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2 Dr. Anne J. Matlack Artistic Director
Anne Matlack (BA Music cum laude, Yale University; MM, DMA Choral Conducting, University of Cincinnati College-Conservatory of Music) has been Artistic Director of Harmonium Choral Society since 1987. During her tenure as Artistic Director, the 100-voice choral society has been recognized for its musical excellence and innovative programming.
In addition to her work with Harmonium, Dr. Matlack is celebrating her 25th year as Organist/Choirmaster at Grace Episcopal Church in Madison. There she directs a full program of children and adult choirs and a concert series, Grace Community Music. Her excellent all-volunteer adult chorus performs Evensongs and large choral works every year and her children’s choir training program follows Royal School of Church Music standards and has 60 children ages 7-18 singing every week in three different levels. Grace Church and Harmonium singers joined to serve as Choir-in Residence at Winchester Cathedral in the summer of 2015. Dr. Matlack serves on the New Jersey Board of the American Choral Directors Association as Repertoire and Standards Chair for Community Choirs. She is active as an adjudicator and cli- nician. She has taught at Kean University and Lafayette College, and conducted the Yale University Freshman Chorus. Her conducting teachers have included Fenno Heath, Elmer Thomas, and Earl Rivers, and workshops with Robert Shaw and Eric Ericson. She studied organ with Charles Krigbaum, Michael Schneider, and David Mulbury. She has sung in the Robert Shaw Festival Chorus at Carnegie Hall, and with the Yale Alumni Chorus at the Kremlin in Moscow. She is the 2003 recipient of the Arts Council of the Morris Area’s Outstanding Professional in the Arts Award.
Dr. Matlack is married to Jabez Van Cleef, a writer who has participated in several commissions with her, and they live in Madison with their high-school-aged daugh- ter Grace, who also sings in Harmonium. Anne’s older daughter Virginia is in her 20s, a graduate of St. Olaf and its famed choir; she sang in both Harmonium and the church programs as well, and is now a music therapist in Philadelphia.
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4 About Harmonium The mission of Harmonium Choral Society is to inspire and transform our com- munity through music. We perform a diverse repertoire of choral music at a high artistic level, and we advance the choral arts through education, commissions, and community partnerships. Within the chorus, we create a challenging and enjoyable environment where excellence can flourish.
I wanted to tell you that I was overjoyed by your performance! It was rich, colorful, expressive, beautifully balanced, with just the right spirit — truly glorious in every way. —Andrea Clearfield, Composer of Into the Blue, March, 2011
Harmonium Choral Society, based in Morris County, is one of New Jersey’s lead- ing choral arts organizations. The 100-voice choral society has been recognized for its musical excellence and innovative programming and has commissioned and pre- miered works by Amanda Harberg, Matthew Harris, Elliot Z. Levine, Harmonium’s composers-in-residence Mark Miller and Marty Sedek, and others. One third of Harmonium’s singing members are currently music educators. Directed by Dr. Anne J. Matlack of Madison, Harmonium’s season consists of three major sub- scription concerts held in December, March, and June, as well as numerous special events and partnerships. Harmonium, known for its eclectic programming, choral excellence, and community spirit, sponsors commissions and musicianship work- shops, as well as an Outreach Chorus which performs in schools, nursing homes and other venues. In support of music and education, Harmonium formed the Morristown Neighborhood House Children’s Chorus in 2009-2011 and continues to partner with this urban after-school program by bringing in performances and collaborating on special events. Other recent creative collaborations have included Mahler’s 2nd Symphony and the premiere of a new choral version of Gershwin’s Rhapsody in Blue with the New Jersey Festival Orchestra, Rutter’s Requiem at Carnegie Hall, and providing the musical soundscape for The Shakespeare Theatre of New Jersey’s production of Hamlet (2009). In February 2010, the chorus was selected to perform for the Eastern Division Convention of the American Choral Directors Association in Philadelphia. In July 2011, Harmonium was the choir for the opening convocation of the American Guild of Organists (AGO) convention. Harmonium sponsors an annual High School Student Choral Composition Contest, celebrating its 19th anniversary this season. This innovative program recently won the prestigious Chorus America Education and Outreach Award. The Arts Council of the Morris Area presented Harmonium with the Outstanding Arts Organization Award in 1998, and Dr. Matlack with Outstanding Professional in the Arts in 2003.
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6 8 Program Notes
by Dr. Anne Matlack
his year has been a wonderful journey of exploring both our American com- Tposers and Baltic composers in preparation for tour. The theme of this concert embraces some of our favorite works and some new composers we are very excit- ed about, including as always, the talented high school ones. Music has a way of expressing the inexpressible and mysterious, be it secular or sacred, or some mysti- cal combination of both. Come join us on our journey! Kenneth Lampl received his D.M.A. in composition from the Juilliard School in New York City. His first international recognition came with the winning of the Prix Ravel in Composition at the American Conservatory in Fontainebleau, France. Many awards soon followed including four ASCAP Composer Awards, two New Jersey State Council for the Arts Fellowships, the Gretchanov Memorial Prize in Composition from the Juilliard School and fellowships from the foundations of Henry Mancini, George Gershwin and Richard Rogers. His orchestral music has been performed by prestigious orchestras from the Cincinnati Symphony Orchestra to the Tanglewood Festival Orchestra, and his film music includes over 25 feature film scores. In the Most Silent Hour is a meditation on a section of “Letters from a Young Poet” by Rainer Maria Rilke:
You ask whether your verses are any good. You ask me. You have asked others before this. You send them to magazines. You compare them with other poems, and you are upset when certain editors reject your work. Now (since you have said you want my advice) I beg you to stop doing that sort of thing. You are looking outside, and that is what you should most avoid right now. No one can advise or help you — no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with a strong, simple “I must,” then build your life in accordance with this necessity… Then take that destiny upon yourself, and bear it, its burden and its greatness, without ever asking what reward might come from outside.
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10 Baruch atah, Adonai Eloheinu, Praised be you, our God Adonai, Melech ha’olam. Sovereign of the universe.
Bismillah ir rahman ir raheem. In the name of Allah, the gracious and the merciful. Masha’Allah. What Allah wills.
Gloria in excelsis Deo Glory to God in the highest, et in terra pax and on earth peace hominibus bonae voluntatis. to men of good will.
Astaghfirullah. Forgive me, Allah. Slach li, Adonai. Forgive me, Adonai. Miserere mei, Deus. Forgive me, Lord. Amen. Amen.
Philip R. Dietterich was born into a musical family in Buffalo, NY. A lifelong Methodist, he is a graduate of Ohio Wesleyan University, The Boston University School of Theology and Union Theological Seminary in New York City. For most of his adult life, he was the full time Minister of Music at First United Methodist Church in Westfield, NJ. Followers of the Lamb is a boisterous arrangement of a Shaker tune. The Shakers were millenians (they believed in Christ’s imminent second com- ing — as a woman). They practiced confession of sins, communal ownership, celi- bacy and withdrawal from the world. They were known for praying themselves into a frenzied dance, shaking their bodies wildly to get rid of evil spirits. Dietterich has pointed out that since instrumental music was not sanctioned by the Shakers until 1870, and this tune was written down in 1847, the tambourine accompaniment is not exactly stylistically proper — although lots of fun. Even more shocking would be our mixed choral arrangement with women standing next to men!
