Texts and Translations

Stopping By Woods on a Snowy Evening To the Townspeople of Amherst, Massachusetts (1759-1959) Recorded on 10/22/1993

Whose woods these are I think I know. He gives his harness bells a shake His house is in the village, though; To ask if there’s some mistake. He will not see me stopping here The only other sound’s the sweep To watch his woods fill up with snow. Of easy wind and downy flake.

My little horse must think it’s queer The woods are lovely, dark, and deep, To stop without a farmhouse near But I have promises to keep, Between the woods and frozen lake And miles to go before I sleep, The darkest evening of the year. And miles to go before I sleep. (Text by Robert Frost, 1874 – 1963)

The Pasture To the Townspeople of Amherst, Massachusetts (1759-1959) Recorded on 3/11/2004

I’m going out to clean the pasture spring; I’m going out to fetch the little calf I’ll only stop to rake the leaves away That’s standing by the mother. It’s so young, (And wait to watch the water clear, I may): It totters when she licks it with her tongue. I sha’n’t be gone long. You come too. I sha’n’t be gone long. You come too. (Text by Robert Frost, 1874 - 1963)

A Walt Whitman Sampler Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor Recorded on 4/06/2001

Plough through See now Woo free Cry glee Grow claw Die high Bow low True be (Text by Will Graham) Flee shy Throw glow Try fray Know flow Nunc Dimittis Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor, for the 125th anniversary of its founding; Recorded on 5/06/2000 And, behold, there was a man in Jerusalem, waiting for the consolation of Israel: whose name was Simeon; and the Holy Ghost was upon him. and the same man was just and devout, And it was revealed unto him by the Holy Ghost, that he should not see death, And Joseph and his mother marvelled at those things before he had seen the Lord’s Christ. which were spoken of him. And he came by the Spirit into the temple: And Simeon blessed them, and when the parents brought in the child Jesus, and said unto Mary his mother, to do for him after the custom of the law, Behold, this child is set for the fall and rising again of Then took he him up in his arms, many in Israel; and blessed God, and said, and for a sign which shall be spoken against; Lord, now lettest thy servant depart in peace, (Yea, a sword shall pierce through thy own soul also,) according to thy word: that the thoughts of many hearts may be revealed. For mine eyes have seen thy salvation, Which thou hast prepared before the face of all (Luke 2:25-35, KJV) people; a light to lighten the Gentiles, and the glory of thy people Israel.

Almighty Father

Almighty Father, incline Thine ear: And fill with grace Bless us and all those who have gathered here. All who dwell in this place. Thine angel send us Amen. Who shall defend us all. (Text by Stephen Schwartz and )

Dulcis Amor - “Ad amicum absentem suspiria” Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor Recorded in 2004 at Mission Dolores, San Francisco Dulcis amor lacrimis absentem plangit amicum Sweet love weeps tears for absent love, quem longinqua negat terra videre oculis. Long distant land denies my eyes sight of him. Rara fides hominum caros effecit amicos, Rare the faithfulness among men which creates dear friends milia multa cient, pectore solus erit. Innumerable those who cry, the heart remains alone. Argento melior, fulvo pretiosior auro, Better than silver, more precious than yellow gold, omnibus et gazis clarior iste nitet, All this and royal treasure are nothing compared to this one quem cupit et quaerit mentis sibi tota voluntas Who is coveted and sought for by the heart with its whole desiring ut habeat, teneat, diligat atque colat. So that it may have, hold, esteem, and care for him. Iste eris ecce mihi magno coniunctus amore, This is therefore my great bond of love, tu requies mentis, tu mihi dulcis amor. You are the quiet of the heart, you my sweet love. Te deus aeterno conservat tempore semper, May God protect you through all time; tu me memor semper ubique vale. Remember me always wheresoever you go, farewell.

