ACADEMIC, BUT HIS CONTRIBUTION AND WORK HAVE BEEN ADMIRED BY
MANY.

“VERGEBLICHES STÄNDCHEN” (FUTILE SERENADE) IS A SETTING OF A

FOLK SONG FROM THE NIEDERRHEIN, GERMANY. THERE ARE TWO VOICES
IN THIS PIECE, A BOY AND A GIRL THEREFOR THERE ARE TWO DIFFERENT
SOUND TO DIFFERENTIATE BETWEEN THE MORE MASCULINE CHARACTERS
FROM THE MORE FEMININE ONE. BOTH OF THEM ARE HAVING A
CONVERSATION BETWEEN A DOOR AND THE BOY (ER) ASKED THE GIRL
(SIE) IF HE COULD COME INSIDE OF HER HOUSE. THE CONVERSATION GOES
BACK AND FORTH BETWEEN THE BOY’S PLEAD AND THE GIRL’S
REJECTION. IT’S QUITE A FEMINIST SONG TO SAY THE LEAST, BECAUSE
THE GIRL IS ULTIMATELY HOLDING THE DECISION OF LETTING THE BOY
OR NOT. AND SHE STATED HER REJECTION AND BOUNDARIES TO THE BOY
VERY CLEARLY UNTIL THE BOY LEAVE HER ALONE

VERGEBLICHES STÄNDCHEN FUTILE SERENADE

Translation: Richard Stokes

ER: GUTEN ABEND, MEIN SCHATZ, HE: GOOD EVENING, MY SWEETHEART,

GUTEN ABEND, MEIN KIND! GOOD EVENING, MY CHILD!
ICH KOMM’ AUS LIEB’ ZU DIR, I COME BECAUSE I LOVE YOU;
ACH, MACH’ MIR AUF DIE TÜR, AH! OPEN UP YOUR DOOR TO ME,
MACH’ MIR AUF DIE TÜR! OPEN UP YOUR DOOR!

SIE: MEIN’ TÜR IST VERSCHLOSSEN, SHE: MY DOOR’S LOCKED,

ICH LASS’ DICH NICHT EIN; I WON’T LET YOU IN;
MUTTER, DIE RÄT’ MIR KLUG, MOTHER GAVE ME GOOD ADVICE—
WÄR’ST DU HEREIN MIT FUG, IF YOU WERE ALLOWED IN,
WÄR’S MIT MIR VORBEI! ALL WOULD BE OVER WITH ME!

ER: SO KALT IST DIE NACHT, HE: THE NIGHT’S SO COLD,

SO EISIG DER WIND, THE WIND’S SO ICY,
DASS MIR DAS HERZ ERFRIERT, MY HEART IS FREEZING,
MEIN’ LIEB’ ERLÖSCHEN WIRD; MY LOVE WILL GO OUT;
ÖFFNE MIR, MEIN KIND! OPEN UP, MY CHILD!

SIE: LÖSCHET DEIN’ LIEB’; SHE: IF YOUR LOVE GOES OUT,

LASS’ SIE LÖSCHEN NUR! THEN LET IT GO OUT!
LÖSCHET SIE IMMERZU, IF IT KEEPS GOING OUT,
GEH’ HEIM ZU BETT, ZUR RUH’! THEN GO HOME TO BED AND GO TO SLEEP!
GUTE NACHT, MEIN KNAB’! GOODNIGHT, MY LAD!
WOLFGANG AMADEUS MOZART
27 JANUARY 1756 – 5 DECEMBER 1791
“BATTI, BATTI, O BEL MASETTO” IS AN ARIA FROM WOLFGANG AMADEUS
MOZART‟S OPERA DON GIOVANNI. THIS OPERA ARE STILL ROOTED IN THE
BAROQUE STYLE YET IT HAS THE CLEARNESS AND SIMPLICITY OF THE
NEW GALLANT STYLE, BRIDGING THE TRANSITION FROM OPERA SERIA
(SERIOUS OPERA) TO OPERA BUFFA. MOZART COMPOSED DON GIOVANNI,
WHICH PREMIERED IN PRAGUE ON OCTOBER 29, 1787 WITH THE HELP OF
LIBRETTIST LORENZO DA PONTE, AROUND THE PLOT OF THE MEDIEVAL
LEGEND OF DON JUAN. IT WAS BELIEVED THAT MOZART WAS SLOWLY
GOING MAD WHILE COMPOSING THE PIECE AND THE GHOST AT THE END
OF THE OPERA IS REALLY A DEPICTION OF THE GHOST OF MOZART‟S
FATHER. IN THE FOLLOWING RECITATIVE AND ARIA, ZERLINA IS TRYING
TO COVER UP HER INDISCRETION WITH DON GIOVANNI. SHE TELLS HER
FIANCÉ MASETTO THAT NOTHING HAPPENED BETWEEN DON GIOVANNI
AND HERSELF, WHILE ASKING HIM TO BEAT HIM AND RELEASING HER
ANGER. ZERLINA KNOWS THAT MASSETO WOULD NOT HIT HER SO AS SHE
APOLOGIZES, SHE IS ACTUALLY GETTING AWAY WITH CHEATING.

