THE UNITED STATES ARMY FIELD BAND SOLDIERS’ CHORUS The Legacy of Nadia Boulanger

Washington, D.C.

“The Musical Ambassadors of the Army” The Soldiers’ Chorus, founded in 1957, is the vocal complement of The United States Army Field Band of Washington, DC. The 29-member mixed choral ensemble travels throughout the nation and abroad, perform- ing as a separate component and in joint concerts with the Concert Band of the “Mu- sical Ambassadors of the Army.” The chorus has performed in all fifty states, Canada, Mexico, India, the Far East, and through- out Europe, entertaining audiences of all ages. The musical backgrounds of Soldiers’ Chorus personnel range from opera and musical theatre to music education and vocal coaching; this diversity pro- vides unique programming flexibility. In addition to presenting selections from the vast choral repertoire, Soldiers’ Chorus performances often include the music of Broadway, opera, barbershop quartet, and Americana. This versatility has earned the Soldiers’ Chorus an international reputation for presenting musical excellence and inspiring patriotism. Critics have acclaimed recent appearances with the Boston Pops, the Cincinnati Pops, and the Detroit, Dallas, and National symphony orchestras. Other notable performances include four world fairs, American Choral Directors Association conferences, music educator conventions, Kennedy Center Honors Programs, the 750th anniversary of Berlin, and the rededication of the Statue of Liberty.

Cover photo: Nadia Boulanger, class of 1926, Fontainebleau Palace The Legacy of Nadia Boulanger About This Recording The United States Army Field Band proudly presents the third in a series of Soldiers’ Chorus recordings honoring the lives and music of individuals who have made significant contributions to the choral repertoire and to music education. Designed primarily as educational resources, these recordings are carefully researched to authenticate standard performance practices and, when possible, to reflect the original intent of the composers. The biographical information, detailed program notes, and historical photographs are included to provide music educators and their students with insight into the compositions that they hear and perform. Nadia Boulanger (1887–1979) distinguished herself as a master teacher during her decades at Conservatoire americain de Fontainebleau near Paris. The American composers featured on this recording all studied with Mademoiselle Boulanger. Each inherited a portion of her musical legacy while creating for themselves an individual stamp of compositional personality. Her work as music critic, lecturer, conductor, and concert organist left a broad wake of influence in the musical world as well. It is with great honor that the Musical Ambassadors of the Army offer this tribute to the legacy of Nadia Boulanger. This compact disc was recorded April 2006 at Devers Hall, Fort George G. Meade, Maryland, using multi-track equipment. The Legacy of Nadia Boulanger

