CELEBRATING MUSIC Requiem

JOHANNES MULLER-STOSCH, CONDUCTOR CHOIRS PREPARED BY JONATHAN TALBERG & ADAM JONATHAN CON

SATURDAY, MAY 3, 2014 8:00PM CARPENTER PERFORMING ARTS CENTER PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES.

PROGRAM PRESENTATION OF THE CELEBRATING MUSIC HONOREE Carolyn Bremer—Director, Bob Cole Conservatory Of Music

Maurice Durufle (1902-1986) Requiem, Op. 9

I. Introït II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux æterna VIII. Libera me IX. In Paradisum

Bob Cole Conservatory Symphony Orchestra Bob Cole Conservatory Chamber Choir CSULB University Choir Johannes Müller-Stosch—conductor INTERMISSION (1874-1934) The Planets, Op. 32

I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VII. Neptune, the Mystic

Bob Cole Conservatory Symphony Orchestra Johannes Müller-Stosch, conductor 3 TEXTS AND TRANSLATIONS Requiem

I. Introit Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. And let perpetual light shine upon them. Te decet hymnus, Deus, in Sion, A hymn becomes you, O God, in Zion, et tibi reddetur votum in Jerusalem. And to you shall a vow be repaid in Jerusalem. Exaudi orationem meam, Hear my prayer; ad te omnis care veniet. To you shall all flesh come. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. And let perpetual light shine upon them

II. Kyrie Kyrie eleison. Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Kyrie eleison. Lord have mercy on us.

III. Domine Jesu Christe Domine Jesu Christe, rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium defunctorum Free the souls of all the faithful departed De poenis inferni et de profundo lacu. From infernal punishment and the deep pit. Libera eas de ore leonis, Free them from the mouth of the lion; Ne absorbeat eas tartarus, Do not let Tartarus swallow them, Ne cadant in obscurum; Nor let them fall into darkness; Sed signifer sanctus Michael But may the standard-bearer Saint Michael Eepraesentet eas in lucem sanctam, Lead them into the holy light Quam olim Abrahae promisisti et semini ejus. Which you once promised to Abraham and his seed. Hostias et preces tibi, Domine, O Lord, we offer you sacrifices Aaudis offerimus. And prayers of praise. Tu suscipe pro animabus illis, Accept them on behalf of those souls Quarum hodie memoriam facimus; Whom we remember today; Fac eas, Domine, de morte transire ad vitam Let them, O Lord, pass over from death to life, Quam olim Abrahae promisisti et semini ejus. As you once promised to Abraham and his seed.

IV. Sanctus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth; Lord God of Hosts; Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

V. Pie Jesu Pie Jesu Domine, dona eis requiem; Merciful Lord Jesus, grant them rest; Dona eis requiem sempiternam. Grant them eternal rest.

VI. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Dona eis requiem sempiternam. Grant them eternal rest.

4 VII. Lux aeterna Lux aeterna luceat eis, Domine, May everlasting light shine upon them, O Lord, Cum sanctis tuis in aeternum, With your Saints forever, Quia pius es. For you are kind. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, Et lux perpetua luceat eis, And may everlasting light shine upon them, Cum sanctis tuis in aeternum, With your Saints forever, Quia pius es. For you are merciful

VIII. Libera me Libera me, Domine,de morte aeterna, Deliver me, O Lord, from eternal death in die illa tremenda, on that fearful day, Quando coeli movendi sunt et terra, When the heavens and the earth shall be moved, Dum veneris judicare saeculum per ignem. When thou shalt come to judge the world by fire. Tremens factus sum ego, I am made to tremble and I fear, et timeo, Waiting until the judgment be upon us, Dum discussio venerit atque ventura ira, and the coming wrath, Quando coeli movendi sunt et terra. When the heavens and the earth shall be moved. Dies illa, dies irae, calamitatis et miseriae, Day of mourning, day of wrath, calamity and misery, Dies magna et amara valde, Day of great and exceeding bitterness, Dum veneris judicare saeculum per ignem. When thou shalt come to judge the world by fire. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, Et lux perpetua luceat eis. And let perpetual light shine upon them.

IX. In Paradisum In Paradisum deducant Angeli; May Angels lead you into paradise; In tuo adventu suscipiant te Martyres May the Martyrs receive you at your coming Et perducant te in civitatem sanctam Jerusalem. And lead you to the holy city of Jerusalem.

