Saint James School in Concert Sunday, Feb. 26, 4:00 pm St. John’s Episcopal Church 101 S Prospect St, Hagerstown, MD 21740 Free admission

Missa Alme Pater Andrew Millington (b. 1952) Gloria Agnus Dei

Verleih’ uns Frieden Felix Mendelssohn (1809-1847)

Shir l’Shalom Yair Rozenblum, arr. J. David Moore (b. 1962)

Chichester Leonard Bernstein (1918-1990) 1. Psalm 108: 2; Psalm 100 2. Psalm 23, Psalm 2: 1-4 3. Psalm 131, Psalm 133:1

. 10 minute intermission .

Prestissimo, from Sonata in f minor, op. 2 no. 1 Ludwig von Beethoven (1770-1827) Michael Yang ’20, piano

The lads in their hundreds George Butterworth (1885-1916) Noel Patterson ’17,

Notre Amour Gabriel Fauré (1845-1924) Casey Kwon ‘18,

Verborgenheit Hugo Wolf (1860-1903) Meredith Day ’17, mezzo soprano

Allegro con brio, from Sonata in C Major op. 2 no. 3 Ludwig von Beethoven Kitty Zhou ’20, piano

The Gift to be Simple Shaker trad., arr. Bob Chilcott (b. 1955) Ain a that good news arr. William Dawson (1899-1990) He never failed me yet Robert Ray (b. 1946)

Missa Alme Pater: Gloria and Agnus Dei Andrew Millington

Andrew Millington has been Director of Music at since 1999. Prior to that he served as Organist and Master of the Choristers for 16 years at Guildfold Cathedral. During his time as a Cambridge , his teachers included , and (composition).

The Gregorian chant Missa X Missa Alme Pater is designated for feast days associated with the Blessed Virgin Mary. In the Gloria, the organ accompaniment is reminiscent of celebratory bell ringing, supporting a highly rhythmic interpretation of the chant melody. In the Agnus Dei, we hear a setting more reminiscent of the Durufle .

Gloria in excelsis Deo Glory to God in the highest et in terra pax homínibus bonæ voluntátis. And peace to his people on earth.

Laudamus te, benedícimus te, Lord God, heavenly King, adoramus te, glorificamus te, almighty God and Father, gratias agimus tibi propter magnam gloriam tuam, we worship you, we give you thanks, we praise you for your glory.

Domine Deus, Rex cælestis, Lord Jesus Christ, only Son of the Father, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, qui tollis peccata mundi, miserere nobis; you take away the sin of the world: qui tollis peccata mundi, have mercy on us; suscipe deprecationem nostram. you are seated at the right hand of the Qui sedes ad déxteram Patris, Father: receive our prayer. miserére nobis.

Quóniam tu solus Sanctus, For you alone are the Holy One, tu solus Dóminus, tu solus Altíssimus, you alone are the Lord, Jesu Christe, cum Sancto Spíritu: you alone are the Most High, in glória Dei Patris. Amen. Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.

Agnus Dei Agnus Dei, qui tollis peccata mundi, O Lamb of God, you take away the sins of miserere nobis. the world, have mercy upon us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, you take away the sins of miserere nobis. the world, have mercy upon us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, you take away the sins of dona nobis pacem. the world, grant us your peace.

Verleih uns Frieden (1831) music: Felix Mendelssohn text: Martin Luther Felix Mendelssohn wrote Verleih’ uns Frieden in1831 after a visit to the Vatican. The text is the traditional Latin hymn Dona nobis pacem, as translated into German by Martin Luther. By 1831, Mendelssohn had been studying the music of J.S. Bach for several years and had led a famous revival of the St. Matthew Passion in 1829. Verleih’ uns Frieden is heavily influenced by the music of Bach.

Lord, in thy mercy grant us peace Throughout all generations; Thou art alone our sword and shield, Lord who dost guide the nations. Defend us, O God, we pray thee.