BATTI, BATTI, O BEL MASETTO BEAT ME, BEAT ME, MY MASETTO

from Don Giovanni Translation: William Murray

MA SE COLPA IO NON HO, BUT IF I AM NOT TO BLAME?

MA SE DA LUI INGANNATA RIMASI; IF I HAVE BEEN TRICKED BY HIM?
E POI, CHE TEMI? AND THEN, WHAT DO YOU FEAR?
TRANQUILLATI, MIA VITA; CALM YOURSELF, MY LOVE;
NON MI TOCCÒ HE DID NOT TOUCH
LA PUNTA DELLA DITA. EVEN THE TIPS OF MY FINGERS.
NON ME LO CREDI? YOU DON'T BELIEVE IT?
INGRATO! UNGRATEFUL ONE!
VIEN QUI, SFOGATI, AMMAZZAMI, COME HERE! VENT YOUR ANGER! KILL ME!
FA TUTTO DI ME QUEL CHE TI PIACE, DO EVERYTHING YOU WANT TO ME,
MA POI, MASETTO MIO, BUT AFTERWARDS, MY MASETTO,
MA POI FA PACE. LET US MAKE PEACE.

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.
LASCIERÒ STRAZIARMI IL CRINE, I'LL LET YOU PULL MY HAIR OUT,
LASCIERÒ 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.

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 CONTENTO ED ALLEGRIA IN HAPPINESS AND JOY
NOTTE E DÌ VOGLIAM PASSAR, WE MUST PASS THE DAYS AND NIGHTS,
ERNEST CHARLES
21 NOVEMBER 1895 – 16 APRIL 1984
ERNEST CHARLES WAS BORN ON NOVEMBER 21, 1895, IN MINNEAPOLIS,
MINNESOTA. HE BECAME A BROADWAY AND VARIETY SINGER AND A
COMPOSER OF MANY MEMORABLE SONGS. ERNEST CHARLES MOVED TO
HOLLYWOOD IN 1953 AND STAYED THERE UNTIL HIS DEATH AT THE AGE
OF 90.

"WHEN I SING MY SONG" WAS WRITTEN IN 1934 AND IS ARGUABLY

CHARLES' MOST FAMOUS SOLO SONG. WITH A LOT OF RUBATOS AND
EXPRESSIVE MELODIES, THIS SONG IS CONSIDERED AS A CROSSOVER
STYLE FROM POPULAR AND CLASSICAL. THE TEXT SHOWS A HEART
BROKEN LOVER THAT SWEAR TO NOT SING AGAIN BECAUSE THE PAIN
THAT THEY FEEL AFTER THEY ENDED THEIR RELATIONSHIP. THIS SONG IS
A CONFESSION OF FEELINGS OF ONE LOVER WHO'S ON THE VERGE OF
DESPAIR. THERE IS STILL A GREAT DEAL OF EFFORT TO TRYING TO GET
BACK TOGETHER BUT WHAT’S OVER IS OVER.

