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A Crown of Stars Requiem

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Andrew Earle Simpson Alfred Schnittke A Crown of StArS rEquiEm Cover art: Le Sueur, Eustache. Bacchus and Ariadne. Abandoned by Theseus on the island of Naxos, Ariadne is saved by Bacchus, who crowns her with the crown of stars, conferring immortality. Ca. 1640. Oil on canvas, 69x49 ½ inches, Museum of Fine Arts, Boston, U.S.A. Photo Credit: Erich Lessing / Art Resource, NY Cantate Chamber Singers Andrew Earle Simpson’s A Crown of Stars is available directly from the composer. Gisèle Becker (www.andrewesimpson.com) conductor Alfred Schnittke’s Requiem is published by C.F. Peters. Lisa Edwards-Burrs soprano Joseph Dietrich Photo of Andrew Earle Simpson by John Armato tenor Photo of Alfred Schnittke from the Alfred Schnittke Archive, London The Maryland Photos of Gisèle Becker & Cantate Chamber Singers by Wayne Guenther State Boychoir Stephen Holmes music director www.albanyrecords.com TROY1358 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. Andrew Earle Simpson: A Crown of StArS Orleans jazz, Appalachian folk song, English madrigal and Middle Eastern melody are a few of the elements informing the score. A Crown of Stars is scored for soprano and tenor soloists, SATB chorus, andrew earle simpson, composer, pianist and organist, is Ordinary Professor treble chorus SSA, and large chamber ensemble. Commissioned by the Cantate Chamber Singers, it and head of the Theory-Composition Division at the Benjamin T. Rome School was premiered in June 2006 in Bethesda, Md., under the direction of Gisèle Becker. It is dedicated to of Music of The Catholic University of America in Washington, D.C. A composer my wife, Sarah Ferrario, who as a classicist introduced me to many of these texts, and translated some of opera, choral, orchestral, chamber, and silent film scores, he explores of them from the ancient Greek. Thus the piece springs out of one love story to tell another. music’s interaction with other arts, in concert and on stage. His concert and —Andrew Earle Simpson theatrical works make multifaceted connections with literature, visual art, or film, reflecting his fundamental interest in linking music intimately with the wider world (an approach which Simpson calls “humanistic” music). Following four principal threads of interest — humanistic music, with particular interest in Greco-Roman antiquity and modern Greece; silent film music; theatrical Libretto music, including opera; and folk music, emphasizing American folk styles — Simpson has created a Andrew Earle Simpson |A Crown of StArS prodigious array of works for the concert and operatic stage, which have been performed throughout the U.S., in Europe, and in South America, and widely recorded. His musical output has further led him into creative collaborations with visual artists and digital animators, dancers and choreographers, part i. courtship How beautiful is Youth, actors and stage directors. Most recently, Simpson has been exploring deeply the rich world of silent How fast it flies away! film, an ideal genre for his multidisciplinary approach, as a nexus of drama, visual art, and music, 1. at the carnival (chorus) Let all who would be full of joy: and he has performed original film scores across the United States and abroad. His music for both If ever I cease to love, Tomorrow is not today. adult and children’s chorus has been widely performed, published and recorded. A Crown of Stars was If ever I cease to love, commissioned by Cantate Chamber Singers while Simpson was the ensemble’s Composer-in-Residence. May the moon be turned to green cream cheese, Here are Bacchus, here Ariadne, If ever I cease to love. For each other they burn with desire; A Crown of Stars is a wedding oratorio celebrating the universality of human love. The title refers to Time will trick us and play us false, the crown of Ariadne, who in Greek mythology was married to Dionysus. After her death, the god placed May cows lay eggs and fish grow legs, So they kindle their lover’s fire. a starry crown in the sky to honor her memory. Like many oratorios, A Crown of Stars is narrative. If ever I cease to love. The story follows two characters — a soprano and a tenor — from meeting and stormy courtship to from “If Ever I Cease to Love” These happy satyrs, in love with their nymphs, triumphant wedding ceremony to blissful wedding night interrupted by their friends’ noisy serenade, (words and music by George Leybourne) Have laid out a hundred sweet traps or “shivaree.” The diverse textual sources echo the