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Home , Josef Rheinberger

DE 3431

HYMN TO THE DAWN

Etherea Vocal Ensemble Grace Cloutier, harp Alan Murchie, organ and

Gustav Holst (1874-1934) (1809-1847) Choral Hymns from the Rig Veda H99, Op. 26, No. 3 Drei Motetten , Op. 39 (1909-10) Noah Horn, conductor 1. Hymn to the Dawn (3:00) 18. I. Veni Domine (1830, rev. 1837-8) (4:02) 2. Hymn to the Waters (2:00) Amanda Sidebottom, soprano 3. Hymn to Vena (5:07) 4. Hymn of the Travellers (2:26) II. Laudate pueri (1837) 19. Chorus (3:06) Etherea Vocal Ensemble Recording Wie lieblich in Marquand Chapel Two Eastern Pictures H112 (1911) 20. Trio (2:42) 5. Spring (2:06) Estelí Gomez and Amanda Sidebottom, soprano 6. Summer (3:08) Derek Greten-Harrison, countertenor

Sergei Prokofiev (1891-1953) III. Surrexit pastor bonus (1830) 7. Prelude , Op. 12, No. 7 (1913) (2:22) 21. Chorus (2:21) Arianne Abela and Allison Holst-Grubbe, soprano Amy Beach (1867-1944) Rebekah Westphal, alto Three Shakespeare Choruses , Op. 39 (1897) Heather Petrie, contralto 8. Over hill, over dale (1:49) 22. Duet (2:06) 9. Come unto these yellow sands (2:10) Jessica Petrus and Arianne Abela, soprano 10. Through the house give glimmering light (2:59) 23. Solo (:35) Jessica Petrus and Amanda Sidebottom, soprano Heather Petrie, contralto Recording Mendelssohn in Christ Church Wrapping up recording Rheinberger’s Sechs Gesänge Derek Greten-Harrison, countertenor 24. Chorus (2:24) www.ethereavocalensemble.com Heather Petrie, contralto Gioachino Rossini (1792-1868) Josef Rheinberger (1839-1901) Trois choeurs religieux (1844) Etherea wishes to thank the following for their kind assistance during the production of this recording: 11. Wie lieblich sind deine Wohnungen , Op. 35 (1865) (5:01) 25. La foi (4:02) 26. L’espérance (4:23) Christ Church, New Haven, Connecticut Fr. David Cobb Sechs Gesänge , Op. 131 (1882) 27. La charité (5:39) Noah Horn Jenna-Claire Kemper Kenneth Miller William Oberg 12. Ein Bild am Pfade (3:39) Estelí Gomez and Jessica Petrus, soprano Ann-Marie Piscitelli Markus Rathey 13. Die alte Tanne (2:20) Yale Divinity School and Yale Institute of Sacred Music, New Haven, Connecticut 14. Die Gebirgsbach (1:34) Total Playing Time: 79:50 15. Im Erdenraum (3:01) Executive Producer: Carol Rosenberger 16. Märchenzauber (1:57) Producer, Editing, and Mixing: Derek Greten-Harrison 17. Gute Nacht (3:49) Engineer and Project Consultant: Mateusz Zechowski/StudioTeo Estelí Gomez and Amanda Sidebottom, soprano Mendelssohn recorded in Christ Church, New Haven: March 25 and May 30, 2012 All other tracks recorded in Marquand Chapel, Yale Divinity School: March 23, 24, 30, 31, June 1, Derek Greten-Harrison, countertenor and August 13, 2012 Heather Petrie, contralto Microphones: Schoeps, Royer Labs, Earthworks, and Neumann Preamps and Converter: Millennia Media and Apogee On this recording, Grace Cloutier plays a Lyon & Healy 85 CG. Organ: Lively-Fulcher (2005), Christ Church, New Haven 7 & W 2013 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998 Piano: Steinway Model B (1901) (707) 996-3844 • Fax (415) 358-5959 • (800) 364-0645 Photos: Mateusz Zechowski and Derek Greten-Harrison (recording sessions), Matthew Fried (Etherea, Made in USA • www.delosmusic.com Derek Greten-Harrison, and Alan Murchie portraits), John Healy (Grace Cloutier portrait) NOTES ON THE PROGRAM

While Gustav Holst (1874-1934) wrote (and arranged) a and inaccessible, but the works of his so-called “Sanskrit fair quantity of Christian sacred music, he was not a con - period” are mostly sweet, charming and very lovely, with ventionally religious person. A man of more ecumenical mystical, distinctly eastern flavors – though any sensitive persuasion, he found spiritual meaning and value in the listener will soon recognize the essential “Englishness” of philosophies and scriptures of several other faiths: most the music. “Hymn to the Dawn,” the album’s title piece, notably Hindu beliefs and the associated Sanskrit litera - sets the tone for the entire set, with its exquisite harmonic ture. After developing this interest in 1895, his first creative layering and sense of awe-stricken reverence. The radiant, urge was to compose choral settings of texts from the Rig long-breathed vocal lines seem to evoke a pattern of over - Veda : the most important of the Hindu scriptures. Upon lapping sonic sunbeams as they fill the early morning sky. finding that existing translations were unsuitable for musi - In “Hymn to the Waters,” harp and voices conspire to cal treatment, Holst undertook the study of Sanskrit in evoke an exuberant and dancelike musical image of order to read the original ancient texts for himself and sparkling, flowing waters, with distinctly folksy English translate them to suit his musical purposes. overtones. “Hymn to Vena,” the set’s most substantial piece, offers solemn contrast – with soft and nebulous The eventual fruits of this consuming interest – besides choral sound-clouds that morph into a majestic, slowly two , a symphonic poem, a large-scale choral work, marching hymn of praise. “Hymn of the Travellers” is per - and a set of hymns for solo voice and piano – were four haps the most exotically Eastern-sounding and prayer-like sets of Choral