THE COLORADO COLLEGE MUSIC DEPARTMENT presents The Colorado College and the Colorado College Chamber Chorus with

Deborah Jenkins Teske, conductor

November 30, 2012 7:30 PM Shove Chapel

This concert is made possible in part by a generous grant from the Galen and Ada Belle Spencer Foundation.

PROGRAM

I. Marian Songs Colorado College Chamber Chorus

Ave Maria Tomás Luis de Victoria (c.1548-1611)

Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb, Jesus Christ. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

Marienlieder Op. 22 (selected) Johannes Brahms (1833-1897)

1. Der englishe Gruß (The Angelic Salutation) Hail, Mary, mother of grace! Thus sang the angels to the Virgin Mary As she struggled in prayer.

Mary, you shall conceive a son. Heaven and Earth desire For you to be the Mother of the Lord.

Mary heard such things gladly, She spoke: I am the handmaid of the Lord, And it shall happen to me according to your word.

The angels sank to their knees, They all sang Mary, Mary, They sang Mary’s song of praise! 5. Ruf zur Maria (Cry to Mary) To you, mother of God, we call, Pray for us, Mary! Don’t leave us alone in our sorrows, but remind Jesus, your son, of the agony he suffered on behalf of mankind. Pray for us, Mary!

In our strivings for perfection, Pray for us, Mary! Save our body, honor and earthly goods so that we, after many good years can live together with the angels. Pray for us, Mary!

You are the well that never runs dry, Pray for us, Mary! That the Holy Spirit may enlighten us to true repentance and complete confession! Jesus, your son would want you to Pray for us, Mary!

Ave Regina György Orbán (b.1947)

Hail, Queen of the heavens, hail, ruler of the angels: Hail, root, hail, portal, from whom light has shone to the world. Hail, Virgin most glorious, beautiful above all; Farewell, O most comely, and pray always to Christ for us.

***Brief pause***

II.

Magnificat Arvo Pärt (b.1935) See below for text The Colorado College Chamber Chorus Harriet Jacobs, soprano Daniel Brink, organ

Magnificat á 14 (Symphoniae Sacrae,1615) Giovanni Gabrieli (1554/7-1612) Intonazione d'Organo, Frank Shelton, organ See below for text The Combined

***Brief pause***

Magnificat in D Major BWV 243 Johann Sebastian Bach (1685-1750) The Colorado College Choir Robin Hinson, soprano Kate Vukovich, mezzo-soprano Jennifer DeDominici, alto Todd Teske, tenor Nicholas Geyer, bass 1. Chorus: My soul doth magnify the Lord:

2. Aria (Mezzo sopranos): and my spirit hath rejoiced in God my Saviour.

3. Aria (Soprano): For he hath regarded the low estate of his handmaiden. For behold, from henceforth: all generations shall call me blessed.

4. Chorus: All generations

5. Aria (Bass): For he that is mighty hath done to me great things; and holy is his Name.

6. Duet (Altos and Tenor): And his mercy is on them that fear him throughout all generations.

7. Chorus: He hath showed strength with his arm: he hath scattered the proud in the imagination of their hearts.

8. Aria (Tenor) He hath put down the mighty from their seats, and hath exalted the humble and meek.

9. Aria (Alto): He hath filled the hungry with good things: and the rich he hath sent empty away.

10. Trio (Soprano I and II, Alto, sung in tonight’s performance by full women’s chorus): He hath holpen his servant Israel, in remembrance of his mercy.

11. Chorus: As he promised to our forefathers, Abraham and his seed, forever.

12. Chorus: Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end. Amen.

Program Notes on the Magnificat By Deborah Teske, with thanks to Donald P. Jenkins

The Magnificat, also known as The Canticle of the Blessed Virgin Mary, is found in the Book of Luke (Luke 1, 46-55). It is Mary’s personal expression of joy and thanksgiving, but can also be interpreted symbolically as a thanksgiving prayer for the deliverance of Israel from Egypt. Far beyond a mere hymn on impending motherhood, it is a revolutionary call to turn the social order on its head. The mighty are to be brought low, the humble exalted, the hungry fed, and the rich sent empty away. These events are seen as deliverances to be witnessed and endorsed by all generations from the time of Abraham forward and forever.

