WORLD

OF THE I VHHin ISUUID BY DONALD MARTINO

THE PERFORMANCE OF THE FINAL WORK COMMISSIONED BY THE BOSTON SYMPHONY ORCHESTRA FOR ITS CENTENNIAL

//] that whiter island, where Things are evermore sincere Candor here, and lustre there

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistayit Conductors One Hundred and Sixth Season, 1986-87

Wednesday, 8 April at 8

JOHN OLIVER conducting THE TANGLEWOOD FESTIVAL CHORUS and MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

MARTINO The White Island, for mixed chorus and chamber orchestra (world premiere; commissioned by the Boston Symphony Orchestra for its centennial and supported in part by a generous grant from the Massachusetts Council on the Arts and Humanities) The Bell-man Upon Time His Letanie, to the Holy Spirit The goodnesse of his God The white Island TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

BRUCKNER Mass No. 3 in F minor for soloists, chorus, and orchestra Gloria —Hosanna Benedietus—Hosanna Agnus Dei ROBERTA ALEXANDER, , mezzo-soprano JOHN ALER, JOHN CHEEK, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Baldwin piano The American Music Center has awarded Donald Martino a grant from the Margaret Fairbank Jory Copying Assistance Program to assist with the extraction and reproduction of parts for this performance of The White Island. Donald Martino The WliHe Island, for mixed chonis and chamber orchestra

Donald Martina was born in Flainfield, New Jersey, on 16 May 1931 and lives in Newton, Massachusetts; he is currently Professor of Music at Harvard University. The White Island was one of the twelve new compositions com- missioned by the Boston Symphony Orchestra for its centen- nial, this one intended specifically for the Tanglewood Festival Chorus. The composer selected texts from the seven- teenth-century English poet Robert Herrick; his score bears, at its end, the date 23 October 1985 and, at its head, the dedication "To John Oliver and the Tanglewood Festival Chorus." This is the first performance. It calls for a mixed chorus, generally in four parts, though both men's and women 's parts subdivide at certain points, and an ensemble consisting of flute (doubling piccolo), oboe (doubling English horn), clarinet, contrabass clarinet (extended) and bass clarinet, bassoon, horn, trumpet (doubling flugelhorn), tenor/bass trombone, bass trombone, an elaborate percussion part for two players (five temple blocks, bass drum, two tom-toms, two timbales, two bongo drums, military drum, snare drum, medium and large tam-tams, medium and large cymbals, three timpani, six roto-toms, marimba, four tubular chimes, tuned gong, vibraphone, glockenspiel, and antique cymbal), piano (doubling celesta), and five string parts (two violins, viola, cello, and double bass), for single instruments or a small consort.

Donald Martino's first composition teacher was Ernst Bacon at Syracuse University. In his undergraduate days he was he a^^ly involved with jazz and the music of the Broadway theater as a clarinetist. Even today his music frequently retains reflections, often much sublimated, of the harmonic and rhythmic turns of that musical world, and it is filled with indications of his love for the clarinet. During graduate work at Princeton, where he studied with Roger Sessions and Milton Babbitt, he decided to pursue composition as his major acti\ity. Unlike most of the Princeton graduate students in composition, Martino was not yet committed to serial composition; probably the greatest influence on his work at that time was Bartok. But after earning his master's degree, he spent two years in Florence studying with Luigi Dallapiccola, who, though committed to twelve-tone com- position, always retained the tj^^ically Italian concern for a lyric, vocal quality in the melodic line, however complex it might become.

Martino, too, boasts an Italian heritage, and combines the characteristic Italian musical strengths of the expressive singing line and a sense of the theatrical, even in works designed purely for concert use. During his studies with Dallapiccola he turned to twelve-tone music, but, like his teacher, even in his most complex, exacting music, a sense of line emerges out of the richly detailed writing. This is certainly true of The White Island, where the chorus projects the core expressive element surrounded by elaborate figuration and commentary on the part of the instruments.

Commissioned by the Boston Symphony Orchestra for its centennial, and specifically conceived for the Tanglewood Festival Chorus, The White Island took its impetus from two earlier choral works performed and recorded by Boston ensembles. The first of these was a series of unaccompanied choral works published as Seven Pious Pieces, composed as a kind of "penitence" on Sundays, one each week, while Martino was working on a very

secular work, Augenmusik , "a Mixed Mediocritique for actress, danseuse, or uninhibited female percussionist"" and tape. The choral pieces were designed to ser\T a practical function, as anthems that might be within the capabilities of a good church choir. But the discover^' of the poet was almost accidental: Martino was looking over some music by his teacher Ernest Bacon, a composer who made many exquisite settings of the English language, and found a setting of Herrick's "The Soule."

Robert Herrick (1591-1674), the greatest of the English Cavalier poets, is best known to students of English literature for the simplicity and sensuousness of lyrics like "Upon Julia's Clothes" or "Corinna's Going a-Ma\4ng." These love l\Ties are found in many anthologies, but the religious poetry is much less well-known. Martino was so attracted by "The Soule'' that he looked up more of Herrick's work in this line and found much that moved him to composition, first in the seven unaccompanied anthems. Even after finish- ing those, he had some Herrick texts that attracted him, but he did not yet know how he would set them. Two of them formed the starting point for The White Island, a contempla- tion of the inevitability of death and of the poet's coming to grips \Wth that fact.

