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Los Angeles Master Chorale ~- ~ and Sinfonia Orchestra 20lh ANNIVERSAR'r' CELE&AT~ LOS ANGELES MASTER CHORALE ~- ~ AND SINFONIA ORCHESTRA . J ~ ~ ROGER WAGNER, FOUNDER AND MUSIC DIRECTOR ~ SATURDAY EVENING, JANUARY 21, 1984, AT 8:30 PM PREVIEW AT 7:30 PM BY PAUL SALAMUNOVICH DOROTHY CHANDLER PAVILION ROGER WAGNER, Conductor JEANNINE WAGNER, Assistant Conductor MARVEL JENSEN, Organ ROGER WAGNER AT 70 SACRED MUSIC OF THE RENAISSANCE PERIOD JUBILATE DEO Giovanni Gabrieli (1557-1612) Let the whole world sing praises to God. VERE LANGUORES Tomas Luis de Victoria (1548-1611) Surely He has borne our griefs, and hath carried our sorrows. EXSULTATE JUSTI PSALM 33 Ludovici Viadana (1564-1645) Rejoice in the Lord, 0 ye righteous. SUPER FLUMINA BABYLONIS Giovanni da Palestrina (1525-1594) By the rivers of Babylon we sat and wept when we remembered Thee, 0 Zion! SECULAR MUSIC OF THE RENAISSANCE PERIOD AU JOLY JEU Clement Janequin (1475-1560) Oh, follow on where my love may lead. LA PLUS BELLE DANS LA VILLE Clement Janequin The prettiest in the village. That's me! IL EST BEL ET BON Passereau (1509-154 7) He is handsome and good. He does not beat me and' he feeds the chickens. \ L-1 • MUSIC OF THE TWENTIETH CENTURY MAGNIFICAT Flor Peeters (b. 1903) Dedicated to Roger vyagner My soul magnifies the Lord, and my spirit rejoices in God my Savior. MASS IN G MINOR Ralph Vaughan Williams (1872-1958) Kyrie Sanctus Gloria Benedictus Credo Agnus Dei Soloists: KARl WINDINGSTAD, Soprano JEANNINE WAGNER, Mezzo-Soprano BYRON WRIGHT, Tenor JAMES WHITE, Baritone Intermission SINFONIA SACRA, "GLORIA" Daniel Pinkham (b. 1923) Gloria in excelsis Deo SOLEMN PSALM #1 Jean Langlais (b. 1907) Dedicated to Roger Wagner Laudate Dominum in sanctis ejus VOCALISE Wilbur Chenoweth (1899-1979) ANNIE KIM, Soprano A CHORAL TRIBUTE Kirke Mechem (b. 1925) Commissioned by the Los Angeles Master Chorale to celebrate the 70th birthday of its founder and director. FOLK SONGS OF THE NEW WORLD SHENANDOAH Sea Shanty PAUL HINSHAW, Baritone arr. Roger Wagner GLENDY BURK Stephen Foster arr. Roger Wagner SOMETIMES I FEEL LIKE A MOTHERLESS CHILD Spiritual SALLI TERRI, Mezzo-Soprano arr. Roger Wagner BATILE O'JERICHO Spiritual arr. Roger Wagner The Los Angeles Master Chorale Association sponsors the Los Angeles Master Chorale and Sinfonia Orchestra. It does this through the generosity of its volunteer Board of Directors and all those who contribute to The Music Center Unified Fund of the Performing Arts Council. The Association's volunteer affiliate committees provide substantial support for its activities. These concerts are made possible, in part, through the sponsorship of the Los Angeles County Board of Supervisors and the Los Angeles County Music and Performing Arts Commission, and through grants from the Cultural Affairs Department of the City of Los Angeles, the National Endowment for the Arts, and the California Arts Council. UIKOIIH!tJ will not btl ~ated until the fim con~ient pou~ in the performance. I Invited suesls a~ welcome backstase a~r the performance; use performen' entrances: Grand Ave. side of P/;ua for Pavilion, comer of Temple & Grand for Ahmanson, and ~ar of theat~ for Forum. I Use of tape ~arden and/or cameras prohibited in auditorium. I Your USfl of a ticket constitures acknowledsement of willinBfle>S to appear in photOflraphs taken in public a~as of The Music Center and releases The Music Cen~ Ope,.tins Co., its /esSfle! and all othen from liability ~ultinB from use of such photosraphs. I Pq,.ms and artists subject to chan,e. I Patrons cannot btl pased durinB a performance. Individuals expectins emellJency calls must leave their seat numbtln with the House Mana,er. L-2 PROGRAM NOTES Between 1563 and 1584 Giovanni da groups. by Palestrina published 177 motets, and an­ Richard H. Trame, S.j., Ph.D. other 72 were published posthumously. Flor Peeters (1903) enjoys the distinc­ Loyola Marymount University The great motet, Super flumina Baby­ tion of being only one of three Belgian Janis (Psalm 136 Vulgate Bible) for five musicians since 1830 to have been Giovanni Gabrieli developed his uncle voices was constructed from the opening raised to the peerage when King Bou­ Andrea's invention of the use of the words of a Psalm for Thursday Vespers, doin proclaimed him a baron in 1971. antiphonal or double chorus (cori spez­ or from the Offertory of the Mass for the Baron Peeters' achievements as com­ zati) at St. Mark's in Venice, in a more Twentieth Sunday after Pentecost. It poser, teacher, and organist have won sophisticated manner. Rather than sim­ depicts the lamentation of the exiled him honorary doctorates from The Cath­ ply having one choir repeat what had Jews by the banks of the Euphrates River olic University of America and Louvain been presented initially, Giovanni used near Babylon. University. In 1958 Pope Pius XII con­ the device to further develop