MUSIC FOR CHOIR AND PERCUSSION THE BOB COLE CONSERVATORY CHAMBER CHOIR CSULB UNIVERSITY CHOIR JONATHAN TALBERG, CONDUCTOR UNIVERSITY PERCUSSION GROUP DAVE GERHART, CONDUCTOR SATURDAY, OCTOBER 27, 2012 8:00PM SUNDAY, OCTOBER 28, 2012 4:00PM GERALD R. DANIEL RECITAL HALL PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. PROGRAM

The Bob Cole Conservatory Chamber Choir (Saturday Only)

Trois Chansons de Charles d’Orléans ...... Claude Debussy I. Dieu! qu’il la fait bon regarder (1862-1918) II. Quant j’ai ouy le tambourin—Beth Wightwick, soprano III. Yver, vous n’estes qu’un villain

Becky Hasquet, Rachel St. Marseille, Landon Shaw, Lyle Smith-Mitchell—quartet Stephen Salts—conductor University Percussion Group (Sunday Only)

…of the Earth ...... Robert McClure (b. 1974) Chamber Choir and University Percussion Group

I Hate and I Love ...... Dominick Argento I. I hate and I love (b. 1926) II. Let us live, my Clodia, and let us love III. Greetings, miss, with nose not small IV. My woman says she will be no one’s V. Was it a lioness from the mountains of Libya VI. You promise me, my dearest life VII. Wretched Catullus, put an end to this madness VIII. I hate and I love

The Other Shore...... Carolyn Bremer (b. 1957) World Premiere Dave Gerhart—vibraphone 15 MINUTE INTERMISSION

The CSULB University Choir and University Percussion Group Grace Byeon (Sunday) and Alannah Garnier (Saturday)—soprano Steven Amie (Saturday) and Simon Barrad (Sunday)—baritone JJ Lopez—tenor

Carmina Burana ...... Carl Orff (1895-1982) Fortuna Imperatrix Mundi 1. O Fortuna 2. Fortune plango vulnera I. Primo vere 3. Veris leta facies 4. Omnia Sol temperat 5. Ecce gratum Uf dem anger 6. Tanz 7. Floret silva 8. Chramer, gip die varwe mir 2 9. Reie Swaz hie gat umbe Chume, chum geselle min Swaz hie gat umbe 10. Were diu werlt alle min II. In Taberna 11. Estuans interius 12. Olim lacus colueram 13. Ego sum abbas 14. In taberna quando sumus III. Cour d’amours 15. Amor volat undique 16. Dies, nox et omnia 17. Stetit puella 18. Circa mea pectora 19. Si puer cum puellula 20. Veni, veni, venias 21. In trutina 22. Tempus est iocundum 23. Dulcissime IV. Blanziflor et Helena 24. Ave formosissima Fortuna Imperatrix Mundi 25. O Fortuna PROGRAM NOTES

Trois Chansons de Charles d’Orleans Published in 1908, the Trois Chansons by Claude Debussy embody many of the harmonic trends of the period. The texts are by Duke Charles d’Orléans of France, who was imprisoned following the Battle of Agincourt in 1415. Dieu! qu’il la fait bon regarder glows with emotion of love, Quant j’ai ouy le tambourin uses the choir as tambourines in attempt to rouse the weary soloist from slumber, and Yver, vous n’estes qu’un villain curses winter for its cruelty. —note by Michael Ushino ...of the Earth ...of the Earth is a non-pitched percussion quartet in which the bass drum is the only true drum in the ensemble and is shared by all four players. The title refers to the primitive nature of the instruments (wood, metal, calf skin). Each player has four “melodic” instruments (brake drums, cow bells, wood blocks, log drums). Also, each player has two “toys” and share china cymbals, a tam-tam, and a thunder sheet. The piece features two main motives in the “melodic” instruments that are developed and juxtaposed over a driving rhythmic backdrop. …of the Earth was written during the fall of 2007. —note by Robert McClure I Hate and I Love Dominick Argento is arguably one of the finest composers of vocal music in America. He studied in Italy as a Fulbright and Guggenheim Fellow, and won the Pulitzer Prize in Music in 1975 for his song cycle From the Diary of Virginia Woolf. Argento was in Florence when he began work on a commission from the Dale Warland Singers. Familiar with the exceptional versatility of the ensemble, Argento chose to set poems from Liber Catulli Veronensis by Catullus that exploit “the depth of passion of Catullus’s love and hatred for Clodia and the agony of his constant vacillation between these two extremes” (Dominick Argento, Walden Pond by The Dale Warland Singers, CD-ROM liner notes, Gothic Records, 2003). Argento translated Catullus’s Latin poems into English and, as a true master of lyricism, organized them into a storm of raw emotions, varying from the purest love to the deepest despair. Feelings of infatuation, blissful contentment, jealousy, betrayal, reconciliation, and resignation are all truncated into a fifteen- minute exhibition. I Hate and I Love can be formally analyzed in sonata form, with an exposition, a lengthy development, and a recapitulation. A myriad of other forms are employed on the micro level to firmly establish the unique character of each movement. While remaining in the tonal harmonic scheme, Argento appropriately assigns moments of bi-tonality, whole tone relationship, sequence, inversion, and canonic material. The listener’s ear is influenced by recurring motives throughout the work, in addition to some 3 other compositional techniques like quotation (“Crucifixus” from Mass in b-minor by J.S. Bach is quoted in movement five at the text “with a heart so cold, so black”). Argento was asked to employ only a few instruments to accompany the mixed chorus, so he chose mostly non-pitched percussion instruments (gongs, triangles, cymbals, drums, woodblocks, etc.) to emphasize “the antiquity of the text and elemental emotions it deals with.” “I think that music… began as an emotional language. For me, all music begins where speech stops.” —Dominick Argento —note by Stephen Salts

