Steven Fox, Music Director Janet Montgomery, Principal Accompanist and Assistant Conductor Margie Downs, Manager Steven Palmieri, Concert Manager

Board of Trustees Dr. Joseph DeFazio, President Jane W. Stein, Vice President Robert Dodds, Treasurer Andrea Covais, Hugh Dougan, Enid Hayflick, Dr. Edward Hedlund, Patricia Klecanda, Virginia Miner, Royal Ronning, Susan Seay, Mary Jane Shevlin

Save the Dates!!! Messiah Sing Sunday, December 14, 2014 at 3:00pm Central Unitarian Church, Paramus Celebration Featuring The Bavarian Highlands (Elgar) and Epithalamion (R.V. Wiliams) Friday, March 13, 2015 at 8:00pm West Side Presbyterian Church, Ridgewood Carmina Burana with Maestro David Wroe and The NJ Festival Orchestra Friday, May 29, 2015 West Side Presbyterian Church, Ridgewood

For more information, or to join our mailing list, Contact the Pro Arte Chorale office at (201) 497-8400 Email: [email protected] web: www.proartechorale.org November 16, 2014 at 3:00pm West Side Presbyterian Church Ridgewood, NJ

A Concert of Remembrance

The Pro Arte Chorale Steven Fox, Conductor Janet Montgomery, Organ Linda Jones, Soprano Philip Cutlip, Baritone

Cantique de Jean Racine Gabriel Fauré (1845-1924) I am the Resurrection and the Life Thomas Morley (1557-1602) Tibi Laus Orlando di Lasso (1532-1594) Faure Cantique Sancta Maria, Succurre Miseris Tomás Luis de Victoria (1548-1611) Morley I am the Resurrection O Quam Gloriosum Lassus Laus Tibi Victoria Sancta Maria Agnus Dei Victoria O Quam Gloriosum Geistliches Lied Johannes Brahms (1833-1897) Brahms Geistliches Lied

~ INTERMISSION ~ ~ INTERMISSION ~ Faure Requiem Requiem Gabriel Fauré (1845-1924)

These programs are made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts. Performance venue is handicapped accessible. Large print programs are available at every concert. Andrew McKinnon Proprietor

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WINTER 2014 Join us for Andrew Megill in his final performances with The Masterwork Chorus

Handel MESSIAH Thursday, December 18, 2014 at 7:30 pm Carnegie Hall, New York City 212-247-7800 or Carnegiehall.org Handel MESSIAH Saturday, December 20, 2014 at 8:00 pm Ridge PAC, Ridge H.S., Basking Ridge, NJ Ridgewood Prosthodontic Associates Masterwork.org Ridgewood Periodontics SPRING 2015 SUMMER Early Spring Concert 2015 Saturday, March 7, 2015 at 8:00 pm Mark Samani, D.M.D. Guest Conductor, Sun Min Lee 16th Annual Brahms’ Opus 31, Three Quartets Summer Sings Program Min-Hee Cho, D.M.D. Other repertoire to be announced Calvary Episcopal Church, Summit, NJ Wednesday Evenings at 7:30 pm Jin Ha Joung D.M.D. Masterwork.org June 17 June 24 Late Spring Concert July 1 July 8 Saturday, May 9, 2015 at 8:00 pm July 15 166 Franklin Avenue, Ridgewood, NJ Guest Conductor, Christopher Shepard Chatham United Methodist Brahms’ Opus 64, Three Quartets Church, Chatham NJ www.RidgewoodDental.com Other repertoire to be announced Calvary Episcopal Church, Summit, NJ 201.652.2474 Masterwork.org

Funding has been made possible in part by the Arts Council of the Morris Area through the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts. About Pro Arte Chorale Pro Arte Chorale, a 60-member all-volunteer chorus now celebrating its 51st season, is one of New Jersey’s most prominent choral organizations. The Chorale has appeared in major concert venues across the region including the New Jersey Performing Arts Center, Avery Fisher Hall, Alice Tully Hall, Carnegie Hall, and the South Orange Performing Arts Center. In addition to its own subscription series in Bergen County, the Chorale has appeared with the New Jersey Symphony Orchestra, New York Philharmonic, American Symphony Orchestra, Westfield Symphony Orchestra, Mark Morris Dance Company, and the New York Chamber Symphony. Currently under the musical direction of Steven Fox, the Pro Arte Chorale has also been conducted by Joshua Greene, David Crone, Roger Nierenberg, Bart Folse and John Nelson. In addition, the Chorale has sung under the batons of Nicholas McGegan, Zubin Mehta, Julius Rudel, Hugh Wolff, Zdenek Macal, Yuri Temirkanov, Leon Botstein, Gerard Schwartz, and David Wroe.

