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Lust & La Femme Mystique

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Lust & La Femme Mystique 03-10 DCINY NEW_GP 2/28/14 1:06 PM Page 1 Monday Evening, March 10, 2014, at 7:00 Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents Distinguished Concerts Orchestra Distinguished Concerts Singers International Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day HILARY APFELSTADT, Conductor Laureate VIOLETTA ZABBI, Accompanist We revere women in spiritual bliss: GUY FORBES Ave Maria ELEANOR DALEY I Sing of a Maiden We salute women in celebration: EDUARDO LAKSCHEVITZ Travessura arr. MICHAEL SAMPLE Cancion de los Tsachilas We listen to women in moments of reflection: JOAN SZYMKO Always Coming Home JOCELYN HAGEN In the Lavender Stillness of Dawn We honor women in observations of the world: NANCY TELFER The Blue Eye of God STEPHEN CHATMAN The Half Moon JOHN MUEHLEISEN Joy Intermission Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 03-10 DCINY NEW_GP 2/28/14 1:06 PM Page 2 Lincoln Center VANCE GEORGE, Conductor Laureate PENELOPE SHUMATE, Soprano DILLON MCCARTNEY, Tenor KEITH HARRIS, Baritone CARL ORFF Carmina Burana FORTUNA IMPERATRIX MUNDI 1. O Fortuna 2. Fortune plango vulnera I. PRIMO VERE 3. Veris leta facies 4. Omnia sol temperat 5. Ecce gratum UF DEM ANGER 6. Tanz 7. Floret silva nobilis 8. Chramer, gip die varwe mir 9. Reie 10. Were diu werlt alle min II. IN TABERNA 11. Estuans interius 12. Cignus ustus cantat 13. Ego sum abbas 14. In taberna quando sumus III. COUR D’ AMOURS 15. Amor volat undique 16. Dies, nox et omnia 17. Stetit puella 18. Circa mea pectora 19. Si puer cum puellula 20. Veni, veni, venias 21. In trutina 22. Tempus es iocundum 23. Dulcissime BLANZIFLOR ET HELENA 24. Ave formosissima FORTUNA IMPERATRIX MUNDI 25. O Fortuna Please hold your applause until the end of each piece. 03-10 DCINY NEW_GP 2/28/14 1:06 PM Page 3 Lincoln Center Notes on the Program programs and record liner notes used to be expurgated) and an easily accessible musical by Hilary Apfelstadt language that made Carmina Burana one of the most popular twentieth-century stage Music in Celebration of International productions. Like Richard Strauss, Orff Women ’s Day aimed, in this and in his later stage works, at Th e compositions on this program honor a Gesamtkunstwerk— an artistic synthesis in women in various ways. Guy Forbes’ Ave which text, music, scenery, and movement and Eleanor Daley’s Maria I Sing of a Maiden are unified and completely coordinated. are lyrical settings of familiar texts acknowl - edging the role of Mary as both the mother Carmina Burana was the title given in 1847 of the Christ Child and also intercessor on to an edited collection of mostly secular our behalf. Next, two lively South American songs (“ Carmina ”) from an early thirteenth- songs remind us of children’s play century manuscript discovered in 1803 in a ( ) and represent indigenous cele - Travessura Benedictine abbey located in Benedikt- brations of a community in Ecuador ( Cancion beuern, Bavaria (hence the Latinized form ). Both Joan Szymko and de Los Tsáchilas of the name, “burana”). The manuscript Jocelyn Hagen have set reflective texts by contains approximately 250 medieval women writers that present inspiring female poems and songs, including works in Latin, perspectives about life. Always Coming Middle High German, and French, the bulk and Home In the Lavender Stillness of Dawn of which do not appear in any other manu - both use strings in the accompaniment, scripts. They were assigned to categories: enhancing the expressive import of the clerical poems, love songs, drinking and poetry. The next three pieces reflect con - gaming songs, and two religious dramas. temporary settings of poetry by Barbara Powis, Christina Rossetti, and Sara Teasdale, Since early medieval musical manuscripts women poets whose inspired writing pro - contain no specific instrumental accompani - vides unique viewpoints on the world. Nancy ment or harmony, Orff’s settings have little or Telfer ( ) and Stephen The Blue Eye of God no harmonic development, and reply instead Chatman ( ) chose poetry The Half Moon on terse melodic motives and rhythms about nature, whereas Muehleisen’s compo - derived from the meter of the poems them - sition ( ) is based on two poems that Joy selves. All of the poetry is strophic, and Orff reflect the joy of human love. The program, creates stunning instrumental interludes and representing both North America and South accompaniments with variety and vivid tone America, gives contemporary expression to color that breaks the monotony of the simple women’s perspectives, whether through the melodies. Orff