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Home , Clara Maffei, Don Carlos, Messa per Rossini, Quattro pezzi sacri, Requiem (Verdi), String Quartet (Verdi)

INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC Orchestral Events — Spring 2008 JANUARY Wed CHAMBER ORCHESTRA, 8pm AH 30 David Effron, Conductor APRIL J.C. Bach: Symphony in B-Flat Major, Op. 21 Wed CHAMBER ORCHESTRA, 8pm AH No. 1, W. C17 2 Paul Biss, Conductor Gershwin: Lullaby Beethoven: Symphony No. 1 in C Major, Op. 21 W. A. Mozart: Symphony No. 29 A Major Stravinsky: Concerto in E-Flat Major, “Dumbarton Oaks” Cimarosa: Il maestro di cappella Haydn: Symphony No. 45 in F-Sharp Minor, “Farewell” FEBRUARY Wed SYMPHONY ORCHESTRA, 8pm MAC Sun UNIVERSITY ORCHESTRA, 8pm MAC 9 Uriel Segal, Conductor 3 Chen Lin, Conductor Verdi: Overture to I Vespri Sicilliani Rimsky-Korsakov: Russian Easter Overture, Op. 36 Freund: Sinfonietta Qigang Chen: Wu Xing (The Five Elements) Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83 Schumann: Piano Concerto in A Minor, Op. 54 Sun UNIVERSITY ORCHESTRA, 8pm MAC Wed SYMPHONY ORCHESTRA, 8pm MAC 13 Chen Lin, Conductor; Yuen-Suo Yang, 6 Uriel Segal, Conductor Nielsen: Clarinet Concerto, Op. 57 Mendelssohn: Symphony No. 5 in D Major, Zupko: Canter in Black O p . 107, “Reformation” Dvořák: Symphony No. 8 in G Major, Op. 88 Holt: Without Written Approval Walton: Concerto Wed PHILHARMONIC ORCHESTRA, 8pm MAC 16 David Effron, Conductor Wed CONCERT ORCHESTRA, 8pm MAC Strauss: Eine Alpensinfonie, Op. 64 13 David Effron, Conductor Prokofiev: Concerto No. 1 in D Major, Op. 19 Rachmaninoff: Symphonic Dances Wed CHAMBER ORCHESTRA, 8pm AH 20 Cliff Colnot, Conductor Thomas: Terpsichore’s Dream Mahler (Colnot): Adagio from Symphony 10

Wed PHILHARMONIC ORCHESTRA, 8pm MAC 27 William Gray, Conductor Verdi: MARCH Sun INDIANAPOLIS SYMPHONY ORCHESTRA, EVENT INFORMATION 2 3pm MAC Information about these and Conductor and Soloists, TBA the many other concerts in the Wed CONCERT ORCHESTRA, 8pm MAC 5 Cliff Colnot, Conductor Jacobs School of Music Peter Ellefson, is available at Holst: from The Planets — Mars, Saturn, Jupiter music.indiana.edu. Rouse: Trombone Concerto Sun PHILHARMONIC ORCHESTRA, 8pm IUA 23 Leonard Slatkin, Conductor Ginastera: from Estancia — “Malambo” Camilo: Concerto for Piano and Orchestra Phan: TBA Respighi: Pines of Rome Five Hundred Ninety-Third Program of the 2007-08 Season ______

Giuseppe Verdi Messa da Requiem Oratorio Chorus Philharmonic Orchestra

Soloist at Musical Arts Center, February 27 Jing Zhang, Nicole Birkland, Mezzo-Soprano Jason Wickson, Aleksey Bogdanov,

Soloist at Second Presbyterian Church, March 1 Carolina Castells, Soprano Lindsay Ammann, Mezzo-Soprano John Rodger, Tenor Cody Medina,

William Jon Gray, Conductor

______Musical Arts Center Second Presbyterian Church Wednesday Evening 7700 Meridian Street February Twenty-Seventh Indianapolis, Indiana Eight O’Clock Saturday Evening March First Eight O’Clock music.indiana.edu Program

Ave Maria (1889, rev. 1898; from ) ...... (1813-1901)

Messa da Requiem (1874-5) Requiem Dies irae (coro) mirum (coro, basso) Liber scriptus (mezzosoprano, coro) Quid sum miser (soprano, mezzosoprano, tenore) Rex tremendae (coro, soli) Recordare (soprano, mezzosoprano) Ingemisco (tenore) Confutatis (basso, coro) Lacrymosa (soli, coro) Offertorio (soli) (doppio coro) Agnus Dei (soprano, mezzosoprano, coro) Lux aeterna (mezzosoprano, tenore, basso) (soprano, coro)

There will be NO intermission.