(Text by Alcuin, c. 735-804) Shall I Compare Thee? Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor Recorded on 4/26/2003 at Mt. Holyoke College Shall I compare thee to a Summer’s day? But thy eternal Summer shall not fade Thou art more lovely and more temperate: Nor lose possession of that fair thou owest; Rough winds do shake the darling buds of May, Nor shall Death brag thou wanderest in his shade, And Summer’s lease hath all too short a date: When in eternal lines to time thou growest:

Sometime too hot the eye of heaven shines, So long as men can breathe, or eyes can see, And oft’ is his gold complexion dimm’d; So long lives this, and this gives life to thee. And every fair from fair sometime declines, By chance or nature’s changing course untrimm’d: (Text by William Shakespeare, Sonnet #18)

Psaume 121 (Psalm 121) Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Archibald T. Davison, conductor Je me suis fondu de joie ences choses qui m’ont été I was glad when they said unto me, dites: Let us go into the house of the Lord. Nous irons dans la maison du Seigneur nos pieds Our feet shall stand within thy gates, O Jerusalem. se sont trop atardés en ces lieux qui te précédent Jerusalem is builded as a city that is compact together: Jérusalem. Whither the tribes go up, the tribes of the Lord, Jérusalem qui est édifiée comme une ville don’t unto the testimony of Israel, la participation est en elle même c’est là que sont to give thanks unto the name of the Lord. montées les tribus en triomphe les tribus du Seigneur For there are set thrones of judgment, the thrones of the ont monté house of David. Célébration qui est Israel pour rendre témoignage au Pray for the peace of Jerusalem: Seigneur. they shall prosper that love thee. Là ces trônes en une grande assise au dessus de la de Peace be within thy walls, meure de David. and prosperity within thy palaces. Qui votre priére soit la paix qu’il y a dans Jérusalem! For my brethren and companions’ sakes, I will now say, Et l’abondance à ceux qui l’aiment! Peace be within thee. Que la paix soit dans ta vertu et l’abondance dans la Because of the house of the Lord our God I will seek thy couronne de tes tours. good. A cause de tes frères et de tous ceux qui m’approchent je parlais de toi, Pacifique. (Psalm 121, text translated by Paul Claudel) A cause de la demeure du Seigneur votre Dieu j’ai cherché le bonheur en Toi.

Ave Dulcissima Maria Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor, for the 150th anniversary of its founding; Recorded on 11/19/2004 Ave, dulcissima Maria Hail, sweetest Mary, vera spes et vita, true hope and life, dulce refrigerium! sweet refreshment! O Maria, flos viginum, O Mary, flower of all virgins, ora, pro nobis, Jesum, O Maria. pray for us to Christ, O Mary.

Alleluia. Amen. Alleluia. Amen.

The Oxen Recorded at the Church of the Advent Christmas Eve, and twelve of the clock. We pictured the meek mild creatures where “Now they are all on their knees,” They dwelt in their strawy pen, An elder said as we sat in a flock Nor did it occur to one of us there By the embers in hearthside ease. To doubt they were kneeling then. So fair a fancy few would weave Our childhood used to know,” In these years! Yet, I feel, I should go with him in the gloom, If someone said on Christmas Eve, Hoping it might be so. “Come; see the oxen kneel (Text by Thomas Hardy, 1840 – 1928) “In the lonely barton by yonder coomb

The Sea Is Awash with Roses Recorded on 5/06/2000 The sea is awash with roses O they blow O love, it is so little we know of pleasure Upon the land Pleasure that lasts as the snow The still hills fill with their scent But the sea is awash with roses O they blow O the hills flow on their sweetness Upon the land As on God’s hand (Text by Kenneth Patchen)

