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SHEPHERD SCHOOL SYMPHONY ORCHESTRA

RICE CHORALE

HOUSTON CHILDREN'S CHORUS CHAMBER

Larry Rachleff, conductor

Friday, April23, 1993 8:00p.m. Stude Concert Hall

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sfkteherd RICE UNIVERSITY Sc~ol Of Music PROGRAM

Fanfare for a Great City Arthur Gottschalk (b. 1952)

Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (1833-1897)

INTERMISSION

Carmina Burana ( 1895-1982)

Rice Chorale Houston Children's Chorus Chamber Choir Kelley Cooksey, Francisco Almanza, Robert Ames,

In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA

Violin I (cont.) (cont.) Julie Savignon, Erwin Foubert Margaret Butler Troy Rowley concertmaster Patrick Horn Kyle Bruckmann David Workman Claudia Harrison Stephanie Griffin Jeffrey Champion Barbara Wittenberg Bin Sun Dione Chandler Wade Demmert Jeanine Tiemeyer Andrew Weaver Karen Friedman David Ford Kristin Lacey Sharon Neufeld ~ Brent Phillips Mihaela Oancea English Horn Kyle Bruckmann Inga Ingver Katherine de Bethune, Yenn Chwen Er Jeffrey Tomberg principal Yoong-han Chan Benjamin Brady Danny Urban ~ Jeanne Jaubert Magdalena Villegas Joanne Court Scott Brady and Tanya Schreiber Kelly Cramm Mary Ellen Morris Percussion Rebecca Ansel Martin van Maanen Robin Creighton Douglas Cardwell Eitan Ornoy X in-Yang Zhou Amy Harr Nathan Davis l Melissa Yeh Rachael Snow Eric Kutz E-flat Clarinet Erich Loftis Jonathan Swartz Mary Riles X in-Yang Zhou Andrea Moore Aileen Pagan Joanna Nelson Clarinet II Allison Braid Frank Ronne burg Martin van Maanen Johnny Chang, Darrett Adkins Stephen Steele Joel Stein r principal Ellen Fuchs Sarah Mauldin Eric Anderson Amanda Walvoord James Mallet, Charles Bailey Ming Fong Anna Cromwell principal Kellie Dunlap Daniel Velicer Zhang Zhang Richard Hardie Joshua Hood Courtney LeBauer Celeste Robert Beck William Hunker Shen Yeh Gerardo Edelstein David Murray Colleen Brannen Siobhan Kelleher Orchestra Manager Tomasz Golka Joshua Hood Nicholas Walker Martin Merritt faa Alexander Kurt Johnson Horn '( Zachary Carrettin Orchestra Librarian Pamela Lopes Wade Butin Linda Hill Kellie Dunlap , . Robert Stiles Tricia Giesbrecht Vanessa Cook Thomas Jostlein Stage Technicians Mary Helen Harris Flute Michael Mayhew Wade Demmert Janice Chow Elizabeth Buck Kimberly Penrod William Hunker Christina Olien ..._ Brian Davis Iris Rosenstein James Mallet Lisa Garner Ross Snyder Viola Michael Mayhew Kris Guthrie Martha Thompson Anne Miller, Jeffrey Tomberg ;. Susan Kerbs Elizabeth Zwicky principal LaNelle McDowall Library Assistants Rifat Qureshi ~ . Trumpet Eric Anderson Wei-Guo Yin Piccolo Dennis de long Charles Bailey Tibor Molnar Elizabeth Buck James Lake Erwin Foubert ~ Aaron Bielish Lisa Garner Kevin Noe Anne Miller Rudolf Haken Susan Kerbs Elbert Pruitt Sharon Neufeld -<:

WINDS, BRASS, AND PERCUSSION LISTED ALPHABETICALLY. RICE CHORALE Thomas Jaber, music director ) Kimberly Camp Orr, assistant conductor Donald Doucet, rehearsal pianist

