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Graduate Conducting Recital: Implications for Effective Rehearsal GRADUATE CONDUCTING RECITAL: IMPLICATIONS FOR EFFECTIVE REHEARSAL STRATEGIES AND PERFORMANCE IN HIGHSCHOOL AND COLLEGE SETTINGS By JUSTIN H. ROLAND SUPERVISORY COMMITTEE: Dr. RUSSELL ROBINSON, CHAIR Dr. WILL KESLING, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIRMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2015 © 2015 JUSTIN H. ROLAND 2 To my family for their love, support and constant encouragement. 3 AKNOWLEDGEMENTS I wish to thank the University of Florida and the School of Music for providing the Masters of Music program. This has given me the opportunity to fulfill my aspirations of achieving an advanced degree in music education and to study and learn with highly qualified, professional, and talented faculty. 4 TABLE OF CONTENTS Page AKNOWLEDGEMENTS…………………………………………………………………………4 ABSTRACT……………………………………………………………………………………….6 INTRODUCTION………………………………………………………………………………...7 PROGRAM ORDER……………………………………………………………………………...8 PROGRAM NOTES……………………………………………………………………………..10 CHALLENGES IN PREPARING THE REPERTOIRE………………………………………...16 SCORES…………………………………………………………………………………………26 BIOGRAPHICAL SKETCH…………………………………………………………………….27 5 Summary of Performance Option in Lieu of Thesis Presented to the College of the Arts of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Music GRADUATE CONDUCTING RECITAL: IMPLICATIONS FOR EFFECTIVE REHEARSAL STRATEGIES AND PERFORMANCE IN HIGHSCHOOL AND COLLEGE SETTINGS By Justin Roland May 2015 Chair: Dr. Russell Robinson Member: Dr. Will Kesling On March 28, 2015, I conducted a graduate recital in room 101 of the Music Building. This graduate conducting recital was in fulfillment of requirements for the Master of Music degree. The program was comprised of a diverse array of ten choral compositions. Among these compositions were: Il est bel et bon; Ubi caritas; Five Hebrew Love Songs; Popule meus; Now Is the Month; Festival Sanctus; Banks of Doon; Placido è il mar; Cantique de Jean Racine; and I Sing Because I’m Happy. These choral compositions ranged from an Opera Chorus, styles from the Twentieth Century to a Spiritual. Among this assortment of choral compositions were selections in English, Latin, Italian, French, and Hebrew that represented different historical eras from living and deceased composers Pierre Passerau, Maurice Duruflé, Eric Whitacre, Tomás Luis de Victoria, Thomas Morley, John Leavitt, Donna Gartman Schultz, Wolfgang Amadeus Mozart, Gabriel Fauré, and Rollo Dilworth. The majority of the pieces were accompanied by piano and violin with the remainder being performed a cappella. The selection of music represented a variety of styles, tempi, and harmonic structures. The performers were members of the Vox Madrigalis and the Gainesville Chamber Singers. 6 INTRODUCTION On March 28, 2015, I conducted a graduate recital in room 101 of the Music Building. This graduate conducting recital was in fulfillment of requirements for the Master of Music degree. The program was comprised of a diverse array of ten choral compositions. Among these compositions were: Il est bel et bon; Ubi caritas; Five Hebrew Love Songs; Popule meus; Now Is the Month; Festival Sanctus; Banks of Doon; Placido è il mar; Cantique de Jean Racine; and I Sing Because I’m Happy. Among this assortment of choral compositions were selections in English, Latin, Italian, French, and Hebrew that represented different historical eras from living and deceased composers Pierre Passerau, Maurice Duruflé, Eric Whitacre, Tomás Luis de Victoria, Thomas Morley, John Leavitt, Donna Gartman Schultz, Wolfgang Amadeus Mozart, Gabriel Fauré, and Rollo Dilworth. These choral compositions ranged from an Opera Chorus, styles from the Twentieth Century to a Spiritual. I decided to perform these selections to showcase the diversity of choral music and to demonstrate how pieces from different eras and styles can coalesce and communicate a single narrative. Each composition is centered in some way around the concept of love, whether it is love between people or love for God; it is the theme that connects each piece of music in this recital. I chose to begin the program on a light hearted note with the French a cappella choral work Il est bel et bon for it’s ability to grab the audience’s attention with it’s fast rhythms and playful text. The program then shifts to a more somber note with Ubi caritas and Five Hebrew Love Songs, one being a stunning a cappella sacred choral work and the other being a contemporary composition written in Hebrew. The Vox Madrigalis was to finish their repertoire with Festival Sanctus, a joyous exclamation of praise to God, but before the recital it was removed from the program. Performed