UGA Symphony and Choral Ensembles UGA Symphony Orchestra and Choral Ensembles Program

Thursday, April 20 2017 • 8:00 p.m. Elgar Variations on an Original Theme, Enigma, Op. 36 Theme. Andante The University of Georgia Symphony Orchestra Variation I. L’istesso tempo, C.A.E. Variation II. Allegro, H.D.S.P. conductorMark Cedel Variation III. Allegretto, R.B.T. assistant conductorClaudine Gamache Variation IV. Allegro di molto, W.M.B. Variation V. Moderato, R.P.A. Variation VI. Andantino, Ysobel The University of Georgia Chorus Variation VII. Presto, Troyte conductorJ.D. Burnett Variation VIII. Allegretto, W.N. Variation IX. Adagio, Nimrod assistant conductorsChristopher Mason and Philip Reed Variation X. Intermezzo: Allegretto, Dorabella Variation XI. Allegro di molto, G.R.S. The University of Georgia Hodgson Singers Variation XII. Andante, B.G.N. Variation XIII. Romanza: Moderato, * * * conductorDaniel Bara Variation XIV. Finale: Allegro Presto, E.D.U. assistant conductorsLauren Whitham and Lee Wright Mark Cedel, Conductor INTERMISSION The University of Georgia Men’s Glee Club Mozart Requiem in D Minor, K. 626 conductorJ.D. Burnett Introitus/Requiem aeternam Kyrie assistant conductorChristopher Mason Dies irae Tuba mirum The University of Georgia Women’s Glee Club Rex tremendae Recordare conductorJ.D. Burnett Confutatis Lacrimosa assistant conductorLauren Whitham Domine Jesu Hostias sopranoStephanie Tingler Sanctus Elizabeth Johnson Knight Benedictus mezzo-soprano Agnus Dei tenorGregory S. Broughton Lux aeterna/Cum sanctis tuis baritoneFrederick Burchinal J.D. Burnett, Conductor

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composer of international stature in two Dora Penny (herself a “variation” named Program Notes centuries – and her death, which oc- “Dorabella”) was probably the first person curred fourteen years before his own, he was outside the Elgar household to learn the se- By Steven Ledbetter never able to complete another large work. cret of the variations.

Edward Elgar (1857-1934) Until he was forty Elgar remained a purely After completing the orchestration, be- local celebrity. Shortly after the premiere of tween February 5 and 19, 1899, Elgar sent Variations on an Original his cantata Caractacus at the Leeds Festival the score off to Hans Richter, and waited Theme, Enigma, Op. 36 in October 1898, Elgar sat musing at the pi- a nervous month before learning that he ano one day, idly playing a pensive melody would program the work. At the premiere, was born at Broadheath, near that had occurred to him. When his wife on June 19, a few critics were miffed at not Worcester, England, on June 2, 1857, and died asked what it was, he said, “Nothing, but being let in on the identity of the friends in Worcester on February 23, 1934. He began something might be made of it.” He named whose initials appeared at the head of each the in October, 1898, and several of their friends. “Powell would have movement. But the work itself achieved a completed them on February 19, 1899. The pursuing his own original course in music done this, or Nevinson would have looked sensational success. score bears the dedication “To my friends rather than the stodgy academic instruction at it like this.” Alice commented, “Surely pictured within.” The first performance was prevalent at the official schools. Except for you are doing something that has never The “friends” have long since been identi- given in London on June 19 the same year, violin lessons, he had no formal training, been done before?” fied, so that mystery is solved. But another Hans Richter conducting. The score calls for but already as a child he showed promise of mystery about the Enigma Variations will two flutes (second doubling piccolo), two an original talent. (Some of his later music Thus encouraged, Elgar sketched out an en- probably be argued over forever. It has oboes, two clarinets, two bassoons and con- actually grows out of themes and works he tire set of variations on his original theme. to do with the title and a statement Elgar trabassoon, four horns, three trumpets, three had composed by the age of ten.) On October 24, he wrote to his friend Au- made in the program note at the work’s trombones and tuba, timpani, side drum, gust Jaeger at Novello’s music publishers premiere. The manuscript of the score sim- triangle, bass drum, cymbals, organ (ad lib.), At sixteen, he left business forever and sup- to announce that he had sketched a set of ply bears the title “Variations for Orchestra and strings. Approximate performance time ported himself as a freelance musician in orchestral variations. “I’ve labelled ‘em with composed by Edward Elgar, Op. 36.” Over is thirty-one minutes. Worcester, filling various positions as vio- the nicknames of my particular friends - the theme, though, someone has written in linist, conductor, and even bassoonist in a you are Nimrod. That is to say I’ve written pencil the word “Enigma.” The handwrit- Edward Elgar was in almost every respect wind quintet, as well as teacher of violin. the variations each one to represent the ing appears not to be Elgar’s. Still, he never an outsider. He was largely self-taught in The five years he spent as conductor of an mood of the ‘party’ writing the var[iation] objected to the word, and his program note a day when only strict academic training, “orchestra” made up of staff members of the him (or her)self and have written what I implied the presence of a mystery, a “dark preferably including a degree from Oxford county mental asylum in nearby Powick think they wd. have written – if they were saying” that “must be left unguessed.” He or Cambridge, was considered absolutely was invaluable. He composed original mu- asses enough to compose.” added, “Through and over the whole set an- essential; Roman Catholic in a country of- sic and rescored the classics for whatever in- other larger theme ‘goes’ but is not played.” ficially Protestant – and with much latent struments were available each week, gaining On November 1, the Elgars’ young friend, prejudice against Catholics; and a musician in this way a thorough practical knowledge Dora Penny, was invited to lunch and to The mysteries of the “dark saying” and the of deep feeling and commitment in a cul- of how instruments sound in performance. hear Elgar’s new piece. The composer played “larger theme” have exercised the ingenu- ture that viewed music as an insignificant He later used to boast that he had never had the piano, while Dora turned pages for him. ity of many people since 1899. An enormous entertainment. But most galling was the to re-orchestrate a passage after hearing it amount of ink has been spilled on this subject, He played the theme and started in without leading to a generally accepted solu- fact that he was the son of a shopkeeper in in performance because it always sounded on the variations. Then he turned a class ridden society that could never get exactly as he had imagined it would. tion. Every few years a new “solution” is pro- over two pages and I saw No. III, posed, and the arguments start all over once over looking down its nose at people “in R.B.T, the initials of a connexion trade.” And yet, ironically, it is just those In 1889, he married Caroline Alice Roberts, again. Since one need not solve the mystery to a woman convinced of his genius. Alice was of mine. This was amusing! Before appreciate the music, however, I will not dis- facts, the very things that made him feel he had played many bars I began to ever the outsider, that also allowed him to eight years his senior and far his social su- cuss it further here. In the end, it is only the perior (at the time such things were consid- laugh, which rather annoyed me. You quality of the music that determines how fre- develop his musical talents as a composer of don’t generally laugh when you hear marked originality. ered to be very important), but she had the quently we wish to hear the Enigma Variations. backbone to withstand relatives who ob- a piece of music for the first time Elgar spent his youth in Worcester, a sleepy jected to the match. She encouraged Elgar dedicated to someone you know, but Elgar himself revealed the identity of the cathedral town in western England, liv- to compose the great works that she knew I just couldn’t help it, and when it was “Variations” in a set of notes written in ing over the family music shop. He spent he had in him. During the thirty years of over we both roared with laughter! 1913, later published with photographs of much time absorbing the scores in stock, their marriage, Elgar became England’s first ‘But you’ve made it like him! How on each of the individuals. Elgar’s remarks are earth have you done it?’ quoted in the discussion below. 50 Performance UGA April 2017 51 UGA Symphony and Choral Ensembles

