Collegium Musicum 2012–13 Season Thursday 28 March 2013 498th Concert Dalton Center Recital Hall 7:30 p.m.

MATTHEW STEEL, Director Kimberly Dunn Adams, Associate Director Brendan Closz, Graduate Assistant Conductor “Music for Church, Chamber, and Theatre”

Giuseppe Torelli in for , Strings and Continuo 1658–1709 Laura Tribby and Collegium Players

Thomas Tallis If Ye love Me 1505–1585 Collegium Singers

Hans Leo Hassler Dixit Maria 1564–1612 Collegium Singers

Christopher Simpson Prelude in D Major from The Division 1605–1669 Kristin Benes

Johann Sebastian Bach Sonata Number 1 in G Major for da Gamba BWV 1027 1685–1750 I. Adagio II. Allegro ma non tanto Kristin Benes and Emily Solomon

William Billings Creation 1746–1800 Collegium Singers

William Billings Cobham Collegium Singers Anonymous The Dark Is My Delight (late 16th century) Ema Katrovas, Holly Quist, Brandon Pacheco, Heather Petcovic, and Mary Ross

Anonymous In Paradise (late 16th century) Laura Tribby and

Giovanni Coperario Fantasia for , Bass Viol and Organ c. 1575–1626 Brandon Pacheco, Mary Ross, and Emily Solomon

John Ward Ayre for Two Bass Viols and Organ 1571–1638 Brett Armstrong, Kristin Benes, and Emily Solomon

Sir Edward Elgar As Torrents in Summer 1857–1934 Collegium Singers

Lane Johnson Sweet Love Remembered b. 1958 Collegium Singers

William Hawley Vita de la vita mia b. 1950 Collegium Singers

Johann Sebastian Bach French Suite Number 4 in E-Flat Major BWV 815 I. Allemand II. III. IV. V. Air VI. Holly Quist

Antonio Vivaldi In exitu Israel 1678–1741 The Collegium

If the fire alarm sounds, please exit the building im m ediately. A ll other em ergencies will be indicated by spoken announcem ent within the seating area. The tornado safe area in Dalton Center is along the lockers in the brick hallway to your left as you exit to the lobby behind you. In any em ergency, walk— do not run— to the nearest exit. Please turn off all cell phones and other electronic devices during the perform ance. Because of legal issues, any video or audio recording of this perform ance is prohibited without prior consent from the School of M usic. Thank you for your cooperation. COLLEGIUM MUSICUM Singers Players Î+ Brendan Closz, coach and conductor Ï Brett Armstrong, Viol and Bethany Barroso Kristin Benes, Viol and Viola + Rory Closz Brandon Pacheco, Viol and Violin Eleni Gaves Heather Petcovic, Viol and Matthew Gehrls Holly Quist, and Recorder Ema Katrovas Mayra Quitzia, Violin Renee Macdonald Mary Ross, Viol Korbin Mulder + Emily Solomon, Organ and Harpsichord Nan Munn Matthew Steel, Viol Aimee Murdoch Laura Tribby, Trumpet Holly Quist David Sedlecky Assisted by Richa Shah Whitney Miller, Dulcian Giles Simmer Tyler Sone Î Audrey Davidson Scholar Laura Tribby Ï KSO/WMU Artist Scholar Michael Voyt + Member of Phi Mu Alpha Sinfonia music fraternity + Personnel and Business Manager for men