The musical style of The \Miite Island also goes back to the Seven Pious Pieces (1972) and involves a procedure that can be described as making twelve-tone music sound tonal. The "tonal" elements come from arranging the twelve notes of the basic set in such a way that they include sections of "traditional" scales, and from these the composer can, when he chooses, create a musical surface that sounds verj- tonal. Martino elaborated the technique in his Paradiso Choruses (1974), composed for the twentieth anniversary of Loma Cooke deVaron's work as director of the choral program at the New England Conserv^atory. Here, as Martino explained in an inter\'iew, the "three-ness" of Dante's Divine Comedy had an effect on the choice of tonal centers.

Here you had the Dante terza rima, everj-thing was in triplets representing the holy number, the Trinity, and so forth. All that is infused in the poetrj', with the notion of the universe divided into three parts—Hell, Purgatorv^, and Heaven. I came up wdth what I called a "universe chain," which you can generate from the first six notes of a particular twelve-tone set. The three transpositions that were important to me were E major, C major, and A-flat. derived from just six notes. In the Paradiso Choruses, I associated E major. that extremely bright and exciting key, with heaven. And I associated A-flat with earth or purgatorj-, which I've come to think of as sjTionymous pretty much. That left C for hell—no way you can get around it. I'm not sure I would have picked C for hell, but/ it fit the plan. And certainly E major is an

exquisite heaven key . . . That same universe chain gets reused in The \Mi.ite Island. It's exactly the same thing. You could call this the "little Paradiso," I suppose.

The three transpositions that lie at the heart of The White Island are based on six pitches, consisting of three pairs of semitones: D-sharp and E, G and G-sharp, B and C. From these it is possible to produce the triads of A-flat major or minor, C major or minor, and E major or minor (remember that G-sharp is the same as A-flat, D-sharp the same as E-flat, and B the same as C-flat) for a symbolic and musical reference to the realms of Purgatory, Hell, or Heaven:

Example 1 [^^=g#=^^^^-wa 'Paradise" "Pur^atopy" "Hell"

Moreover it is possible to move from one realm simply by changing a single note to a different one from the same sub-set.

Another arrangement of the twelve-tone set, used both melodically and harmonically in many parts of the work, divides it into three groups of four notes, in which each group represents the pitches traditionally identified as do, re, fa, sol in the keys of C, A-flat, and E: Example{^^^^^m2

Again the arrangement provides a structural framework for the ear and at the same time reflects the symbolic elements of the text. It allows the composer to move through a wide expressive range from near-hysterical terror to mystical tranquillity. When he received the commission from the Boston Symphony Orchestra for a choral piece, Martino thought immediately of Herrick. He had not yet set all the poems that he found attractive. In particular, "His Letanie, to the Holy Spirit," which is now the third movement, had been in his mind for some time. When he came across "The White Island," he knew that it would be the final movement of his new work, but for a long time he thought of the litany as the opening movement, beginning with a rush of abject pleas for deliverance. But he had difficulty finding texts that would motivate the transition from the mood of the first movement to that of the last. After much thought about the arrangement, he realized that the litany should be the centerpiece, thus allowing the prayer embedded in each stanza to provide the motivation.

The final arrangement of the poems offers varying views of time as the poet contem- plates his own mortality and then comes to terms with it. Martino's musical setting reflects, in a highly dramatic way, involving evocative sonority and musical symbolism, these central issues of existence. Throughout the work, the chorus remains the focus of attention; it is conceived in broad strokes, while the orchestra provides support, commen- tary, and occasionally contrast. As one expects of a composer imbued with the Italian tradition, the vocal lines are generally legato and expressive, though certain dramatic outbursts (especially at the beginning of the fourth movement) are almost violent in their wide leaps. Also drawn from the Italian tradition perhaps (one thinks of the Renaissance madrigal, where the technique was highly developed) is the frequent use of "word- painting" devices to translate individual words or images into musical equivalents.

The orchestration is conceived for a chamber orchestra (with one instrument on a part); this explains in part the extensive use of bass and contrabass clarinet and the trombones, which, along with the piano, reinforce the bass line that might otherwise be restricted to a single double bass in the strings. The work can also be performed with a larger ensemble, as will be the case here; the composer prefers that option when it is possible.

"The Bell-man" opens with a brief shimmering on high E, but the brightness is soon undercut as the trombones begin a funereal march clearly centered around C. There is a sense here of the inexorable passage of time, marked by sharply dotted rhythms summon- ing all humanity to "the gen'rall Session," the last judgment. The mood and rhythm of the funeral march dominates throughout.

The measured pace of the funeral march suddenly turns into a steady rapid ticking of the clock, as the poet becomes aware of time racing on, unstoppable. "Upon Time" moves, virtually without break, in a steady eighth-note ostinato (over which other patterns are sometimes superimposed) as the singers try to catch Time, to make him stop. Martino says that, in composing this movement, he had the image of a fly buzzing all around, ceaselessly annoying, but uncatchable—and, indeed, at the end, "away he flew."