Shir l’Shalom (sung in Hebrew) Yair Rozenblum, arr. J. David Moore text: Ya’akov Rotblit Originally performed by members of the Israeli Defense Forces in 1969, the song Shir L’Shalom is now an anthem in the Israeli peace movement. Although penned for the military, its lyrics criticize songs of victory in war. Both in its lyrics and its music, Shir L’Shalom was influenced by the Anglo-American anti-war folk-rock songs of the 1960s. At the close of a peace rally on November 4, 1995, During his second term as prime minister of Israel, Yitzhak Rabin, a co-winner of the Nobel Peace Prize, was cut down by an assassin’s bullet just after having led the crowd in the singing of Shir L’Shalom.

Let the sun rise and the morning come The power of prayer will not bring us back He whose light is put out and is buried under the dust It does not shine under the dust and he will not be brought back to this place

Not one of us will return from the dusty pit below (nothing will help us) Neither songs of victory nor songs of peace.

Therefore sing only a song to peace Do not whisper prayers Therefore sing only a song to peace With a great shout

Let the sun penetrate from behind the flowers Do not look backward, buthelp those who are wlaking along the way Look forward to hope along the way of dedication Sing a song of love, not of war.

Do not say a day will come, bring on the day (because it it not a dream) In all of the city squares bring peace.

Therefore sing only a song to peace . . . .

Chichester Psalms (sung in Hebrew) Leonard Bernstein

In an era when only Europeans were taken seriously as conductors and classical musicians, Leonard Bernstein became the quintessential American conductor. Born in Lawrence, MA, he studied piano despite his father’s opposition. After graduating Harvard, he attended the Curtis Institute of Music in Philadelphia where he studied piano, conducting and composition, and was awarded the only "A" grade in conducting that his teacher Fritz Reiner ever gave. As a composer of both stage and concert works, he struggled to be taken seriously by each genre, even as he gained fame and popularity. His famous Carnegie Hall broadcast debut in 1943 when (as a young assistant conductor) he was asked to substitute for principal conductor Bruno Walter with just a few hours’ notice, is the stuff of legend, and was the beginning of an in-demand career. From 1958 to 1969, Bernstein served as the principal conductor of the New York Philharmonic, during which time he conducted the orchestra for the Young People's Concerts television series. In November of 1964, Bernstein found himself in a difficult place. On sabbatical from the Philharmonic, struggling with the score of a prospective musical called The Skin of Our Teeth (after Wilder’s play of the same name), and reeling from the deaths of his friend Mark Blitzstein and President Kennedy, Bernstein wrote the following in a letter to a friend: “Skin is stalled. Life, this agonizing November, is a tooth with its skin stripped off. I don’t know what I’m writing. I don’t even know what I’m not writing… I can’t get over Kennedy or Marc. Life is a tooth without a skin.” Bernstein described himself that month as “a composer without a project.” It was just at this moment that the composer received a commission for the 1965 Southern Cathedrals Festival at Chichester Cathedral in the United Kingdom. Dr. Hussey, the Cathedral’s dean, requested, “many of us would be very delighted if there was a hint of West Side Story about the music.” And indeed, the Cathedral was given even more Broadway-influenced material than it might have expected: in a quintessentially and skillfully eclectic move, Bernstein decided to adapt the musical material from the failed Skin of Our Teeth, together with one abandoned number from the beginning of West Side Story, into a powerful choral work for boy soprano, mixed chorus, and orchestra. The seven melodies, none of which were newly composed, were re-combined and re-ordered into three movements, each containing one complete Psalm and excerpts from another one, thematically juxtaposed. Chichester Psalms, containing definite modernist techniques (the influence of Stravinsky’s Symphony of Psalms is obvious) as well as Bernstein’s signature popular sounds, is an ode to diverse influences. It incorporates Jewish biblical verses into a work inspired by the Christian choral tradition and singing conventions; it sets originally secular Broadway melodies to sacred texts. Introduced by Psalm 108 (“Awake, psaltery and harp, I will rouse the dawn!”), the first movement’s main material derives from Psalm 100 (“Make a joyful noise unto the Lord all ye lands”). It draws on the interval of a minor seventh (a significant musical motive that returns in the final movement, engendering a cyclical form). This dramatic introduction prompts a vigorous and bright, scherzo-like dance in 7/4 meter of Psalm 100 (“Make a joyful noise until the Lord”). The number seven is an important number in Gematria (Hebrew numerology) and features prominently in the composition of the Chichester Psalms, both in the rhythmic structure and the harmonic/melodic language of the music.

