9 /11/ 01 • IN MEMORIAM

RICE CHORALE

Joseph Eletto, baritone Kaitlyn Johnson, soprano Steve Estes, cello (guest) Ken Cowan, organist Thomas Jaber, conductor

Tuesday, September 11, 2012 12:00 p.m. Edythe Bates Old Recital Hall and Grand Organ PROGRAM

Requiem, Op. 9 (1947) Maurice Duruflé (1902-1986) I. Introit Eternal rest grant them, O Lord; and may perpetual light shine upon them. A hymn, O God, becometh Thee in Sion, and a vow shall be paid to Thee in Jerusalem. Hear my prayer; to Thee all flesh shall come.

II. Kyrie Lord, have mercy, Christ, have mercy, Lord, have mercy.

III. Domine Jesu Christe O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the bot- tomless pit. Save them from the lion’s jaws, that hell may not engulf them, that they may not fall into darkness, but let Saint Michael the standard-bearer lead them into the holy light which Thou of old didst promise to Abraham and to his seed. Sac- rifices and prayers of praise to Thee, O Lord, we offer. Do Thou receive them on behalf of those souls whom this day we commemorate. Grant them, O Lord, to pass from death unto life, which Thou of old didst promise to Abraham and to his seed.

IV. Sanctus Holy, holy, holy, Lord God of Hosts, Heaven and earth are full of Thy glory. in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest.

V. Pie Jesu Blessed Jesu, O Lord, grant them rest. Blessed Jesu, O Lord, grant them eternal rest.

VI. Agnus Dei O Lamb of God, that takest away the sins of the world, grant them rest. O Lamb of God, that takest away the sins of the world, grant them eternal rest.

VII. Lux Aeterna Let everlasting light shine on them, O Lord, with Thy Saints for ever: for Thou art merciful. Eternal rest grant them, O Lord; and may perpetual light shine upon them: for Thou art merciful.

VIII. Deliver me, O Lord, from everlasting death on that dread day when the heavens and earth shall quake: when Thou shalt come to judge the world by fire. I am seized with trembling and am afraid until the day of reckoning shall arrive and the wrath to come, when the heavens and earth shall quake. That day, a day of wrath, calamity and misery, a great and exceedingly bitter day when Thou shalt come to judge the world by fire. Eternal rest grant them, O Lord, and may perpetual light shine upon them. Deliver me, etc.

IX. In Paradisum May the angels receive thee in paradise, at thy coming may the martyrs receive thee, and bring thee into the holy city Jerusalem. May the choir of angels receive thee and with Lazarus, once a beggar, may thou have eternal rest.

PROGRAM NOTES

Maurice Duruflé was a renowned organist, composer, and teacher within the twentieth-century French School tradition. Duruflé received his early musical training at the Rouen Cathedral Choir School. In 1919, he moved to Paris, studying with Charles Tournemire and Louis Vierne, and became entrenched in the great Parisian organ tradition. He attended the Conservatoire de Paris and graduated with honors. In 1930, he was appointed as organist at St-Étienne-du-Mont. He taught at the Conservatoire from 1943 to 1970 as a Professor of Harmony. Duruflé’s compositional output, though small, is a gem among the twentieth- century French repertory, and his works have attained a beloved status among performers. His work is characterized by a reconciliation of the progressive, sec- ular, and distinctly French harmonic language he learned in Paris and the chant and plainsong tradition he learned in Rouen. His oeuvre is marked by a master- ful blending of these two musical traditions in a style Duruflé made all his own. -Note by Darren Campion

Composed in 1947, Duruflé’s is recognized as a masterpiece of the requiem genre next to works by Mozart, Brahms, Verdi, and Fauré. A requiem, literally meaning “rest,” is a Roman Catholic mass for the dead. Duruflé’s forty- minute work consists of nine movements for SATB choir, organ, cello and mezzo- soprano and baritone soloists. Three versions of this work exist: the original with full orchestra, the second with organ and cello (the version performed in this concert), and the third with a smaller orchestra. Duruflé dedicated hisRequiem to the memory of his father. Duruflé incorporates plainchant from the burial mass and the mass for the dead in every movement of his Requiem. He modernizes the chant by marrying it with modern meter, often alternating between simple and compound meter to respect the fluidity in chant. The Requiem opens with the men singing the original chant. Then, the women sing new text to an exotic, chant-based melody. The requiem text is re- peated in unison before the movement ends with four-part homophony. The first and second movements are connected with an attacca. The Kyrie begins with staggered entrances of the original chant. In the sec- ond section, the women sing a quiet duet. The basses interrupt the women’s duet to begin the final section, which mirrors the opening with its staggered entrances and F mode melodies. After a long organ introduction in the Domine Jesu Christe, the altos sing the first section of chant asking Christ to free the dead from hell. The movement alternates between soprano and baritone solos, and choral sections. The Sanctus is an expression of praise to the Lord. The women sing their praises on ethereal inverted chords above a fast-moving organ accompaniment. The men enter with striking exclamations of hosanna before the chorus sings a climatic E-flat major chord. The women repeat the opening music with new text to conclude the movement. The text for the Pie Jesu comes from the final couplet of theDies Irae. This movement is for organ, cello and soprano. The beginning melody in the voice is the original chant, but Duruflé expands on it to express the pleas in the text. After an introduction by the organ, the altos begin the Agnus Dei with the original chant, punctuated by a sweet-sounding motif in the organ. The move- ment features section solos and choral sections, including a sublime duet between the women, pleading for Christ to give them peace. The movement concludes softly on a G major chord. In Lux Aeterna, the soprano soloist, accompanied by hushed “oo’s” by the other voices, sing the chant that asks God to shine His light on the dead. Then, two voices recite the chant in octaves. Duruflé repeats this form with different text before he concludes the movement on B-flat major seventh chord. A loud C-sharp from the organ signals the beginning of Libera Me. The voices, sounding almost hesitant, enter individually. Duruflé utilizes chromati- cism to correspond to the fearful text. The rest of the movement alternates between solo sections and choral sections. The short final movement,In Paradisum has a gentler quality than the previ- ous movements. The sopranos directly address the dead, instead of God. The chorus wishes the departed into the afterlife. Duruflé ends his Requiem with an unresolved chord, alluding to ecstasy. -Note by Emily Boudreaux