WHEN I HAVE SUNG MY SONGS

WHEN I HAVE SUNG MY SONGS TO YOU

I’LL SING NO MORE
T’WOULD BE A SACRILEGE
TO SING AT ANOTHER DOOR
WE’VE WORKED SO HARD
TO HOLD OUR DREAMS
JUST YOU AND I
I COULD NOT SHARE THEM ALL AGAIN
I’D RATHER DIE WITH JUST THE THOUGHT
THAT I HAD LOVED SO WELL, SO TRUE
THAT I COULD NEVER SING AGAIN
THAT I COULD NEVER, NEVER SING AGAIN
EXCEPT TO YOU!
FRANZ LISZT
22 OCTOBER 1811 – 31 JULY 1886
FRANZ LIST WAS A VIRTUOSIC PIANIST AND A COMPOSER. LISZT HAS
MADE MORE THAN 80 VOCAL WORKS IN EIGHT DIFFERENT LANGUAGE YET
THE MOST PROMINENT ONES IS HIS SONGS IN FRENCH. HE USED A LOT OF
VICTOR HUGO’S POEM IN HIS SONG. “OH QUAND JE DORS” IS HUGO’S
REFERENCE TO THE ITALIAN POET, PETRARCH—AND HIS LOVER, LAURA.
PETRACH SEE HER AS THE MOST BEAUTIFUL WOMAN YET HE CANNOT
HAVE HER. THE ORIGINAL SOUND OF THIS PIECE IS VERY DIFFERENT FROM
THE ONE REVISED 15 YEARS AFTER. BECAUSE OF LISZT’S VIRTUOSIC
TENDENCIES, HIS MUSIC WAS MORE FOR THE PIANIST THAN FOR THE
VOCALIST. EVEN HIS EARLY VERSION IS FREQUENTLY CALLED “PIANO
WORKS WITH VOCAL ACCOMPANIMENT.” BUT AFTER THE REVISION, THE
SOUND BETWEEN THE PIANO AND THE VOCAL LINE ARE MORE BALANCED
AND EXPRESSIVE. THE SONG WAS ALSO GIVEN THE SECOND VERSE IT’S
REVISION. IT WAS BELIEVED THAT THE RELATIONSHIP OF PETRARCH AND
LAURA LIKELY REFLECTS THE POET’S CONNECTION WITH JULIETTE
DROUET, AND BY EXTENSION, THE RELATIONSHIP OF LISZT AND MARIE
D’AGOULT.

OH! QUAND JE DORS AH, WHILE I SLEEP

Translation: Richard Stokes

OH! QUAND JE DORS, AH, WHILE I SLEEP,

VIENS AUPRÈS DE MA COUCHE, COME CLOSE TO WHERE I LIE,
COMME À PÉTRARQUE AS LAURA ONCE
APPARAISSAIT LAURA, APPEARED TO PETRARCH,

ET QU’EN PASSANT AND LET YOUR BREATH

TON HALEINE ME TOUCHE IN PASSING TOUCH ME …
SOUDAIN MA BOUCHE AT ONCE
S’ENTR’OUVRIRA! MY LIPS WILL PART!

SUR MON FRONT MORNE ON MY SOMBRE BROW,

OÙ PEUT-ÊTRE S’ACHÈVE WHERE A DISMAL DREAM
UN SONGE NOIR THAT LASTED TOO LONG
QUI TROP LONGTEMPS DURA, NOW PERHAPS IS ENDING,

QUE TON REGARD LET YOUR COUNTENANCE

COMME UN ASTRE SE LÈVE ET RISE LIKE A STAR …
SOUDAIN MON RÊVE RAYONNERA! AT ONCE MY DREAM WILL SHINE!