This evening’s program presents three very different musical settings of this text. Estonian composer Arvo Pärt’s Magnificat was written in 1989. It exemplifies the “tintinnabuli” style invented by the composer himself, which takes its name from a word describing the sound of a struck bell. The Magnificat is harmonically static, built on simple chords, thin textures, and unresolved dissonance. Like many of Pärt’s compositions, this work seems suspended in time, echoing from a remote place and evoking a sense of the very ancient. Pärt himself explains: “Time and timelessness are connected. This instant and eternity are struggling within us. And this is the cause of all of our contradictions, our obstinacy, our narrow-mindedness, our faith and our grief.”

In contrast to Pärt’s setting, Giovanni Gabrieli’s Magnificat á 14 will strike the listener as anything but remote. Gabrieli served as principal organist and composer at St. Mark’s Basilica in Venice, where the polychoral style of composition for which he and his contemporaries became famous, reached its fullest development. Utilizing the remarkable acoustics and unique architecture of St. Mark’s, with its multiple choir lofts and domed ceilings, the Venetian polychoral style called for massive performing forces arranged in multiple spatially separated groups. The Magnificat á 14 is scored for three choirs, which together cover a range of more than four octaves. The performing forces that would have been employed by Gabrieli are not specified in the score, and may have varied depending upon what musicians were available at any given time. While Shove Chapel is not St. Mark’s, it offers a wonderful opportunity to exploit space and experiment with Gabrieli’s dense and exhilarating sonorities. For tonight’s performance, Choir 1 (five parts) will be heard from the organ loft, and combines high sopranos with 2 trumpets and full organ. Choir 2 (five parts) is positioned at the west end of the chapel, and features a group of altos, tenors and basses all singing in unison, and accompanied by five trombones. Choir 3 (four parts) will sing from the main floor, accompanied by strings and organ.

Perhaps more completely than any other setting, J.S. Bach’s Magnificat in D expresses the full epic range of the text. It is a marvel of economy and formal unity. Its structure and tonal plan are symmetric, the choruses followed by three groups of solo movements in related keys. The brilliant opening chorus is an expression of Mary’s joy at learning that she will bear the Savior. The more intimate characters of Nos. 2 and 3 are conveyed by solos voices, the mezzo soprano accompanied by full strings and the soprano paired with obbligato oboe. The gentleness of No. 3 is literally interrupted by the chorus, which bursts forth without pause into No. 4, a tumultuous setting of only two words: “omnes generationes” (all generations). The text painting here is striking, with the clamor and impatience of the generations depicted in a massive polyphonic structure. In No. 5, the bass aria, needing no accompaniment other than an underpinning of organ and continuo, communicates a strength and might enabled by God. No. 6, a duet for alto and tenor in the key of e minor, is a work of surpassing tenderness and grace in which the heart is consoled with the promise of mercy. Nos. 7 and 8 graphically depose the mighty and elevate the lowly. In No. 9, the cascading melodic lines in the flute parts can be likened to manna falling from Heaven to feed the hungry. Musical references in the Trio, No. 10, are to the deliverance of Israel from Egypt and the wandering in the desert. The oboes quote the medieval “Tonus Peregrinus” psalm tone associated with the Exodus. Thus, the deliverance from Egypt’s bondage is equated to a spiritual deliverance promised by the coming of Christ. All of this is validated by the last two mighty choruses. No, 11, as an “old-style” fugue in which the chorus is supported only by the organ and continuo, is appropriate for invoking the ancestral Abraham. No. 12 is both a splendid forecast of the great “Sanctus” from the B-minor Mass, as well as a summing up of the Magnificat in a symbolic return to musical material from the opening chorus “as it was in the beginning…” Biographies

