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Abide Music for a Sacred Space E Westminster Williamson Voices James Jordan, conductor Corey Everly, piano Abide Saturday, April 9, 2016, 8 p.m. Bristol Chapel, Westminster Choir College of Rider University Princeton, N.J. e Music for a Sacred Space Sunday, April 10, 2016, 3 p.m. Cathedral Basilica of Saints Peter and Paul Philadelphia, PA 2 A Note from the Conductor Every now and then, a line of text in a piece of music so deeply touches one that it is impossible to stop thinking about it. Within Thomas LaVoy’s choral work, As I Walked the Silent Earth, there is a line that says “I would tear a hole in the sky and give my heart to you.” That image is a perfect life analogy for vulnerability, honesty and human compassion and care that is, perhaps, what our lives are all about. I suppose that because the work was dedicated to this choir and its conductor, the text has an affixed connection anyway, at least for us. There are certain pieces of music that by their very nature, “tear a hole in the sky” the “sky” of our spirits and souls. Certain musics, certain composers, and certain performances have a way of “tearing a hole” into us that deepens our lives and perhaps, even, brings new meaning to what we do and how we live. Gerard Manley Hopkins called that place our “Inscape.” The music for this concert has that very common thread in that all the pieces, in some way, provide an illuminative hole, through both sound and text, into perhaps a deeper understanding of life and living. These concerts are meant to explore many sound worlds. From the Ola Gjeilo Spheres, to the stunning work for women’s choir, the Mendelssohn Veni Domine, to the joyful Jubilate Deo of Benjamin Britten, to the Kyrie from the Requiem of 1604 by Victoria, holes are torn not only into the sound worlds possible through choral singing, but “holes” that bore deeply into our spiritual “Inscapes” by the marriage of sounds and words. For this program, The Westminster Williamson Voices will be at times divided into choirs composed of two equally balanced chamber ensembles, the St. John’s Choir and the St. Stephen’s Choir named after the two chapels that we sing in during the Choral Institute of Oxford at our Oxford home, St. Stephen’s House. During those weeks, the choir performs as two separate chamber choirs for the Institute conductors before combining back into the full choir for the concerts. Most of the music that you hear in these programs was recorded by what is, in essence, three separate ensembles, Williamson Voices, the St. John’s Choir and the St. Stephen’s Choir for multiple CDs to be released this year. Both programs end with two deeply compelling “Hole in the Sky” works, Good Night, Dear Heart and these premiere performances of Abide by Dan Forrest. Williamson Voices was asked by Dr. Forrest to record the latter work before its release. (That performance can be viewed on the Williamson Voices YouTube channel). As you can read later in these notes, Dr. Forrest sets one of America’s greatest poets and perhaps one of the greatest poems of our times with deep meaning and suggestions of our life journey. In both these works, Dan Forrest understands deeply the concept of that “Hole in the Sky,” and uses the genius of poet Jake Adam York in the second work, Abide, to teach us truly how to pass through that “hole in the sky” and live our lives with a bit more love and compassion for ourselves and others. - James Jordan Program Abide I. Hark, I Hear the Harps Eternal arr. Alice Parker (b. 1925) Choir of St. John’s Sunrise Mass Ola Gjeilo I. The Spheres (b. 1978) Da pacem Domine Arvo Pärt (b. 1935) Choir of St. Stephen’s II. Locus Iste Anton Bruckner (1824-1896) Choir of St. John’s Program 3 Jubilate Deo Benjamin Britten (1913-1976) Peter Carter, organ Drei Motteten für weibliche Stimmen mit Begleitung ger Orgel, Op. 39 Felix Mendelssohn I. Veni Domine (1809-1847) Sopranos and Altos of the Choir Moira Susan Gannon, soprano Peter Carter, organ III. The Road Home Stephen Paulus (1949-2014) Choir of St. Stephen’s Emily Rosoff, soprano Pilgrim’s Hymn Paulus INTERMISSION IV. Gesang der Parzen, Op. 89 Johannes Brahms (1833-1897) V. Good Night, Dear Heart Dan Forrest (b. 1978) Abide Forrest Text: Jake Adam York Premiere Performances Corey Everly, piano Music for a Sacred Space I. Hark, I Hear the Harps Eternal arr. Alice Parker (b. 1925) Choir of St. John’s Sunrise Mass Ola Gjeilo I. The Spheres (b. 1978) Da pacem Domine Arvo Pärt (b. 1935) Choir of St. Stephen’s Requiem of 1605 Tomás Luis de Victoria I. Kyrie (c.1548-1611) 4 Program II. Jubilate Deo Benjamin Britten (1913-1976) Peter Carter, organ Drei Motteten