s u t t o n c o n c e r t s e r i e s

STRAVINSKY SACRAL E S N O /C E PROFANAS & S Y M P H O N Y O F P S A L M S SUNDAY, APRIL 29, 2018 8:00 PM SHARP CONCERT HALL

— 1 — The University of Oklahoma School of Music

presents Sacra/Profana: Choral Works by SELECTIONS AND MUSICIANS

Les Noces (1923) Part One Scene 1: At the Bride’s House Scene 2: At the Bridegroom’s House Scene 3: The Bride’s Departure

Part Two Scene 4: The Wedding Feast

Featuring University Chorale ∙ Oklahoma Festival Nicole Van Every, Jaquelin Matava, Joel Burcham, Mark McCory, soloists Jonathan Shames, Stephanie Shames, Jeongwon Ham, Igor Lipinski, DJ Handy, Louie Fehl, Colton Kirton, Danny Kocher, Grayson Rushing, Zac Simons, Jamie Whitmarsh, percussion

Nilas Martins, choreography Monique Meunier, assistant choreography Boyko Dossev, ballet master Neil Whyte, stage manager Lloyd Cracknell, costume designer

Cast Family One Family Two Bride – Katie Wolfe Groom – Robert Montgomery Mother – Ruby Mather Mother – Amanda Evans Father – Kieran King Father – Boyko Dossev Girl 1 – Colleen Reed Boy 1 – Micah Bullard Girl 2 – Chiara Ruff Boy 2 – Aedan Donovan Girl 3 – Hannah LeComte Boy 3 – Noah Klarck

Intermission

Symphony of Psalms (1930, rev. 1948) I. PSALM 38: 13-14 II. PSALM 39: 2-4 III. PSALM 150

Featuring University Chorale ∙ Women’s Chorus ∙ Men’s Glee Club ∙ The Norman Philharmonic

— 2 — PROGRAM NOTES Les Noces Igor Stravinsky (1882-1971) conceived quotations of Russian folk melodies Goncharova (1881-1962) created the of the idea of the dance-, Les retaining classical tonality and creating a original plain costumes and colorless Noces (Svadebka - The Wedding) on the kaleidoscope of fragments. decor. Les noces was performed three subject of a Russian peasant wedding as years later in London and was panned by early as 1912, completing the work after Stravinsky described Les Noces as, “… critics. However, the famous writer H.G. several scoring revisions in April 1923. a suite of typical wedding episodes told Wells (1866-1946) was a member of the Stravinsky subtitled the work, “Russian through quotations of typical talk. The audience at the London performance Choreographic Scenes with Singing and latter, whether the bride’s, the groom’s, and objected to the virulent attacks, Music.” Commenting on the genesis of the parents’, or the guests’, is always penning an open letter to the critics on the work, Stravinsky observed, ritualistic.” In commenting on the June 18, 1926: symbolism represented in Les Noces, “As my conception developed, I Margarita Mazo, professor emeritus and “Writing as an old-fashioned popular began to see that it did not indicate distinguished scholar at The Ohio State writer, not at all of the highbrow sect, I the dramatization of a wedding or the University wrote, feel bound to bear my witness on the accompaniment of a staged wedding other side. I do not know of any other spectacle with descriptive music. My “From the many rituals surrounding the ballet so interesting, so amusing, so fresh wish was, instead, to present actual preparations of the bride and groom, or nearly so exciting as Les Noces. I want wedding material through direct Stravinsky abstracted one parallel: the to see it again and again, and because quotations of popular — i.e., non-literary combing of the bride’s kosa (tress) and I want to do so I protest this conspiracy — verse.” the groom’s kudri (curls). As the eventual of willful stupidity that may succeed in rebirth of the bride and groom into a driving it out of the programme.... Stravinsky selected and adapted poems single entity is the purpose of the entire from a collection by folklorist Pyotr ritual, a third symbol was abstracted: That ballet is a rendering in sound and Kirievsky (1808-1856), organizing the krovat’ (bed), an episode in which vision of the peasant soul, in its gravity, work into four tableau or scenes in two the young couple are seen off to the in its deliberate and simpleminded parts. bedchamber.” intricacy, in its subtly varied rhythms in its deep undercurrents of excitement, that In part one, the first tableau is “at the Although Stravinsky completed the will astonish and delight every intelligent bride’s” or “the braid” and depicts the sketch of Les Noces in October 1917, man or woman who goes to see it. The ritual braiding or tressing of the bride’s he did not complete the scoring for silly pretty-pretty tradition of Watteau hair in preparation for the wedding another five years. Not until 1921, while and Fragonard is flung aside. Instead of ceremony. Elements of ritual lamentation staying as a guest in the home of Coco fancy dress peasants we have peasants (loss of virginity, children, etc.) and prayer Chanel did Stravinsky settle on the in plain black and white, and the form the thematic heart of the scene. In scoring of four and percussion, smirking flirtatiousness of Daphnis and the second tableau, the episode unfolds feeling that this would, “…fulfill all my Chloe gives place to a richly humorous “in the groom’s house.” Central to this conditions…. It would be at the same solemnity. scene is the ritual adoration of the groom time perfectly homogeneous, perfectly and the invocation of blessings from impersonal, and perfectly mechanical.” It was an amazing experience to come God and of Orthodox saints. Leaving This period of experimentation lead the out from this delightful display with the groom’s house, the third tableau, conductor to note, “… of all the warp and woof of music and vision the parents lament “the departure of Stravinsky’s works, Les Noces underwent still running and interweaving in one’s the bride,” observing that children leave the most extensive metamorphosis.” mind, and find a little group of critics the nest never to return. “Let her depart Craft conjectures that Les Noces may flushed with resentment and ransacking from those she loves” well have taken Stravinsky the longest the stores of their minds for cheap time to compose of any work. trite depreciation of the freshest and In part two, the fourth tableau is “the strongest thing that they had a chance to wedding feast” in which the slightly Les Noces received it’s premiere by praise for a long time.” coarse and tipsy fun of the guests is the Ballet Russes on June 13, 1923 at highlighted by various soloists and the Théâtre de la Gaîté in with This evening, Les Noces is sung in groups of soloists representing the choreography by English. characters varied and irregular meters. (1891-1972), who referred to the work Stravinsky now includes only occasional as “a choreographic concerto.” Natalia