Photo credit: Paul Donohoe

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Philip Cutlip has garnered consistent critical acclaim for his performances across North America and Europe. Established on both concert and opera stages, he has performed with AboutConductor Steven the Fox Artists joined Pro Arte Chorale as Music a distinguished list of conductors that includes Nicholas Director in 2012, and is also Artistic Director of New York’s McGegan, Yves Abel, Maiguel Harth-Bedoya, Gerard renowned Clarion Orchestra and Clarion Choir. Maestro Fox Schwarz, and Donald Runnicles. His appearance as Joseph De is the Founder of Musica Antiqua St. Petersburg, which he Rocher in Heggie’s Dead Man Walking,with Joyce DiDonato established as Russia’s first period-instrument orchestra at and Frederica von Stade for Houston Grand Opera, has been the age of 21. In the last two years he has been engaged as released on Virgin Records. a guest conductor with the leading Baroque orchestras in the United States, including the Philharmonia Baroque Orchestra in San Francisco, Handel and Haydn Society in Boston and Philip Cutlip’s 2013-14 engagements include Stanley in Previn’s A Streetcar Named Juilliard415 at Lincoln Center. From 2008 to 2013 he was Desire with Opera Grand Rapids, and baritone soloist in Handel’s Apollo e Dafne with an Associate Conductor at New York City Opera, and he has served as Assistant Music of the Baroque Chorus and Orchestra. He returns to Philharmonia Baroque Conductor for the Metropolitan Opera Lindemann Young Artists Program and Juilliard Orchestra, under Nicholas McGegan, in Messiah; to North Carolina Symphony in Opera. Symphonic engagements include the Charleston Symphony Orchestra and Bach’s Christmas Oratorio; and to Jacksonville Symphony Orchestra as Figaro the Quebec Symphony Orchestra. in Le nozze di Figaro. He also debuts with the Eugene Symphony in Haydn’s The Creation. In 2012-13 he sang Eisenstein in Die Fledermauswith Virginia Opera; as Steven is a graduate of Dartmouth College and the Royal Academy of Music, London, soloist in Messiah with Vassar College and Jacksonville Symphony Orchestra; returned where he was named an Associate in 2010. He has given master classes and clinics to Toledo Opera in the title role of Don Giovanni, and to Fort Worth Symphony at Dartmouth College, The Juilliard School and Yale University. He is a preparatory Orchestra in Carmina Burana; sang Carmina Burana with Toledo Symphony Orchestra; conductor for the Yale University Schola Cantorum, and Lecturer in Music at the Britten’s War Requiem for the American Choral Directors Association; and performed State University of New York, Purchase College. Faure’s Requiem at the Cathedral of St. John the Divine (NYC).

Soprano Linda Lee Jones is a member of the vocal sextet The Mr. Cutlip’s engagements for 2014-2015 include Eisenstein in Die Fledermaus with Western Wind, and performs regularly with the professional Minnesota Orchestra, Stanley in A Streetcar Named Desire with Kentucky Opera, and choirs of Trinity Wall Street Church, Musica Sacra, Voices Messiah with Winston-Salem Symphony. of Ascension, and Clarion Choir in New York, as well as the Carmel Bach Festival Chorale in Carmel, CA. Her work Janet Montgomery has won acclaim as a pianist, organist, with The Western Wind includes performing a broad range coach, and conductor. She has appeared in concert at venues of cappella music, teaching at ensemble-singing workshops, ranging from Carnegie Hall and the Kennedy Center to performing in NY city schools, and coaching high school Washington National Cathedral, and the Juilliard School. She vocal ensembles. Recent Western Wind appearances include a has accompanied such groups as the New York Choral Society, program of Polish Renaissance music with the Folger Consort in Washington D.C. and the Gregg Smith Singers, Musica Sacra, and the Masterwork a semi-staged presentation of Orazio Vecchi’s madrigal comedy L’amfiparnaso. Ms. Chorus. She is a founding member of the Serafini Brillanti Trio; Jones was featured in the premier performance and recording of Ralf Yusuf Gawlick’s the group has recorded a CD and has performed extensively in Missa Gentis Humanae for eight voices, under the direction of Julian Wachner. She has appeared as a soloist with the Washington Chorus, the Choir of Trinity Wall Street New Jersey, Florida, and the Chicago area. Ms. Montgomery is Church, the Argento Chamber Ensemble, the Symphony Chorus of New Orleans, the the director of music at the Community Church of Glen Rock and is the accompanist Masterwork Chorus of NJ, and in mainstage opera scenes at the Carmel Bach Festival, and keyboard assistant at the Barnert Temple of Franklin Lakes. She is also on the and can be heard with St. George’s Choral Society in Bach’s Magnificat and Cantata music faculty of the Dwight Englewood School. Ms. Montgomery graduated from BWV 140 later this month. Ms. Jones holds a BM in voice performance from Loyola the Oberlin Conservatory with a bachelor’s degree in piano performance and has a University (New Orleans) and a MM in choral conducting and voice performance master’s degree in accompanying from the Manhattan School of Music. She also holds from Westminster Choir College of Rider University. the AAGO certification from the American Guild of Organists. GERMAN, VREELAND & ASSOCIATES, LLP Certified Public Accountants