The Other Shore In June 2012, the Bob Cole Conservatory lost a beloved faculty member, percussionist Dr. Michael Carney. The Other Shore is written in his memory. Shortly after Dr. Carney’s passing, Jonathan Talberg and I discussed the possibility of this performance of Carmina Burana using the version for percussion and piano; he invited me to contribute a piece to the concert. The text came first. The work is about impermanence and how a deep understanding of it can bring peace and healing. The phrase “the other shore” refers to Nirvana, a complex experiential Buddhist concept which includes freedom from suffering. With some early drafts of the text in hand, I sat a seventeen-day silent retreat in Northern California. Even though the retreat focused on letting go of thoughts, music kept arising. Eventually, I gave up and listened. The section with the text “May you find peace in your heart” looped for several forty-five minute meditation sittings. As the music developed, the text migrated from “May you find peace in your heart” to “May I find peace in my heart,” becoming a personal mantra for the performers. Though the work is officially dedicated to Michael and Grace Carney, it was written for the performers you hear today with profound gratitude from the composer. During Dr. Carney’s illness, the entire conservatory bonded as a family in support of him and the Carney family. Dr. Dave Gerhart requested and performs the solo vibraphone part to honor his friend and mentor. It is fitting that he serve as the bedrock of the piece, as he took on that role for the percussion department in the last two years. —note by Dr. Carolyn Bremer