O brethren ain’t you happy, O brethren ain’t you happy, O brethren ain’t you happy, ye followers of the Lamb?
Refrain: Sing on, dance on, followers of Emmanuel. Sing on, dance on, ye followers of the Lamb.
O sisters ain’t you happy, O sisters ain’t you happy, O sisters ain’t you happy, ye followers of the Lamb?
Refrain 11 5th Annual Summer Sing
Monday, August 29– 7:30 PM Princeton United Methodist Church 7 Vandeventer Ave, Princeton, NJ 08542
Come join us for this casual, fun evening where we will explore the Chorus’ full repertoire of music. For those who have always thought of singing with us, this is a wonderful opportunity to learn more about us and the kind of music we sing, and get to know some of our members. The event is FREE and refreshments will be served.
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12 O I’m glad I am a shaker, I’m glad I am a shaker, I’m glad I am a shaker, ye followers of the Lamb.
Refrain
O I mean to be obedient, I mean to be obedient, I mean to be obedient, ye followers of the Lamb.
Refrain
In the great Renaissance master Giovanni Pierluigi da Palestrina’s setting of the offertory for St. Michael’s Day, Stetit Angelus, soaring lines evoke the rising incense in exquisite counterpoint. Palestrina was revered for his many sacred works as the greatest Italian master of the Catholic Counter-Reformation.
Stetit angelus juxta aram templi, An angel stood near the altar of the temple, habens thuribulum aureum in manu sua. holding a golden censer in his hand. Et data sunt ei incensa multa, And there was given unto him much incense, et ascendit fumus aromatum and the incense smoke ascended in conspectu Dei. before the presence of God. Alleluja. Alleluja.
Rihards Dubra was born in Riga, Latvia, and holds degrees from the Latvian State Conservatory (composition) and the Latvian Academy of Music. During his studies, he began to teach harmony and composition at the J¯urmala School of Music, where he still works today. He was the organist at the Riga Our Lady of Suffering Church, and, as of 1999, he is the cantor of the Riga St. Mary Magdalene Church. Dubra concentrates on sacred music. His choir works and vocal instrumental com- positions are heard at international festivals and concerts. He has written minimalist, Gregorian and Renaissance-style music, with a romantic ideal, thinking not just of intonation, exposition and similar spheres, but firstly the philosophical side. Stetit Angelus was commissioned in 2005 by the Indonesian choir Vox Angelorum and their director, Henry Sutjipto, for a choral competition in China. It uses many inter- esting techniques including the opening chord, which contains both static and mov- ing parts on the same pitches while the tenors sing in Gregorian chant style. Later in the work, aleatoric, free-floating women’s voices reflect the image of rising clouds of incense over a more harmonic foundation of tenors and basses.
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14 Stetit angelus juxta aram templi, An angel stood near the altar of the temple, habens thuribulum aureum in manu sua. holding a golden censer in his hand. Et ascendit fumus aromatum And the incense smoke ascended in conspectu Domini before the presence of the Lord de manu Angeli. from the Angel’s hand. Amen. Amen.
Claudio Monteverdi’s compositional style spans the gap between an earlier era (the Renaissance) and the later one (Baroque). He himself defined two different kinds of compositional practices, the prima prattica, or old style which was still used for much church music, and the secunda prattica, the new style which “con- siders harmony not commanding but commanded, and makes words the mistress of harmony.” Adoramus Te, Christe shows the text painting and florid vocal writing of the latter while retaining something of the motet style of prima prattica church music. From a composer at the height of his powers, it is deeply expressive of an ecstatic state of worship.
Adoramus te, Christe, We adore thee, O Christ, et benedicimus tibi, and we bless thee, quia per sanguinem tuum pretiosum, because by thy precious blood, redemisti mundum. thou hast redeemed the world. Miserere nobis. Have mercy on us.
ĒEriks¯ Ešenvalds, born in Riga, is one of the most sought-after choral compos- ers working today. He studied at the Latvian Baptist Theological Seminary (1995-97) before obtaining his Master’s degree in composition (2004) from the Latvian Academy of Music under the tutelage of Selga Mence. From 2002 to 2011, he was a member of the State Choir Latvija. In 2011, he was awarded the two-year position of Fellow Commoner in Creative Arts at Trinity College, Cambridge University. Multiple awards for his work include the Latvian Great Music Prize (2005 & 2007), the Copyright Award in 2006 and “The Year’s New-Composer Discovery” of the Philadelphia Inquirer in 2010, the same year he was nominated for the British Composer Award. Recordings of his choral music won the Latvian Music Records Award in both 2011 and 2014. His works have been performed internationally. O Salutaris Hostia sets soaring, romantic solo soprano lines over warm, sumptuous Lauridsen/Whitacre-like added tone chords in the 16-part divisi choir, for a work of stunning beauty.
O salutaris hostia O saving victim quae caeli pandis ostium, who opens the gate of heaven, bella premunt hostilia: hostile wars press on us: da robur, fer auxilium. give strength, bring aid.
Uni trinoque Domino, To the Lord, three in one, sit sempiterna gloria, be everlasting glory, qui vitam sine termino for life without end nobis donet in patria. he gives us in his kingdom. Amen. Amen. 15 The Aguanno brothers proudly support Harmonium Choral Society
16 Xabier Sarasola, Basque musician, teaches violin, harmony, orchestra and cho- ral singing at the Music School of Beasain. His choral teachers included Javier Busto and E. Ericson. He is active as an adjudicator of many festivals including the Choral Competition in Tolosa, for which he has been president of the jury. Ut Queant Laxis (aka Hymnus in Ioannem) is a Latin hymn in honor of John the Baptist, famous for its part in the history of musical notation. In the original Gregorian chant, each line starts a tone higher, and the beginning syllable of each line is ut (later do), re, mi, fa, so, la. This solmization was attributed to composer/theorist Guido of Arezzo, who was active in the 11th century and is regarded as the father of modern musical notation. (The hymn does not help with the 7th tone as the last line, Sancte Iohannes, breaks the ascending pattern. The syllable si, for the 7th tone, was added in the 18th century.) Sarasola sets a new tune but with the same idea; each line begins on the successive note of the scale for the appropriate solfege syllable. It was composed in 2010 for the choir El León de Oro. The first stanza is: Ut queant laxis resonare fibris, Mira gestorum famuli tuorum, Solve polluti labii reatum, Sancte Iohannes.
It may be translated as: So that your servants may, with loosened voices, resound the wonders of your deeds, clean the guilt from our stained lips, O Saint John.
A paraphrase by Order of Saint Benedict monk Cecile Gertken preserves the key syllables and the meter: Do let our voices resonate most purely, miracles telling, far greater than many; so let our tongues be lavish in your praises, Saint John the Baptist.