The central text, "His Letanie, to the Holy Spirit," attracted Martino both for its intrinsic dramatic quality and the fact that it had twelve stanzas (which makes it "a natural" for a twelve-tone composer). But at the same time, its very length and the repetitious character of the litany make it a dangerous text to set. But he loved the grisly quality of the poem, and the wonderful touches of irony (the poet, seeing himself lying on his deathbed, imagines the doctor who "sees No one hope, but of his Fees"!) By putting the litany in the central position (instead of first, as he originally intended), he makes the prayer "Sweet Spirit comfort me!" begin the psychological and emotional change that will lead to the tranquillity of the finale.

But it happens over a long and complicated course, which begins with something of a surprise: the words of the litany are not sung, but are rather spoken in unison by the men, who are adjured to make them "well dramatized." Throughout the spoken part, Martino completely eliminates the last line of each stanza, the prayer. The men's voices recite, in quasi-dramatic fashion, while the orchestra comments, and the women, at first, remain silent. Only after the men have finished the first five stanzas do the women's voices appear, singing the words of the final line, their melody growing out of the four-note patterns illustrated in Example 2. Martino compares the use of women's voices here to the Divine Comedy, drawing an analogy between Dante (the men's voices) and his Beatrice (the women). .

One by one the subdivided women's voices enter in contrapuntal elaboration, while the men continue to declaim. Their line is to be "chanted" when they speak of the priest, and it becomes rhythmically uneven ('"Cause my speech is now decaid"). There is even a private joke at the words

When the Tempter me pursu'th

With the sins of all my youth . . . where Martino works into the horn and trumpet a brief reference to "a little folksong setting that I did when I was very young." At that moment, too, bassoon and contrabass clarinet make a passing reference to Verdi's ("I played a lot of Italian in band transcriptions, playing Italian feasts and so on"). Eventually the men, too, join in the prayer, and the entire chorus brings the litany to a quiet close on the first really strong evocation of E major in the work.

The mood of tranquillity is rudely shattered by an orchestral outburst and a wrenching, quasi-operatic shriek for all the women in unison. "The goodness of his God" exchanges the roles of the men and women. Here the women are "just wailing''' as the composer puts

it, "stormy seas and all that stuff," in the first half of each stanza, while the men sing the second half in unaccompanied four-part harmony, evoking the sturdy faith of a Bach chorale and foreshadowing the "peep of light" that will bring "gentle calm." By the third stanza, the women, too, have found the spirit of the chorale, and we have our first serious intimation of the peacefulness of the "white island."

Martino wrote the last movement first, "so I knew where I was going." A quiet but dense chord gently sustained, consisting of a four-note subset (see example 2), is pre- sented simultaneously in all three transpositions (A-flat in the strings, C in the wood- winds, E in the brass), then rotating among the choirs of the orchestra. Out of this arises the chorus's closing lines, calm and sustained. The orchestra moves in rustles and whispers around them, illustrating the passage of souls as "from hence we flie." Upon arrival at "that whiter Island^'" all becomes transparent and serene:

There in calm and cooling sleep We our eyes shall never steep; But eternall watch shall keep. Attending

Pleasures . .

Here—on the word "Pleasures"—the sense of E major is most firmly established, with a dominant-to-tonic harmony that sets us resolutely in this bright realm. The close mag- ically suggests a kind of sustained "unendingness" that will go on forever. —Steven Ledbetter

The White Island

The Bell-man. Upon Time.

Along the dark, and silent night, Time was upon with my Lantern, and my Light, The wing, to flie away; And the tinkling of my Bell, And I cal'd on Thus I walk, and this I tell: Him but a while to stay; Death and dreadfulnesse call on, But he'd be gone, To the gen'rall Session; For ought that I could say. Barre, we there To whose dismall He held out then, All accompts must come to cleere: A Writing, as he went; Scores of sins w'ave made here many, And askt me, when Wip't out few, (God knowes) if any. False man would be content Rise ye Debters then, and fall To pay agen. To make paiment, while I call. What God and Nature lent. Ponder this, when I am gone; the page quietly. By the clock 'tis almost One. Please turn An houre-^lasse, When the flames and hellish cries In which were sands but few, Fright mine eares and fright mine eyes, As he did passe, And all terrors me surprize; He shew'd, and told nie too. Sweet Spirit comfort me! Mine end near was, When the Judgment is reveal'd, And so away he flew. And that open'd which was seal'd.

When to Thee I have appeal'd; Sweet Spirit comfort me! His Letanie, to the Holy Spirit.

In the houre of my distresse. When temptations me oppresse, The goodnesse of his God. And when I my sins confesse. When Winds and Seas do rage. Sweet Spirit comfort me! And threaten to undo me. When I lie within my bed, Thou dost their wrath asswage, Sick in heart, and sick in head, If I but call unto Thee. And with doubts discomforted, A mighty storm last night Sweet Spirit comfort me! Did seek my soule to swallow, When the house doth sigh and weep, But by the peep of light And the world is drown'd in sleep, A gentle calme did follow. Yet mine eyes the watch do keep; What need I then despaire. Sweet Spirit comfort me! Though ills stand round about me; When the artless Doctor sees Since mischiefs neither dare No one hope, but of his Fees, To bark, or bite, without Thee? And his skill runs on the lees; Sweet Spirit comfort me!