Quis multa gracilis

Quis multa gracilis te puer in rosa What slender youth, besprinkled with perfume, perfusus liquidis urget odoribus Courts you on roses in some grotto’s shade? grato, Pyrrha, sub antro? Fair Pyrrha, say, for whom cui flauam religas comam, Your yellow hair you braid, simplex munditiis? Heu quotiens fidem So trim, so simple! Ah! how oft shall he mutatosque deos flebit et aspera Lament that faith can fail, that gods can change, nigris aequora uentis Viewing the rough black sea emirabitur insolens, With eyes to tempests strange, qui nunc te fruitur credulus aurea, Who now is basking in your golden smile, qui semper uacuam, semper amabilem And dreams of you still fancy-free, still kind, sperat, nescius aurae Poor fool, nor knows the guile fallacis. Miseri, quibus Of the deceitful wind! intemptata nites. Me tabula sacer Woe to the eyes you dazzle without cloud uotiua paries indicat uuida Untried! For me, they show in yonder fane suspendisse potenti My dripping garments, vow’d uestimenta maris deo. To Him who curbs the main. (From the Fives Odes by Quintus Horatius Flaccus) Pretty Little Horses Recorded on 6/06/1993 Hush you by, Go to sleepy little baby, Don’t you cry, When you wake, Go to sleepy little baby. You’ll have your cake, When you wake, and all the pretty little horses. You shall have, A brown and a gray and a black and a bay and a All the pretty little horses. Coach and six-a little horses. Blacks and bays, A brown and a bay and a Dapples and grays, Coach and six-a little horses, Coach and six-a litte horses. and six-a little horses. Blacks and bays, Hush you bye, Dapples and grays, Don’t you cry, Coach and six-a little horses. Oh you pretty little baby. Hush you bye, Oh you pretty little baby. Don’t you cry, (Arrangement by Raymond Wilding-White, 1922 – 2001) Little Man Recorded in 2000 Little man who have failed (in a hurry who have cried) full of an lie bravely down important worry) halt stop forget relax sleep wait big rain big snow (little child big sun who have tried big moon (enter us) (Text by e.e. cummings) Cantantes Eamus Commissioned by the Harvard Glee Club Foundation for the Harvard Glee Club, Jameson N. Marvin, conductor, for the 125th anniversary of its founding; Recorded on 3/18/1983 Cantantes licet usque eamus. Let us go forth singing. Cantantes licet, licet usque eamus, (Text by P. Virgilius Maro, 70 – 19 B.C., from Eclogue IX) eamus (minus via laedet.) Cantantes licet usque eamus, Cantantes eamus, eamus cantantes, cantantes.

Jerboa Composed for the Harvard Glee Club, G. Wallace Woodworth, conductor, for the 100th anniversary of its founding Recorded on 9/04/1986 Jaculus jaculus, Small kangaroo, Nothing miraculous: But not for the zoo. Rat of a sort, Hard now to class him: Front legs too short, Mind if we pass him? Hind legs too long; (Verse by David McCord, 1897 – 1997) All rather wrong. Clam (or Whoose Oooze) Composed for the Harvard Glee Club, G. Wallace Woodworth, conductor, for the 100th anniversary of its founding Recorded on 9/04/1986 There’s always the clam: I did what he does, He’s not what I am, He is what I was. I’m not what he is. I got ahead, Gee whiz – He stayed in bed. Not mentally! I made the break, But incidentally, He the mistake. Damme, So I don’t give a damn I come from the clammy For the clam! Cold sea I’m choosy: Same as he. He’s oozy. My chassis is classic, (Verse by David McCord, 1897 – 1997) His is Jurassic.

Lowlands

Lowlands, lowlands, away, my John, Lowlands, lowlands, away, my John. O, my old mother, she wrote to me, All in the night, my true love came, My dollar and a half a day. My dollar and a half a day. She wrote to me to come home from sea. She came to me all in my sleep, A dollar a day is a Hoosier’s pay, Lowlands, lowlands, away, my John. Lowlands, lowlands, away, my John. She came to me all in my sleep, All in the night, my true love came, My dollar and a half a day. And then I knew my love was dead, Lowlands, lowlands, away, my John, Lowlands, lowlands, away, my John. My dollar and a half a day. And then I knew my love was dead, My dollar and a half a day. (American Sea Shanty)

Gentle Annie

Thou wilt come no more, Gentle Annie. Near the silent spot where thou art laid, Like a flow’r, thy spirit did depart; And my heart bows down when I wander Thou art gone alas! like the many By the streams and the meadows where we strayed. That have bloom’d in the summer of my heart. Shall we nevermore behold thee, Shall we nevermore behold thee, Nevere hear thy winning voice again, Never hear thy winning voice again, When the springtime comes, Gentle Annie, When the springtime comes, Gentle Annie, When the wild flow’rs are scatter’d o’er the plain. When the wild flowr’s are scatter’d o’er the plain. Ah! the hours grow sad while I ponder, All Through the Night Arranged by Jameson Marvin for the Harvard Glee Club, 2007 Recorded on 11/17/2006 Sleep my child and peace attend thee, Soft the drowsy hours are creeping, All through the night Hill and vale in slumber steeping, Guardian angels God will send thee, I my loving vigil keeping All through the night All through the night. Soft the drowsy hours are creeping Hill and vale in slumber steeping, Sleep my child and peace attend thee, I my loving vigil keeping All through the night All through the night. Guardian angels God will send thee, All through the night While the moon her watch is keeping Soft the drowsy hours are creeping All through the night Hill and vale in slumber steeping, While the weary world is sleeping I my loving vigil keeping All through the night All through the night. (Text attributed to H. Boulton)