Chorus Angelorum te suscipiat, May a choir of Angels receive you, Et cum Lazaro quondam paupere And with Lazarus, who once was poor, Aeternam habeas requiem. May you have eternal rest. PROGRAM NOTES Requiem, Op. 9

Born in the commune of Louviers, Eure in Northern France on January 11, 1902, Maurice Duruflé was a renowned French organist and composer whose beloved Requiem, Op. 9, has had a lasting legacy in the choral repertoire. He received his education in composition at the Paris Conservatoire and studied privately with notable French organists and composers Charles Tournemire and Louis Vierne, under whom he gained a deeply-routed appreciation for Gregorian chant. With only fourteen published works, Duruflé’s re-editing of his compositions revealed he was a perfectionist; he was a modest composer and master at setting plainchant as well as a virtuoso organist. This Requiem is based on the Gregorian chants from the Mass for the Dead, presenting the liturgical text for many of the movements. The voice holds a primary role, employing the subtle movements and fluid lines of plainchant, and the orchestra a secondary, supporting role, establishing the overall mood of each movement.

5 As if interrupting an on-going performance, the Introït starts with the rhythmic, calming motion of the violas, leading the melodic voices of the choir, as if in an ascent to the heavens, eliding into the Kyrie with its angelic polyphony eliciting a sense of serenity. Opening with the dark, ominous timbres of the low horns is the Domine Christe Jesu, which call for the dramatic decree of the baritones in the “Hostias”. The Sanctus follows, gracefully soaring to a climax at the “Hosana in excelsis.” In the haunting Pie Jesu, female voices chant in a melancholic lullaby in a duet with the cello before settling into the Agnus Dei, delicately floating above the tranquil harp accompaniment. The Lux aeterna begins with a consoling, melodic oboe solo in the style of chant introducing the choir’s soft praise before falling into the distress of the Libera me, largely expressed by the pleading baritones. In Paradisum closes the Requiem with the angelic harp and ethereal soprano sound, establishing the affirmation of belief in eternal life. Unlike the Requiem masses of Mozart, Berlioz and Verdi, Duruflé followed in Fauré’s footsteps by choosing not to compose a work high in drama but of a pastoral hue, representing, according to the composer, “the ideas of peace, of hope and of faith.” Duruflé models his work on Fauré’s setting of the Requiem by omitting the Dies irae sequence, except for the closing prayer, Pie Jesu; including the Libera me, a responsory said after the Mass before burial; and closing with the antiphon In Paradisum, also sung after the Mass as the body is taken out of the church. These distinct changes offer a mood of calm contemplation, quintessential to the French writing style. Like Fauré, Duruflé sets the Pie Jesu for female voices, like Fauré’s Pie Jesu soprano solo, and features the baritones in the Libera me, resembling Fauré’s Libera me baritone solo. The principal difference between the two is that Duruflé’s setting is entirely composed on Gregorian chant themes. Completed and premiered in 1947, Duruflé’s Requiem became a favorite in the concert repertory, singularly launching the composer to fame. The paradox of Duruflé’s renown, though, is that, while his organ and choral works are often performed, he is overlooked in favor of Fauré in the academic canon of Western music. This may be in part due to Duruflé’s critical attitude toward his compositions, resulting in his small output. Despite this absence, Duruflé’s contributions to Western music remain celebrated and distinguished as brilliant works —note by Tyff Hoeft The Planets, Op. 32

“Never compose anything unless the not composing of it becomes a positive nuisance to you.” —Gustav Holst Perhaps The Planets was a “positive nuisance” to Gustav Holst (1874-1934). The choice to attempt a work such as The Planets was deeply rooted in his youth: his mother was a passionate supporter of , a philosophy concerning the presumed mysteries of nature and being, including an interest in . Nothing about Holst’s early life revealed anything remotely that a major composer was in the making. Holst was born in England, to a family of English-Swedish origin. As a child, he was often sick and therefore had a relatively unpleasant childhood. Although he played the violin for a short time, he was intrigued by the piano and began to study the instrument as soon as he was tall enough to reach the keys. Unfortunately, Holst suffered from neuritis at an early age and this complicated his piano studies severely. His interest in composition grew as he matured, and he was especially influenced by Arthur Sullivan and later also Richard Wagner. A small first success came in 1893 with his opera Lansdown Castle. Although he was denied a scholarship to the Royal College of Music, his father, who was initially opposed to the idea of his son pursuing a career in music, recognized that he needed proper training and reluctantly provided funds so he could attend in 1893.