The theme is remarkable in itself. It goes He tended to give “orders of the day” to his coursed eloquently on the slow movements Lady Mary Lygon, who was supposedly by stops and starts, broken up into little guests, especially with regard to arrange- of Beethoven.” According to Mrs. Powell, on a sea voyage to Australia at the time of fragments that, at the outset, hardly seem ments for carriages. Elgar depicts his forc- Jaeger also discoursed eloquently on the composition (she wasn’t), hence the clarinet “thematic.” It has been pointed out that the ible delivery. The middle section of this very hardships Beethoven endured in his life, quoting Mendelssohn’s Calm Sea and Pros- first four notes provide a perfect setting, in fast movement contains “some suggestions and he encouraged Elgar not to give up. In perous Voyage. Other candidates have been rhythm and pitch, of the name “Edward of the teasing attitude of the guests.” any case, the theme is arranged to suggest a put forward, some of whom would seem to Elgar,” who thus writes his signature, so to hint of the slow movement of Beethoven’s have a more intimate relationship with the speak, on the whole work. It begins in G mi- V. ( R.P.A.) Richard Penrose Arnold, a son of Pathétique Sonata, Op. 13. This Adagio is the composer. The variation is highly atmo- nor, has four rising bars in the major, then the novelist Matthew Arnold, a self-taught best known single excerpt from the Varia- spheric, as the “drums suggest the distant is restated in the minor with an expressive pianist. “His serious conversation was con- tions, noble, poignant, and deeply felt. In throb of the engines of a liner” under the new counterpoint. It leads directly into: tinually broken up by whimsical and witty England, it has become a traditional piece Mendelssohn quotation. remarks. The theme is given by the basses to commemorate the dead. Elgar, writing I. (C.A.E.) Caroline Alice Elgar, the com- with solemnity and in the ensuing major after Jaeger’s own death, said, “Jaeger was XIV. (E.D.U.) Elgar himself. When Dora poser’s wife. “The variation is really a pro- portion there is much light hearted badi- for many years my dear friend, the valued Penny first heard this movement in Elgar’s longation of the theme with what I wished nage among the wind instruments.” adviser and the stern critic of many musi- study, she couldn’t figure out whose initials to be romantic and delicate additions; those cians besides the writer; his place has been stood at the head of the page. Only after he who know C.A.E. will understand this ref- VI. (Ysobel) Isabel Fitton was an amateur occupied but never filled.” dropped a broad hint did she realize that erence to one whose life was a romantic and viola player, whom Elgar draws into the it was Alice’s nickname for Elgar – “Edu” – delicate inspiration.” Oboe and bassoon music by writing a leading part for her in- X. (Dorabella) Dora Penny, later Mrs. written as if it were initials. Elgar wrote have a little triplet figure in the opening strument built on a familiar exercise for Richard Powell, who first heard the Varia- that the movement was “written at a time measures that had a private resonance for crossing the strings, “a difficulty for begin- tions even before Elgar had orchestrated when friends were dubious and generally the composer and his wife; it was the signal ners; on this is built a pensive, and for a mo- them. The “intermezzo” that comprises this discouraging as to the composer’s musical he used to whistle when he came home (it ment, romantic movement.” movement is a lighthearted contrast to the future.” During the course of the movement reappears in the last variation). seriousness of “Nimrod.” It is also the far- he refers especially to C.A.E. and to Nim- VII. (Troyte) One of Elgar’s closest friends, thest away from the theme of any of the rod, “two great influences on the life and art II. (H.D.S.P.) Hew David Steuart Powell Arthur Troyte Griffith, an architect in Mal- variations in the set. of the composer.” As Elgar correctly noted, played piano in a trio with Elgar (violin) vern. Elgar said that the variation repre- “The whole of the work is summed up in and Basil Nevinson (Variation XII). “His sented “some maladroit essays to play the XI. (G.R.S.) Dr. George R. Sinclair was or- the triumphant, broad presentation of the characteristic diatonic run over the keys pianoforte; later the strong rhythm suggests ganist of Hereford Cathedral, though the theme in the major.” before beginning to play is here humor- the attempts of the instructor (E.E.) to make variation has more to do with his bulldog ously travestied in the semiquaver pas- something like order out of chaos, and the Dan, who was a well known character. As The Enigma Variations remains, justifiably, sages; these should suggest a Toccata, but final despairing ‘slam’ records that the effort Elgar explained, the opening had to do with Elgar’s best-known work. In its invention, chromatic beyond H.D.S.P.’s liking.” The proved to be in vain.” Dan “falling down the steep bank into the its range of expression, its play of light and chromatic figures race along in the strings river Wye; his paddling upstream to find dark between movements and keys, the and woodwinds; eventually the theme ap- VIII. (W.N.) Winifred Norbury is the bear- a landing place; and his rejoicing bark on craftsmanship of its links between move- pears in longer note values softly in the cel- er of the initials, but Elgar commented that landing. G.R.S. said, ‘Set that to music.’ I ments, its exploiting of the various possi- los and basses. the variation was “really suggested by an did; here it is.” All of these incidents occur bilities of the orchestra, its melodic fertil- eighteenth century house. The gracious per- in the first few seconds of the music. ity – in all of these things, the work is quite III. (R.B.T.) Richard Baxter Townshend sonalities of the ladies are sedately shown.” simply a masterpiece. If we remember that was the author of a series of Tenderfoot But, because W.N. was more involved with XII. (B.G.N.) Basil G. Nevinson was a fine it appeared unannounced in a country that books (A Tenderfoot in Colorado and A Ten- music as a competent pianist, Elgar has also amateur cellist who performed with Elgar had not produced a serious composer of derfoot in New Mexico), as well as a classical suggested her characteristic laugh. and Steuart Powell (Var. II) in a trio. The major stature since Purcell, two centuries scholar and a lovable eccentric. Elgar says variation features a melody, marked molto earlier, we can appreciate the tone of Ar- that the variation refers to his performance IX. (Nimrod) (“Jaeger” is espressivo, for cello solo in “tribute to a very German for “hunter,” and Nimrod is the thur Johnstone’s remarks in the Manchester as an old man in some amateur theatricals dear friend whose scientific and artistic at- Guardian after a performance of the Varia- in which his voice occasionally cracked to “mighty hunter” of the Old Testament) tainments, and the whole-hearted way they worked for Elgar’s publisher, Novello, and tions in 1900. “The audience seemed rather “soprano” timbre (the oboe with the main were put at the disposal of his friends, par- astonished,” he wrote, “that a work by a part of the theme, later joined by the flute). often provided enthusiasm and moral sup- ticularly endeared him to the writer.” port for the composer, who rarely in those British composer should have other than a petrifying effect upon them.” IV. (W.M.B.) William Meath Baker, a coun- years found encouragement from anyone XIII. (***) Another mystery: It has often try squire with a blustery way about him. but Alice. The variation is a record of a “long been asserted that the asterisks represent summer evening talk, when my friend dis- 52 Performance UGA April 2017 53 UGA Symphony and Choral Ensembles