PROGRAM NOTES

Thomas Tallis was born in Kent, England where he musical language. received his early music training. His first music appointment was in 1530 when he worked as the organ The German organist Hans Leo Hassler is considered master for a Benedictine priory in Dover. In 1543 he with Orlando di Lasso to be one of the greatest of the was elevated to the English Chapel Royal as a German Renaissance . Following the death of Gentleman and his duties included providing music for his teacher, in 1585, Hassler moved to the English court. Over Tallis’ long life, he worked in the Nuremburg to take up the post of chamber organist for courts of four different monarchs: Henry VIII, Edward VI, a wealthy merchant. He also worked as the town piper Mary Tudor, and Elizabeth I. During this time the and the city’s music director. In 1608 Hassler took a religion of the Monarch dictated the country’s religion. post as Chapel Master for a court in Saxony, which he Accordingly, Tallis would master the music of both the held until his death from tuberculosis just four years Anglican and Catholic churches depending on the later. Hassler’s compositions included 120 Latin , current monarch. Following a series of decrees from nine masses, 95 German motets, and 60 German lieder Edward VI, Tallis became the first person to compose making him a prolific . His music alternates sacred church music in English. During the reign of between homophony and that develop in an Elizabeth I, Tallis was awarded the first-ever license to intelligent and harmonically logical way. publish music in England. Dixit Maria is one of Hassler’s best know works. The If Ye Love Me was composed during the reign of was so well loved it was used as the musical Edward VI and demonstrates the reforms put into place subject for a parody mass. The musical style is by the monarch. The king made a decree that music for influenced by the Italian Renaissance in the use of the Church of England be written in a succinct style flowing, independent voices. Hassler alternates between without the melismatic passages heard in the Catholic contrapuntal and homophonic part writing. This piece Mass. To this end, Tallis wrote the music largely in a demonstrates the composer’s mastery of voice homophonic style with short passages of imitative composition as he seamlessly weaves individual lines returning once again to homophony. This is together, gathering the lines in order to emphasize the one of Tallis’ best-loved works, as it demonstrates the importance of the text being set. composer’s mastery of text setting in a straightforward A violinist by training, studied under his signature throughout the composition. The conclusion of father and sometimes substituted for him as the principal the piece unifies the voices out of a contrapuntal setting violinist for St. Mark’s Cathedral in . While for a stark conclusion on the words “strange that a harp trained on violin, Vivaldi did not pursue music as his of thousand strings should keep in tune so long.” In profession initially, choosing to take on the priesthood Cobham we hear Billings writing in a much simpler instead. In seminary, his red hair soon earned him the homophonic style, using harmonic structure to nickname of “The Red Priest.” In 1703, after having emphasize the somewhat dour and fatalistic text. The attained the priesthood, Vivaldi was awarded the post title may refer to the town of the same name in England, of Master of Violin at a girl’s orphanage, Ospedale as is typical for many of Billings’ hymns. della Pieta’ in Venice. He would remain at the orphanage for the remainder of his career eventually Sir Edward Elgar began his career as concertmaster for moving to the rank of maestro di cappella in 1735. two orchestras in Worcester, England in his early Vivaldi was often away from Venice, traveling the twenties. In 1890, seeking a more musically rich continent as both pupil and teacher. He is primarily environment, he moved to London where he spent his known for his orchestra works; however, he time composing. Elgar began composing for voice later also wrote as many as 94 , though only 50 in his career, premiering his first major vocal works, the remain to us today. The black Knight and the oratorio The Light of Life, in 1896. After a slow start to his compositional In exitu Israel is a setting of Psalm 114 written for SATB career, by the early 20th century Elgar had achieved choir, strings and continuo. This fast paced work shows some measure of fame. He was knighted in 1904 and off Vivaldi’s mastery of both string and chorus writing. he continued to gain fame for the remainder of his This single movement work weaves voice and strings career. His works include four oratorios, eight , seamlessly together, sometimes doubling one another, at fifteen Latin motets, five anthems, and thirty-five part other times complimenting each other with independent songs. He was one of the earliest adopters of recording lines. The most significant textual passages are often technology, spending the final years of his life recording brought out by uniting voices and instruments in total his works until his death from cancer at the age of 76. unison, having the effect of making the text leap off the page. “As Torrents in Summer” is taken from the secular cantata Scenes from the Saga of King Olaf. It features One of the first prominent American composers, beautiful harmonic writing using the chromaticism Elgar William Billings was a self-taught musician, in a truly gleaned from influences such as Wagner and independent American style. He worked as a tanner Saint-Saëns. This setting evokes a strong sense of throughout his life, but music was his true vocation. He spirituality through nature, despite the piece’s secular wrote several treatises on musical philosophy, text, a standard trait in many of Elgar’s works. performance practice, and music fundamentals. During his life he published six collections of works the last of The American composer Lane Johnson studied which, Continental Harmony, today’s selections are composition and theory at Brigham Young University. drawn from. Billings was associated with the Revolution He teaches junior and senior high school in Utah. His and as well as with important members thereof including music has been performed across the country and by John Adams and Paul Revere. A somewhat brash man, choirs of all skill levels and training. He primarily writes he was once described by a contemporary as having for voice and tends to write on spiritual topics. “an uncommon negligence of person.” He was blind in one eye, one leg was noticeably shorter than the other, Sweet Love Remembered is a beautiful setting of and was known for using snuff. Billings personified a Shakespeare’s Sonnet 29. Johnson uses chromaticism fledgling America in both his raw personality and his and dynamic contrast bringing to life the passionate somewhat unrefined compositional style. lyrics that Shakespeare wrote. Johnson’s use of the major second throughout the piece keeps the listener on Creation is typical of Billings musical style in that it edge, constantly waiting for resolutions that sometimes opens with a homophonic texture where all voices sing do not come. The piece builds dissonance upon together in a compound meter. The piece alternates dissonance, echoing Shakespeare’s prose until the true between compound and simple meter closing with a meaning of the sonnet comes to light at which point climactic fugal ending with melismatic sections Johnson dowses the listener in a shower of consonant reminiscent of . Billings shows off his harmonies, which again reflect the text perfectly through understanding of meter by continually altering the time his use of text painting. William Hawley was born in Bronxville, New York into focusing on the art of playing viol and how to make a the family of an English poet and professor. He received division on a ground bass. A ground bass being a his Bachelor and Master degrees respectively from structural musical line that is repeated continuously Ithaca College and the California Institute of the Arts. serving as a foundation for a musical piece, a division is His music is composed in an individual style with strong simply improvisatory ornamentation played upon a harmonic influences from the late Romantics. ground bass line, similar to a jazz solo played over a modern day 12-bar blues form. Simpson mused that “a In Vita de la mia vita Hawley sets a Renaissance text by viol in the hands of an excellent violist may (no doubt) the poet Torquato Tasso (1544–1595). The opening be reckon’d amongst the best of musical instruments. To motive builds on the major seconds with the text, “life of play extempore to a ground is the highest perfection of my life” until the soprano entrance in the fourth bar it.” where he demonstrates the fluttering giddiness of the new love with a downward sixteenth-note motive that he Johann Sebastian Bach wrote three viola da gamba passes around the top three voices. This motive is sonatas (as well as several chamber pieces specific only to these three bars, although Hawley uses incorporating gamba) that embody a high level of the dissonances of the major second several times musicality and playing technique. Thought to be throughout the piece. The composer reflects the texts originally composed for Bach’s dear friend and long using a compositional device known as text painting. time employer Prince Leopold of Anhalt-Köthen around Nowhere is this idea more clear than in the final four 1720, there is some speculation that the sonatas may measures of the piece where the line, “softly you have been written later in the mid-1730s for Bach’s consume and melt me” is echoed in the part writing as student Carl Friedrich Abel, who was a virtuosic violist Hawley moves all the voices to their low registers and and would eventually go on to write some of the most writes a decrescendo giving the listener the impression challenging contrapuntal and technical solo viol music of fading or melting away. ever. —Brendan Closz —Kristin Benes