When his Potion and his Pill, The white Island: or place of the Blest. His, or none, or little skill. In this worlde (the Isle of Dreames) Meet for nothing, but to kill; While we sit by sorrowes streames, Sweet Spirit comfort me! Teares and terrors are our theames When the passing-bell doth tole, Reciting: And the Furies in a shole But when once from hence we flie. Come to fright a parting soule; More and more approaching nigh Sweet Spirit comfort me! Unto young Eternitie When the tapers now burne blew. Uniting: And the comforters are few. In that whiter Island, where And that number more then true; Things are evermore sincere; Sweet Spirit comfort me! Candor here, and lustre there When the Priest his last hath praid, Delighting: And I nod to what is said, There no monstrous fancies shall 'Cause my speech is now decaid; Out of hell an horrour call. Sweet Spirit comfort me! To create (or cause at all) When (God knowes) I'm tost about. Affrighting. Either with despaire, or doubt; There in calm and cooling sleep Yet before the glasse be out. We our eyes shall never steep; Sweet Spirit comfort me! But eternall watch shall keep. When the Tempter me pursu'th Attending With the sins of all my youth, Pleasures, such as shall pursue And halfe damns me with untruth; Me immortaliz'd, and you; Sweet Spirit comfort me! And fresh joyes, as never too Have ending.

—Robert Herrick —

Anton Bruckner Mass No. 3 in F minor

Anton Bruckner was born in Ansfelden, near Linz, Austria, on 4 September 1824 and died in Vienna on 11 October 1896. He began work on his Mass in F minor on 14 Sep- tember 1867 and completed the full score on 9 September 1868. Over the years he made a number of adjustments and alterations in 1877, 1881, and finally between 1890 and 1893. The composer himself conducted the premiere in

Vienna's Augustinerkirche on 16 July 1872. This is the first performance at a Boston Symphony Orchestra concert. The score calls for soprano, alto, tenor, and bass soloists, mixed chorus, and an orchestra ccnsisiing of two- flutes, two oboes, two clarinets, two bassoons, two horns, three trombones, strings, and organ (which would certainly have been used, in Bruckner's day, for a performance in church, but it is specifically stipulated in his score only as a continuo instrument in one section of the Gloria^).

Anton Bruckner was a lifelong church organist and a deeply devout Catholic. It is scarcely surprising that he should have composed a great deal of music for the liturgy in fact, far more than one would guess from the three familiar numbered Mass settings. As early as 1842—in his eighteenth year—he composed a Mass in C for alto, two horns, and organ. Two years later he wrote a partial Mass setting in F for mixed voices. Then came a sketched Mass for Quadragesima Sunday, for chorus, organ, and two trombones. In 1848-49 he completed a in D minor his earliest large work to reach perform- ance. The following year he sketched another Mass for chorus and organ, in E-flat, and in 1854 he completed a Mass in B-flat minor for four soloists, chorus, and organ which, like the earlier Requiem, was performed in the great abbey church at St. Florian, near Linz. All of this before the composition, ten years later, of the Mass published as "No. 1""1

The case of Bruckner is a remarkable phenomenon of romantic music: a major com- poser descended from a line of largely uneducated Austrian peasants that has been traced back to the fifteenth centurv; a man almost totally lacking in general culture, one pain- fully shy and absurdly gullible, never quite willing to believe that he possessed a musical technique and understanding far beyond that of the professors whom he repeatedly asked to test him for diplomas and letters of reference.

His education was primarily musical, and by the age of ten he was already deputizing for his father at church services in his native town. When the composer was just thirteen, his father died, and young Anton, the eldest of five children, was placed in the choral school of the great Augustinian monaster^' of St. Florian, near Linz, where he completed his education, sang until his voice broke, stayed on a while as a violinist, and mostly devoted himself to organ impro\dsation. St. Florian was to be his spiritual home, the one place that he always felt at ease, for the rest of his life, and the organ in the church there is still referred to as the ''Bruckner organ."

A brief but unsatisfactory stint as assistant schoolmaster in various villages ended when a teaching post fell open at St. Florian in 1845, and the young man could now settle in the place he loved. He stayed there ten years, learning the music of Bach and singing in a male-voice quartet, for which he composed some pieces. He was still employed as a schoolmaster, but by 1851 he had begun the transition to full-time professional musician with his appointment to the organist's post at St. Florian. In 1855 he won the position of organist at the cathedral in Linz, and he lived in that city for the next thirteen years.

Still Bruckner was insecure about his musical technique, and he began a series of correspondence lessons with a teacher in Vienna, which he carried on diligently for years. Almost too diligently, in fact—once, when his teacher received a packet of seventeen notebooks filled with solutions to difficult problems, he advised his pupil to relax, lest the strain of driving himself so hard undo him. For nearly five years he wrote virtually nothing but strict counterpoint exercises.