the motet's ferred on him the rank of Knight Com­ thematic material. mander of the Order of St. Gregory. His Between 1597 and 1615, he produced Magnificat (Opus 110) for mixed choir four motets entitled }ubi/ate Deo, two of and organ was composed in 1962 and which were for eight voices, one for ten has proved to be one of his · most pop­ and one for fifteen. This evening's jubi­ ular and enduring sacred compositions. late Deo (Psalm 99 Vulgate Bible) has often been described as "perhaps the In 1920 Ralph Vaughan Williams be­ greatest motet ever composed" and "the came profoundly influenced by the work crowning achievement of the polychoral of Sir Richard Runciman Terry, Choir­ Venetian school." Gabrieli published it master of Roman Catholic Westminster in 1597 in a collection of motets scored Cathedral in London. Terry's work ac­ for voices, organ and brass instruments. tively resurrected the great music of the The piece illustrates the aforementioned Giovanni da Palestrina English Tudor composers, especially that Venetian style, but while also develop­ of William Byrd. ing contrasts between groupings of high Clement janequin's 250 polyphonic Responding to this discovery, he com­ and low voices within the melodramatic chansons fill six volumes in a modern posed the a cappella Mass in G for solo structure. This joyful motet culminates in edition published between 1965 and quartet and eight-part mixed chorus. It ' dazzling and sonorous union of voices 1971. l:le spent his generally impov­ not only broke new ground, but also set ( nd instruments. erished life in different French cities as a a standard for the re-creation of Eng­ priest-clerk to bishops from Bordeaux to land's a cappella choral tradition. This Vere languores (nostros ipse tulit) (Truly Paris. In addition to his chansons he setting of the Mass Common was dedi­ he has borne our sorrows) is Tomas Luis produced 150 psalm settings, a number cated to Gustav Holst and his Whitsun­ de Victoria's profoundly poignant and of motets, and two Masses. The con­ tide Singers, but its first liturgical per­ fervent lament composed for the rev­ temporary royal publisher Attaingnant formance occurred in Westminster erence of the Holy Cross at the Mass of included his chansons in published col­ Cathedral on March 12, 1923. the Presanctified on good Friday. It was lections, as did the publisher Gardanes. probably published in his first book of Janequin's chansons are strongly pro­ New England-born Daniel Pinkham motets in 1572. This piece, along with grammatic as illustrated in the vivid La has been strongly influenced by the 0 Vos Omnes and Ave Maria, is the Batai/le (de Marignano) and Les Oiseaux. work of contemporary composers in­ work upon which Victoria's posthumous Au }oly }eu de pousse avant and La plus cluding Samuel Barber, Walter Piston, reputation rested before his numerous belle dans Ia ville aptly illustrate jane­ Aaron Copland and Arthur Honegger. sacred compositions were discovered, quin's jovial and mirthful artistry. His music, particularly the Christmas, resulting in a re-evaluation of his full Easter, and wedding cantatas has made style and achievement. Also a French priest, Passereau (1509- him one of the most successful Ameri­ 47) attained the distinction of being in­ can composers. The Gloria in exce/sis Ludovico Viadana, upon Jornrng the cluded in Rabelais' list of "merry musi­ from his Sinfonia Sacra, clearly influ­ Observant Franciscans sometime after cians." This accomplished singer pro­ enced by Giovanni Gabrieli, exhibits his 1588, changed his family name of Grossi duced chansons almost exclusively; in­ compact, contrapuntally cohesive and to that of his birthplace, Viadana, near deed, only one motet is attributed to rhythmically propulsive style. Parma. He served chiefly as Choirmaster him. His cheerful narrative and descrip­ in Mantua, Padua and Rome. Exsultate tive songs, like Janequin's chansons, Blind from birth, jean Langlais has justi appears . to be an early festive were included in publications by At­ spent much time teaching in France's polyphonic motet probably published in taingnant. His popular II est bel et bon School for the Blind. His own teachers 1588. Most of Viadana's later music pro­ imitates onomatapoetically the sound of were Paul Dukas and Tournemire, the duced for one or few voices required in- hens clucking. The song attained such · latter of whom he succeeded as organist ·-umental accompaniment, distinguish­ popularity that it was sung in the streets at prestigious St. Clotilde. His composi­ ., him as one of the earliest pioneers of distant Venice and was subsequently tions have been strongly influenced by in the use of basso continuo. transcribed for various in;trumental Gregorian chant. The Solemn Psalm #1 L-3 is one of three festive psalms produced A CHORAL TRIBUTE in 1965 for solo quartet, choir, organ, and brass.
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