Robin Hinson, soprano, is currently in her second year at Colorado College. Her most recent performances have been in CC Music Department shows Trouble in Tahiti and Promises, Promises. Robin is also a member of CC’s Chamber Chorus and CC’s all-female acappella group, Ellement. She first began singing in the DC area’s World Children’s Choir, which has performed at Wolf Trap, The Kennedy Center, and the White House. Apart from singing, Robin has also studied piano and flute. Robin tentatively plans to major in Russian/Eurasian studies at CC and to attend graduate school for vocal performance. She would like to thank Judeth Shay Burns and Sondra Harnes, the two wonderful voice teachers that Robin has had the privilege to work with.

Kate Vukovich, mezzo-soprano, is a senior fiction major. She studies voice with Ann Brink and participates in the vocal and drama departments. She also plays on the rugby team and drinks a lot of tea.

Jennifer Dedomenici, mezzo-soprano, is thrilled to be an alto soloist in the gorgeous Bach Magnificat! Some of her favorite opera experiences have been with OTR here in the Springs: Rosina in Il Barbiere di Siviglia, Carmen in Carmen, Hänsel in Hänsel und Gretel, Mrs. Jones in Street Scene, and Angelina in Cenerentola. Other career highlights: various roles with Opera Colorado, Santa Fe Opera's Apprentice Artist Program, EPCASO in Oderzo, Italy, first-place winner of the Denver Lyric Opera Guild Auditions, NATS Singer of the Year, and a four-time Regional Finalist in the Metropolitan Opera National Council Auditions. Todd Teske, tenor, 2011/2012 highlights include: Second Judge in La Susanna (Allesandro Stradella), tenor solos in Jean Gilles , Bach’s St. John Passion and St Mathew Passion all with the Baroque Chamber Orchestra of Colorado, Frank Nowell, Artistic Director and Stephen Stubbs conductor, J.S. Bach’s St. John Passion Simon Carrington conductor, Bach and Schubert with The Buffalo Philharmonic Orchestra. The Denver Brass features Mr. Teske as their Irish Tenor. He sang Handel’s LÁllegro il Penseroso in Washington DC’s Kennedy Center. In 1995 Todd won second place at the Richard Tauber International Tenor Competition. In 1997 he made his New York debut in Handel’s Messiah with the Saint Thomas Church Fifth Avenue. Todd has also performed Bach with Helmuth Rilling in Stuttgart, Germany.

Nicholas Geyer, bass, is a senior at Colorado College majoring in Film and English with a minor in Studio Art. He has been studying voice for the past two years under Ann Brink while appearing in shows such as She Loves Me and Promises Promises. Nick also sings in the The Back Row, Colorado College's award winning all male a cappella group. Nick would like to thank his friends and family for supporting him and hopes that everyone enjoys the concert.

Members of the Colorado College Chamber Chorus

Sopranos Altos Tenors Ariane Beckman Ellen Levish Colin Busby Robin Hinson Lindsay McCreedy Jeff Hodur* Harriet Jacobs Abby Mutamba Daniel Pampel Petra Jans Ashley Randall Basses Emma Johnson Raquel Vasquez Tom Crandall Anna McCreedy Ella Vorenburg Nick Geyer Allegra Rumbaugh Nick Johnson Maia Wynn Doron Mitchell

Jack O’Hare Jim Sena*

Members of the Orchestra

Violin 1 Cello Trombone Jeri Jorgenson** Jeff Watson Bron Wright Lydia Svyatlovskaya Suzanna Schulze Keven Stewart Diane Israel Sondra Bell Vincent Lemoine Bass Andy Converse Andy Holmes Bruce Blomquist Violin 2 Beth Greenberg Flute Gyongyi Petheo Paul Nagem** Peter Cooper** Steve Erickson Leslie Smith Trisha Andrews*** Keyboard Oboe Daniel Brink** Viola Monica Ding* Frank Shelton** Katya Dobrotvorskaia Max Soto Ingrid Rodgers Mary Anne Lemoine Trumpet Gyongyi Petheo David Zuercher Dan Kuehn John King

