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Eastman Chorale Eastman Repertory Singers Upcoming Concerts Events are free unless otherwise noted. Monday, November 23, 2020 Eastman Wind Orchestra Music of Susato, Strauss, and Sierra David Baker and Mark Davis Scatterday, conductors Kodak Hall at Eastman Theatre • 7:30PM Eastman Chorale William Weinert, conductor Eastman Repertory Singers Gilbert Donohue, Anna Lenti, and James Wolter, conductors Information about upcoming Eastman concerts and events can be found at: www.esm.rochester.edu/concerts/calendar.php Kodak Hall fi re exits are located along the Supporting the Eastman School of Music: right and left sides, and at the back of the hall We at the Eastman School of Music are grateful on each level. In the event of an emergency, you for the generous contributions made by friends, will be notifi ed by the stage manager. If notifi ed, parents, and alumni, as well as local and national please move in a calm and orderly fashion to the foundations and corporations. Gifts and grants nearest exit. to the School support student scholarships, performance and academic facilities, educational Sunday, November 22, 2020 Restrooms are located on each level of Kodak initiatives, and programs open to the greater Hall at Eastman Theatre Our ushers will be happy Rochester community. Every gift, no matter the to direct you to them. size, is vital to enhancing Eastman’s commitment Kodak Hall at Eastman Theatre to excellence. Please note: The use of unauthorized photo- For more information on making a gift, please 3pm graphic and recording equipment is not allowed visit www.esm.rochester.edu/advancement in this building. We reserve the right to ask anyone or contact the Advancement Offi ce by calling disrupting a performance to leave the hall. (585) 274-1040. Thank you! ~ PROGRAM ~ Eastman Chorale ~ PERSONNEL ~ Pange lingua gloriosi, Verses 1 and 2 (plainchant hymn) Missa Pange lingua Josquin des Prez Eastman Chorale Kyrie (1450-1521) Alexander Little & Andrew Van Varick, rehearsal pianists Gloria Soprano Alto Tenor Bass Maeve Berry Lily Bogas Joshua Carlisle Gilbert Donohue Clare DeMarco Meg Brilleslyper Adam Holthaus Max Flores Pange lingua gloriosi, Verses 3 and 4 (plainchant hymn) Hannah Duff Lauren Case Jacob Hunter Murphy Meyn McKenzie Garey Jenna Cipolla Eric Meincke Peter Schoellkopff Cailin Jordan Anna Lenti Alexander Nick Noah Sesling Missa Pange lingua Josquin des Prez Deepti Kumar Laura O’Neill Lukas Perry S Joshua Sheppard Credo Lorelei McDaniel Jazmine Saunders James Wolter Raffi Wright Samantha Sosa Veronica Siebert Sam Yuh Ashlyn Spanarella Emma Unkrich Kayla Stein Ella Torres Pange lingua gloriosi, Verses 5 and 6 (plainchant hymn) Anneliese Wolfanger Missa Pange lingua Josquin des Prez Sanctus Eastman Repertory Singers Benedictus 30’ Elizabeth Crecca, Alessio Giacobone, & Alexander Little, rehearsal pianists Agnus Dei Soprano Alto Tenor Bass Emma Boydstun Rongnan Cao Liam Anderson Caleb Borick William Weinert, conductor Catherine Creed Sydney Cornett David Griffi th Joshua Ehlebracht Anna Lenti, Eric Meincke, James Wolter, assistant conductors Faith Dowley Elizabeth Jackson Eric Meincke Ryan Greene Caroline Duers Ali Santos Andrew Miller Adam Hollies Daniela Reyes Kayla Sconiers Alexander Nick William Jae Sarah Schexnayder Karina Tseng Ethan Resnik Simon Lea ~ INTERMISSION ~ Darby Schmidt Jenna Tu Jack O’Leary Hannah Wilson Leif Pedersen Carter Stark Heting Xia ~ PROGRAM (continued) ~ XI. Alles, alles in den Wind Everything you tell me, fl atterer, sagst du mir, du Schmeichler! is wasted breath! Alle samt verloren sind All your efforts are wasted, Eastman Repertory Singers deine Müh’n, du Heuchler! you hypocrite! Einem andern Fang’ zu lieb Set your snares stelle deine Falle! for another victim! Neue Liebeslieder, Op. 65 Johannnes Brahms Denn du bist ein loser Dieb, For you are a wanton thief, (1833-1897) denn du buhlst um alle! wooing all and sundry! No. 1 Verzicht, o Herz, auf Rettung 25’ No. 2: Finstere Schatten der Nacht XII. Schwarzer Wald, dein Schatten Dark forest, your shadows No. 3: An jeder Hand der Finger ist so düster! are so sombre! Armes Herz, dein Leiden ist so drückend! Your suffering, poor heard, so oppressive! No. 4: Ihr schwarzen Augen Was dir einzig wert, es steht vor Augen; The one thing you value stands before you, No. 5: Wahre, wahre deinen Sohn ewig untersagt ist Huldvereinung. But a happy union is forbidden forever. No. 6: Rosen steckt mir an die Mutter No. 7: Vom Gebirge Well’ auf Well’ XIII. Nein, Geliebter, setze dich No, my love, do not sit No. 8: Weiche Gräser im Revier mir so nahe nicht! so close to me! No. 9: Nagen am Herzen Starre nicht so brünstiglich Do not gaze so fervently No. 10: Ich kose süß mit der und der mir ins Angesicht! into my eyes. No. 11: Alles, alles in den Wind Wie es auch im Busen brennt, However