THE COLORADO COLLEGE MUSIC DEPARTMENT presents

Colorado College Colorado College Chamber Chorus with

Deborah Teske, conductor

A CHORAL TAPESTRY

December 6, 2013 7:30 PM Shove Chapel

PROGRAM

I.

Processional: Unborn (from The Traveller, text by Vikram Seth) Alec Roth (b.1948) Jeff Hodur, tenor; Jerilyn Jorgensen, violin The Traveller, by UK-based composer Alec Roth, is a multi-movement oratorio commissioned jointly and premiered by the Salisbury, Chelsea and Lichfield Festivals in 2008. The work takes its theme from the Ages of Man, with texts inspired by the literature and culture of India.

Solo: The mind precedes all states of being- they are ruled by the mind, they are made by the mind. What is laughter, what is joy when everything is burning? Enclosed in darkness do you not seek a lamp? Chorus: Child of son, of daughter, tombed and wombed in water, flesh to bind and bound me, darkness all around me, neither seen nor seeing, being and not being, in my world’s cessation lies my recreation. Solo: Better than a thousand meaningless words is a single word that brings peace. Better than a thousand meaningless verses is a single verse that brings peace. And if one should recite a hundred verses, all filled with meaningless words, better is single word of truth that brings peace. Chorus: Child of son…

Excerpts from Vespro della Beata Vergine, 1610 (1567-1643) The Vespers of 1610 is a 90-minute large-scale work scored for soloists, chorus and orchestra. It is the most ambitious work of religious music before Bach. The texts are drawn from liturgical and extra-liturgical sources.

1. Deus in Adjutorium Peter Mayberry, tenor Incipit: O Lord, make speed to save me: Chorus: O Lord, make haste to help me. Glory be to the Father, and to the Son, and to the Holy Ghost: As it was in the beginning, is now and ever shall be, World without end, Amen.

2. Ave Maris Stella () Raquel Vasquez, alto

Hail, star of the sea, Show yourself to be a Keep life pure, loving Mother of God, mother, Make the journey safe, and also always a virgin, May he accept prayers So that, seeing Jesus, Happy gate of heaven. through you, We may always rejoice he who, born for us, together. Receiving that Ave Chose to be yours. from Gabriel's mouth Let there be praise to God confirm us in peace, O unique virgin, the Father, Reversing Eva's name. Meek above all, Glory to Christ in the Make us, absolved from sin, highest, Break the chains of sinners, Gentle and chaste. To the Holy Spirit, Bring light to the blind, One honor to all three. Drive away our evils, Amen. Ask for all good.

II.

Et in Terra Pax (from Gloria in D, RV 589) Antonio Vivaldi (1678-1741) This is the second movement of Vivaldi’s famous Gloria, composed in Venice in 1715 for the choir of the Ospedale della Pietà, an orphanage for girls. It is an unusually expressive and introspective setting of this text, marked by restless harmonic tension and imitative vocal texture. And on earth peace to all people of good will.

Selections from Ceremony of Carols Benjamin Britten (1913-1976) Tonya Jilling, harp Britten began work on these settings of 14th-16th century English poems while sailing home from America in 1942. Originally for SSA choir, they were adapted for SATB choir by Julius Harrison in 1955. This year marks the 100th anniversary of Benjamin Britten’s birth. Perhaps England’s most famous composer, he was born on St. Cecilia’s Day (November 22) in 1913. Hodie Christus Natus est: Today Christ is born: today on earth the angels sing, the archangels announce, today be exultant and say together: Glory to God in the highest. Alleluia!

Wolcum Yole! (Welcome to the King) Wolcum be thou hevenè (heavenly) king, Wolcum Yole! Wolcum, born in one morning, Wolcum for whom we sall (shall) sing! Wolcum be ye, Stevene and Jon, Wolcum, Innocentes every one, Wolcum, Thomas marter one, Wolcum be ye, good Newe Yere, Wolcum, Twelfthe Day both in fere, Wolcum, seintes lefe and dere, Wolcum Yole! Candelmesse, Quene of bliss, Wolcum bothe to more and lesse. Wolcum be ye that are here, Wolcum Yole, Wolcum alle and make good cheer, Wolcum alle another yere, Wolcum Yole!

There is no Rose There is no rose of such vertu as is the rose that bare Jesu. Alleluia, alleluia.