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The New Jersey Choral Society 14 ⏐15 SEASON Eric Dale Knapp, conductor Linda Sweetman-Waters, accompanist Gloria Saturday, December 6, 2014 8:00pm Sunday, December 7, 2014 3:00pm Ⅰ Ⅰ Church of the Immaculate Conception, Montclair, NJ Tuesday, December 16, 2014 7:30pm Ⅰ West Side Presbyterian Church, Ridgewood, NJ NOW OPEN 1315 Route 17 South in RAMSEY Ramsey, NJ 07446 A Disney Salute 201-962-9099 Annual Pops Spectacular Saturday, March 7, 2015 2:00 & 7:30pm Sunday, March 8, 2015 3:00pm Ⅰ Ⅰ 318 Madison Street 430 Route 17 S. Immaculate Heart Academy, Washington Township, NJ Hoboken, NJ 07030 Carlstadt, NJ 07072 201-656-2161 201-933-4000 Verdi Requiem Saturday, June 6, 2015 7:30pm Ⅰ 42 Newark Street 417 West Stone Dr. West Side Presbyterian Church, Ridgewood, NJ Hoboken, NJ 07030 Kingsport, TN For tickets or subscriptions: This season is made possible in part by 201-710-5520 37660 funds from the New Jersey Council on www.NJCS.org the Arts Department of State, a Partner Agency of the National www.BiggiesClamBar.com 201.379.7719 Endowment for the Arts.

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348 South Maple Avenue Glen Rock, NJ 07452 201-652-6060 Corporate BoilingFriends Springs Savingsand FoundationsBank We thank the following Community Thrift Shop Copper Beech Foundation for their support of our IBM Matching Gift Fund 50th AnniversaryAtlas Aluminum & GlassGala Dinner Jewish Community Foundation Bookhouse Sound Recording Studio NJ State Council on the Arts Buckingham at Norwood Clements-Stella-Gallagher Marketing, Inc. PIMCO Foundation DaVita Hanne Dollase Coaching Lillian P. Schenck Fund The Geotechnical Department, LLC HMS Mechanical & AC, Inc. J. Muller & Co Jewelry By Grace Leaf, Saltzmanm, Manganelli, Tendler & Miele, LLP Liberty Realty Lifepoint Informatics The Pro ArteAcknowledgments Chorale deeply appreciates the support and assistance Marron Gildea Realty of the following throughout our 2013-2014 season: Memories Forever Travel Group Morpurgo Architects Nicholas Vero, DDS Lisa Stitt and Paul Mensing¸West Side Presbyterian Church Norman and Jules Shailja Rastogi, Central Unitarian Church, Paramus North Jersey Spine Group Cindy Keegan, Graphic Design Orpheus Club Men’s Chorus Jon Bognar and Victoria Schmidt, Printology Park West Tavern Parlance Chamber Concerts Personal Growth Professional Development The Pro Arte Chorale gratefully acknowledges the following volunteers Printology for all their help this season! Donald W. Reeder, Esq. Ridgewood Cycle Shop Mary Jane Shevlin, Chorus Manager Ronnie’s Bagels Sorrento Ristorante Hugh and Jane Dougan, Grant Writing St. Andrew’s Episcopal Church Mike Stella, Marketing and Publicity Steve’s Painting and Staining Vince Bogucki, Database and Website Management Steven Glickman, DDS Marc DeFazio, Box Office United Methodist Church at Demarest Choir Susan Seay, Dianne McKinnon and Nancy Malinoski, Fundraising Events Nicholas A. Vero, DDS West Ridgewood Dental Ron Aldridge, Program Notes West Side Presbyterian Church James Freeman, Rehearsal Set Up Westside Voice

