Edition 1 | 2019-2020

Letter from the Music Director...... 5 Elizabeth Schulze Bio Staff / Board of Directors...... 7 Letter from the Board President...... 9 Elizabeth Schulze Biography...... 14 Carmina Burana...... 18 About the Artists...... 22 14 Program Notes...... 27

Orchestra Roster...... 45 Carmina Burana Make the Most of Your Concert Experience...... 47 Acknowledgements...... 49 Endowments...... 50 Friends of the Symphony...... 53

ADVERTISING Onstage Publishing Contact Information: Advertising Department Maryland Symphony Orchestra 937-424-0529 | 866-503-1966 30 W. Washington Street www.onstagepublications.com e-mail: [email protected] Hagerstown, MD This program is published in association with Onstage Publications, marylandsymphony.org 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not [email protected] be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A.

letter from the music director

reetings and Welcome!

GThis season, my 20th with the Maryland Symphony as Music Director and Conductor, offers me an opportunity to express my deepest gratitude to my brilliant colleagues in the orchestra, our talented and devoted administrative staff, our actively involved and visionary board, our generous volunteers and donors and most important of all, to you, our audience members, who have supported us with your gracious and enthusiastic presence over the seasons.

© Melanie-Anderson © The Art of Music is all about communication between player and listener. It is an active and vital relationship that allows moments of insight, inspiration, excitement and reflection on both sides of the stage. Each season we strive to challenge ourselves to new artistic heights and deepen our relationship with you in the process.

The programming for this season is spectacular and particularly meaningful for me. I have had the pleasure and privilege to choose several favorite works, such as symphonies by Dvorak, Schumann and Mahler, concertos by Grieg, Rodrigo and Rouse, epic warhorses such as Carmina Burana and The Pines of Rome, a new work by Kimo Williams, as well as unfamiliar, but eminently worthy works by Florence Price and Ruth Gipps. I’ve also relished the opportunity to invite distinguished and beloved colleagues to join us this season as guest artists, including our brilliant Concertmaster, Robert Martin, pianist Andrew Staupe, soprano, Martha Guth, Grammy Award winning guitarist, Sharon Isbin and the stellar voices of Baltimore Choral Arts.

Along with our traditional “Home for the Holidays” featuring soprano Christine Lyons and the children’s choirs of Hagerstown’s First Christian Church, our Pops series brings back our good friends, the ever-popular Time for Three in February and in May, American Idol finalist LaKisha Jones joins us in a tribute To Whitney, With Love.

This season, apart from our subscription series, we will continue to serve over eleven thousand children throughout the year with our educational concerts and masterclasses, culminating in our annual LinkUp programs in partnership with Carnegie Hall.

Our outreach continues with performances in Garrett and Allegany Counties and in late May, we join the City Ballet School for the world premiere of a new ballet, “The Spell,” created and choreographed by Danielle Horochowski, with newly composed music by Arshak Sirunyan.

We are thrilled to call the Maryland Theatre our home, both on stage and now offstage too, with our offices relocated to the fabulous new expansion. The joyous strains of Beethoven’s “Consecration of the House” will inaugurate a new era for the Theatre and the MSO and I have every confidence that your continued presence and support, will ensure that great music will continue to raise the rafters for decades to come.

Sincerely,

Elizabeth Schulze

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the maryland symphony orchestra – 2019-2020 season

P 301.797.4000 | F 301.797.2314 www.marylandsymphony.org

28 West Washington Street, Ste 2, Hagerstown, MD 21740

ADMINISTRATIVE STAFF MARYLAND THEATRE STAFF Dave McKinney Jessica Green Dr. Stephen W. Miles Elizabeth Schulze Executive Director Tereance Moore Music Director & Conductor James G. Pierné Angel Myers Susan Rocco Andrew Kipe Office Manager Andrew Sussman Interim Executive Director Hugh J. Talton, M.D. Anne Hunt Reggie Turner Michael Harp Programming Manager Brittany Whiteside Director of Marketing & Public Relations Melissa Fountain EX-OFFICIO MEMBERS [email protected] Events Manager Elizabeth Schulze, Music Director Andrew Kipe, Interim Executive Katherine Woolsey Mike Fletchinger Director Director of Education & Production Maintenance Manager Magaly Rojas Seay, Player [email protected] Representative BOARD OF DIRECTORS Judy Ditto HONORARY BOARD MEMBERS Accounting Manager Melinda Marsden, President Dr. J. Emmet Burke [email protected] Kim Bowen, Vice President Anton T. Dahbura, Ph.D Linda Hood, Secretary April L. Dowler Keelie Newbold Jason Call, Treasurer Patricia F. Enders Marketing & Box Office Associate William L. McGovern, Asst. Treasurer Frederica Erath [email protected] John F. Erath Jane Anderson Dr. J. Ramsay Farah Candice Mowbray Pieter Bickford Donald R. Harsh, Jr. Development Assistant Deborah Bockrath Marjorie M. Hobbs [email protected] Kim Bowen Howard S. Kaylor Jake Caldwell Dori Nipps PRODUCTION STAFF Jason Call Alan J. Noia Connell Cuffie Maggie Rojas Seay Mrs. Georgia Pierné Dr. Brendan Fitzsimmons Personnel Manager Mr. James G. Pierné Ryan M. Flurie Samuel G. Reel, Jr. Cindy Garland D. Marianne Gooding William J. Reuter Linda Hood Librarian Joel L. Rosenthal, M.D. Michelle Leveque, Esq. Dr. Hugh Talton Ira S. Lourie, M.D. David Fitzwater Martha “Marty” Talton Melinda Marsden Operations Assistant Cassandra Wantz William L. McGovern Richard T. Whisner