PUIS SUR MA LÈVRE THEN ON MY LIPS,

OÙ VOLTIGE UNE FLAMME, WHERE A FLAME FLICKERS
ÉCLAIR D’AMOUR A FLASH OF LOVE
QUE DIEU MÊME ÉPURA, WHICH GOD HIMSELF HAS PURIFIED

POSE UN BAISER, PLACE A KISS AND BE TRANSFORMED

ET D’ANGE DEVIENS FEMME FROM ANGEL INTO WOMAN
SOUDAIN MON ÂME S’ÉVEILLERA! AT ONCE MY SOUL WILL WAKE!
ANANDA SUKARLAN
10 JUNE 1968 – NOW
ANANDA SUKARLAN HAS BECOME ONE OF THE MOST PROMINENT
COMPOSERS IN INDONESIA TODAY. HE CONTRIBUTES SO MUCH TO THE
GROWTH OF INDONESIAN ART SONG AND INDONESIAN CLASSICAL MUSIC.
BEING A PIANIST HIMSELF, ANANDA SUKARLAN STUDIED IN THE ROYAL
CONSERVATORY OF THE HAGUE. AFTER MANY YEARS OF EXPERIENCE IN
THE MUSIC WORLD, ANANDA SUKARLAN WON MANY AWARDS FOR HIS
ACCOMPLISHMENTS INTERNATIONALLY. NOW HE IS IN THE PURSUIT OF
MAKING INDONESIAN MUSIC KNOWN WORLD WIDE THROUGH HIS
COMPOSITION. HIS WORKS ARE SO VARIED, STARTING FROM OPERA, TO
PIANO WORKS, TO CHAMBER MUSIC, TO TEMBANG PUITIK (INDONESIAN
ART SONG), AND MANY MORE. MOST OF THEM FOCUS ON INDONESIAN
FOLK MUSIC.

BOTH OF THIS TEMBANG PUITIK ARE BASED ON SAPARDI DJOKO

DAMONO’S POEM. HUJAN TURUN SEPANJANG JALAN IS A SIMPLE SONG
ABOUT RAIN AND ITS NATURE THAT CAN COME AT ANY TIME YET WE
ALWAYS LET IT HAPPEN. WE NEVER KNOW IT’S SECRETS BETWEEN EACH
DROP OF WATER BECAUSE WHEN WE KNOW, THE RAIN WILL STOP. IT
SHOWS THE NATURE OF RAIN IN IT’S SIMPLICITY. IT’S AMAZING HOW A
RAIN CAN MAKE US ALL OF A SUDDEN FEEL ALL SORTS OF THINGS, MAYBE
SAD, MAYBE CALM. YET WE NEVER REJECT IT. YANG FANA ADALAH
WAKTU IS ALSO A POEM BY SAPARDI DJOKO DAMONO. ITS SHORT TEXT
MIGHT DECEIVE THE READERS BUT IT HAS A VERY DEEP MEANING ABOUT
HOW WE PERCEIVE TIME. THE DIRECT TRANSLATION OF THE TITLE IS “BUT
TIME IS MORTAL”. WE SOMETIMES THINK THAT TIME CAN LAST FOREVER
AND WE TAKE THAT FOR GRANTED. WE GO ON WITH OUR LIVES AND GO
THROUGH TIME WITHOUT EVEN REALIZING WHAT’S THE MEANING OF
EVERYTHING.

HUJAN TURUN SEPANJANG JALAN YANG FANA ADALAH WAKTU

HUJAN TURUN SEPANJANG JALAN YANG FANA ADALAH WAKTU.

HUJAN RINAI WAKTU MUSIM KITA ABADI
BERDESIK DESIK PELAN MEMUNGUT DETIK DEMI DETIK
KEMBALI BERNAMA SUNYI MERANGKAINYA SEPERTI BUNGA
KITA PANDANG POHON-POHON DILUAR SAMPAI PADA SUATU HARI
BASAH KEMBALI KITA LUPA UNTUK APA.
“TAPI YANG FANA ADALAH WAKTU,
TAK ADA YANG MENOLAKNYA BUKAN ?” TANYA MU
KITA PUN MENGERTI KITA ABADI
TIBA-TIBA ATAS PESAN YANG RAHASIA
TATKALA ANGIN BASAH
TAK ADA BERMUAT DEBU
TATKALA, TAK ADA
YANG MERASA DI BURU-BURU
NED ROREM
23 OCTOBER 1923 – 18 NOVEMBER 2022
NED ROREM IS AN AMERICAN COMPOSER IN THE 20 TH CENTURY. HIS MOST
POPULAR WORK ARE HIS AMERICA ART SONG AND MANY OF THEM ARE
PIECES FOR VOCAL. HIS STYLE IN WRITING THE PIANO PART HAS BECOME
MORE COMPLEX OVER TIME YET HIS MELODIES STAYS ROMANTIC AND
SMOOTHS. ROREM REALLY UNDERSTANDS HOW SINGER’S VOICES WORKS
THAT’S WHY HIS SONGS ARE VERY POPULAR AMONG SINGERS. HE
BELIEVES THAT HE HAS TO GIVE A GREAT CONCERN FOR THE TREATMENT
OF THE TEXT. IT SHOWS IN THE FLOW OF THE MELODIES AND THE
INFECTION ON THE TEXT.