AnnualBenefactors ($1,000+) Giving – ProJohn Arte and James KoontzChorale Anonymous Eun-Hee Lee Program Notes Arthur Chester Margo and Andrew Lowry Constance Collins John and Patricia Mazor November is a time of remembering. In the Christian tradition, All Saints Day on Hugh and Jane Dougan Thomas and Jennifer Otto November 1 commemorates the lives of holy people who have died, and All Souls Richard Hansen Karin Otto Enid F. Hayflick Maria Perona Day on November 2 celebrates the lives of all departed. Today’s concert presents Tom and Louisa Hellegers Janet Salisbury music of remembrance from sixteenth- and nineteenth-century Europe. Dr. Wylie and Christina Hembree Francis and Barbara Schott Patricia Klecanda Paris Simms Elisabeth Mannschott David Tait In 1854 at age nine, Fauré left his home in the Pyrenees to enroll in the Ecole Dr. Robert and Virginia Miner Georgette and David Ulrich Dorothy Neff Elliot and Ella Urdang Niedermeyer, a school in Paris to prepare church musicians. As a graduation Guy and Susan Seay John Whitney requirement and as the winning entry in a competition, Fauré wrote Cantique de In memory of Joan and Bob Puglis Friends ($25-99) Robert and Mary Jane Shevlin Moshe Arad Jean Racine (Canticle of Jean Racine) at age 19 in 1864. A canticle is a hymn Michael and Pat Stella Kelly Caleca taken from the Bible or, in this case, from an ancient nonbiblical source. The Patrons ($500-$999) Anthony Cipriano Alfred Blomquist Dennis and Flora Cornfield Cantique de Jean Racine is based on a translation by the seventeenth-century Dr. Joseph and Constance De Fazio Paul Dewe-Mathews dramatist and poet Jean Racine of a fourth-century hymn, a plea for salvation, Robert Dodds Wendy Dockray and Robert Trobe Nancy Malinoski John and Christina Doyle attributed to St. Ambrose and found in the Roman Breviary sung at Tuesday matins. Dianne McKinnon Peter and Robyn Ebner St. Ambrose was one of the four Doctors of the Church—leaders in the formulation Thomas Seamon Robyn Emery Guy and Davita Seay David and Beverly Gaston of doctrine in its early years. Fauré’s work expresses surprising religious ardor and Gus and Susan Vasiliadis John Gonnella and Karen Canseca serenity for such a young composer. Sponsors ($200-499) Ken and Jennifer Goodsmith Donna Carlson Howard and Ruth Hanes --- Claire Giger Mary Kimball Thomas Morley was a leading composer of secular music in Elizabethan England, Adam Hellegers Francis Kirwan Hewitt and Gerie Jeter Robert and Helen Kull known mainly for his madrigals. He was one of only two contemporaries of Frances Lipton Candace Latham Shakespeare whose music is known to have been set to lyrics of a Shakespeare play. Helaine Ledany and Art Dreyfus Pricilla McKenna Charlene Marcus Michael and Deborah Millman Although he was an organist at St. Paul’s Cathedral (the building preceding the one Janice and Edward Montgomery Frank and Lois Monahan by Sir Christopher Wren that stands today), he wrote very little surviving church Lloyd and Barbara McFarquahar Charles and Judy Morton Walter and Diana Perog Sam Moschella music, and the piece we sing tonight is one example. It is the first musical setting of Steven Palmieri Bradley and Cheryl Post the Order for the Burial of the Dead found in the second Book of Common Prayer Donald W. Reeder, Esq. Ronald and Marilyn Raab Michael Valentine Ofelia and Cirilio Roman of 1559, which uses as texts John 11: 25-26, Job 19:25-27, 1 Timothy: 6-7, and Job Jennifer Sardella Associates ($100-199) Richard and Jennie Schachter 1:21. Morley’s music enriches the immediacy of the Elizabethan Biblical language, Carole and Buddy Ajalat Robert Sinkway Dr. David Bikoff Leonard and Kathryn Smith with homophonic singing of Jesus’s text (“I am the Resurrection and the life”) Beth and Jim Branigan Kathleen Stout and whole notes to emphasize the central message (“shall never die”). Sequential Victoria Bumagin Jean Strickholm Claude and Mary Alice Cesard Charles West entrances for passages about human impermanence (“and though after my skin Linda and Murray Colosimo Henry and Penelope Whitlock worms destroy this body…”, “we brought nothing into this world…”) lead to more Heidi Finkelberg In memory of Zachary Finkelberg homophonic singing on the resolving phrases (“…God whom I shall see for myself”, Pali Gall Our thanks to all who have made donations “…we can carry nothing out”). It would be hard to find a more moving piece about Joane and Alan Ganek for special events this past season, to patrons Joan Groome whose names may have been inadvertently our mortality. Eleanor and Martin Gruber omitted, and for contributions that were Amanda Hembree received after our program printing deadline. --- Frieda Holober Your names will be gratefully acknowledged Orlando di Lasso, about 25 years older than Morley, was born in the Netherlands, Tae and Bernie Josefberg-Terumoto in our next program. received much of his musical education in Italy, and spent his last forty years in the employ of Duke Albrecht V of Bavaria in Munich as a singer, conductor, and put aside his musical life to help Clara cope with the crisis, including organization composer. The motet Tibi Laus, which we sing today, was probably composed to be of the Schumanns’ library of Renaissance music. sung on Trinity Sunday, its brevity the result of the need for additional readings on such holy days. Lasso’s skill at adapting his music to the text is evident here, as he Brahms and Clara Schumann frequently exchanged musical ideas, and Brahms pairs voices in threes, indicative of the Holy Trinity. For example, three voices have suggested that they both undertake the composition of canons. Brahms’s study of sequential entrances on the words beata (blessed) and trinitas (Trinity). Renaissance music had led him to develop great skill and confidence in this form. --- While Brahms did not succeed in persuading Clara to participate in this project, he Tomás Luis de Victoria was the greatest composer of the Spanish Renaissance. Born did persuade another friend, the composer Joachim Raff, to do so, and Clara was in 1548 in Ávila, where he is likely to have known St. Teresa, he moved to Rome at very much on Brahms’ mind during this work. For their amusement, Brahms and age 17, where he spent two decades as a church musician and priest. There he met, Raff exchanged canons on alternating Sundays, with any delinquent party required and probably studied with, Palestrina. At age 24 he published the first of several to pay the other one thaler. One such exercise was Geistliches Lied (Sacred Song). volumes of motets, including O Quam