Mademoiselle Nadia Boulanger demonstrated her tireless dedication to the art of music in her roles as critic, lecturer, composer, performer, and conductor. Yet her most influential role came as pedagogue to many of the greatest musicians of the twentieth century. “Mademoiselle,” as students deferentially called her throughout her career, inherited her musical talents from her father, Ernest. He was an ac- complished pianist, winner of the Prix de Rome at age nineteen, and voice teacher at the Paris Conservatoire. As a small child, she studied with him, and eventu- ally studied with Gabriel Fauré and Charles-Marie Widor at the Conservatoire. Ernest’s Russian wife, Raissa, was a watchful taskmaster whose imposing will pressed young Nadia to the utmost of her abilities. She attempted to win the Prix de Rome three years in a row and finally achieved the Second Prize in composition in 1908.1 Nadia’s younger sister, Lili, Nadia Boulanger, age 17 proved an exceptional musician when in 1913, at age nineteen, she became the first woman to capture the First Prize in the Prix de Rome. Ernest Boulanger’s death in 1900 left the three women with financially bleak prospects. Contributions from friends, Nadia’s earnings as a piano teacher and organist, and monies from recitals defrayed living expenses for the family. Mademoiselle became both the breadwinner for the family and Lili’s musical guardian. Lili composed prolifically in her few years, while Nadia’s deep interest and support of her sister led her to compose less and promote her sibling more. Lili died in 1918, weakened Nadia and Lili at Prix de Rome, 1913 by a lifetime of chronic illness. Raissa died in 1935 after suffering for years with Parkinson’s disease. Mlle. Boulanger dutifully memorialized both loved ones annually for the rest of her life. In addition to her musical career, Mlle. Boulanger assumed the role of philanthropist during World War I with the French and American Com- mittee. Through collecting money and supplies, the organization supported musicians serving in combat and, in some cases, their families. Inspired by this organization, Walter Damrosch, music director of the New York Sym- phony Orchestra, created the “American Friends of Musicians in France.” Throughout and following the war, Damrosch’s assistance and influence aided France and its musical community. Perhaps most significantly, he established a school for military musicians at Chaumont, under the direction of Fran- cis Casadesus. This institution segued into the Conservatoire americain de Fontainebleau. Nadia Boulanger’s collegial connection with Damrosch led to her employment as teacher of harmony.2 The school opened on June 26, 1921. Every summer, students from all walks of life and musical disciplines attended a three-month intensive course at the American Conservatory. The school soon welcomed up-and-coming American composers such as Aaron Copland, Virgil Thomson, and Roy Harris. Mlle. Boulanger’s reputation as teacher burgeoned with the glowing recommendations of each class of students. Soon, the American Conservatory became the sacred destination of aspiring composers on their musical pilgrim- ages. In addition to her work at Fontainebleau, Mlle. Boulanger conducted her legendary classes in musical analysis from her apartment on Rue Ballu in Paris, on Wednesdays beginning in 1921. There, students intimately learned craftsmanship through score study, performance, and Mlle. Boulanger’s unique musical philosophy. Personally, Nadia Boulanger cast a tall shadow. Devoutly Catholic, she often proselytized to those outside the faith. Mademoiselle herself never married, preferring to devote her life entirely to music and the rearing of her musical children. David Conte reflects, “She was a bride of music, devoted to the craft as a nun or priest is devoted to their calling.”3 Mlle. Boulanger’s influence was soon broadened on American soil by way of a two-month concert and lecture tour in 1924 sponsored by Walter Damrosch. She returned to the states again in 1939 with more professional engagements lasting almost four months. During her visit she made history as the first woman to conduct the New York Philharmonic Orchestra and the Philadelphia Orchestra. World War II exiled Mlle. Boulanger to the United States in 1940; at that time, she accepted teaching positions at the Longy School and Peabody Conservatory and continued her work as lecturer, concert organist and conductor, and private teacher. Mlle. Boulanger returned to Paris in 1946 after the war’s end. Her home- coming was sweetened by the news of her appointment as a full professor of piano accompaniment at the Paris Conservatoire, to which she had aspired for twenty-three years. For the next thirty-three years, Mademoiselle would continue teaching, lecturing and con- ducting. She also became the director of the Conservatoire americain in 1953 after Casadesus retired. Nadia at the organ, 1925 Mademoiselle retired from the school in 1957. Many honors followed in the succeeding years. Nadia Boulanger became a Fellow of the Institute of Contemporary Arts in Washington D.C. and was awarded Yale’s prestigious Howland Medal. Her international legacy became further cemented with the filming of several documentaries about her teaching. In the 1960s she taught master classes at The Menuhin School and The Royal College of Music. In 1977 Mlle. Boulanger was granted France’s highest civilian honor, Grand Of- ficier of the Légion d’honneur.4 Nadia Boulanger presided over the musical and personal development of her most promising students. “As a teacher, my whole life is based on under- standing others…. I must try to make him express himself and prepare him to do that which he is best fitted.’’5 Mlle. Boulanger held this mission as a sacred trust for her entire ca- reer. Musically, she demanded the utmost of discipline. Her insistence on absolute mastery of sight-singing, score memo- rization, and piano proficiency struck trepidation in many pupils. “The soundest advice for composers is to make a list of the music you love, learn it by heart and when compos- ing, never seek to avoid the obvious.” Mlle. Boulanger espoused the idea that with deep knowledge of the master composers, a developing composer could discover their own voice. “True personal- ity is revealed through deep knowledge of the personality of others.”6 Nadia Boulanger died October 22, 1979, in her Paris Nadia Boulanger, 1968 apartment, an appropriate coda to so many significant interludes of her life and career. Her American Legacy

David Conte (b. 1955) David Conte, currently a Professor of Composition at the San Francisco Conservatory and Conductor of the Con- servatory Chorus, became one of the last students of Nadia Boulanger, beginning in 1975 on a Fulbright Scholarship. “I never worked harder than when I studied with her. She was not only an extraordinary musician but also a moral and spiritual person and utterly inspiring.” From her, Conte learned about craftsmanship, particularly through the skill