William Mathias was born in South Wales, where he began composing and playing the piano as a young child. He studied at the Royal Academy of Music, and was professor of music and head of department at the University of Wales, Bangor from 1970 until 1988. His compositions include an opera, The Servants (1980), three symphonies and three piano concertos, but he is best known for his numer- ous works of Anglican church music for chorus and organ. His most famous anthem
17 18 is Let the people praise Thee, O God, written for the July 1981 royal wedding of Prince Charles and Diana Spenser. He founded the North Wales International Music Festival in St. Asaph in 1972 and directed it until his death in 1992. Honors included Commander of the Order of the British Empire (CBE) and an honorary Doctorate from Westminster Choir College in 1987. As Truly as God is Our Father is another work associated with a royal visit to St. Paul’s Cathedral, written at the request of the Friends of St. Paul’s Cathedral for their festival and sung in the presence of Her Majesty Queen Elizabeth, The Queen Mother, the Patron of the Friends on June 30, 1987. The jazzy rhythms normally asso- ciated with Mathias’ style are absent here; the powerful words are reflected in the simplicity of the slowly changing harmonies. This gentle anthem takes its text from the writings of Mother Julian of Norwich, a 14th century mystic and theologian. Her Revelations of Divine Love, written around 1395, depicts visions she had in 1373 while suffering from a mysterious illness. It is the first book in the English language known to have been written by a woman.
As truly as God is our Father, so just as truly is he our Mother. In our Father, God Almighty, we have our being; In our merciful Mother we are remade and restored. Our fragmented lives are knit together. And by giving and yielding ourselves, through grace, To the Holy Spirit we are made whole. It is I, the strength and goodness of Fatherhood. It is I, the wisdom of Motherhood. It is I, the light and grace of holy love. It is I, the Trinity. I am the sovereign goodness in all things. It is I who teach you to love. It is I who teach you to desire. It is I who am the reward of all true desiring. All shall be well, and all manner of thing shall be well. Amen.
Composer Matthew Harris lives in New York City, where he works as a musicologist. He studied at The Juilliard School, New England Conservatory and Harvard University, and has received numerous grants and awards. His six books of Shakespeare Songs are justifiably popular with choruses. Harmonium has performed them in various concerts, as well as his major cantata Oceanic Eyes, and commissioned and premiered his major Christmas oratorio, A Child’s Christmas in Wales, in 2002. Matthew also serves as a judge for our High School Composition Contest. Matthew provides the following notes on the pieces Harmonium is singing in this concert:
19 CHAMBER MUSIC SERIES ANI KAVAFIAN, violin CARTER BREY, cello And Special Guest Artists Experience the finest chamber music in an inviting setting SUNDAYS SEPTEMBER 20, 2015 NOVEMBER 29, 2015 DECEMBER 13, 2015 FEBRUARY 14, 2016 MARCH 6, 2016
2:30 p.m. Morrow Memorial Methodist Church, Maplewood 7:30 p.m. Temple Emanu-El, Westfield
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Tickets: $30, Seniors $25, Students Free
20 Shakespeare Songs are my musical settings of the lyrics to songs in Shakespeare’s plays. The cycle comprises fourteen songs, divided into four books. Book III was completed in 1992, and premiered by the New Amsterdam Singers (Clara Longstreth, director) in March 1993. You Spotted Snakes (from A Midsummer Night's Dream) has slippery chromaticism (in mock 1940s close harmony style) to describe all the creepy things to be kept away in contrast to the very diatonic lullaby chorus. The women in Sigh No More, Ladies (from Much Ado About Nothing) sigh (“ah, ha”) and sing (“la, la”), though the men tell them not to. But they both come together for rollicking choruses of “Hey nonny, nonny.”
You Spotted Snakes You spotted snakes with double tongue, Thorny hedgehogs, be not seen; Newts and blindworms, do no wrong, Come not near our fairy queen. Philomel1, with melody, Sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby. Never harm, Nor spell nor charm, Come our lovely lady nigh; So goodnight, with lullaby. Weaving spiders, come not here; Hence, you long-legg’d spinners, hence! Beetles black, approach not near; Worm nor snail, do no offense. 1- nightingale
Sigh No More, Ladies Sigh no more, ladies, sigh no more, Men were deceivers ever, One foot in sea and one on shore, To one thing constant never.
Then sigh not so, but let them go, And be you blithe2 and bonny3, Converting all your sounds of woe Into Hey nonny, nonny.
Sing no more ditties, sing no more, Of dumps so dull and heavy,4 The fraud of men was ever so, Since summer first was leavy5.
2- carefree; 3- merry; 4- ‘down in the dumps’; 5- leafy
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1790 Springfield Avenue New Providence, NJ 908.464.5928 www.elefantemusic.com 22 One of the great composers of the 19th century, Robert Schumann was the quintessential artist whose life and work embody the idea of Romanticism in music. Schumann was uncomfortable with larger musical forms, such as the symphony and the concerto (nevertheless, representative works in these genres contain moments of great beauty), expressing the full range of his lyrical genius in songs and short pieces for piano. Schumann’s extraordinary ability to translate profound, delicate — and sometimes fleeting — states of the soul is exemplified by works such as the song cycle Dichterliebe (A Poet’s Love), after Heinrich Heine, and his brilliant collections of short piano pieces, including Phantasiestücke (Fantastic Pieces), Kinderszenen (Scenes from Childhood) and Waldszenen (Forest Scenes). In his songs, as critics have remarked, Schumann attained the elusive union of music and poetry which Romantic poets and musicians defined as the ultimate goal of art. (Zoran Minderovic)
Schumann’s fascination with gypsies grew out of his encounter with Emanuel Geibel’s “gypsy poems,” and finally found expression in his Zigeunerleben, opus 29, no. 3. Schumann musically portrays Geibel’s colorful description of a gypsy campfire in the summer of 1840. The piece begins with the mysterious quiet of “woods filled with shadows and whispering branches,” and then rising vocal lines depict the flames as they “flare up to illumine the trees.” The piano part (with tri- angle and tambourine) provides a definite feeling of folk dance. The middle section is more hymn-like as the poem reflects on the memory of olden times, while the close of the piece captures the nomadic aspect of gypsy life with the final text, “the figures move away—who knows whereto?”
Im Schatten des Waldes, In the shade of the forest, im Buchengezweig, among the beech branches, da regt’s sich und raschelt something stirs and rustles und flüstert zugleich. and whispers all at once. Es flackern die Flammen, Flames are flickering; es gaukelt der Schein their light flits um bunte Gestalten, around colorful figures, um Laub und Gestein. around leaves and rocks. Da ist der Zigeuner bewegliche Schar Here is the roaming band of gypsies mit blitzendem Aug und wallendem Haar, with flashing eye and flowing hair, gesäugt an des Niles geheiligter Flut, weaned on the hallowed waters of the Nile, gebräunt von Hispaniens südlicher Glut. tanned by Iberia’s southern glow.