Of course, he continued to play the organ. The church organist's job requires a con- siderable amount of improvisation, and a player skilled in that art can offer more than the bare minimum needed for service use. The organ was the one place where Bruckner's insecurity and timidity fell away from him; there he had a laboratory for compositional research. Nothing he wrote before his forties showed particular genius, but it is certainly unfair to claim that he suddenly became a composer of genius at the age of forty with the creation of his D minor Mass. No artist makes a transition from mediocrity to genius overnight. If his earlier written work shows little originality, we may assume that he was being careful not to offend the susceptibilities of the parishioners (and choristers per- haps) at the cathedral. But when improvising he could create to the limits of his imagina- tion, with far-reaching harmonic implications, working out the architecture of his music and refining it from one time to the next.

With the Mass No. 1, in D minor, composed in 1864, the mature Bruckner may be said to have arrived. Two years later he wrote the E minor Mass; in the interim he had already composed his first numbered symphony. The third and last of his large Mass composi- tions, the one in F minor, was among the last of the compositions before his move to Vienna in 1868. But as a whole this body of work signalled the arrival of a new and extraordinarily original Austrian master.

The second of the three Masses, magnificent though it is, maybe considered something of a biological sport. It is for eight-part chorus without soloists, accompanied only by wind ensemble, and it aspires to recreate the great polyphonic choral Masses of the Renaissance, in particular Palestrina. But the first and third grow directly out of the tradition of the Aastrian orchestral Mass as exemplified by Haydn and his successors. In both works the score is divided into five large movements representing the Ordinary (i.e., the unchanging parts) of the eucharistic service. These are further subdivided into sections following traditional patterns, including a slow section in the Gloria at "Qui tollis peccata mundi" and particularly strongly marked change of mood, tempo, and

Kyrie Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Gloria

Gloria in excelsis Deo, et in terra Glory be to God on high, and on earth pax hominibus bonae voluntatis. peace, good will towards men. Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorificamus te. we worship thee, we glorify thee. Gratias agimus tibi propter magnam We give thanks to thee for thy great gloriam tuam. glory. Domine Deus, rex coelestis, Lord God, heavenly king, Deus Pater omnipotens, God the Father almighty, Domine Fili unigenite Lord, the only-begotten son Jesu Christe, Jesus Christ, Domine Deus, Agnus Dei, Filius Lord God, Lamb of God, Son of the Patris, Father, Qui tollis peccata mundi, miserere Thou that takest away the sins of the nobis, suscipe deprecationem nostram. world, have mercy upon us, receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand miserere nobis. of God the father, have mercy upon us. character at the central words of the Credo, "Et incamatus est."

The F minor Mass is Bruckner's largest choral work. When the composer led the first performance, in Vienna in 1872, we know that the city's leading musical figures—among them Brahms and the critic Hanslick, later to be so inimical to Bruckner—were deeply moved. It is a work both grandiose and intimate, reveling in its far-reaching investigation of the harmonic universe, an aspect of Bruckner's art that surely grew out of his organ improvisation. Time and time again he sets up a pattern that seems solid and stable, then by changing a single note—making one pitch unexpectedly sharp or flat—he opens up a pathway leading to an unsuspected realm. Thus, even when building an extended section out of repeated figures in the orchestra, the effect is always surprisingly fresh because the outcome is so little predictable. (Coincidentally, there is an interesting kinship between Bruckner's harmonic treatment and Donald Martino's in The White Island: both com- posers employ this technique of side-slipping by a single note to enter a new world, Bruckner in the context of nineteenth-century chromaticism and the sustained contra- puntal lines of the organist-improviser, Martino through the carefully selected six pitches of his basic set—as described in the foregoing note—to move swiftly and easily between his three cardinal tonal centers, E, C, and A-flat.)

Bruckner arranges his Mass setting in a unified plan with references from one move- ment to the next. Minor keys were not common in Austrian Mass settings among the composers whose work Bruckner knew in his youth, but one masterpiece in the minor key came from the pen of Haydn: his Nelson Mass in D minor, a work of which Bruckner possessed a score. Beethoven's Missa Solemnis may have left its mark as well, particularly in the sweet, trilling violin solos that float above the ensemble on occasion. The descend- ing figure that opens the Kyrie in F minor returns like a benediction in F major at the end of the Agnus Dei, and the central moment of the Mass—the incarnation of God from heaven—appears (a surprising, accidental anticipation of Martino!) in the key of EI Throughout the work, Bruckner's control of the contrapuntal vocal line provides tensile strength knitting the sections into a remarkable whole. —S.L.

Quoniam tu solus sanctus, tu solus For thou alone art holy; thou only Dominus, tu solus altissimus Jesu art the Lord; thou only, Jesus Christ, Christe, art most high. Cum sancto Spiritu in gloria Dei With the Holy Ghost, in the glory of God Patris, Amen. the Father, Amen.