Carmina Burana Following the successful premiere of Carmina Burana in 1937, Carl Orff sent a message to his publisher: “Everything I have written to date, and which you have, unfortunately printed, can be destroyed. With Carmina Burana, my collected works begin.” By the 1930s, Orff began to feel estranged from the progressive styles of 20th-century music that were so popular at the time. Instead, he turned to a more simplistic approach; he wrote strophic songs that rarely strayed from anything diatonic, with an emphasis on simple but percussive rhythmic structures. During this time, he wrote a set of three works including Catulli Carmina, Trionfo di Afrodite, and the most famous of them all, Carmina Burana. In 1934, Orff first came across a 13th century collection of poems compiled at the Benedictine monastery in Benediktbeuren, Bavaria. “Carmina Burana,” which means “Songs of Beuren” in Latin, is an eclectic collection of over 200 poems and songs. Their themes range from religious ecstasy to secular love, lust, drunken debauchery, and bawdy humor. The text is comprised of Latin, medieval German, and some French with several of the poems mixing the languages together. Orff selected 24 of the poems and assembled a libretto with his friend, and poet, Michel Hoffman. The work is arranged into three principal sections: 1. Primo vere (Spring) and Uf dem Anger (On the Green); 2. In taberna (In the Tavern); and 3. Cour d’Amours (Court of Love). The best-known movement of the work, Fortuna Imperatrix Mundi (Fortune, Empress of the World), serves as the prologue and epilogue. Fortuna Imperatrix Mundi depicts the revolution of the Wheel of Fate through a powerful repeated rhythmic figure that grows continuously to a climactic conclusion. After Fortune plango vulnera (I lament the wounds that fortune deals), the first major section, Primo vere, begins. The music focuses on the rejuvenation of the earth, as well as link the spring equinox with emotions of passion and love. The subsection, Uf dem Anger, features songs full of flirtation and seductive promises. The next section, In Taberna, is performed solely by the men celebrating and condemning the effects of alcohol. The final section, Cour d’Amours, enters the seductive world of sensual pleasure, ending with the eventual submission of one’s desires in Dulcissime (Sweetest Boy). The grand hymnal praise, Blanzifor et Helena, is cut short by the intervention of imperious fate, as the opening chorus O Fortuna, like the revolution of the wheel, returns to close the work. The reason behind the simplistic composition of Carmina Burana was to place music in the service of the text, and to permit the words to be clearly understood while they are being sung. Orff sought to depict the primitive, instinctive side of human life as well as create a musical idiom that would serve as a means “to lead away from the subjectivism and isolation of the individual to a stringent and universally valid collective experience.” In it, he envisioned a total music theater where music, words, and dance were equal partners in creating a theatrical spectacle. However, as we will hear it tonight, the work is performed in concert halls far more frequently than in theaters. —note by Stacy Oh 4 TEXTS AND TRANSLATIONS Dieu! qu’il la fait bon regarder Dieu! qu’il la fait bon regarder God! what a vision she is; La gracieuse bonne et belle; graceful, good and beautiful! Pour les grans biens que sont en elle For all the virtues that are hers Chascun est prest de la loüer. everyone is quick to praise her. Qui se pourroit d’elle lasser? Who could tire of her? Tousjours sa beauté renouvelle. Her beauty constantly renews itself; Par de ça ne de là, la mer On neither side of the ocean Ne scay dame ne damoiselle I know of any girl or woman Qui soit en tous bien parfais telle. who is in all virtues so perfect; C’est ung songe que d’i penser: it is a dream even to think of her; Dieu! qu’il la fait bon regarder! God! what a vision she is. Quant j’ai ouy la tabourin Quant j’ai ouy la tabourin When I hear the tambourine Sonner, pour s’en aller au may, sound, calling us to May, En mon lit n’en ay fait affray in my bed I took no note, Ne levé mon chief du coissin; not lifting my head from the pillow En disant: il est trop matin Saying, “It is too early, Ung peu je me rendormiray: I’ll fall asleep again.” Quant j’ ay ouy le tabourin When I hear the tambourine Sonner pour s’en aller au may, sound, calling us to May; Jeunes gens partent leur butin; Let the young people share their plunder; De nonchaloir m’accointeray I will become acquainted with Indifference A lui je m’abutineray And share myself with him; Trouvé l’ay plus prouchain voisin; I have found him to be my closest neighbor Quant j’ay ouy le tabourin When I hear the tambourine Sonner pour s’en aller au may sound, calling us to May, En mon lit n’en ay fait affray in my bed I took no note, Ne levé mon chief du coissin. not lifting my head from the pillow. Yver, vous n’estes qu’un vilain Yver, vous n’estes qu’un vilain; Winter, you’re nothing but a villain! Esté est plaisant et gentil Summer is pleasant and nice, En témoing de may et d’avril as May and April testify, Qui l’accompaignent soir et main. accompanying her at evening and morning. Esté revet champs, bois et fleurs Summer dreams of fields, woods, and flowers, De sa livrée de verdure covered with green Et de maintes autres couleurs and many other colors, Par l’ordonnance de nature. by nature’s command. Mais vous, Yver, trop estes plein But you, Winter, are too full De nège, vent, pluye et grézil. of snow, wind, rain, and hail. On vous deust banir en éxil. You should be banished into exile! Sans point flater je parle plein, Without flattery, I speak plainly— Yver, vous n’estes qu’un vilain. Winter, you’re nothing but a villain! I Hate and I Love I. I hate and I love I hate and I love. Perhaps you will ask how that can be possible. I do not know; but that is what I feel and it torments me. II. Let us live, my Clodia, and let us love Let us live, my Clodia, and let us love, And let the censorious whispers of the old Be to us as worthless as the gold of fools. Suns can set, then rise anew: But once our own brief light has dimmed We shall sleep an eternal night. 5 III. Greetings, miss, with nose not small Greetings, miss, with nose not small, The Other Shore Foot not pretty, eyes not black, This. Fingers not slender, mouth never resting, Even this Speech neither musical nor elegant – Arises and passes away, Best greetings to you, miss! Like the moon’s journey Across the stream. And in Florence they call you a beauty? And compare you with my own Clodia? A shattered mirror. I burn inside, O what a gross and ignorant age! Burn down to ashes, Down to the elements themselves. IV. My woman says she will be no one’s but mine A ship sailing without the stars at night. My woman says she will be no one’s but mine, I speak from the heart with turbulent anger. Not even should Jupiter himself wish to seduce her. My heart, created from matter From the ashes of the elements. She says: but what woman says to lover – Even the stars die. Write it on the wind or swift-running water. The heaviness of my heart is a burden V. Was it lioness from the mountains of Libya Until I see that it’s just my heart’s burden. Was it lioness from the mountains of Libya All that separates us from death is one breath. Or was it Scylla who barks from the depths of her groin Birth and decay. Who gave birth to you with a heart so cold, so black, This will end. This will end. This will end. A heart that feels only contempt for the voice of Him who pleads to you in vain? May you have peace in your heart. May I have peace in my heart. You: with a heart so fierce? Gone, gone, gone beyond, VI. You promise me, my dearest life, that is our love Gone over to the other shore. You promise me, my dearest life, that is our love Will endure, will be joyous and never-ending. O great gods, make what she promises be true And make it come from the bottom of her heart, So that all our lives we will be able to keep This sacred vow of eternal love. VII. Wretched Catullus, put an end to this madness! Wretched Catullus, put an end to this madness! That which is over and lost, you must count lost forever: Those radiant days that once shone upon you When you hastened to follow the girl wherever she led you – That same girl whom you loved as no other woman will ever be loved – (Wretched Catullus, put an end to this madness!) The countless delights in the sports of love, When what you desired, she desired and desired just as much. (Wretched Catullus!) O, radiant indeed were the days that once shone upon you! Now suddenly she no longer wants your love, and you, being helpless, must Give up this longing, cease to pursue her, Put an end to this torment and madness! (Wretched Catullus!) O immortal gods, if you truly have pity, Tear out from my heart this pestilence, this plague Whose insidious gnawing has driven all joy from my breast. I no longer ask that this woman should love me, Nor do I ask the impossible, that she be chase. My only wish now is that I be healed, and this Terrible pain be assuaged. VIII. I hate and I love I hate and I love. Perhaps you will ask how that can be possible. I do not know; but that is what I feel and it torments me. Liber Catulli Veronensis (freely translated by the composer)