Hymns from the Rig Veda , Op. 26 (written of the set, suggesting the steady forward motion of an an - between 1907 and 1912). The third set, with its four pieces cient caravan (of pilgrims, perhaps?) as it gradually disap - for female chorus and harp, is heard here – along with a pears into the distance. separate work for the same forces: Two Eastern Pictures (H. 112, 1911). The remaining three sets of the Choral Hymns Two Eastern Pictures offers like moods, with its pair of call for different vocal configurations (male, female or pieces tailored to the characteristic qualities of the seasons mixed chorus) with orchestral accompaniment. All of these they represent. “Spring” conveys a bright sense of fresh - remarkable works were performed with some regularity ness and natural rebirth, complete with metaphoric allu - during Holst’s lifetime, but have since fallen into obscurity; sions to love. “Summer” paints a more sensual tone- their rare quality and exotic appeal make them ripe for re - picture, with its evocation of a languorous summer night – discovery. complete with perfumed, bangle-bedecked maidens. Sergei Prokofiev (1891-1953) composed his Ten Pieces for Many of Holst’s later works were comparatively abstruse Piano , Op. 12, between 1906 and 1913; the set contains some of his best-known shorter piano works. The score in - wrecked Ferdinand to Prospero’s magical island. In the dicates that the set’s seventh piece, the rippling Prelude , is lovely, gently dancing “Through the house give glimmer - for either piano or harp. The music is bright, buoyant, and ing light,” the royal fairy couple seems to be happily con - sparkling; the flowing, downward-cascading figurations of firming their positive influence over the outcome of the its outer sections seem to evoke babbling brooks and gen - play’s concluding marriage banquet. tle, sun-dappled waterfalls. The central section is some - what less delicate, projecting a sense of impish playfulness. Josef Rheinberger (1839-1901) was probably the only com - poser of note to hail from the tiny nation of , A similar (though stylistically different) sense of mischie - though he spent most of his life in – where he was vous elfin whimsy pervades the a cappella Three Shake - an acclaimed organist, conductor, conservatory professor speare Choruses , Op. 39, by Amy Beach (1867-1944), and . While his magnificent organ works have America’s first widely acclaimed female composer – kept his name alive since his passing, Rheinberger’s con - renowned for her richly intuitive and unapologetically ro - siderable output in most other classical genres has, until re - mantic streak. She wrote them in 1897 while she was still cently, remained obscure. In particular, many top known as Mrs. H. H. A. Beach, no doubt to placate her hus - have lately rediscovered his extensive body of both sacred band: a socially prominent Boston physician. Believing that and secular choral music, restoring his reputation as a a woman’s place is in the home, he restricted her perform - major figure in both the German sacred vocal and part- ing activities, despite her reputation as a brilliant pianist – song traditions. His conservative style – like that of his though he still allowed her to compose. She didn’t revert to contemporary (and friend) – stood in her own name, Amy Marcy Cheney Beach, until after her firm opposition to the (then) avant-garde approaches of husband’s death in 1911. Wagner and Liszt. But his exceptional melodic and har - monic gifts, as well as his senses of musical cohesion and Shakespeare’s plays – particularly those dealing with su - beauty, have combined to gain him many new admirers in pernatural fantasy-themes – remain some of the most pop - our time. ular textural sources for choral everywhere. And so it is with these three pieces, in which the texts of Original works for female chorus were rather rare until the set’s first and third pieces are drawn from A Midsum - fairly late in the Romantic period: except in girls’ schools mer Night’s Dream ; the words of the second are from The and convents, women’s predominantly domestic roles (and Tempest . “Over hill, over dale” is a buoyant choral tumble, societal restrictions) made it difficult for them to form in which the fairy characters (including Puck) seem to be choirs, or – for that matter – to perform most other kinds of blithely flitting across the surreal landscape. The gentler music besides or oratorios. In fact, Brahms was the “Come unto these yellow sands” is a lovely setting of first composer to create an appreciable body of trebles-only Ariel’s siren-song as the invisible sprite welcomes the ship - choral music, most of which was written during his Leipzig years for the ladies’ he founded there in 1859. sacred piece – combines striking natural imagery with spir - Following in his footsteps, Rheinberger further expanded itual thoughts as the night falls. the spare repertoire with a pair of masses, two secular song cycles and several single pieces, both secular and sacred. With a few notable exceptions, the smaller-scale choral compositions of Felix Mendelssohn (1809-1847) – like Perhaps the best known of such single sacred pieces is those of Rheinberger – have been unfairly neglected until Wie lieblich