H A R V A R D G l e e C l u b The sixty-voice Harvard Glee Club is Harvard’s internationally celebrated men’s chorus and the oldest college chorus in America. March 2008 will mark the 150th anniversary of the Harvard Glee Club, which was founded by students in 1858 to sing college songs and glees. It was not until 1912, under the dynamic leadership of Dr. Archibald T. Davison, that the Glee Club developed a repertoire of distinction and gained a national reputation. Throughout its distinguished history, the Glee Club has drawn its repertoire from six centuries and has demonstrated particular expertise in the performance of contemporary American music, sacred repertory of the Renaissance, Eastern European music, and folk songs of the world. Summer tours of North America (1954, ’64, ’78), Asia (’61, ’67, ’82, ’93), Europe (’21, ’56, ’73, ’87, ‘05), Australia (’98), and Scandinavia (2002); eighty-five annual spring tours within the United States; and fifty years of collaboration with the Symphony Orchestra illustrate the quality of the Glee Club’s remarkable tradition. The Glee Club has had five conductors during the past century: Archibald T. Davison, G. Wallace Woodworth, Elliot Forbes, F. John Adams, and Jameson Marvin. Under the direction of Jameson Marvin since 1978, the Harvard Glee Club has enhanced its reputation as one of America’s premier collegiate choruses. Performances at five National Conventions of the American Choral Directors Association, six international tours, concerts with Erich Leinsdorf and Marilyn Horne in Lincoln Center and Symphony Hall (Boston), memorial concerts for Aaron Copland and , and an appearance at the prestigious Kennedy Center Honors are among the many achievements of the past thirty years. Many of the foremost composers of the twentieth century have penned works for the Harvard Glee Club, including , , , , and . Since 1978, the Glee Club has commissioned new works for male chorus by Toru Takemitsu, , and Virgil Thomson, and has commissioned a series of men’s choral pieces, including works by Sir John Tavener, Morten Lauridsen, Stephen Paulus, Carol Barnett, Steven Sametz, Paul Moravec, and Dominick Argento leading up to its 150th anniversary in 2008. Over the past twenty years, the ensemble has released seven new recordings, hosted twelve Men’s Chorus Festivals, and performed major symphonic-choral works for men’s chorus to critical acclaim: Stravinsky’s , Schoenberg’s Survivor from Warsaw, Brahms’s Alto Rhapsody, and Dominick Argento’s The Revelation of Saint John the Divine.

Jameson Marvin, Conductor Jameson Marvin is Director of Choral Activities and Senior Lecturer on Music at . He conducts the , the Harvard-Radcliffe Collegium Musicum, and the Harvard Glee Club. Under his direction since 1978, these ensembles have risen to be among the premier collegiate choruses in the United States. Dr. Marvin has expanded a choral environment rich enough to attract thousands of students over the past thirty years, from the beginning singer to the advanced musician. Over the course of his career, Dr. Marvin has conducted some eighty symphonic-choral works. His mastery of the choral art is reflected by his distinguished national reputation as a conductor, teacher, author, performance scholar, editor, arranger, and composer. Dr. Marvin received a BA in Music Theory/History and Composition from the University of California, Santa Barbara, an MA in Choral Conducting and Early Music Performance from Stan- ford University, and a DMA degree in Choral Music from the University of Illinois. The Boston Globe calls Dr. Marvin “a musician of consummate mastery.”

