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2021 Kammerchor Spring Concert

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2021 Kammerchor Spring Concert I SpringBelieve Kammerchor Concert LIVE STREAMING SUNDAY, MARCH 28, 2021 | 3:30PM THE CHAPEL OF CHRIST TRIUMPHANT DR. ALEXA DOEBELE, director KAMMERCHOR “IProgram Believe” to be selected from the following: I. I Believe This Is Jesus Spiritual, arr. Undine Smith Moore (1904-1989) Initially trained as a classical pianist, Undine Smith Moore later turned to composition and became known as the “Dean of Black Women Composers.” Her early compositions were composed exclusively in the Western classical tradition, but after 1953 she not only began composing more, she also increasingly incorporated aspects of African-American music traditions. She saw “black folk music and Bach as true influences” on her compositions. “I Believe This Is Jesus” is one of her arrangements of African-American spirituals for choir, her preferred musical medium. This spiritual is not only a statement of faith, but also an invitation to others to “come and see” Jesus. Here I Am Ariel Quintana (b. 1965) Shelby Decker, piano Ariel Quintana is an Argentinian composer who received his musical training both in Argentina and in the United States. He now lives and works in California as a composer, but also as the choir director at First Presbyterian Church of Hollywood and as director of choral activities at La Sierra University. “Here I Am,” a setting of Isaiah 58:6-9 for choir and piano, was commissioned by the Irvine United Congregational Church. The piece begins with a declamatory quasi-recitative that depicts the starkness of the hungry and op- pressed. Verse 8, “Then your light will break forth like the dawn,” then becomes a recurring theme set with lush chords and a full-sounding accompaniment. The piece closes again with a quasi-recitative, but this time with the reassurance that God will be with us. Jesu dulcis memoria Ludwig van Beethoven (1770--1827) Abigail Wegner, Hannah Engwall, Benjamin Brenckle, and Samuel Boehlke, solo quartet Kammerchor is singing “Jesu dulcis memoria” in commemoration of the 250th anniversary of Ludwig van Beethoven’s birth this past December. Even so, “Jesu dulcis memoria” is only attributed to Beethoven; its first appearance was in the English volume Motets for the Year (1850), but it is not listed in the catalog of Beethoven’s works. If Beethoven did indeed compose this piece, it likely would have been composed early in his career, based on the motet’s relative simplicity as compared with Beethoven’s later works. The “Jesu dulcis memoria” text is attributed to Saint Bernard of Clairvaux and was intended to be sung for the Feast of the Holy Name of Jesus. The sweet memory of Jesus giving true joy to the heart: But more than honey and all things is His sweet presence. Nothing more delightful is sung, nothing more pleasing is heard, Nothing sweeter is thought, than Jesus, Son of God. O Jesus, hope of the penitent, how gracious you are to those who ask! How good to those who seek you! But what are you to those who find? No tongue may tell, no letter express: He who has experience of it can believe what it is to love Jesus. O Jesus, may you be our joy, you who are our future reward: May our glory be in you throughout all eternity. Amen. ~ Traditional Latin Salmo 150 Ernani Aguiar (b. 1949) Ernani Aguiar is a Brazilian composer, choral conductor, and musicologist who is currently a professor at the Federal University of Rio de Janeiro. “Salmo 150” (1993) is probably his best-known choral work. This piece exemplifies his compositional style, which is frequently very rhythmic and includes rapid articulation of text. While “Salmo 150” is generally conceived in a more traditional style, elements of Brazilian folk music can be heard, such as the nearly omnipresent “la la la” to imitate strumming guitars. Praise the Lord in his sacred places, Praise him in the firmament of his power. Praise him for his mighty acts, Praise him according to his excellent greatness. Praise him with the sound of the trumpet, Praise him with the psaltery and the harp. Praise him with the timbrel and the dance, Praise him with strings and pipes. Praise him with high-sounding cymbals, Praise him with cymbals of joy. Let everything that has breath praise the Lord! ~ Psalm 150 (sung in Latin) II. Miserere mei Gregorio Allegri (1582-1652) Charlotte Rosenthal, Esther Engwall, Madeline Hoxworth, and Luke Hahn, solo quartet The Allegri Miserere mei is one of the most infamous pieces in all of choral music. Gregorio Allegri was a Roman Cath- olic priest and composer assigned to sing in the choir of the Sistine Chapel. Many of his compositions were written in the same early Baroque style as his