BRAVO! is published by the Maryland Symphony Orchestra. The publishers have made every effort to insure the accuracy of the information contained herein and accept no responsibility for errors, changes, or omissions. The publishers retain all rights to this guide and reproduction of all or a portion of this guide is prohibited without written permission of the publishers. Publication of an advertisement or article does not imply endorsement by the publishers. © 2019-2020. All Rights Reserved.

The Maryland Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

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letter from the board president

elcome to what promises to be an amazing 38th season for the WMaryland Symphony Orchestra! We have so many things to celebrate! Our esteemed Music Director, Elizabeth Schulze, is starting her 20th season with the MSO. Our amazing musicians continue to reach higher levels of excellence under her leadership and this coming season will provide amazing experiences for all of us.

The season begins with Beethoven’s “Consecration of the House Overture” a wonderful chance to dedicate the opening of the newly constructed lobby and event space in the Maryland Theatre. This is a wonderful way to also recognize the beginning of Beethoven’s 250th birthday year. Samuel Barber’s “Knoxville, Summer of 1915” is a graceful bow to the year our beautiful, historic theatre was built. We are very excited to be moving our offices to the theatre itself this fall. We will let you all know when we are situated there.

November brings “The American Symphony” a look at both American composers and a great work, the wonderful Dvořák Symphony #9 “From the New World”. This will be the most satisfying concert.

December always brings our “Home for the Holidays” concert. I always love seeing our male musicians decked out with their red ties and cummerbunds. The festive music provides a wonderful accent to the holiday season. I always feel so good when I see all the families enjoying this fun event.

Thank you for coming and please enjoy OUR Maryland Symphony Orchestra.

Sincerely,

Melinda Marsden President Maryland Symphony Orchestra Board of Directors

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Bravo! Official Magazine of the Maryland Symphony Orchestra 11 12 Bravo! Official Magazine of the Maryland Symphony Orchestra Bravo! Official Magazine of the Maryland Symphony Orchestra 13 Elizabeth Schulze

ith passion, verve and illuminating musicianship, Elizabeth Schulze has been conducting orchestras and opera companies, advocating for music Weducation, and electrifying audiences in the States and abroad for more than two and a half decades.

Recipient of the 2013 Sorel Medallion in Conducting for her adventurous programming, Schulze is the Music Director and Conductor of the Maryland Symphony Orchestra. She recently completed a nine year tenure as the Artistic Director and Conductor of the Flagstaff Symphony Orchestra.

14 Bravo! Official Magazine of the Maryland Symphony Orchestra In 1996 she made her European debut, leading the Mainz Chamber Orchestra in the Atlantisches Festival in Kaiserslautern, Germany. She appeared in Paris as the assistant guest conductor for the Paris Opera and has also appeared in London, Frankfurt, Amsterdam and Vienna with the National Symphony during its 1997 European tour. Her most recent international work includes conducting in Hong Kong, Jerusalem and Taipei. Her guest conducting work in the U.S. includes appearances with over 20 American orchestras.

Schulze’s recent guest conducting in the States includes performances with the Anchorage and New West Symphony Orchestras and the Hudson Valley Philharmonic. Her positions with U.S. orchestras include an appointment as associate conductor of the National Symphony Orchestra, music director and conductor of the Waterloo/Cedar Falls Symphony Orchestra, a seven-year tenure as music director and conductor of the Kenosha Symphony Orchestra, principal guest conductor of the Hudson Valley Philharmonic, cover conductor and conducting assistant for the New York Philharmonic, and assistant conductor of the Buffalo Philharmonic, an appointment sponsored by the National Endowment for the Arts.

Since the beginning of her career, Schulze has been a spirited advocate for music education. Her far-ranging work included an association with the National Symphony Orchestra’s Summer Music Institute (SMI). For over decade, Schulze conducted, taught and mentored dozens of young musicians in the SMI at the Kennedy Center. She has also conducted the American Composer’s Orchestra in LinkUp educational and family concerts in Carnegie Hall and throughout New York City. And for six years, Schulze joined her mentor Leonard Slatkin teaching at the NSO’s National Conducting Institute.

Her music education and mentoring work spans from elementary to university students. She was an artist-in-residence at Northwestern University and has guest conducted the orchestras of The University of Maryland, the Manhattan School of Music and Catholic University of America and guest lectured at the Juilliard School.

Schulze’s own education includes training in Europe and in the States. She graduated cum laude from Bryn Mawr College and as an honors student from Interlochen Arts Academy. She holds graduate degrees in orchestral and choral conducting from SUNY at Stony Brook. She was the first doctoral fellow in orchestral conducting at Northwestern University and was selected as a conducting fellow at L’École d’Arts Americaines in France. In 1991, she was the recipient of the first Aspen Music School Conducting Award. At Aspen, she has worked with Murry Sidlin, Lawrence Foster and Sergiu Commissiona. As a Tanglewood fellow, she has worked with Seiji Ozawa, Gustav Meier and Leonard Bernstein.