in its place were Popule meus and Now Is the Month. The 7 Gainesville Chamber Singers begin their performance with Banks of Doon, a Scottish air that flows perfectly into the Opera Chorus Placido è il mar, which beautifully utilizes a waltz-like tempo. Both of these pieces complement Cantique de Jean Racine, a gorgeous setting of a 17th century French poem. The program concludes with a powerful and exciting arrangement of the Spiritual I Sing Because I’m Happy. PROGRAM I ~ Vox Madrigalis Il est bel et bon Pierre Passerau (1509-1553) Il est bel et bon, bon, bon, commère, mon mari. "He is handsome and good, girlfriend, my husband is!" Il etaient deux femmes toutes d'un pays. There were these two neighbor women in the country, Disans l'une à l'autre avez-vous bon mari? One says to the other, "Do you have a good husband?" Il est bel et bon... "He is handsome and good... Il ne me courrouce ne me bat aussi. He doesn't make me cross, never beats me either, Il fait le ménage, il donne aux poulailes. He tends the animals, he feeds the chickens, Et je prens mes plaisirs. And I take my pleasure! Commere, c'est pour rire, Girlfriend! It's enough to make you laugh Quand les poulailes crient: Petite coquette, co co dae, When the chickens cry out: 'Little chick, co co dac, mon ami, qu'est ceci? what's this?' Il est bel et bon. He is handsome and good.” Ubi caritas Maurice Duruflé (1902-1986) Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Congregavit nos in unum Christi amor. Christ's love has gathered us into one. Exultemus, et in ipso iucundemur. Let us rejoice and be pleased in Him. Timeamus, et amemus Deum vivum. Let us fear, and let us love the living God. Et ex corde diligamus nos sincero. And may we love each other with a sincere heart. Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Simul ergo cum in unum congregamur: As we are gathered into one body, Ne nos mente dividamur, caveamus. Beware, lest we be divided in mind. Cessent iurgia maligna, cessent lites. Let evil impulses stop, let controversy cease, Et in medio nostri sit Christus Deus. And may Christ our God be in our midst. Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Simul quoque cum beatis videamus, And may we with the saints also, Glorianter vultum tuum, Christe Deus: See Thy face in glory, O Christ our God: Gaudium quod est immensum, atque probum, The joy that is immense and good, Saecula per infinita saeculorum. Amen. Unto the ages through infinite ages. Amen. Five Hebrew Love Songs Eric Whitacre (b. 1970) 1. Temuná 8 Temuná belibí charutá; A picture is engraved in my heart; Nodédet beyn ór uveyn ófel: Moving between light and darkness: Min dmamá shekazó et guféch kach otá, A sort of silence envelopes your body, Usaréch al paná’ich kach nófel. And your hair falls upon your face just so. 5. Rakút Hu hayá malé rakút He was full of tenderness; Hi haytá kashá She was very hard. Vechól káma shenistá lehishaér kach, And as much as she tried to stay thus, Pashút, uvlí sibá tová, Simply, and with no good reason, Lakach otá el toch atzmó, He took her into himself, Veheníach And set her down Bamakóm hachí, hachí rach. In the softest, softest place. Popule meus Tomás Luis de Victoria (1548-1611) Popule meus, quid feci tibi? Tell me, my people, how could I grieve you? Aut in quo constristavi te? Responde mihi. And what offense could I bring you? O give me answer! Agios o Theos. Agios, o Theos. Sanctus Deus. Sacred God-head. Agios Ischyros. Agios Ischyros. Sanctus Fortis. Sacred in strength. Agios Athanatos, eleison imas. Agios Athanatos, elesion imas. Sanctus Immortalis, miserere nobis. Sacred, immortal Father, grant us now Thy mercy. Now Is the Month Thomas Morley (1557-1602) Festival Sanctus John Leavitt (b. 1956) Sanctus Dominus Deus Sabaoth Holy Lord, God of hosts Hosanna Deo, hosannah in excelsis! Glory to God in the highest! Benedictus qui venit Blessed is he who comes In nomine Domine Dei In the name of the Lord Sanctus sanctus sanctus Domine deus Holy, holy, holy, Lord Pleni sunt coeli et terra gloria tua The heavens and earth are full of your glory Hosannah in excelsis Deo! Glory to God in the highest! II ~ Gainesville Chamber Singers Banks of Doon Donna Gartman Schultz Placido è il mar Wolfgang Amadeus Mozart (1756-1791) Placido è il mar, andiamo; Calm is the sea, then onward, Tutto ci rassicura. Fortune has reassured us, Felice avrem ventura, Our fate will shine and prosper, Su, su, partiamo or or. Soon, soon, we’ll part this shore, Soavi Zeffiri soli spirate, Breezes far at sea gently assuaging, DeI freddo borea l'ira calmate, Come tame the north wind and soothe his raging; D'aura piacevole cortesi siate, Bring us your tenderness, grant us your blessing. Se da voi spargesi per tutto amor.
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