6 Carmina Burana Fortuna Imperatrix Fortune, Empress I. Primo Vere In Springtime Mundi of the World 3. Veris leta facies The merry face of spring mundo propinatur, turns to the world, I. O Fortuna, O Fortune, hiemalis acies sharp winter velut Luna like the moon victa iam fugatur, now flees, vanquished; statu variabilis, you are variable, in vestitu vario bedecked in various colors semper crescis ever waxing Flora principatur, Flora reigns, aut decrescis; and waning; nemorum dulcisono the harmony of the woods vita detestabilis hateful life que cantu celebratur. praises her in song. nunc obdurat first oppresses et tunc curat and then soothes Flore fusus gremio Lying in Flora’s lap ludo mentis aciem; as fancy takes it; Phebus novo more Phoebus once more egestatem, poverty risum dat, hoc vario smiles, now covered potestatem, and power, iam stipatur flore in many-colored flowers, dissolvit ut glaciem. it melts them like ice. Zephyrus nectareo Zephyr breathes nectar- spirans in odore. scented breezes. Sors immanis Fate, monstrous certatim pro bravio Let us rush to compete et inanis, and empty, curramus in amore. for love’s prize. rota tu volubilis, you whirling wheel, status malus, you are malevolent, Cytharizat cantico In harp-like tones sings vana salus well-being is in vain dulcis philomena, the sweet nightingale, semper dissolubilis; and always fades to nothing, flore rident vario with many flowers obumbrata shadowed prata iam serena, the joyous meadows laugh; et velata and veiled salit cetus avium a flock of birds rises up mihi quoque niteris; you plague me too; silve per amena, through the pleasant forests; nunc per ludum now through the game chorus promit virginum the chorus of maidens dorsum nudum I bring my bare back iam gaudia millena. brings a thousand joys. fero tui sceleris. to your villainy. 4. Omnia sol temperat The sun warms everything Sors salutis In health purus et subtilis, pure and gentle, et virtutis and virtue, nova mundo reserat once again it reveals to the mihi nunc contraria; Fate is against me facies Aprilis, world April’s face, est affectus I am driven on ad amorem properat the soul of man et defectus and weighted down, animus herilis is urged towards love semper in angaria. always enslaved. et iocundis imperat and joys are governed hac in hora So at this hour deus puerilis. by the boy-god. sine mora without delay cordae pulsum tangite! pluck the vibrating strings; rerum tanta novitas All this rebirth in quod per sortem since Fate in solemni vere spring’s festivity sternit fortem, strikes down the strong man, et veris auctoritas and spring’s power mecum omnes plangite! let everyone weep with me! iubet nos gaudere; bids us to rejoice; vias prebet solitas, it shows us paths we know well, 2. Fortune plango vulnera I lament Fortune’s blows et in tuo vere and in your springtime stillantibus ocellis, with weeping eyes, fides est et probitas it is true and right quod sua mihi munera for the gifts she made me tuum retinere. to keep what is yours. subtrahit rebellis. she perversely takes away. verum est, quod legitur: It is written in truth, ama me fideliter, Love me faithfully! fronte capillata, that she has a fine forelock, fidem meam nota See how I am faithful: sed plerumque sequitur but, when it comes to seizing de corde totaliter with all my heart occasio calvata. an opportunity, she is bald. et ex mente tota. and with all my soul, sum presentialiter I am with you in Fortune solio On Fortune’s throne absens in remota. even when I am far away. sederam elatus, I used to sit raised up, quisquis amat taliter, Whoever loves this much prosperitatis vario crowned with many-colored volvitur in rota. turns on the wheel. flore coronatus; flowers of prosperity; quicquid tamen florui though I may have flourished 5. Ecce gratum Behold, the pleasant felix et beatus, happy and blessed, et optatum and longed-for nunc a summo corrui now I fall from the peak, ver reducit gaudia, spring brings back joyfulness, gloria privatus. deprived of glory. purpuratum violet flowers floret pratum, fill the meadows Fortune rota volvitur: The wheel of Fortune turns: sol serenat omnia, the sun brightens everything, descendo minoratus; I go down, demeaned; iam iam cedant tristia! sadness is now at an end! alter in altum tollitur; another is raised up; estas redit, Summer returns, nimis exaltatus far too high up nunc recedit now withdraw rex sedet in vertice - sits the king at the summit hyemis sevitia. the rigors of winter. caveat ruinam! let him fear ruin! nam sub axe legimus for under the axis is written iam liquescit Now melts Hecubam reginam. Queen Hecuba. et decrescit and disappears grando, nix et cetera, ice, snow and the rest, 7 bruma fugit, winter flees, 9. Reie Round Dance et iam sugit and now spring sucks Swaz hie gat umbe, Those who go round and round ver estatis ubera: at summer’s breast: daz sint alles megede, are all maidens, illi mens est misera, A wretched soul is he die wellent ân man they want to do without a man qui nec vivit, who does not live alle disen sumer gan! all summer long! nec lascivit or lust sub estatis dextera. under summer’s rule. Chume, chum, geselle min, Come, come, my love, ih enbite harte din, I long for you, gloriantur They glory ih enbite harte din, I long for you, et letantur and rejoice chum, chum, geselle min. come, come, my love. in melle dulcedinis, in honeyed sweetness Suzer rosenvarwer munt. Sweet rose-red lips, qui conantur, who strive chum un mache mich gesunt, come and heal me, ut utantur to make use of chum un mache mich gesunt, come and heal me, suzer rosenvarwer munt. sweet rose-red lips. premio Cupidinis; Cupid’s prize; simus iussu Cypridis at Venus’s command Swaz hie gat umbe, etc. Those who go round, etc. gloriantes let us glory et letantes and rejoice 10. Were diu werlt alle min Were all the world mine, pares esse Paridis. emulating Paris. von deme mere unze an den Rin, from the sea to the Rhine, des wolt ih mih darben, I would gladly forsake it Uf Dem Anger On the Green daz diu chünegin von if the Queen of Engellant England 6. Tanz Dance lege an minen armen. would lie in my arms. 7. Floret silva nobilis The noble wood burgeons II. In Taberna In the Tavern floribus et foliis. with flowers and leaves. 11. Estuans interius Burning inside ubi est antiquus Where is the lover ira vehementi with violent anger meus amicus? I knew? in amaritudine bitterly hinc equitavit, He has ridden off! loquor mee menti: I speak to my heart eia, quis me amabit? Oh! Who will love me? factus de materia, created from matter, cinis elementi, of the ashes of the elements, floret silva undique, The wood burgeons all over, similis sum folio, I am like a leaf nach mime gesellen ist mir wê. I am pining for my lover. de quo ludunt venti. played with by the winds.