Schulze is represented by John Such Artists Management, Ltd.

Bravo! Official Magazine of the Maryland Symphony Orchestra 15 16 Bravo! Official Magazine of the Maryland Symphony Orchestra The benefits of an induction loop hearing system are not limited to patrons with hearing aids and cochlear implants. The loop system also works with a handheld receiver and headphone system, which can be worn by anyone attending the theatre. These handheld systems, which can be requested free of charge at the sound board on the orchestra level by anyone who is hearing impaired, receive sound through the loop system transmitted to a set of small headphones.

HIGH AND LOW TONES Are your hearing aids FOR MSO LISTENERS equipped with t-coils? Thanks to a generous gift from Dr. Karen Patrons who have a telecoil in their Hamilton, and her husband, Dr. Scott hearing aid or cochlear implant may Hamilton, a state-of the-art induction switch to the “T” setting to enjoy the loop hearing system has been installed in system. Many hearing aids are already the Maryland Theatre. Audience members equipped with ‘telecoils’ which are with cochlear implants or telecoil- compatible with all hearing induction equipped hearing aids are now able to loop systems, but just have not been fully enjoy the show without straining to activated. The t-coil is low cost, low in hear, or missing entirely, the whispers, power consumption, and, best of all, hushed voices, and other soft sounds that easy to use. bring depth to so many performances. If you have a hearing aid with a t-coil An induction loop system turns every that is not activated, we encourage you telecoil-equipped hearing aid and to contact your audiologist or reach out cochlear implant into a personalized to Dr. Karen Hamilton and the team at listening device connected directly to Audiology Service here in Hagerstown the theatre’s sound system. Best of all, at (301) 790-3300. They can help you a hearing loop system, unlike other determine whether your hearing aid(s) personalized listening devices, takes have t-coils and how to optimize them for advantage of the customized settings loop listening. of the listener’s own hearing aid or cochlear implant.

Bravo! Official Magazine of the Maryland Symphony Orchestra 17 Thirty-Eighth Season 2019/2020 Season Sponsor: Maryland Symphony Orchestra Elizabeth Schulze, Music Director

Carmina Burana Saturday, October 19, 2019 at 7:30PM Sunday, October 20, 2019 at 3:00PM

Elizabeth Schulze Conductor Natalie Conte Soprano Christian Figueroa Tenor Rob McGinness Baritone Baltimore Choral Arts Frederick Children’s Chorus

Beethoven Consecration of the House Overture

Barber Knoxville, Summer of 1915 NATALIE CONTE

INTERMISSION

Orff Carmina Burana

Fortuna Imperatrix Mundi: 1. O Fortuna (chorus) 2. Fortune plango vulnera (chorus) I. Primo vere: 3. Veris leta facies (small chorus) 4. Omnia sol temperat (baritone) 5. Ecce gratum (chorus) Uf dem Anger: 6. Tanz (orchestra) 7. Floret silva nobilis (chorus) 8. Chramer, gip die varwe mir (soprano and small chorus) 9. Reie: (a) Swaz hie gat umbe (chorus) (b) Chume, chum geselle min (small chorus) (c) Swaz hie gat umbe (chorus) 10. Were diu werlt alle min (chorus)

18 Bravo! Official Magazine of the Maryland Symphony Orchestra II. In Taberna: 11. Estuans interius (baritone) 12. Olim lacus colueram (tenor and male chorus) 13. Ego sum abbas Cucaniensis (baritone and male chorus) 14. In taberna quando sumus (male chorus) III. Cour d’amours: 15. Amor volat undique (soprano and boys chorus) 16. Dies, nox et omnia (baritone) 17. Stetit puella (soprano) 18. Circa mea pectora (baritone and chorus) 19. Si puer com puellula (male chorus) 20. Veni, veni, venias (double chorus) 21. In truitina mentis dubia (soprano) 22. Tempus est iocundum (soprano, baritone, chorus, and boys chorus) 23. Dulcissime (soprano) Blanziflor et Helena: 24. Ave formosissima (chorus) Fortuna Imperatrix Mundi: 25. O Fortuna (chorus)

Bravo! Official Magazine of the Maryland Symphony Orchestra 19 20 Bravo! Official Magazine of the Maryland Symphony Orchestra Bravo! Official Magazine of the Maryland Symphony Orchestra 21 about the artists

