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Madrigal Singers Concert Choir Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-13-1991 Madrigal Singers Concert Choir Michael Schwartzkopf Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Schwartzkopf, Michael Conductor, "Madrigal Singers Concert Choir" (1991). School of Music Programs. 748. https://ir.library.illinoisstate.edu/somp/748 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department I Illinois State University I I MADRIGAL SINGERS I I CONCERT CHOIR I Michael Schwartzkopf, Conductor Sean Hayes, Piano I Susan Lewis, Soprano Holly Weinheimer, Alto Kenneth Prince, Tenor Clifford Derix, Bass I assisted by Illinois State University Wind Symphony I Stephen Steele, Conductor I I St. John's Lutheran Church . ·1 Sunday Afternoon October 13, 1991 I 3:00p.m. I I I Program Madrigal Singers I I Noe noe noe psallite Jean Mouton Noe noe noe psallite Jean Mouton (ca. 1459-1522) Jean Mouton, colleague of Josquin and teacher of Willaert, wrote nine Masses, seventy-five motets, and only a handful of secular pieces during his lifetime. This I lively Christmas motet, on which Arcadelt later based a Mass, is a fine example of from Festino (1608) Adriano Banchieri I Mouton's work. It combines what the sixteen-century theorist Glareanus called (edited with English translation by Eugene Enrico) (1568-1634) "melody flowing in a simple thread" with skillful and imaginative contrapuntal Modem Delight as Introduction writing. Short, clearly shaped motives, with crisp rhythms generated by the words, Masquerade of the Counuy Girls I are developed successively in points of imitation. Instances of pictorial settings - Madrigal to a Sweet Nightingale I The Lovers Do the Moresca for example, the rising melodic lines at "fulget in coelo" and at "etelevamini, portae The Count• s Game aeternales" - foreshadow the mid-century's "madrigalisms." Wining: Toasts and Styles Modem Delight Bids You Farewell Noel, noel, noel sing (with instruments) noel. I Jerusalem, rejoice and be happy, Concert Choir Because today the Savior of the world was born. He lies in a manger; He shines in the sky. Alleluia Hans Leo Hassler Lift up your gates, 0 ye princes, (1564-1612) 1 And be ye lifted up, 0 eternal gates; Os Justi meditabitur sapientiam Anton Bruckner And the King of Glory shall enter in. (1824-1896) Who is this King of Glory? The Lord of hosts; He is the King of Glory. Quaerite primum regnum Dei, K. 86 Wolfgang Amadeus Mozart I I (1756-1791) I Alleluia Hans Leo Hassler Regina Coeli, K. 276 Wolfgang Amadeus Mozart I This motet written by this popular German composer who studied in Venice during Sean Hayes, Piano the sixteenth century is written in an antiphonal style and alternates frequently Susan Lewis, Soprano Holly Weinheimer, Alto '.I' between duple and triple meter. Kenneth Prince, Tenor Clifford Derix, Bass I Alleluia! Praise and call unto the Lord, our God. Let all the people serve him in little and great things. Intermission Know ye that the Lord, our God, reigns over all the heavens. Praise and honor, be glad and joyful, Concert Choir I ii and lastly come and glorify always. Wind Symphony Alleluia! Celebrations, Cantata No. 3, Op. 103 Vincent Persichetti 'I Stranger (1915-1987) I Celebrate Myself You Who Celebrate Bygones There Is That in Me I '.I Sing Me the Universtal Flaunt Our O Sea I Sing the Body Electric A Clear Midnight Voyage I I I I I I I Os Justi meditabitur sapientiam Anton Bruckner I Ce~ebr~tions . Vincent Persichetti A devout Austrian composer of the nineteenth century, Bruckner wrote a series of motets for the church. This motet, a Gradual, written in Lydian mode is full of rich This nine-movement work 1s a near perfect marnage between instruments and color. It is in three sections, the first and last being closely related in melodic chorus. The distinctive sonorities of Persichetti are heard throughout the work. material. The middle section contrasts, beginning as a fugue and continuing with Each phrase of the Whitman poetry receives a warm, joyous setting with hardly a imitative entrances that culminate with a large crescendo on the word "judicium" I tutti section to be found in the 23-minute work. Notice in particular, the way the (judgement). This is followed by one ofBruckner's trademarks, a "grand pause" to composer passes rhythmic energy back and forth from vocalists to instrumentalists accommodate acoustical decay of the sound. and vice versa. There is rarely