Credo Credo in unum Deum, I believe in one God, Patrem omnipotentem, factorem coeli the Father Almighty, maker of heaven et terrae, visibilium omnium et and earth, and of all things visible invisibilium, and invisible, Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, the Filium Dei unigenitum; et ex Patre only-begotten Son of God, and begotten natum ante omnia saecula; of his Father before all worlds, Deum de Deo, lumen de lumine, God of God; light of light, Deum verum de Deo vero; very God of very God; genitum, non factum, begotten, not made, being of one consubstantialem Patri, per quem omnia substance with the Father, by whom facta sunt; qui propter nos homines all things were made; who for us men et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.

Please turn the page quietly. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man. Crueifixus etiam pro nobis, sub And was crucified also for us, under Pontio Pilato passus et sepultus Pontius Pilate he suffered and was est. buried. Et resurrexit tertia die And the third day he rose again secundum scripturas; according to the Scriptures et ascendit in eoelum, and ascended into heaven, sedet ad dexteram Patris; and sitteth at the right hand of the et iterum venturus est Father; and he shall come again cum gloria judicare with glory to judge vivos et mortuos; the quick and the dead; cuius regni non erit finis. whose reign shall have no end. Et in Spiritum sanctum, Dominum et And in the Holy Ghost, the Lord and vivificantem, qui ex Patre Giver of life, who proceedeth from the Filioque procedit, Father to the Son, qui cum Patre et Filio simul who with the Father and the Son together adoratur et conglorificatur, is worshipped and glorified, qui locutus est per Prophetas. who spake by the Prophets. Et unam sanctam catholicam et And in one holy catholic and apostolicam ecclesiam. apostolic church. Confiteor unum baptisma in I acknowledge one baptism for the remissionem peccatorum. remission of sins. Et expecto resurrectionem And I look for the resurrection mortuorum, et vitam venturi of the dead, and the life of the saeculi. Amen. world to come. Amen.

Sanctus

Sanctus, sanctus, sanctus, Dominus Holy, holy, holy is the Lord Deus Sabaoth. Pleni sunt coeli et God of hosts. Heaven and earth are terra gloria eius. full of his glory. Osanna in excelsis. Hosanna in the highest.

Benedictus qui venit in nomine Blessed is he that cometh in the name Domini. of the Lord. Osanna in excelsis. Hosanna in the highest.

Agnus Dei

Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins miserere nobis, of the world, have mercy upon us, Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins miserere nobis, of the world, have mercy upon us, Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins dona nobis pacem. grant us peace. Tanglewood Festival Chorus John Oliver, Conductor

Now in its seventeenth year, the Tanglewood Festival Chorus was organized in the spring of 1970 when founding conductor John Oliver became director of vocal and choral activities at the Tangle- wood Music Center Co-sponsored by the Tanglewood Music Cen- ter and Boston University, and originally formed for perform- ances at the Boston SjTnphony's summer home, the chorus was soon placing a major role in the orchestra's S\Tnphony Hall sea- son as well. Now the official chorus of the Boston S\anphony Orchestra, the Tanglewood Festival Chorus is made up of mem- bers who donate their services, performing in Boston, New York, and Tanglewood, and working with Music Director , John Williams and the Boston Pops, and such prominent guests as , Kurt Masur, and Klaus Tennstedt. The chorus has collaborated with Seiji Ozawa and the Boston S^inphony Orchestra on numerous recordings, including Berlioz's The Damnation of , Schoen- berg's Gurrelieder, Mahler's Symphony No. 8, and, for future release on Philips, Mahler's Symphony No. 2. An of a cappella twentieth-century American music was a 1979 Grammy nominee. The chorus may also be heard on the album "We Wish You a Merrv' Christmas" with John Williams and the Boston Pops, and in music of Luigi Dallapiccola and on a recent Nonesuch release.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, which is celebrating its tenth anniversary this season. Mr. Oliver made his Boston Symphony Orchestra conducting debut in 1985 at Tanglewood with Bach's St. Matthew Passion and led performances of Bach's B minor Mass at S\Tnphony Hall in December that year.

Sopranos Nancy Lee Patton Angeline Lakis Barbara Aaronson Charlotte C. Russell Priest Dorothy W Love Margaret Aquino Jamie Redgrave April Merriam Ingrid Bartinique Lisa Saunier Ellen D. Rothberg Phyllis Benjamin Genevieve Schmidt Amy Sheridan Michele M. Bergonzi Carrol J. Shaw Linda Kay Smith Ellen N. Brown Joan Pernice Sherman Ada Park Snider Bonita Ciambotti Deborah L. Stanton Julie Steinhilber Lorenzee Cole Diane M. Stickles Nancy Stockwell-Alpert Joanne L. Colella Dianne M. Terp Margo Connor Mezzo- Judith Tierney Mary A, Y Crimmins Maisy Bennett Hazel von Maack Lou Ann David Christine Billings Deborah L. Wells Betty Karol Wilson Christine P. Duquette Barbara Clemens Amy G. Harris Amalee Cohen Lois Heam Ethel Crawford Lisa Heisterkamp Catherine Diamond Kent Anderson Alice Honner-WTiite Sara Dorfman Antone Aquino Kristen E. Hughes Mary F. Ellis John C. Barr Christine Jaronski Evelyn M. Eshleman-Kern Donato Bracco Frances Y. Kadinoff Paula Folkman William A. Bridges, Jr Nina Giselle Keidann Dorrie Fuchs Reginald Didham Carol Kirtz Irene Gilbride Timothy E. Fosket Eve Komhauser Janice Hegeman Michael P. Gallagher Lydia A. Kow^alski Donna Hewitt-Didham William E. Good Patricia Mary Mitchell Jennifer Ann Hruska David M. Halloran H. Diane Norris Leah Jansizian Andrew Hamilton Dean Armstrong Hanson Charles L. Wilson Timothy Lanagan George Harper R. Spencer Wright Lee B. Leach John W. Hickman Carl Zahn Steven Ledbetter Fred G, Hoffman David K. Lones Bagses Richard P. Howell Henry Magno Stanley Hudson Kelly D. Anderson Gregory Mancusi-Ungaro