Natalie Conte For the Peace Corps 50th Anniversary Soprano Celebrations, Christian was asked to sing the National Anthem at Fenway Park. He has Described as performed and recorded the role of Antigonus “magnanimous and in the opera Winter’s Tale with the Boston powerful”, soprano Modern Orchestra Project and BMOP Sound Natalie Conte is Record Label. an award-winning performer of opera, Christian also stays active in the commercial art song, and oratorio. and film world and can be seen in the German In 2017 she won first prize in the National movies Ways Of Love as Dante Farinelli, Federation of Music Clubs’ Young Artist and Why Did I Say Yes? as Andrew the Hotel Competition, in 2016 the Maryland Lyric Opera Manager. He can also be seen as Chris the Competition, and in 2013 the Vocal Arts D.C. singing store clerk for CT State Lottery, and in Discovery Art Song Competition. She has sung in spots for LEGO, KFC, United Airlines, Bank Of works with the former Lyric Opera of Baltimore, America, TJ Maxx, Pearl Vision, Orbit Gum, & Two Rivers Chamber Orchestra, Bay Atlantic Vista Print among others. Symphony, and the Russian Chamber Art He frequently performs his solo concert Society, among others. Beyond the local stage, Romance and can be seen next with Stamford Natalie has performed in her hometown Detroit, Symphony; Boston Musical Theater’s tour of Michigan as well as internationally in Rome, St. The Music of George and Ira Gershwin, with the Petersburg, and Moscow. Natalie has had the Boston Arts Consort, and reprising the role of the honor of working in master classes with such President Of The United States Michael Rivera, renowned singers as Marilyn Horne, Montserrat in the musical A Pint Of Understanding. Caballé, Sherrill Milnes, and Aprile Millo. Natalie is a professor of voice at Shenandoah FACEBOOK PAGE: www.facebook.com/ Conservatory. She recently completed her ChristianFigueroaPage fourth season as an extra chorister with the Rob McGinness Metropolitan Opera and made her debut in Baritone Carnegie Hall. Recognized for his Christian Fugueroa “impressive singing … Tenor well-supported tone Puerto Rican singer and supple phrasing,” and actor Christian (Baltimore Sun) baritone Figueroa has delighted Rob McGinness‘s recent audiences with his venue debuts include unique combination Stern Auditorium at Carnegie Hall and the of vocal and dramatic Kennedy Center Concert Hall. This season Rob skills in performances joins Arizona Opera as a member of the Marion ranging from the stage, television, movies, Roose Pullin Arizona Opera Studio, performing to the recital hall. Christian graduated from multiple roles including Schaunard in La Bohème, Syracuse University and received his Masters in Harlekin in Ariadne auf Naxos and the lead role Music from the New England Conservatory of in Shining Brow, Darren Hagen’s opera about Music. He has been profiled on CNN’s Career Frank Lloyd Wright. Other highlights this season Connections and on the People En Español include Orff’s Carmina Burana with the Maryland Website. Christian was named by “El Planeta” Symphony Orchestra. Newspaper of Boston as one of the “100 Most Often featured portraying opera’s “bad boy,” Influential People for the Hispanic Community Rob’s operatic credits include the title roles of Massachusetts”. He has been a guest vocalist in Eugene Onegin and Don Giovanni, as well as at Carnegie Hall performing in The Orchestra Marcello in La Bohème. Rob has made a specialty Sings, The Orchestra Moves, The Orchestra in Russian repertoire, performing leading roles in Rocks, & The Orchestra Swings concerts. Rimski-Krosakov’s Tsar’s Bride, Mozart and Salieri,

22 Bravo! Official Magazine of the Maryland Symphony Orchestra about the artists

Snow Maiden, Sadko as well as Tchaikovsky’s January of 2020, he will be leading the Chorus on Iolanta. Other famous roles include Enrico in its first England tour, with a prestigious invitation Lucia, Count Almaviva in Le nozze di Figaro, and to perform with the City of Birmingham Eisenstein in Die Fledermaus, a performance Symphony Orchestra. lauded for a “bright baritone and winning The Baltimore Choral Arts Society provides a jitteriness” by the Cleveland Plain Dealer. number of thoughtful and impactful music As a featured soloist, Rob performed Mahler’s education programs that serve youth in and Songs of a Wayfarer, the Duruflé Requiem with the around Baltimore. These programs include Peabody Symphony Orchestra, and the Brahms CoroLAB, a new partnership with Overlea High Requiem with Portsmouth Pro Musica. Other School’s choral music program; Vocal Fellows, an concert credits include Carmina Burana with expanded professional development program for Columbia Pro Cantare and Brahms’s Requiem early-career singers; Student Composer Project, with The Washington Chorus, where Rob’s a competition for high-school and college performance was lauded by the Washington Post composers; and Christmas for Kids. Through these for his “warm baritone.” four primary educational programs, Choral Arts serves the very young to early-career Committed to promoting and performing new adult musicians. works, Rob regularly premieres new roles, including Ed Wall in Frances Pollock’s award- For the past 23 years, WMAR Television, the winning opera Stinney, and Saul Hodkin/Price ABC network affiliate in Maryland, has featured in The Ghost Train by Paul Crabtree. Rob’s own Choral Arts in an hour-long special, Christmas compositions include vocal, theatrical and with Choral Arts, which won an Emmy Award orchestral pieces premiered at IngenuityFest, in 2006. The ensemble has been featured Andy’s Summer Playhouse, and by the Windham frequently on The First Art (Public Radio Orchestra in Vermont. International), Performance Today (National Public Radio) and VOX (XM Radio). In Europe, Rob holds degrees from Oberlin Conservatory Choral Arts was featured in a program devoted and the Peabody Institute, and was a young to the music of Handel broadcast on Radio artist with Pittsburgh Festival Opera, Teatro Suisse Romande. Nuovo, and Bel Canto at Caramoor. His awards include first place in the Sylvia Greene Vocal In 2010, Choral Arts released Christmas at Competition, second place in the Piccola Opera America’s First Cathedral on Gothic Records, Competition, and the Patricia A. Edwards Award recorded at the Baltimore Basilica, which in the Annapolis Opera Vocal Competition. includes familiar Christmas favorites as well as premieres by Rosephanye Dunn Powell and Baltimore Choral Arts James Lee, III. A recording with Dave Brubeck, Society and Music featuring Brubeck’s oratorio, The Gates of Justice, Director Anthony was released internationally on the NAXOS Blake Clark label in 2004; Choral Arts is also featured on 2019-20 Introducing the World of American Jewish Music on The Baltimore Choral Naxos. Choral Arts has two other recordings in Arts Society, now in its 54th season, is one of current release: Christmas with Choral Arts and a Maryland’s premier cultural institutions. The live recording of the Rachmaninoff All-Night Vigil. Symphonic Chorus, Chorus, and Chamber Acclaimed artists collaborating with Choral Arts Singers perform throughout the mid-Atlantic have included Chanticleer, the King’s Singers, region, as well as in Washington, D.C., New Anonymous 4, Dave Brubeck, Sweet Honey in the York, and in Europe. In his third season as Music Rock, Peter Schickele, Kathy Mattea, and others. Director, Anthony Blake Clark has established Baltimore Choral Arts’ innovative programs often new, large-scale collaborative performances feature both choral and orchestral music, stage with Maryland Institute College of Art, Maryland and theater works. State Boychoir, and Peabody Youth Orchestra. In