THE LORDLY HUDSON WAS A POEM BY PAUL GOODMAN. THE TEXT ALSO
VERY DRAMATIC AND COMPLEX. THE COMPLEXITY BETWEEN THE TEXT
AND THE MUSIC CORELATE WITH EACH OTHER AND MADE A BEAUTIFUL
PIECE WITH A VERY RICH MEANING. THE HUDSON IN THE TEXT IS
REFERRING TO THE HUDSON RIVER IN MANHATTAN. THERE ARE A LOT OF
NATURE REFERENCE IN THE TEXT SUCH AS “THE GREEN GROWN CLIFF”
AND THE HUDSON RIVER ITSELF. PAUL GOODMAN WROTE THIS POEM
WHEN HE CAME BACK TO MANHATTAN. THERE IS A LOT OF EMOTIONS IN
THE TEXT ESPECIALLY IN THE WORD “HOME” AS IT HIGHLIGHTS THE
IMPORTANCE OF HOME AND WHAT’S AROUND OUR HOME, HOW WE
ALWAYS NEED TO COME HOME AND WE CANNOT FIND HOME ANYWHERE
ELSE BUT AT HOME.

THE LORDLY HUDSON

“DRIVER, WHAT STREAM IS IT?” BE STILL, HEART!

I ASKED, WELL KNOWING NO ONE NEEDS
IT WAS OUR LORDLY HUDSON YOUR PASSIONATE SUFFRAGE
HARDLY FLOWING. TO SELECT THIS GLORY–
“IT IS OUR LORDLY HUDSON THIS IS OUR LORDLY HUDSON
HARDLY FLOWING,” HE SAID, HARDLY FLOWING
“UNDER THE GREEN-GROWN CLIFFS.” UNDER THE GREEN-GROWN CLIFFS.

“DRIVER HAS THIS A PEER THIS IS OUR LORDLY HUDSON

IN EUROPE OR THE EAST?” HARDLY FLOWING
“NO, NO!” HE SAID. UNDER THE GREEN-GROWN CLIFFS
HOME! HOME! AND HAS NO PEER IN EUROPE OR THE EAST;
BE QUIET, HEART! BE QUIET, HEART!
THIS IS OUR LORDLY HUDSON HOME! HOME!
AND HAS NO PEER IN EUROPE
OR THE EAST;
GIAN CARLO MENOTTI
7 JULY 1911 - 1 FEBRUARY 2007
MENOTTI IS A SELF-DESCRIBE AMERICAN CONTEMPORARY COMPOSER,
MUCH LIKE AARON COPLAND. HE COMPOSED TWO OPERAS BEFORE THE
AGE OF 13, WHEN HE BEGAN ATTENDANCE AT THE VERDI CONSERVATORY
OF MUSIC IN MILAN. HE WAS BORN AND RAISED IN ITALY BUT THEN
MOVED TO THE UNITED STATES AT THE AGE OF 28 TO ATTEND THE CURTIS
INSTITUTE OF MUSIC. MENOTTI’S STYLE IS PARTICULARLY NOTED FOR HIS
DESIRE TO REACH AN AUDIENCE AND CONNECT THEM MORE INTIMATELY
WITH A PIECE. HIS ABILITY TO COMBINE MUSIC AND THEATER IS REALLY
MESMERIZING AND HE OFTEN DIRECTED HIS OWN WORKS, WROTE HIS
OWN LIBRETTI, AND PROVED SUCCESS WITH RELATIVELY LONG RUNS ON
BROADWAY. THE TELEPHONE IS A ONE-ACT OPERA WITH ONLY THREE
CHARACTERS: LUCY, HER BOYFRIEND BEN, AND HER TELEPHONE. BEN IS
INTENDING TO PROPOSE TO LUCY, BUT HER PHONE CONTINUES TO RING,
ALWAYS INTERRUPTING.