John Ward was a chorister at Canterbury Cathedral. Bach wrote six suites for harpsichord that are today Most of his compositions are or viol pieces, identified as his “French” contribution to the genre. Five, the latter with settings for two to six viols. The many 17th including today’s work, appear in his Clavierbüchlein century sources for these pieces attest to their popularity. and would have been completed by 1724. Bach never With time, some of Ward’s renown has faded. labeled them as “French,” which is a title given them by later biographers. In fact, they are more in the Italian Giuseppe Torelli was a violinist from , Italy. As style than the French, based on their approach to an instrumental composer, he helped develop the ornamentation, harmony and form. sonata, and classical concerto forms. Torelli’s interest in the trumpet may have been inspired The Anonymous works on today’s program come from a by Giovanni Pelligrino Brandi, an exceptional trumpeter vast repertoire of late Renaissance English consort he met in . songs, i.e. solo voice accompanied by da gamba. This was bourgeois entertainment in which everyone Giovanni Coperario was born , but participated. Some songs are downright silly, often Italianized his name after studying there. At the time the suggesting ribaldry (our first selection), while others English found all things Italian to be fashionable. express loftier literary tendencies such as the flower Although he worked for many nobles, his chief patron imagery of In Paradise. was Cecil, Earl of Salisbury. Besides composing he also –Matthew Steel penned a treatise entitled Rules How to Compose, which continued to be influential nearly a century later. Coperario helped develop the fantasia-suite genre, featuring one or two , a bass viol, and the organ to which he gave an essential role. —Emily Solomon

Christopher Simpson is an essential staple in English viol music. He published an instructional book first in 1659 and then later published a second edition in 1665 TEXTS

If Ye Love Me I give my mortal interest up, If ye love me, And make my God my all. keep my commandments, and I will pray the Father, The Dark Is My Delight and he shall give you another comforter, The dark is my delight, that he may 'bide with you forever, So is the nightingale’s. e'en the spirit of truth My music’s in the night, So is the nightingale’s.