Photo: StevePhoto: Savage of memorizing works of the master composers. “Boulanger emphasized the ability to know works by heart and to play them on the piano,” Conte says. “Great composers show their influences.” Of those who also studied with her, he elaborates, “They couldn’t help but be influenced by the French and Russian line of composers. I was predisposed to this line from my work with Aaron Copland.”7 Chanticleer, the reknowned men’s chorus, commissioned Charm me asleep, on a text by Robert Herrick, for its fiftieth anniversary. Conte writes, “The scene is of a feverish bedridden person entreating music to heal them and guide their flight to heaven. The tonal drama here is found between E flat major and minor which eventually resolves to C major. It’s like a little piece of chamber music with the foreground material constantly being moved back and forth among the parts.” Aaron Copland (1900–1990) Aaron Copland left the United States in 1921 for a year abroad in Paris. That summer, he studied composition with Paul Vidal at the Conservatoire americain. Fellow student Djina Ostrowska urged Copland to attend the har- mony class of Nadia Boulanger. He was initially reticent to study with a woman, but later wrote in a letter to his brother, “She is a woman of 40, I should judge, and is without a doubt the exception which proves the rule that there can be no great female musicians.” Copland’s encounter with Mademoiselle resulted in three years of study concentrating on harmony, orchestration, score reading, and analysis, the lesson plan prescribed for all of her students. Though Copland was probably not the very first American to study with her, he is considered a charter member of the “Boulangerie,” those early acolytes whose names include Virgil Thomson and Roy Harris. In his role as mentor, Copland later sent a young David Diamond to Mademoiselle. With gratitude, Diamond dedicated a number of his works to Copland, including his Symphony No. 8. “At the River,” “Zion’s Walls,” and “Ching-a-Ring-Chaw” appear in Copland’s Old American Songs (Set 2) for baritone or mezzo-soprano and piano. African-American baritone William Warfield premiered the second set in 1953 after Peter Pears and Benjamin Britten successfully premiered the first at 1950’s Aldeburgh Festival. The entire collection of Old American Songs, with a commissioned transcription for concert band accompaniment, has been recorded by The United States Army Field Band and Soldiers’ Chorus.

David Diamond (1915–2005) Leonard Bernstein described David Diamond as a “vital branch in the stream of American music.” In 1938, Diamond began studies at Fontainebleau as a student of Nadia Boulanger. The young composer’s relationship with Ma- demoiselle was tenuous, yet she introduced him to the likes of Ravel, Milhaud, and Stravinsky. During World War II, Diamond worked as a night clerk at a soda counter and played violin with the “Hit Parade” radio orchestra. Following the war, he received a Prix de Rome, a Fulbright Professorship, an ASCAP award, and a commission from the Koussevitzky Foundation for his Symphony No. 4. Upon his return to the United States, Diamond taught at Manhattan School of Music and later at Julliard for almost 25 years.8 In addition to his many compositions for orchestra, Diamond composed many highly regarded vocal works. Hans Nathan stated, “Each of his songs is constructed with the same detailed care that is ordinarily given to an instrumental work.”9 Three Madrigals, dedicated to Nadia Boulanger, features texts from James Joyce’s Chamber Music, a group of thirty-six short poems written around 10 1904–05. “Bid Adieu” is believed to be the only poem Photo: Jack Mitchell in the cycle set to an air composed by James Joyce him- self. Young Joseph, for three-part women’s voices with accompaniment, excerpts Joseph and His Brothers by German novelist and critic Thomas Mann. The four-volume novel relates the story of Joseph’s exile into Egypt at the hand of his siblings. Diamond dramatizes the text by alternating solo sections between the parts and staggering entrances of the same text.

Adolphus Hailstork (b. 1941) Adolphus Hailstork, an Old Dominion Eminent Scholar in 2001 and a U.S. Army veteran, won a travel fellowship at Howard University in 1963 to study with Nadia Boulanger. He spent his private studies with her focusing on counterpoint. “I have never since come across such a high level of musician- ship.”11 From Mademoiselle, Hailstork learned “a multi-tasked approach to composition focusing on listening and memorization. I learned to pay attention to voicing and to not just plunk down anything.” He Photo: PhilPhoto: Shexneider later studied with David Diamond. “Diamond was a great free thinker. From him I learned a freedom of harmonic approach that was sensitive to where the music wanted to go. A type of free counterpoint was popular then and it taught me to look for the ‘tonal note of opportunity’ and listen for the resolution that the music wants. Diamond also liked challenging the rules of composition.” Hailstork proudly recalls that he and Diamond, both born in Rochester, New York, shared a joint concert in New York City in 1983. Seven Songs of the Rubaiyat, for a cappella mixed chorus, borrows from a collection of 600 four-line poems from eleventh-century Persia. About 120 of the verses are attributed to poet, mathematician, and astronomer Omar Khayyam; the other verses in the Rubaiyat pre-date Khayyam’s collection. Hailstork chose texts communicating the transient nature of life and man’s urgency to “fill the cup” of life before “we into dust descend.” The use of open and drone-like chord structures, dissonances, and dramatic dynamic transitions creates a timeless and otherworldly impression.