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Music Director Anthony Blake Clark enjoys a Frederick Children’s reputation as one of the freshest young voices Chorus in classical music. Mr. Clark is also Director of Choral Activities in The George Washington Founded in 1985, The University’s Corcoran School of Art and Frederick Children’s Design, where he conducts the University Chorus’s mission is to Singers and vocal chamber ensembles, as bring children together well as mentoring student conductors. He has for the joyful exploration and celebration of prepared choruses for esteemed maestros Sir singing. The chorus offers an opportunity to all John Eliot Gardiner, Simon Halsey, CBE, and children in the community to learn to sing well Gijs Leenaars for concerts with internationally and become confident in their ability to read renowned ensembles, including the Baltimore musical notation, study selections of music from Symphony Orchestra, Berliner Philharmoniker, classical, popular, opera, Broadway, and multi- and Rundfunk Chor Berlin. At New York City’s national folk music repertoire. Lincoln Center for the Performing Arts, he was The chorus involves over 100 singers ages 8 – 18 recently one of several conductors for David in three performing ensembles. The Little Music Lang’s 1,000-voice the public domain, working Makers program provides singing opportunities under his mentor Simon Halsey; he returned for younger musicians ages 3 to 8, engaging as chorusmaster for the 2018 premiere of John them through games, chanting and echoing. Luther Adams’ In the Name of the Earth. A heightened awareness of the use of the voice A native of Texas, Anthony Blake Clark attended is evident in singers who have had early access Baylor University School of Music, studying to these types of programs. In addition to the composition with Dr. Scott McAllister and weekly rehearsal, chorus members are provided conducting with Dr. Lynne Gackle. He was a with a weekly musicianship class and invited to member of the prestigious Baylor A Cappella participate in a week of summer chorus camp. Choir and, in his final year, served as a conductor Members of the choruses are often invited to of the Baylor Chamber Singers. While still an perform for local and regional events. Singers undergraduate, he began his conducting activity from the chorus have performed for several by co-founding The Texas Baroque Ensemble, Rotary Clubs, participated in collaborations presenting in and around San Antonio a wide with The Frederick Chorale, and sung at the range of repertoire from the Baroque and swearing-in ceremony for County Executive Classical eras. Mr. Clark completed advanced and County Council members. The chorus has conducting studies under three-time Grammy traveled to participate in festivals, notably in Award winner Simon Halsey, CBE at the United New Orleans, Denver, and New York, performing Kingdom’s University of Birmingham, which at Carnegie Hall. conferred his Masters of Music Degree in 2015.

24 Bravo! Official Magazine of the Maryland Symphony Orchestra Bravo! Official Magazine of the Maryland Symphony Orchestra 25 26 Bravo! Official Magazine of the Maryland Symphony Orchestra program notes