Um’s lodernde Feuer, Around the blazing fire in schwellendem Grün, in the swelling greenery, da lagern die Männer verwildert und kühn, camp the men, feral and bold; da kauern die Weiber und rüsten das Mahl, here squat the women to prepare the meal, und füllen geschäftig den alten Pokal. and busily fill the ancient goblet.
23 24
Und Sagen und Lieder ertönen im Rund, And legends and songs resound all around, wie Spaniens Gärten so blühend und bunt, like Spanish gardens, so full of bloom and color; und magische Sprüche für Not und Gefahr and magical sayings for hardship and danger verkündet die Alte der horchenden Schar. the old woman recites for the listening crowd. Schwarzäugige Mädchen beginnen den Tanz. Dark-eyed girls begin the dance. Da sprühen die Fackeln im rötlichen Glanz. Torches sputter with reddish brilliance. Es lockt die Gitarre, die Zimbel klingt. The guitar allures; the cymbal sounds. Wie wild und wilder der Reigen How wild and more wildly the round sich schlingt! dance whirls! Dann ruhn sie ermüdet vom Then they rest, weary from the nächtlichen Reih’n. nighttime dance. Es rauschen die Buchen The beeches rustle im Schlummer sie ein. them to sleep. Und die aus der glücklichen And, exiled as they are from their Heimat verbannt, blissful homeland, sie schauen im Traume das glückliche Land. they see in their dreams that happy country.
Doch wie nun im Osten der Morgen erwacht, But now, as the morning awakes in the east, verlöschen die schönen Gebilde der Nacht, the beautiful images of the night vanish; es scharret das Maultier bei Tagesbeginn, at daybreak the mule paws the ground, fort zieh’n die Gestalten, the figures move away — wer sagt dir wohin? who knows whereto?
Johannes Ockeghem was the most influential composer/choir director of the Franco-Flemish School in the last half of the 15th century. He was known for expres- sive counterpoint, long melismatic lines and low bass parts, which can be heard in the devotional Marian motet, Alma Redemptoris Mater.
Alma Redemptoris Mater, Loving Mother of the Redeemer, quae pervia caeli who remains the gate porta manes, by which we mortals enter heaven, et stella maris, and star of the sea, succurre cadenti surgere help your fallen people qui curat populo: who strive to rise again: Tu quae genuisti, natura mirante, To the wonderment of nature, tuum sanctum Genitorem: you bore your sacred Creator: Virgo prius ac posterius, yet remained a virgin after as before, Gabrielis ab ore sumens illud Ave, you who received Gabriel’s joyful greeting, peccatorum miserere. have mercy on our sins.
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26 George Aronson is a Morristown-based widely-published nature photographer who has been singing with Harmonium for 9 years. Homer Hansen, turning 98 this year, is a local legend, well-known for his imaginative and intricate paper cuttings, which have graced libraries, schools and churches for many years. Less well known are Homer’s extensive collections of original poems, written over the past 70-plus years. Both George and Homer are long-time members of the Morristown Unitarian Fellowship. In May 2015, a concert was created featuring some of Homer’s poems set to choral works written by five local composers, including George. The concert was entitled “The Wisdom of Homer (Hansen),” and was a resounding success. George subsequently made some revisions to his three contributions to this concert, and presents them under that same title. The subject matter is romantic love and philosophical musings about the nature of human existence. The Chamber Singers premiered the a cappella version of these works in their April 2016 concert; Only in Dreams is the second movement.
I would soar like a bird, But this happens only in dreams. I would play the most beautiful music ever heard, But this happens only in dreams. I’d dare to sail from sight of shore; Walk upon a foreign land, listen to the foreign tongue, But this happens only in dreams. I would live a loving, growing life with you. This happens not only in dreams, But for true!
When I was little, my mother had a book of songs to play and sing on the piano, and I found this the most mysterious and scary one — it made a huge impression on me! Henry Clay Work was an abolitionist, self-taught song-writer and musical typesetter, famous for both Civil War songs including “Marching Through Georgia” and sentimental balladry such as “My Grandfather’s Clock,” published in 1876, which secured more than a million sales of the sheet music, along with populariz- ing the phrase “grandfather clock” to describe a longcase clock. Philip Lawson is
27 Anne Matlack, Artistic Director
Help Harmonium Prepare for Their Concert Tour to Lithuania, Latvia and Estonia
The Singing Revolution A documentary film that tells the moving and dramatic story of how the Estonian people strategically, willfully, sang their way to freedom — and helped topple an empire along the way Monday, June 20, 2016 at 7:30 p.m. Grace Episcopal Church, 4 Madison Avenue at Kings Road, Madison Admission $10
Baltic Tour Send-off Concert Monday, June 27, 2016 at 7:30 p.m. Church of Christ the King, Blue Mill Road, New Vernon Admission by donation
For more Harmonium Happenings, visit www.harmonium.org or call 973-538-6969.
Funding has been made possible in part by funds from Morris Arts through the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
28 a Grammy award-winning composer and arranger, mostly of a cappella and sacred music. For 18 years, he was a baritone with the King’s Singers and the group’s princi- pal arranger for the last 15 years of that period. He sets Grandfather’s Clock rather humorously with lots of text painting.
My grandfather’s clock was too large for the shelf, So it stood ninety years on the floor; It was taller by half than the old man himself, Though it weighed not a pennyweight more. It was bought on the morn of the day that he was born, And was always his treasure and pride; But it stopped short, never to go again, When the old man died.
Refrain: Ninety years without slumbering, His life seconds numbering, But it stopped short, never to go again, When the old man died.
In watching its pendulum swing to and fro, Many hours had he spent as a boy; And in childhood and manhood the clock seemed to know, And to share both his grief and his joy. For it struck twenty-four when he entered at the door, With a blooming and beautiful bride; But it stopped short, never to go again, When the old man died.
29 We are the altos, We couldn’t be prouder. And if you can’t hear us, We’ll sing a little louder.
We are the altos,
We couldn’t be
prouder.
Harmonium is our chorus
We’ll shout that even louder!
CONGRATULATIONS to HARMONIUM CHORAL SOCIETY On its 37th Season
30 My grandfather said that of those he could hire, Not a servant so faithful he found; For it wasted no time, and had but one desire, At the close of each week to be wound. And it kept in its place, not a frown upon its face, And its hands never hung by its side. But it stopped short, never to go again, When the old man died.
Refrain
It rang an alarm in the dead of the night, An alarm that for years had been dumb; And we knew that his spirit was pluming for flight, That his hour of departure had come. Still the clock kept the time, with a soft and muffled chime, As we silently stood by his side; But it stopped short, never to go again, When the old man died.