Wolfgang Amadeus Mozart last days, but on numerous previous occa- Requiem lay on the quilt and Mozart (1756-1791) sions. Eighteenth-century medicine was not was explaining to him how, in his yet aware of the connection between rheu- opinion, he ought to finish it when he Requiem in D Minor, K.626 matic fever and severe cardiac problems. was gone. . . . A long search was made for Dr. Closset, who was found at the Joannes Chrisostomus Wolfgang Gottlieb A more lucid spell in November allowed opera but who had to wait for the end Mozart, who began to call himself Wolfgango him to work on the Requiem and even to of the performance. He came and or- Amadeo about 1770 and Wolfgang Amadè make one final public appearance to direct dered cold compresses to be placed in 1777 (and never Wolfgang Amadeus) the performance of his Little Masonic Can- on Mozart’s burning head, which, was born in Salzburg, Austria, on January tata on November 18. Two days later he however, affected him to such an 27, 1756, and died in Vienna on December took to the bed that he never left. Mozart extent that he became unconscious 5, 1791. It is traditionally said that the first is supposed to have discussed his plans and and remained so until he died. His performance of the Requiem was given in the sketches for the Requiem with his pupil last movement was to express with new monastery church at Wiener Neustadt Franz Xaver Süssmayer, who had recently his mouth the drum passage in the on December 14, 1793, billed as a composi- assisted him in finishingLa clemenza di Requiem. That I can still hear. Müller tion by Count Franz Walsegg-Stuppach, who Tito by composing all the recitatives, and from the art gallery came and took had commissioned it anonymously with the presumably also with Joseph Eybler. a cast of his pale, dead face. Words intention of passing it off as his own, for use perform the Requiem in memory of his wife Every Mozart biography recounts an in- fail me, dearest brother, to describe on the occasion of a solemn Mass in memory Anna, who had died prematurely in Febru- cident that supposedly took place eleven how his devoted wife in her utter of his wife. Yet, Mozart’s old friend Baron ary, and to pass it off as his own composition. hours before his death, when a quartet of misery threw herself on her knees van Swieten performed a Requiem – presum- (He had done something similar previously friends gathered to sing through some of and implored the Almighty for His ably Mozart’s own – at a concert given eleven with commissions from other composers.) the vocal parts of the unfinished Requiem, aid. She simply could not tear herself months earlier as a benefit to support the away from Mozart, however much I Mozart seems to have composed the Re- Mozart himself taking the alto line. They composer’s widow and two surviving chil- sang as far as the opening measures of the begged her to do so. dren. Mozart’s instrumentation is most un- quiem in three stages interrupted by other responsibilities. He started in the mid- Lacrimosa when, according to this account, usual, though it fits the expressive needs of a “Mozart began to weep uncontrollably and The still youthful composer died an hour Requiem: he omits all the brighter woodwind summer period before going to Prague after midnight, early on December 5, just late in August to attend the premiere of La laid the score to one side.” This familiar story instruments – flutes and oboes – and replaces comes from a highly suspect oral source of eight weeks short of his thirty sixth birthday. the clarinet with its darker relative, the bas- clemenza di Tito, which he had written at breakneck speed. Then, after returning to unknown provenance. The composer’s sis- Constanze’s first concern was that the torso of set horn. He also omits horns from the brass ter-in-law Sophie Haibel (née Weber) wrote section. The resulting ensemble consists of Vienna in mid-September and completing the Requiem be brought to completion; she The Magic Flute on the 25th and the Clari- down her recollections of the last days – the desperately needed the remainder of the com- solo vocal quartet (soprano, alto, tenor, and only eye witness to do so – and makes it clear bass), mixed chorus, and an orchestra of bas- net Concerto the following day, he worked missioning fee and feared that, if the work was on the Requiem until mid-October, when that Mozart was in no condition to sit up or not completed, she would have to return the set horns, bassoons, and high trumpets in sing at that time. (It is, however, possible, pairs, three trombones, strings, and organ (as his wife Constanze took the score away portion already spent. At the time of his death from him because she feared it would dam- that the group of friends sang some part of Mozart had completed only the opening In- continuo instrument). Approximate perfor- the Requiem at an earlier stage in the ill- mance time is forty-eight minutes. age his now precarious health. Mozart be- troit in full score, with the complete orchestra- gan to be obsessed with the notion that he ness.) The quartet story seems to be merely tion, but he had substantially completed the Sometime early in the summer of 1791, Mo- was writing the work in preparation for his romantic embellishment, particularly since Kyrie. He had, with one exception, completed zart received a mysterious visitor, a “gray own death, and he even raved that he had it draws special attention to the last phrase the long Sequence (the Dies irae, etc.) and the messenger,” who offered him fifty ducats as poisoned himself (from which delusions that Mozart wrote in the score. Offertory. These drafts consisted of his normal the first half of a commissioning fee for the arose the legend that his “rival” Salieri had On December 3, he felt a little better, but the full sketch: the completed choral part, the bass composition of a Requiem. Mozart accepted in fact poisoned him, a tale that has been following day he took a serious turn for the line, and a few essential indications for the because he badly needed the money, but the thoroughly disproved on many occasions worse. At Constanze’s behest, Sophie Haibel remainder of the orchestration. The final sec- oddity of the incident and his own depres- but keeps popping up nonetheless). ran to inform her mother of the situation, tion of the Sequence, the Lacrimosa, was still sion and ill health conspired to make him then returned to stay with her sister during just a fragment; Mozart had composed the vo- unduly morbid. At times, he took the “gray Mozart’s fatal illness seems, on balance, to the crisis. As she recalled later: cal parts for the first eight measures – as far as messenger” to be some sort of emissary of have been rheumatic fever, which he had suf- the powerful crescendo on a rising chromatic Death. Actually, the messenger was an agent fered in childhood and several times in his I then ran back as fast as I could to line in the soprano – and then, as if the effort for one Count Walsegg Stuppach, who de- adult years. The symptoms have been clearly my distracted sister. Süssmayer was was too much for him, he broke off the manu- manded secrecy because he intended to established in Mozart’s case, not only in his at Mozart’s bedside. The well-known script entirely.