Consecration of the House Overture Beethoven about reviving the play. As it – Ludwig van Beethoven had done at the premiere, the event would Born December 16, 1770, in Bonn, Germany commemorate the name day of Austrian Died March 26, 1827, in Vienna, Austria Emperor Francis I. However, the title would be changed to Consecration of the House The work was first performed on October 3, and a new text would be penned by poet 1822, at the Theater-an-der-Wien in Vienna, Carl Meisl, leaving only Beethoven’s conducted by the composer. It is scored for two music to support a play for which it was flutes, two oboes, two clarinets, two bassoons, never intended. four horns, two trumpets, three trombones, timpani, and strings. Even though this approach seemed destined to fail, Beethoven consented. Ludwig van Beethoven’s expertise as a He must have had some reservations about composer of dramatic music and his desire the project since he not only revised the to write for the theatre was rarely realized. score, but provided several entirely new His interest in drama began quite early in numbers, including the overture heard his career and was already consuming him on this program. Tragically, Beethoven by 1793 when the young composer relocated insisted on conducting the premiere from to Vienna. Shortly after his arrival, he the keyboard (which is not included in began studies with the celebrated Italian the score), despite his inability to hear composer Antonio Salieri, probably the the orchestra. To assure an adequate most popular operatic composer of his performance, the house conductor of the time, so he could gain a better sense Theater-an-der-Wien, Franz Gläser, was on of the dramatic process. Despite many hand to give necessary cues to the players unsuccessful sketches in the ensuing years, and keep things together. Beethoven produced no stage works until Fidelio appeared over a decade later in 1805. Beethoven’s Overture to Consecration of the All but 81 autograph pages of an earlier House, begins with a stately opening section work, Vestas Feuer, were discarded after full of pomp and pageantry, reminiscent the composer became disillusioned with of the Baroque French overture form used Emanuel Schikaneder’s haphazard libretto so often by J.S. Bach and George Frideric (he had also written the bizarre libretto for Handel. With a lively brass fanfare, Mozart’s The Magic Flute in 1791). accompanied by a florid bassoon solo, the tempo increases slightly, pulling toward While still working on Fidelio’s score, the inevitable brisk section that follows. Beethoven found himself drawn to several A sudden accelerando begins a relentless non-operatic stage projects. He provided drive to the allegro con brio that occupies the music for the plays King Stephen and the remainder of the piece. Built from one The Ruins of Athens in a dual production four-note melodic and rhythmic snippet, given on October 4, 1811, in Pest, Hungary, this section is brimming with Beethoven’s and returned to Vienna soon afterward. usual developmental techniques – sudden Eleven years passed and The Ruins of Athens dynamic contrasts, rhythmic economy, and became largely forgotten. In 1822 the an unmatched sense of dramatic pacing. theatrical impresario Carl Friedrich Hensler assumed duties as director of the Theater- ©2019 Orpheus Music Prose & Craig Doolin an-der-Wien in Vienna and contacted www.orpheusnotes.com Bravo! Official Magazine of the Maryland Symphony Orchestra 27 program notes

Knoxville: Summer of 1915 Within six months, Toscanini sent the – Samuel Barber scores back with no explanation. Assuming Born March 9, 1910, in West Chester, Pennsylvania that the maestro was not interested in Died January 23, 1981, in New York, New York the pieces, Barber begrudgingly began a search for another conductor. On vacation This work was premiered on April 9, 1948, by with Menotti in 1938, the two discussed the Boston Symphony Orchestra conducted visiting Toscanini at his island home in by Serge Koussevitzky with Eleanor Steber as Lake Maggiore, but Barber could not soloist. It is scored for solo voice, piccolo, flute, bring himself to visit the man who had oboe, English horn, clarinet, bassoon, two refused his music. Little did he realize that horns, trumpet, triangle, harp, and strings. Toscanini had memorized both scores Although he first came to the public’s and would premiere them on the same attention in the 1930s, it was a period of program before the year ended. Barber’s transition for Samuel Barber. He spent close association with Toscanini brought the school year as a student at the Curtis him recognition as one of the leading young Institute of Music in Philadelphia, and composers of his generation. summers in Cadegliano, Italy, with his After a stint in the U.S. Army Air Corps partner and fellow composer, Gian Carlo during World War II, Barber returned to his Menotti. Summers there allowed Barber home in upstate New York. By this point, to escape the tensions of his studies and a he was a respected composer and it seemed city that he felt was musically confining. He that everyone of consequence in the music spent a large portion of his time swimming, world wanted to commission a new work. In bicycling, shopping, playing tennis, and 1946-47 Barber composed Knoxville: Summer composing, which came much more of 1915 for soprano Eleanor Steber. readily to him when combined with leisure activities. Knoxville: Summer of 1915 was inspired by a 1938 lyrical prose work of James Agee who With his career well underway, due largely grew up in Knoxville, Tennessee. Born in to Artur Rodzinski’s performance of his 1909, Agee had a difficult childhood. His Symphony No.1 at the 1937 Salzburg father was killed in an auto accident in Festival, Barber tried to cement his 1916 and this early loss informed nearly all reputation by finding notable conductors his work, including his novel A Death in the to introduce his newest works. Arturo Family. Knoxville: Summer of 1915 looks back Toscanini, the esteemed maestro who had fondly on the days when the family was premiered Puccini’s final operas, was in together and happy. Salzburg during the Festival. Barber sent Toscanini the scores of his newest works, Barber was attracted to Agee’s work, as the first Essay for Orchestra (he would West Chester, Pennsylvania, was not that compose a second such work in 1942 and a different from Knoxville in 1915. He wrote, third in 1978) and Adagio for Strings (Barber’s “It reminded me so much of summer own arrangement of the slow movement evenings in West Chester, now very far from his String Quartet), knowing that a away …” The work is a captured moment premiere under the baton of the legendary in time. It depicts a lazy summer evening conductor would bode well for his career. outside the house. It remembers those