Jonathon Adler Susan Galloway Alina Klimaszewska Brett Peters Julian Altschul Gary Garverick Tse-Ying Koh Stephanie Petrusek Jeffrey Andress Julianne Gearhart Michael Koltz Christopher Pickett Greg Applegate Nora Ghbeish John Koshy Caroline Plowden Jennifer Arisco Gina Goff Katrina Kropa Lydia Rebholz Kathleen A vera Raymond Granlund Lyn Kulapaditharom Benno Remling Angelena Baines Alan Green Andy Kuo Claire Rieffel "'-., Don Barkauskas David Greene Keith LaFoe Joel Riphagen Kelley Barnes Max Greenfield Liz Lam Christopher Rodriguez Diane Barrett Mark Gremillion Lorelle Lamascus Deric Rosenblatt ' Luciana Barroso Meg Grulee Glenn Larratt Kimala Ross Sara Bayer Steve Gutheinz Graham LeBron Scott Rudy Micah Bennett Stuart Hall Jeffrey Lien Jennifer Ruland Michael Benson Felix Hamelbeck Ashley Lile Andrew Rye Susan Bernat Minh Han Peter Lindskoog Brian Sadovsky ~ Susan Boettger Leslie Hanson Karen Loti Jenny Salomon Christina Bravo Cari Harris Deborah Lutes Paul Schleuse Lara Bruckmann Larycia Hawkins Thomas Maddox Aaron Schnurbusch Mark Carlisle Brian Haygood Mary Louise Marent Amy Scurria Marcia Carlson Caroline Heatherton Reece Marshall Cambria Smith Chris Caudle James Hickman Rose Ann Martinez Jeanne Stein Alice Chen Laureen Hildebrand Justin McCarthy Jason Stevens Anne-Marie Condacse Hai HughHo Wendy McGahee Geoffrey Sturm or T.K. Conrad Yvonne Ho MaryAnn McKibben Alex Stutler Michael Cook Kristi Holder Katherine McKinin Eric Sutton Melissa Cue Christine Hopper David Mebane Jude Theriot Susan D'Albergo Paul Howard Nick Mahieu John Tripp Robert Dana Jon Hunter Ryan Minor Yodi Trujillo David Deggeller Jennifer Jacobs Edward Morris Dan Velicer Mark Deggeller Elke Jahns Ernest Mueller Stacy Vial Kirsten DeHart Lura Johnson Beth Munkres Kathleen Webster Carolyn Delaney Courtney Jones Robert Murry Nathan Wight

o4 I Margaret Denton Kara Kane Elenor Nardy Kandi Wiley -1 Toby Eisenberg Nikko/a Karlsson Paul Neal Jessica Williams .. ; Sean Elgin William Kelley Manya Newton Joanna Yeoman Karen Foster Joe Key Jeffrey Nytch Stephanie Zelnick

Joseph Fowler Ashley Kim Kimberly Camp Orr George Zener ~ Gabriela Frank Tami Kimmel David Palmer Jennifer Zimmerman HOUSTON CHILDREN'S CHORUS CHAMBER CHOIR Stephen Roddy, founder and director

Matthew Amthor Nathan Herrington Julia Krohn Greg Poirier Missy Burchfield Sarah Hight Mandy Lawshae Michelle Potts Jenny Burchfield Benjamin Jaber Travis Layton Cye Sanati Anjan Choudhury Anne James Ronda Lyles Randy Thompson Amanda Connolly lana Jones Amy Mayerhoff Jennifer Wallace Clare Conway Patrick Kelly Charlie Muras Jennifer Westerfield Larkeytra Davis Kristin Kiker Meredith Nichols Grant Wilson Allyson Gibson Chisa King Glenn Phillips Evans Wittenberg

PROGRAM NOTES

Fanfare for a Great City . . Arthur Gottschalk Arthur Gottschalk is an Associate Professor of Composition and Theory and the Direc- ,. tor of the Electronic Music Laboratories at The Shepherd School of Music, where he has been a member ofthe faculty since 1977. Born in San Diego in 1952, he received his D. M.A. from the University of Michigan, where he studied with Ross Lee Finney, Leslie Bassett, and William Balcom. In anticipation of the twenty-fifth anniversary of NASA's Lyndon Baines Johnson Space Center, the Houston Festival (now the Houston International Festival) requested a work from Gottschalk. At that time ( 1983 ), he was the Composer-in-Residence at the Columbia­ Princeton Electronic Music Center and was living in New York's Greenwich Village. The Festival had intended a piece for the celebration of Houston, but Gottschalk was more inter­ ested in celebrating New York's "concrete jungles" than Houston's "semi-tropical foliage." The Festival, unaware of Gottschalk's feelings, expected to receive a tonal, celebratory work, but instead received an ambiguously titled work that the composer describes as "monolithic." Fanfare for a Great City is not programmatic but representative. It is sectional in struc­ ture,firmly rooted in the key ofB-flat. In the course ofthe work, the harmony progresses from dominant to tonic. Rhythmic drive supplies an element of cohesion. The instrumenta­ tion calls for four ,four horns, three , and one tuba. Arthur Gottschalk has received the Charles Ives Prize, the Charles Ives Center Fellow­ ship, and the Sigvald Thompson Award. His works have been recorded by Crystal, Orion, Golden Crest, Summit, and Polygram. Fanfare for a Great City is published by Seesaw Music Corporation.

Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms Johannes Brahms was well established throughout the world as a composer of chamber music, concerti, choral works, and lieder when he began composing his first complete sym­ phonic work, the Variations on a Theme of Haydn, Op. 56a. The techniques he used and mastered in the work, which premiered November 2, 1873, as well as the instant success of the Variations, encouraged Brahms' continued work on his first symphony, which was twen­ ty years in the making. The Haydn Variations, along with the two string quartets of Op. 51, and the orchestration ofthree Hungarian Dances, were integral in the development needed for Brahms to finish this much-anticipated Symphony No. 1. Besides being Brahms' first truly orchestral work, the Haydn Variations holds other significant distinctions: it was the first set of independent variations for orchestra, and it was the first time a passacaglia was used to conclude a set of variations in a symphonic work. (It is interesting to note that in the finale of his Symphony No.4, which was composed thirteen years later, Brahms returned to this technique.) The variation technique was not new for Brahms, since many ofhis earlier works had been constructed with this technique, including the Variations and Fugue on a Theme of Handel, Op. 24, of 1861. (The Handel Variations were written for piano, as were one version of the Haydn Variations, Op. 56b.) The theme chosen by Brahms as the basis for this set of variations was once thought to be by Franz Joseph Haydn, but later research has proven that it was written by an unknown composer. Commonly referred to as the St. Anthony Chorale, it provided Brahms with a melody which could be ornamented and harmonically reinterpreted without the listener losing a sense of the original theme. After the initial statement of the theme, Brahms adds eight variations, a passacaglia with sixteen variations, and a coda. The sonorous melodies of variations I, Ill, and VII, and the driving rhythms of variations V and VI are trademarks of Brahms' style, as are the alternation between major and minor tonalities, diversity of rhythm, tempo and meter, hemiola, and the rich-sounding instrumentation. Brahms' instrumentation includes a contrabassoon, piccolo, and triangle, each ofwhich he would use only sparingly in his other orchestral works, and omits the trombones. The contrabassoon darkens and enriches the sonority of the ensemble, and the triangle gains a prominent role with its nearly melodic use in the conclusion of the passacaglia.

Carmina Burana . . Carl Orff Carl Orff gained fame first in Germany, then internationally, as a composer and edu­ cator. Drawing on his experiences as a teacher of gymnastics, music, and dance in Munich, Orff, along with Dorothy Gunther, founded the Guntherschule, an institution formed to explore relationships between movement and music. This work in education, combined with Orff's conducting experiences at the Munich Bach Society, where he made arrangements of the music of such earlier composers as J. S. Bach and , helped to form Orff's own ideas ofmusical theater. From the models ofancient tragedy, Bavarian peasant life, and Christian mystery, he established his perceptions of theatrical style. Orff's main goal as a composer was the realization of "total theater," where music, ,.. words, and movement would combine to produce an overwhelming "effect." His intention ~ ' in each of the works written in this style, Carmina Burana, , der Tyrann, and Ein Sommernachtstraum, is neither the discussion of human nature in tragedy, nor a ) statement of supernatural truths, whimsical fancy, or joyous exultation. Instead, Orffcreates a spectacle using music and text. The composer has dated his mature works from the first of his compositions on this style, the Carmina Burana, which premiered in 1937. Carmina Burana is the title given to a group of thirteenth century texts found in the Benedictine Abbey of Benediktbeuren in 1803. The manuscript is perhaps the most impor­ tant source for the Latin secular poetry ofthe itinerant scholar-clerics known as the . Orff's cantata is based on poems from this manuscript, but does not use any of its surviv­ ing melodies. Orff divides his composition into three main sections: the Coming of Spring, Drinking, and Love. He frames these with appeals to Fortune, a symbol from antiquity whose unpredictability was a favorite theme of the goliards. Musically, the chorus is the centerpiece of the work, and the orchestra, accented by a large battery ofpercussion, is used in block, diatonic harmonies to emphasize and punctuate the rhythms of the chorus. Orff favors the "pedal" (long-sustained notes or chords) and "ostinato" (repeated musical figures) as unifying devices throughout the work. The driving rhythms of the ostinatos contrast with the sometimes lyric and melismatic choral writing.