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Constanze sought another composer who Breitkopf & Härtel, Süssmayer described 1. INTROITUS would be willing to finish the Requiem and his role, explaining that everything from the Requiem aeternam dona eis Domine: et Grant them eternal rest, O Lord: and pass the whole off as Mozart’s for the pur- verse “judicandus homo reus” (the third line pose of fulfilling the commission. She first of the Lacrimosa) was his own, though it had lux perpetua luceat eis. let everlasting light shine on them. approached Joseph Eybler, who began work been his idea to repeat Mozart’s Kyrie fugue Te decet hymnus, Deus, in Sion, To thee, O God, praise is meet in Sion, with devotion and insight. He first com- in the closing Communion “to give the work et tibi reddetur votum in Jerusalem. and unto thee shall the vow be performed pleted the orchestration of the finished pas- greater uniformity. ” Whether or not this deci- Exaudi orationem meam: in Jerusalem. Hearken unto my prayer: sages of the Dies irae movements, entering sion grew out of conversations with Mozart ad te omnis caro veniet. unto thee all flesh shall come. the added instrumental parts directly into regarding the overall design of his score, it Mozart’s manuscript. But, when it came to was, in any case, a normal procedure in Vi- composing ex nihil from the point where ennese Mass compositions of the day. We 2. KYRIE Mozart dropped the work, he wrote out two shall probably never know to what degree measures of a soprano line in the Lacrimosa Süssmayer made use of Mozart’s sketches for Kyrie eleison. Lord, have mercy upon us. and decided to give up the attempt to equal later movements; most sketches as may have Christe eleison. Christ, have mercy upon us. Mozart. Constanze evidently asked several existed seem to have been destroyed by Con- Kyrie eleison. Lord, have mercy upon us. other composers to undertake the work but stanze in order to maintain the fiction that finally settled on Süssmayer. (If, as Sophie her husband actually completed the Requiem Haibel states, Süssmayer was receiving in- himself. (The surviving Requiem manuscript, 3. SEQUENCE structions from Mozart immediately before along with another manuscript containing all Dies irae his death, it is odd that Constanze took so we have of Mozart’s sketches, were published Dies irae, dies illa The day of wrath, that day shall long to turn to him, but that is one of many in facsimile in 1991, the work’s 200th anniver- still-puzzling problems about the Requiem.) sary, allowing anyone interested in the ques- Solvet saeclum in favilla dissolve the world in ashes tion the opportunity to decide for himself.) Teste David cum Sibylla. as witnesseth David and the Sibyl. Süssmayer recopied the entire completed part of the manuscript. (Since there were It is clear that Süssmayer was not Constanze’s Quantus tremor est futurus What trembling shall there be already two different handwritings in the first or even her second choice to finish her Quando judex est venturus when the judge shall come original score, it would have been hard to husband’s score, so we should probably be Cuncta stricte discussurus. who shall thresh out all thoroughly! pass it off as a work of Mozart’s to Count wary of putting too much stock in his claims Walsegg.) He wrote his own orchestration that he had special information that was not Tuba mirum for the Dies irae movements, and completed available to other musicians in the Mozart the rest of the Requiem, possibly – though circle. Still, it was Süssmayer’s pious labors Tuba, mirum spargens sonum The trumpet, scattering a wondrous sound, documentation is totally lacking – on the on behalf of his “unforgettable teacher” that Per sepulchra regionum, through the tombs of all lands, basis of sketches left by Mozart. Certainly, have made it possible for us to hear perfor- Coget omnes ante thronum. shall drive all unto the Throne. Mozart discussed the piece incessantly in mances of Mozart’s last musical conception. his last days – it was haunting him. And, Mors stupebit et natura Death and Nature shall be astounded However much we may wish that Mozart Süssmayer may well have taken notes which Cum resurget creatura when the creature shall rise again have not survived (though he certainly did had lived to complete the entire Requiem – not do so in the ludicrous way in which Sa- and many other masterpieces after it – we Judicanti responsura. to answer to the Judge. lieri is depicted taking dictation from Mo- can be grateful for a performable version zart in the film Amadeus). made possible through Süssmayer’s assidu- Liber scriptus proferetur A written book shall be brought forth ous devotion. Compared to Mozart’s earlier In quo totum continetur Unde mundus in which shall be contained all In any case, the remaining movements– Mass compositions, the Requiem is a work judicetur. by which the world shall be judged. Sanctus, Benedictus, Agnus Dei, Communio of somber and impressive beauty, darker in (Lux aeterna) – seem to be Süssmayer’s work, color, but rising to great heights of power though they are close enough to Mozart’s and drama (as in the first two lines of the Judex ergo cum sedebit And therefore when the Judge shall sit, style to make credible his assertion that he Lacrimosa, probably the last notes he ever Quidquid latet apparebit: whatsoever is hidden shall be manifest; was working with notes from the master. By penned). It soars with the ineffable grace Nil inultum remanebit. and naught shall remain unavenged. the time the Requiem was finally published as that was his, but it is filled, as well, with the Mozart’s in 1800, rumors had long circulated commitment of immediate and urgent per- Quid sum miser tunc dicturus, What shall I say in misery? about the complicity of other composers in its sonal expression. Quem patronum rogaturus, Whom shall I ask to be my advocate, completion. At the request of the publishers, © Steven Ledbetter (www.stevenledbetter.com) Cum vix justus sit securus? when scarcely the just may be without fear? 56 Performance UGA April 2017 57 UGA Symphony and Choral Ensembles