Gloriosum and Sancta Maria, Succurre The text, a punning adaptation of a passage from the Gospel of St. Luke by the Miseris, which we sing today. He returned to Spain at age 39 to become chaplain to 17th century German poet Paul Flemming, may have been intended by Brahms to Empress Dowager Maria, sister of King Philip II, for most of the rest of his life. soothe Clara in her distress over her husband: “Let nothing afflict you with grief; be calm, as God ordains, and so shall my [Jesus’s] will be satisfied.” Raff found Victoria wrote only sacred music and is best known for his motets, his Office of Brahms’s counterpoint “rugged” and occasionally “harsh,” although our modern the Dead, and numerous masses, Magnificats, and hymns. The motetO Quam ears are more likely to find it innovative and refreshing. Brahms was particularly Gloriosum, with a text based loosely on Revelation 7:9, was written for All Saints pleased with the Amen, which abandons the canon for soaring melodies and Sunday and describes the saints dwelling in the kingdom of heaven. See how harmonic suspensions above a pedal point. Despite having been written as merely Victoria expresses musically the saints’ joy with the rising passage on the word a competitive exercise between friends, this song carries a deep emotional impact, gaudent (rejoice), and how the saints follow in the path of Jesus, the Lamb of God, communicating a trust in God to comfort those in mourning. with a sequence of voice entrances on the word sequuntur (they follow). Sancta --- Maria, Succurre Miseris is a Magnificat antiphon, with a text written by Bishop The early Christians inherited from Judaism a belief in the immortality of the soul. Fulbert of Chartres around AD 1000, sung at the First Vespers service for feasts From the first century they offered prayers for their dead, who had gone to an eternal celebrating the Virgin Mary. It is a prayer to Mary to help the helpless and fearful, rest with Jesus. A Requiem Mass developed with its own liturgy: Introit, Kyrie, both laity and clergy, and especially to help all Christian women. Sequence, Offertory, Sanctus, Benedictus, Agnus Dei, and Communion. At first, the music of the Requiem Mass was Gregorian chant. Beginning in the 15th century it Victoria later wrote a mass named O Quam Gloriosum, known as a parody mass was set to polyphonic music. The form has been a favorite of composers ever since, because it is based on an earlier work, his motet of the same name. Today we sing with at least 2,000 versions written to date, among the more famous being those the Agnus Dei from that mass. Note the rising theme on the words Agnus Dei composed by Victoria, Mozart, Berlioz, Brahms, Verdi, Duruflé, and Britten. (Lamb of God), expressing hope. The falling scale on miserere nobis (have mercy on us), to convey mankind’s prostration before the redeeming Lamb, is nearly Fauré wrote his Requiem in 1887-88, when he was organist at the Madeleine church identical to that on sequuntur in Victoria’s motet, used to express how the saints in in Paris. While his father had died two years earlier, it is unlikely that this event heaven follow the Lamb. was the impetus for the work’s composition; Fauré later said that he had written --- it “for nothing … for fun.” The Requiem has three versions. The first is a work In 1853, composer and pianist Robert Schumann met and befriended the 20-year- for chamber choir and chamber orchestra with only five movements: Introit/Kyrie, old Johannes Brahms and published an article praising his talent. Brahms also Sanctus, Pie Jesu, Agnus Dei, and In Paradisum. In 1893 he added an Offertory developed a lifelong friendship with Robert’s wife Clara, a talented musician in after the Introit/Kyrie and a Libera Me (written in 1877) after the Agnus Dei, both her own right. The following year, Robert Schumann attempted suicide and was with baritone soloist, with expanded orchestration. In 1900, Fauré’s publisher confined to an asylum from which he was never released, and Brahms temporarily Julien Hamelle commissioned and published a version for large choir and full orchestra. This version was apparently prepared by a student of Fauré, as many Paradisum is a prayer to the angels to carry the dead to heaven, sung mainly by the errors were introduced and the work lost much of Fauré’s original intention for a sopranos, to angelic accompaniment on the harp. “petit Requiem.” The version we sing today is a one for organ based on the edition by the modern-day composer John Rutter, largely following the expanded 1893 Why has Fauré’s Requiem become one of the most beloved? Perhaps because of version and maintaining the feel of chamber music by omitting the 1900 changes. its serene, intimate nature, in contrast to the versions prevalent in Fauré’s time, with either the dramatic bel canto style of Italian opera or the weight and complexity Fauré took liberties with the traditional Requiem liturgy. The Introit and Kyrie are of the German Romantic composers. Fauré’s work expresses his belief that death, combined. There is no Sequence, Benedictus, or Communion. Two movements rather than the painful, sorrowful end of our earthly existence leading to the feared are non-canonical: The Libera Me comes from the Office of the Dead, and the In Day of Judgment, is instead a “blessed release.” The work’s popularity may also be Paradisum comes from the burial service. The Dies Irae of the Sequence that plays due to Fauré’s blending of the ancient, with melodies inspired by Gregorian chant, so prominent a role in other Requiems (Verdi, Berlioz) is brief and added to the and the modern, with the unusual modulations of late-nineteenth-century French Libera Me, while a separate, quiet movement is built on its last line, the Pie Jesu. impressionist music. Ironically, while immensely popular today, the work was lightly performed until it was rediscovered in the 1950s. The Introit begins with the orchestra playing a simple octave fortissimo, followed by the choir singing Requiem aeternam dona eis Domine (Give them eternal rest, Lord) pianissimo as unaccompanied chords, expressing how the tumult of life is followed by the gentlest peace. The choir builds to forte to emphasize the text et lux perpetua luceat (and shine perpetual light), then returns to pianissimo. The tempo moves from Largo to Andante moderato as the tenors repeat this text to a new theme. The sopranos enter sweetly in praise of God. The choir plaintively prays for deliverance from death. The movement concludes with the entire choir singing the Kyrie to the tenors’ theme.