Refrain
Grace Episcopal Church Madison, NJ Welcomes You! Services Every Day of the Year
Sunday Schedule (September - May) 7:30 am Holy Eucharist, R1 9:00 am Holy Eucharist, R2 11:15 am Holy Eucharist, R1/2 6:00 pm “Last Chance” Mass, R2 plus Choirs Sing at 9 and 11:15 am Summer Sunday Schedule Children’s Chapel at 9:00 am (Memorial Day - Labor Day) Sacred Journeys (Sunday School) 8:00 am Holy Eucharist, R1 & Adult Forum at 10:30 am 10:00 am Holy Eucharist, R2 6:00 pm “Last Chance” Mass, R2 www.gracemadison.org
31 Program
In the Most Silent Hour (premiere)...... Kenneth Lampl (b. 1964)
Followers of the Lamb (processional)...... Shaker, arr. Philip Dietterich (b. 1931)
Stetit Angelus...... Giovanni Palestrina (c. 1525-1594)
Stetit Angelus (Latvia)...... Rihards Dubra (b. 1964)
Adoramus Te, Christe...... Claudio Monteverdi (1567-1643)
O Salutaris Hostia (Latvia)...... Eriks¯ Ešenvalds (b. 1977)
Ut Queant Laxis...... Xabier Sarasola (b. 1960)
As Truly as God is Our Father (organ)...... William Mathias (1943-1992)
You Spotted Snakes (Shakespeare Songs, Bk. III)...... Matthew Harris (b. 1956)
Sigh No More, Ladies (Bk. III)...... Harris
Zigeunerleben...... Robert Schumann (1810-1856)
Intermission
32 Chamber Singers
Alma Redemptoris Mater...... Johannes Ockeghem (1410-1497)
Only in Dreams from The Wisdom of Homer (Hansen)...... George Aronson (b. 1942)
Grandfather’s Clock...... Henry Clay Work (1832-1884) arr. Philip Lawson (b. 1957)
CONTEST WINNERS November (Runner-up)...... Theodore Trevisan (b. 1999) Chamber Singers
The Cold Wind (Grand Prize)...... Zachary Catron (b. 1998)
Pyè Aleman (men, percussion)...... arr. Sten Källman (b. 1952) & Ethan Sperry
Chant for a Long Day (women)...... arr. Stephen Hatfield (b. 1956)
She Moved Through the Fair...... arr. Anne Barry (b. 1965)
Prende la Vela...... arr. Lucho Bermúdez (1912-1994) & Alberto Carbonell
Daniel, Daniel, Servant of the Lord...... Spiritual, arr. Undine Moore (1904-1989)
Instrumentalists
33 匀椀渀最椀渀最Ⰰ 䤀ᤠ瘀攀 栀愀搀 猀椀渀最椀渀最
䈀椀漀渀椀挀 䴀愀渀
34 Theodore Trevisan is the 2016 High School Student Composition Contest runner-up for his piece November. He is a junior at Princeton High School. Theo learned about singing and theory at the American Boychoir School, of which he is an alumnus. Currently, in addition to composing, he sings in his school’s Chamber Choir and all-male a cappella group the Testostertones; he also participates in debate and student government. Theo states: “When I read [de la Mare’s] “November,” I was ini- tially drawn to the short, somewhat fragmented but beautiful phrases and wanted to see how I could set that to music. Writing the piece allowed me to blend Renaissance contrapuntal and text painting techniques with more complex, contemporary har- monies, which is something I’ve wanted to do for a while.”
There is wind where the rose was, Cold rain where sweet grass was, And clouds like sheep Stream o’er the steep Grey skies where the lark was.
Nought warm where your hand was, Nought gold where your hair was, But phantom, forlorn, Beneath the thorn, Your ghost where your face was.
Cold wind where your voice was, Tears, tears where my heart was, And ever with me, Child, ever with me, Silence where hope was.
Zachary Catron (Grand Prize Winner) is a senior at West Morris Mendham High School where he is choir president, concertmaster of the orchestra, and student director of Men in Black a Cappella. The Mendham High School choir will be singing Fire Unfelt, Zachary’s grand prize winner from 2015, in their summer concert. Also on this concert will be the premiere of his new orchestral work wired and the debut of Mendham High’s new alma mater, which he composed. In fall 2015, WMMHS put on Twelfth Night by Shakespeare, for which Zachary composed incidental music; he was also the musical director. In October 2015, his award-winning piece Running Past was performed at the Grand Ole Opry in Nashville as part of the National Association for Music Educators’ conference. Zachary will attend Mannes School of Music at The New School in the fall to study composition with Missy Mazzoli.
35 OPEN YOUR HOME TO THE WORLD Host an international student for 2-4 weeks this summer! Make a lifelong friend from Europe or Asia, and earn a stipend for your participation.
Contact Your Local Host Family Program Manager Today! Emily Katz 603-498-9030 [email protected] www.ef.com/host/newjersey
36
15OPS_Staff_Recruitment_tear off_Emily Katz_BW_US.indd 1 10/30/15 1:25 PM Zachary explains:
The Cold Wind includes my first attempt at creating an atmospheric sound with voices. I did not want the effect of harsh or thrashing wind, but its constant and cool presence. That effect is what ties the song together, even after its pained climax. The piano accompaniment is one of the most demanding I have composed for a choral piece, but beginning and ending the work with a simple part feels more intimate and more heart-wrenching because the audience can focus on the voices, not their relationship with the accompaniment.
There is wind where the rose was, Cold rain where sweet grass was, And clouds like sheep Stream o’er the steep Grey skies where the lark was.
Nought warm where your hand was, Nought gold where your hair was, But phantom, forlorn, Beneath the thorn, Your ghost where your face was.
Cold wind where your voice was, Tears, tears where my heart was, And ever with me, Child, ever with me, (Silence) where hope was.
37 Harmonium’s most highly-evolved section!
38 Swedish composer Sten Källman began his musical training in the Congregationalist Church as a singer and classical flute player. At 18, he lived in Haiti for one year and was stunned to discover the richness and complexity of the culture in one of the world’s poorest countries. After completing his music studies at the University of Gothenburg (where he is now a professor of World Music), Sten began a career as a freelance musician playing flute, saxophone and percussion and singing in a wide variety of bands and choirs. Sten has since returned to Haiti several times to study, work and tour. He has made it his priority to embrace the music of both Haiti and Scandinavia, seeking the crossroads where all cultures meet. He has introduced Haitian music to the West through his choral arrangements, first performed and recorded by Amanda, a Swedish choir, and now embraced and per- formed worldwide. He provides the following notes about Pyè Aleman:
The Republic of Haiti was created in 1804 by slaves who revolted against France, believing the message of the French Revolution, that all people are free and equal, was as true for the black man as it was for the white man. Modern Haitians are descended from generations of intermarriage between a variety of West African nations, with some influence from the French and Taino Indians. Similarly, the Haitian cultural life is a rich mix of these influences, and the Voodoo religion has become an effective synthesis of Christianity and West African beliefs. Voodoo is practiced mainly by poorer, rural Haitians as a way of creating a collective commu- nity between the extended family and the nature spirits that they believe respond to singing and dancing. These Haitians are also Christians who believe in one God. The Voodoo spirits appear and are pictured in similar ways to Catholic Saints. I have watched as the music at these singing, dancing and drumming gatherings creates a sense of warmth and security in a community that helps people become com- pletely free to express themselves, revealing the true dignity of the human spirit. I first heard Pyè Aleman in 1990 at a ceremony in a village called Badjo, known for its strong Voodoo tradition focusing on Nago, the spirit of masculinity. Nago is the Haitian name for Yoruba, the main African tribe and language in Nigeria, and thus the people of Badjo feel a very strong connection to their African forefathers. While most Voodoo music is fast and celebratory, this song is very slow, heavy and meditative, pondering man’s connection to the earth through the spirit of Pyè, the Rock (a reference to St. Peter as well), and Batala, the Spirit of Wisdom. In the same ceremony I heard a great local singer perform Kay la Nago, a fast and festive piece, which provided a beautiful release to the dark, heavy mood.