Rex tremendae Lacrimosa Rex tremendae majestatis King of awful majesty, Lacrimosa dies illa Lamentable is that day Qui salvandos salvas gratis who freely savest the redeemed, Qua resurget ex favilla on which the guilty man shall arise Salva me, fons pietatis. save me, O fount of mercy. Judicandus homo reus. from the ashes to be judged.

Recordare Huic ergo parce, Deus, Spare then this one, O God, Recordare, Jesu pie, Remember, merciful Jesus, Pie Jesu Domine: merciful Lord Jesus; Quod sum causa tuae viae that I am the cause of your journey, Dona eis requiem. Amen. give them peace. Amen. Ne me perdas ille die. lest thou lose me in that day.

Quaerens me sedisti lassus: Seeking me didst thou sit weary: 4. OFFERTORIUM Redemisti crucem passus. thou didst redeem me, suffering the cross. Domine Jesu Tantus labor non sit cassus. let not such labor be frustrated. Domine Jesu Christe, Rex gloriae, O Lord, Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of all the departed Juste Judex ultionis O just Judge of vengeance, defunctorum de poenis inferni et faithful from the torments of hell and Donum fac remissionis give the gift of remission de profundo lacu; libera eas from the bottomless pit; deliver them Ante diem rationis. before the day of reckoning. de ore leonis, ne absorbeat eas from the mouth of the lion, lest Tartarus, ne cadant in obscurum. Tartarus swallow them; lest they fall into Ingemisco tanquam reus: I groan as one guilty; the darkness. Culpa rubet vultus meus. my face blushes at my sin. Sed signifer sanctus Michael But let Saint Michael the standard Supplicanti parce, Deus. Spare me, thy supplicant, O God. repraesentet eas in lucem sanctam: bearer bring them forth into the holy quam olim Abrahae promisisti et light: which thou didst once promise to Qui Mariam absolvisti Thou who didst absolve Mary, semini ejus. Abraham and his seed. Et latronum exaudisti, and didst hear the thief’s prayer, Mihi quoque spem dedisti. hast given hope to me also. Hostias Hostias et preces tibi, Domine, To thee, O Lord, we render our offerings Preces meae non sunt dignae, My prayers are not worthy, laudis offerimus. and prayers with praises. Sed tu bonus fac benigne, but do thou, good Lord, show mercy, Tu suscipe pro animabus illis quarum Do thou receive them for those souls Ne perenni cremer igne. lest I burn in everlasting fire. hodie memoriam facimus: which we commemorate today; quam olim Abrahae promisisti et which thou didst once promise to Abra- Inter oves locum praesta Give me place among thy sheep semini ejus. ham and his seed. Et ab haedis me sequestra and put me apart from the goats, Statuens in parte dextra. setting me on the right hand. 5. SANCTUS Confutatis Sanctus, sanctus, sanctus, Domine Deus Holy, holy, holy Lord God of Sabaoth. Confutatis maledictis When the damned are confounded Sabaoth. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of thy glory. Flammis acribus addictis, and condemned to sharp flames, Hosanna in excelsis. Hosanna in the highest. Voca me cum benedictis. call me with the blessed.

Oro supplex et acclinis, I pray, kneeling in supplication, 6. BENEDICTUS Cor contritum quasi cinis, my heart contrite as ashes, Benedictus qui venit in nomine Blessed is he that cometh in the name Gere curam mei finis. take thou mine end into thy care. Domini. Hosanna in excelsis. of the Lord. Hosanna in the highest.