6 Gustav Holst’s primary source of income after graduation came from teaching. Although he did compose, he was not very successful and most of his works were composed with the knowledge that they would never be performed by a professional ensemble. Many of his compositions are written for an amateur ensemble or a children’s chorus because that is what he encountered during his life as a teacher. His first major success was The Planets, composed between 1914 and 1916. In 1912, Holst studied The Art of Synthesis, a book by British astrologer Alan Leo. This book is believed to be a great influence on The Planets. Each chapter in the book is labeled with a heading, serving as a precursor to how the chapter was constructed, and Holst followed this model in his composition. Alan Leo describes the astrological character of each planet and the influence they have on the human psyche. In Greek mythology, this concept was not new; the Greeks already knew of seven planets, which they called “musical spheres.” Although the Greeks incorrectly identified the Sun and the Moon as planets, Leo and Holst were more astronomically correct by including Uranus and Neptune. Both works include seven planets; Earth was purposely excluded and Pluto, denounced as a planet in 2006, had not yet been discovered. Aside from Alan Leo’s book, the music reveals other influences as well. Just prior to the composition of The Planets, Igor Stravinsky and Arnold Schoenberg visited England. In 1912, Schoenberg conducted his Five Orchestral Pieces, Op. 18. Because Holst initially labeled The Planets “Seven Orchestral Pieces,” it is “likely that Holst attended this concert and was inspired by Schoenberg.” Stravinsky arrived in England in 1913 to premiere his Sacre du printemps, and this work opened up a “world of orchestral sounds Holst had never heard before.” Stravinsky’s influence is most noticeable in the first movement. The first movement, Mars, the Bringer of War, was composed on the eve of World War I. The work is a demonstration of power, and breathes terror, danger, and chaos. The opening, an ominous march, evokes the looming war. Unlike the usual 4/4 time signature for a march, this movement is in 5/4 and “the blatant dissonance and unconventional meter seems to be riddled with the influence of Stravinsky’s Sacre du printemps.” The sinister chaos of the first movement is contrasted by the pure beauty of Venus, the Bringer of Peace. This tranquil movement, with its beautiful violin solo, is one of the most powerful moments of the entire work. The serenity of this movement is followed by the fleet-footedness of Mercury, the Winged Messenger. The quick fluttering from instrument to instrument, especially the elusive celesta, characterizes the lightness of this movement. Philosophically, Holst’s version of Mercury represents human thought. This is contrasted by Jupiter, the Bringer of Jollity, portraying the cheerfulness of someone who enjoys life. Noticeable is the influence of an English folk dance in the opening and the end of the movement. This is alternated by a middle section, reminiscent of the hymn, I Vow to Thee My Country, in the strings. Saturn, the Bringer of Old Age, can be considered the emotional low point of the entire composition. The music evokes the inevitable aging process of human beings. The beginning of the movement is dominated by a sorrowful march, but it soon evolves to a calm and peaceful coda, symbolizing the acceptance of mortality. Uranus, the Magician is bold, powerful, and the music changes rapidly and unexpectedly. This cosmic magician attempts to enchant the world with his powers but fails, and the world remains a chaos. Neptune, the Mystic, is the most atmospheric of all the movements. The movement includes a women’s choir utilizing the vocalise technique where the performers sing vowels or other sounds rather than actual text. The quietness of the choir contributes to the mystic nature of the work as it quietly fades out to eternity. The Planets is, by far, Holst’s most popular composition. It is a brilliant work that connects his love for English folk music to the philosophy of Theosophy that was instilled in him as a child. Perhaps during his lifetime, Holst was not considered to be a major composer, but, as is the case with many others, the true value of a composer and his contribution to the history of music is often not recognized until years beyond his death.