contemporaries, but his motet settings (of which Miserere mei was one) were composed in a more antiquated style similar to that of the esteemed Italian master of counterpoint Giovanni Pierluigi da Palestrina. This piece sets the entirety of Psalm 51 (we will be singing only excerpts today) and was intended for performance during Holy Week at the Vatican. The structure is very repetitive and relatively simple. Each section of the piece, nearly always setting one entire verse of the psalm, is sung by one of three groups of performing forces: a five-part full choir, a line of monophonic chant, and a quartet of soloists. This quartet includes a soprano singing a high C, which is part of why the Allegri Miserere mei is so infamous. Its infamy also stems from how the piece came to be known outside of the Vatican. According to legend, the piece was intended to be kept within the confines of the Vatican, with the threat of excommunication if anyone were to make or circulate copies of the score. A teenaged Wolf- gang Amadeus Mozart, however, upon hearing the piece while visiting Rome in 1770, was able to transcribe the piece from memory. His copy was subsequently published in England and distributed widely. Have mercy on me, God, according to your great mercy. And according to the multitude of your mercies, remove my offenses. Wash me completely of my wickedness, and cleanse me from my sin. Cast me not from your presence, and do not take your Holy Spirit from me. Give me the joy of your salvation, and establish your free spirit within me. Then I shall teach your ways to the wicked, and sinners shall be converted to you. Deliver me from blood-guiltiness, O God, God of my health: And my tongue shall sing of your righteousness. Lord, open my lips, and my mouth shall declare your praise. For you desire no sacrifice, or else I would give it to you: You do not delight in burnt offerings. The sacrifice of God is a troubled spirit: A broken and contrite heart, God, you will not despise. Be favorable and gracious to Zion; build the walls of Jerusalem. Therefore accept the sacrifice of righteousness, with oblations and burnt offerings: They shall offer bulls upon your altar. ~ Psalm 51: 1-2, 11-19 15 Minute Intermission III. Arise, Shine, for Thy Light Has Come Kenneth Jennings (1925-2015) Kenneth Jennings was known primarily as a conductor, having succeeded F. Melius Christiansen and Olaf C. Christian- sen as the director of the St. Olaf Choir, and he remained as Director Emeritus from his retirement in 1990 until his death. During his time on the faculty at St. Olaf College and as a visiting professor at Gustavus Adolphus College and the University of Arizona, Jennings mentored many of the most outstanding choral conductors currently in the field, in- cluding his successor, Dr. Anton Armstrong. As a composer, Jennings wrote several pieces, mostly for advanced choirs. He was known for sensitively depicting the meaning of a text, as he did in his setting of Isaiah 60:1-3, “Arise, Shine, for Thy Light Has Come.” The opening and closing fanfare depicts the coming of God’s glory, while the more sedate middle section portrays the darkness being overcome. Even When He Is Silent Kim André Arnesen (b. 1980) Kim André Arnesen is currently one of the most frequently performed classical composers from his home country of Norway. He has focused on writing choral music, and choirs from all over the world have per- formed his compositions. “Even When He Is Silent,” commissioned in 2011 by the St. Olaf Festival in Trondheim, Norway, is one of his most popular works. The lyrics are taken from an inscription found on a wall at a concentration camp after World War II. Arnesen says about the text, “Imagining what that person went through makes the words so powerful. As I read them, it was a Credo — when everything is dark and difficult in life you might wonder where God is, or if God is there at all. This is about keeping faith in God, love, and hope. I think of the sun as a metaphor for hope. Even without thinking of metaphors, the text has a deep meaning. Even if people take away your freedom, your friends, the people you love — they can- not take God away from you.” Hail, Gladdening Light Charles Wood (1866-1926) Irishman Charles Wood was part of the first class of students admitted to the Royal College of Music, and while there he studied composition with both Charles V. Stanford and Hubert Parry. After his graduation and further studies, he was later appointed as a faculty member at the Royal College of Music, where he taught composition to Herbert Howells, among others. He is known primarily for his compositions for the Anglican church; “Hail, Gladdening Light” (1919) is one of his best-known anthems.
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