A gentle and lyrical setting of Psalm 23 (“The Lord is my shepherd”) opens the second movement, preferably with a boy (or ) soloist with harp accompaniment, a musical evocation of King David, the shepherd-psalmist. The bitter expression and agitated music of Psalm 2 (“Why do the nations rage”) interrupts this tranquility. At this, the most dramatic moment of the composition, the setting prominently features music cut from West Side Story. Though the upper voices return with the soloist’s song of faith, the tension of suppressed violence lingers throughout the rest of the movement.

With a fiery and elegiac introduction played by the strings, the music recalls the minor seventh figure, the musical motive from the first movement. In a moment of consolation, the orchestra is abruptly hushed for a simple, unsentimental presentation of Psalm 131 (“Lord, Lord, my heart is not haughty”), a rocking lullaby in 10/4. Psalm 133 (“Behold how good”) comprises the coda material, predominantly in the style of a Lutheran , significant for being the only moment in the entire composition for solo chorus, without instrumental accompaniment. Constructed from the work’s opening musical motive, the music and text combine in a visionary plea for reconciliation and unity throughout the world before concluding in a final Amen. The piece is diversely powerful and undeniably optimistic—despite Bernstein’s struggles of the previous year—concluding with a hint of a Picardy (major) third. Notes from Harmonium Choral Society, Anne Matlack, Artistic Director, Leonard Bernstein website, and Univ. of Chicago Symphony, Lindsay Wright

I. Psalm 108, vs. 2; Psalm 100

Urah, hanevel, v'chinor! Awake, psaltery and harp: A’irah shaḥar! I will rouse the dawn! Hari'u l'Adonai kol ha'aretz. Make a joyful noise unto the Lord all you lands. Iv'du et Adonai b'simḥa Serve the Lord with gladness. Bo'u l'fanav bir'nanah. Come before His presence with singing. D’u ki Adonai Hu Elohim. Know that the Lord, He is God. Hu asanu, v'lo anaḥnu. He made us, and we are His. Amo v'tson mar'ito. We are His people and the sheep of His pasture. Bo'u sh'arav b'todah, Come unto His gates with thanksgiving, Ḥatzeirotav bit'hilah, And into His courts with praise. Hodu lo, bar'chu sh'mo. Be thankful unto Him and bless His name. Ki tov Adonai, l'olam ḥas'do, For the Lord is good, His mercy everlasting V'ad dor vador emunato. And His truth endures to all generations.

II. Psalm 23; Psalm 2, vs.1-4 Adonai ro’i, lo eḥsar. The Lord is my shepherd, I shall not want. Bin'ot deshe yarbitseini, He makes me lie down in green pastures, Al mei m'nuḥot y'nahaleini, He leads me beside the still waters, Naf'shi y'shovev, He restores my soul, Yan'ḥeini b'ma'aglei tzedek, He leads me in the paths of righteousness, L'ma'an sh'mo. For His name's sake. Gam ki eilech Yea, though I walk B'gei tsalmavet, Through the valley of the shadow of death, Lo ira ra, I will fear no evil, Ki Atah imadi. For You are with me. Shiv't'cha umishan'techa Your rod and Your staff Hemah y'naḥamuni. They comfort me.

Lamah rag'shu goyim Why do the nations rage, Ul'umim yeh'gu rik? And the people imagine a vain thing? Yit'yatz'vu malchei eretz, The kings of the earth set themselves, V'roznim nos'du yaḥad And the rulers take counsel together Al Adonai v'al m'shiḥo. Against the Lord and against His anointed. N'natkah et mos'roteimo, Saying, let us break their bands asunder, V'nashlichah mimenu avoteimo. And cast away their cords from us. Yoshev bashamayim He that sits in the heavens Yis'ḥak, Adonai Shall laugh, and the Lord Yil'ag lamo! Shall have them in derision!