“Music, being identical with heaven, isn’t a thing of momentary thrills, or even hourly ones. It’s a condition of eternity.” —Gustav Holst —note by Nicolette van den Bogard

7 ABOUT OUR DISTINGUISHED HONOREE Keith I. Polakoff

Keith I. (Kip) Polakoff joined the faculty of CSULB as an assistant professor of history in 1969, specializing in courses in the Civil War and Reconstruction and the History of the South. He rose through the ranks to become a full professor in 1978, publishing two books along the way (The Politics of Inertia, 1973, about the disputed Hayes-Tilden presidential election of 1876, and Political Parties in American History, 1981) and serving as editor and production manager of The History Teacher from 1973 to 1980. Beginning in the Fall 1980, he became an administrator, serving as associate dean of both the School of Social and Behavioral Sciences and the School of Fine Arts and as acting dean of both schools. From 1986 until his retirement from the campus in 2004, he was Associate Vice President for Academic Affairs, in charge, variously of graduate and undergraduate studies and research. He played an important role in gaining campus and system approval for the BFA and MFA in Dance and allocating the resources needed to fund the graduate programs in Dance and Theatre Arts and the private lessons in Music. He also found a new use for his lifelong interest in photography, using his cameras to document stage productions in all three departments. After retiring from the campus he spent five years at the Office of the Chancellor in charge of programs designed to encourage underrepresented students to pursue advanced degrees with the goal of later becoming faculty members in the CSU. Now fully retired, he serves as the chair of the fundraising committees for both the Cole Conservatory’s Opera Institute and the Department of Theatre Arts. ABOUT Johannes Muller-Stosch

Dr. Johannes Müller-Stosch serves as the Music Director and Conductor of the Cole Conservatory Orchestra, Chamber and Opera Orchestras and coordinator of String Studies. He is also the Music Director and Conductor of the Holland Symphony Orchestra in Michigan. Furthermore, he is in high demand as guest conductor around the globe. Recent engagements include Kunming Symphony in China, the Karelia Symphony in Russia and the Busan Chamber Orchestra in South Korea. The Holland Symphony has seen unprecedented growth in size and quality of performances as well as record numbers of season subscriptions during Müller-Stosch’s tenure. It has become one of Michigan’s healthiest arts organizations. In California, Müller-Stosch established the Cole Conservatory Orchestra as one of the largest and finest in the region. The Cole Conservatory Orchestra toured in South Korea in 2013. During his doctoral studies he served as Assistant Conductor of the famed Eastman Philharmonia Orchestra and won Eastman’s prestigious Walter Hagen Conducting Prize. He has held conducting positions with the Cincinnati Symphony Orchestra, the Brockport Symphony (New York), Tri State Players (Ohio), and served repeatedly on the conducting and coaching staff at the Opera Theatre Festival in Lucca, Italy. A concert tour with the Eastman String Orchestra brought Müller-Stosch to Japan where he conducted concerts as part of Hiroshima’s 2006 Peace Festival. He received much acclaim for his doctoral project and concert with the Eastman Philharmonia, which surveyed all four symphonies by early 20th century Viennese composer Franz Schmidt. Since then he has been an active proponent of works by early 20th century composer Franz Schreker and, most recently, Joseph Marx. He conducts several US premieres of their works annually. In 1997, after winning the coveted Strader Organ Competition in Cincinnati, Ohio, Müller-Stosch received two Master of Music degrees in organ performance and orchestral conducting from the Cincinnati College-Conservatory of Music on full-tuition scholarship. Since then he has been a frequent guest conductor for new opera productions at the Cincinnati College-Conservatory of Music, including the fall 2013 mainstage of Britten’s Owen Wingrave. Previous engagements have included Mozart’s Cosi fan Tutte, the world premier of Joel Hoffman’s The Memory Game, and Virgil