28 Bravo! Official Magazine of the Maryland Symphony Orchestra program notes priceless moments of family togetherness by. A horse, drawing a buggy, breaking his where nothing is said or done, and the hollow iron music on the asphalt; a loud importance of which is never grasped at the auto; a quiet auto; people in pairs, not in time. Barber said: a hurry, scuffling, switching their weight of aestival body, talking casually, the taste “Agee’s poem was vivid and moved me hovering over them of vanilla, strawberry, deeply, and my musical response that pasteboard and starched milk, the image summer of 1947 was immediate and upon them of lovers and horsemen, intense. I think I must have composed squared with clowns in hueless amber. Knoxville within a few days.” A street car raising its iron moan; stopping, Barber used the second half of Agee’s text belling and starting; stertorous; rousing and made only few scant edits. His setting and raising again its iron increasing moan is largely through-composed, but the and swimming its gold windows and straw introduction and opening section repeat seats on past and past and past, the bleak just before the final coda. spark crackling and cursing above it like a small malignant spirit set to dog its tracks; Barber’s music is reflective of the text. The the iron whine rises on rising speed; still rocking theme so prevalent in the work is risen, faints; halts, the faint stinging bell; no doubt the rocking chair on the porch. rises again, still fainter, fainting, lifting, Soprano Leontyne Price, one of the best lifts, faints forgone: forgotten. Now is the performers of the piece, stated: night one blue dew. Now is the night one “Everything I know about my roots and blue dew, my father has drained, he has about my Mum and Daddy and my coiled the hose. Low on the length of lawns, hometown … it’s like a painting, and I a frailing of fire who breathes. think he set it perfectly. You can hear Parents on porches: rock and rock: From the streetcar, the horns, and everything, damp strings morning glories: hang their you can smell the strawberries.” ancient faces. The dry and exalted noise of The overall atmosphere is one of relaxation the locusts from all the air at once enchants and the wonder of twilight through the eyes my eardrums. On the rough wet grass of of a child. It is dedicated to Barber’s father. the back yard my father and mother have spread quilts. ©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there. They are not talking much, and the talk is TEXT quiet, of nothing in particular, of nothing It has become that time of evening when at all in particular, of nothing at all. The people sit on their porches, rocking gently stars are wide and alive, they seem each and talking gently and watching the street like a smile of great sweetness, and they and the standing up into their sphere seem very near. All my people are larger of possession of the trees, of birds hung bodies than mine, with voices gentle and havens, hangars. People go by; things go meaningless like the voices of sleeping birds. One is an artist, he is living at home.

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One is a musician, she is living at home. compositions for small percussion One is my mother who is good to me. One instruments – drums, rattles, and is my father who is good to me. By some pitched mallet keyboards – comprising chance, here they are, all on this earth; and a comprehensive school music program who shall ever tell the sorrow of being on based on musical performance, this earth, lying, on quilts, on the grass, in a improvisation, and physical movement. summer evening, among the sounds of the Since its introduction in 1930, Orff- night. May god bless my people, my uncle, Schulwerk has proven to be far more my aunt, my mother, my good father, oh, effective than the standard sing-song remember them kindly in their time of approach so common in American public trouble; and in the hour of their schools. Among Orff’s compositions for taking away. the concert hall are theatre pieces, operas, choral works, and orchestral compositions. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and Although Orff’s 1936 Carmina Burana those receive me, who quietly treat me, as stands alone as an effective piece, he later one familiar and well-beloved in that home: designated it as part of a trilogy of similar but will not, oh, will not, not now, not ever; works, entitled Trionfi, for solo singers, but will not ever tell me who I am. chorus, and orchestra. The other two pieces are the 1943 two-part Catulli Carmina, Carmina Burana setting the graphically erotic verse of the – Carl Orff Roman poet Catullus, and his 1951 Trionfo Born July 10, 1895, in Munich, Germany di Afrodite, which uses ancient poetry to Died March 29, 1982, in Munich, Germany describe marital union. The New Grove This work was first performed on June 8, Dictionary of Music and Musicians carefully 1937, in Frankfurt, Germany. It is scored describes Trionfi as an “exploration of divine for a very large orchestra consisting of two and worldly love.” These three magnificent piccolos, three flutes, three oboes, English and visionary pieces are each modern horn, E-flat clarinet, three clarinets, bass interpretations of ancient texts, but are clarinet, two bassoons, contrabassoon, four not Neoclassical. There is no borrowing of horns, three trumpets, three trombones, melodies from earlier music, and the focus tuba, percussion, timpani, celesta, two pianos, is not on Classical and Baroque styles, but and strings, along with a large chorus, a on characteristics from the Medieval and chorus of children, and soprano, tenor, and Renaissance. Strangely, the sentiments baritone soloists. and desires expressed in these writings find resonance in the lives and loves of modern German composer Carl Orff, although men and women. known today for just one work, was both a prolific and creative composer, and a For Carmina Burana, Orff and his pioneer in the field of music education. collaborator Karl Huber chose excerpts His pedagogical collection entitled from a collection of poems found in the Orff-Schulwerk consists of numerous Abbey of Benediktbueren, which were written by monks to express their longing for the forbidden pleasures of sex and drunkenness, their appreciation of nature,