Fauré follows the example of Brahms’ Requiem by having baritone solos (in the Offertory and Libera Me) precede and follow a central soprano solo (in the Pie Jesu). The Offertory, a pleading for deliverance from death, begins with a canon by the altos and tenors, followed by the baritone solo, and concluding with the return of the canon with all four voices. In the Sanctus, a theme sung by the sopranos is answered by the tenors and basses, with ethereal accompaniment by the harp while the solo violin interweaves the sopranos’ theme from the Introit. The gentle Pie Jesu, a soprano solo, is the gem of the work. In the Agnus Dei, the text is sung three times, with simple statements by the tenors over a dancing orchestral accompaniment interspersed with an anguished statement by full chorus. Then the chorus sings Lux aeterna luceat eis in luminous harmony, leading to a reintroduction of the spare opening theme from the Introit. In the most cathartic movement of the piece, the baritone soloist sings Libera me, Domine, de morte aeterna (Free me, Lord, from eternal death), followed by a brief but intense statement of judgment with the Dies irae (Days of rage) sung by the chorus, and then a repetition of the tenor’s Libera me by the full chorus, in unison. This unison passage expresses mankind’s universal yearning from deliverance from death simply, directly, passionately, and as one. In Whom I shall see for myself, And mine eyes shall behold, and not another. We brought nothing into this world, Gabriel FauréText and TranslationsWord equal to the Most High, And it is certain we can carry Cantique de Jean Racine Our unique hope, nothing out. Eternal day of the earth and of the The Lord gave, and the Lord hath Verbe égal au Très-Haut, heavens, taken away: Notre unique espérance, We break the silence, Divine Saviour. Blessed be the Name of the Lord. Jour éternel de la terre et des cieux, Cast your eyes upon us. Nous rompons le silence, Divin Spread out over us the fire of your Orlando di Lasso Sauveur. mighty grace, Tibi Laus Jette sur nous les yeux. So that Hell itself flees at the sound of Répands sur nous le feu de ta grâce your voice. Tibi laus, tibi gloria, Praise to you, glory to you, puissante, Dispel the slumber of a pining soul Tibi gratiarum actio in saecula Thanksgiving to you forever, Que tout l’enfer fuie au son de ta That drives it to forget your laws! saeculorum, O blessed Trinity. voix. O Christ, show favor to these faithful O beata Trinitas. Dissipe le sommeil d’une âme people languissante, Now assembled to praise you. Tomás Luis de Victoria Qui la conduit à l’oubli de tes lois! Receive these songs that they offer Sancta Maria, Succurre Miseris Ô Christ, sois favorable à ce people To your immortal glory, fidèle And these full offerings returned to Sancta Maria, succurre miseris, Holy Mary, succor the poor, Pour te bénir maintenant rassemblé. you. Iuva pusillanimes, Aid the faint-hearted, Reçois les chants qu’il offer, Refove flebiles. Revive those who mourn. À ta gloire immortelle, Ora pro populo, Pray for the people, Et de tes dons qu’il retourne Interveni pro clero, Intervene for the clergy, comblé! Intercede pro devote femineo sexu. Intercede for women religious. Sentiant omnes tuum iuvamen May all experience your aid Thomas Morley Quicumque celebrant Who celebrate I Am the Resurrection and the Life Tuam commemorationem. Your holy commemoration.

