CALLING ALL DAWNS Distinguished Concerts Orchestra Distinguished Concerts Singers International
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04-07 DCINY_GP 3/28/13 3:10 PM Page 1 Sunday Afternoon, April 7, 2013, at 2:00 Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents CALLING ALL DAWNS Distinguished Concerts Orchestra Distinguished Concerts Singers International ANONYMOUS 4 Ruth Cunningham | Marsha Genensky Susan Hellauer | Jacqueline Horner-Kwiatek Selections to be announced from the stage ERIC A. JOHNSON , Guest Conductor WOLFGANG AMADEUS MOZART Regina Coeli K.276 FRANZ JOSEPH HAYDN Te Deum for the Empress Marie Therese GEOFFREY PAUL BOERS , Guest Conductor JOHN RUTTER Gloria Intermission JONATHAN GRIFFITH , DCINY Principal Conductor CHRISTOPHER TIN Calling All Dawns (New York Premiere) PART I: DAY Baba Yetu Mado Kara Mieru Dao Zai Fan Ye Se É Pra Vir Que Venha Rassemblons-Nous PART II: NIGHT Lux Aeterna Caoineadh Hymn Do Trójcy S´wi e˛tej PART III: DAWN Hayom Kadosh Hamsáfár Sukla-Krsne Kia Hora Te Marino Roopa Mahadevan, Soprano | Jacqueline Horner-Kwiatek, Mezzo-soprano Ron Ragin, Tenor | Shayok Misha Chowdhury, Baritone Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 04-07 DCINY_GP 3/28/13 3:10 PM Page 2 Lincoln Center Notes on the Program Regina Coeli K.276 This work is scored for a “Salzburg trio,” WOLFGANG AMADEUS MOZART consisting of two violins and basso con - Born 1756, in Salzburg, Austria tinuo. In observance of the celebratory Died 1791, in Vienna, Austria nature of the Easter season, Mozart also employs oboes, trumpet, and timpani to Mozart’s jubilant Regina Coeli , K.276 in C add a festive shine to the music. The treat - major is a Marian antiphon using texts that ment of the choir and soloists also reveals were written to honor the Virgin Mary. the musical traditions of the cathedral. Within the liturgical church year, there are Instead of creating a multi-movement work four different Marian antiphons, one for alternating between choruses and arias for each season of the year. Mozart’s K.276 soloists, Mozart employs a solo quartet uses the Easter season text and it is appro - that interjects short musical exhortations in a priate that it is performed today on the sec - call and response structure with the choir. He ond Sunday of Easter. also uses the solo quartet for quiet dramatic moments when the antiphon text pleads for In January 1779 Mozart was hired for the the Virgin Mary to pray to God for us. position of court organist at the Salzburg Cathedral. During this time, he composed A notable musical puzzle present in the com - the “Coronation” Mass, K.317, the Missa position is a threefold statement of “Alleluia.” Solemnis , K. 337, two vespers settings— Upon hearing the line one is immediately K.321 and K.339, and this setting of the reminded of Handel’s Hallelujah chorus. Regina Coeli K.276. Ascribing to the guide - Mozart did indeed have access to the score of lines laid out by Archbishop Count Handel’s Messiah through his patron Baron Hieronymus Colloredo, and following in the Gottfried van Swieten. Mozart so admired long musical traditions of Salzburg, this Handel that in 1789 he re-orchestrated composition is representative of the many Messiah for classical orchestra. However, it is church works that Mozart composed for not clear today that Mozart would have stud - the Cathedral in Salzburg. ied Messiah before he composed K.276. Text and Translation Regina coeli laetare, Alleluia. Queen of Heaven, rejoice, Alleluia. Quia quem meruisti portare, Alleluia. For He whom you were worthy to bear, Alleluia. Resurrexit sicut dixit, Alleluia. Has risen, as He said, Alleluia. Ora pro nobis Deum. Alleluia. Pray for us to God, Alleluia. Te Deum for the Empress Marie Therese Therese, the wife of Franz I of Austria. Haydn FRANZ JOSEPH HAYDN was a frequent visitor to the imperial palace in Born 1732, in Rohrau, Austria Vienna. The empress had a good voice; Haydn Died 1809, in Vienna, Austria once accompanied her on a private perfor - Note by the Aylesbury Choral Society © 2003 mance of the soprano part of The Creation . The empress repeatedly asked Haydn for spe - This magnificent choral drama in three parts cially composed church music, but Prince was a commission from Empress Marie Esterhazy was reluctant to allow his famous 04-07 DCINY_GP 3/28/13 3:10 PM Page 3 Lincoln Center employee to write for anyone but himself. The opening theme in the Allegro , in the Marie Therese finally got her way, however. traditional festive key of C major, is sung by The Te Deum was composed around 1799, the chorus in unison. The Adagio at “Te but its first recorded performance was not ergo quaesumus” opens with a thunder - until 1800 at Eisenstadt, the home of the ous unison C and proceeds mysteriously in Esterhazy family, to celebrate