“HELLO? OH MARGARET, IT’S YOU!” IS A COMEDIC PIECE IN WHICH THE

AUDIENCE WITNESSES LUCY’S CONVERSATION WITH HER FRIEND
MARGARET. THROUGHOUT THE ARIA, LUCY TALKS ALONG, WITH THE
PIANO ROULADES INTERRUPTING AS MARGARET REPLY HER. THE
CONVERSATION GOES BACK AND FORTH BETWEEN GOSSIP, POLITE
INQUIRY, OBLIGATORY QUESTION-ASKING AND LAUGHTER. LUCY OFTEN
SIMPLY RESPONDS WITH REAL OR FEIGNED LAUGHTER IN THE SHORT
COLORATURA PASSAGES. SHE IS ANXIOUS TO HANG UP THE PHONE AND IS
FINALLY SUCCESSFUL, CONCLUDING HER CONVERSATION WITH A
DRAMATIC, AND COMICALLY ENDING.
HELLO ? OH MARGARET, IT’S YOU!

EXCUSE ME. AND HOW IS YOUR MOTHER,

HELLO! HELLO! AND HOW IS YOUR FATHER,
OH, MARGARET, IT'S YOU. AND HOW IS DEAR LITTLE GRANNY?
I AM SO GLAD YOU CALLED, HA, HA! HA, HA!
I WAS JUST THINKING OF YOU. HA, HA! HA, HA!
IT'S BEEN A LONG TIME OH, DEAR!
SINCE YOU CALLED ME.
WHO? I? I CANNOT COME TONIGHT. WELL THEN, GOOD-BYE.
NO, MY DEAR, I AM SO GLAD YOU CALLED,
I'M NOT FEELING VERY WELL. I WAS JUST THINK OF YOU.
WHEN? WHERE? IT'S BEEN A LONG TIME
I WISH I COULD BE THERE! SINCE YOU CALLED ME.
I'M AFRAID I MUST NOT. YES, YOU ALREADY TOLD ME THAT.
HELLO? HELLO? NO MY DARLING,
WHAT DID YOU SAY, MY DARLING? OF COURSE I WON'T FORGET!
WHAT DID YOU SAY? YES, GOODBYE, MY DEAR, GOOD-BYE
HELLO? HELLO? YES MY DARLING, GOOD-BYE.
PLEASE SPEAK LOUDER!
YES!
I HEARD THE FUNNIEST THING! HA, HA! HA, HA!
JANE AND PAUL ARE GOING TO GET THAT'S THE FUNNIEST THING
MARRIED NEXT JULY. I EVER HEARD!
DON'T YOU THINK IT IS THE FUNNIEST
THING YOU EVER HEARD? AND HOW ARE YOU,
I KNOW... OF COURSE... AND BETS, AND BOB,
(GIGGLES) AND SARA, AND SAM?
YOU MUST TELL THEM
AND HOW ARE YOU? THAT I SEND THEM MY LOVE.
AND HOW IS JOHN? AND HOW IS THE PUSSYCAT,
AND HOW IS JEAN? HOW IS THE DOG?
YOU MUST TELL THEM OH, I'M SO GLAD!
THAT I SEND THEM MY LOVE. GOODBYE!
AND HOW IS URSULA, YES, MARGARET!
AND HOW IS NATALIE,
AND HOW IS ROSALIE? ALL RIGHT, ALL RIGHT!, GOOD-BYE!
I HOPE SHE'S GOTTEN OVER HER COLD. ALL RIGHT, ALL RIGHT!, GOOD-BYE!
NOW, MARGARET, GOODBYE!
SO LONG.
DAVE MALLOY
4 JANUARY 1976 – NOW
DAVE MALLOY IS AN AMERICAN COMPOSER, PLAYWRIGHT, LYRICIST, AND
ACTOR. HIS WORK ON THEATER HAS WON MANY AWARDS AND
RECOGNITION. HE HAS A VERY UNIQUE APPROACH TO CLASSIC
LITERATURE THAT IS TO MAKE A MUSICAL OUT OF IT. SOME OF HIS WORK
THAT USES CLASSIC LITERATURE ARE MOBY-DICK, OCTET, PRELUDES AND
THE TONY AWARD WINNING NATASHA, PIERRE & THE GREAT COMET OF
1812, AN ELECTROPOP OPERA BASED ON WAR AND PEACE. DAVE MALLOY
PLAYED THE ROLE OF PIERRE AS THE ORIGINAL CAST OF NATASHA,
PIERRE & THE GREAT COMET OF 1812 AND ALSO HAS THE ROLE OF THE
COMPOSER, LYRICIST, ORCHESTRATOR, AND MUSIC DIRECTOR OF THE
SHOW.