Roy Harris (1898–1979) Roy Harris left his native Oklahoma for California early in life. In the early 1920s, he entered the Boulanger circle with the likes of Aaron Copland, Virgil Thomson, and Walter Piston. He quickly became one of Mademoiselle’s favorite students; this favoritism extended to matchmaking efforts on her part, about which Harris felt most uncomfortable.12 These studies in Paris generated his first significant works: a piano concerto, a piano sonata, and a concerto for clarinet and string quartet. After returning from studies abroad, Harris obtained teaching positions at California State University and became professor emeritus of mu- sic at the University of California until his death in 1979.13 Harris wrote sixteen symphonies, the third and fifth being those most often performed. His compositions also include many chamber and choral works.14 Daniel Pinkham has called him an “American rustic,” a description inspired by Har- ris’ use of folk tunes and New England psalmody as “germs” for his melodic composition.15 These small motives enabled him to create concise, narrow themes, varied by use of phrase expansion and contraction.16 This melodic tendency is illustrated in When Johnny comes marching home for a cappella mixed chorus, in which the popular tune is passed between voice parts above march-like accompaniment. Harris included the tune in his 1940 Folksong Symphony, the premiere of which was broadcast to American Soldiers in North Africa.17

Thea Musgrave (b. 1928) Scottish-born composer Thea Musgrave character- izes her work as dramatic, not only in her large operatic oeuvre but also in the choral, orchestral, and chamber idioms. On the Underground Set No. 2: The Strange and the Exotic demonstrates this description. Launched in 1986 and now an established part of every London tube-traveler’s experience, the Poems on

Photo: ChristianPhoto: Steiner the Underground project has proved a hugely successful attempt to introduce poetry into the city’s public spaces, and has since been taken up by many of the world’s major cities as well as many smaller ones. The anthology Poems on the Underground, published by Cassell, has sold more than 250,000 copies since it first appeared as 100 Poems on the Underground in 1991. Musgrave’s mixed-voice a cappella setting features fantastic and imagina- tive texts from the collection. The dream-like quality of the first and fourth movements contrasts strongly with the fervently strange middle movements. The third poem, by Edwin Morgan, “commissioned for the inauguration of Glasgow’s refurbished underground, so alarmed the transport executive that it was never used!”18 During her time at the Paris Conservatory in the 1950s, Musgrave studied privately with Nadia Boulanger and made summer visits to the Fontainebleau. “I learned to take care of every single detail and to do it to the best of my abil- ity. This is a grand lesson for life as well as music. Mademoiselle was a totally dedicated musician and generous with her students. It was a wonderful experi- ence to be in touch with a great musician at an early age. I highly recommend it.”19

Daniel Pinkham (1923–2006) Daniel Pinkham first impressed the musical world as an accomplished organist and harpsichordist. His many years as musical director at Boston’s historic King’s Chapel yielded many works for chorus, especially those suited to amateur singers. These works have been described as a balance between early music traditions and modern music influences. Pinkham first met Nadia Boulanger in 1940 while singing in a madrigal group she conducted at the Longy School. “At the time none of us knew just how famous she was. She was like a strict, maiden aunt.” Pinkham also found her to be a funny raconteur, extremely devout, and generous to her students. He recalls Nadia waiving her lesson fee when he encoun- tered financial difficulties. Ever the philanthropist, Nadia admonished him to remember this when he himself became a teacher. Pinkham refined his Photo: StevenPhoto: Trefonides style while studying with Boulanger. He reports, “I took away self-criticism at a dangerous level. I didn’t write a note of music for a year following my studies.”20 Let the Saints Rejoice, five motets for soprano solo, mixed chorus and organ, was written for the organist at All Saints’ Episcopal Church, Beverly Hills. Structurally, it shares features with the Wedding Cantata, particularly in its use of homophony to emphasize text. Pinkham describes the Wedding Cantata, dedicated to the marriage of two singers in his 1950s Harvard madrigal choir, as “unpretentious and direct.” The four-movement work features the love poetry from the Song of Songs in a setting based on homophonic and contrapuntal structures. Vivid imagery depicting forces of nature gives this setting a decidedly romantic sensibility.