Choral Music at Harvard University

Today there are over 500 students singing in choral ensembles at Harvard. Seven faculty directed choruses are part of a collegiate environment that includes six orchestras, five bands, and some thirty-five vocal and instrumental chamber ensembles. Nearly -300 stu dents sing with sixty student-led operatic and theatrical productions per year, numer- ous chamber and madrigal societies, and various close-harmony ensembles. Choral singers are drawn from the diverse array of undergraduate and graduate disciplines at Harvard. Almost all of the singers are headed for non-musical professions, although many are talented and experienced musicians. Each fall, about 180 men and 240 women audition for the faculty-directed choruses. All auditionees are accepted into at least one chorus. A good ear, a voice with reasonable amplitude and accuracy, and some ability to sight-read form the composite criteria for acceptance into one or more of the select ensembles. Prior secondary-school choral experience is quite beneficial, but not required; many students with only previous instrumental experience are accepted to sing. Over the past twenty years, there has been a 300% increase in the number of arts organizations at Harvard, and today our choral ensembles are but a small part of the panorama of musical offerings.

Conductor: Jameson N. Marvin Associate Conductor: Kevin Leong * Assistant Conductor: Michael McGaghie

Recording Engineers: Tom Stephenson and Bruce Humphrey Digital Mastering: Tom Stephenson of Emmanuel Audio Recording CD Manufacturing and Printing: Susan Bush of Albany Records Design: Alan H. Baik ‘08

Produced by Walker C. Stanvosky ‘07

All live recordings from Sanders Theatre, Harvard University, unless otherwise noted. * Conductor of the following pieces: Shall I Compare Thee?, The Oxen, and The Sea Is Awash with Roses

The production of this compact disc has been made possible by a grant from the Harvard Glee Club Foundation.

Contact the Harvard Glee Club: Mail: Harvard University Cambridge, MA 02138

Phone: (617) 495-5730 Fax: (617) 496-5166 E-mail: [email protected] Web: www.harvardgleeclub.org Other Available Recordings featuring the Harvard Glee Club

Long Way From Home: A Collection of Songs from Around the World Released: 2002

Christmas with the Harvard Glee Club Released: 1998

The Archive Collection: Vol. 1 Released: 1993

Tour of East Asia Released: 1993

Music of the Past and Present Released: 1992 American Choral Music for Male Chorus presented by the Harvard Glee Club Jameson Marvin, Conductor 1. Stopping By Woods On A Snowy Evening (1959) Randall Thompson (1899–1984) from Frostiana 2. The Pasture (1959) Randall Thompson (1899–1984) from Frostiana 3. A Walt Whitman Sampler (2000) Charles Fussell (b. 1938) 4. Nunc Dimittis (1980) John Harbison (b. 1938) 5. Almighty Father (1971) Leonard Bernstein (1918–1990) from Chorale from Mass, 1971 arr. Daryl Millard 6. Dulcis Amor (2003) Steven Sametz (b. 1953) 7. Shall I Compare Thee? (2002) Stephen Paulus (b. 1949) 8. Psaume 121 - Psalm 121 (1921) Darius Milhaud (1892–1974) 9. Ave Dulcissima Maria (2004) Morten Lauridsen (b. 1943) 10. The Oxen - To the Meads (1986) Rodney Lister (b. 1951) 11. The Sea is Awash With Roses (2000) Chris Trapani (b. 1980) 12. Quis multa gracilis (1932) Randall Thompson (1899–1984) 13. Pretty Little Horses (1965) Aaron Copland (1900–1990) Lullaby from the American South arr. Raymond Wilding-White 14. Little Man (1999) Kirstina Rassmusen (b. 1977) 15. Cantantes Eamus (1982) Virgil Thomson (1896–1989) 16. McCord’s Menagerie - Four Vivariations for Male Voices (1957) Irving Fine (1914–1962) II. Jerboa 17. McCord’s Menagerie - Four Vivariations for Male Voices (1957) Irving Fine (1914–1962) IV. Clam (or Whose Ooze) 18. Lowlands (1963) American Sea Shanty arr. Alice Parker & Robert Shaw 19. Gentle Annie (1960) Stephen Foster (1826–1864) arr. Alice Parker & Robert Shaw 20. All Through the Night (2006) Welsh Folksong, Ar Hyd y Nos arr. Jameson Marvin TROY991

2007