Gruonet der walt allenthalben, The wood turns green all over, cum sit enim proprium If it is the way wâ ist min geselle alse lange? why is my lover away so long? viro sapienti of the wise man supra petram ponere to build der ist geriten hinnen, He has ridden off! sedem fundamenti, foundations on stone, o wî, wer sol mich minnen? Oh woe, who will love me? stultus ego comparor then I am a fool, like fluvio labenti, a flowing stream, 8. Chramer, gip die varwe mir, Shopkeeper, give me color sub eodem tramite which in its diu min wengel roete, to make my cheeks red, nunquam permanenti. course never changes. da mit ich die jungen man so that I can make the young an ir dank der minnen liebe men love me, against their feror ego veluti I am carried along noete. will. sine nauta navis, like a pilotless ship, ut per vias aeris and in the paths of the air Seht mich an, Look at me, vaga fertur avis; a light, hovering bird; jungen man! young men! non me tenent vincula, chains cannot hold me, lat mich iu gevallen! Let me please you! non me tenet clavis, keys cannot imprison me, quero mihi similes I look for people like me Minnet, tugentliche man, Good men, love et adiungor pravis. and join the wretches. minnecliche frouwen! women worthy of love! minne tuot iu hoch gemuot Love ennobles your spirit mihi cordis gravitas The heaviness of my heart unde lat iuch in hohen eren and gives you honor. res videtur gravis; seems a burden to me; schouwen. iocus est amabilis it is pleasant to joke, dulciorque favis; and sweeter than honeycomb; Seht mich an, Look at me, quicquid Venus imperat, whatever Venus commands jungen man! young men! labor est suavis, is a sweet duty, lat mich iu gevallen! Let me please you! que nunquam in cordibus she never dwells habitat ignavis in a lazy heart. Wol dir werlt, das du bist Hail, world, also freudenriche! so rich in joys! via lata gradior I travel the broad path, ich will dir sin undertan I will be obedient to you more iuventutis, as is the way of youth, durch din liebe immer because of the pleasures you inplicor et vitiis I give myself to vice, sicherliche. afford. immemor virtutis, unmindful of virtue, voluptatis avidus I am greedy for lust, Seht mich an, Look at me, magis quam salutis, more than for salvation; jungen man! young men! mortuus in anima my soul is dead, lat mich iu gevallen! Let me please you! curam gero cutis. and I care only for the flesh.

8 12. Cignus Ustus Cantat The roasted swan sings octies pro fratribus perversis, Eight for the errant brethren, Olim lacus colueram, Once I lived on lakes, nonies pro monachis dispersis, nine for the dispersed monks, olim pulcher extiteram, once I looked beautiful decies pro navigantibus, ten for the seamen, dum cignus ego fueram. when I was a swan. undecies pro discordantibus, eleven for the squabblers, duodecies pro penitentibus, twelve for the penitent, miser, miser! Misery me! tredecies pro iter agentibus. thirteen for the wayfarers. modo niger Now black tam pro papa quam pro rege To the Pope as to the king, et ustus fortiter! and roasting fiercely! bibunt omnes sine lege. all drink without restraint. girat, regirat garcifer; The cook turns me on the spit; bibit hera, bibit herus, The mistress, the master, me rogus urit fortiter: I burn fiercely over the pyre: bibit miles, bibit clerus, the soldier, the priest, propinat me nunc dapifer. the steward now serves me up. bibit ille, bibit illa, the man, the woman, bibit servus cum ancilla, the servant with the maid, miser, miser! Misery me! bibit velox, bibit piger, the swift man, the lazy man, modo niger Now black bibit albus, bibit niger, the white man, the black man, et ustus fortiter! and roasting fiercely! bibit constans, bibit vagus, the settled man, the wanderer, bibit rudis, bibit magus the stupid man, the wise man nunc in scutella iaceo, Now I lie on a plate, et volitare nequeo, and cannot fly anymore, bibit pauper et egrotus, The poor man, the sick man, dentes frendentes video. I see bared teeth: bibit exul et ignotus, the exile and the stranger, bibit puer, bibit canus, the youngster, the old man, miser, miser! Misery me! bibit presul et decanus, the bishop and the deacon, modo niger Now black bibit soror, bibit frater, the sister, the brother, et ustus fortiter! and roasting fiercely! bibit anus, bibit mater, the old lady, the mother, bibit ista, bibit ille, this woman, that man, 13. Ego sum abbas Cucaniensis I am the abbot of Cockaigne bibunt centum, a hundred drink, et consilium meum and my assembly bibunt mille. a thousand drink. est cum bibulis, is one of drinkers, et in secta Decii and I wish to be parum sexcente nummate Six hundred coins are not voluntas mea est, in the order of Decius durant, cum immoderate enough for this aimless and et qui mane me and he who seeks to play dice bibunt omnes sine meta. intemperate drinking. quesierit in taberna, with me at the tavern quamvis bibant mente leta, Though we are cheerful, post vesperam after Vespers, sic nos rodunt omnes gentes everyone scolds us, nudus egredietur, he will leave naked, et sic erimus egentes. and thus we are destitute. et sic denudatus and thus stripped qui nos rodunt, confundantur May our slanderers be cursed veste clamabit: of his clothes he will call out: et cum iustis non scribantur. not counted among the just.