much your heart might burn, dämpfe deinen Trieb, subdue your desire, No. 12: Schwarzer Wald, dein Schatten daß es nicht die Welt erkennt, that the world might not see No. 13: Nein, Geliebter, setze dich wie wir uns so lieb. how we love each other! No. 14: Flammenauge, dunkles Haar No. 15: Zum Schluß XIV. Flammenauge, dunkles Haar, Bold, adorable young man, Knabe wonnig und verwogen, with fi ery eyes and dark hair. Kummer ist durch dich hinein You are the couse that sorrow Elizabeth Crecca and Alexander Little, piano in mein armes Herz gezogen! has entered my poor heart. Gilbert Donohue, Anna Lenti, James Wolter, conductors Kann in Eis der Sonne Brand, Can the burning sun turn to ice, sich in Nacht der Tag verkehren? can day turn into night? Kann die heisse Menschenbrust Can an ardent human heart atmen ohne Glutbegehren? breathe without passion’s glow? Ist die Flur so voller Licht, Is the meadow drenched in light, daß die Blum’ im Dunkel stehe? for the fl ower to grow in the dark? Ist die Welt so voller Lust, Is the world so full of pleasure daß das Herz in Qual vergehe? for the heart to perish in grief? XV. (Zum Schluß) Nun, ihr Musen, genug! Enough, now, ye Muses! Vergebens strebt ihr zu schildern, You strive in vain to show Wie sich Jammer und Glück wechseln How joy and sorrow alternate in liebender Brust. in loving hearts. Heilen könnet die Wunden ihr nicht, You cannot heal the wounds, die Amor geschlagen; infl icted by Love; Aber Linderung kommt einzig, but assuagement comes ihr Guten, von euch. from you alone. ~ PROGRAM NOTES, TEXTS AND TRANSLATIONS ~ IV. Ihr schwarzen Augen, With your dark eyes ihr dürft nur winken; a mere gaze is needed – Paläste fallen und Städte sinken. palaces will fall and cities sink. Wie sollte steh’n in solchem Strauß mein Herz, How in such a skirmish should my heart, von Karten das schwache Haus? that frail house of cards, stay standing? Missa Pange lingua V. Wahre, wahre deinen Sohn, Guard, good neighbour, guard The most elaborate musical experiences available to Renaissance listeners were Nachbarin, vor Wehe, your son from harm, often heard in church, sung by the professional choirs of cathedrals or courts. weil ich ihn mit schwarzem Aug’ for with my dark eyes This music would have included plainchant, and polyphonic settings of the zu bezaubern gehe. I intend to bewitch him. mass that often incorporated chant melodies. O wie brennt das Auge mir, Ah, how my eyes blaze das zu Zünden fordert! to infl ame him! Josquin des Prez towered over the musical world in the years around 1500. Flammet ihm die Seele nicht -- If his soul is not kindled Highly successful at posts in courts and cathedrals in France, Italy, and the deine Hütte lodert. your cottage will catch fi re. Netherlands, and universally lauded by his fellow composers, Josquin was singled out by Martin Luther in a memorable sentence that has lived on through the centuries: “Josquin is the master of the notes; they must do as he VI. Rosen steckt mir an die Mutter, My mother pins roses on me, wishes, while other composers must follow what the notes dictate.” (These weil ich gar so trübe bin. because I am so distressed. words will resonate deeply for any student who has attempted to compose Sie hat recht, die Rose sinket, She’s right to do so: the rose withers, even two lines of music in hopes they will fi t together!) He excelled at mass so wie ich, entblättert hin. when stripped of leaves, like me. settings, motets, and secular songs, and apparently triumphed over every challenge that was set before him. Tributes to Josquin abounded after his death in 1521. When the industry of music printing began to fl ourish in the VII. Vom Gebirge Well’ auf Well’ From the mountain, wave on wave, early sixteenth century, composers often tried to imitate his style, and also tried kommen Regengüsse, the torrential rain teems down, to boost sales by publishing their works under his name, even after his death. und ich gäbe dir so gern and I would dearly love to give you One printer remarked around 1540 that Josquin seemed to be writing more hunderttausend Küsse. one hundred thousand kisses. music while dead than he ever did when alive. The Missa Pange lingua was probably written during Josquin’s fi nal years, VIII. Weiche Gräser im Revier, Soft grasses in the glade, around 1520. Its material derives from a medieval plainchant hymn for schöne, stille Plätzchen! a quiet and pretty spot! the Feast of Corpus Christi. The plainchant permeates all four voices in a O, wie linde ruht es hier How blissful it is stunning variety of ways, as Josquin creates an entire musical world from this sich mit einem Schätzchen! to recline here with a lover! brief and simple melody. Often cited as one of his most masterful creations, the Missa Pange lingua is not often performed in this country.
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