Virgil Thomson (1896–1989) Virgil Thomson, a native of Kansas City, established himself as not only a fine composer but also a re- spected music critic for the New York Herald-Tribune from 1940 to 1954. His caustic but accurate opinions garnered respect as well as ire. Thomson first arrived in France in 1921 during a Harvard Glee Club tour, and was im- mediately taken with the country. “In years

Photo: BettyPhoto: Freeman later I used to say that I lived in Paris be- cause it reminded me of Kansas City…frank and friendly and actu- ally not far from the same geographic size.” Upon moving to Paris, he began private study with Mademoiselle, becoming with Melville Smith and Aaron Copland a trio of students distinguished by being the first Americans to study with her. Thomson’s impressions of his study with Bou- langer mix pointed criticism and deference. He has written of her teaching in orchestration as “less than perfect,” and found her counterpoint “only ad- equate” and her musical tastes “sentimental and out of style.” Nonetheless he dubbed her “the teacher of us all” and commented, “what endeared her most to Americans was her conviction that American music was about to ‘take off.’”21 Thomson composed in many genres, including symphonies, film scores, songs, and choral works. His musical “portraits,” short works inspired by an individual and extemporaneously composed in the subject’s presence, rank among his most memorable works. Fanfare for Peace, for mixed chorus, brass, and percussion, is built entirely on major chords to symbolize its message of peace. It premiered in 1983 at the composer’s 87th birthday celebration and was featured again at Alice Tully Hall in 1985 during a salute to the Statue of Liberty one year before its centennial.

Elinor Remick Warren (1900–1991) Elinor Remick Warren burst upon the musical world in 1921 when she accompanied Metropolitan Opera contralto Margaret Matzenauer in a Carnegie Hall recital. Warren found her accompanying skills in great demand and frequently toured with Met artists to accompany recitals between 1925 and 1940, in addition to performing as a piano soloist. With the beginning of World War II she retired from performance, turning her energies to composition.22 Warren impressed the 1930s musical establishment with her vast reper- toire of choral literature and songs, soon popularized by singers Nelson Eddy, Jeanette MacDonald, Kirsten Flagstad, and Eleanor Steber. At the urging of conductor Wilfred Pelletier, who said, “it was important for all future work to absorb her ideas,” Warren departed in 1959 for a three-month course of private study with Nadia Boulanger. Warren found Mademoiselle “very contemporary in her thinking and helpful regarding technical orchestration problems.” As a result of her studies, Warren adopted a more “avant-garde” approach. She revised many of her earlier works in the years which followed.23 Warren’s work has been called “Neo- Romantic” and often reveals a “profound feeling for Earth’s natural wonders.”24 Her keen melding of text and music that especially considers vocal range in the proper projection of words makes her “intrinsically a vocal singer even in her instrumental music.”25

Warren with Roger Wagner, Director “Sanctus” from Warren’s Requiem, Los Angeles Master Chorale commissioned in 1965 for the Los An- geles Master Chorale, marks “a return to Warren’s spiritual purity and idealism of earlier works. The musical climaxes are more subtle and refined and the mysticism is less remote” than in earlier works.26 Endnotes

1. Jérôme Spycket, Nadia Boulanger, trans. M.M. Shriver (Stuyvesant, NY: Pendragon Press, 1982), 14, 31. 2. Ibid, 45, 49, 50, 51. 3. David Conte, interview in San Francisco with author, March 21, 2006. 4. Leonie Rosenstiel, Nadia Boulanger: A Life in Music (New York: W.W. Norton, 1982), 334, 337, 341, 384, 400. 5. Don G. Campbell, Master Teacher: Nadia Boulanger (Boulder, CO: Passacaglia Press, 1984), 65. 6. David Conte, telephone interview with author, March 26, 2006. 7. Quotes ibid. 8. All biographical information taken from www.peermusicclassical.com/ composer/Diamond, March 2006. 9. www.peermusicclassical.com, March 2006. 10. www.JamesJoyceMusic.com, March 2006. 11. Adolphus Hailstork, telephone interview with author, March 3, 2006. 12. Rosenstiel, 229. 13. www.royaharrisamericancomposer.com, March 2006. 14. Ibid. 15. Daniel Pinkham, telephone interview with author, February 10, 2006. 16. Dan Stehman, Roy Harris: An American Musical Pioneer (Boston, MA: Twayne Publishing, 1984), 25, 26, 27. 17. www.time.com/time/archive, March 2006. 18. www.theamusgrave.com, March 2006. 19. Thea Musgrave, telephone interview with author, February 2006. 20. Pinkham interview. 21. Quotes taken from Anthony Tommasini, Virgil Thomson: Composer on the Aisle (New York: W.W. Norton, 1997), 54. 22. www.elinorremickwarren.com, March 2006. 23. Virginia Bortin, Elinor Remick Warren: Her Life and Her Music (Metuchen, N.J.: Scarecrow Press, 1987), 67. 24. Ibid, 66. 25. James Fahringer, quoted in Bortin, 95. 26. Bortin, 121-123. The Legacy of Nadia Boulanger