Ta'aroch l'fanai shulchan You prepare a table before me Neged tzor'rai In the presence of my enemies, Dishanta vashemen roshi You anoint my head with oil, Cosi r'vayah My cup runs over. Ach tov vaḥesed Surely goodness and mercy Yird'funi kol y'mei ḥayai Shall follow me all the days of my life, V'shav'ti b'veit Adonai And I will dwell in the house of the Lord L'orech yamim. Forever.

III. Psalm 131; Psalm 133, vs.1 Adonai, Adonai, Lord, Lord, Lo gavah libi, My heart is not haughty, V'lo ramu einai, Nor my eyes lofty, V'lo hilachti Neither do I exercise myself Big'dolot uv'niflaot In great matters or in things Mimeni. Too wonderful for me to understand. Im lo shiviti Surely I have calmed V'domam'ti, And quieted myself, Naf'shi k'gamul alei imo, As a child that is weaned of his mother, Kagamul alai naf'shi. My soul is even as a weaned child. Yaḥel Yis'rael el Adonai Let Israel hope in the Lord Me'atah v'ad olam. From now and forever. Hineh mah tov, Behold how good, Umah na'im, And how pleasant it is, Shevet aḥim For brethren to dwell Gam yaḥad Together in unity.

Verborgenheit (Seclusion) music: Hugo Wolf text: Eduard Mörike

Laß, o Welt, o laß mich sein! Oh, world, let me be! Locket nicht mit Liebesgaben, Entice me not with gifts of love. Laßt dies Herz alleine haben Let this heart in solitude have Seine Wonne, seine Pein! Your bliss, your pain!

Was ich traure, weiß ich nicht, What I mourn, I know not. Es ist unbekanntes Wehe; It is an unknown pain; Immerdar durch Tränen sehe Forever through tears shall I see Ich der Sonne liebes Licht. The sun's love-light.

Oft bin ich mir kaum bewußt, Often, I am scarcely conscious Und die helle Freude zücket And the bright joys break Durch die Schwere, so mich drücket, Through the pain, thus pressing Wonniglich in meiner Brust. Delightfully into my breast.

Laß, o Welt, o laß mich sein! Oh, world, let me be! Locket nicht mit Liebesgaben, Entice me not with gifts of love. Laßt dies Herz alleine haben Let this heart in solitude have Seine Wonne, seine Pein! Your bliss, your pain!

Notre Amour music: Gabriel Fauré text: Armand Silvestre

Notre amour est chose légère Our love is something light Comme les parfums que le vent like the perfumes which the breeze Prend aux cimes de la fougère brings from the tips of ferns Pour qu'on les respire en rêvant. for us to inhale as we dream. Notre amour est chose légère! Our love is something light.

Notre amour est chose charmante, Our love is something enchanting Comme les chansons du matin like the morning's songs Où nul regret ne se lamente, in which regrets are not heard Où vibre un espoir incertain. but uncertain hopes vibrate. Notre amour est chose charmante! Our love is something charming.

Notre amour est chose sacrée Our love is something sacred Comme les mystères des bois like the forests' mysteries Où tressaille une âme ignorée, in which an unknown soul quivers Où les silences ont des voix. and silences have voices. Notre amour est chose sacrée! Our love is something sacred!

Notre amour est chose infinie, Our love is something infinite Comme les chemins des couchants like the paths of the evening, Où la mer, aux cieux réunie, where the ocean, joined with the sky, S'endort sous les soleils penchants. falls asleep under slanting suns.

Notre amour est chose éternelle Our love is something eternal Comme tout ce qu'un dieu vainqueur like all that has been touched A touché du feu de son aile, by the fiery wing of a victorious god, Comme tout ce qui vient du coeur, like all that comes from the heart. Notre amour est chose éternelle! Our love is something eternal!

