Institute of Sacred Music 2013–2014
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Institute of Sacred Music 2012–2013
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut Institute of Sacred Music 2012–2013 Institute of Music Institute Sacred 2012–2013 BULLETIN OF YALE UNIVERSITY Series 108 Number 14 September 1, 2012 BULLETIN OF YALE UNIVERSITY Series 108 Number 14 September 1, 2012 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Linda Koch Lorimer University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849 (voice), 203.432.9388 The closing date for material in this bulletin was August 1, 2012. -
Juilliard415 Yale Schola Cantorum Yale Voxtet Masaaki Suzuki, Conductor
Saturday Evening, November 2, 2019, at 7:30 The Juilliard School presents Juilliard415 Yale Schola Cantorum Yale Voxtet Masaaki Suzuki, Conductor Telemann: The Day of Judgment GEORG PHILIPP TELEMANN (1681–1767) Overture in D major for Two Flutes, Bassoon, Horn, Strings, and Basso Continuo, TWV 55: D23 (1763) Ouverture Menuets I & II Plainte Gaillarde Sarabande Passepieds I & II Passacaille Fanfare TELEMANN Der Tag des Gerichts (The Day of Judgment), TWV 6:8 (1762) Die Erste Betrachtung Introduction Chorus. Der Herr kommt mit viel tausend Heiligen (Chor der Gläubigen) Recitative. Ruft immerhin, des Pöbels Wut zu zähmen (Unglaube) Aria. Fürchtet nur, fürchtet des Donnerers Schelten (Unglaube) Recitative. Wer ist, der kühn sein Joch zerreißt? (Unglaube, Vernunft, Spötter) Aria. Jetzt weiß ich’s, überkluge Köpfe (Spötter) Recitative. Genug der Schande bloßgestellt! (Vernunft) Aria. Des Sturmes Donnerstimmen schallen (Vernunft) Recitative. Ganz recht, das Endliche vergeht (Religion) Chorus. Dann jauchzet der Gerechten Same (Chor der Gläubigen) Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Juilliard’s full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner. Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Die Zweite Betrachtung Chorus. Es rauscht, so rasseln stark rollende Wagen (Chorus) Accompagnato. Da sind sie, der Verwüstung Zeichen! (Andacht) Aria. Da kreuzen verzehrende Blitze (Andacht) Recitative. Gewaltig Element! (Glaube) Arioso. Ich aber schwinge mich empor (Glaube) Die Dritte Betrachtung Accompagnato. Ich sehe, Gott, den Engel deiner Rache! (Andacht) Arioso. So spricht der Herr, der mich gesandt (Erzengel) Recitative. -
Sing, Ye Birds, a Joyous Song Yale Schola Cantorum Simon Carrington, Conductor Thomas Murray, Organ
0 13491 345826 Sing, ye Birds, a joyous Song Yale Schola Cantorum Simon Carrington, conductor Thomas Murray, organ Music of the English Renaissance and 20th Century John Taverner (c. 1490-1545) Orlando Gibbons (1583-1625) Western Wind Mass (18:45) 9. Glorious and Powerful God (5:16) 1. Western Wind melody & Gloria (5:53) 2. Sanctus (3:59) Second Evening Service (9:59) 3. Benedictus (2:09) 4. Agnus Dei (6:44) 10. Magnificat (6:20) 11. Nunc Dimittis (3:39) - Lucas Wong, organ Sir Richard Rodney Bennett (1936-2012) Thomas Tallis (1505-1585) The Glory and the Dream (29:16) 5. There was a time (11.00) 12. Te lucis ante terminum (2:39) 6. Our birth is but a sleep (4:53) 7. Our joy! (6:09) 8. Then sing, ye Birds, a joyous song! (7:14) Total time: 65:57 - Thomas Murray, organ RECORDED LIVE IN CONCERT 2 3 Conductor’s Preface: ing with George Shearing. I was sad that by 2010 he was not well enough to make the trip I was delighted to be able to program Sir to New Haven to hear my Yale choir and the Richard Rodney Bennett’s “The Glory and amazing Tom Murray perform The “Glory the Dream” with Yale Schola Cantorum and the Dream”. He died two years later on and organist Thomas Murray. This glorious December 24th 2012. It’s worth pointing out work was commissioned jointly by a num- that Tom was seated some distance from the ber of choirs all round the world in 2000 at choir with the only sight line between us be- the initiative of English composer Christo- ing a camera and tiny TV monitor. -