— 3 — PROGRAM NOTES

Symphony of Psalms The mid-1920’s marks the beginning of personally, of the years between the In commenting on the end of the the Neo-classical period of Stravinsky’s World Wars. Symphony of Psalms, Stravinsky wrote, compositional approach, a period “I decided to end the work with this which revealed most clearly Stravinsky’s Stravinsky’s use of “academic formulas” music [Alleluia] too, as an apotheosis of appreciation of older musical traditions. is most clearly seen in the second the sort that had become a pattern in Of these approaches, Stravinsky wrote, movement, in which he employs the my music since the epithalamium at the “The more art is controlled, limited, highly-controlled imitative polyphonic end of Les Noces.” Stravinsky dedicated worked over, the more it is free.” He structure, the double fugue. Indeed, the Psalms, “To the glory of God and also observed, “…I always use academic Stravinsky referred to this movement as the Boston Symphony.” He once told a formulas knowingly as I would folk an, “upside-down pyramid of fugues.” reporter, “The more you cut yourself off knowingly and voluntarily…. They are Stravinsky begins the movement with a from the canons of the Christian church, raw materials for my work.” slow fugal subject played by solo treble the more you cut yourself off from the instruments, which vividly paints the text truth.” Stravinsky’s publisher, Serge Koussevitsky of Psalm 40:1-3 (Vulgate, 39): “I waited (1874-1951), the conductor of the Boston patiently for the Lord.” Commenting on The first performance of Symphony Symphony , commissioned the text, Stravinsky wrote, “Psalm 40 is of Psalms was not given in Boston, Stravinsky to compose a work for the a prayer that a new canticle may be put but rather in Belgium by the Société fiftieth anniversary of the Orchestra. into our mouths. The Alleluia [Mvmt. 3] is Philharmonique de Bruxelles on Having considered a psalm-symphony that canticle….” December 13, 1930, under the direction idea for some time, Stravinsky composed of the Swiss conductor, the Symphony of Psalms in 1930 (rev. The choice of Psalm 150 and the (1883-1969). A provision in Stravinsky’s 1948), describing the work as, “…not corresponding fast music from the third contract stipulated that, should the a symphony in which I have included movement (Laudate Dominum), were premiere not be given by the Boston Psalms to be sung. On the contrary, it the first ideas to occur to Stravinsky in Symphony by late November 1930, a is the singing of the Psalms that I am composing the Symphony of Psalms. European premiere could instead take symphonizing.” Reinterpreting Koussevitsky’s request place. Koussevitsky’s illness delayed the for “something popular,” Stravinsky performance by the Boston Symphony Stravinsky’s interest in focusing attention chose Psalm 150, which he viewed and the chorus of the Cecilia Society on the text, and his desire to depart from to be universally admired. Psalm 150 until December 19, 1930. conventional approaches to the Psalms, also appealed to him because of his, is evidenced in the unusual scoring. “…eagerness to counter the many Upon the death of Stravinsky in 1971, By eliminating the violins, violas, and composers who had abused these the composer and conductor Pierre clarinets, giving prominence to the winds magisterial verses as pegs for their own Boulez (1925-2016) confessed that, (four flutes, four oboes, four horns, five lyrico-sentimental ‘feelings’.” Music critic trumpets, thee bassoons), and by adding Terry Teachout observed, “The death of Stravinsky means the final two pianos, Stravinsky creates a cold disappearance of a musical generation but colorful timbral effect, which is un- “I know what made the hair stand up on which gave music its basic shock at the emotive yet nevertheless oddly powerful the back of my neck the first time I heard beginning of this century and which and profound. Perhaps Stravinsky was it years and years ago. And that was brought about the real departure from intentionally recalling the sounds of a coming out of absolutely nowhere at the Romanticism. Something radically new, great cathedral. beginning of the third movement, the even foreign to Western tradition, had hallelujahs from the . It’s like a shaft to be found for music to survive, and to For the first movement, Stravinsky set of sunlight suddenly breaking through enter our contemporary era. The glory of Psalm 39:12-13 (Vulgate, 38): “Give the stained-glass windows of a great Stravinsky was to have belonged to this ear unto my cry…” The semi-barbaric cathedral that—it illumines the whole extremely gifted generation and to be opening measures, which immediately scene and tears came to my eyes the first one of the most creative of them all.” arrest the listener and hearken to earlier time I heard that movement. And it’s not works such as Le Sacre du printemps the last time that that’s happened to me and even Les Noces, undoubtedly gives either.” D.H. voice to the great tension, globally and