58 Performance UGA April 2017 59 UGA Symphony and Choral Ensembles

Although best known as a performer, Tin- 7. AGNUS DEI About the Artists gler has received recognition as a teacher, Agnus Dei qui tollis peccata mundi: Lamb of God, that takest away the sins scholar, and author as well. She has pre- dona eis requiem. of the world: grant them rest. Stephanie Tingler sented master classes in voice at various Agnus Dei qui tollis peccata mundi: Lamb of God, that takest away the sins institutions, among them The Ohio State Recently hailed as “extraordinary” by com- University, East Carolina University, State dona eis requiem sempiternam. of the world: grant them eternal rest. poser, librettist, and producer Sheldon University of New York at Fredonia, Illinois Harnick, Stephanie Tingler has appeared State University, University of Wisconsin at in opera as the Mother in Amahl and the Eau Claire, and a four-day series of classes 8. COMMUNIO Night Visitors, Queen of the Night in Die at the Casa de Cultura Mario Quintana in Lux aeterna Zauberflöte, Adina in Elixir of Love, and Porto Alegre, Brazil, co-sponsored by the Lux aeterna luceat eis, Let everlasting light shine upon them, Nannetta in ; and in musical theater Ministry of Culture and OSPA. Her articles as Mrs. Nordstrom in A Little Night Music on vocal pedagogy and wellness have ap- Domine, cum sanctis tuis, quia pius es. O Lord, with thy saints, for thou art merciful. and Poopsie in The Pajama Game. She ap- peared in several journals, in addition to Requiem aeternam dona eis, Domine, Grant to the departed eternal rest, O Lord, prenticed with the Lyric Opera of Cleveland, presentations regarding health issues crucial et lux perpetua luceat eis. and let everlasting light shine upon them. performed with a number of opera compa- to musicians and professional voice users for nies, and presented arias in concert with the MENC, GMEA, ASTA, and Athens Region- Athens Symphony Orchestra and Orquestra al Medical Center. Sinfanica de Porto Alegre (Brazil). Tingler holds undergraduate degrees in A sought-after concert artist, Tingler has English and American literatures from East served as soloist for Chants d’Auvergne Carolina University and in vocal perfor- (Canteloube), Mahler’s Symphony No. 2, mance from Northern Kentucky University; Poulenc’s Gloria, the Mozart and Faure the Master of Music from the Cleveland In- Requiem, Orff’s Carmina Burana, Bach’s stitute of Music; and the Doctor of Musical Cantata No. 51, Beethoven’s Symphony No. Arts from The Ohio State University. She 9, Barber’s Knoxville: Summer of 1915, and was appointed to the School of Music faculty Rodrigo’s Cuatro Madrigales Amatorios. at the University of Georgia in 1992, where Her collaborations include work with con- she is Associate Professor of Voice, teaching ductors Gary Sheldon, Albert Ligotti, John undergraduate and graduate studio voice Gordon Ross, Yoel Levi, Erich Kunzel, and and vocal pedagogy. Carl Topilow. Acknowledged as an outstanding inter- Elizabeth Johnson Knight preter of the art song repertoire, Tingler Elizabeth Johnson Knight has taught voice was chosen to participate in the prestigious for more than a decade and held teaching Cleveland Institute of Music Art Song Fes- positions at Southeastern Oklahoma State tival and has subsequently made numerous University, the University of Louisiana in recital tours of the Midwest and Southeast Monroe, Murray State University, the Uni- in a variety of programs featuring Russian, versity of North Texas, and Richland Col- American, women, and Ohio composers, lege. She recently joined the faculty of the sacred music for voice and organ, and works University of Georgia’s Hugh Hodgson for soprano and double bass. Most recently, School of Music. In addition to private voice, Tingler and her colleague Martha Thomas she has taught English, Italian, French, and have collaborated on “Made in America,” German diction, vocal pedagogy, and opera a recital that features texts and music by workshop. Her research interests include as- Americans presented in Kenya and Brazil. sessment techniques for the applied studio She has been featured on programs for the and the effects of posture on the acoustics Festival of Women Composers Interna- of the singing voice. Knight has presented tional and Southeastern Women’s Studies papers at the New Voice Educators’ Sympo- Association. sium, the Texoma NATS Artist Series, and 60 Performance UGA April 2017 61 UGA Symphony and Choral Ensembles the Performing Arts Medicine Associa- the UGA Teaching Academy, a UGA Senior with colleague Richard Zimdars performing of Georgia’s Hugh Hodgson School of Mu- tion Symposium. She was selected national- Faculty Teaching Fellow, and a recipient of lesser-known works of Felix Weingartner. sic in 2006. ly to participate in the prestigious NATS In- the UGA Sarah Moss Fellowship. tern Program in 2008. Knight is a graduate In addition to being chair of the voice area, Burchinal’s performances at the Metropoli- of the University of North Texas (D.M.A.), He received both the Doctor of Musical Broughton’s duties include graduate and tan Opera have included the title roles in Indiana University (M.M.), and the Univer- Arts and the Master of Music in vocal per- undergraduate applied voice instruction , , , and sity of Mississippi (B.M.). formance from the University of Michigan. and graduate academic advising for vocal , as well as Iago in , Alfio in He earned the Bachelor of Science in edu- music majors. His duties also include con- , Tonio in , Knight, a mezzo soprano, is in demand as cation from the University of Tennessee at ducting the University of Georgia African Amonasro in , Gerard in Andrea Cheni- both a choral and solo artist. She made her Knoxville where his concentration was in American Choral Ensemble. This student er, Golaud in Pelleas et Melisande, and Baron Carnegie Hall debut in 2010 as alto soloist voice and choral music. Broughton’s dis- organization’s mission is the performance Scarpia in . Burchinal has shared the in Handel’s Messiah with Andrew Megill tinguished teachers and coaches include of works composed and/or arranged by stage with some of opera’s greatest names and the Masterwork Chorus. Recent ap- Lorna Haywood, Willis Patterson, George African-American composers. In 2011, the including Placido Domingo, Luciano Pava- pearances include the role of Madame de Bitzas, Thomas Williams, Marvalene C. group performed for the Georgia Music Ed- rotti, Ben Heppner, , Maria Croissy in Poulenc’s Dialogues of the Car- Moore, Donald Neuen, Martin Katz, Tim- ucators Conference World Music Session in Guilighina, , and June An- melites with Louisiana Opera and guest othy Cheek, Mitchell Krieger, and Dale Savannah, GA. In 2013, they performed as derson, as well as with conductors James solo appearances with the Duke Vespers Mann. He has made solo appearances under part of the Smithsonian Institute’s “South- Levine, James Conlon, Placido Domingo, Ensemble and the University of Illinois the baton of conductors Yoel Levi, Donald ern Harmonies” Traveling Exhibition. The Julius Rudel, Maurizio Arena, Thomas Chamber Singers/Sinfonia da Camera. She Neuen, Gustav Meier, John DeMain, J. Paul most recent conference presentation was the Schippers, and Leonard Bernstein. has also appeared with Ars Lyrica, Monroe Cobbs, and Jacqueline Hairston. opening concert for the 2014 Organization Symphony Orchestra, Paducah Symphony of American Kodaly Educators convening in Burchinal’s career has taken him to the Inter- Orchestra, the Bach Festival of Central Notable solo engagements have included the Atlanta, GA. national opera houses of Paris, London, Berlin, Florida, and the North Central Louisiana world premieres of Stephen Newby’s Sym- Dresden, Frankfurt, Cologne, Duesseldorf, Masterworks. Knight has also sung in pro- phony: Let Thy Mercy Be Upon Us with the Frederick Burchinal Zurich, Palermo, San Paulo, Santiago, Seville, fessional choral ensembles across the United Seattle Symphony, Ja Jahannes and Steven Caracas, Oslo, Copenhagen, and Seoul, plus States, including Orpheus Chamber Singers, Newby’s Montage for Martin with members Renowned-international Frederick more than sixty opera companies across the Tennessee Chamber Chorus, Vox Humana, of the Savannah Symphony, the Michigan Burchinal, with a twenty-two year presence United States. At the University of Georgia, Kinnara, and the South Dakota Chorale. premiere of David Baker’s Through This Vale at the since his debut Burchinal fills the positions of Professor of She is a long-time member of the Chorale of Tears with the Lafayette , as Macbeth in 1988, was named the first re- Voice and Director of Opera. Burchinal con- of the Carmel Bach Festival. Knight can be and the Michigan and Ohio premiere of cipient of the Wyatt and Margaret Anderson tinues his operatic and concert engagements heard as mezzo soloist in Duruflé’s Requiem Adolphus Hailstork’s oratorio Done Made Professorship in the Arts at the University with theatres and orchestras worldwide. on South Dakota Chorale’s debut record- My Vow with the Toledo Symphony. He ing In Paradisum (Gothic, 2012) and on the was tenor soloist for Beethoven’s Symphony premiere recording of Vox Humana, Into the No. 9 with the Memphis Symphony and Night (Naxos, 2013), as well as South Dakota he made his debut appearance at Carnegie Chorale’s second release, Sacred Songs of Life Hall as guest soloist in a celebration of the and Love (Pentatone, 2015). She has been a African American spiritual under the baton finalist in the American Bach Society/Bach of Jacqueline Hairston. Additional perfor- Choir of Bethlehem vocal competition and mances include Haydn’s The Creation with a national semifinalist in the National Asso- the Washington Masterworks Chorale and ciation of Teachers of Singing Artist Award Orchestra, Mendelssohn’s Elijah with the (NATSAA) competition. Pensacola Choral Society, Handel’s Judas Maccabeaus, Britten’s St. Nicolas Mass, and Gregory S. Broughton Handel’s Messiah, as well as numerous other engagements as soloist with musical organi- Gregory S. Broughton, Associate Profes- zations throughout the United States. As a sor of Music and Chair of the Voice Area, recitalist, he has an affinity for the interpre- was awarded the General Sandy H. Beaver tation of the African American spiritual. He Teaching Professorship in 2011. He was ap- has appeared twice at the American Liszt So- pointed to the Hugh Hodgson School of ciety Conference and, most recently in San Music faculty in 1988. He is a member of Francisco, in a lecture recital presentation