Warren D. Hutchison Peter Crowell Anderson Gary J. Merken James R. Kauffman Peter T. Anderson Stephen H. Owades Edward J. Kiradjieff Eddie Andrews Vladimir Roudenko

John Vincent Maclnnis J. Harrington Bates A. Michael Ruderman David E. Meharry William S. Biedron David Sanford Mehrdad Moasser Aubrey Botsford Robert Schaffel Sean Mooney Daniel E. Brooks Robert W Schlundt David R. Norris John F. Cavallaro Frank R. Sherman DwightE. Porter James W Courtemanche Roch Skelton David Raish Edward E. Dahl Scott V. Street Ernest Redekop Agostino M. DeBaggis Peter S. Strickland David A. Redgrave John Duffy Andrew Tidd Barry Singer Jay S. Gregory Thomas C. Wang Ronald Severson Mark L. Haberman Cliff Webb Michael W. Spence Mitsuhiro Kawase Pieter Conrad White Terence Stephenson G. Paul Kowal

Sarah Harrington, Manager Martin Amlin, Rehearsal pianist Roberta Alexander

American Roberta Alexander has been acclaimed for her performances at the major opera houses of Europe and the and with major symphony orchestras. During 1986-87, she returns to the for Mimi in La boheme and to the for the Countess in Mozart's Le nozze di Figaro. She makes her Vienna Staatsoper debut as Donna Elvira in and also sings the title role of Janacek's Jenufa there. Other operatic commitments this season include Mozart's Figaro in Hamburg and a reprise of her m acclaimed Fiordiligi in Mozart's Cosi fan tutte in Zurich. She also sings Mahler's Fourth Symphony with James Conlon and the Rotterdam Philharmonic, solo arias with and the Israel Philharmonic, and a concert version of with bass-baritone Simon Estes and the North Cai'olina Symphony Orchestra. Ms. Alexander also joins Mr. Estes for a recital tour of eleven cities in the United States and Canada. Ms. Alexander has appeared with the Deutsche Oper in West Berlin, East Berlin's Komische Oper, Netherlands Opera, at Covent Garden, and . She made her Metropolitan Opera debut in 1983. A frequent guest soloist with the world's major symphony orchestras and at the most important music festivals, she has also been heard with the Vienna Philharmonic, the Philadelphia Orches- tra, the Amsterdam Concertgebouw, the San Francisco Symphony, and the London Philharmonic, among others. Ms. Alexander made her Boston Symphony debut at Tanglewood in 1982 and appeared here this past January in music of Mozart and Berg under Michael Tilson Thomas. Ms. Alexander has recorded Mahler's Fourth Symphony and an album of Porgy and Bess excerpts for Philips and begun a series of solo for the Amsterdam-based Et Cetera label.

Katherine Ciesinski

Mezzo-soprano Katherine Ciesinski's recent engagements reflect her versatility. She has sung Giulietta in Tales of Hoffmann with the Theatre de in Brussels, Dorabella in Cosl fan tutte with the under Daniel Barenboim, Ottavia in Coronation of Poppea with Santa Fe Opera, and Eboli in Don Carlo with Long Beach Opera. Equally at home on the concert and recital stage, she has performed music of Mozart, Beethoven, Haydn, Berlioz, and Bach with the Boston Symphony Orchestra, Mahler's Das Lied von der Erde with the Hawaii Symphony, Bach's St. Matthew Passion with the , Berlioz's Romeo et Juliette with the , and Berlioz's Damnation of Faust also with the Orchestre de Paris. New York audiences have heard Ms. Ciesinski on numerous occasions, including duet recitals with her sister, soprano . A champion of contemporary music, Katherine Ciesinski was the featured artist in a nationally televised profile of composer Ivanna Themmen on the Public Television series "Soundings." Her numerous recordings range from Handel's Messiah to a wide variety of works outside the mainstream. Born in Delaware, Ms. Ciesinski earned her bachelor's and master's degrees from Temple University, graduating both times with honors and then continuing her vocal studies at the Curtis Institute. Ms. Ciesinski won first prize in the Geneva International Competition and Grand Prix in the Paris International Com- petition, the latter by unanimous decision. Her performance of Erika in the PBS televi- sion production of Barber's at Spoleto USA first brought her into the national spotlight. An additional landmark was her Santa Fe debut the same season, as countess Geschwitz in the American premiere of the complete version of Berg's . John Aler