Wafna, wafna! Woe! Woe! III. Cour d’Amour The Court of Love quid fecisti sors What have you done, turpissima? vilest Fate? 15. Amor volat undique, Cupid flies everywhere nostre vite gaudia The joys of my life captus est libidine, siezed by desire. abstulisti omnia! you have taken all away. iuvenes, iuvencule Young men and women coniuguntur merito. are rightly coupled. 14. In taberna quando sumus, When we are in the tavern, Siqua sine socio, The girl without a lover non curamus quid sit humus, unmindful of the grave, caret omni gaudio, misses out on all pleasures, sed ad ludum properamus, we hurry to gamble, tenet noctis infima she keeps the dark night cui semper insudamus. over which we always sweat. sub intimo hidden quid agatur in taberna, What happens in the tavern, cordis in custodia: in the depth of her heart; ubi nummus est pincerna, where money is host, fit res amarissima. it is a most bitter fate. hoc est opus ut queratur, you may well ask, si quid loquar, audiatur. and hear what I say. 16. Dies, nox et omnia Day, night and everything mihi sunt contraria, is against me, quidam ludunt, quidam bibunt, Some gamble, some drink, virginum colloquia the chattering of maidens quidam indiscrete vivunt. some behave loosely. me fay planszer, makes me weep, sed in ludo qui morantur, But of those who gamble, oy suvenz suspirer, and often sigh, ex his quidam denudantur, some are stripped bare, plu me fay temer. and, most of all, scares me. quidam ibi vestiuntur, some win their clothes here, quidam saccis induuntur. some are dressed in sacks. o sodales, ludite, O friends, you mock me, ibi nullus timet mortem, Here no one fears death, vos qui scitis dicite, speaking as you please, sed pro Baccho mittunt sortem: but gambles in Bacchus’ name. mihi mesto parcite, spare me, sorrowful as I am, grand ey dolur, great is my grief, primo pro nummata vini; First is to the wine-merchant attamen consulite advise me at least, ex hac bibunt libertini, the libertines drink, per voster honur. by your honor. semel bibunt pro captivis, second for the prisoners, post hec bibunt ter pro vivis, three for the living, tua pulchra facies, Your beautiful face makes quater pro Christianis cunctis, four for all Christians, me fey planser milies, me weep a thousand times, quinquies pro fidelibus defunctis, five for the faithful dead, pectus habet glacies. your heart is of ice. sexies pro sororibus vanis, six for the loose sisters, a remender, As a cure, septies pro militibus silvanis. seven for the forest soldiers. statim vivus fierem I would be revived per un baser. by a kiss. 9 17. Stetit puella A girl stood 21. In trutina mentis dubia I am held in doubt, rufa tunica; in a red tunic; fluctuant contraria my mind wavering between si quis eam tetigit, if anyone touched it, lascivus amor et pudicitia. lascivious love and modesty. tunica crepuit. the tunic rustled. sed eligo, quod video, But I choose what I see, eia! Eia! collum iugo prebeo; and submit my neck to the ad iugum tamen suave yoke; stetit puella, A girl stood transeo. I yield to the sweet yoke. tamquam rosula; like a little rose: facie splenduit her face was radiant 22. Tempus est iocundum, This is the joyful time, et os eius floruit. and her mouth in bloom. o virgines, O maidens, eia! Eia! modo congaudete rejoice with them, vos iuvenes. young men! 18. Circa mea pectora In my heart multa sunt suspiria there are many sighs oh, oh, oh, Oh! Oh! Oh! de tua pulchritudine, for your beauty, totus floreo, I am bursting out all over! que me ledunt misere. which wound me sorely. iam amore virginali I am burning all over totus ardeo, with first love! Manda liet, Mandaliet, novus, novus amor New, new love manda liet, mandaliet, est, quo pereo. is what I am dying of! min geselle my lover chumet niet. does not come. mea me confortat I am heartened promissio, by my promise, tui lucent oculi Your eyes shine mea me deportat I am downcast sicut solis radii, like the rays of the sun, negatio. by my refusal. sicut splendor fulguris like the flashing of lightning lucem donat tenebris. which brightens the darkness. oh, oh, oh, etc. Oh! Oh! Oh! etc.