62 Performance UGA April 2017 63 The University of Georgia Chorus The University of Georgia Hodgson Singers conductorJ.D. Burnett conductorDaniel Bara assistant conductorsChristopher Mason and Philip Reed assistant conductorsLauren Whitham and Lee Wright SOPRANO Erin Schumans Sloan Lewandoski John Kutteh Catalina Arnett Summer Sellers Renyuan Liu Josiah Panter SOPRANO ALTO TENOR BASS McKenna Barney Xin Tian Sixie Liu Walter Turner Sevda Anjomand Maia Mrookes Antonio DelSesto K. Benjamin Burgett Alissa Benkoski Caterina Villari Kathryn Miller Edward Yu Amy Baker Emily Carey Nicholas Ellington Robert Fridlender Lucy Bradley Susan Virkler Samantha Sanderford BASS Alexa Ballew Naomi Goldstein Badie Khaleghian Justin Han Jackie Broadwell Elaina York Amy Savelle Reba Baltrusaitis Keyera Grant Hunter Hulsey J. Trevor Jann Andi Clements Helen Zhang Hannah Stephen Anthony Baglio Frank Block Allison Collier Megan Hooper Jeffrey Marano Jared Jones Eliza Dempsey Amber Tejeda Lauren Dempsey Holly Huggins Christopher Mason Kyle Lewis Caroline Eastabrooks ALTO Samantha Thompson Howell Buot Brianna Floyd Monique Osorio C. Mitchell Powers Jake Mappes Ashley Edwards Marcy Block Marta Torres Benjamin Burgett Kaitlyn Gilmore Myah Paden Jared Register Luke Morgan Eleanor Goldin Caroline Cain Mariam Turner David Dang Allison Gross Kimberly Simpson Matt Schramm Philip Reed Elizabeth Harry Emily Carroll Julia Warren Dennis Duong Mary Hibberts Carol Corina Sandy Woods Nick Gambino Liana Mosley Kurumi Sueyoshi Corin Rogers Nathan Trivers Helen Hill Elya Courtney Dick Hill Jordan Richey Lauren Whitham Lee Wright Erin Hogan Ashley Gable TENOR Kris Hong Deborah Stephens Patrick Young Sage Hooten Briana Gallman Jason Bronson David Johnson Lindsay Huizer Dana Gardner Quadry Brown Shen Ke Abigail Jones Adrienne Glover Nicolas Clemm Sam Kim Mary Landry Marjanne Gooze Ethan Craft Jackson Mitchell Mishaell Mach Jordan Grandt Richard Gary Julian Selano The University of Georgia Women’s Glee Club Elizabeth Raeside Mary Hutcherson Ian Hrdlicka Alexander Tchaykov Diana Ricketts Sarah Johnson Matt Knox Beata Kochut John Kundert-Gibbs conductorJ.D. Burnett assistant conductorLauren Whitham The University of Georgia Men’s Glee Club SOPRANO 1 SOPRANO 2 ALTO 1 ALTO 2 Tarryn Ballard Samantha Barnes Gabriella Babuka-Black Sarah Hammond conductorJ.D. Burnett Callie Beckwith Marion Cassim Brittany Borzillo Mahtab Heydari Christopher Mason Jennilee Burton Jenna Conrad Kathryn Buchanan Erika Klar assistant conductor Campbell Allen Maddie Corley Kelsey Campbell Tori Langham TENOR 1 TENOR 2 BASS 1 BASS 2 Colleen Keeler Laura Hildreth Catalina Dulling Amanda Rockenbach Tim Allen Kyle Aig-imoukhuede Wallace Arnold Marc Biemiller Camille Lascala Amanda Johnson Laura Beth Garrett Kyle Tsuchiyama Quadry Brown Grant Allen Nick Byrd Andrew Bode Gwen McMillan Olivia Morris Alexia Goodman Leslie Wasendorf Cooper Casale Thomas Folger Autry Farris Tom Connerley Emma Robertson Lindy Simmons Rachel Jones Lyndsey Webb Thomas Kizzar Nathan Hutto Matthew Irby Presley Flynt Sydney Swinson Laura Smith Katherine McBean Tom Littlejohn Luke Iddings Chandler Mann Benjamin Giebelhausen Rachel Wilson Mary Kathryn Moreland Jacob Mallow Kaden James Kaito Nagashima Eric Jasso Sidney Mulkey Thomas Peck Dennis Lee Sebastien Nazaire Cal Kramer Georgette Roty Austin Shively Chase Polak Harrison Stenson Trent Partin Lauren Tang Michael Sostre Stevie Popovich Garrick Widdowson Valentin Rublack Ashley Waterfill Dakota Vickers Ian Robbins Justin Sheppard Sofie Williams Yi Xie Josh Stewart Overton Wright Nathan Wasserman