Dixit Maria My body is but little, but little, Mary said to the Angel: So is the nightingale’s. Behold, I am the handmaid of the Lord, I love to sleep against the prickle, let it be done to me, according to your word. So does the nightingale.

Creation In Paradise When I with pleasing wonder stand In paradise of late a dame begun And all my frame survey To peep out of her bed with such a grace Lord, 'tis thy work, I own thy hand As matched the rising of the morning sun Thus built my humble clay With drops of honey falling from her face Our life contains a thousand springs, Brighter than Cynthia’s fiery painted beams And dies if one be gone. Or icy crust of crystal’s glist’ning gleams. Strange that a harp of thousand strings Should keep in tune so long. Her Locks fair amber twisted up in gold, Passing the pride and riches of the East, Cobham With curious knots were into trammels roll’d, Teach me the measure of my days, A snarling netting for a wand’ring guest: Thou Maker of my frame; These things did her with a quaint disdain, I would survey life’s narrow space, Like Juno bright in pomp of spotted train. And learn how frail I am. As Torrents in Summer A span is all that we can boast, As torrents in summer, Half dried in their channels, An inch or two of time; Suddenly rise, tho' the sky is still cloudlesss. Man is but vanity and dust For rain has been falling. In all his flower and prime. Far off at their fountains;

See the vain race of mortals move So hearts that are fainting Grow full to o'erflowing, Like shadows o’er the plain; And they that behold it, Marvel, and know not They rage and strive, desire and love, That God at their fountains But all the noise is vain. Far off has been raining!

Some walk in honor’s gaudy show, Vita de la mia vita Some dig for golden ore; You are to me like a pallid olive They toil for heirs, they know not who, Or faded rose; And straight are seen no more. Nor are you deprived of beauty, But in every way you please me, What should I wish or wait for, then, Whether you flatter or shun, From creatures earth and dust? And whether you follow me or flee, They make our expectations vain, Softly you consume and melt me. And disappoint our trust. Sweet Love Remembered Now I forbid my carnal hope, When, in disgrace with fortune and men's eyes, My fond desires recall; I all alone beweep my outcast state And trouble deaf heaven with my bootless cries The heaven of heaven is the Lord's: but the earth he has And look upon myself and curse my fate, given to the children of men. Wishing me like to one more rich in hope, The dead shall not praise thee, O Lord: nor any of them Featured like him, like him with friends possess'd, that go down to hell. Desiring this man's art and that man's scope, But we that live bless the Lord: from this time now and With what I most enjoy contented least; for ever. Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings.

In exitu Israel (Psalm 113) When Israel went out of Egypt, the house of Jacob from a barbarous people: Judea made his sanctuary, Israel his dominion. The sea saw and fled: Jordan was turned back. The mountains skipped like rams, and the hills like the lambs of the flock. At the presence of the Lord the earth was moved, at the presence of the God of Jacob: Who turned the rock into pools of water, and the stony hill into fountains of waters. Not to us, O Lord, not to us; but to thy name give glory. For thy mercy, and for thy truth's sake: lest the gentiles should say: Where is their God? But our God is in heaven: he hath done all things whatsoever he would. The idols of the gentiles are silver and gold, the works of the hands of men. They have mouths and speak not: they have eyes and see not. They have ears and hear not: they have noses and smell not. They have hands and feel not: they have feet and walk not: neither shall they cry out through their throat. Let them that make them become like unto them: and all such as trust in them. The house of Israel hath hoped in the Lord: he is their helper and their protector. The house of Aaron hath hoped in the Lord: he is their helper and their protector. They that fear the Lord hath hoped in the Lord: he is their helper and their protector. The Lord hath been mindful of us, and hath blessed us. He hath blessed the house of Israel: he hath blessed the house of Aaron. He hath blessed all that fear the Lord, both little and great. May the Lord add blessings upon you: upon you, and upon your children. Blessed be you of the Lord, who made heaven and earth.