- Notes by Robert Stiles TEXT: CARMINA BURANA

FORTUNA, IMPERATRIX MUNDI PRIMO VERE (Fortune, Empress of the World) (In Springtime)

1. Chorus: "0 " 3. Small Chorus: "Veris leta facies" 0, thou Fortune, Spring's bright face and joyous mien, So like the moon, 0 'er all the world is shown. Ever changing, varying, Winter's cold has lost its edge, Ever waxing, Conquered, the frost has flown: Ever waning. Clothed in garb of many hues, Life is hateful, like a game Queen Flora reigns supreme. That gets complex Songs of woods and meadows sweet, And then will flex, Proclaim her vernal theme. Torturing our weakened minds In Flora's generous lap Years of leanness, The infant Phoebus sits Years of plenty, And laughs, with blooms surrounded. All dissolve like snow in spring. Zephyrus, god of air, Monstrous is Fate. Wafts his breaths of pure ozone. And empty, vain, Let us compete together The wheel is ever turning. For the rich rewards of love. Your state obscure, Venus of Cythera sings Your health unsure, Sweeter than Philomene, Decaying and dissolving. Filling with songs and laughter Darkened ever, The meadow's fair demesne. Gloomy and veiled, Birds now flit in happy flocks Sometimes on me you're beating. Throughout the pleasant woods. My back is bare The fair virgin's chorus brings To blows unfair, A thousand joys to all things. I endure my cruel lot. 4. Baritone solo: "Omnia sol temperat" 2. Chorus: "Fortune plango vulnera" The sun tempers everything, Fortune's blows cause lamentations, Its rays are tender, rare. With wet eyes I view my fate. To the new world it doth bring Rich rewards she first is giving, The face of April fair. Then her bounty she negates. To love the world surrenders, True it is, as one may read, The master's heart is full, One day thick is Fortune's hair, And merry is the reigning Then, before one turns around, Of Eros, the boyish god. Alas, her head is bare. Seated high on Fortune's throne, Rejuvenating Nature, Elated was I, proud, The ceremonious Spring, Happiness around me shone, In authoritative voice, Laurel crowned my brow. Commands us to rejoice. Like the flowers blossomed I, The customs of the season Blessed without a worry. Must ever follow rule. Faithfulness and honesty, .. . But the wheel turned, down I went • Robbed of all my glory. Will hold thy lover true. The wheel of Fortune turning Love me, darling,faithfully, Grinds me into dust, I'll e'er be true to you. While yet another, burning, My total heart is given, Must put in Fate his trust. My total mind is given, The king sits at the summit, Forever I'll be with you, Let him this warning heed, Though parted we may be. On the axle of Fate's wheel, All those who love so truly, Hecuba's name we read. Must suffer cruelly. 5. Chorus: "" 8. Solo and Chorus: Here's the pleasing, "Chramer, gip die varwe mir" Long desired Pedlar, sell me color, please, Spring, which brings back joyous hours. To make my cheeks blush red, All in purple So that the young and handsome men Blooms the meadow, Will find my beauty irresistible. Sunshine brings the budding flowers. See me now, Sadness flees to other realms. You, young man, Summer returns, I'm ready and willing I And now it spurns Winter's face with its dark glower. Make love, strong and lusty man, To the worthy woman. Now the melting Your powers will merit And departing honor. Distinction, health, enduring happiness. Snow, and hail have disappeared. Exit winter I See me now, For now suckles You, young man, Spring upon the breast of summer. I'm ready and willing I Miserable the fate of him Who neither lives Hail to thee, thou great world, Nor tastes of love, Rich in rarest pleasures. Under summer's potent spell. I'm thy servant ever, And live for thy fair treasures. Glory to them, Rejoicing, too, See me now, Who savor love's sweet honey. You, young man, They are trying, I'm ready and willing I Ever vying 9. Orchestra: Round Dance "Reie" For Cupid's richest prizes. Chorus: "Swaz hie gat umFe" Under Venus' strict command They are trying, Here are the young girls; Ever vying They form a circle now. To emulate proud Paris. They want no man In this lovely summertime. Ahl Small Chorus: "Chume, Chum, geselle min" UF DEM ANGER (On the Lawn) Come here, come, my pretty maid. 6. Orchestra: Dance I shall ever wait for thee. Come here, come, my pretty maid. 7. Chorus and Small Chorus: "Floret silva" Sweet and lovely rosebud mouth Flow'ring meadows, noble woods, Give my longing surcease now, Their buds and blooms display Give my longing surcease now, All the leaves are bursting out- Come here, my pretty maid. My love has gone away, Here are the young girls; A horse a-riding. They form a circle now. Alas, now who will love me? They want no man Noble woods are blooming fair, In this lovely summertime. Ahl I pine, my love has gone away. Green the trees and meadows there. 10. Chorus: ''Were diu werlt alle min" Who does my love so far stray? If the world belonged to me On his horse he rode away. From the Rhine down to the sea, 0, woe, who will love me now? I'd give it all away, If it happened England's sweet Queen In my arms embraced lay. IN TABERNA (In the Tavern)