64 Performance UGA April 2017 65 The University of Georgia Symphony Orchestra conductorMark Cedel assistant conductorClaudine Gamache Administration President Jere W. Morehead VIOLIN I Meghan O’Keefe Mattia Beccari TRUMPET Senior Vice President Serena Scibelli Baylee Culverhouse Claudia Amaral Michael Meo for Academic Affairs Co-Concertmaster Kevin Sheldon Principal and Provost Pamela S. Whitten Tyler Jones Vice Provost Teresa Grynia VIOLA Quentin Smith for Academic Affairs Russell J. Mumper Rogerio Nunes Elitsa Atanasova Jeffrey Mann Yanbin Chen Co-Concertmaster Co-Principal Tyler Jesko Moises Cunha Chris Williams FLUTE UGA Performing Arts Center Minhye Park Co-Principal Emily Zerlin TROMBONE Director George C. Foreman Sahada Buckley Wesley Hamilton Principal Andrew Taylor, Principal Daniel Allen John Cooper Lindy Thompson Duncan Lord Assistant Director Blake H. Schneider Pedro Miszewski Seonkyu Kim Callan Russell Business Manager Brooke Farmer Lourenço De Nardin Budó Kuan Hua Chen OBOE Paul Nelson, Bass House Manager Miranda Wilson Caroline Dorr Sean Askin William Jones Director of Development Caitlin Murray Hubbard Nicole Valerioti Will Ruff Remy Kepler TUBA Director of Marketing Yeasol Kang Victor Wu Nick Beltchev and Media Relations Bobby B. Tyler, Jr. Sydney Doemel Dillon Enge CLARINET Publications Manager Tim Wells Bruno Lunkes Clarence Golden Pedro Alliprandini Percussion Graduate Assistant David Heinsen Greg Hamilton Nicholas Martinez Box Office Manager Kimberlee Baumgarner VIOLIN II CELLO Jake Senter Taylor Lents Assistant Box Office Manager Bridgette C. Burton JP Brien-Slack Noah Johnson Kamran E. Mian Production Manager Graf Imhoof Principal Principal BASSOON Levi Cull Stage Manager James Sewell Nicholas Lindell Ana Cristina Abrantes Kristin Cooke Production Assistant Ashley Laramore Audrey Butler Alina Vazquez Carlee Woodring Library Vivian Cheng Andrew Short Mia Cellino Ana Cristina Abrantes, Monica Corliss Justin Jeon Head Librarian Academic Programs in the Sam Ferguson Jessica Osbrink HORN Teresa Grynia Annie Leeth Ian Connolly Peter Riggs Performing Arts Erin Lollar Julia Chun Principal Personnel Manager Franklin College of Arts Ian Chen Conner Hart Sarah Willoughby Ana Cristina Abrantes and Sciences Alan T. Dorsey Alex Butenko Chris Miertschin Claudine Gamache Dean Kellie Shaw BASS Nathan Dial Hugh Hodgson School of Music Rebecca Huong Leonard Ligon Jacob Weinstein PRODUCTION Director Dale E. Monson Seonkyu Kim Richard Gary Principal Department of Theatre Nahee Song JP Brien-Slack and Film Studies Head David Z. Saltz Department of Dance Head Lisa A. Fusillo -

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