employs a large orchestra to poetry or the composi tions themselves, and give him a wide palette of timbre and tone is a fitting way to cel ebrate International color, but only occasionally uses the entire Women’s Day 2014. orchestra at one time for dramatic effect. Carmina Burana Carmina Burana opens and closes with the CARL ORFF choral ode “ O, Fortuna ,” a paean to Born July 10, 1895, in Munich Fortune, Empress of the World, “change - Died there March 29, 1982 able as the moon.” Within this frame are three large sections. Each part explores the Perhaps it is the physical exuberance and fundamental human needs—nature, wine, freshness, coupled with a passionate and and sex—which, with Fortune on their side, sometimes racy text (a full translation in men and women can enjoy to the fullest. 03-10 DCINY NEW_GP 2/28/14 1:06 PM Page 4 Lincoln Center Texts and Translations Ave Maria Guy Forbes Ave Maria, gratia plena: Hail Mary, full of grace: Dominus tecum, The Lord is with you, Benedicta tu in mulieribus blessed are you among women, Et benedictus fructus ventris tui, and blessed is the fruit of your womb, Jesu. Jesus. Sancta Maria, Mater Dei, Holy Mary, Mother of God, ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen. Travessura Eduardo Lakschevitz Pula daqui, cai acolá Jump over here, fall over there Entra na roda e vem brincar Join the circle, come and play Pique bandeira, corrida ligeira Pique bandeira*, a fast run E pula daqui, cai acolá And jump over here, fall over there Pula daqui, cai acolá Jump over here, fall over there Entra na roda e vem brincar Join the circle, come and play Chega da escola, já vai jogar bola Back from school, on to play ball E pula daqui, cai acolá And jump over here, fall over there Pula daqui, cai acolá Jump over here, fall over there Entra na roda e vem brincar Join the circle, come and play Vento soprando, é pipa voando Wind is blowing, the kite is flying E pula daqui, cai acolá And jump over here, fall over there Nunca deixe de sonhar (lindo sonho) Never stop dreaming (a beautiful dream) Tempo que logo vai passar Time will soon pass by Criando memórias Creating memories Lembrando histórias Remembering stories Feliz de quem aproveitar Happy is the one who enjoys it (Vamos brincar de carrossel, pessoal!) (Let’s play the carousel, everybody!) *Pique bandeira is a kind of child’s play, where teams run around and try to “steal” the other team’s flag. 03-10 DCINY NEW_GP 2/28/14 1:06 PM Page 5 Lincoln Center Cancion de Los Tsáchilas arr. Michael Sample Chiwipi Tsachi Nala Sona Beautiful woman of the “Chiguilpe” community Chiwipi Sona Somba Sona Woman strong woman Pa’Ko Mala Kemin Sona Woman that prepares the drink for the celebration Ku’chu Mala Kemin Sona Woman that prepares “chicha” (the beverage) for the celebration Mala Karin Ku’chila Kede We will always drink “chicha” Mala Karin Ku’chila Ke’sa We will always toast “chicha” Wa Furimbi Ku’chila Kede We will toast drinking a large cup Wa Furimbi Ku’chila Ke’sa We will drink in a large cup Kunta Pinda Flash of lightning Tsáchila True people Kasama New Year Carmina Burana CARL ORFF FORTUNA IMPERATRIX MUNDI FORTUNE, EMPRESS OF THE WORLD 1. O Fortuna 1. O Fortune O Fortuna velut luna statu variabilis, O Fortune, like the moon you are change - semper crescis aut decrescis; vita detesta - able, ever waxing and waning; hateful life bilis nunc obdurat et tunc curat ludo first oppresses and then soothes as fancy mentis aciem, egestatem, potestatem dis - takes it; poverty and power it melts them solvit ut glaciem. like ice. Sors immanis et inanis, rota tu volubilis, Fate—monstrous and empty, you whirling status malus, vana salus semper dissolu - wheel, you are malevolent, well-being is bilis, obum brata et velata michi quoque vain and always fades to nothing, shad - niteris; nunc per ludum dorsum nudum owed and veiled you plague me too; now fero tui sceleris. through the game I bring my bare back to your villainy. Sors salutis et virtutis michi nunc con - Fate is against me in health and virtue, traria, est affectus et defectus semper in driven on and weighted down, always angaria. Hac in hora sine mora corde enslaved. So at this hour without delay pulsum tangite; quod per sortem sternit pluck the vibrating strings; since Fate fortem, mecum omnes plangite! strikes down the string man, everyone weep with me! 2. Fortune plango vulnera 2. I bemoan the wounds of Fortune Fortune plango vulnera stillantibus ocellis I bemoan the wounds of Fortune with quod sua michi muner a subtrahit rebellis. weeping eyes, for the gifts she made me fronte capillata, sed plerumque sequitur she perversely takes away. It is written in Occasio calvata.
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