For in this rose conteinèd was heaven and earth in litel space, Res miranda (wonderous thing) By that rose we may well see there be one God in persons three, Pares forma, (equal in form) The aungels sungen the shepherds to: Gloria in excelsis, gloria in excelsis Deo. Gaudeamus (let us rejoice) Leave we all this werldly mirth, and follow we this joyful birth. Transeamus (we go to see) Alleluia, res miranda, pares forma, gaudeamus, transeamus

That Yongë Child Tabetha Katz, mezzo-soprano That yongë child when it gan weep with song she lulled him asleep: That was so sweet a melody it passèd alle minstrelsy. The nightingalë sang also: Her song is hoarse... and nought thereto: Whoso attendeth to her song and leaveth the first, then doth he wrong.

As Dew in Aprille I sing of a maiden that is makèles: King of all kings to her son she ches He came also stille there his moder was, As dew in Aprille that falleth on the grass. He came also stille to his moder's bour, As dew in Aprille that falleth on the flour. He came also stille there his moder lay, As dew in Aprille that falleth on the spray. Moder and mayden was never none but she: Well may such a lady Goddes moder be.

This Little Babe This little Babe so few days old, is come to rifle Satan's fold; All hell doth at his presence quake, though he himself for cold do shake; For in this weak unarmed wise the gates of hell he will surprise. With tears he fights and wins the field, His naked breast stands for a shield; His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, and feeble Flesh his warrior's steed. His camp is pitched in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; of shepherds he his muster makes; And thus, as sure his foe to wound, the angels' trumps alarum sound. My soul, with Christ join thou in fight; stick to the tents that he hath pight. Within his crib is surest ward; this little Babe will be thy guard. If thou wilt foil thy foes with joy, then flit not from this heavenly Boy.

In Freezing Winter Night Ariane Beckman, soprano Behold, a silly tender babe, in freezing winter night, In homely manger trembling lies. Alas, a piteous sight! The inns are full; no man will yield This little pilgrim bed. But forced he is with silly beasts in crib to shroud his head. This stable is a Prince's court, this crib his chair of State; The beasts are parcel of his pomp, the wooden dish his plate. The persons in that poor attire His royal liveries wear; The Prince himself is come from heaven; This pomp is prized there. With joy approach, 0 Christian wight, Do homage to thy King, And highly praise his humble pomp, which he from Heaven doth bring.

Deo gracias! Adam lay ibounden, bounden in a bond; Four thousand winter thought he not to long. Deo gracias! And all was for an appil, an appil that he tok, As clerkes finden written in their book. Deo gracias! Ne had the appil take ben, the appil take ben, Ne hadde never our lady a ben hevene quene. Blessed be the time that appil take was. Therefore we moun singen. Deo gracias!

III.

Ubi Caritas et Amor Ola Gjeilo (b. 1978) Ola Gjeilo (b. 1978) Ola Gjeilo is a Norwegian-born composer and pianist now based in New York. This lyrical setting of the ancient hymn makes use of the melody, which was written down sometime between the 5th and 10th centuries. The text may be much older, perhaps dating from early Christian gatherings before the formalization of the Mass.

Where charity and love are, God is there. Christ's love has gathered us into one. Let us rejoice and be pleased in Him. Let us fear, and let us love the living God. And may we love each other with a sincere heart. Amen

Gaudete (from Two Medieval Lyrics) Steven Sametz (b. 1954) Steven Sametz is a renowned composer and conductor originally from Connecticut, and now the conductor of the Princeton Singers. His use of mixed meters and polyrhythms gives fresh energy to this 16th century Christmas carol.

Rejoice! Christ is born, of the Virgin Mary: rejoice! The time of grace has come for which we have prayed; Let us devoutly sing songs of joy. God is made man, while nature wonders; The world is renewed by Christ the King. The closed gate of Ezekiel has been passed through From where the Light has risen, salvation is found. Therefore, let our assembly sing praises now at this time of purification; Let it bless the Lord: Greetings to our King.

INTERMISSION

IV.

Let thy hand be strengthened (Coronation Anthem No. 1) George Frideric Handel (1685-1759) This work is one of four anthems composed by Handel for the coronation of King George II in Westminster Abbey on October 11, 1727. One or more of these anthems has been performed at every British coronation ceremony since then. Allegro: Let thy hand be strengthened and thy right hand be exalted. Larghetto: Let justice and judgment be the preparation of thy seat! Let mercy and truth go before thy face. Allegro: Alleluia. V.