Lord Nelson’s C minor with the harmonies moving chro - (and Lady Hamilton’s) arrival there. The matically to stunning, if brief, effect. The Te Deum is a choral work throughout, without final Allegro returns to the same cheerful the solo sections that are heard in Haydn’s mood as the first passage, concluding with masses and other sacred works. Two lengthy a stirring double fugue on the words “In te Allegro passages surround a central Adagio , Domine speravi.” A coda-like section, dis - effectively making the work a concerto for tinguished by overlapping instrumental and chorus and orchestra. Haydn uses the choral phrases with syncopated rhythms, Gregorian Te Deum plainchant from the brings the piece to glorious close. eighth psalm-tone. Text and Translation Te Deum laudamus: te Dominum confitmur. We praise thee, O God: we acknowledge thee to be the Lord. Te aeternum patrem, omnis terra veneatur . All the earth doth worship thee: the Father everlasting. Tibi omnes Angeli: tibi caeli et universae To thee all Angels cry aloud: the Heavens, potestates. and all the Powers therein. Tibi cherubim et seraphim, incessabili voc To thee Cherubin and Seraphin: continually proclamant: do cry: Sanctus, Sanctus, Sanctus Dominus Deus Holy, Holy, Holy: Lord God of Sabaoth; Sabaoth. Pleni sunt caeli et terra maiestatis gloriae Heaven and earth are full of the Majesty: tuae. of thy glory. Te gloriosus Apostolorum chorus, The glorious company of the Apostles: praise thee, Te Prophetarum laudabilis numerus, The goodly fellowship of the Prophets: praise thee, Te Martyrum candidatus laudat exercitus. The noble army of Martyrs: praise thee. Te per orbem terrarum sancta confitetur The holy Church throughout all the world Ecclesia: doth acknowledge thee: Patrem immensae maiestatis; The Father: of an infinite Majesty; Venerandum tuum verum et unicum Filium; Thine honourable, true: and only Son; Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost: the Comforter. Tu rex gloriae, Christe: Thou art the King of Glory, O Christ: Tu Patris sempiternus es Filius. Thou art the everlasting Son: of the Father. Tu, ad liberandum suscepturus hominem, When thou tookest upon thee to deliver man, non horruisti Virginis uterum. thou didst not abhor the Virgin’s womb. 04-07 DCINY_GP 3/28/13 3:10 PM Page 4 Lincoln Center Tu, devicto mortis aculeo, aperuisti When thou hadst overcome the credetibus regna caelorum. sharpness of death: thou didst open the Kingdom of Heaven to all believers. Tu ad dexteram Dei sedes, in gloria Patris. Thou sittest at the right hand of God: in the glory of the Father. Iudex crederis esse venturus. We believe that thou shalt come: to be our Judge. Te ergo quaesumus, tuis famulis subveni: We therefore pray thee, help thy servants: quos pretioso sanguine redemisti. whom thou hast redeemed with thy precious blood. Aeterna fac cum sanctis tuis in gloria Make them to be numbered with thy numerari. Saints in glory everlasting. Salvum fac populum tuum, Domine, et O Lord, save thy people, and bless thine benedic hereditati tuae. heritage. Et rege eos, et extolle illos usque in Govern them, and lift them up for ever. aeternum. Per singulos dies benedicimus te: et Day by day: we magnify thee: and we laudamus nomen tuum in saeculum, et in worship thy Name: ever world without saeculum saeculi. end. Dignare, Domine, die isto sine peccato nos Vouchsafe, O Lord: to keep us this day custodire. without sin. Miserere nostri, Domine, miserere nostri. O Lord, have mercy upon us: have mercy upon us. Fiat misericordia tua, Domine, super nos: O Lord, let thy mercy lighten upon us: as quemadmodum speravimus in te. our trust is in thee. In te, Domine, speravi: non confundar in O Lord, in thee have I trusted: let me aeternum. never be confounded. Gloria Olson commissioned the work and the JOHN RUTTER composer conducted the performance by Born 1945, in London, England that chorale in Omaha, Nebraska. Rutter himself sees this work as analogous to a The English composer John Rutter has symphony with three movements— allegro become a veritable icon of contemporary vivace, andante, and vivace e ritmico —i.e., choral music. His association with Clare fast, slow, fast, in common with symphonic College in Cambridge, first as a student, then practice, and, says Rutter, “exalted, devo - as director of music, and later, as the organizer tional, and jubilant by turns.” Gloria repre - of the much-recorded Cambridge Singers, has sents the second section of the Ordinary , led to international recognition. the fixed-form portion of the Latin mass, i.e., the section following the kyrie, and the Gloria is one of Rutter’s most ambitious introit , when the latter is used. concert works, and its premiere was the occasion for his first visit to the United Many composers have set this text as an States, in May 1974.