8 Thomson’s The Mother Of Us All. For these he received outstanding reviews in the American Record Guide. He worked repeatedly as visiting opera conductor at the Opera Theater at Webster University in St. Louis, Missouri. In 2000, he served as Music Director of the Museumsinsel-Operafestival in Berlin, Germany. Müller-Stosch was a featured guest conductor with the Busan Sinfonietta in Korea in 2009. This concert was broadcast on national TV(KBS). A passionate educator, Dr. Müller-Stosch works with High School orchestras who come to the Cole Conservatory for ensemble clinics. He is in demand also as an adjudicator and conductor for All- State Orchestras, most recently in Salt Lake City, Utah, and Redlands. Concert tours as a soloist and collaborative artist have taken him throughout Germany, Italy, Chile, and Japan. Müller-Stosch has several commercial recordings to his credit, all of which have been played on Public Radio. PERSONNEL Bob Cole Conservatory Chamber Choir Jonathan Talberg—conductor / Peter Walsh—accompanist SOPRANO I ALTO I TENOR 1 BARITONE Michaela Blanchard Glynis Davies* Mark Cano Gregory Fletcher Stacy Oh* Desireé Gonzalez Dan Doctor* Lyle Smith Mitchell Jeannine Robertson Ashlyn Grover Jack Wilkins Jae Park Kathryn Shuman Emily Jackson Joe Sanders SOPRANO II ALTO II TENOR 1I BASS Madison Hatten Rebecca Bishop Brad Allen Luc Kleiner* Christine Li Scott Vasken Ohanian Morgan Davi Fernando Muñoz Jennifer Paz Jennifer Renteria Emilio Tello Jake Tickner Elizabeth Queen Stephen Salts^ Patrick Tsoi-A-Sue Riley Wilson * section leader CSULB University Choir ^ assistant conduct Adam Jonathan Con—conductor / Peter Walsh—accompanist SOPRANO ALTO TENOR BASS Rachel Blair* Emi Allen Dan Agee Mason Allred Catherine Bowie Elizabeth Chavez Jonathan Alvarado Ulysses Aquino Courtney Burroughs Desireé Gonzalez Jake Asaro* Marcus Carline Jennifer Campbell Kaitlyn Gricar* Craig Benson Justin Cha Sarah Conniff Tyff Hoeft Mark Cano Kyle Chase Marisa DiCamillo Alyssa Keyne Shawn Carillo Nehemiah Chen Vincentia Geraldine Jane Kim Miguel Chicas Tahjee Davis Lisa Horikawa* Elaine Lay Grant Goldstein* Danny Gonzalez Genie Hossain Sarah Len* David Morales Tim Hall Kelsey Knipper Lamia Mazegue Ryan Newton Arend Jessurun Kaelynn Korten Rachel One Vince O’Connell Austin Kebely* Jennifer Lee Lauren Stanley* Emilio Sandoval Will Luster Rei Legaspi Rebecca Thomas Chris Yeschenko Fernando Muñoz* Hannah Penzer Ka Cin Wong Zach Zaret Jae Park Jordan Pettit Yousef Reda Jessica Sanchez Malek Sammour Kathleen Van Ruiten Jordan Tickner Sara Vandenbroek Cody Wilhite *section leader 9 Bob Cole Conservatory Symphony Orchestra Johannes Müller-Stosch—conductor VIOLIN I DOUBLE BASS HORN Nicolette van den Bogerd, Anthony Xanthos, Ramon Villanueva+ —Concertmaster —Principal Beau Knechtel* Laurann Estevez Daleth Caspeta Melisandra Teteris Jaclyn Kim James Medway Katy Robinson Jasmine Kim Anne Marie Runco Ivan Esteves Chien-Han Chen Alexis Luter Laura Bedol Felix Mares Emma McCallister Teresa Chambless TRUMPET Korina Davis Casey Martin* Constance Millican Casey Martin+ Goeun Shin FLUTE Michael Sullivan* Ryan Murray, Devin Henderson —Principal Evan Walsh VIOLIN II Lauren Redburn Jackson Niebrugge Agnieszka Borzuchowski, Christine Glaser —Principal Kayvon Sesar TROMBONE Carmen Marquez OBOE Michael Beltran+ Joseph Chung Alexander Zatolokin+ Kaelyn Gima* Ricardo Rios Spencer Klass* Robert Frey Margaret Potter Juaquin Moraga Emmanuel Rojas Joseph Ceman Paul De La Rosa Alicia Rubio Fern Lee ENGLISH HORN Kerry Brunson TUBA Kyle Richter+ VIOLA Ruben Puebla* Annaliese Ippolito Reed, CLARINET —Principal Mathieu Girardet Amira Bennett —Principal TIMPANI Joy Yi Stephen Chow Tyler Hunt Trevor Torres Abraham Perez Michael King Romario Rivera Edwin Moran Allen Petker BASS CLARINET PERCUSSION Bianca Lara Holly Choe Ryan Denney Connie Troung John Jost VIOLONCELLO BASSOON Matt Gilbert Hyunji Evonne Yi, Adrian Fonseca Tellez, —Principal —Principal James Clark Emily Prather CELESTA Josie Boyer Shannon O’Neill Taylor Chan Anthoni Polcari Sori Shin Irene Kang CONTRABASSOON HARP Jeffrey Westcott Brian Tuley Graciela Sprout Debbie Lee Linda-Rose Hembreiker Sydney Moss Michelle Tambash Candace Lee Cole Syverson + Principal on Holst * Principal on Duruflé

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