Seven Songs of the Rubaiyat...... Adolphus Hailstork 1. I. Come, fill the cup (0:51) 2. II. The worldly hope (1:59) 3. III. Ah, my beloved (1:27) 4. IV. Ah, make the most (0:52) 5. V. Oh, threats of hell and hopes of paradise (1:17) 6. VI. The revelation (1:07) MSG William Gabbard, tenor 7. VII. I sent my soul into the invisible (2:56) Let the Saints Rejoice (Gaudeant Sancti)...... Daniel Pinkham 8. I. Cantate Domino (1:38) 9. II. Justorum animae (2:19) MSG Janet Hjelmgren, soprano 10. III. Gaudent in cælis (0:55) 11. IV. O quam gloriosum est regnum (2:00) 12. V. Amen, benedictio et claritas (1:08)

Three Madrigals...... David Diamond 13. I. He who hath glory lost (0:32) 14. II. Gentle lady (1:09) 15. III. Bid adieu (1:04)

16. Young Joseph (6:08)...... David Diamond Wedding Cantata...... Daniel Pinkham 17. I. Rise up, my love (3:27) 18. II. Many waters (2:10) 19. III. Awake, O north wind (1:53) 20. IV. Epilogue: Set me as a seal (1:51)

21. Charm me asleep (4:21)...... David Conte

On the Underground Set No. 2: The Strange and the Exotic...... Thea Musgrave 22. I. Dreams (0:51) 23. II. I saw a peacock with a fiery tail (2:04) 24. III. The Subway Piranhas (1:19) 25. IV. Dreams [reprise] (1:02)

Old American Songs (Set 2)...... Aaron Copland 26. III. Zion’s Walls (2:19)...... arr. Glenn Koponen 27. IV. At the River (2:52)...... arr. R. Wilding White 28. V. Ching-a-Ring Chaw (1:49)...... arr. Irving Fine

29. Fanfare for Peace (1:30)...... Virgil Thomson Brass and percussion arr. Todd Vunderink

30. When Johnny comes marching home (1:47)...... arr. Roy Harris

31. Sanctus (from Requiem) (6:11)...... Elinor Remick Warren SSG Rose Ryon, soprano and MSG William Gabbard, tenor • Translations

Let the Saints Rejoice (Gaudeant Sancti)

I. CANTATE DOMINO I. SING UNTO GOD A NEW SONG Cantate Dominum canticum novum; Sing unto the Lord a new song, laus ejus sonnet in cœtu Sanctorum. and his praise in the congregation of saints. Laudent nomen ejus choro, Let them praise his name in the dance: tympano et cithara psallant ei, let them sing praises unto him with timbrel and harp. quia Dominus diligit populum suum et For the Lord taketh pleasure in his people: humiles Victoria ornat. and crowns the humble with victory. Exsultant Sancti de Gloria, lætantur in Let the saints be joyful in glory: let them sing aloud cubilibus suis, Alleluia upon their beds. Alleluia. II. JUSTORUM ANIMÆ II. THE SOULS OF THE RIGHTEOUS Justorum animæ in manu Dei sunt, The souls of the righteous are in the hand of God, et non tanget illos tormentum malitiæ: and there shall no torment touch them. visi sunt oculis insipientium mori: In the sight of the unwise they seemed to die: illi autem sunt in pace, Alleluia. but they are in peace. Alleluia. III. GAUDENT IN CÆLIS III. JOYOUS IN HEAVEN Gaudent in cælis animæ Sanctorum The souls of the saints rejoice in heaven qui Christi vestigia secuti sunt: where they follow in the footsteps of Christ: et qui pro ejus amore sanguinem suum funderunt and because for his love they poured out their blood, ideo cum Christo exsultant sine fine. therefore with Christ they rejoice without end. IV. O QUAM GLORIOSUM EST REGNUM IV. O HOW GLORIOUS IS THE KINGDOM O quam gloriosum est regnum O how glorious is the kingdom in quo cum Christo gaudent omnes Sancti! in which with Christ all the saints rejoice! amicti stolis albis, sequuntur Agnum, Clad in white robes, where the lamb leads, quocumque ierit. they therefore follow. V. AMEN, BENEDICTIO, ET CLARITAS V. AMEN, LOFTY PRAISES Amen, benedictio, et claritas, et sapientia, et Amen, blessings, and renown, and wisdom, and gratiarum actio, honor, et virtus, thanks, honor, and virtue, et fortitudo Deo nostro, and strength to our God, in sæcula sæculorum. Amen. forever and ever. Amen.

