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Saint James School in Concert Sunday, Feb. 26, 4:00 Pm St. John's

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Saint James School in Concert Sunday, Feb. 26, 4:00 Pm St. John's 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 Psalms 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, baritone Notre Amour Gabriel Fauré (1845-1924) Casey Kwon ‘18, soprano 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 Exeter Cathedral 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 Organ Scholar, his teachers included David Willcocks, George Guest and John Rutter (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 Requiem. 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 alto) 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.
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