sind deine Wohnungen (How lovely is thy recent decades, languishing in the shadow of his grand or - dwelling-place), Op. 35 (1865): a truly heavenly setting of atorios ( St. Paul and Elijah ). Mendelssohn was born Jewish, a Psalm 84 paraphrase. Its lush, gently ecstatic lines extol though his immediate family converted to the Lutheran the celestial beauties of paradise, with the intricate harp faith (more for social than religious reasons) while he was accompaniment “instrumental” in setting the quietly joy - still a small boy. It is thus rather ironic that he grew up to ous mood. become his generation’s most influential German com - poser of sacred music for the Protestant liturgy – which, by While the six a cappella pieces of Sechs Gesänge (Six the early 1800’s, had lost touch with its vital Baroque-era songs), Op. 131 (1882) are nominally secular and true to the roots. While he wrote a few short sacred pieces in the German Romantic part-song tradition, there are sacred 1830s, he despaired of ever contributing to the musically overtones – particularly in “Ein Bild am Pfade” (An image spare church practices of his day. However, by the end of along the path), a sweetly reverential piece recounting the that decade, reforms were under way that (among other as - poet’s impressions upon encountering a shrine to the Holy pects) prescribed an expanded liturgical role for music. Virgin along a pathway. “Die alte Tanne” (The old fir-tree) When the arts-loving Friedrich Wilhelm IV took the Pruss - is more solemn and reflective as it recounts the worldly ian throne in 1840, he promptly appointed Mendelssohn as events that the tree has “witnessed” and ends with the tree his court’s Music Director. With oversight over the Berlin as a symbol of eternal rest. Bubbly and refreshing contrast Cathedral’s music, he produced an appreciable body of comes with “Die Gebirgsbach” (The mountain stream), its motets and other sacred pieces that stand as some of his lighthearted spirit evoking a blithe impression of youth. most profound music. “Im Erdenraum” (In earthly spaces) expresses the healing power of the night in dreamy, reverential fashion – with a Anticipating this resurgence of sacred Protestant music, particularly acute sense of yearning: a key theme of the Ro - Mendelssohn published his Drei Motetten , Op. 39, for tre - mantic era. “Märchenzauber” (Fairy-tale magic) achieves a ble voices and organ, in 1838 – consisting of two pieces wondering and nostalgic mood, as the poet recalls the cozy (one revised) dating from 1830, plus another from 1837. childhood comfort of nestling with purring kittens indoors His inspiration for setting them for women’s voices was as his grandmother tells fairy tales on a snowy winter his 1830 visit to Rome, where he heard the sublime night. “Gute Nacht” (Goodnight) – another gentle, quasi- singing of the French nuns at the Church of Trinità Dei Monti. Veni Domine (Come, Lord; 1830, revised 1837-8) be - women’s chorus and piano. The 14 books of his so-called gins with a bleak, downward vocal line that leads into a Sins of Old Age came much later, though some of their solemn chorus crowned with a touching solo soprano content may well have been written in the years of rela - line; the music and text combine to convey a fervent plea tive seclusion immediately following his retirement from to the Lord for mercy within a context of penitential the world of opera. abasement. The opening Chorus of the two-section Lau - date pueri (Praise, children of God; 1837) is a fervent hymn The first two choruses, “La foi” (faith) and “L’espérance” of heartfelt praise, laced with florid, quasi-canonic pat - (hope) derive from SATB movements in Rossini’s 1817 terns that reveal Mendelssohn’s supreme polyphonic work, Edipo Coloneo : his incidental music to an Italian ren - skills. The following Trio is softer and simpler, but no less dering of Sophocles’ tragedy. In 1844, Rossini revised the sincere – offering spiritual reinforcement of the previous material for women’s chorus and piano, and added a third section. The final Surrexit pastor bonus (The good shep - chorus, “La charité” (charity); French texts were also in - herd is risen; 1830) is another multi-section ; it re - serted at this time. The work received its premiere in this counts the biblical story of Christ’s resurrection. The version on November 20, 1844, in Paris. Ricordi subse - introductory Chorus announces the good news in simple, quently published a version in Italian, substituting a short - yet radiant musical language. The following Duet reflects ened and musically different version of the first chorus the agitation and alarm of the two Marys upon finding (“La foi”/”La fede”), though it is unknown who made the the tomb empty and their urgent plea to the angel to tell changes or why. Etherea’s is the premiere recording of the them where they may find Jesus. The regal-sounding solo original version of “La foi,” and the first complete record - contralto (the angel) then solemnly confirms the resurrec - ing of the set in French. All three choruses – reflecting es - tion and directs them to Galilee. The concluding Chorus sentially positive points of Christian belief and virtue – are echoes the angel’s words, but now in bright