Juilliard415 Yale Schola Cantorum Yale Voxtet David Hill, Conductor
Saturday Evening, May 4, 2019, at 7:30 The Juilliard School presents Juilliard415 Yale Schola Cantorum Yale Voxtet David Hill, Conductor JOHANN CHRISTIAN BACH (1735–82) Grand Overture (Symphony) in D major, Op. 18, No. 4 Allegro con spirito Andante Rondo. Presto PAWEŁ ŁUKASZEWSKI (b. 1968) Ascensio Domini Sinfonia Viri Galilei Baptismus Salutis Humanae Sator Alleluia ADRIENNE LOTTO, Soprano KAROLINA WOJTECZKO, Mezzo-Soprano COREY SHOTWELL, Tenor HARRISON HINTZSCHE, Baritone New York premiere, commissioned by the Yale Institute of Sacred Music Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. JOSEPH HAYDN (1732–1809) Missa in angustiis (Lord Nelson Mass), Hob. XXII/11 Kyrie Gloria Credo Sanctus Benedictus Agnus Dei EMILY DONATO, Soprano ASHLEY MULCAHY, Mezzo-Soprano HAITHAM HAIDAR, Tenor EDWARD VOGEL, Baritone Performance time: approximately 2 hours, with an intermission Notes on the Program Overtures, Op. 18, which mark the sum- mit of his contributions to orchestral liter- by James M. Keller ature. Some of the pieces were original Grand Overture (Symphony) in D major, to this venture, while others were drawn Op. 18, No. 4 from music J.C. had previously used in op- JOHANN CHRISTIAN BACH eras and serenatas. The middle movement Born September 5, 1735 in Leipzig, of the Symphony No. 4, the work heard Saxony (Germany) here, is adapted from the Overture to his Died January 1, 1782, in London, England opera Temistocle, which he had written on commission for the court of Mannheim in Four of Johann Sebastian Bach’s sons—the 1772; but this particular music goes back two oldest (Wilhelm Friedemann and Carl even further, since he adapted that bit of Philipp Emanuel, or “C.P.E.”) and the two Temistocle from his 1767 opera Carattaco. -
Year in Review 2016—2017 Table of Contents
Year in Review 2016—2017 Table of Contents From the Director’s Desk 1 ISM Community 2 Alumni 5 Admissions 6 Program Highlights 7 Schola Tour to India 11 Marquand Chapel 14 Other Events 15 Publications 16 Outreach Initiatives 17 Appendix: 2016-2017 Colloquium Presentations 20 From the Director’s Desk Our pattern with the toward each other. The Christian Gospel has annual reports of the always claimed to have the word for such Institute of Sacred Music troubled and tormented persons. A peculiar is to review the year’s danger of our own society is that so many of us activities that were formed are now so well off. The “do-it-yourself ” society by students, faculty, staff, is in danger of developing a contempt for the and the many visitors who minority of the poor, and disadvantaged, and grace our work. I hope helpless. In recalling us to such concern and to these pages will give you the unpalatable truth that we save our lives only a glimpse into the bounty by losing them, the compassionate artist has of learning opportunities often been the best preacher among us. (from the Institute provides at the 1973 Letter of Intent, Irwin-Sweeney-Miller Yale. We are blessed with Foundation, Columbus, IN) resources that connect easily to students and The arts, worship practices, and theology we study faculty around campus and throughout our region and and engage at the ISM is no panacea to what ails us, beyond. Of course, such a retrospective inevitably calls but these things do have the unique potential, when to mind the world context in which so many of these used well, to blur lines of difference – to provoke events and experiences took place.