Manda liet, Mandaliet, tempore brumali In the winter manda liet, mandaliet, vir patiens, man is patient, min geselle my lover animo vernali the breath of spring chumet niet. does not come. lasciviens. makes him lust.

vellet deus, vellent dii, May God grant, may the gods oh, oh, oh, etc. Oh! Oh! Oh! etc. quod mente proposui. grant what I have in mind: ut eius virginea that I may loosen the chains of mea mecum ludit My virginity reserassem vincula. her virginity. virginitas, makes me frisky, mea me detrudit my simplicity Manda liet, Mandaliet, simplicitas. holds me back. manda liet, mandaliet, min geselle my lover oh, oh, oh, etc. Oh! Oh! Oh! etc. chumet niet. does not come. veni, domicella, Come, my mistress, 19. Si puer cum puellula If a boy with a girl cum gaudio, with joy, moraretur in cellula, tarries in a little room, veni, veni, pulchra, come, come, my pretty, felix coniunctio. happy is their coupling. iam pereo. I am dying! amore succrescente, Love rises up, pariter e medio and between them oh, oh, oh, etc. Oh! Oh! Oh! etc. propulso procul tedio, prudery is driven away, fit ludus ineffabilis an ineffable game begins 23. Dulcissime, Sweetest one! membris, lacertis, labiis. in their limbs, arms, and lips. totam tibi subdo me! I give myself to you totally!

20. Veni, veni, venias, Come, come, O come, 24. Ave formosissima, Hail, most beautiful one, ne me mori facias, do not let me die, gemma pretiosa, precious jewel, hyrce, hyrce, nazaza, hyrce, hyrce, nazaza ave decus virginum, Hail, pride among virgins, trillirivos... trillirivos! virgo gloriosa, glorious virgin, ave mundi luminar, Hail, light of the world, pulchra tibi facies, Beautiful is your face, ave mundi rosa, Hail, rose of the world, oculorum acies, the gleam of your eye Blanziflor et Helena, Blanziflor and Helena, capillorum series, your braided hair, Venus generosa! noble Venus! o quam clara species! what a glorious creature! Fortuna Imperatrix Fortune, Empress rosa rubicundior Redder than the rose, lilio candidior, whiter than the lily, Mundi of the World omnibus formosior, lovelier than all others, semper in te glorior. I shall always glory in you! 25. O Fortuna, etc. O Fortune, etc. (same as #1 on page 7) (same as #1 on page 7)

10 PERSONNEL BOB COLE CONSERVATORY CHAMBER CHOIR

Dr. Jonathan Talberg—conductor, Dr. Shun-Lin Chou—piano, Christopher Luthi—piano, Stephen Salts—assistant conductor Soprano Alto Tenor Bass Rachel Blair Becca Bishop Bradley Allen Simon Barrad Maggie Boles Glynis Davies Hunter Boaz Luc Kleiner* Heidi Harger Emily Grandpré Daniel Favela Anthony Moreno Becky Hasquet* Shannon Gravelle JJ Lopez* Stephen Salts Christine Li Madison Hatten Ryan Newton Joe Sanders Stacy Oh Jaqi Janacua Emilio Sandoval Lyle Smith-Mitchell Kat Shuman Rachel St. Marseille* Landon Shaw Leeav Sofer Amy Joy Stephens Angel Yu Jake Tickner Beth Wightwick Riley Wilson UNIVERSITY PERCUSSION GROUP *section leader

Dr. Dave Gerhart—conductor Kevin Brown Brandon Rivera Ryan Denney Jazper Saldaña Nick Gilroy Matt Williams Jeff Ramos Dave Gerhart—vibraphone (The Other Shore) CSULB UNIVERSITY CHOIR

Dr. Jonathan Talberg—conductor, Dr. Shun-Lin Chou—piano, Christopher Luthi—piano, Michael Ushino—assistant conductor

Soprano Alto Tenor Bass Emi Allen Alexa Rae Agustin Daniel Agee Bradley Allen Rebecca Butkivich Becca Bishop* Jake Asaro Steven Amie Courtney Burroughs Elizabeth Chavez Ulysses Aquino Adon Biggs Grace Byeon Desiree Gonzalez Craig Benson Nehemiah Chen Lauren Chandler Kaitlyn Gricar Hunter Boaz Michael Ellsworth Hannah De Los Reyes Madison Hatten Mark Cano Dennis Frayne* Alannah Garnier Cindy Hernandez Cristian Carbajal Danny Gonzalez Bianca Henry Emily Jackson Shawn Carrillo Timothy Hall Lisa Horikawa Jaqi Janacua Dennis Dyck* Austin Kebely Eugenie Hossain Alyssa Keyne Grant Goldstein Jacob Lewis Holly Houtman Jane Kim Arend Jessurun Anthony Lynn Kelsey Knipper Michelle Lang Jeff Joyce Ryan Newton Katrina Kochevar* Maddie Larson Vince O’Connell Marcus Perea Sarah Len Elaine Lay Emilio Sandoval Ryan Pitcher Rachel One Lamia Mazegue Cody Wilhite Kurt Roudebush Jordan Pettit Kelly Myers Jack Wilkins Stephen Salts Elizabeth Queen Lauren Stanley Zachary Zaret Pedro Sanchez Jeannine Robertson Sabrina Ware Jordan Tickner Abby Sherrill Michael Ushino Michael Valentekovic Kevin Yokotake *section leader 11 Bob Cole Conservatory Donors 2012-13 The Cole Conservatory of Music at CSULB thanks the following donors for their generosity to our students and programs. Private donations support scholarships, production, tours, and concerts.