— 4 — LES NOCES

FIRST SCENE Underneath the stones a little brook is flowing, The Tresses: At the Bride’s House Underneath the stones, making loud and happy music. Loud and gay it sounds like beating drums, The Bride: Tress my tress, O thou fair tress of my hair, Like beating drums, gaily loudly making music. O my little tress. So Nastasia Timofeyevna, so in marriage do we give thee, My mother brush’d thee, mother brush’d thee at evening, So we give thee. Mother brush’d my tress. The Bride and the Mother O woe is me, O alas poor me. Plait, plait my little tresses, Plait my hair and bind it with ribbon red, The Bridesmaids: I comb her tresses her fair golden tresses, In plaits bind it tightly. Nastasia’s bright hair Timofeyevna’s fair tresses. The Bridesmaids and the Bride I comb and plait it, with ribbon red I twine it, I will comb Nastasia’s fair tresses, I will twine her golden hair. I bind the fair hair of my Timofeyevna, I comb her fair tresses bright golden tresses, Once more I comb it and bind it with ribbon, I comb and I twine Timofeyevna’s fair tresses, A ribbon entwin’d about her hair, I bind her tresses I comb them and plait them, Again I will comb Nastasia’s fair tresses, With a fine comb I dress them. I comb them and twine them, my Timofeyevna, I twine her fair hair, with a ribbon I bind it, The Bride: Cruel, heartless, came the match-maker, A ribbon of bright red. Pitiless, pitiless cruel one, pitiless cruel one. Blue a ribbon blue, and ribbon red, She tore my tresses, tore my bright golden hair, Bright red, as my own lips are red. pull’d it tearing it. A ribbon blue, as blue as my eyes. She tore my hair that she might plait it in Two plaits, plaiting it in two. SECOND SCENE: O woe is me, O alas, poor me. At the Bridegroom’s House The Bridesmaids I comb her tresses, her fair golden tresses, The Bridegroom’s Friends: Virgin Mary, come, come and aid Nastasia’s bright hair, Timofeyevna’s fair tresses, our wedding, I comb and plait it, I comb it and bind up her hair, Come, Mary hear our pray’r, aid us as we comb the fair With ribbon of bright red, twine it with a ribbon blue. curls of Fétis. The Bride Virgin Mary come. Golden tresses bright, O my tresses fair. Wherewith shall we brush and comb and oil the fair locks of Fétis? The Bridesmaids: Weep not, O dear one, weep not, Come, come to aid us, O come Virgin Mary, Let no grief afflict thee, my dear one, O come, Mary aid us, uncurl his fair locks. Weep no more, Nastasia, O weep no longer, my heart, Quickly let us to the town and buy some pure, buy my Timofeyevna. some pure olive oil, Of your father think, your mother’s care, And curl his locks, his fair locks. And of the nightingale in the trees. Come Virgin Mary, come to aid our wedding, aid us Your father-in-law, he will welcome you, now as we uncurl the bridegroom’s locks. You mother-in-law will bid you welcome Come, O come and aid us to uncurl his fair locks. And tenderly will love you e’en as though you were Last night, Fétis sat, sat within his house all the while. their own dear child. The Father Noble Fétis Pamfilievitch, in your garden a nightingale Last night Pamfilievitch his fair locks sat brushing. is singing, In the palace garden all day he whispers cooing notes, The Parents: Now to whom to whom will these curls belong? ’Tis for you, Nastasia, his singing, my dear one, Now, now, to whom, to whom will these curls belong? For you alone his singing, for your delight, your happiness, Now they will belong to a rosy lipp’d maiden. For you alone his singing, for your delight, your happiness, do they now, now, belong to her, to the tall one, He shall not disturb you sleeping, in time for he’ll To Nastasia, to Timofeyevna. wake you. Now Nastasia pour oil on them. Come, come let us make merry from one village to another. Do you pour oil on them; Come, come, dear Nastasia shall be happy, You, Timofeyevna, you pour oil on them. She must be gay and joyful. Oil the fair, the curly locks of Pamfilievitch, Come! She should always be of good cheer. The fair and curly locks. ’Neath the little stones a brook flows. O the fair, the curly locks of Fétis, the fair and curly — 5 — LES NOCES