Pyè Aleman Lèmiso Batala Eh Peter, the Rock, the Magnet, the Spirit of Wisdom.
Aleman se lwa dife ou ye You are the Spirit of Fire.
Kay la se mwen kay la Nago lele This is the house of the spirit Nago, lele*. Kay la Nago koulele, The house of Nago, koulele*, kay la Voodou koulele the house of Voodou, koulele.
*enthusiastic nonsense syllables, similar to chanting “yay” in English
39 Light Opera of New Jersey is a premier operetta, opera, and musical theater company founded in 1995. LONJ is a registered, non-profit performing arts ensemble based in Basking Ridge, New Jersey. THE MYSTERY OF EDWIN DROOD by Rupert Holmes July 8, 9, 15 and 16, 2016 at 8:00 pm July 10 and 17, 2016 at 2:00 pm South Orange Performing Arts Center in South Orange
Inspired by Charles Dickens’ novel, this musical seeks to write the ending that Dickens never finished. As the story begins, we find that Edwin Drood is reluctantly betrothed to the young, beautiful Rosa Bud. Drood’s uncle, John Jasper, is obsessively entranced by Rosa and loathes the prospect of her wedding. A new competitor, Neville Landless, moves into town and instantly falls for Rosa, but Neville gets into a heated fight with Drood when they first meet. When Drood goes missing shortly after with only a blood-stained coat left behind, the whole town believes the murderer must be Neville or Jasper, until it becomes clear that everyone in town also has a motive for killing Drood. It is up to you to decide who has murdered Drood! With plenty of opportunities for audience participation, Drood is sure to delight with a surprise ending every night.
For more information, visit our website: www.lightoperaofnewjersey.org
40 Stephen Hatfield, a native of Canada’s Pacific Coast, has lived most of his life in the rain forests of Vancouver Island, where his father is blood brother to the legend- ary Kwaguitl chief Jimmy Sewid. He is a recognized leader in multiculturalism and musical folklore, an interest which informs many of his compositions. He provides the following notes:
Chant for a Long Day is inspired by two monophonic chants for women, the Mersiyét from Pakistan, and the “waulking songs” from the Island of Barra in the Hebrides. The Mersiyét is an Islamic commemoration of the faithful who died at Kerbala. Men are not allowed to add their voices to the chant, but create a hypnotic pulse by beating on their chests. “Waulking” was part of the ancient Scottish method of processing cloth, where it was trampled with the feet or beaten against boards. Traditionally, men were not even allowed in the room when the cloth was waulked, so like the Mersiyét, “waulking songs” were specifically linked with women, their perspective on their work, their lives. And the steady beating of feet against the cloth and the boards created a trance-like pulse, similar to the chest drumming in the Mersiyét. The text is a depiction of perseverance and longevity.
Here we wash our souls in the river, Wash your soul true believer. sow the corn and pray for the harvest, Sow your corn true believer. choose the lambs too weak for the winter. Choose your lambs true believer. Spin the thread for ever and ever. Out of death and out of birth, Out of fire and out of water, daughter of an ancient earth. Once we washed our souls in the river, I am the mermaid, I am the siren, sowed the corn and prayed for the harvest, I am the queen who sings in the tower, killed the lambs too weak for the winter, I am the moon shining in winter, I am the rose that lasts an hour. Tell me what my work is worth, And tell us what we should have taught her, daughter of an ancient earth.
Stars hang in a barren tree, sickle moon to reap the harvest. Daughter of a world to be. Still we give our lives to the river, Still we give our lives to the harvest,
41 42 Still we give our lives to the winter. I’m the mermaid, I am the siren, I’m the queen who sings in the tower, I’m the moon that shines in the winter, I’m the rose that lasts an hour. Tell me when my work is done, And tell us when a life is over. daughter of a world to come.
Anne Barry is an established music educator who has conducted choirs of all ages in her native Ireland and beyond. She is Assistant Professor of Music at Lake Forest College in Illinois. Known most commonly as She Moved Through the Fair, the melody of this song is thought to date back to medieval times, and to have originated as a County Derry fiddle tune. This version was first collected by poet Padriac Colum (1881-1972) and published in a 1909 collection. The spooky, lilting tune is introduced by the soloist, and then makes its way through various parts, while the accompanying voices create an undulating atmosphere of mystery.
My young love said to me, “My mother won’t mind, and my father won’t slight you for your lack of kind.” And she stepped away from me and this she did say, “It will not be long, love, ’til our wedding day.”
She stepped away from me and she moved through the fair, And fondly I watched her move here and move there. And she went her way homeward with one star awake, As the swan in the evening moves over the lake.
The people were saying, “no two e’er were wed But one has a sorrow that never is said.” And she smiled as she passed with her goods and her gear, And that was the last that I saw of my dear.
Last night she came to me, she came softly in, Softly she entered, her feet made no din1. As she came close beside me and this she did say, “It will not be long, love, ’til our wedding day.”
1- a loud noise
43 44 The first to transcribe the traditional rhythms of Colombia for orchestra, Lucho Bermúdez (born Luis Eduardo Bermúdez Acosta), had a profound effect on the music of Latin America. His group, Orquesta de Lucho Bermúdez, formed in 1946, remains one of the most celebrated dance bands in Colombia, continuing to perform at Club San Fernando, the Granada Hotel in Bogota and the Rustic Club in Medellin. Bermúdez’s musical talents were obvious from earliest childhood. At age 7, he was taught basic music theory by his uncle Jose Maria Montes, and with- in 3 years, he had mastered the flute, clarinet, trombone and trumpet. At age 15, he accepted a position as arranger and director of Banda Papayera and formed his first orchestra, Orchestra of the Caribbean, by his 22nd birthday. After recording in Buenos Aires in 1946, Bermúdez returned to Colombia and formed Orquesta De Lucho Bermúdez. (Craig Harris, All Music Guide)
Prende la Vela is set here by William Belan. After a free opening section, it is set in the style of a mapalé. Mapalé is a traditional dance brought to Cartagena, Colombia more than 400 years ago by slaves from Guinea. A couples’ dance, it is characterized by frenetic and erotic movements comprised of a succession of jumps, falls, pursuits and mock confrontations between the dancers. Mapalé is also the name of a fish. Legend has it that fishermen used to dance after a good fishing day, and that the dance’s movements represent the movements of a fish out of water. ¡Negrita, ven! Prende la vela. Come, my sweetheart! Light the candle.