and jubilant rendered in Rossini’s hallmark breezy Italianate style, with tones, with a marvelous final fugue that again shows off mostly happy melodies, moments of dramatic contrast, the composer’s hallmark contrapuntal wizardry. and a predominantly dancelike feel. What these delightful pieces may lack in profundity is more than made up for Gioachino Rossini (1792-1868), his era’s most wildly with their upbeat sacred sentiment, beauteous charm and successful composer of operas, suddenly stopped com - surpassing sweetness. posing them in 1829 at the age of 38 – no doubt burned out after more than twenty hectic years during which he — Lindsay Koob had churned out 38 operas. But he didn’t forsake compo - sition entirely, producing his wonderful Stabat Mater in 1832 – plus a number of other mostly sacred composi - tions, including (in 1844) the Trois choeurs religieux , for TEXTS AND TRANSLATIONS

Gustav Holst: Hymns from the Rig Veda With yearning heart Gustav Holst: T wo Eastern Pictures Amy Beach: T hree Shakespeare Songs (translated from Sanskrit by Gustav Holst) On thee we gaze, O gold-wing’d messenger of mighty Gods. (Kalidasa, translated from Sanskrit by Gustav Holst) Over hill, over dale Over hill, over dale Hymn to the Dawn Wise men see him in their libations Spring Thorough bush, thorough brier Hear our hymn O Goddess, As the sacrifice mounts to the eternal heights, min - Spring the warrior hither comes, Over park, over pale Rich in wealth and wisdom, gling with our solemn chant. Bow-string formed by rows of bees Thorough flood, thorough fire Ever young yet ancient, And his darts tipped with buds He stands erect in highest heav’n, I do wander everywhere, True to Law Eternal. Wound our hearts with sweet love-longing. Clad in noble raiment, Swifter than the moon’s sphere; Arm’d with shining weapons, Now the trees put forth their flowers, And I serve the fairy Queen, Wak’ner of the songbirds, Hurling light to the farthest region, On the lakes the lilies fair To dew her orbs upon the green. Ensign of th’Eternal, Rejoicing in his radiant splendour. Show their heads midst the waves The cowslips tall her pensioners be; Draw thou near O Fair One, Melting hearts with sweet love-longing. In their gold coats spots you see, In thy radiant Chariot. Hymn of the Travellers Those be rubies, fairy favours, Go thou on before us, What fair maid can vie with Spring? In those freckles live their savours: Bring to her your off’ring; Guide us on our way, What sweet voice the cuckoo’s song? I must go seek some dew-drops here, Humbly bow before her, Mighty One. Or smiling teeth the jasmine’s hue? And hang a pearl in ev’ry cowslip’s ear. Raise your songs of welcome, Make our journey pleasant, Or rosy lips the op’ning flowers? As she comes in splendour. Never let us stray. Come unto these yellow sands Wonder-worker hearken, Bending down with blushing buds, Come unto these yellow sands, Hymn to the Waters Come in thy splendor, come in thy mighty pow’r. Flaming mango branches wave And then take hands, Flowing from the firmament Forth to the ocean, To and fro with the breeze Curtsied when you have and kissed Healing all in earth and air, never halting. Trample on the wicked, Filling hearts with sweet love-longing. The wild waves whist, Indra, Lord of Heav’n, formed their courses, All who would oppose, Foot it featly here and there; Indra’s mighty laws can never be broken. Mighty One. And within the lotus flower And sweet sprites the burthen bear. Cleansing waters flow ye on, hasten and help us. Drive away the robber, Dwells her love, the murm’ring bee Drive away our foes. Who with kiss and embrace Through the house give glimmering light Lo, in the waters, dwelleth One, Wonder-worker hearken, Satisfies her sweet love-longing. Through the house give glimmering light, Knower of all on earth and sea, Come in thy splendor, come in thy mighty pow’r. By the dead and drowsy fire; Whose dread command no man may shun, Summer Ev’ry elf and fairy sprite Varuna, sovran Lord is He. As we journey onward, The fierce glaring day is gone. Gentle night hath spread her mantle cool and refreshing, Hop as light as bird from brier: Onward ye waters onward hie, Songs to thee we raise, lit by rays of a thousand stars and by the golden moon. And this ditty, after me, Dance in the bright beams of the sun, Mighty One. Sing and dance it trippingly. Obey the ruler of the sky Thou didst aid our fathers, The moon shineth on yon roof. First rehearse your song by rote, Who dug the path for you to run. Guard us all our days. Here lie maidens, crowned with jasmine, clad in silk Wonder-worker hearken, raiment, To each word a warbling note: Hand in hand, with fairy grace, Hymn to Vena Come in thy splendor, come in thy mighty pow’r. on their ankles are rings that tinkle sweetly as they move. Will we sing, and bless this place. Vena comes, born of light, Feed us and inspire us, He drives the many colour’d clouds onward. Wafted by jewel covered fans, sweetest perfume floats Keep us in thy care, o’er each breast. Here, where the sunlight and the waters mingle Mighty One. Our songs float up and caress the new-born infant. Song and harp unite with warbling birds to rouse from Lead us past pursuers sleep the god of love. The child of cloud and mist appeareth