*Section leaders **CC faculty ***CC student

Members of the Colorado College Choir

Sopranos Altos Tenors Laura Berry Nancy Bentley Gayle Allen Sarah Brand Ann Brooks John Bristow Roberta Crownover Nancy Burton Thomas Burk Mary Enger Pam Butler Owen Cramer Juliette Frederick Bonnie Clark Keven Dooley Marcia Garcia Lana Coffman Jeff Hodur* Cynthia Holling-Morris Kelly Conn Charles Johnson Andrea James Marti Cooksey Beth Kosley Laura Kelecy Judy Cross Michael Leveille Mary Kerwin Indria Ekasari Peter Mayberry Eileen Levin Karen Farrell Sebastian McRae Katy Mariotti* Ann Frank Marc Olson Rochelle Mason Emma Harris Lucinda Thero Wendy Mike Lydia Herndon Tom Wilson Virpi Nieminen Melanie Hester Basses Donna Nuñez* Greta Hunter John Atkinson Polly Ogden Lynn Johnston Tom Birkeness Amy Pieri Jill Lowenstein Tom Clark Meg Poole Judy Owen Mark Dempsey Jessy Randall Terri Parker* David Ferrier Tara Reigle Tina Phillips Jonathan Finch Susan Schnee Marilyn Rosenbaum Al Glock Phoebe Schubarth Deb Schubert Richard Hilt Wendy Scott Caroline Walden John Hobson Madi Stuart Dianne Wetzel-McRae Wolfgang Lampert Trudy Taxman Nancy Wilson John LeFevre Ali Watt Art Porter Sue Wilson Andy Post Arlene Wood Phil Rose

Jim Sena* Jacob Walden

*Section Leaders

The CC Choir membership includes students, faculty, staff, alumni, and community singers. Membership is open to all without auditions.

Special thanks to Daniel Brink, CC Choir and Chamber Chorus Rehearsal Accompanist Stormy Burns, Music Department Coordinator Catherine Bailie, Music Department Events Coordinator Jeremy Van Hoy, for preparation of orchestra parts for Gabrieli Magnificat á 14 Tina Phillips, for preparation of Choir part-learning resources Peter Cooper, Orchestra Contractor Marti Cooksey and Deb Schubert, Choir Robe Coordinators Neil Hesse, Music Department Paraprofessional Linda Madden, Shove Chapel Manager

UPCOMING EVENTS IN THE COLORADO COLLEGE MUSIC DEPARTMENT Unless indicated, all concerts are in Packard Hall, are free, and require no tickets.

Concert Band Jeremy Van Hoy, director Tuesday, December 4 ~ 7:30 PM

Tiger Jazz Ensemble Tom Taylor, director Thursday, December 6 ~ 7:30 PM

Collegium Musicum Renaissance Ensemble Nancy Ekberg, director Sunday, December 9 ~ 3:00 PM

Chamber Orchestra Daniel Brink, director Tuesday, December 11 ~ 7:30 PM

Music at Midday Wednesday, December 12 ~ 12:15 PM

Bluegrass Ensemble Keith Reed, director Thursday, December 13 ~ 7:30 PM

Wintersong: A Celebration of the Season Colorado Vocal Arts Ensemble Deborah Jenkins Teske, conductor SHOVE CHAPEL Friday, December 14 ~ 7:30 PM Sunday, December 16 ~ 4:30 PM www.cvae.org

Tunjung Sari Balinese Music and Dance I. Made Lasmawan, director Sunday, December 16 ~ 3:00 PM

http://www.coloradocollege.edu/academics/dept/music/ For more event information: http://www.coloradocollege.edu/newsevents/calendar/