Prende la vela, mi negra, Light the candle, my sweetheart, que va a empezar la cumbia en Marbella, because the cumbia is starting in Marbella, cerca del mar y de las estrellas. close to the sea and the stars.
Prende la vela, Light the candle, que la cumbiamba because [to dance] the cumbia pide candela. requires candlelight.
¡Negrita, ven! Prende la vela. Come, my sweetheart! Light the candle. ¡Me voy! I’m going! NJ Choral Consortium BCard ad 10/14/10 3:59 PM Page 1
Our chorus is a proud member of the
Helping New Jersey choral organizations develop and grow by sharing information, fostering cooperation and supporting choral arts education. www.njchoralconsortium.org 45 46 Undine Smith Moore was a notable and prolific female African-American composer of the 20th century. At age 20, she became the first graduate of Fisk University to receive a scholarship to Juilliard. Graduating cum laude in 1926, she became supervisor of music for the Goldsboro, NC public school system. She began teaching piano, organ and music theory at Virginia State College (now Virginia State University) in 1927, remaining a member of the faculty until she retired in 1972. She commuted to New York’s Columbia University between 1929 and 1931 and received her Master of Arts in Teaching. Moore was a visiting profes- sor at Carleton College and the College of Saint Benedict, and an adjunct professor at Virginia Union University during the 1970s. Among her many awards were the National Association of Negro Musicians Distinguished Achievement Award in 1975 and the Virginia Governor’s Award in the Arts in 1985. She was awarded honorary Doctor of Music degrees by Virginia State College (1972) and Indiana University (1976) and in 1977 was named music laureate of Virginia. Known to some as the “Dean of Black Women Composers,” Moore’s career in composition began while she was at Fisk. While her range of compositions includes works for piano and for other instrumental groups, Moore is more widely known for her choral works. Scenes from the Life of a Martyr, a 16-part oratorio on the life of Dr. Martin Luther King, Jr., for chorus, orchestra, solo voices and narrator, was premiered at Carnegie Hall and was nominated for a Pulitzer Prize. (Wikipedia) Daniel, Daniel, Servant of the Lord is one of her best loved spiri- tual arrangements.
Congratulates Harmonium Choral Society for its continuing contribution to music excellence in New Jersey * * * * * Community Foundation of New Jersey 35 Knox Hill Road Morristown, New Jersey www.cfnj.org
47 Our 107th Season!
Handel’s Messiah The complete work with chamber orchestra and soloists. Saturday, December 5, 2015, 7:30 pm Calvary Episcopal Church 31 Woodland Ave., Summit, NJ
Holiday Concert Summit Chorale is the featured guest chorus with the New Jersey Intergenerational Orchestra. Sunday, December 20, 2015, 3:00 pm Temple Sinai 208 Summit Ave., Summit, NJ
The Music of Mark Miller Saturday, March 19, 2016, 8:00 pm St. John’s Lutheran Church 587 Springfield Ave., Summit, NJ
Neue Liebeslieder Wältzer All-Brahms program Saturday, May 21, 2016, 8:00 pm St. John’s Lutheran Church 587 Springfield Ave., Summit, NJ
www.SummitChorale.org
48 Refrain: Oh, the king cried, “Oh, Daniel, Daniel, oh! Daniel, Daniel, oh! A-that-a Hebrew Daniel, Servant of the Lord!”
Among the Hebrew nation, One Hebrew Daniel was found. They put him in a-the lion’s den: He stayed there all night long.
Refrain
Now the king in his sleep was troubled, And early in the morning he rose, To find God had sent a-his angel down, To lock the lion’s jaws!
Refrain
49 CHRIS SHEPARD, MUSIC DIRECTOR
Come sing with other music lovers! Wednesday Evenings at 7:30 pm Chatham United Methodist Church 460 Main Street (Route 124), Chatham, NJ 07928
JUNE 22 Orff Carmina Burana & Bernstein Chichester Psalms Conductor: Ryan Brandau Artistic Director, Princeton Pro Musica and Monmouth Civic Chorus JUNE 29 Beethoven Mass in C & “Ode to Joy” Conductor: Thomas Juneau Music Director, Summit Chorale; Director of Choral Activities, Saint Joseph’s University JULY 6 Mozart Requiem & Fauré Requiem Conductor: Martin Sedek Director, Choral Art Society of NJ; Associate Conductor of The Masterwork Chorus; Composer-in-Residence at Harmonium Choral Society JULY 13 Haydn Lord Nelson Mass & Vivaldi Gloria Conductor: Anne Matlack Artistic Director, Harmonium Choral Society; Organist/Choir Director, Grace Church, Madison JULY 20 Brahms German Requiem & Nänie Conductor: Chris Shepard Music Director, The Masterwork Chorus, Worcester (MA) Chorus, and CONCORA (Connecticut Choral Artists)
Cost $15 per evening includes score rental, professional soloists, accompanist and refreshments, $7.50 for students and listeners. Booklets of 5 tickets are available for $65 (tickets may be shared).
973-692-6051 www.Masterwork.org Funding has been made possible in part by Morris Arts through the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
50 Harmonium’s 19th Annual New Jersey High School Student Composition Contest seeks to encourage young composers and create new repertoire. The Geraldine R. Dodge Foundation has said “this contest fills a niche in Music Education in the state of New Jersey and offers clear goals for musically talented students to strive towards, introduces them to artistic peers and musical mentors, and for the winners, provides a financial incentive and a much-coveted CD recording by the Chorus.” Chorus America’s 2009 Education Outreach Award was presented to Harmonium Choral Society for this contest. This award is presented to a Chorus America member ensemble whose education outreach program demonstrates mis- sion-based program development, viable music education, effective management and fiscal integrity, a commitment to artistic excellence and a collaboration that is sustainable, beneficial and meaningful for all partners. “Most inspiringly, most of Harmonium’s past contest winners have stayed involved in music and most have continued to compose,” said Joyce Garrett, founder of the Washington Youth Choir, and the award’s presenter. “The contest engages young people, builds bridges within the education and performing arts communities in New Jersey and contributes to the vitality of our art form.” “The exemplary leadership demonstrated by Harmonium and other deserving individuals and organizations serves as a model for all choruses as they strive for success in their communities,” said Ann Meier Baker, president and CEO of Chorus America.
This year’s judges were Anne Matlack, the Artistic Director of Harmonium, organist, flutist and frequent choral adjudicator; Thomas Juneau, composer and conductor (St. Joseph’s University, Summit Chorale); Matthew Harris, Manhattan musicologist and composer; and Amanda Harberg, award-winning Juilliard- educated New Jersey composer whose Apparitions was commissioned and pre- miered by Harmonium in 2009. Composer-in-residence Martin A. Sedek offered tutorials to the first registrants. All contestants receive written comments from the judges. The contest was coordinated by volunteer Harmonium alto Crary Brooks.
