Brahms Requiem and the World Premiere of Universo by Sam Sierra-Feldman
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THE HELIOS ENSEMBLE PRESENTS Brahms Requiem And the world premiere of Universo by Sam Sierra-Feldman SATURDAY APRIL 6TH 7 PM GRACE ST. PAUL’S EPISCOPAL CHURCH 2331 E ADAMS ST, TUCSON THE HELIOS ENSEMBLE PRESENTS THE HELIOS ENSEMBLE PRESENTS Brahms Requiem Brahms Requiem PROGRAM PROGRAM Ein deutsches Requiem Johannes Brahms Universo Enrique Feldman 1. Selig sind, die da Leid tragen NOTA BENE 2. Denn alles Fleisch es ist wie Gras 3. Herr, lehre doch mich, Dass ein Ende Elena Galbraith, Soprano Sandy Schwoebel, Flute Marie Sierra, Piano Mark Hockenberry, Baritone Universo Sam Sierra-Feldman 4. Wie lieblich sind deine Wohnungen 1. Alma 5. Ihr habt nin Traurigkeit 2. Llamada 3. Luz Cait Frizzell, Soprano 4. Universo 6. Denn wir haben hie keine bleibende Statt Abby Alexander, Thomas Alexander, Juan Flores, Gitanjali Gnanadesikan, Anisa Jimenez, Rachel Lovins, Mark Hockenberry, Baritone Trish Marji, John McMeen, Caroline Spurlin, Belen Urreiztieta, and Ezra Zurita, Soloists 7. Selig sind die Toten The Helios Ensemble Sam Sierra-Feldman, conductor The Helios Ensemble Benjamin Hansen, Conductor ~ INTERMISSION ~ Chia-Chun Ko and Marie Sierra, Piano 2 3 PROGRAM NOTES movement, you will hear a single voice chanting an eerie echo of con alma entera, to which the choir will respond as one: hay mundo entero. This statement from the opening movement was not originally the Universo is presented this evening in two versions: an instrumental ending to the poem; it was not even included in the final movement ensemble composed by Enrique Feldman, followed by a choral when I rearranged the text. Yet I believe there could not be a more work composed by Sam Sierra-Feldman with text by Enrique suitable ending: “With a whole soul, there is a whole world.” Feldman. Program notes are written by the composer. THE TRANSLATION: Universo is a journey through the dysfunction and disconnected- ness we experience in our world, and a meditation on what can Alma Soul be if we all come together and remember that we are one. I chose Con alma entera hay mundo entero. With a whole soul, there is a whole world. to edit the original text, written by Enrique “Hank” Feldman, and Sin alma entera, no hay mundo entero Without a whole soul, there is no whole world. re-organize it into four distinct parts of this journey. y la llamada nos pregunta y dice, and the call asks us and says, “Pensamos, hacemos, y somos.” “We think, we do, and we are.” Part 1, Alma (“Soul”) meditates on the chaos that surrounds us, but also on the call to action which urges us to strive for something Llamada The Call better , reminding us that con alma entera, hay mundo entero; sin Tu alma espera. Your soul waits. alma entera, no hay mundo entero: “with a whole soul, there is a Nos habla de lejos una luz A light speaks to us from afar, whole world; without a whole soul, there is no whole world.” This is que nos calma, y sin ver a light which calms us, and without seeing the line of text that I consider to be my “thesis statement,” which ya sabemos. we already know. embodies the driving force behind the entire piece and the reason Y la llamada nos pregunta y dice, And the call asks us and says, I chose to use this text. “Ya sabes; ahora hacemos.” “You already know; now we do.” Part 2, Llamada, (“The Call”) meditates further on what we must do in order to heal what is broken in our world today. This call Luz Light questions us, inspires us to reflect and think critically, and ultimately Luz viene; ciclo de luz, Light comes; cycle of light, reminds us that we already know what to do; now it is time to do it. momento de luz, moment of light, luz eterna, luz de amor, eternal light, light of love, Part 3, Luz, (“Light”) is more meditative still. Without giving creciendo, respirando. growing, breathing, instructions and, more importantly, without acknowledging the Terria; Universo. Earth; Universe. darkness or dysfunction, we now simply focus on light: cyclical light, loving light, the simplicity of breath, of the earth, and of Universo Universe eternal light. This light may mean something different to each of Vida primigenia; Primal life; us, and that is precisely what makes it so powerful. Elementos, respirando solo. Elements, breathing alone. El sol despierta. The sun awakens. Part 4, Universo, ("Universe") focuses even more on simplicity; some Deseo alma humano. I wish for a human soul. of the most profound and perhaps unsettling moments in the piece Vida encendido. Life turned on. will feature the words vida primigenia: “primal life,” as we remember Vida viene con intensidad. Life comes with intensity. once again where we all come from and just how connected we really Mundo; Universo; World; Universe: are. We will repeat some of the text from earlier movements with a greater sense of urgency, a greater call to action. At the end of this Con alma entera hay mundo entero. With a whole soul, there is a whole world. 