Sanctus (from Requiem)

SANCTUS SANCTUS Sanctus, Sanctus, Sanctus Holy, Holy, Holy Dominus Deus Sabaoth Lord God of Sabaoth. Pleni sunt coeli et terra Heaven and earth are full gloria tua of thy glory. Hosanna in excelsis Hosanna in the highest.

BENEDICTUS BENEDICTUS Benedictus qui venit Blessed is he who comes in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. Soldiers’ Chorus Instrumentalists Conductor Fanfare for Peace Trumpet 1LT Daniel Toven...... Pittsburgh, PA SSG Phillip Johnson...... Pella, IA SSG Carl Lindquist...... Sandusky, OH Soprano Trombone MSG Martha Canipe...... Kernersville, NC MSG Mark Bowling...... Camp Hill, PA MSG Jacqueline Clarys*...... Dickinson, ND SFC Aaron Kadrmas...... Fargo, ND MSG Janet Hjelmgren...... Lake Elmo, MN SSG Wesley Ballenger III...... Torrance, CA SFC Laura Dause...... Stafford, VA Snare Drum SFC Jessica Israels...... Bellingham, WA MSG Thomas Enokian...... Albany, NY SSG Rose Ryon...... Delmont, NJ Timpani Alto SFC Scott Vincent...... Baton Rouge, LA MSG Joan Mercer*...... Mitchell, SD SFC Samantha Hammer...... Medford, NJ Wedding Cantata SFC Judith Norton...... Altus, OK Flute SFC Erica Russo...... Columbus, OH SFC Natalie Boyd Klima...... Seminole, FL SSG Teresa Harris...... Salt Lake City, UT SSG Katayoon Hodjati.....Silver Spring, MD SSG Sara Jones...... Easton, MD Clarinet SFC Reis McCullough...... Seattle, WA Tenor SSG Brian Eldridge...... Mt. Airy, MD SGM Robert Barnett**...... Sioux Falls, SD SSG Jennifer Everhart...... Thomasville, NC SGM Douglas Cox...... Cedar Rapids, IA SSG Shannon Kiewitt...... Sevierville, TN SGM Joel Dulyea*...... Muskegon, MI SSG Joel Klenke...... Aurora, IL MSG William Gabbard...... Pago Pago, AS SSG C. Michael Sears...... Lithia Springs, GA MSG Daniel Hopkins...... McLean, NY Bass Clarinet SFC Robert McIver, Jr...... Owensboro, KY MSG Susan Kelley...... Mt. Pleasant, MI SSG Mario Garcia, Jr...... Chandler, AZ SSG Luke Tomkinson...... Vashon Island, WA Horn Bass SFC Robert Cherry...... Bridgman, MI MSG Victor Cenales...... Hammond, LA SSG James Rester...... Monreville, AL MSG Robert Jefferson...... Phoenix, AZ Bass MSG Jeffrey Woods*...... Midland, TX SFC Raymond Irving...... Chicago, IL SFC Allen Bishop...... Marion, NY Piano SSG Samuel Chung...... Seoul, Korea SFC Sammy Marshall...... Churchville, VA SSG Mark Huseth...... Topeka, KS ** Noncommissioned Officer-in-Charge * Section Leader Guest organist

Mark Dwyer serves as organist and choirmaster at St. Paul’s Parish in Washington, DC. He has previously served at the Cathedral of All Saints in Albany, and the Church of the Advent in Boston. A well-known and frequently recorded concert artist, Dwyer has studied with Yuko Hayashi, William Porter, Frank Taylor, and Charles Krigbaum. Let the Saints Rejoice and Sanctus were recorded on the 1996 Schoenstein Organ, Opus 123, at St. Paul’s Parish, Washington, DC. The U.S. Army Field Band is grateful to the clergy and staff of St. Paul’s Parish for their support of this recording.