Congratulations to our $1,000 Grand Prize winner Zachary Catron of Mendham High School for the second year in a row! His sponsor is his composition teacher David Sampson, whose Jersey Rain was premiered by Harmonium in 2002.
Second Prize of $250 goes to Princeton High School’s Theodore Trevisan for his composition November. His sponsor is Vincent Metallo. Both winners set the same poem by Walter de la Mare.
Honorable mention goes to Timothy Morrow for a setting of The Learned Astronomer. Timothy’s musical training as a pianist began at the early age of 5. At age 10, he debuted in a recital at Carnegie Hall. At age 13, he competed in an
51 NEW JERSEY FESTIVAL ORCHESTRA David Wroe, Music Director and Conductor www.njfestivalorchestra.org 908-232-9400
DANCING THE BLUES AWAY BOHEMIAN RHAPSODY Thursday, December 31, 2015 at 7pm Saturday, March 5, 2016 at 7pm Westfield High School, Westfield, NJ The Presbyterian Church, Westfield, NJ PUCCINI La Boheme One of New Jersey’s most popular New No opera can equal the passion, romance Year’s Eve musical festivities, this year’s and tragedy of La Boheme. A cast of cabaret-style celebration promises a superb internationally acclaimed guest performers revue of Broadway classics and more, joins NJFO to present, acted and in costume, presented in glorious symphonic splendor. this magnum opus that will not leave a dry Features renowned guest vocalists direct eye in the house. from the Broadway stage. 52 international competition in Cremona, Italy, where he earned an honorable men- tion. Currently, Timothy studies with Dr. James Goldsworthy, a piano professor at Westminster Choir College, who was his sponsor for the contest. In addition, he plays cello and sings in his school’s ensembles at Ridge High School, where he is a junior. He plans to pursue a career in piano performance, composition and eventu- ally conducting.
Honorable mention also goes to Carl Hausman (15) of Flanders, for his com- position Remember Me. Carl is a sophomore at Mount Olive High School, where he plays first cello in the school orchestra and studies with Victor Heifets. Previously, he studied cello and composition with Peter Moffitt of Jersey City. This spring, Carl played in the pit orchestra for his high school’s performance of the musical Big Fish. Carl began composing music, mostly instrumental, as a middle school student and received an honorable mention in last year’s Harmonium High School Composition Contest. His piece for cello and piano, Eclipse, received a world premiere at Church of the Messiah in Chester last October.
Last, but not least, a big congrats goes out to Harmonium’s graduating high school seniors: Grace VanCleef and Michael Willis. We wish them all the best in their singing and non-singing future endeavors!
53 54 56 2015-2016 Concert Series For tickets or more information, visit MusicSH.org/Concerts, or call 973.339.7719 Bel Canto The Antioch Chamber Ensemble and The Sebastians October 4, 2015 at 5pm Trump National Golf Club, Bedminster Magnificat! The Antioch Chamber Ensemble and The Sebastians with Somerset Hills Community Chorus November 15, 2015 at 5pm The Pingry School, Basking Ridge Messiah The Choir and Baroque Orchestra of Trinity Wall Street present Handel’s Messiah December 15, 2015 at 7:30pm St. Mary’s Abbey, Morristown VOXARE String Quartet January 31, 2016 at 5pm Private Home, Somerset Hills Schütz and Modern Interpolations The Antioch Chamber Ensemble February 27, 2016 at 8pm St. John on the Mountain, Bernardsville Music of the Movies featuring Peter Dinklage as narrator, Jonathan Dinklage as concertmaster with the Somerset Hills Community Chorus March 13, 2016 at 5pm Ridge High School Performing Arts Center, Basking Ridge The Gilded Age A piano recital by Rosanne Vita Nahass April 10, 2016 at 5pm Private Home, Somerset Hills
58 Coro Lirico
Warren Helms, Music Director
2015 – 2016 SEASON
“A Little Night Music” with Sondheim and Bernstein Saturday, December 12, 2015 at 8 pm Bickford Theater at the Morris Museum, Morristown Sunday, December 13, 2015 at 3 pm Lenfell Hall, Fairleigh Dickinson University, Madison concerts in collaboration with Opera at Florham post concert receptions
Sunday, April 4, 2016 at 3 pm Gala Concert & Reception Old York Cellars Vineyard, Ringoes
Saturday, May 21, 2016 at 8 pm ANNA BOLENA Church of the Redeemer, Morristown
www.corolirico.net
Funding has been made possible in part by funds from the Arts Council of the Morris Area through the NJ State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts
60 NJYC15-07 Swap Ad _BW FNL copy.pdf 1 10/14/15 5:36 PM
WE ARE THE MUSIC MAKERS. The New Jersey Youth Chorus inspires children to discover, learn and perform beyond their expectations.
C PERFORMANCE OPPORTUNITIES HAVE INCLUDED: M
Y Lincoln Center • Carnegie Hall
CM Super Bowl at Metlife Stadium with Queen Latifah
MY NY Mets National Anthem at CitiField • NY Jets National Anthem
CY Joint concert with cadets from West Point Military Academy
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K
OUR CHOIRS Coriste - Young Women's Ensemble - Grades 8-12 Camerata - Young Men's Ensemble - Grades 7-12 Coro Vivo - Boys' Ensemble - Grades 5-8 Sola Voce - Girls' Ensemble - Grades 5-8 Primo Coro - Girls and Boys - Grades 2-4
For more information including our Audition Schedule: njyouthchorus.org • Tel: 973-998-5670 • [email protected]
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I wish to make a tax deductible donation to Harmonium. Conductor’s Circle $2500+ Sponsor $100-249 Artist’s Circle $1000-2499 Donor $50-99 Benefactor $500-999 Friend under $50 Patron $250-499 Total donation amount enclosed $______
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Contribute to Harmonium’s Composition Contest Fund Online Harmonium has partnered with indiegogo.com to raise funds so we may continue our annual composition contest. Visit www.indiegogo.com and search for Harmonium Choral Society. Thank you!
63 Anne Matlack, Artistic Director
2016-2017 Preview
Your Concert Dates with Harmonium
Saturday, December 10 2016 at 8 pm Sunday, December 11, 2016 at 3 pm St. Peter’s Church, Morristown
Saturday, March 4, 2017 at 8 pm Sunday, March 5, 2017 at 3 pm Chatham United Methodist Church, Chatham
Saturday, June 3, 2017 at 7:30 pm Sunday, June 4, 2017 at 7:30 pm Celebrating the 20th year of the High School Choral Composition Contest Grace Episcopal Church, Madison
Other Harmonium Happenings First Night Morris, December 31, 2016 Broadway Cabaret IV, Spring 2017 Chamber Singers Concert, Spring 2017 Multicultural Peace Concert with Oheb Shalom Congregation, South Orange, April 2, 2017
For updates, visit www.harmonium.org or call 973-538-6969.
Funding has been made possible in part by funds from Morris Arts through the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
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