The audience is respectfully asked to refrain from applause after the “Ave Maria.” AVE MARIA Enigmatic scale harmonized for unaccompanied mixed of four voices. Ave Maria, gratia plena: , full of grace, Dominus tecum, the Lord is with you, Benedicta tu in mulieribus, you are blessed among women, Et benedictus fructus ventris tui, Jesus. and blessed is the fruit of your womb, Jesus. Sancta Maria, Mater Dei. Holy Mary, Mother of God, Ora pro nobis peccatoribus, pray for us sinners, Nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen. The audience is respectfully asked to refrain from applause after the “Ave Maria.”

MESSA DA REQUIEM The text as set by Verdi

REQUIEM Chorus Requiem aeternam dona eis, Domine: Rest eternal grant to them, O Lord, Et lux perpetua luceat eis. and may perpetual light shine on them.

Te decet hymnus Deus in Zion, A hymn to you is fitting, O God in Zion, et tibi redetur votum in Jerusalem: and to you a vow shall be fulfilled in Jerusalem. exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. for unto you all flesh shall come. Solo and Chorus eleison. Lord have mercy. Christe eleison Christ have mercy Kyrie eleison. Lord have mercy.

DIES IRAE Chorus Dies irae, dies illa, Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers Teste David cum Sibylla. as David prophesied with the Sibyl.

Quantus tremor est futurus, How great the trembling will be, Quando judex est venturus, when the judge shall come, Cuncta stricte discussurus! the rigorous investigator of all things! Chorus, Bass Tuba mirum spargens sonum The , spreading its wondrous sound Per sepulchra regionum, through the tombs of every land, Coget omnes ante thronum. will summon all before the throne.

Mors stupebit, et natura, Death will be stunned, likewise nature, Cum resurgit creatura, when all creation shall rise again Judicanti responsura. to answer the one judging.

Mezzo-Soprano, Chorus Liber scriptus proferetur, A written book will be brought forth, In quo totum continetur, in which all shall be contained, Unde mundus judicetur. and from which the world shall be judged.

Judex ergo cum sedebit, When therefore the judge is seated, Quid-quid latet apparebit: whatever lies hidden shall be revealed, Nil inultum remanebit. no wrong shall remain unpunished.

Chorus Dies irae, dies illa, Day of wrath, that day solvet saeclum in favilla, shall dissolve the world into embers, teste David cum Sibylla. as David prophesied with the Sibyl.

Soprano, Mezzo-Soprano, Tenor Quid sum miser tunc dicturus? What then am I, a poor wretch, going to say? Quem patronum rogaturus? Which protector shall I ask for, Cum vix justus sit securus. when even the just are scarcely secure?

Solo Quartet and Chorus Rex tremendae majestatis, King of terrifying majesty, Qui salvandos salvas gratis, who freely saves the saved: Salva me fons pietatis. save me, fount of pity.

Soprano, Mezzo-Soprano Recordare Jesu pie, Remember, merciful Jesus, Quod sum causa tuae viae, that I am the cause of your sojourn; Ne me perdas illa die. do not cast me out on that day.

Quaerens me, sedisti lassus: Seeking me, you sat down weary; Redemisti, crucem passus: having suffered the cross, you redeemed me. Tantus labor non sit cassus. May such great labor not be in vain.

Juste judex ultionis, Just judge of vengeance, Donum fac remissionis, grant the gift of remission Ante diem rationis. before the day of reckoning. Tenor Ingemisco, tamquam reus: I groan, like one who is guilty; Culpa rubet vultus meus: my face blushes with guilt. Supplicanti parce Deus. Spare the supplicant, O God. Qui Mariam absolvisti, You who absolved Mary [Magdalene], Et latronum exaudisti, and heeded the thief, Mihi quoque spem dedisti. have also given hope to me.

Preces meae non sunt dignae: My prayers are not worthy, Sed tu bonus fac benigne, but you, good one, kindly grant Ne perenni cremer igne. that I not burn in the everlasting fires. Inter oves locum praesta, Grant me a favored place among your sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. placing me at your right hand.