11. Baritone Solo: "Estuans interius" The cook turns me 'round on the spit, Raging within, and angry, The cremation fires are lit, Fired with vehemence. I hope soon the cheffinds me fit. Now my bitterness mounts high, Misery mel I ask my mind for sense. You now me see, Man, of matter made, is dust­ Roasted black as can be I Ash of the element. I am no more than a gust See now in the platter I lie, Tossed by the winds of chance. My wings again never shall fly. The teeth of my eaters I spy. If man's possibility Were found to be wiser, Misery mel His house he'd build on granite You now me see, As the foundation site. Roasted black as can be I More the fool I, then, to live My life like the river, 13. Baritone Solo and Male Chorus: Meandering, uncharted, "Ego sum abbas" Flowing ever whither? I am the abbot of Cucania, And I seek the companionship of true drunkards, By the wind I am driven, And to the Order of Decius do I belong. Like a ship on the sea; Whatsoever fool plays dice with me before noon, The pathless currents of air, Must before nightfall be parted from his shirt-tails. Are as aimless and free. Thus denuded of garments he wails loudly, No chains hold me prisoner, Wafna, wafna! No lock and no fetter. Why must this infamous fate be mine? Low men are my companions, Thou'st taken all my pleasures, I ask for no better. Absolutely everything I That part of life which is grave, Is not my desiring. 14. Male Chorus: "" A joke, a laugh I do crave, When we gather in the tavern, Sweet honey lingering. Unmindful we are of the grave. When Venus a command makes, The gaming table beckons us, With bliss I obey it. And we are then its willing slave. ' ... To the strong ones she dictates, If you'd know about the tavern, No weaklings need play it. What transpires in that conclave Of liquor, for which money pays, The broad ways do I wander, Listen, and my tale appraise. In the custom of youth, All my vices I squander, Some men gamble, some men guzzle, Unmindful of virtue. Others shamelessly indulge, \i- 1-('-l Thirsty for living in lust, And of all those gambling creatures, I want no salvation. There are those who lost their garments, Now my soul's in perdition. And must take to wearing sackcloth. All I worship is flesh. But of death no one has worries, While they throw the dice for Bacchus. 12. Tenor Solo and Male Chorus: "Olim lacus colueram" First the dice are thrown for liquor, Which the drunkards gladly swallow. The roasted swan let sings: Twice they toast the boys in prison, There on the lake I was swimming, Thrice they drink to those with freedom. Beauty and joy I was giving, Four times wine is drunk for Christians, When as a swan I was living. Five times for those who've passed beyond. Six times for the sisters idle, Misery mel Seven for the forest rangers. You now me see, Roasted black as can be I Eight times for the wicked brethren, O,friends, seek entertainment, Nine times for the defrocked friars, And speak as you would wish to. Ten times for the sailors at sea, Spare me, as a saddened man, Eleven times for men at odds, For my grief, Twelve times for those doing penance, But give me wisest counsel Thirteen times for the travelers. By your honor. We drink to Pope and King as well, Thy face so full of beauty, And then we drink, and drink, and drink. Makes tears by thousands fall, Drinks the mistress, drinks the master, Because my heart is frigid, Drinks the soldier, and the clergy, Relent, dear miss, Drinks this man, and drinks that as well, Once more alive I would be, Drinks the servant, and maidservant, Saved by a kiss. Drinks the brisk man, drinks the lazy, Drinks the white man, drinks the black man, 17. Soprano Solo: "Stetit puella" Drinks the home man, drinks the vagrant, There stood a maiden Drinks the yokel, drinks the scholar. In a red tunic; Drinks the poor man, drinks the sick man, If one fingered a fold Drinks the exiled, and the stranger, the tunic did rustle. Drinks the youngster, drinks the oldster, Eia! Drinks