locks of Pamfilievitch. See there fades the flow’r too. Thy mother curl’d them oft, saying then while she Falls a white feather, now the flow’r fades, was curling them, Fades the flow’r too, now fades the flow’r, Little son, be you white and rosy cheek’d little son, The feather falleth, My little child, my son. So did Fétis kneel down before his own father, And another one will curl your locks, So did Fétis kneel before his mother graciously, And another one will love you. Asking their blessing upon the son who goes to be married, Shining locks and curly whose are thy? And may the saints go with him, guarding him, O Pamfilievitch lovely locks curly, the locks of Fétis, May the saints go with him too, and keep him in their care. well oil’d and lovingly curl’d. Lord, O bless us all from oldest to the youngest children. Glory to the father, glory to the mother, Saint Damian bless us also. Well have they brought up their wise one obedient, Bless us Lord, bless the bride and the bridegroom, obedient and wise one obedient. bless us also, A clever prudent child. Virgin Mary comb the fair locks of Fétis, While we comb and brush the curls of Pamfilievitch. The Bridegroom: Let my fair curls be in order, upon my white The oldest, the youngest, O bless us. Ah! face, in order. Bless us, O Lord, and bless now our wedding too, And grow used to young man’s ways, my habits, my Bless us, Lord, send Thy blessing upon us all. dandy young habits are usual there. Bless us, O bless the father and mother, sister and brother. Chorus Bless us, O bless the sister and the brother, Ah in Moscow, in the city, dandy young habits are usual there. Bless us, we pray Thee, bless all who are faithful, Virgin Mary, come, come and aid our wedding, All who fear and love him. Aid us to brush the locks, aid us to uncurl the fair locks God protect us, aid us now, God be with us now. of Fétis, Bide with us, abide with us, abide with us now. Aid us to uncurl the fair locks of Fétis. Saint Luke, do thou be with us, bless us, Saint Luke, Virgin Mary come and aid us to uncurl the fair locks of Fétis. Saint Luke. Holy Mother, come to us, Thyself come we pray Thee. Bless our marriage rites we pray thee, Come to the wedding, to the wedding, Bless the couple whom thou hast chosen, And with Thee, all the holy Apostles. Bless the pair Saint Luke bless them who thou, Come to the wedding, to the wedding, thou has chosen. Come to the wedding, to the wedding, Grant, O grant thy blessing for always, And with Thee come all the angels. And to their children. Come to the wedding, to the wedding. Now may God bless us, God bless us all and His Son, THIRD SCENE: Come to the wedding, to the wedding, to the wedding. The Departure of the Bride

The Bridegroom: Bless me, my father, my mother, bless me, Chorus Your child who proudly goes against the strong wall Brightly shines the moon on high, beside the glowing sun, of stone to break it. Ev’n so the princess liv’d within the palace happily See him, Fétis, the noble Fétis, there, beside her aged father and her mother, See him the noble Fétis, there to win his bride, his lady. Happily beside her father and her mother dear. So the candles are lighted. We go now to the church and we kiss there the silver cross, The Bride: O grant me your blessing, father, for now I go to a To invoke our Lady’s blessing. foreign land. The Father and the Mother First Bridesmaid: All you that come to see the bride See how bright the candles burn before the ikon, passing by, so I have stood before it long, All you that come to see the bride passing by, did stay So the princess stood awhile and quickly then away to see her ta’en away. she went. Give your blessing, bless the prince upon his way, The bridegroom who is gone away to meet his bride. Chorus To wed her whose troth is plighted. So they gave their blessing to their daughter fair, On his brow to set a golden crown. So she before her father stood weeping, And to ev’ry quarter of the world I go. Chorus Holding the ikon, holding bread and salt too, Ah, on his brow to set a golden crown. Holding bread and holding salt too. — 6 — LES NOCES

Thou Saint Cosmos come with us, Cosmos and Damian, Who comes here so gaily? Palagy Stanovitch, O come with us, Who is’t comes here so gaily? Palagy Stanovitch. Holy Saint Cosmos O grant that the wedding may prosper, I have lost, lost the golden ring with jewels set, Enduring from youth unto age, do thou grant that with precious stones. the wedding may prosper, Oh, oh, poor me, oh, poor Palgy, Oh, poor Palagy no Enduring from youth unto age, enduring from youth more is gay, to old age, to old age. Nor more is he gay, oh, poor Palgy. To the room where the two little doves are sitting, Flying comes a gray, a little goose. Two little doves in a small room, One red berry bows to another red berry, Holy Cosmos and Damian walked about the hall One red berry spoke to another red berry. and came back. Flying comes a gray, a little goose, Two our children even unto them. Flying comes a gray goose, little goose, In the little room, the happy room, the small room, flying comes a gray goose. There are sitting two little doves. Now its wings are beating, its tiny feet are scratching, There is singing, dancing, drinking too. Making clouds of dust rise, making all the nobles. Tambourines sounding, clashing, cymbals are being played. The Bride’s Father: Now behold your wife, whom God hath Long and happy union grant thou them. given you. May the wedding endure from their youth, from their youth unto old age and unto their children, Chorus Holy Cosmos and Damian walked about the hall, And what did we tell you, dear Nastasia? They walked about the hall and then they came back. Your wife must sew and spin, she must keep the linen Virgin Mary, Mother of our blest Savior, and sew and spin the flax white and sew it too. grant Thy blessing on this union. The apostles and all angels, as the hops entwine together, The Bride’s Mother: To you I entrust her, my son-in-law, I So our newly married couple cling together, entrust her my daughter dear. So our newly married couple cling together, As one they cling together, as the hops entwine together, Chorus So they cling together, as the hops entwine together. Let her sew the linen, food you shall give her and clothe her, The Mothers: My own dear one, child of mine, little one, my Give to eat and to drink, little one, And set her to work, you feed her and clothe her and Do not leave me, my dear one, come again to me, my bid her work. little one. My own my child, dear child of mine. The Father: You saw the logs. Ask again. (clap) Ah, do not leave me lonely, come back, come back, my dear one, my little one, Chorus Child have you forgot, dear one, have forgot the golden Love her and shake her like a pear tree and love her. keys are hanging, hanging the golden keys hanging there, They are come our nobles, fill the flowing goblets, My own little child, dear one. Round the tables going fill the flowing goblets, Going round among the guests and toasting Mary. FOURTH SCENE: Drink thou little mother, eat thou Maritovna. The Wedding Feast I do not drink, I do not eat, I listen here, Listen to the nobles as they eat and drink their wine. Chorus If our Simon were here, Berries two there were on a branch, they fell to the ground, O you gay, noisy chatt’ring goose, where have you been? One berry bows to another berry one. Noisy goose, where have you been and what did Ai, louli, louli, louli! Loschenki, ai louli, you see there? A red, a very red one, and a strawberry did ripen, A Chinaman? Where have you been, what did you see there? Ai Loschenki, louli. I have been far away at sea, the blue sea and the lake of blue, And one berry to another spoke sweetly, Away upon the sea. Close one berry grew to another, close to it, A swan-neck’d maiden in the sea was bathing, And one berry represents the noble bridegroom, Fétis, washing there her Sunday dress. And the other, Nastasia, ’tis the white one. A little white swan did you see there and did you see So gaily gaily goes he, Fyodor Tichnovitch, a little white swan. I found a ring, found a golden ring, ring of gold set And how should not I have seen the sea, not I have with precious stones. seen the sea? — 7 — LES NOCES

How should not I have seen the sea, seen the little swan. In the garden green there, Fétis stood and look’d Ay, beneath his wing the swan doth hide his mate. Upon the marks of his Nastasia’s feet, his own Nastasia. Two swans, two white swans in the sea were A smart young dandy, a dandy went a-walking swimming in the sea, two swans. down the street, Ay, and Fétis holds Nastasia right tenderly, Down the long wide street walking. And Fétis holds his bride to him tenderly. On his head he wore a fine furry cap for winter. My Nastasia walks very quickly and her new little coat, First Bridesmaid: And you Nastasia, what have you done? It is lined with the fur of martens cosily.

The Bride: I have donn’d a golden belt, The Friends: (speaking) Black her brows and beautiful. It is plaited with pearls that trail and hang down to the ground One of the Friends: (speaking) Now then, you old man, come and drink a little glass of wine, Chorus Drink a good glass of wine. Now all you who are come to the feast, Lead the bride in, the bridegroom is waiting, lonely, The Men, the Friends and the Women: Toast the happy Holding a goblet of rare old wine, a rare goblet. married couple, for our married ones need many things, O you merry old rogue, Nastasia’s father, you, They want to have a little house, increasing their home, He has sold his child for wine, for flowing goblets. A bath will they build for themselves there. You come and have a bath, afterwards you will be heated. Tenor So did our married pair begin their happy days together. You fair maids, and you pastry-cooks, and you Now then! Now then! plate-washers, Drink to their health, drink and toast our pair. You good-for-nothings, good-for-nothings, you chatterboxes, Chorus All you lazy wives, you foolish ones, Drink again, toast the pair, and embrace the two. And all you naughty ones who are among the This one, this one, this one, this is good, this one even wedding guests, now costs a rouble, Raise your voices. (spoken) But if you squeeze it in your hand, squeeze it tightly, Hear the bridegroom saying “I would sleep now” it costs double that. And the bride replying “Take me with you,” I don’t care, I don’t care at all though it costs as much. Hear the bridegroom saying “Is the bed narrow?” Now the river Volga overflows, And the bride replying, “Not too narrow.” And before the gate I hear one calling, Hear the bridegroom saying, “How cold are the blankets?” Oh mother dear, my mother dear who calls me. And the bride replying “They shall warm them.” All you silly maidens tell me who the maiden was ’Tis to thee Fétis sing we now this little song, who ruled her true love. And to the little dove, the white one, to Nastasia, to our Timofeyevna, too. All: Lovely little bed where I lay me down, Dost hear us, hearest thou Fétis, dost hear us, Pamfilievitch. How soft the pillow where I lay my head. We are honoring you, we sing our song to you. Do not lie thus by the steep river bank, Bass Voice Ay, sit down, Savelyoushka, Soft the pillow where I lay my head, In a summer house, a wedding prepare now for Fétis. Folded in the soft blankets, folded in the blankets, he blankets warm, The Guests: In the farm house see how jolly a feast is held, See our Fétis there, Pamfilievitch. Nobles sat at table drinking honey and wine, The little sparrow first makes his nest, then takes And all the while made speeches, his mate to be with him. Merrily, O merrily, our wedding went truly. Fétis holds Nastasia and kisses her, his bride, Nine kinds of beer, the good wife had prepared, Kisses her and holds in his hand her little hand. But the tenth is finest, the best of all. Holds her hand and presses it upon his heart, Our Nastasia goes away, to dwell afar-off, Holds her hand and lays it upon his heart. in a distant country. Dear heart, little wife, my own dearest treasure, Wisely shall she live there and in happiness let her be My sweet, my honey. submissive, let her be obedient. Dearest flow’r and treasure of mine, fairest flow’r She who knows how to be obedient, always is happy. sweetest wife, Bow then courteously, both to the old and the young ones. Let us live in happiness so that all men may envy us. To the very youngest maidens you must bow lower. — 8 — SYMPHONY OF PSALMS

1. (Psalm 38, verses 13 and 14) Exaudi orationem meam, Domine, et deprecationem meam. Hear my prayer, O Lord, and with Thine ears consider my Auribus percipe lacrimas meas. Ne sileas, ne sileas. calling: hold not Thy peace at my tears.

Quoniam advena ego sum apud te et peregrinus, sicut omnes For I am a stranger with Thee: and a sojourner, as all my fathers patres mei. were.

Remitte mihi, prius quam abeam et amplius non ero. O spare me a little that I may recover my strength: before I go hence and be no more seen.

2. (Psalm 39, verses 2, 3 and 4) Expectans expectavi Dominum, et intendit mihi. I waited patiently for the Lord: and He inclined unto me, and heard my calling.

Et exaudivit preces meas; et exudit me da lacu miseriae, et de He brought me also out of the horrible pit, out of the mire and lato faecis. clay:

Et statuit super petram pedes meos: et direxis gressus meos. and set my feet upon the rock, and ordered my goings.

Et immisit in os meum canticum novrum, carmen Deo nostro. And He hath put a new song in my mouth: even a thanksgiving unto our God. Videbunt multi, videbunt et timabunt: et aperabunt in Domino. Many shall see it and fear: and shall put their trust in the Lord.

3. (Psalm 150) Alleluia. Alleluja. Laudate Dominum in sanctis Ejus. O praise God in His holiness: Laudate Erum firmamentis virtutis Ejus. praise Him in the firmament of His power. Laudate Dominum. Laudate Eum in virtutibus Ejus Praise Him in His noble acts: Laudate Eum secundum multitudinem magnitudinis Ejus. praise Him according to His excellent greatness. Laudate Eum in sono tubae. Praise Him in the sound of the trumpet: Laudate Eum. Alleluia. Laudate Dominum. Laudate Eum. Laudate Eum in timpano et choro, praise Him upon the lute and harp. Laudate Eum in cordis et organo; Praise Him upon the strings and pipe. Laudate Eum in cymbalis bene jubilantionibus. Praise Him upon the well-tuned cymbals. Laudate Eum, omnis spiritus laudate Dominum. Let everything that hath breath praise the Lord. Alleluia. Alleluja.

— 9 — ROSTERS The Norman Philharmonic University Chorale Flutes Horns Timpani David Howard, conductor ∙ Sujeung Yoo, assistant conductor John Morrow, accompanist Valerie Watts Kate Pritchett Lance Drege SOPRANO TENOR Parthena Owens Logan Fish Bass Drum Diane Ackmann Eldon Matlick Piper Allred Hunter Birkhead Andrew Richardson Jennifer Peck Taylor Ensminger Maggie Armand Christopher Bourgeois Nancy Stizza Trumpets Pianos Emilee Bias Maxximo Bulgarelli Anna Ho Hayley Burgess Tommy Graham Oboes Michael Anderson Michael Stafford Audra Evans Zach Malavolti Dan Schwartz Mike Mann Madison Morrow Zack McConnell Julie Siberts Rich Tirk Harp Dohee Kim John Ousley Kaia Sand Lacey Hays Gaye Leblanc Lanaia Lorett Hunter Watson Brittany Hansen Piccolo Trumpet Cellos Hannah Tullius Paul Whitehead English Horn Karl Sievers Valorie Tatge Katrina Randolph David Soto Zambrana Sarah Spurlin Emily Rixstine Trombones Emily Stoops BASS Jean Statham Jessica Stout Bassoons Philip Martinson Jadon Gaudin Rod Ackmann Art Lantagne Basses ALTO Jake Fowkes Jordan Burdick Antonio Hunt Kelly Hancock Bass Trombone Anthony Stoops Jim Brewer Christine Craddock Maddie Breedlove Dylon Maddox David Giaco Jenel Cavazos Justin Nguyen ContraBassoon Mark Osborn Tuba Rebecca Harrison Matt Marx Nic Lengyel Brian Dobbins Lauren Garcia Jeremiah Rankin Katie Hart Jack Sergent Cameron Johnson Nicholas Skotzko Women’s Chorus Parker Millspaugh Trevor Weinrich David Howard, conductor ∙ Jessica Payne, assistant conductor Natasha Naik Stephen Wurst Dr. Anna Ho, accompanist Jessica Payne Soprano 1 Alto 1 Eve Sada Amanda Wilson Brooke Beeson Ashley Carr Erin Scott Mikayla Van Dervoort Cameron Currier Mariah Johnson Men’s Glee club Margarita Parsamyan Alexis Mann David Howard, conductor ∙ Antonio Hunt, assistant conductor Paige Cleveland Maya Martin Samantha Martinez-Brockhus, accompanist Rick Hoover Kaeli Johnson Emma Will Miranda Koutahi Tenor I Bass I Sydney Byte Haydn Ogden Jonathan Blevins Daniel Farley Emilia Ughamadu Kathryn Carmichael Max Bulgarelli Ben Huddleston Sienna Mullins Kadine Pierre Robert Hartfield Nicholas Kress Cassidy Scott Samantha Tonkins Trenton McMillan Justin Nguyen Cheyenne Wiley Caroline Smith Nick Ramirez Justin Norris Soprano 2 Kristen Williams Austin Ray Tyler Pardun Casey Shaw Nicholas Reynolds Kaylee Gillespie Alto 2 Bryce Walker Braden Sayers Sarah Rathbun Bryla Birdwell George Soter Rachel Sweeney Morgan Breedlove Tenor II Luke Staisiunas Sophie Caruso Evan Burchfield Blake Bush Britten Tucker YuJeong Won Madison Jarboe Darrius Butler Julia Pelletier Eve Sada Conner Caughlin Bass II Brianna Stotts Abrieana Risper Mitchell Cook Caleb Izmirian Clarissa Fournerat Emma Kasahara Karl Hatten Connor Knight Emma Bayne Jenny Ren Lewis Key Jeff Kozlowski Meg Cochell Emilie McReynolds Elisha Moncrief Gianni Manginelli Delaney Meade Casey Shirk Gabriel Prevalet Justin McReynolds Madison Hatter Corey Shoemaker Thomas Mondry Jordan Wimmer Jared Reeves Ezra Thompson — 10 — Jacob Waters BIOGRAPHIES DAVID HOWARD Dr. David Howard is Associate Director of Choral Activities at and as a recitalist. His repertoire ranges from the music of J.S. the University of Oklahoma where he conducts the OU Men’s Bach to contemporary works. Most recently, Howard gave Glee Club, OU Women’s Chorus, and Opera Chorus. He recitals of Schubert’s Winterreise and Schumann’s Dichterliebe teaches graduate and undergraduate choral conducting and and Liederkreis, sang the baritone solos in Christopher also coordinates the annual Young Men’s Vocal Workshop and Theofanidis’s The Here and Now with the Tulsa Oratorio Women’s Choral Leadership Workshop. His collegiate , Chorus, and performed the Berlioz’s Grand Messe des morts civic choruses, opera choruses, church choirs, and secondary with the Carnegie Hall Festival Chorus under the baton of school choirs in Texas, Oklahoma, and Michigan have been Robert Spano. hailed for their beauty of tone, musicality, and clarity of diction. The OU Women’s Chorus will perform by invitation at the Dr. Howard’s recently-released album of sacred music for Oklahoma Music Educators Association annual conference in voice, piano, and harp, entitled Consecration, on the Blue 2018. Griffin/Albany Records label, is available for purchase at http://consecrationcd.com. Dr. Howard regularly serves as a clinician, consultant, and adjudicator. During the summer of 2017, he served as chorus His scholarly articles have appeared in the British academic master of the Classical Music Festival in Eisenstadt, Austria. music journal, Musical Times, and in The Choral Journal. Prior to his appointment at OU, he served as Associate DCA at Moreover, his performing editions and choral arrangements are Stephen F. Austin State University and chorus master of Opera published by Alliance Music Publications. East Texas. He holds the Bachelor of Music Education degree and Master of Music degree in vocal performance from the University of Equally at home as a baritone soloist, Dr. Howard maintains a Central Oklahoma and the Doctor of Musical Arts degree in performance schedule in oratorio and cantata presentations, choral conducting from Michigan State University.