für weibliche Stimmen mit Begleitung ger Orgel, Op. 39 Felix Mendelssohn I. Veni Domine (1809-1847) Sopranos and Altos of Williamson Voices Moira Susan Gannon, soprano Peter Carter, organ Locus Iste Anton Bruckner (1824-1896) Choir of St. John’s III. Ave Redemptor Peter Relph (b. 1992) Jessica Stanislawczyk, soprano Maclain Hardin, alto Max Claycomb, tenor Peter Carter, bass Quatre Motets sur des thèmes grégoriens, Op. 10 Maurice Duruflé IV. Tantum ergo (1902-1986) O Salutaris Hostia Ēriks Ešenvalds (b. 1977) Moira Susan Gannon, soprano Alex Meakem, soprano INTERMISSION IV. And Dream Awhile Blake Henson (b. 1983) The Road Home Stephen Paulus (1949-2014) Choir of St. Stephen’s Emily Rosoff, soprano Pilgrim’s Hymn Paulus V. Good Night, Dear Heart Dan Forrest (b. 1978) Abide Forrest Text: Jake Adam York Premiere Performances Corey Everly, piano Program Notes 5 Hark I Hear the Harps Eternal arr. Alice Parker (b. 1925) Text: Traditional Hark I Hear the Harps Eternal comes from William Hauser’s book of shape note music, “Olive Leaf,” written in 1878. The system of musical notation was meant to be a read music that facilitated the communal singing of a whole congregation. Here, Alice Parker’s arrangement for mixed chorus celebrates the joviality of the hymn and also explores the journey of the eternal soul. Hark, I hear the harps eternal Hallelujah, Hallelujah, Ringing on the farther shore, Hallelujah, praise the Lamb, As I near those swollen waters, Hallelujah, Hallelujah, With their deep and solemn roar. Glory to the great I AM. Hallelujah, Hallelujah, Souls have crossed before me, saintly, Hallelujah, praise the Lamb, To that land of perfect rest; Hallelujah, Hallelujah, And I hear them singing faintly Glory to the great I AM. In the mansions of the blest. And my soul though stained with sorrow, Hallelujah, Hallelujah, Fading as the light of day, Hallelujah, praise the Lamb, Passes swiftly o’er those waters Hallelujah, Hallelujah, To the city far away. Glory to the great I AM. Sunrise Mass Ola Gjeilo I. The Spheres (b. 1978) The Spheres is also the name of the first movement (Kyrie) from my 2008 Mass for choir and string orchestra, called Sunrise. The piece [in this performance] is the a cappella version of that movement. A lot of people have asked me why I used an English, seemingly unrelated, title for this setting of the Kyrie. Apart from the fact that I generally prefer to assign English titles to pieces with Latin text these days, it has to do with the initial idea behind the Sunrise Mass. I wanted the musical evolution of the Mass to go from the most transparent and spacey, to something completely earthy and grounded; from heaven to earth, so to speak. So in The Spheres, I used a kind of overlapping fade-in/fade-out effect, to give a sense of floating in space, in darkness and relative silence, surrounded by stars and planets light-years away. However, I don’t follow this idea throughout the entire movement, since it eventually gathers into a big crescendo and ends with a clear, chorale version of the theme presented very slowly and muddled in the first part. So, in a way this movement is also a microcosm of the entire Mass, which also ends with a longer chorale in The Ground(Sanctus & Agnus Dei). This a cappella version ofThe Spheres was premiered by the 2009 ACDA College Honor Chamber Choir with conductor Gary Graden in Oklahoma City, and the piece is dedicated to Mr. Graden. James Jordan performed most of the early performances of the work immediately after its premiere across the United States. - Ola Gjeilo Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy. Please note the unauthorized use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Out of courtesy to the performers and everyone in the audience, please refrain from using cell phones and electronic devices during the performance. 6 Program Notes Da pacem domine Arvo Pärt (b. 1935 ) The Da pacem domine text derives from the ninth century Latin prayer for peace. Pärt started composing the work a few days after the Madrid train bombings on March 11, 2004. This was Pärt’s personal tribute to the victims of this horrific attack. The conductor Paul Hiller describes the texture of the piece as "a near harmonic stasis in which each pitch is carefully in position like stones in a Zen garden." The rehearsal letters in the score spell out the word AMEN to encompass the whole work as a universal prayer. - William Sawyer Da pacem, Domine, in diebus nostris Give peace, O Lord, in our time Quia non est alius Because there is no one else Qui pugnet pro nobis Who will fight for us Nisi tu Deus noster If not You, our God.
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