I am the resurrection and the life, Tomás Luis de Victoria saith the Lord: O Quam Gloriosum (motet) He that believeth in me, yea, though he were dead, O quam gloriosum regnum O how glorious is the kingdom, Yet shall he live: In quo cum Christo gaudent omnes In which all the saints rejoice with And whosoever liveth and believeth sancti! Christ! in me shall never die. Amici stolis albis Clad in robes of white, I know that my Redeemer liveth, Sequuntur agnum quocumque ierit. They follow the Lamb wherever he And that he shall stand at the latter goes. day upon the earth. Tomás Luis de Victoria And though after my skin worms Agnus Dei (from his mass O Quam destroy this body, Gloriosum) Yet in my flesh shall I see God: Agnus Dei, qui tollis peccata Lamb God, who takes away the sin of Offertory mundi, the world, Miserere nobis. Have mercy on us. O Domine Jesu Christe, Rex O Lord Jesus Christ, King of Glory, gloriae, Free the souls of the dead Johannes Brahms Libera animas defunctorum From infernal punishment, and from the Geistliches Lied De poenis inferni, et de profundo deep abyss, lacu, From the mouth of the lion. Lass dich nur nichts nicht dauren Let nothing indeed make you De ore leonis. Do not let Hell swallow them up, Mit Trauren, Endure grief; Ne absorbeat tartarus, Do not let them fall into the darkness. Sie stille, Be at peace! Ne cadant in obscurum. Sacrifices and prayers of praise Wie Gott es fügt, If God ordains it, Hostias et preces tibi, We offer to you, O Lord. So sei vergnügt May my will Domine, laudis offerimus. Receive them for the souls of those Mein Wille! Accept it. Tu suscipe pro animabus illis, Whom we commemorate today. Quarum hodie memoriam facimus. Lord, make them pass from death to life, Was willst du heute sorgen Why worry today Fac eas, Domine, de morte transire As you once promised to Abraham and to Auf morgen? About tomorrow? ad vitam, his seed. Der Eine God (the One) Quam olim Abrahae promisisti et Steht allem für, Stands for all; semini ejus. Der gibt auch dir, He also gives you Das Deine. What is yours. Sanctus Holy, Holy, Holy, Lord God of Hosts, Sei nur in allem Handel In all your dealings Sanctus, Sanctus, Sanctus, The heavens and earth are filled with Ohn’ Wandel, Be without whim, Domine Deus Sabaoth, your glory. Steh faste. Stand firmly! Pleni sunt coeli et terra gloria tua. Hosanna in the highest! Was Gott beschleusst, That which God decides Osanna in excelsis! Das ist und heisst Is and means Das Beste. The best. Pie Jesu Amen. Amen. Merciful Lord Jesus, Pie Jesu Domine, Grant them rest, Gabriel Fauré Dona eis requiem, Eternal rest. Requiem Requiem sempiternam.