Bass, Chorus

Confutatis maledictis, When the accursed are confounded, Flammis acribus addictis, consigned to the acrid flames: Voca me cum benedictis. call me to be with the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quasi cinis: my heart contrite as if it were ashes: Gere curam mei finis. Protect me in my final hour.

Chorus Dies irae, dies illa, Day of wrath, that day solvet saeclum in favilla, shall dissolve the world into embers, teste David cum Sibylla. as David prophesied with the Sibyl.

Soloists, Chorus Lacrymosa dies illa, O how tearful that day, Qua resurget ex favilla, on which the guilty shall rise Judicandus homo reus. from the embers to be judged. Huic ergo parce Deus. Spare them then, O God.

Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem. grant them rest. OFFERTORIO Soloists Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, king of glory, libera animas omnium fidelium defunctorum liberate the souls of all the faithful departed de poenis inferni et de profundo lacu: from the pains of hell and from the deep pit; libera eas de ore leonis, deliver them from the lion’s mouth; ne absorbeat eas tartarus, let not hell swallow them up, ne cadant in obscurum: let them not fall into darkness:

sed signifer sanctus Michael but let Michael, the holy standard-bearer, repraesentet eas in lucem sanctam: bring them into the holy light, Quam olim Abrahae promisisti, which once you promised to Abraham et semini ejus. and to his seed.

Hostias et preces tibi, Sacrifices and prayers of praise, Domini, laudis offerimus: O Lord, we offer to you. tu suscipe pro animabus illis, Receive them, Lord, on behalf of those souls quarum hodie memoriam facimus: we commemorate this day. fac eas, Domine, Grant them, O Lord, de morte transire ad vitam. to pass from death unto life.

Quam olim Abrahae promisisti, which once thou promised to Abraham et semini ejus. and to his seed.

Libera animas omnium fidelium defunctorum Liberate the souls of all the faithful departed de poenis inferni. from the pains of hell Face as de morte transire ad vitam. Grant the, O Lord, to pass from death unto life.

SANCTUS Double Chorus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt caeli et terra Heaven and earth are full gloria tua. of your glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus qui venit Blessed is he who comes in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. AGNUS DEI Soprano, Mezzo-Soprano, Chorus Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem sempiternam. grant them rest everlasting.

LUX AETERNA Mezzo-Soprano, Tenor, Bass Lux aeterna luceat eis,Domine: May light eternal shine upon them, O Lord, Cum sanctis tuis in aeternum: in the company of thy saints forever and ever; quia pius es. for thou art merciful. Requiem aeternam dona eis,Domine, Rest eternal grant to them, O Lord. et lux perpetua luceat eis. and let perpetual light shine upon them.

LIBERA ME Soprano, Chorus Libera me, Domine, de morte aeterna, Deliver me, O Lord, from death eternal, in die illa tremenda: on that dreadful day: Quando coeli movendi sunt et terra: when the heavens and earth shall quake, Dum veneris judicare saeculum per ignem. when thou shalt come to judge the world by fire.

Tremens factus sum ego, et timeo I am seized by trembling, and I fear, dum discussio venerit, awaiting the judgment that should come, atque ventura ira. and I also dread the coming wrath.

Dies illa, dies irae, O that day, day of wrath, calamitatis et miseriae, day of calamity and misery, dies magna et amara valde. momentous day, and exceedingly bitter, Dum veneris judicare saeculum per ignem. when thou shalt come to judge the world by fire.

Requiem aeternam dona eis,Domine, Rest eternal grant to them, O Lord. et lux perpetua luceat eis. and let perpetual light shine upon them.

Libera me, Domine, de morte aeterna, Deliver me, O Lord, from death eternal, in die illa tremenda: on that dreadful day: Quando coeli movendi sunt et terra: when the heavens and earth shall quake. Dum veneris judicare saeculum per ignem. when thous shalt come to judge the word by fire. Oratorio Chorus William Jon Gray, Conductor Adam Burnette, Accompanist Mark Doerries, Stephen Mager, Ryan Tibbetts, Lisa Yozviak, Assistants