4 5 PROGRAM NOTES continued Ein deutches Requiem is Brahms’ longest composition, and it are they that mourn for they shall become comforted.” After many made him famous. He composed six movements in 1865, adding repetitions of “getröstet” or “comforted,” the text changes to the final movement in 1868. In 1871 he arranged an intimate piano Psalms 126:5. The key, tempo, and mood follow, reflecting “those four-hands accompaniment, the version you will hear this evening. that sow in tears shall reap in joy.” Save the 7th movement, it is unique among Requiems in that its text is not the liturgy from the Catholic Requiem Mass including prayers Mvt. 2. Brahms’ bleak outlook on life is on full display in the for the dead, but a compilation of Bible verses Brahms selected beginning of the 2nd movement. Somber, almost macabre music himself that focus on comforting the living. These verses are taken sets the text Denn alles Fleisch es ist wie Gras, “For all flesh is as from 16 chapters in 10 books, with the musical material—mood, grass.” Midway through the movement, however, Brahms shows us orchestration, tempo, key—changing each time the text shifts to dramatically that he also has hope, beginning with Aber, or “but,” a new verse. The entire Requiem, therefore, is a highly personal and continuing through fugal procedures on text declaring that statement of Brahms’ theology and his personal outlook on life, those who have hope and work hard shall be rewarded! which includes: 1) the bleak reality of the transience of life; 2) the Mvt. 3. The baritone soloist pleads to God in the opening of the need for comfort; 3) the hope of some ultimate happy resolution; 3rd movement: Herr, lehre doch mich, dass ein Ende mit mir haben 4) the reward for effort. muss, “Lord, make me to know mine end and the measure of my The texts of the first three movements juxtapose hope with insecurity. days that I may know how frail I am.” The chorus echoes the soloist Mvts. 4 and 5 celebrate hope, first communally, then individually. through the first section, but continues on through fugue and close The 6th movement returns to the questioning in Mvt. 3, and like Mvt. imitation on the text “Lord, what do I wait for?” “My soul is in thee.” 5, a voice of authority speaks to the individual or mourner. The 7th The chorus concludes with a glorious neo-Handelian fugue on the movement text reflect the ultimate message of the work: Man must pedal point D, setting the text Der Gerechten Seelen sind in Gottes rejoice in his achievements: “Yes, says the spirit, that they rest from Hand und keine Qual rühret sie an, “But the souls of the righteous their labours, and their work follows after them.” are in God’s hands, and no torment shall come to them.” As unconventional as Brahms’s texts are, his musical material Mvt. 4. The much beloved 4th movement is the center of the looks back to Bach and Handel, employing many compositional Requiem’s mirror structure, and the movement itself has a mirrored devices of the Baroque, including fugue and canon. In choosing structure of ABACA. In the style of a Viennese Waltz, the opening German to express religious sentiments, Brahms also looks back to soprano melody is an inversion of the opening melodic line in the Baroque German protestant tradition of such usage found in the accompaniment. Throughout, the text “How lovely are thy Bach’s Cantatas and several of Heinrich Schutz’s pieces. To these dwellings” is set to some of Brahms’ most charming music. old compositional devices and use of text Brahms gives us his own Mvt. 5. Added to the Requiem in 1868 after the first iteration, this Romantic harmonic language, with unexpected modulations and movement featuring soprano solo has a choral refrain, often in chromaticism, together with his legendary lyrical melodies that canon, of Ich will euch trösten, wie einen seine Mutter tröstet, “As have given comfort for over 150 years. one whom his mother comforteth, so will I comfort you.” As such, much speculation has arisen that this movement was composed in Mvt. 1. Taken from taken from Matthew 5:4, the very first words of the Requiem encapsulate the entire thrust of the work: Selig sind response to the death of Brahms’ mother. die da Leid tragen, denn sie sollen getröstet werden, “Blessed 6 7 PROGRAM NOTES continued THE HELIOS ENSEMBLE Mvt. 6. Despair and hope are again juxtaposed in the 6th movement as the chorus and soloist alternate, again ruminating on mortality.