story’s universality. Poems from ancient Greece and In the woods and the caves, Rome, medieval France, Renaissance Italy, nineteenth-century Britain, and contemporary Syria partner While Bacchus inflames them with sacred texts and secular carnival songs. The music likewise draws on a wide array of styles: New To dancing and leaping. The amorous nymphs know all, 2. aria and scene (soprano, Tenor and chorus) Of all the fruits and all the flowers Young love lies dreaming And readily fall for the traps, I do not resemble your other lovers, my lady My garden holds a solitary rose. Till summer days are gone, Full knowing the satyrs’ designs. should another give you a cloud Guillaume de Machaut (trans. A.S. Kline; dreaming and drowsing And both together do join I give you rain used by permission) Away to perfect sleep: In playing and singing the while. Should he give you a lantern, I will give you the moon 3. The Face of all the world is changed Him perfect music Live, Bacchus, live, Ariadne! Should he give you a branch (soprano) Doth hush unto his rest, Let us play and dance and sing! I will give you the trees The face of all the world is changed And through the pauses Let sweetness fill your hearts with fire! And if another gives you a ship Since first I heard the footsteps of thy soul The perfect silence calms. Never tire and never despair! I shall give you the journey. Move still, [move] still beside me. What will be, will be, so be happy. Nizar Qabbani, “Love Compared” Young Love lies dreaming; Of tomorrow we have no care. (trans. Lena Jayyusi and Christopher The name of country, the name of heaven, But who shall tell the dream? from Lorenzo de’Medici, “Bacchus and Middleton; used by permission and is changed away A perfect sunlight Ariadne,” (trans. Adam K. Gilbert, freely reprinted courtesy of Interlink Publications) For where thou art or shalt be, there or here: On rustling forest tips; adapted AES. Text reprinted by permission And this … this lute and song … Or perfect moonlight of Piffaro, The Renaissance Band) I’m not afraid of being enslaved (the singing angels know) are only dear Upon a rippling stream; By a glance or a gift or a long pursuit, Because thy name moves right in what they say. Or perfect silence, 1a. Recitative (Tenor) Nor of drowning in flattery’s wave, from Elizabeth Barrett Browning, Or song of cherished lips. The beauty I have seen For my heart there’s no man would suit. “The Face of All the World is Changed” from Christina Georgina Rossetti, Transcends all bounds … from Christine de Pisan, Ballade (adapted AES) “Dream-Love” And no poet ever born (trans. A.S. Kline; used by permission) Could sing that beauty full. 4. dream-love (chorus and soprano) 5. love’s secret (Quartet) from Dante Alighieri, Paradiso, Canto 30 Oh Love! They wrong thee much Young love lies sleeping Never seek to tell thy love, (trans. Philip H. Wicksteed, freely that say thy sweet is bitter, In May-time of the year, Love that never told can be; adapted AES) When thy rich fruit is such Among the lilies, For the gentle wind doth move As nothing can be sweeter. Lapped in the tender light: Silently, invisibly. Anonymous White lambs come grazing, from William Blake, “Love’s Secret” White doves come building there: And round about him The May-bushes are white. 6. O blind god love part ii. wedding-Ritual But I found him whom my soul loveth: What thou hast joined together, let no man O blind god Love, why tak’st thou such delight I held him, and would not let him go. put asunder. With darts of divers force our hearts to wound? 8. bridal procession, crowning of the bride Song of Songs 3:4 (KJ trans.) Anglican rite of marriage (adapted AES) By thy too much abusing of thy might and groom (soprano, Tenor and chorus) This discord great in human hearts is found. Evening is come, young men, arise! With these seven steps we become friends. Yours I am in life; The long-awaited evening at last lifts up its Let me never be parted from your friendship, Yours I will be in death. When I would wade the shallow ford aright, lights to Olympus. and let your friendship never be severed from me. from Propertius, Elegies 2.15 (trans. Thou draw’st me to the deep to have me drowned. Now is the time to rise up: I am the poem, you are the melody; Constance Carrier, The Poems of From those love me my love thou dost recall The bride will come, the bridal-song be sung! You are the melody, I am the poem. Propertius, Indiana University Press, And place it where I find no love at all. from Catullus, Carmina 62 Rig Veda 10.85, traditional Hindu 1963.
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