The lads in their hundreds music: George Butterworth text: A. E. Housman

Six Songs from A Shropshire Lad is a song cycle for baritone and piano composed in 1911. It consists of settings of six poems from A. E. Housman’s 1896 collection. The main theme is mortality, and so living life to its fullest, since death can strike at any time. The parallel is regularly made between the often gloomy and death-obsessed subject matter of 'A Shropshire Lad', written in the shadow of the Second Boer War, and Butterworth's subsequent death during the First World War. In particular, the song "The lads in their hundreds" tells of young men who leave their homeland to 'die in their glory and never be old'. Butterworth remains perhaps the most obvious case of "what if...?" that is left to us from the battlefields of northern France, and he joins the Frenchman Albéric Magnard, the Spaniard Enrique Granados, and the German Rudi Stephan as possibly the greatest loss to music from the First World War. He was killed in The Battle of the Somme in August, 1916.

The lads in their hundreds to Ludlow come in for the fair, There's men from the barn and the forge and the mill and the fold, The lads for the girls and the lads for the liquor are there, And there with the rest are the lads that will never be old.

There's chaps from the town and the field and the till and the cart, And many to count are the stalwart, and many the brave, And many the handsome of face and the handsome of heart, And few that will carry their looks or their truth to the grave.

I wish one could know them, I wish there were tokens to tell The fortunate fellows that now you can never discern; And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return.

But now you may stare as you like and there's nothing to scan; And brushing your elbow unguessed-at and not to be told They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old.

Thank you for joining us for this afternoon’s concert.

The Rev. Dr. D. Stuart Dunnan, Headmaster Linda Morgan Stowe, Chair of Fine Arts & Organist/Choir Director Christopher Betts, organist Emily Dickson, harp Sam Stilwell, percussion

Christopher Betts was born and educated in the United Kingdom. His first church music experience was as a boy chorister at the cathedral in his home city of Lichfield. His subsequent training included Organ Scholarships at Lichfield Cathedral; Magdalen College, Oxford University where he read music and received BA and MA degrees; and St. Alban’s Cathedral. He is a Fellow of the Royal College of Organists.

Following his time at Oxford, he served for a year as Guest Artist-in-Residence at First United Methodist Church, Lubbock, Texas, a 5,000-member church with strong associations in the English choral tradition. Returning to the U.K., he went on to became Assistant Master of the Music at Sheffield Cathedral, and then Director of Music at the Collegiate Church of St. Mary, Warwick, where as many as 24 girl choristers and 40 boy choristers participated in weekly choral services.

In 2001, he was invited to return to Lubbock to become Associate Director of Music and then Director of Music at First United Methodist Church, where he directed the 90-voice Chancel Choir, the Wesley Singers youth choir and the FUMC Festival Orchestra, managed the highly acclaimed FUMC Vesper Concert Series and directed the music for eleven music theater productions. During his time at FUMC, the Chancel Choir toured in Scotland, Norway, Italy and France, singing at St. Peter’s Basilica in Rome, and Notre Dame Cathedral in Paris.

In 2012, he moved with his family to Washington, DC to take up the position of Organist and Associate Director of Music at Washington National Cathedral. As one of the full time musicians on the cathedral staff, he played the organ for cathedral services, accompanied the cathedral choirs, directed the Cathedral Voices, coordinated guest choirs, and managed the organ recital series.

In September 2015, he became Director of Music at The Episcopal Church of the Redeemer, where he plays the organ, directs the Adult and Youth Choirs, coordinates the Music at Redeemer series, and oversees all musical activities of the church.

Chris is a busy choir director, organist, accompanist and teacher in the Washington, DC, area. An experienced choral arranger and composer, his anthem “Be still before the Lord” is published by Paraclete Press. In addition to working at The Church of the Redeemer, he is chapel organist at Episcopal High School in Alexandria, and a technical sales advisor for Solid State Organ Systems. He is married to Sunny, a native of Lubbock, TX. Their two children, Ben and Charlotte are students in high school.