Tenor John Aler has established himself in performance and on recordings as one of the world's leading exponents of bel canto. He has been acclaimed in ten countries on three continents for his accomplishments in the world of opera, oratorio, orchestral con- certs, and recitals. He is a favorite with conductors, audiences, and critics in England, France, Germany, Austria, Switzerland, The Netherlands, Belgium, and Chile, in addition to the United States and Canada. This year takes him to Spain and Japan as well. Mr. Aler's portrayals of leading tenor roles in the of Rossini, Bellini, Donizetti, Mozart, and numerous Baroque com- posers have taken him to the Royal Opera at Covent Garden, the Glyndeboume Festival, , , Grand Theatre de Geneve, Theatre Royal de la Monnaie in Brussels, Theatre du Chatelet in Paris, and various other opera companies in France, as well as three consecutive seasons at the Aix-en-Provence Festival. He has appeared with such leading European ensembles as the Orchestre National de France, the Ensemble Orchestre de Paris, the Rotterdam Philharmonic, and London's Academy of St. Martin-in-the-Fields. In the western hemisphere he has appeared with opera companies as far north as the Canadian Opera Company in Toronto and as far south as the Opera del Theatre Municipal in Santiago, Chile. In the United States, he has sung with , , and at most of America's regional compa- nies. He appears regularly with virtually every major orchestra in America, among them the Chicago Symphony, Boston Symphony, and Philadelphia Orchestra, and he has been heard at such major festivals as Tanglewood, Ravinia, Saratoga, Blossom, and Mostly Mozart. Born in , John Aler attended Catholic University and the of Music. An alumnus of the Tanglewood Music Center, he makes his home in New York City.

John Cheek

One of ALmerica's outstanding bass-baritones, John Cheek appears wdth virtually every major orchestra in the United States. Since his professional debut in August 1975 following his release from service with the U.S. Army (he was a featured soloist with the U.S. Army Chorus), he has become a favorite artist with many of America's leading conductors. Mr. Cheek has appeared at the Metropolitan Opera every season since his debut there in 1977. Recent engagements have also included the New York City Opera, Fort Worth Opera, Tulsa Opera, New Orleans Opera, Cincinnati Opera, Handel festivals at the Kennedy Center and in Charlotte, and concert appearances with the symphony orchestras of Houston, San Francisco, Toronto, Minnesota, Dallas, and Detroit, as well as the National Symphony, BBC Sym- phony, Chicago Syinphonj^, Cleveland Orchestra, Philadelphia Orchestra, St. Louis Sjtq- phony. , Musica Sacra, and the National Arts Centre Orchestra of Ottawa, among others. Mr. Cheek's recent summer festival appearances have included Ra\ania, Tanglewood, Saratoga, Blossom, Caramoor, Mostly Mozart, Waterloo, and Orange. Recent career highlights have included his New York recital debut with James Levine at the piano, the title role of Cascarino's William Penn in Philadelphia, and Berlioz's La Damnation de Faust with, the . A native of North Carolina, Mr. Cheek received his bachelor of music degree at the North Carolina School of Arts and subsequently earned the Diploma of Merit at the Accademia Musicale Chigiana under the tutelage of Gino Bechi. He has been a frequent guest with the Boston Symphony Orchestra since his first Tanglewood appearance in 1977, appearing most recently for music of Virgil Thomson under Dennis Russell Daviesthis past November and December. Members of the Boston Symphony Orchestra

First Violins Earl Hedberg Bassoons Cecylia Arzewski *Marv^ Ruth Ray Roland Small Max Winder *Pattison Story Donald Bravo Gottfried Wilfinger * Susan Curran Fredy Ostrovsky floms Alfred Schneider Cellos Charles Kavalovski Ikuko Mizuno Mischa Nieland Daniel Katzen Gerald Elias Robert Ripley Jonathan Menkis Nancy Bracken Luis Leguia Michael Vitale Carol Procter Trumpets * Joseph Conte *Bruce Coppock Peter Chapman *Wilma Smith *David Finch Greg Whitaker *Vietoria Kintner Trombones Basses Second Violins Ronald Barron Joseph Heame Vyacheslav Uritsky Norman Bolter John Salkowski Leonard Moss Walter Brauer *Robert Caplin Valeria Vilker Kuchment *Henry Peyrebrune Piano/Celesta Bonnie Bewick Benjamin Pastemack *Sophia Sogland Flutes *Sharan Leventhal Timpani Christopher Krueger *Melanie Kupcynsky Arthur Press Michelle Sahm *Paul MacDowell *Michael Rosenbloom Percussion Sandra Kott Oboes Charles Smith Laurence Thorstenberg Thomas Ganger *Ira Deutsch Violas Personnel Manager Burton Fine William Moyer Robert Barnes Clarinets Bernard Kadinoff Peter Hadcock Librarian Michael Zaretsky Craig Nordstrom William Shisler

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