Credits Conductor: 1LT Daniel Toven Executive Producer: MSG Douglas Cox Producers: Mr. Don McCullough, SGM Beth Hough, SGM Loran McClung, MSG Vince Norman, MSG Jay Norris Recording/Mix Engineer: SFC Michael McLaughlin Mastering Engineer: Mr. Bill Wolf (Wolf Productions, Inc.) Liner Notes: SFC Judith Norton Research Assistant: MSG William Gabbard Editorial Staff: SFC Jessica Israels, SFC Natalie Klima, SFC Erica Russo, SFC Reis McCullough, SSG Carl Lindquist Graphic Design & Layout: Ms. Cathy Miller, SFC Scott Vincent Photo Credits

The United States Army Field Band gratefully acknowledges the assistance of the following individuals and organizations: Photos of Nadia Boulanger courtesy of Don G. Campbell, American Music Research Center—University of Colorado, Boulder. Reprinted from Master Teacher: Nadia Boulanger, Don G. Campbell, (Boulder, CO: Passacaglia Press) Photo of Nadia Boulanger with Aaron Copland courtesy of Douglas Demetrios Lyttle. Reprinted from Master Teacher: Nadia Boulanger Photo of David Conte courtesy of Savage Photography. Photographer: Steve Savage Photo of David Diamond courtesy of Peermusic Classical Music Publishers. Photographer: Jack Mitchell Photo of Adolphus Hailstork courtesy of Diehn Composers Room, Old Dominion University Library. Photographer: Phil Shexneider Photo of Roy Harris courtesy of California State University Los Angeles Library Photo of Thea Musgrave courtesy of Chester Music and Novello and Company. Photographer: Christian Steiner Photo of Daniel Pinkham courtesy of Daniel Pinkham. Photographer: Steven Trefonides Photo of Virgil Thompson courtesy of Yale University Library. Photographer: Betty Freeman Photo of Elinor Remick Warren courtesy• of Elinor Remick Warren Society Educational Outreach

The U.S. Army Field Band is strongly committed to education and the arts, supporting the National Standards for Arts Education through an extensive outreach program that ranges from preschool to post-graduate. Each year, the Musical Ambassadors of the Army present more than 650 educational activities throughout the country, reaching over 100,000 students annually. Educational programs include presentations for elementary students, instrumental and vocal clinics, chamber music recitals, and college master classes. On evening concerts, outstanding students from local schools are often invited to perform with the Musical Ambassadors. For music educators, guest conducting opportunities and professional development workshops are available. As a long-term benefit for both students and teachers, the Field Band produces an ongoing series of educational resources. These instructional DVDs, reference recordings, and online resources are available free of charge to schools throughout the United States.

Inquiries concerning the Field Band’s outreach programs should be addressed to:

EDUCATIONAL ACTIVITIES COORDINATOR THE US ARMY FIELD BAND 4214 FIELD BAND DRIVE FORT MEADE MD 20755-5330 PHONE: (301) 677-5769 www.armyfieldband.com Harmony class of 1924 at Fontainebleau Nadia Boulanger, 1932

Fontainebleau, 1960 Mid–1970s class at Nadia Boulanger’s Fontainebleau apartment Photo: Douglas Demetrios Lyttle Aaron Copland and Nadia Boulanger, 1972 Fontainebleau, 1959 Nadia Boulanger, 1935 Concert Sponsorship Inquiries concerning concert appearances of The United States Army Field Band should be addressed to: Tour Director The US Army Field Band 4214 Field Band Drive Fort George G Meade MD 20755-5330 Phone: (301) 677-6586 www.armyfieldband.com THE UNITED STATES ARMY FIELD BAND SOLDIERS’ CHORUS The Legacy of Nadia Boulanger Colonel Finley R. Hamilton, Commander First Lieutenant Daniel F. Toven, Conductor

1–7. Seven Songs of the Rubaiyat ...... Adolphus Hailstork 8–12. Let the Saints Rejoice (Gaudeant Sancti)...... Daniel Pinkham 13–15. Three Madrigals ...... David Diamond 16. Young Joseph ...... David Diamond 17–20. Wedding Cantata ...... Daniel Pinkham 21. Charm me asleep...... David Conte 22–25. On the Underground Set No. 2: The Strange and the Exotic ...... Thea Musgrave 26–28. Old American Songs (Set 2) ...... Aaron Copland 29. Fanfare for Peace ...... Virgil Thomson 30. When Johnny comes marching home...... Roy Harris 31. Sanctus (from Requiem) ...... Elinor Remick Warren