Introit/Kyrie Agnus Dei

Requiem aeternam dona eis, Grant eternal rest to them, Lord, Agnus Dei, qui tollis peccata Lamb of God, who removes the sins of Domine, And let perpetual light shine on them. mundi, the world, Et lux perpetua luceat eis. A hymn befits you, God in Zion, Dona eis requiem. Grant them rest. Te decet hymnus, Deus in Sion, And a vow to you shall be fulfilled in Agnus Dei, qui tollis peccata Lamb of God, who takes away the sins of Et tibi reddetur votum in Jerusalem. Jerusalem. mundi, the world, Exaudi orationem meam, Hear my prayer, Dona eis requiem. Grant them rest. Ad te omnis caro veniet. For unto you all flesh shall come. Agnus Dei, qui tollis peccata Lamb of God, who takes away the sins of Kyrie eleison. Lord, have mercy upon us. mundi, the world, Christe eleison. Christ, have mercy upon us. Dona eis requiem sempiternam. Grant them eternal rest. Kyrie eleison. Lord, have mercy upon us. Lux aeterna luceat eis, Domine, May eternal light shine on them, Lord, Cum sanctis tuis in aeternum, With your saints, for eternity, Quia pius es. For you are merciful. Requiem aeternam dona eis, Domine, Grant eternal rest to them, Lord, Et lux perpetua luceat eis. And let perpetual light shine on them.

Libera Me

Libera me, Domine, Free me, Lord, De morte aeterna, From eternal death, In die illa tremenda, On that day of dread, Quando coeli movendi sunt et terra, When the heavens and earth shall Dum veneris judicare saeculum per move, ignem. When you shall come to judge the Tremens factus sum ego, et timeo, world by fire. Dum discussio venerit, I am made to tremble, and to fear, Atque ventura ira. When destruction shall come, Dies illa, dies irae, And also your coming wrath. Calamitatis et miseriae, O that day, that day of wrath, Dies magna et amara valde. Of calamity and misery, Requiem aeternam dona eis, Domine, The great and exceedingly bitter day. Et lux perpetua luceat eis. Grant eternal rest to them, Lord, And let perpetual light shine on them. In Paradisum

In Paradisum deducant te Angeli. May angels lead you into Paradise. In tuo adventu At your coming Suscipiant te martyres, May martyrs receive you, Et perducant te And may they lead you In civitatem sanctam Jerusalem. Into the Holy City, Jerusalem. Chorus Angelorum te suscipiat, May the chorus of angels receive you, Et cum Lazaro quondam paupere And with Lazarus, who once was a Aeternam habeas requiem. pauper, May you have eternal rest. Messiah Join the Pro Arte Chorale in a joyous sing-along of Handel’s Christmas masterpiece, conducted by Maestro Steven Fox. Sunday, December 14, 2014 at 3:00pm Central Unitarian Church 156 Forest Avenue Paramus, NJ Bring your own scores, or we will lend one to you! Admission: $10, including rental score

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