NO ONE ELSE IS THE FIRST SONG THAT NATASHA SINGS IN THE SHOW. SHE
IS YOUNG AND NAÏVE AND DIDN’T UNDERSTAND WHAT IS THE TRUE
MEANING OF LOVE. SHE IS ENGAGED WITH ANDREY BUT ANDREY IS AT
WAR. NATASHA JUST MET THE BOLKONSKYS, ANDREY’S FAMILY AND THE
ENCOUNTER WAS FAR FROM PERFECT. ALONE AND FRIGHTENED, NATASHA
REFLECTS UPON ANDREY UNDER THE MOONLIT SKY. SHE STILL LOVES
AND MISSES HIM. NATASHA, ONCE AGAIN, WISHES THAT ANDREY WAS
HERE WITH HER.

NO ONE ELSE

THE MOON—
FIRST TIME I HEARD YOUR VOICE
MOONLIGHT BURST INTO THE ROOM
AND I SAW YOUR EYES
AND I SAW YOUR SMILE
AND THE WORLD OPENED WIDE
AND THE WORLD WAS INSIDE OF ME
AND I CATCH MY BREATH
AND I LAUGH AND BLUSH
AND I HEAR GUITARS
YOU ARE SO GOOD FOR ME

I LOVE YOU I LOVE YOU I LOVE YOU

I LOVE YOU I LOVE YOU
OH THE MOON THIS WINTER SKY
OH THE SNOW IN THE MOONLIGHT HOW CAN ANYONE SLEEP?
AND YOUR CHILDLIKE EYES THERE WAS NEVER SUCH A NIGHT BEFORE!
AND YOUR DISTANT SMILE I FEEL LIKE PUTTING MY ARMS
I’LL NEVER BE THIS HAPPY AGAIN ROUND MY KNEES
YOU AND I AND SQUEEZING TIGHT AS POSSIBLE
AND NO ONE ELSE AND FLYING AWAY
LIKE THIS...
WE’VE DONE THIS ALL BEFORE
WE WERE ANGELS ONCE OH THE MOON
DON’T YOU REMEMBER? OH THE SNOW IN THE MOONLIGHT
JOY AND LIFE INSIDE OUR SOULS AND YOUR CHILDLIKE EYES
AND NOBODY KNOWS AND YOUR DISTANT SMILE
JUST YOU AND ME I’LL NEVER BE THIS HAPPY AGAIN
IT’S OUR SECRET YOU AND I
YOU AND I
YOU AND I
AND NO ONE ELSE

MAYBE HE’LL COME TODAY

MAYBE HE CAME ALREADY
AND HE’S SITTING IN THE DRAWING ROOM
AND I SIMPLY FORGOT
THANK YOU
JESUS CHRIST ; FOR GIVING ME A VOICE TO SING AND GUIDING ME TO FINDING MY
CALLING IN MUSIC, AND TO HOLD MY HAND IN EVERY PART OF MY LIFE

MAMA YENNA ; FOR GIVING BIRTH TO ME, RAISING ME TO BECOME THE WOMAN I AM
TODAY. FOR BEING MY INSPIRATION. I HOPE THAT I MADE YOU PROUD