on the ridge Unto meadows fair. Wonder-worker hearken, of the sky, Josef Rheinberger: Wie lieblich sind deine Wohnungen He shines on the summit of creation. Come in thy splendor, come in thy mighty pow’r. The hosts proclaim the glory of our common Father. Wie lieblich sind deine Wohnungen, o Herr! How lovely are thy dwelling places, oh Lord! Es sehnt sich meine Seele My soul longs He hath come to the bosom of his beloved. nach dem Vorhof des Herrn. for the court of the Lord. Smiling on him, Mein Herz frohlockt in dem lebendigen Gotte. My heart rejoices in the living God. She beareth him to highest heav’n. Denn der Sperling findet sein Haus, As the sparrow finds its house, Und die Taube obdach im Sturm, and the pigeon finds shelter in the storm, In der Wäldergrünen Klausen, In the woods’ green retreats, Ich finde deine Altäre, I find your altars, o da haust sich’s gar zu gut! It is good to dwell! o du mein König, Herr und Gott! Oh you my King, Lord and God! Selig sind, die in deinem Hause wohnen, Blessed are they who live in your house, Im Erdenraum On Earth In alle Ewigkeit loben sie dich! For all eternity they praise you! Im Erdenraum rings Schlaf und Traum, Everywhere on earth are sleep and dream, Barmherzigkeit und Wahrheit liebt Gott, God loves compassion and truth, nur Mondenlicht vom Himmel bricht. Only moonlight breaks from heaven. Und denen, die da wandeln in Unschuld, and to those that walk in innocence Kein Laut, kein Klang das Tal entlang; No noise, no sound [rings] from the valley; Gibt er Gnade und Herrlichkeit! He gives mercy and glory! befriedet, weit ist alles Leid. Soothed everywhere is all pain. O Sommernacht voll hehrer Pracht, O summer night full of sublime splendor, Josef Gabriel Rheinberger: Sechs Gesänge Poetry by Franz Alfred Muth (1839-1890), except “Gute Nacht” wie küssest du die Wunden zu. How your kisses close the wounds. Stillst Tränen heiß, lehrst beten leis. You stop hot tears and teach to pray. Ein Bild am Pfade An Image at the Path O stille auch mit deinem Hauch Oh still also with your breeze Ein Bild am Pfade so mild, so fein, An image at the path so gentle, so fine, mein Sehnen sacht, o Sommernacht. My yearning gently, oh summer night. dich, Frau der Gnade, You, Lady of Grace, birgt hold der Schrein. The shrine contains you. Märchenzauber Fairy-tale Magic Vorüber fliehet der stolze Sinn, Swiftly passes the proud mindset, Draußen Nacht und dichte Flocken, Outside [are] night and dense flakes, die demut ziehet es mächtig hin. Forcefully drawn away by humility. endlos fällt der kalte Schnee, endless falls the cold snow, Es bergen dich Rosen und Efeuzier, You are adorned with roses and ivy, in der Stube nur Frohlocken, in the parlor only glee, sie alle kosen so traut mit dir; They all caress you so sweetly; Frühlingslust trotz Winterweh. Joy of spring in spite of winter pain. der Rosendüfte geweihter Schwall, The holy rose fragrances deluge, Kätzchen spielen, Miesekätzchen, Kittens play, sweet little kittens, Gestirne, Lüfte, sie grüßen all! Stars, skies, they all greet you! surrend, schnurrend, lieb und traut, buzzing, purring, kind and cozy, Erbitt mir Gnade, o Mutter du, Beg for me grace, oh Mother, mit den sammetweichen Tätzchen with velvety soft little paws, auf jedem Pfade und dann die Ruh. On every path and then rest [death]. eines nach dem andern haut. One paws after the other. Und wie’n Kätzchen lieb und traulich And how a kitten, kind and cozy, Die alte Tanne The Old Fir Tree schmiegt sich’s liebe Kindlein an, nestles the dear little child, Einsam im Waldesgrund düster sie steht. Lonely and gloomily it [the tree] stands in the middle of the forest. lauscht der Ahne in der Märchen selgem Bann. listening to the blissful spell of the grandmother’s fairy-tale. Ob auch des Sommers Luft, Even though the summer’s air, Märchen schaurig, Märchen traulich, Fairy-tales gruesome, fairy-tales friendly, ob wilder Blumenduft mild sie umweht, even though the wild scent of flowers balmily wafts around it, weiß die Ahne, Märchen hold; knows the grandmother, fairy-tales lovely; düster die steht. Gloomily it stands. In die Seele auferbaulich In the soul edifying Einsam im Waldesgrund düster sie steht. Lonely and gloomily it stands in the middle of the forest. birgt die Kleinelichtes Gold. Keeps the small one bright gold. Vögel umschwärmen sie, Birds swarm around it, Könnt ich doch wie ehmals lauschen, Could I yet as before listen Kinder umlärmen sie, Children surround it with noise, Märchenzauber wieder sehn, to fairly-tale magic again, wie im Gebet düster sie steht. as if in prayer, gloomily it stands. o wie gerne möcht ich tauschen! Oh how much would I trade for that! Einsam im lichten Grund düster sie steht. Lonely in the clearing gloomily it stands. Doch die kalten Flocken wehn. Yet the cold flakes blow. Lärmen und schwärmet nur, Just make noise and swarm, Klaget und härmet nur, Just wail and despair, Gute Nacht Poem by Emanuel Geibel (1815-1884) Good Night ich werd als Truh’ doch eure Ruh, I shall be as a chest [coffin] your rest, Schon fängt es an zu dämmern, Night is falling, werd eure Ruh. Be your rest. der Mond als Hirt erwacht The moon wakes like a shepherd und singt den Wolkenlämmern and sings the cloud-lambs Der Gebirgsbach The Mountain’s Stream ein zur