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04-30-21 Choral-Perc Jt-Rec DEPARTMENT OF MUSIC FSU PERCUSSION ENSEMBLE Dr. Mackenzie Jacob LaMont, conductor FSU CHORAL ARTISTS Dr. Scott Rieker, conductor DR. JOSEPH YUNGEN Piano Friday April 30, 2021 Pealer Recital Hall 7:30 p.m. Woodward D. Pealer Performing Arts Center PROGRAM Angels of the Apocalypse David Gillingham (b. 1947) FSU Percussion Ensemble The Lord’s Prayer Mackenzie Jacob LaMont (b. 1989) FSU Percussion Ensemble and Choral Artists INTERMISSION Ave Maria Franz Biebl (1906-2001) FSU Choral Artists Chichester Psalms Leonard Bernstein (1918-1990) I. Psalm 108:2 Psalm 100, complete II. Psalm 23, complete Psalm 2:1-4 Andrew Hartnett, countertenor III. Psalm 131, complete Psalm 133:1 FSU Percussion Ensemble and Choral Artists TEXTS & TRANSLATIONS The Lord’s Prayer (by Mackenzie LaMont) Libera me, Domine Deliver me, O Lord Tremens factus sunt ego For I am made to tremble In te Domine speravi In Thee, O Lord, have I trusted Non confundar in aeternam Let me never be confounded Allahu Akbar God is the Greatest La ilaha Illa Allah and to God belongs all praise Dona eis Requiem Grant him rest Et lux perpetua luceat eis And let perpetual light shine upon him De morte transire ad vit[am] Pass from death to [life] Avinu shebashamayim Our Father in heaven, hallowed be thy name Yitkadesh shimcha Your kingdom will come Ave Maria (by Franz Biebl) Angelus Domini nuntiavit Mariae The Angel of the Lord declared unto Mary et concepit de Spiritu Sancto. And she conceived by the Holy Spirit Ave Maria, gratia plena, Hail Mary, full of grace Dominus tecum, The Lord is with you. benedicta tu in mulieribus, Blessed are you among women, et benedictus fructus ventris tui, Jesus. And blessed is the fruit of your womb, Jesus. Maria dixit: Ecce ancilla Domini Mary said: behold, I am the handmaiden of the Lord. Fiat mihi secundum verbum tuum. Be it done unto me according to thy word. Ave Maria ... Hail Mary… Et verbum caro factum est The Word was made flesh Et habitavit in nobis. And dwelt among us. Ave Maria ... Hail Mary… Sancta Maria, mater Dei, Holy Mary, mother of God ora pro nobis peccatoribus. Pray for us sinners Sancta Maria, ora pro nobis Holy Mary, pray for us nunc et in hora mortis nostrae. Amen. Now and at the hour of our death. Amen Chichester Psalms (by Leonard Bernstein) Mvt. 1 Psalm 108:2 Ura hanevel v’chinor Awake, psaltery and harp: aira shachar I will rouse the dawn Psalm 100 Hariu l’Adonai Make a joyful noise unto the Lord, kol haarets all the Earth Iv’du et Adonai b’sim’cha Serve the Lord with gladness Bou l’fanav bir’nana Come into His presence with singing D’u ki Adonai Hu Elochim Know ye that the Lord, He is God Hu asanu v’lo anachnu It is He that has made us and not we ourselves Amo v’tson mar’ito We are His people and the sheep of His pastures Bou sh’arav b’todah, Enter into His gates with thanksgiving Chatseirotav bit’hilah And into His courts with praise Hodu lo, bar’chu sh’mo Be thankful until Him and bless His name Ki tov Adonai, l’olam chas’do For the Lord is God; His mercy is everlasting V’ad dor vador emunato And His faithfulness endures for all generations Mvt. 2 Psalm 23 Adonai roi, lo echsar The Lord is my shepherd; I shall not want Bin’ot deshe yarbitseini He makes me to lie down in green pastures, Al mei m’nuchot y’nahaleini He leads me beside the still waters, Naf’shi y’shovev, He restores my soul. Yan’cheni b’ma’aglei tsedek He leads me in the paths of righteousness L’ma’an sh’mo For His names sake. Gam ki elech b’gei tsalmavet, Even though I walk through the valley of the shadow of death, Lo ira ra ki a’ta imadi I will fear no evil, for You are with me. Shiv’t’cha umishan’techa hemah y’nachamuni Your rod and Your staff, they comfort me. Ta’aroch l’fanai Shulchan neged tsor’rai You prepare a table before me in the presence of my enemies. Dishanta vashemen roshi cosi r’vayah. You anoint my head with oil; my cup overflows. Ach tov vachesed yird’funi Surely goodness and mercy shall follow me Kol y’mei chayai All the days of my life, V’shav’ti b’veit Adonai l’orech yamim. And I will dwell in the house of the Lord forever Psalm 2: 1–4 Lama rag’shu goyim Why do the nations rage, ul’umim yehgu rik And the peoples imagine a vain thing? Yit’yats’vu malchei erets, The kings of the earth set themselves V’roznim nos’du yachad And the rulers take counsel together Al Adonai v’al m’shicho Against the Lord and against His anointed, N’natkah et mos’roteimo, Saying, “let us break their bands asunder, V’nashlicha mimenu avoteimo And cast away their cords from us.” Yoshev bashamayim yis’chak He that sits in