Recital Document by Julieta Garcia Reyes
This document encompasses historical, pedagogical, interpretative, and theoretical analyses of several musical works by different composers. Chapter one contains historical and musicological perspectives on the debate of authorship of the accompagnato recitative found before W. A. Mozart’s aria “Vado, ma dove” in Vicente Martín y Soler’s opera Il burbero di buon coure. Chapter two explores the pedagogical and technical adjustments, as well as musical and textual details a lyric soprano must consider when singing “Zueignung” and “Allerseelen” from Richard Strauss’s Acht Gedichte aus “letzte Blätter.” Chapter three is a biographical examination of the composer Henri Duparc, exploring how his diagnosis of neurasthenia may have influenced his short musical career and his choice of poetry to set to music. Chapter four will look into Aaron Copland’s textual choices in setting Emily Dickinson’s poetry to music in the Twelve Poems by Emily Dickinson, in order to understand and justify Copland’s deliberate adaptation from her original writings. The works mentioned in this document, along with many other were performed in partial fulfillment of the requirements for the Master of Music degree on May 3rd, 2021 at the University of Texas at San Antonio Recital Hall.