guten Nacht. A lullaby. Frisches Bächlein, aus den Steinen Fresh little brook, from the stones Und wie er singt so leise, And while he sings so gently, stürzest schäumend du zu Tal. You rush foaming to the valley. da dringt vom Sternenkreise Sounds from the starry circle Deine mächt’gen, deine kleinen Wellen Your powerful, small waves der Schall ins Ohr mir sacht. The song gently in my ear. grüß ich tausendmal. Do I greet a thousand times. Schlafet in Ruh! Sleep in peace! Wie ein Kinderauge blauend, Like a child’s blue eye, Vorüber der Tag und sein Schall, Over [are] the day and its clangor, hell und klar wie Kindesherz, bright and clear like a child’s heart, die Liebe Gottes deckt euch zu allüberall. The love of God covers you everywhere. fließest du, zum Himmel schauend, you flow gazing toward heaven, Von Tür zu Türe wallet der Traum, The dream floats from door to door, durch die Dornen, durch den Schmerz. Through the thorns, through the pain. ein lieber Gast, a dear guest, Frisches Bächlein, lustig schäumend, Fresh little brook, merrily foaming, das Harfenspiel verhallet the harp-playing fades away voller Jubel, voller Scherz, full of jubilance, full of merriment, im schimmernden Palast. In the shimmering palace. sinnig, lieblich fließend, träumend, Introverted, lovely flowing, dreaming, Im Nachen schläft der Ferge, The ferryman sleeps in the small boat, wahre dir das junge Herz! Keep young at heart! die Hirten auf dem Berge, the shepherds [sleep] on the mountain, Lass die großen Ströme brausen, Let the large rivers roar, sie halten ums Feuer Rast. Resting around the fire. neide nicht die stolze Flut! Do not be jealous of the proud flood! Schlafet in Ruh! Sleep in peace! Gut Nacht denn, all ihr Müden, Good night now, all you tired, Soudain un phare éclaire Yet suddenly a lighthouse illuminates ihr Lieben nah und fern, dear ones near and far, les bords de l’horizon, the edges of the horizon nun ruh auch ich im Frieden, now I do rest in peace as well, plus vif que la lumière, more vividly than a lamp, bis glänzt der Morgenstern. Until the morning star shines. plus fort que la raison. more strongly than reason. Die Nachtigall alleine singt noch Only the nightingale still sings The lighthouse which glows, im Mondenscheine und lobet den Herrn. In the moonlight and praises the Lord. Ce phare qui vient luire, this lighthouse is faith, Schlafet in Ruh! Sleep in peace! ce phare c’est la foi, it is God who comes to tell us, Vorüber der Tag und sein Schall, Over [are] the day and its clangor, c’est Dieu, qui vient nous dire: fidèle crois en moi! oh faithful one, believe in me! die Liebe Gottes deckt euch zu allüberall. The love of God covers you everywhere. Sa voix fait fuir le doute, His voice forces doubt to flee, Rheinberger translations by Derek Greten-Harrison and Markus Rathey et son doigt nous fait voir, and his finger makes us to see au bout de notre route, the end of the long road, Felix Mendelssohn: Drei Motetten la fête d’un beau soir. the celebration of an excellent evening. I. Veni Domine Veni Domine et noli tardare! Come, Lord, and do not delay! L’espérance (H. Lucas) Hope Relaxa facinora plebi tuae, Forgive the wrongdoing of your people, Sainte espérance, Holy hope, et revoca dispersos in terram tuam. and bring back the dispersed to your land. prête assistance ready to assist Excita Domine potentiam tuam, Raise up, Lord, your power a la souffrance, in suffering, ut salvos nos facias, to save us, entends nos voeux. give ear to our desires. veni Domine et noli tardare! come, Lord, and do not delay! Viens par tes charmes, Come by your grace to II. Laudate pueri tarir nos larmes, dry the tears, 1. Chorus tarir nos larmes dry the tears Laudate pueri Dominum, Praise the Lord, children, dans tous les yeux. in all men’s eyes. laudate nomen Domini. praise the name of the Lord. Sit nomen Domini benedictum May the name of the Lord be blessed, Chacun t’implore, Each asks of you, ex hoc nunc et usque in saecula. now and forevermore. brillante aurore, oh brilliant aurora, fais nous éclore make happy days 2. Trio des jours heureux. bloom for us. Beati omnes qui timent Dominum Blessed are those who fear the Lord. Qui ambulant viis eius. and who walk his paths. La charité (L. Colet) Charity Chorus: Chorus: III. Surrexit pastor bonus Force de l’âme, ô charité! Strength of the soul, oh charity! 1. Chorus Ta voix enflamme l’humanité. Your voice kindles humanity. Surrexit pastor bonus, The good shepherd has risen, Tu nous rends frères, You make us brothers, qui animam suam posuit pro ovibus suis. he who laid down his life for his sheep. et dans nos misères and in our miseries Alleluia! Alleluia! Toujours ton bras soutient nos pas. your arm supports our steps.

2. Duet Solo: Estelí Gomez, soprano Tulerunt Dominum meum They have taken my lord, Par ta présence Dieu se fait voir, Through your presence, God makes his own known. et nescio ubi posuerunt eum. and I do not know where they have put him. A l’indigence tu rends l’espoir. You give hope to poverty. Si tu sustulisti eum, dicito mihi, If you have taken him, tell me, Le coeur qu’inonde ton noble feu The heart which fans the noble flame et ego eum tollam. and I shall take him. Porte en ce monde le souffle de Dieu. carries God’s breath into this world.