PAPA, MAMA, KOKO, AUREL, KAK DITA ; FOR YOUR NEVER ENDING LOVE AND SUPPORT,
FOR ALWAYS BELIEVING IN ME AND ALLOWING ME TO EXPLORE MORE

MY 4TH YEAR MAJOR LECTURER, MISS CINDY ; FOR YOUR KINDNESS AND LOVE, FOR
ALLOWING ME TO BE WHO I AM, AND FOR ALL THE FUN MAJOR LESSONS WE HAVE ALL
THE TIME

MY PREVIOUS MAJOR LECTURER, MISS JO ; FOR BUILDING MY SINGING FOUNDATION,

FOR ALWAYS ENCOURAGING ME EVEN FROM A FAR

ADMISITRATION DIRECTOR, DEKAN AND KAPRODI ; BU ADRIANI, KAK INDRAWAN

TJHIN AND CI DELICIA MANDY ; FOR GIVING ME OPPORTUNITIES AFTER
OPPORTUNITIES THROUGHOUT MY YEARS IN UPH

HEAD OF VOICE DEPARTMENT AND MY THESIS ADVISER, CI SARITA ; FOR BELIEVING IN

MY CAPABILITIES AND FOR ALWAYS PUSHING ME TO BE A BETTER PERSON AND
PERFORMER

UPH COM LECTURERS ; FOR EVERY LESSON AND

KNOWLEDGE YOU GAVE, FOR EVERY CLASS AND
EXPERIENCE THAT SHAPE ME

UPH COM STAFFS ; FOR ALL YOUR HELP IN EVERY

LITTLE DETAILS OF MY CAMPUS LIFE

MY ACCOMPANIST, CI JACKLYN ; FOR YOUR

PATIENCE, UNDERSTANDING, AND COMITTMENT.
I WOULDN'T HAVE DONE THIS WITHOUT YOUR HELP

MY VERY HELPFULL CREWS ; FOR YOUR

WILLINGNESS TO HELP AND MAKING THIS RECITAL
POSSIBLE
MY MUSICAL THEATER FRIENDS AND MENTORS ; FOR ALLOWING ME TO GROW AND
LEARN, FOR THE LOVING COMMUNITY THAT ALWAYS SUPPORT EACH OTHER, AND FOR
SHARING THE DEEP LOVE FOR THIS AMAZING ART FORM

CHURCH FRIENDS ; FOR ALWAYS PRAYING FOR ME, FOR BEING THE BEST SUPPORT
SYSTEM, AND FOR ALWAYS BE THERE

CLASSICAL VOCAL 2016-2022 ; FOR BEING A SAFE SPACE TO EXPLORE AND LEARN, FOR
ALL THE SUPPORT IN EVERY UPS AND DOWNS

UPH FRIENDS ; FOR SURVIVING TOGETHER, FOR SUPPORTING AND CHEERING EACH OTHER
THOUGH EVERY ACHIEVMENT

VOXCOM UPH (2019 AND 2021) ; FOR ALWAYS GIVING THE BEST ENERGY AND FOR ALL THE
STORIES WE SHARE, AND FOR ALL THE STRANGE HARMONIES WE SING TOGETHER

COM 2017-2022, ESPECIALLY 2019 ; FOR EVERY MEMORIES WE CREATE TOGETHER

ALL OF YOU WHO WATCH THIS RECITAL ; THANK YOU SO MUCH FOR SUPPORTING ME

CREW
HEAD OF PRODUCTION : RIZKA DHARMAWAN
CO-HEAD OF PRODUCTION : DIANYA
NARESWARI
PIANIST : JAKLYN LAU
PAGE TURNER : AURELIA MARGARETH
MASTER OF CEREMONY : RYON REGASA
STAGE MANAGER : PRISCILLA JACKLYN
ASSISTENT : LUISA BUNYAMIN
USHER & KONSUMSI : AVRIL BREVIKA,
CLAUDIA CHANDRA
DOCUMENTATION : JESICA INDAH
SOUND ENGINEER: VIONY
VIDEOGRAPHER : FELICIA LIMINDINATA
MULTIMEDIA : RAISSYA NALOVSKA