a duplication of effort, except for the stirring final movement where the combined forces of wind and voice completely overwhelm. The mouth of the righteous speaketh wisdom, and his tongue talketh of I Persichetti has selected poems from Whitman's volumes of prose and poetry that judgement, have to do with the celebration oflife and the freedom of the soul after life has ended. The law of his God is in his heart; none of his steps shall slide. A true celebration! Psalm 37: 30-31 I Stranger (To You) 11 Stranger! if you passing, meet me, and desire to speak to me, Quaerite primum regnum Dei Wolfgang Amadeus Mozart why should you not speak to me? , And why should I not speak to you? While touring in Italy in 1770 Mozart spent several months in Bologna. His I extraordinary talents were recognized by the city's professionally eliteAccademia I Celebrate Myself Filarmonica, and he was paid the compliment by having his name proposed for I celebrate myself; membership. They waived the fact that the fourteen year old Mozart did not meet And what I assume you shall assume; the twenty year old age requirement The exam was not waived, however, and he For every atom belonging to me belongs to you. was instructed to compose a motet in the Stile antico or early style. In its style and texture, this motet is unique among the works of Mozart. The plainsong melody of I I loafe and invite my Soul; the antiphon for vespers of the fourteenth day of Pentecost is laid out as a long-note I lean and loaf at my ease, observing a spear of summer grass. cantusfirmusin the bass. The firstmusicaldocumentMozartsubmitted, the version ·1 You who celebrate bygones (To A Historian) that is used for this performance, was rejected. Revisions, however were made to You who celebrate bygones! conform to the needs of the society. Mozart probably gave no thought to this work I Who have explored the outward, the surfaces of the races- ever being performed. However, during the 200th anniversary of his death it is the life that has exhibited itself; interesting to get an additional look into this unknown aspect of Mozart musical Who ~ave treated of man as the creature of politics, aggregates, rulers and priests; output. I, hab1tan of the Alleganies, treating of him as he is in himself in his own rights, 11 Pressing the pulse of the life that has exhibited itself, But seek ye first the Kingdom of God, and his righteousness; (the great pride of man in himself;) ,, Chanter of personality, outlining what is yet to be, and all these things shall be added unto you. ' I project the history of the future. Matthew 6:33 1 11 ' There is That in Me Regina Coeli Wolfgang Amadeus Mozart There is that in me I do not know what it is, but I know it is in me. Wrenched and sweaty, calm and cool, then my body becomes , I sleep, I sleep long. This exuberant work was composed in 1779 in Saltzburg when Mozart was 23 and I do not know it, it is without name is one of several setting he made for this text The placement of "alleluia" 11 It is a word unsaid, it is not in any dictionary, utterance, symbol. throughout the work marks this as a work of great joy. The work is in a quasi sonata Something it swings on more than the earth I swing on, allegro form with repetition in expected key relationships of tonic (C Major), domi­ To it the creation is the friend whose embracing awakes me. nant, and relative minor keys. Perhaps I might tell more. I Outlines! I plead for my brothers and sisters, Do you see all my brothers and sisters? Queen of Heaven, rejoice. Alleluia! It is not chaos or death, it is form, it is union, plan, it is eternal life, it is happiness. For He whom thou was worthy to bear, alleluia There is that in me I do not know what it is ... Hath risen as he said. Alleluia! ii Pray for us to God. Alleluia! I I (I I I ll ;I ., I Sing Me the Universal Voyage (Joy, Shipmate.Joy!) Come said the Muse, I Joy! shipmate-joy! Sing me a song no poet yet has chanted, (Pleas' d to my Soul at death I cry;) Sing me the universal. Our life is closed-our life begins; The long, long anchorage we leave, In this broad earth of ours, :I I The ship is clear at last-she leaps! Amid the measureless grossness and the slag, _She swiftly courses from the shore; Enclosed and safe within the central heart, Joy! shipmate-joy Nestles the seed perfection. Come said the Muse, I I Wind Symphony Sing me a song no poet yet has chanted, Sing me the universal.
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