3. Solo Chorus: Chorus: 4. Chorus Force de l’âme, etc. Strength of the soul, etc. Surrexit Christus spes mea: Christ, my hope, has risen: praecedet vos in Galilaeam. He will go before you into Galilee. Solo: Jessica Petrus, soprano Alleluia! Alleluia! Lorsque la terre suivra tes lois, When the earth follows your laws, Les cris de guerre mourront à ta voix. the cries of war will cease at your voice. Rossini: Trois chœurs religieux L’orgueil la haine en ce saint jour, Pride and hate, on this holy day, Auront pour chaîne ton pur amour. will be bound together by your pure love. La foi (P. Goubaux) Faith Quand l’âme aux jours d’orage When during stormy weather Chorus: which comes to assail, the soul Chorus: qui viennent l’assaillir, Force de l’âme, etc. Strength of the soul, etc. sans force et sans courage, finds itself without strength and courage and ready to falter. se sent prête à faillir. Rossini Translations by Clarice A. Cloutier ARTIST BIOS

Derek Greten-Harrison (artistic director) earned his Bachelor of Music Arianne Abela earned her Master’s degree in choral conducting from from Manhattan School of Music and Master of Music in opera perform - Yale School of Music and Yale Institute of Sacred Music, where she stud - ance from Purchase College, State Univer - ied with Marguerite Brooks, Jeffrey Douma, Simon Carrington, and sity of New York. He is highly sought after Masaaki Suzuki. She is currently the director of choral music at Notre for his compelling work both as a coun - Dame High School in West Haven and the Greater Hartford Academy of tertenor and as a baritone. As a coun - Arts (both in Connecticut), and in 2011 was acting choral director at the tertenor, he has been a featured soloist in Westover School for Girls. Arianne also conducts and sings in the choir at Handel’s Messiah and As Pants the Hart , Christ Church, New Haven, and performs regularly with the Yale Camer - Bach’s Magnificat and Gottes Zeit ist die ata and Yale Choral Artists. A native of San Francisco, she sang for many allerbeste Zeit , and Marc-Antoine Charpen - years with the San Francisco Girls Chorus. Arianne is founder of House tier’s Messe de Minuit de Noël , among other of Clouds, an organization dedicated to raising money for charities works. In addition to directing Etherea, he through musical performance and collaboration. is also the longtime alto section leader at St. Paul’s Episcopal Church in Fairfield, Con - necticut. Praised for her “nimble voice” and “artistry that belies [her] young years,” (Kansas City Metropolis) soprano Estelí Gomez enjoys a varied career of solo As a baritone, Derek has performed the and ensemble singing throughout North America and Europe. In Novem - roles of Escamillo in Bizet’s Carmen , Betto ber 2011 Estelí was awarded first prize in the Canticum Gaudium Interna - and Spinelloccio in Puccini’s Gianni Schicchi , tional Early Music Voice Competition in Poznań, Poland, and extended her the Gendarme in Poulenc’s Les mamelles de time in Europe to perform additional concerts in Munich and The Tirésias , and Shakespeare’s arch villain An - Derek Greten-Harrison Hague. After graduating from Yale College in 2008, she earned her Mas - tonio in the New York premiere production ter’s degree in voice at McGill, studying with Sanford Sylvan. While in of Lee Hoiby’s The Tempest . Subsequently he was asked to interpret his Montreal, Estelí performed the title role in Handel’s Agrippina with Opera Tempest role in the highly acclaimed studio recording released by Albany McGill, and recorded a JUNO-nominated CD of Spanish Baroque music Records. Derek’s versatility as a singing actor has also led to musical the - with Ensemble Caprice. Estelí has recently performed with Roomful of ater performances as Fred/Petruchio in Cole Porter’s Kiss Me, Kate and Harold Hill in Meredith Willson’s The Music Man . Teeth, Trinity Wall Street, Clarion Music Society, Conspirare, Seraphic Fire, Santa Fe Desert Chorale, Ensemble 1729, Les Violons du Roy, Ensemble When not performing, Derek is a published writer and music critic who Caprice, and Daniel Taylor’s Theater of Early Music. Recent and upcoming regularly reviews recordings and performances for Opera News magazine. performances include a recital of works created for her by composers at He is currently authoring a book about the vocal training and performing University of Oregon, Eugene, on the Vanguard Series for new and emerg - careers of sopranos in the Golden Age of the American Musical. ing artists; participation in the Victoria Bach Festival as a New Young Artist and featured recitalist; and soprano solos in a performance of Handel’s Messiah with the Poznań Boys’ Choir in Poland. Soprano Allison Holst-Grubbe earned a Bachelor of Music in music edu - Italy. An avid performer and advocate of contemporary music, Jessica cation and vocal performance from Ithaca College and conducted gradu - world-premiered Robert Kyr’s The Annunciation in December 2011 and ate studies in music education at the University of Connecticut. In performed Steve Reich’s Proverb with direction by the composer. The addition to teaching in public schools and her private studio, Allison has Michigan native earned her Bachelor’s degree from the University of performed as a choral musician throughout New England, and as a Michigan and her Master’s degree at the Yale Institute of Sacred Music. recitalist at venues such as the New Britain Museum of American Art and She lives in Boston, Massachusetts. the Women Composers Festival of Hartford. She is currently a section leader and soloist at South Congregational Church in Hartford, Connecti - cut. An AmeriCorps alumna, Allison works for Big Brothers Big Sisters. Soprano Amanda Sidebottom is increasingly sought after as a soloist and chamber singer in New York and beyond. She recently appeared as a soloist with the Mark Morris Dance Group, singing under Morris’s baton Contralto Heather Petrie holds a Bachelor of Arts in voice from Bard Col - in Vivaldi’s Gloria and Bach’s Jesu, meine Freude . Coming off a well-re - lege and a Master of Music in opera performance from SUNY Purchase ceived recital at the Berkeley Early Music Festival in California, her duo Conservatory of Music. She is an active soloist throughout New York and Well-Tuned Words (with lutenist Erik Ryding), recently made its Euro - Connecticut, and performs frequently with choral ensembles in Manhat - pean debut—appearing in concerts in Milan, Paris, and Amsterdam—and tan, including Musica Sacra, Voices of Ascension, and Sacred Music in a also gave recitals closer to home in New York, Connecticut, and Boston. Sacred Space. She is