the Bishop and the Deacon, Drinks the sister, drinks the brother, There stood a maiden Drinks the grandma, drinks the mother, Like a young rosebud; Drinks the woman, and drinks the man, Her face all radiant, Drink the hundreds, drink the thousands. Her mouth all a-blooming. Six hundred coins are not enough Eia! To cover the indulgences, Of overdrinking that's been done. 18. Baritone Solo and Chorus: When we drink we are always gay, "Circa mea pectora" But there are those who need to nag, Deep within my bleeding heart, We may end in destitution. Many are thy longing sighs; May those who nag confounded be, Thus a beauty such as thine, And ne'er see immortality. Doth my misery comprise. Manda liet, COUR D'AMOURS (Court of Love) Manda liet, My dear lover 15. Soprano Solo and Boys Chorus: Cometh not. "Amor volat undique" Love is flying everywhere, Glowing are thy lovely eyes, Desire supremely reigneth. Brighter than the rays of sun. 1' All young men, and maidens, too, As the lightning's darling guise, Deserve to join each other. Makes the night to day become. If a girl has no one dear, Manda liet, She is lacking every cheer. Manda liet, Darkest night is in her heart, My dear lover She must hide this Cometh not. Deep within her consciousness. May the gods with favor smile Fate has nothing bitterer. On that thought within my mind I'll take, 16. Baritone Solo: "Dies, nox et omnia" Thy virginity Freeing thee from chains that bind. Day and night and everything, Are to me anathema. Manda liet, The sounds of maidens' voices Manda liet, Finds me weeping, My dear lover Often finds me sighing, Cometh not. And full of deepest fear. 19. Solo (3 , Baritone, 2 Basses): New love fills me full of rapture, "Si puer cum puellula" I'm on fire now. New love, new love caught me, When a boy is with a maiden And of this I die. All alone in secret meeting, Blessed is their union. In the winter season, Passionately mounts their love, Man is patient. Equally it fires both. When breathes the air of Spring, Ne'er a thought there is of shaming, Lust is latent. An ecstatic game they're playing­ 0,0,0, Limbs and arms and lips enslaving. All in bloom am I. 20. Chorus: "Veni, veni, venias" New love fills me full of rapture, Come love, come and come again, I'm onfire now. Do not let me die in vain. New love, new love caught me, Hyrca, hyrce nazaza. And of this I die. Trillirivos. My state of maidenhood Thou so beautiful offace, Is exciting. Thou with eyes of clearest light, How simple to be good, Thou with hair of waving grace, How difficult! Ne'er a vision half so bright. 0,0,0, Thou art redder than the rose, All in bloom am I. And more white than lily fair, New love fills me full of rapture, Beautiful beyond compare, I'm onfire now. All my glory is in thee I New love, new love caught me, And of this I die. 21. Soprano Solo: "In trutina" In the wavering scales of my mind, Come, thou beautiful one, E'er now I die. I am torn in opposite ways Passionate love wars against chastity­ 0,0,0, I must choose what's before me. All in bloom am I, etc . ... The yoke I take willingly Upon myself, the sweet servitude of loving. 23. Soprano Solo: "Dulcissime" 0, sweetest boy, 22. Soli (Soprano and Baritone), Chorus and All of me I give to you! Boys Chorus: "Tempus est iocundum" Time and the weather's gay, 0 ye maidens, BLANZIFLOR ET HELENA Join in the happy play, 0 ye young men. 24. Chorus: "Ave formosissima" 0,0,0 Hail, women most beautiful! All in bloom am I. Precious, most prized of gems. Hail, virgins the most treasured. New love fills me full of rapture, Virgins of the glory, I'm on fire now. Hail, thou lights of all the world, New love, new love caught me, Hail, roses of the world. And of this I die. Blanziflor and Helena Thy promise strengthens me, Venus generosa. Do promise me, Refusal is depressing, Deny me not. FORTUNA, IMPERATRIX MUNDI (Fortune, Empress of the World) 0,0,0, All in bloom am I. 25. Chorus: "0 Fortuna" (repeat of text from number 1)