the heavens laughs, Adonai yil’ag lamo! And the Lord mocks them! Mvt. 3 Psalm 131 Adonai, Adonai, lo gavah libi Lord, Lord, my heart is not proud, V’lo ramu einai, v’lo hilachti Nor my eyes lofty; neither do I aspire Big’dolot uv’niflaot mimeni To things too great and too wonderful for me Im lo shiviti v’domanm’ti nafshi Surely I have calmed and quieted my soul. K’gamul alei imo As a child that is weaned of his mother, Kagamul alai nafshi. My soul is even as a weaned child. Yachel Yi’rael El Adonai me’atah v’ad olam Psalm 133:1 Hineh ma tov, umah naim Behold how good, and how pleasant it is, Shevet achim gam yachad. Amen For brothers to dwell together. Amen. PROGRAM NOTES Two notes on language and pronunciation: (1) Much of tonight’s sung text is in Hebrew. Since Hebrew uses its own alphabet (or aleph- bet, if you will), we have sung from transliterations and based our pronunciations upon Ethan Nash and Joshua Jacobson’s International Phonetic Alphabet renderings in Translations and Annotations of Choral Repertoire, volume IV: Hebrew Texts, Corvalis, OR: earthsongs (2009). (2) There is a custom in Judaism that words that refer to G-d, such as “Adonai” and “Elochim,” should only be spoken in the context of worship, and reverently. Since tonight’s concert is just that—a concert—we have elected to substitute the syllables “adoshem” and “elokim” for these references to the Divine, respectively. This retains the correct number of syllables while respecting this reverent custom. Angels of the Apocalypse David R. Gillingham (b. 1947) has an international reputation for the works he has written for band and percussion. Many of these works are now considered standards in the repertoire. Over sixty of his works for band, choir, percussion, chamber ensembles, and solo instruments are available from numerous publishers. Dr. Gillingham is a Professor of Music at Central Michigan University. His Angels of the Apocalypse “was inspired by the Biblical book of Revelation,” and contains sections inspired by the opening of the Seventh Seal, as well as angels blowing trumpets to bring about the end of the world. It ends, however, in a positive light, representing a religious apotheosis. The Lord’s Prayer Dr. Mackenzie Jacob LaMont (b. 1989) wrote The Lord’s Prayer 10 years ago in 2011. It was designed to give listeners of different religious/secular backgrounds the ability to hear a variety of messages. It can be taken as a “call to reason,” for practitioners to listen to what their faiths actually preach (caring for others, being good citizens), a critique of Christianity, or a programmatic story of a group’s journey through faith, doubt, and resolution. It follows the Our Father prayer – The Lord’s Prayer – as a group tries to complete it. They are continuously interrupted, and require support from various other religious texts (Latin, Jewish, Islamic) to get back on track. Ave Maria Prolific, but obscure Bavarian composer, Franz Biebl (1906–2001), composed his Ave Maria for seven-part men’s choir, probably for the choir of his local fire brigade in suburban Munich. This setting of the Latin text of the Angelus prayer has become a staple of choral repertoire for its lyric beauty and lush harmonies, and Biebl eventually arranged it for mixed and treble choirs. Even in his SAB/SATB arrangement, the three-fold invocations of the prayer are retained as tenor/bass solos. In between the invocations, the text of the Ave Maria prayer is truncated (comprising only the first half) until after the third invocation. The trio of soloists provide lyric counterpoint to the inexorable chordal movement of the larger ensemble, all of which are designed to draw the listener into a deeper relationship with the Divine. Chichester Psalms Amid frantically polite letters from Walter Hussey, Dean of Chichester Cathedral, American composer, Leonard Bernstein (1918–1990) finally turned his attention toward his commission for Chichester Cathedral mere months before it was due. In a remarkable feat of musicianship, Bernstein repurposed unused musical materials that he had previously composed, including two movements from his abortive collaboration on a musical rendition of Wilder’s The Skin Of Our Teeth, and the unused original opening for West Side Story. The resulting musical journey: from unreflective and simplistic religion through trial and anguish to arrive at a place of humbleness before the Divine summarizes Bernstein’s attitudes toward belief. He held that true spirituality is found in humility and simplicity, and Chichester Psalms reflects that.
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