currently a full-time member of the newly formed This season, Amanda will be a featured soloist with Brooklyn Baroque Manhattan Concert Chorale. and the period chamber ensemble The Soul’s Delight, as well as at the Cathedral of St. John the Divine’s holiday concert. As a choral singer, In addition to Etherea’s debut CD, Ceremony of Carols , Heather’s discogra - Amanda will return to both the Yale Choral Artists (Rachmaninoff’s Ves - phy includes Joyful! , a gospel/jazz interpretation of the Psalms by Pete pers ) and the Bach Choir at Holy Trinity (Bach’s Magnificat ) and will make Malinverni, and Sure On This Shining Night , an album of Morten Laurid - her Alice Tully debut in a sixteen-voice SSAA chorus singing Brahms and sen’s choral pieces recorded with Voce at the request of the composer. On Mendelssohn with the American Classical Orchestra. the opera stage, Heather has portrayed the Witch in Hansel and Gretel , Marcellina in Le nozze di Figaro , Flora in La Traviata , Larina in Eugene One - gin , Miss Todd in The Old Maid and the Thief , Baba in The Medium , and Rebekah Westphal , a native of England, came to the United States to Arnalta in L’incoronazione di Poppea . She has also toured South Korea ex - study at Bennington College and then attended McGill University in tensively with her husband, guitarist and producer David Veslocki. Canada, where she studied musicology. She was founder and artistic di - rector of the eight-voice ensemble passio , and has sung in vocal ensem - Praised by the New York Times for bles across the USA. She has trained her “impressive clarity and color” with Peter Phillips and The Tallis and “velvety suaveness,” American Scholars, Roberta Bishop, Kevin soprano Jessica Petrus most recently Komisaruk and Pierre Masse. Prior performed Gabriel in Haydn’s Die to moving to New Haven, Rebekah Schöpfung conducted by Masaaki was on the faculty at The Music Suzuki. Other season highlights in - School of the Rhode Island Philhar - clude the Queen and First Woman in monic. Currently she is the Director a semi-staged version of Handel’s of International Undergraduate Ad - Solomon , soprano soloist in Handel’s missions at Yale University. Messiah , and soprano soloist in St. Matthew Passion Bach’s on tour in Etherea Vocal Ensemble with Grace Cloutier and Alan Murchie Hailed as “an accomplished, poised, self-assured performer” (New York Alan Murchie is a versatile musician whose performance schedule in - Concert Review) with “breadth of expression and remarkable tone” (Choral cludes regular appearances as a solo pianist, organist, conductor, cham - Journal) , virtuoso harpist Grace Cloutier trained at The Juilliard School, ber musician, and lecturer. Recent concert performances include piano Yale University, and in France. She gave her solo Carnegie Hall debut and organ concerti with The Knights, a live recital recital in 2006, performed an encore solo recital on WGBH Boston with BSO cellist Owen Young, there in 2008, and has since performed for and appearances at summer festivals including audiences across the United States, Canada, Maverick Concerts in Woodstock, New York. As a Europe, and the Middle East, regularly solo pianist, Alan has toured Morocco and has appearing in recital for the American Harp Soci - performed in Vienna, Berlin, Edinburgh, Venice, ety, the World Harp Congress, and the Ukrain - and Florence. As organist, Alan’s New York recital ian National Music Festival. She co-founded venues have included the Church of St. Ignatius Ukraine’s International Harp Competition, Loyola and Saint Thomas Church Fifth Avenue. where she serves as head juror of a panel com - Alan’s musical career began at age ten, when he prised of musicians from Moscow’s Bolshoi The - joined the renowned Saint Thomas Choir of Men atre. As a chamber musician, she regularly and Boys. He later attended Yale College, where performs with soprano Jennifer Black (The Met - he was named “most promising and gifted com - ropolitan Opera) and Etherea Vocal Ensemble, poser” and his Paean for brass and woodwinds and has performed with the Calder String Quar - was chosen to open a concert dedicating the new tet, amongst others. A dedicated teacher, Grace Yale School of Music campus. After college, Alan regularly gives master classes nationwide and returned to Saint Thomas as Organ Scholar and as has held multiple residencies at UCLA, served a member of the Choir School faculty. He has on the faculty at The University of Texas, and served as Organist and Choirmaster at St. James’ has recently been appointed to the faculty at The Church, Madison Avenue, and Christ’s Church in Alan Murchie Hartt Conservatory of Music. Grace Cloutier Rye, New York, and at the Episcopal Church at Yale, Berkeley Divinity School at Yale, and Trinity Episcopal Church in South - Grace has been privileged to work with many respected conductors , in - port, Connecticut. He currently serves at St. John’s Episcopal Church in cluding Leonard Slatkin, David Robertson, Julius Rudel, Andrew Litton, Washington, Connecticut, and is Adjunct Professor of Music History at James De Priest and Alexander Vedernikov. She has performed with the Fairfield University, where he also conducts the University orchestra. Moscow Chamber Orchestra and the Moscow Philharmonic at Carnegie Hall, and has been featured as a soloist with Constantine Orbelian and Dmitri Hvorostovsky. An advocate of new music, she has collaborated Noah Horn holds two Master of Music degrees from Yale University with numerous composers, including Pulitzer Prize-winner David Del (one in organ performance, and one in choral conducting) and a Bachelor Tredici, whose newest harp work, Aeolian Ballade , she premiered at of Music from Oberlin College. He is currently enrolled at the Yale Insti - Carnegie Hall. tute of Sacred Music, studying with Marguerite Brooks in the D.M.A. program in choral conducting. He currently serves as director of the Grace maintains an active concert schedule, and has been featured on professional choir at Christ Church in New Haven, Connecticut, and has recordings including Radiant and Winter Solace (HIP Records, 2004 and previously held positions at St. Thomas’s Episcopal, New Haven; St. 2008), Ceremony of Carols (Delos Records, 2011), Toni Dolce (Purple Critter, Peter’s Episcopal, Lakewood, Ohio; and with the United Girls’ Choir 2012), and The Harp Music of David Lefkowitz (Albany Records, 2012). and Elm City Girls’ Choir (New Haven). Noah is a native of Davenport, For up-to-date information, please visit Iowa, and is an active conductor, singer, organist, pianist, harpsichordist, www.gracecloutier.com. and composer.