Fragment from Christus, Op. 97 (1809-1847) Linda Cummings, soprano Mendelssohn began composing Christus in 1846. It is an unfinished oratorio and was published posthumously as Op. 97. This fragment is the Christmas portion of the text. The work also includes a second section for Passiontide. Recitative: When Jesus, our Lord, was born in Bethlehem, in the land of Judea; behold, from the east to the city of Jerusalem there came the wise men and said: (Matthew 2:1) Trio: Say where is be born the King of Judea? For we have seen his star and are come to adore him. (Matthew 2:2) Chorus: There shall a star from Jacob come forth, and a scepter from Israel rise up. And dash in pieces princes and nations. (Numbers 24:17; Psalm 2:9) : How brightly beams the morning star! With sudden radiance from afar, with light and comfort glowing. They Word, Jesus, inly feeds us, rightly leads us, life bestowing. Praise, O Praise such love o’erflowing. (Philipp Nicolai)

Two Choruses from Elijah, Op. 70 Felix Mendelssohn (1809-1847) SSA semi-chorus: Linda Cummings, May Harper, Wendy Mike, Wendy Scott, Marsha Garcia, Tamara Lenz, Marjorie Rapp, Dianne McRae, Sue Wilson, Gloria Neuder, Emma Harris, Lindsay Jensen, Terri Parker, Marti Cooksey

Elijah, perhaps Mendelssohn’s most famous work, is an oratorio in the English language written in 1846 for the Birmingham Festival. It is a series of dramatic episodes taken from the life of the Old Testament prophet Elijah.

Trio: Lift thine eyes to the mountains, whence cometh help. Thy help cometh from the Lord, the Maker of heaven and earth. He hath said, thy foot shall not be moved, thy Keeper will never slumber. Chorus: And then shall your light break forth as the light of morning breaketh: and your health shall speedily spring forth then: and the glory of the Lord ever shall reward you. Lord, our Creator, how excellent Thy Name is in all the nations! Thou fillest heaven with Thy glory. Amen.

VI.

Dona Nobis Pacem (from Mass in B-Minor, BWV 232) (1685-1750) “Dona nobis pacem” (grant us peace) is the last movement of Bach’s colossal Mass in B Minor. Written in 1748 and 1749, toward the end of his life, the mass is widely regarded as one of the world’s greatest artistic achievements. The Promise of Living (from the opera The Tender Land) Aaron Copland (1900-1990) (words by Horace Everett)

Copland's only full-length opera, The Tender Land (1952-1954), tells a story of Midwestern farm life. In "The Promise of Living," at the close of the first act, three generations of the Moss family and their hired hands sing a hymn of gratitude for life, the land, and the spring harvest.

The promise of living with hope and thanksgiving Is born of our loving our friends and our labor. The promise of growing with faith and with knowing Is born of our sharing our love with our neighbor. The promise of living, the promise of growing Is born of our singing in joy and thanksgiving.

For many a year we've known these fields And known all the work that makes them yield, Are you ready to lend a hand? We're ready to work, we're ready to lend a hand. By working together we'll bring in the harvest, the blessings of harvest.

We plant each row with seeds of grain, And Providence sends us the sun and the rain, By lending a hand, By lending an arm Bring out, bring out from the farm, Bring out the blessings of harvest.

Give thanks there was sunshine, give thanks there was rain, Give thanks we have hands to deliver the grain, O let us be joyful, O let us be grateful to the Lord for His blessing. The promise of ending in right understanding Is peace in our own hearts and peace with our neighbor.

The promise of living, the promise of growing, The promise of ending is labor and sharing and loving.

PROGRAM NOTES By Deborah Teske

The Colorado College Choir’s purpose is the study and performance of the great works in the choral/orchestral repertoire. The Chamber Chorus focuses on music for small ensemble, often drawing from a cappella traditions. Programming an excerpt concert presented an opportunity to bring the two together to share their repertoires. A Choral Tapestry is an interweaving of musical threads, each bringing unique texture and color to the final picture. The text of the opening processional, Alec Roth’s “Unborn” suggests a beginning before the beginning, an “empty loom” upon which to weave 400 years of the choral art. Two excerpts from Monteverdi’s Vespers take us to the sacred spaces of 17th century Italy, including an ornate, harmonically static fanfare, and the beautiful hymn Ave Maris Stella. The Chamber Chorus moves to center stage for Vivaldi’s “Et in terra pax,” an expressive and unusually introspective setting of this text well suited to the intimate scale of a chamber ensemble. Benjamin Britten’s Ceremony of Carols, settings of 14th-16th century English carols for choir and harp, are also perfect miniatures. Two a cappella works by living composers conclude the first half. Excerpts from two great oratorios by Felix Mendelssohn form the centerpiece of the second half. Mendelssohn’s music in general, and the final chorus of his masterpiece Elijah in particular, show the strong influence of Baroque models. Perhaps he would have been pleased to find himself framed in tonight’s concert by the works of Handel and Bach. “Dona nobis pacem” is a tapestry unto itself, showing Bach’s unmatched genius for counterpoint- the interweaving of individual parts to form the whole. Like Monteverdi’s Vespers, the Mass in B Minor is a monumental work that far exceeded any practical liturgical use. Both are “ideals,” representing the highest artistic achievement of their time. Concluding the program, Copland’s “The Promise of Living” calls for the largest orchestral forces of the evening and brings both choirs together in a celebration of abundance.