$250,000 & above $500-$999 Linda Maxwell Anonymous Mr. & Mrs. Murray Auerbach Ervin D. McBride Bob & Regena Cole Bud Bisbee Mr. & Mrs. Daniel McCarthy L. Patrick Pritchard Marvalee Cariga Fred & Lavonne McQuilkin (In memory of Daniel Cariaga) Richard Messenger $50,000-$249,999 Friends of the Los Angeles Bach Festival Norman & Susanne Milkes Hon. Jacob Adajian Roberta Medford Marjorie Miller Beverly August † William & Elaine Miller Glenn Moeller Dramatic Allied Arts Guild Tammy Reichley The Music Guild Fine Arts Affiliates Virginia Skinner Mr. & Mrs. Richard Nelson The Ann & Gordon Getty Foundation Linda Schnabl Peter & Vicki Pellerito Dr. Matthew & Mrs. Roberta Jenkins Claude & Bernadette Taniguchi Elizabeth L. Phillips Family Foundation Al & Clara Totten PSCU Financial Services Sentinel Properties West Coast Jazz Party LLC Roger & Elizabeth Reyburn Roy Sanderson $10,000-$49,999 $150-$499 David & Cherie Schenck Hon. Burton Barnett* Karl & Marguerite Anatol Donald Seidler California Community Foundation Donald R. Arrowood, III Dr. Harold & Mrs. Gerda Seifer Ella Fitzgerald Charitable Foundation Boeing Company* Jeanne Shorr William Gillespie Foundation John & Deborah Barcellona Dr. Joseph Simmons Frieda Caplan Matthew Barcellona Donald & Terry Speir Irene S. Meyer Diane C. Beeman Mr. & Mrs. William Spencer Kip & Carol Polakoff † Kieran & Marilyn Bergin Mr. & Mrs. Matthew St. Marseil Presser Foundation Mr. & Mrs. John Busyman Al & Carol Talberg Sigma Alpha Iota Fraternity Centennial Properties Wanda Thompson Hon. Samuel W. Warner † James & Rozanne Churchill Ralph & Christine Tisdale Linda K. Christian Jeffrey & Sheryl Tovo $5,000-$9,999 Margot G. Coleman Patricia M. West Sally & Larry Curry Jack & Marsha Davis David Wuertele Lee DeBord William & Helen Davis Roger & Rebecca Wyatt Joanne France Vernette Dance Kari & Arlena Kauppi † Louise Earhart Long Beach Community Concert Association Edison International Dr. Charmaine Meyer † Roland Ennis Shigemi Matsumoto & Marty Stark Dr. Eric & Mrs. Ronnie Feldman (In Memory of Moriichi & Suki Matsumoto) Cheryl Farr John & Alaine Weiss Joan S. Fish (In Memory of Bernice M. Weiss) Michael Fisher *Denotes an in-kind donation Frederick & Dana Fleet † Opera Institute Board Members $1,000-$4,999 Kristine Forney Lillian V. Bishop William Gamble A big thank you to the many supporters who Mr. & Mrs. Richard B. Blum Miriam K. Garland contributed between $1 and $150 to the Bob Cole Conservatory of Music. We are grateful Dr. Ella M. Burnett (In memory of Minnie Glenn) Frank & Roberta Gebhart for your support! Randolph Currin, Jr. Norma Brandel Gibbs Mr. Mike Goldberg c/o Long Beach Kathryn E. Goddard Community Concert Association Tom S. Greathead Lawrence Guess ( In memory of Judy Guess) Patricia H. Hall Jack & Marilyn Kates Mary E. Herzbrun Mr. & Mrs. Frank Lee (In memory of Elaine Richey) Mrs. John Higginson Paul & Jane Lindsey The Historic Art Theatre of Long Beach Roberta Medford Barbara Hogan Eric Lou Mellencamp* Don & Tillie Hollar Mr. & Mrs. Richard Nelson Stuart & Carol Hubbard Opera 100 Richard & Dolly Ickler Provost Dr. Donald & Sandra Para Eric & Normajean Janssen Elisabeth Pehlivanian † James Jordan John & Evelyn Pohlmann Lynn Kleiner’s Music Rhapsody John Queen Brad Lancaster John Shaak Thomas & Diane Lau Ivan A. Shulman Alexander & Marnos Lelesi Robert & Janet Spidell Leslie Lilly Starbucks Coffee Company* Jerry & Flora Loeb Virginia L. Stevens Manuel & Barbara Loureiro Dr. Jonathan Talberg Kelly Jean Malloy Yamaha Corporation of America James Mathews

This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach.