Allan Bevan, Conductor Saturday, March 28 at 8:00 Pm Faculty Recital: Martin Riseley, Violin, with Roger Admiral, Piano

Upcoming Events:

Tuesday, March 24 at 8:00 pm Master of Music Recital: Joceiyn Chu, cello. Convocation Hall, Arts Building Program will include works by Haydn, Rachmaninoff and Arnold. Free admission

Friday, March 27 at 7:00 pm Trumpet Masterclass with Philip Smith, Principal Trumpet of the New Convocation Hall, Arts Building York Philharmonic. General admission: $10 at the door Allan Bevan, conductor Saturday, March 28 at 8:00 pm Faculty Recital: Martin Riseley, violin, with Roger Admiral, piano. Candidate for the Master of Music degree Convocation Hall, Arts Building Program to be announced. in Choral Conducting Admission: SlO/adult, $5/student/senior

Sunday, March 29 at 8:00 pm The University of Alberta Concert Choir Concert. Joy Berg, conductor. Convocation Hall, Arts Building Program will include works by SchOtz, Fanny Mendelssohn, Honegger as well Admission: $7/adult, $5/student/senior as Folk Music from around the world.

Thursday, April 2 at 4:00 pm Doctor of Music Lecture-Recital: Haley Simons, piano with The Fine Arts Building 1-29 Hammerhead Consort. Topic: Bartok Sonata for Two Pianos and ? Free admission Percussion.

Friday, April 3 at 8:00 pm Music at Convocation Hall Series. Piano Trio featuring Martin Riseley, Convocation Hall, Arts Building violin, Tanya Prochazka, cello, and St£phane Lemelin, piano. Program Admission: $10/adult, $5/student/senior will include works by Schubert, Schnittke and Smetana.

Saturday, April 4 at 7:00 pm Northern Alberta Honor Band Concert with the University of Alberta Monday, Convocation Hall, Arts Building Symphonic Wind Ensemble. Fordyce Pier, director. March 23,1998 Free admission Program to be announced. at 8:00 pm Sunday, April 5 at 3:00 pm The University of Alberta Concert Band Concert. William H Street, Convocation Hall, Arts Building director. Program will include works by Arnold, Bruckner. Chance, Hanssen, Admission: $7/aduit, $5/student/semor Holsinger, Ives, Massaino, Rossini, Stuart, and Tschesnokoff. Convocation Hall Sunday, April 5 at 8:00 pm The University of Alberta Symphony Orchestra Concert. Malcolm Francis Winspear Centre for Music Forsyth, conductor. Program will include works by Wagner, Rachmaninoff, Arts Building Admission: $15/adult, $10/student/senior and Elgar with the University of Alberta Madrigal Singers and the University of Alberta University of Alberta Concert Choir and the winner of the 1998 Department of Music Piano Concerto Competition.

Monday, April 6 at 8:00 pm The Grant MacEwan Community College and The University of Alberta L Haar Theatre Jazz Bands Concert. Raymond Baril and Tom Dust, director. Grant MacEwan Community College Salute to the Bands. For information, please call 497-4436. Admission: $7/adult, $5/student/senior

Wednesday, April 8 at 8:00 pm The University of Alberta Symphonic Wind Ensemble. Fordyce Pier, Convocation Hall, Arts Building director. Program will include works by Wagner, Boutry and Wilson. Admission: S7/adult, $5/student/senior Department of Music Please note: All concerts and events are subject to change without notice. Please call University of Alberta 492-0601 to confirm concerts (after office hours a recorded message will inform you of any changes to our schedule). /xAiuSU Acknowledgements

A special thank you to all the singers and instrumentalists that have so generously donated their time and talents.

To Leonard Ratzlaff for his constant support, wisdom and encouragement.

Thanks also to Tammy, Keith, Mike and to Chris H., and to Beth, Donna, and Stella for all their help along the way. And fmally, thanks to my brother Donald and sister-in-law Nancy, to Ilona, and my mother Irene, whose support made this recital possible. Program Choir I Chichester Psalms (1965) Leonard Bemstein Soprano Alto Bass I Maestoso ma energico; Allegro molto (1918-1990) Gillian Brinston Marcia Bercov Colin Armstrong Ebony Chapman Ruth Broderson Kevin Gagnon II Andante con moto, ma tranquillo; Allegro feroce Tammy Farkes Betty Ewenson Chris Giffen III Sostenuto molto; Peacefully flowing Nicole Hartt Naomi Hoyt John Giffen John Brough, countertenor Natalia Holden Ann Lukey Walter Goetz Belinda Chiang, organ Cathy Kubash Johann Mann Paul Guise Kathleen Gahagan, harp Mary Phillips-Rickey Nancy Neumann Matthew Johnson Nicole Arendt, percussion Meghan Schuler Elisabeth Scholz Peter Malcolm Soloists: Cathy Kubash, Josie Burgess, Dale Zielke, Colin Armstrong Meaghan Schutt Sarah Thomsen Keith Molberg Shaunna Shandro David Paul Intermission Kathy Toews Tenor Aaron Stavne Joanne Walker Joseph Chambrinho Robin Walker Lela Zimmer Art Cooper Ascendit Deus(1612) Peter Philips Dwane Kunitz (ca. 1565-1635) Mike Otto Hear my Prayer (ca. 1682) Heiuy Piurcell Tim Shantz (1659-1695) David C Ward Sing Joyfully William Byrd Dale Zielke (1543-1623)

Psalm 121( 1985) Imant Raminsh (b. 1943) Laudate pueri Dominum, Op. 39, No.2(1838) Felix Mendelssohn Choir II (1809-1847)

Soprano Tenor Singet dem Herm ein neues Lied Johaim Pachelbel Gillian Brinston Mel Backstrom (1653-1706) Tiffany Brulotte John Brough Ebony Chapman Jacob Cooper Laetatus Sum (ca. 1631-43) Claudio Monteverdi Bemice Gartnerr Ondrej Golias (1567-1643) Natalia Holden Dwane Kunitz Jolaine Kerley and Benila Ninan, soprano Jolaine Kerley Mike Otto Tim Shantz and Brennan Szafron, tenor Cathy Kubash Tim Shantz Meghan Schuler David C. Ward Laurier Fagnan and Kevin Gagnon, bass Meaghan Schutt Dale Zielke Ken Heise and Madeleine Lussier, violins Karen Zwar^'es Brianne Archer and Meghan Schuler, violas Bass Paul Radosh, cello Alto Colin Armstrong Graham Kidd, double bass Ruth Broderson Kevin Gagnon Ondrej Golias, bassoon Josie Burgess Chris Giffen Keith Molberg, organ Terri Hron John Giffen Benila Ninan Paul Guise Lynne Anne Roberts Walter Goetz Sarah Thomsen Bill Kempster Keith Molberg This recital is presented in partial fulfilment of the requirements for the Master of Music degree for Ingo Muller Mr Bevan. Brennan Szafron Reception to follow in the Arts Lounge. Translation III (continued) Laetatus Sum (continued) The work is unified by a motto theme that appears at the Too wonderful for me. For my brethen and companions'sakes, beginning and end of both the first and third movements. The Chichester Psalms Surely I have calmed I will wish thee prosperity. chorale-like opening of the first movement is followed by a I And quieted myself. Yea, because of the house of the Lord our God, driving allegro in 7/4 time, set to the jubilant words of Psalm Psalm 108:2 As a child that is weaned of his mother. I will seek to do thee good. 100. Psalm 23, perhaps the best known and loved of all the Awake, psaltery and harp: My soul is even as a weaned child. Glory be to the Father, and to the Son, and to the Holy Psalms is the basis of the second movement. The beautiful I will rouse the dawn! Let Israel hope in the Lord Ghost; psalm of consolation is given to the countertenor solo and Psalm 100 From henceforth and forever. As it was in the beginning, is now, and ever shall be, later to the treble voices. The serenity of this opening is Make a joyful noise unto the Lord all ye lands. Psalm 133:1 world without end. Amen. interrupted by the men's voices singing'Why do the nations Serve the Lord with gladness. Behold how good. rage?'(Psalm 2). The two themes are then combined. The Come before His presence with singing. And how pleasant it is. final movement begins with an organ contemplation of the Know ye that the Lord, He is God. For brethren to dwell Program Notes motto theme followed by the choir's song of comfort(Psalm It is He that hath made us, and not we ourselves. Together in unity. 131). The work ends with an a cappella version of the We are His people and the sheep of His pastine. All of the music in tonight's program is based on texts from chorale in a quiet plea for peace. Enter into His gates with thanksgiving. Ascendit Deus the Book of Psalms. The one himdred and fifty prayers, And into His courts with praise. God has ascended with jubilation, laments and thanksgivings that comprise the nineteenth book Be thankful unto Him,and bless His name. and the Lord with the sound of the trumpet. Alleluia. of the Old Testament have proven to be an inexhaustible In contrast to the Chichester Psalms, the second half of the For the Lord is good. His mercy is everlasting, The Lord has prepared his seat in Heaven. Alleluia. resource for composers. By tradition, the Psalms were program consists ofsmaller works of contrasting styles. The And His truth endureth to all generations. ascribed to King David (fl. ca. 1010-970 B.C.). The first grouping is a gathering of psalm settings by English II Laudate Pueri Dominum authorship of the Psalms has come into question since the composers. Although bom in England, Peter Philips Psalm 23 Psalm 113:1-2 mid-nineteenth century and Biblical scholars now favour a emigrated to Catholic Flanders where he could escape the The Lord is my shepherd, I shall not want Ye sons of Israel, thank the Lord; more gradual and anonymous compilation. However, the rigid Protestantism of the court of Elizabeth I and continue to He maketh me to lie down in green pastures. Sing praises to his glorious name. importance of the Psalms in both the Hebrew and Christian write music for the Latin mass and offices. Byrd chose to He leadeth me beside the still waters. Oh, praise the Lord who liveth forever. liturgies is not in question. The inherent power, universality, remain in England and was a valued member of Elizabeth's He restoreth my soul. Sing praise to Him now and forever more. and timelessness of the Psalms still appeals. Chapel Royal. Byrd's Catholicism was tolerated and he He leadeth me in the paths of righteousness. continued to compose a large number of Latin motets. Sing For His name's sake. Singet dem Herrn Leonard Bernstein composed the Chichester Psalms in the Joyfully is one of his few sacred compositions in English. Yea, though I walk Psalm 98:1-4 spring of 1965. The work was commissioned by Walter Purcell's Hear my Prayer appears to an unfinished work. Through the valley of the shadow of death, 0 sing unto the Lord a new song; Hussey, the Dean of Chichester Cathedral for the Three Harold Watkins Shaw describes it as a 'noble fiagment' and I will fear no evil. For he hath done marvellous things. Choirs Choral Festival of 1965. At the time, Bernstein was notes that a number of pages were left blank by the composer For Thou art with me. With his own right hand, and with his holy arm, enjoying a year's sabbatical from his conducting position perhaps indicating his intended return to further composition Thy rod and Thy staff hath he gotten himself the victory. with the New York Philharmonic. On October 24,1965 the at a later date. They comfort me. The Lord hath declared his salvation: New York Times published a long and witty poem by Thou preparest a table before me his righteousness hath he openly shown in the sight of the Bernstein in which he described his contemplations about Imant Raminsh's sensitive setting of Psalm 121 is the first of In the presence of mine enemies. nations. the state of music in his year off. A portion of this poem is two works for women's voices and piano. Mendelssohn's Thou anointest my head with oil. He hath reirrembered his mercy and his faithfulness toward quoted below: "Laudate pueri Dominum" is the the middle piece in a group My cup runneth over. the house of Israel; 'Of time to think as a pure musician of three nratets for women's voices published in Bonn in Surely goodness and mercy And all the ends of the world have seen the salvation of our and ponder the art ofcomposition. 1838. Shall follow me all the days of my life. God. For hours on end I brooded and mused And I will dwell in the house of the Lord on materiae musicae, used and abused; The final works in the program are firmly in the Venetian Forever. Laetatus Sum On aspects of unconventionality. double choir tradition. Johann Pachelbel's "Singet dem Psalm 2:1-4 Psalm 122 Over the death in our time of tonality. Heirn" is a straight forward setting of Psalm 98, that is Why do the nations rage. 1 was glad when they said unto me, Over the fads of Dada and Chance, typical of the South German Baroque polychoral style. And the people imagine a vain thing? 'We will go unto the house of the Lord'. The serial strictures, the dearth ofromance, Monteverdi's "Laetatus Sum" is a more complex work. It is The kings of the earth set themselves. Behold, our feet now stand within thy gates, O Jerusalem. "Perspective in Music" the new terminology, based on a one measure ostinato that appears first in And the rulers take counsel together Jerusalem is built as a city that is at unity in itself; Physiomathematomusicology; quadruple and then later in triple metre. Pairs of solo voices Against the Lord and against His anointed. Whither the tribes go up, even the tribes of the Lord, as was Pieces called "Cycles" and "Sines" and "Parameters"- present the psalm text in three groups above the ground bass. Saying, let us break their bands asunder. decreed for Israel, to give thanks unto the Name of the Lord. Titles too beat for these homely tetrameters; This is followed by a gradual combining of the solo voices in And cast away their cords from us. For there were set the thrones for judgement, Pieces for nattering, clucking sopranos the triple metre section. The ostinato is then broken off, the He that sitteth in the heavens even the thrones of the house of David. With squadrons of vibraphones, fleets of pianos key is changed and the tutti enters for the first time. By now Shall laugh, and the Lord O pray for the peace of Jerusalem: played with the forearms, the fists and the palms the text of the psalm is actually complete. The choir sings the Shall have them in derision! may they prosper that love thee. -And then I came up with the Chichester Psalms. words of the lesser doxology (Gloria Patri), the Peace be within thy walls, and plenteousness within thy These psalms are a simple and modest affair, 'Christianizing' formula appended to Psalms in liturgical use. III palaces. Tonal and tuneful and somewhat square. The work ends with a coloratura duet between soloist and Psalm 131 Certain to sicken a stout John Cager choir. This is a fitting conclusion to a work described by Lord, Lord, With its tonics and triads in E flat major. Percy Young in his book The Choral Tradition as a "splendid My heart is not haughty. But there it stands the result of my pondering. torrent of sound". Nor mine eyes lofty. Two long months of avant-garde wandering- Neither do I exercise myself My youngest child, old-fashioned and sweet. In great matters or in things And he stands on his own two tonal feet.' Translation III (continued) Laetatus Sum (continued) The work is unified by a motto theme that appears at the Too wonderful for me. For my brethen and companions'sakes, beginning and end of both the first and third movements. The Chichester Psalms Surely I have calmed I will wish thee prosperity. chorale-like opening of the first movement is followed by a I And quieted myself. Yea, because of the house of the Lord our God, driving allegro in 7/4 time, set to the jubilant words of Psalm Psalm 108:2 As a child that is weaned of his mother. I will seek to do thee good. 100. Psalm 23, perhaps the best known and loved of all the Awake, psaltery and harp: My soul is even as a weaned child. Glory be to the Father, and to the Son, and to the Holy Psalms is the basis of the second movement. The beautiful I will rouse the dawn! Let Israel hope in the Lord Ghost; psalm of consolation is given to the countertenor solo and Psalm 100 From henceforth and forever. As it was in the beginning, is now, and ever shall be, later to the treble voices. The serenity of this opening is Make a joyful noise unto the Lord all ye lands. Psalm 133:1 world without end. Amen. interrupted by the men's voices singing'Why do the nations Serve the Lord with gladness. Behold how good. rage?'(Psalm 2). The two themes are then combined. The Come before His presence with singing. And how pleasant it is. final movement begins with an organ contemplation of the Know ye that the Lord, He is God. For brethren to dwell Program Notes motto theme followed by the choir's song of comfort(Psalm It is He that hath made us, and not we ourselves. Together in unity. 131). The work ends with an a cappella version of the We are His people and the sheep of His pastine. All of the music in tonight's program is based on texts from chorale in a quiet plea for peace. Enter into His gates with thanksgiving. Ascendit Deus the Book of Psalms. The one himdred and fifty prayers, And into His courts with praise. God has ascended with jubilation, laments and thanksgivings that comprise the nineteenth book Be thankful unto Him,and bless His name. and the Lord with the sound of the trumpet. Alleluia. of the Old Testament have proven to be an inexhaustible In contrast to the Chichester Psalms, the second half of the For the Lord is good. His mercy is everlasting, The Lord has prepared his seat in Heaven. Alleluia. resource for composers. By tradition, the Psalms were program consists ofsmaller works of contrasting styles. The And His truth endureth to all generations. ascribed to King David (fl. ca. 1010-970 B.C.). The first grouping is a gathering of psalm settings by English II Laudate Pueri Dominum authorship of the Psalms has come into question since the composers. Although bom in England, Peter Philips Psalm 23 Psalm 113:1-2 mid-nineteenth century and Biblical scholars now favour a emigrated to Catholic Flanders where he could escape the The Lord is my shepherd, I shall not want Ye sons of Israel, thank the Lord; more gradual and anonymous compilation. However, the rigid Protestantism of the court of Elizabeth I and continue to He maketh me to lie down in green pastures. Sing praises to his glorious name. importance of the Psalms in both the Hebrew and Christian write music for the Latin mass and offices. Byrd chose to He leadeth me beside the still waters. Oh, praise the Lord who liveth forever. liturgies is not in question. The inherent power, universality, remain in England and was a valued member of Elizabeth's He restoreth my soul. Sing praise to Him now and forever more. and timelessness of the Psalms still appeals. Chapel Royal. Byrd's Catholicism was tolerated and he He leadeth me in the paths of righteousness. continued to compose a large number of Latin motets. Sing For His name's sake. Singet dem Herrn Leonard Bernstein composed the Chichester Psalms in the Joyfully is one of his few sacred compositions in English. Yea, though I walk Psalm 98:1-4 spring of 1965. The work was commissioned by Walter Purcell's Hear my Prayer appears to an unfinished work. Through the valley of the shadow of death, 0 sing unto the Lord a new song; Hussey, the Dean of Chichester Cathedral for the Three Harold Watkins Shaw describes it as a 'noble fiagment' and I will fear no evil. For he hath done marvellous things. Choirs Choral Festival of 1965. At the time, Bernstein was notes that a number of pages were left blank by the composer For Thou art with me. With his own right hand, and with his holy arm, enjoying a year's sabbatical from his conducting position perhaps indicating his intended return to further composition Thy rod and Thy staff hath he gotten himself the victory. with the New York Philharmonic. On October 24,1965 the at a later date. They comfort me. The Lord hath declared his salvation: New York Times published a long and witty poem by Thou preparest a table before me his righteousness hath he openly shown in the sight of the Bernstein in which he described his contemplations about Imant Raminsh's sensitive setting of Psalm 121 is the first of In the presence of mine enemies. nations. the state of music in his year off. A portion of this poem is two works for women's voices and piano. Mendelssohn's Thou anointest my head with oil. He hath reirrembered his mercy and his faithfulness toward quoted below: "Laudate pueri Dominum" is the the middle piece in a group My cup runneth over. the house of Israel; 'Of time to think as a pure musician of three nratets for women's voices published in Bonn in Surely goodness and mercy And all the ends of the world have seen the salvation of our and ponder the art ofcomposition. 1838. Shall follow me all the days of my life. God. For hours on end I brooded and mused And I will dwell in the house of the Lord on materiae musicae, used and abused; The final works in the program are firmly in the Venetian Forever. Laetatus Sum On aspects of unconventionality. double choir tradition. Johann Pachelbel's "Singet dem Psalm 2:1-4 Psalm 122 Over the death in our time of tonality. Heirn" is a straight forward setting of Psalm 98, that is Why do the nations rage. 1 was glad when they said unto me, Over the fads of Dada and Chance, typical of the South German Baroque polychoral style. And the people imagine a vain thing? 'We will go unto the house of the Lord'. The serial strictures, the dearth ofromance, Monteverdi's "Laetatus Sum" is a more complex work. It is The kings of the earth set themselves. Behold, our feet now stand within thy gates, O Jerusalem. "Perspective in Music" the new terminology, based on a one measure ostinato that appears first in And the rulers take counsel together Jerusalem is built as a city that is at unity in itself; Physiomathematomusicology; quadruple and then later in triple metre. Pairs of solo voices Against the Lord and against His anointed. Whither the tribes go up, even the tribes of the Lord, as was Pieces called "Cycles" and "Sines" and "Parameters"- present the psalm text in three groups above the ground bass. Saying, let us break their bands asunder. decreed for Israel, to give thanks unto the Name of the Lord. Titles too beat for these homely tetrameters; This is followed by a gradual combining of the solo voices in And cast away their cords from us. For there were set the thrones for judgement, Pieces for nattering, clucking sopranos the triple metre section. The ostinato is then broken off, the He that sitteth in the heavens even the thrones of the house of David. With squadrons of vibraphones, fleets of pianos key is changed and the tutti enters for the first time. By now Shall laugh, and the Lord O pray for the peace of Jerusalem: played with the forearms, the fists and the palms the text of the psalm is actually complete. The choir sings the Shall have them in derision! may they prosper that love thee. -And then I came up with the Chichester Psalms. words of the lesser doxology (Gloria Patri), the Peace be within thy walls, and plenteousness within thy These psalms are a simple and modest affair, 'Christianizing' formula appended to Psalms in liturgical use. III palaces. Tonal and tuneful and somewhat square. The work ends with a coloratura duet between soloist and Psalm 131 Certain to sicken a stout John Cager choir. This is a fitting conclusion to a work described by Lord, Lord, With its tonics and triads in E flat major. Percy Young in his book The Choral Tradition as a "splendid My heart is not haughty. But there it stands the result of my pondering. torrent of sound". Nor mine eyes lofty. Two long months of avant-garde wandering- Neither do I exercise myself My youngest child, old-fashioned and sweet. In great matters or in things And he stands on his own two tonal feet.' Program Choir I Chichester Psalms (1965) Leonard Bemstein Soprano Alto Bass I Maestoso ma energico; Allegro molto (1918-1990) Gillian Brinston Marcia Bercov Colin Armstrong Ebony Chapman Ruth Broderson Kevin Gagnon II Andante con moto, ma tranquillo; Allegro feroce Tammy Farkes Betty Ewenson Chris Giffen III Sostenuto molto; Peacefully flowing Nicole Hartt Naomi Hoyt John Giffen John Brough, countertenor Natalia Holden Ann Lukey Walter Goetz Belinda Chiang, organ Cathy Kubash Johann Mann Paul Guise Kathleen Gahagan, harp Mary Phillips-Rickey Nancy Neumann Matthew Johnson Nicole Arendt, percussion Meghan Schuler Elisabeth Scholz Peter Malcolm Soloists: Cathy Kubash, Josie Burgess, Dale Zielke, Colin Armstrong Meaghan Schutt Sarah Thomsen Keith Molberg Shaunna Shandro David Paul Intermission Kathy Toews Tenor Aaron Stavne Joanne Walker Joseph Chambrinho Robin Walker Lela Zimmer Art Cooper Ascendit Deus(1612) Peter Philips Dwane Kunitz (ca. 1565-1635) Mike Otto Hear my Prayer (ca. 1682) Heiuy Piurcell Tim Shantz (1659-1695) David C Ward Sing Joyfully William Byrd Dale Zielke (1543-1623)

Psalm 121( 1985) Imant Raminsh (b. 1943) Laudate pueri Dominum, Op. 39, No.2(1838) Felix Mendelssohn Choir II (1809-1847)

A special thank you to all the singers and instrumentalists that have so generously donated their time and talents.

To Leonard Ratzlaff for his constant support, wisdom and encouragement.

Tuesday, March 24 at 8:00 pm Master of Music Recital: Joceiyn Chu, cello. Convocation Hall, Arts Building Program will include works by Haydn, Rachmaninoff and Arnold. Free admission