The reverberative acoustics of Edythe Bates Old Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreci- ated. The taking of photographs and use of recording equipment are prohibited. RICE CHORALE

Cris Amador Gina Goff Shivani Morrison Christina Arroyo Golnaz Habibi Sylvia Omozee Jason Bae Elizabeth Harwood Whitney Orji Thomas W. Barr Cory Gross Gloria Palermo Paul Beedle Linda Herron Nicki Pariseau Alina Blinova Samuel Hooper Paula Platt Emily Boudreaux Mimi Hung Hilary Purrington Kay Boyd Ronal Infante Lauren Quong Courtney Brown Hope Johnson Rebecca Raven Frederick Burns Kaitlyn Johnson Laurie Reynolds Darren Campion Stephanie Jordan Celeste Riepe Arielle Carrara Evan Kardon Blaque Robinson Bridget Casey Alicia King Daryl Robinson Yoon Chung Allyson Knapper Lerin Rutherford Frances Collins Alexandra Krawetz Sarah Sabol Crissy Curzon Rachel Kufchak Andrew Schneider Monica Czausz Alyssa Lardenoit Rebecca Sorensen Sharae DeWitt Erik Lawrence Jonathon Stach Abigail Dock Abby Lindig Ryan Stickney Wesley Ducote Christopher Liu Elaine Sulc Joseph Eletto Winmiao Liu Peter Y. Tu Yurie Farnsworth John Lloyd Matt Vale Eric Fegan Kimberly M’Carver Dorothy VanDine Kiefer Forseth Rachel Marzen Kathryn Wallace Michael Franco Yuri McCoy Gabriel Wang Dustin Gallo Claire McWhite Samuel Waters Michael Ging Joan Mercado Stephen Wolff Melissa Glueck Kenneth Misner Beineng Zhang

Within the year following the tragedies of 9/11/2001, I was contacted about having our Rice University Chorale to participate in a “Rolling Requiem” that would occur on the first anniversary of that fateful day. We participated with choruses worldwide by singing a performance of the Mozart Requiem on 9/11/2002. We did it for ourselves and for our world. And, though the remembrances of such violence and horror are so deeply painful, we as a chorus have continued to stop, remember and SING on each anniversary since that year. Today’s concerts continue that sad, yet ever hopeful, tradition. The glorious music of Maurice Duruflé came immediately to my mind when planning for today. We are so very fortunate to welcome to our distinguished Shepherd School of Music Faculty one of the very finest concert organists and teachers of organ in the world - KEN COWAN. It is a singular honor for the Chorale, and for me, to have this great opportu- nity to hear him play, and to join our sounds with his. Until recently, Mr. Cowan was professor of organ at the world-renowned Westminster Choir College in Princeton, NJ. He holds degrees from Philadelphia’s Curtis Institute of Music as well as Yale University. The two excellent student soloists are both undergraduate (Bachelor of Music) voice students of Dr. Stephen King. KAITLYN JOHNSON is a sopho- more from Atlanta, GA. JOSEPH ELETTO is a senior from Manhasset, NY. I am also very pleased to have joining us today the wonderful cellist, STEVE ESTES. Mr. Estes is a cellist of wide range in historical period, romantic, and contemporary performances. He is founding member of the Tallis String Quartet and MOSAIC, and he plays with chamber music groups and early music ensembles throughout the southwest. Mr. Estes was Princi- pal Cellist with the Houston Ballet Orchestra from 1977-1994, and Principal Cellist with the Houston Grand Opera Orchestra from 1990-2001. Thank you for being with us today as we remember.

Sincerely, Tom Jaber

The Rice University Chorale has a long and distinguished history of performances on the Rice campus for many decades. In fact, it is said that Rice Chorale is the oldest performing organization on the Rice campus and currently has a membership of over eighty singers including undergradu- ate voice majors and students and staff from around the campus as well as the Houston community. The ensemble is open to all who want to sing. This season will conclude with the Chorale singing the magnificentSymphony No. 2 by Gustav Mahler with the Shepherd School Symphony Orchestra under the baton of Professor Larry Rachleff.