Soprano Mezzo-Soprano Tenor Baritone/Bass Jennifer Albert Sang Mi Ahn Whitaker Blackall Aubrey Allicock Caitlin Andrews Melissa Block Benjamin Bolter Erik Anstine Elizabeth Barth Amanda Brown Jae-Hong Chung David Michael Jacqueline Brecheen Jennifer L. Carpenter Marc Coomes Barnhouse Viktoria Car Laura Dallman Michael Cummings Nathan Beary Blustein Christine Cornell Miriam Drumm Colin DeJong Nicholas Brozack Loralee Culbert Evelyn Finch Joe Diehl Mark Chilla Aarthi Devanathan Nicole Harsh Mark Brennan Adam Cioffari Meghan Dewald John Holiday, Jr. Doerries Lee Cravens Emily Kate Ehlers Erin Houghton Ben Ellerin Michael Dolan Robin Federici Eileen Carey Jennings Robert Ryan Endris Nicholas Dold Sarah Fox Laura Kasson Lawrence Galera Carl DuPont Hilary Glen Christy Keele Brandon Gauby Adam Ewing Jennifer Harrington Kathryn Leemhuis Benjamin Geier Milner Fuller Colleen Hughes Carlin Ma Donald Gilbert Clifford Gagliardo Caryn Kerstetter Rachel Milligan Jonathan Guez Andy Goheen Jenny Ji-Sun Kim Natasha Nelson Si-uk I Joshua Groffman Erin Laub-Noelliste Clara Nieman Nikolas Allen Fawzi Haimor Rebecca Lauer Elizabeth Ogonek Jeleniauskas Jonathan Harvey Shan-Hui Lin Charis Peden David Johnson Greg Hoyt Margaret Musick Julia Pefanis Jonathan B. Lerner Wayne Hu J. Judith Ofcarcik Yuriria Rodriguez- Nicholas Nesbitt Jonathan Jackson Soo hyun Oh Laureani Douglas Olson Christopher Johnson Min-Gyung Oh Amanda Russo Benjamin Peck Carl Kanowsky Elizabeth A. Pearse Beatrice Scorby Pierre Pérez C. Robert Keene II Emily Stokes Julia Snowden Matthew J. Peterson Bill Kloppenburg Sarah Katherine Taylor Audrey Dawn Snyder Michael Porter Austin Kness Ann Marie Walters Hillary J. Sullivan Michael Raunick Hamish Lane Debra Winter Lauren Walker John Rodger Robert Lane Amanda Woodbury Steve Rothkopf Chih-Chiang Lin Jung Nan Yoon Tom Stoffel Jesse Malgieri Heather Youngquist Asitha Tennekoon Julian Morris Lisa Yozviak Jason M. Thomas Eric Joshua Mowery Mark Van Arsdale Kevin Necciai David Werfelmann Nathanael Pangrazio Caleb Winsor Christopher Renk Peter A. Rogahn Mitchell Rorick Christopher Schroeder Ryan Tibbetts Benjamin Weston Miroslaw Witkowski Philharmonic Orchestra

Violin I Horn Azusa Chapman Jinhee Han Timothy Huizenga David Radzynski Maria di Meglio Kurtis Henderson Susan Paik Anna Sliva Jessica Thoman Ayumi Paul Yu Young Chung Everett Burns Jonathan Sanderson Julia Stewart Sarah Drake Zachary Mansell Trumpet Alexander Boissonnault Maya Nojiri Wesley Miller Olivia Chew Paul Young Alessandro Ghidotti Dmitriy Melkumov Catherine Lukits Tiffany Hoffer Baptiste Rodrigues Bill Meyer Miranda George Etienne Gara Miyoung Woo Jennifer Blickensderfer Trombone Maristella Patuzzi Bass Sarah Paradis Sarah Saviet Timothy Weddle Jason Watkins Allison Cook Charles Morris, Bass Violin II Danielle Meier Alison Stewart Daniel Tosky Tuba Erik Liljenberg Emily Honeyman Peder MacLellan Peri DeLorenzo Lee Weiss Garrett Semmelink Ashley Eidbo Shari Mason Joshua Tripp William Reno Yuko Tatsumi Marie-Madeleine Orban Percussion Nicholas Drumm Daniel Stein Derek Dreier In Young Park Alan Tomasetti Robin Eckert Mark Renfrow, Piccolo Offstage Yuan Wu Nicholas Volz Moises Cunha Eric Dickson Seul Lee Andrew Ripley (Bloomington) Dylan Kruziki Se Hwa Beom Erika Grimm (Indianapolis) Carl Engelke Rachel Stout Viola Orchestra Manager Matthew Maffett Clarinet Kasia Bugaj Casey Mullin Krista Weiss Ashley Eidbo, Ass’t. Mollie Reynolds Tzu-Ying Huang Benjamin Weiss Orchestra Set-Up Vincent Marks Daniel Tosky Heather Casparie Arianne Smrdel Lauren Hughes Matthew Mindeman Aaron Pergram Eunje Kim Sarah Wildey Librarian Daniel Wang Joyce Rorabaugh Mariel Johnson Notes on Verdi’s Requiem by O. Milner Fuller Verdi’s Messa da Requiem was substantially completed in 1874, with sub- sequent revisions in 1875, and was dedicated to the Italian poet and novelist . The first performance was on the anniversary of Manzoni’s death at the church of San Marco, on 22 May, 1874 under the com- poser’s direction. The work is scored for soprano, mezzo-soprano, tenor, and bass soloists, mixed chorus, three (III doubles on piccolo), two , two , four , four horns, four trumpets, three , bass tuba, timpani, , and strings. Four additional trumpets play offstage.