MEMBERS OF THE COLORADO COLLEGE CHAMBER CHORUS

Sopranos Altos Tenors Basses Ariane Beckman Sophie Capp James Craig James Ryan Dineen Tabetha Katz Emily Fish Will Heberlein Casey Elkins Katy Mariotti* Ellen Levish Jeff Hodur* Michael Leveille Thamanna Vasan Terri Parker* Dan Pampel Jim Sena* Hana Wasserman Ashley Randle Jordan Rudman Raquel Vasquez

*Section Leader

MEMBERS OF THE COLORADO COLLEGE CHOIR

Sopranos Altos Tenors Kelly Conn Jamie Apodaca Ane Randazzo Gayle Allen Roberta Crownover Nancy Bentley Marjorie Rapp Shane Bodrero Linda Cummings* Bette Simon Brassfield Deb Schubert Owen Cramer Ana Dodson Ann Brooks Aimee Stephenson Chance Grover Indria Ekasari Barby Bunn Rosa Maria Topete Ian Hay Jane Fosha Pam Butler Valerie Vela Jeff Hodur* Juliette Frederick Bonnie Clark Dianne Wetzel- Beth Kosley Marsha Garcia Marti Cooksey McRae Michael Leveille May Harper Judy Cross Nancy Wilson Peter Mayberry Mary Henson Mary Enger Sandra Zuker Sebastian McRae Andrea James Karen Farrell Marc Olson Laura Kelecy Emily Fish Dan Shaw Tammy Lenz Hannah Fleming Lucinda Thero Katy Mariotti Ann Frank Basses Rochelle Mason Constance Granier David Armstrong Wendy Mike Emma Harris John Atkinson Polly Ogden Judi Penney Janiec Tom Birkeness Susan Schnee Lindsay Jensen Dale Cecil Wendy Scott Hannah King Tom Clark Marissa Shields Anne Kraetzer Mark Dempsey Madi Stuart Inken Lohmann Al Glock Trudy Taxman Linda Madden John LeFevre Breana Taylor Carol Milne George MacDonald Ali Watt Gloria Neuder John Orsborn Sue Wilson Judy Owen Art Porter Arlene Wood Terri Parker* Jim Sena*

Dick Waters

*Section Leader

MEMBERS OF THE ORCHESTRA

Violin 1 Bass Trumpet Jeri Jorgenson* Andy Holmes Thomas Wilson* Lydia Sviatlovskaya Don Williams Harp Monica Nieves Michael Hengst Tonya Jilling Jarod Rutledge** Trombone Flute Violin 2 Andrew Converse Paul Nagem* Karine Garibova Jenny Grossman** Susan Townsend Elizabeth Greenberg Jeremy Van Hoy* Jacob Klock Oboe Timpani Fiona Graham** Monica Ding* Peter Cooper* Kathryn Simpson Viola French horn Ekaterina Dobrotvorskaia Bassoon Matthew Scheffelman* Gyongyi Petheo Debbie Torp Steve Simpson Lynne Glaeske Nicole Buetti David Stoller Clare Holtzman** Clarinet Miranda Teske** Cello Daryll Stevens* Harp Jeff Watson Andrew Pope* Tonya Jilling Evan Shelton*

Bobby Meller** Keyboard

Dan Brink*

*CC faculty/staff **student

ACKNOWLEDGEMENTS

Daniel S. Brink, rehearsal accompanist Peter Cooper, orchestra contractor Catherine Bailie, Music Events Coordinator Stormy Burns, Music Department Office Coordinator Andrew Pope, Music Department Paraprofessional Gautam Webb, Library Assistant Debra Zarecky, Chaplain’s Office Manager Deb Schubert and Marti Cooksey, robe coordinators Gayle Allen, CC Choir Member Liaison The Colorado Springs Chorale, for the use of the electronic organ

UPCOMING EVENTS IN THE CC MUSIC DEPARTMENT For the most current information, please check the events website: http://www.coloradocollege.edu/newsevents/calendar/