NILAS MARTINS Nilas Martins, born in Copenhagen, received his early dance Paris Opera Etoile Isabel Guerin. “Lincoln Center Celebrates training at the Royal Danish Ballet School. As a student, he Balanchine 100” where he danced ‘The Man I Love’ from Who performed with the Royal Danish Ballet in such works as Cares? featuring Wynton Marsalis. John Neumeier’s Romeo and Juliet, August Bournonville’s Konservatoriet, A Folk Tale, Napoli and Glen Tetleys’s Firebird. Mr. Martins was one of ten fellows selected from both In 1984, he moved to New York and enrolled at the School of domestic and international applicants to study under Michael American Ballet. In September 1986 he became a member of Kaiser as a Devos Institute for Arts Management fellow from New York City Ballet. In 1991, he was promoted to the rank of 2010-2011. Mr. Martins ‘teaching resume’ include Armitage soloist and in 1993 to Principal dancer. Gone Dance, BalletMet, Baltimore School for the Arts, Goucher College, Harvard University, Indiana University, Jaffrey In New York City Ballet, Mr. Martins danced numerous Ballet School, Miami City Ballet School, National Ballet of featured roles and worked closely with choreographers: John China, NBA Ballet (Japan), New York City Ballet, Novosibirsk Alleyne, Lynn Taylor Corbett, Boris Eifman, William Forsythe, Ballet (Russia), NYSSA Summer Intensive, Princeton University, Peter Martins, Trey McIntyre, Kevin O’Day, Jerome Robbins, Royal Danish Ballet, School of American Ballet and Washington Susan Stroman, Richard Tanner among others. Mr. Martins Ballet. film credits include: “Live from Lincoln Center” broadcast of Ray Charles in Concert, “The Nutcracker” released in 1993 Since 1996, Mr. Martins has been a Repetiteur for the George by Warner Brothers, “Dance in America” telecast of “Dinner Balanchine Trust and stages for companies and schools with Balanchine” where he danced the role of with domestically as well as internationally.

— 11 — SPECIAL THANKS

Sharon & Stan Bauman ∙ Lydia Barrett & Richard Denney ∙ Chuck & Gina Thompson ∙ Matt & Nicole Every Kathy & Harold Heiple ∙ Bob & Carol Warner ∙ Barry Switzer

Donors to Annual Campaign John & Patty Banks ∙ Sharon & Stan Bauman ∙ Jean Kugler ∙ Carl & Sandra Hook ∙ Mike & Sharon Thompson Kathy & Harold Heiple ∙ Marion & Dianne Bauman ∙ Al & Marlene Mamary ∙ Jay and Linda Leemaster Lydia Barrett & Richard Denney ∙ Mr. & Mrs. Don Symcox ∙ The Castiglione Family ∙ Jeannene Loeffelholz Chintan & Shrilekha Parikh ∙ Jim & Brook Meiller ∙ Bill & Paula Baker ∙ Don & Margaret Pape ∙ Andrew Phelan Matt & Nicole Van Every ∙ Tom’s Central Pharmacy ∙ Gloria Jean & Phil Fenn ∙ Bob and Carol Warner ∙ Cindy & Jim Rosenthal Mitch & Gloria Burrus ∙ Barry Switzer ∙ Karen Hill ∙ Stan & Sharon Bauman ∙ Allan & Joan Kmetz ∙ Bob & Connie Lavalle Merv Johnson ∙ Marcia L. Garst