While he was in Sant’ Agata,Verdi learned of the death of on 13 November, 1868. Four days later he wrote a letter to his publisher, Tito Ricordi, proposing that a group of Italian composers should write a mass in commemoration of Rossini, to be performed on the first anniversary of his death. Verdi’s admiration of Rossini is well documented, and in a letter to soon after Rossini’s passing, he wrote, “A great name has gone from the world! His was the most widespread, most popular reputation of our time, and was the glory of Italy! When the other one [Manzoni] who is still alive will no longer be with us, what will remain?

Verdi composed the concluding “Libera me” section of the , while twelve other composers took the remaining movements. However, the plan for the commemorative performance failed due to fiascos involving various miscommunications and political struggles, a situation that eventually led to the dissolution of Verdi’s long-standing relationship with the conductor Angelo Mariani, formerly a good friend. Verdi quickly dismissed the project after its initial failure, and the fully completed move- ments of the work were returned to their composers. The original Messa per Rossini was not re-assembled and performed until 1988, when it received its première under the direction of choral conductor Helmut Rilling in Stuttgart.

Verdi held his contribution to the Rossini requiem in high regard. When Alessandro Manzoni, the writer and political figure of the ItalianRisorgimento movement, died on 22 May, 1873, he decided to compose a setting of the complete Requiem mass text in honor of the poet. Using the original “Lib- era me” from the Messa per Rossini as the germ of a new composition, Verdi proceeded to write the rest of what we now know as his Messa da Requiem. Though he had to secure special permission to have his work per- formed in a church (female voices were forbidden at the time), Verdi’s demands were met, and the première went as planned exactly one year from Manzoni’s death. The public quickly took to the work, though some critics disparaged that its theatricality made it unsuitable for sacred music. Verdi took the Messa da Requiem on a European tour in 1875, and it de- buted in the United States that same year. It has never since left the canon.

Verdi wrote the Requiem soon after , , and , thirteen years before his final two masterpieces, and . The cohesive, architectural structure of the work and the recurring use of the “Dies irae” music as a unifying thread through the of movements reflect the composer’s mature style. Verdi’s masterful employment of fugal and contrapuntal techniques in the “Sanctus” and “Libera me” movements of the Requiem, later demonstrated by his in 1873 and in the finale to Falstaff,is central to his tribute to Rossini, the composer turned virtuoso contrapuntalist in works such as his and .

Often called “Verdi’s greatest opera,” the Requiem retains a good mea- sure of the pictorial qualities, drama, and lyricism of his stage works—the composer even based the “” on a discarded duet intended for Don Carlos. Although they do not function as individual theatrical characters, the four vocal soloists are endowed with distinct musical personalities and personalized struggles. The large-scale structure of the “Libera me” is not dissimilar to a nineteenth-century Italian operatic scena, comprised of the traditional elements of declamatory parlante, recitative, orchestral figura- tions, and a slow-tempo cavatina preceding, in this case, a fast-tempo fugue in place of the usual concluding brilliant cabaletta. In a mirror-image of Iago’s demonic “Credo” from Otello the dramatic progress of the movement charts the soprano’s terrifying struggle to come to terms with her own uncertainty of what awaits on the other side of death. The work ends ambiguously in a sudden turn from c minor to C major, with soprano and chorus united in a low-register, unison parlante, begging deliverance from eternal nothingness. *6 01&3" & #"--&5   4&"40/ Theater Le Nozze di Figaro CZ8PMGHBOH"NBEFVT.P[BSU 'FC   .BS 4QSJOH#BMMFU ANight at

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