30 Bravo! Official Magazine of the Maryland Symphony Orchestra program notes and a decidedly non-religious reverence for Perhaps famed conductor Leopold the power of fate. Orff designated the work Stokowski described this unusual composer as “secular songs for singers and choruses most vividly in his oft-quoted statement on accompanied by instruments and magical the occasion of the 1954 American premiere images.” Many performances include of the work: dancers, scenery, and other theatrical trappings, and Orff used some of these, but “I believe that Orff’s genius – combining his title likely refers to a simple slideshow of as it does so magnificently all the evocative images – perhaps of monastic and resources of traditional occidental secular art dealing with ancient subjects. music with vigorous new conceptions Regardless of practice or intention, it of lyricism, romantic intensity, gigantic remains certain that Carl Orff created architectonics, rhythmic audacity, an something completely fresh and new by extraordinarily personal blending of delving back into history and repackaging pagan and modern feeling, and the old wine in new bottles. mature simplicity achieved only by a master – will be regognized by future The work is in five parts – a prelude entitled generations as a major departure in the “Fortuna Imperatrix Mundi” (Fortune, development of the art of music.” Empress of the World), followed by sections devoted to springtime, the tavern, and “the Despite Stokowski’s lavish praise, it is court of love,” with a reprise of the prelude important to remember the historical at the end of the piece. Set for soprano, fact that Carmina Burana is arguably the tenor, and baritone soloists, mixed chorus, most important musical composition to chorus of children, and an orchestra of come from Nazi Germany. Only in recent curious instrumentation, the work consists years has the degree to which Orff was of newly-composed music that evokes sympathetic to Nazi views begun to come to a primitive world in its use of ostinato light. Karl Huber, Orff’s collaborator on the patterns, simple scalar melodies, and libretto for Carmina Burana, was one of the modal harmonies. On several occasions, founders of the White Rose organization actions or sentiments in the text are that opposed Hitler’s rule. In 1943 he was reflected in the orchestra – for example, arrested, tortured, and executed. Orff the spinning of the Wheel of Fortune refused to make any statement to help his reflected in the ostinato patterns of the friend, then three years later, when being opening chorus, and the brilliant effect of a questioned for denazification, falsely horse’s hoofbeats fading into the distance claimed to have co-founded White Rose. in the chorus “Floret silva.” Likewise, the Although his actions could have been vocal soloists are pushed to the limits of strictly for self-preservation, Orff provides their ranges, as in the baritone falsetto us with exactly the same dilemma as does pyrotechnics of “Ego sum abbas,” and the Wagner. Despite the inevitable pedestal soprano’s glorious melisma in “Dulcissime.” upon which composers eventually reside, The tenor soloist, in his highest range, it is important to understand their human depicts a swan roasting on a spit as he sees flaws and weaknesses. Regardless of how the gnashing of teeth approaching him, despicable Orff’s deeds were, he remains a representing the all-too-real horrors of unique and important voice with much to earthly life. say to modern audiences. ©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com program notes

CARMINA BURANA (SONGS OF BENEDICTBUREN)

Cantiones profanae Cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Secular Songs for singers and choruses accompanied by instruments and magical images)

FORTUNA IMPERATRIX MUNDI (FORTUNE RULER OF THE WORLD)

1. O Fortuna! 1. O Fortune! (CHORUS) (CHORUS) O Fortuna, O Fortune, velut luna Like the moon statu variabilis, You are changeable, semper crescis Always waxing aut decrescis; And waning; vita detestabilis Detestable life nunc obdurat That now oppresses et tunc curat And then comforts us ludo mentis aciem, At its whim, egestatem, Poverty potestatem And power dissolvit ut glaciem. Melt like ice.

Sors immanis Fate, savage et inanis, And hollow, rota tu volubilis, You spinning wheel, Status malus, Staying unlucky. vana salus Luck is vain, semper dissolubilis, Is always destroyed. obumbrata Concealed et velata And veiled, michi quoque niteris; You attack me too; nunc per ludum Now, for your sport, dorsum nudum I bare my back fero tui sceleris. To your fierce assault.

Sors salutis Fate is against me et virtutis In health michi nunc contraria And virtue est affectus Weakened et defectus And failing, semper in angaria. Always enslaved. Hac in hora So at this hour sine mora Without delay corde pulsum tangite; Let everyone pluck the pulsating strings; quod per sortem Since Fate sternit fortem, Smites the powerful man, mecum omnes Let everyone plangite! Weep with me!

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2. Fortune plango vulnera 2. I mourn the wounds of Fortune (CHORUS) (CHORUS) Fortune plango I mourn the wounds vulnera Of Fortune stillantibus ocellis, With weeping eyes, quod sua michi munera For the gifts she gave me subtrahit rebellis. She rebelliously takes away. Verum est, quod legitur Certainly, everyone knows fronte capillata, She has much hair in the front, sed plerumque sequitur But occasionally Occasio calvata. She is bald.

In Fortune solio I used to sit high sederam elatus, Upon Fortune’s throne, prosperitatis vario Crowned with the multi-colored flore coronatus; Blossoms of prosperity; quisquid enim florui Indeed, though I flourished felix et beatus, Lucky and blessed, nunc a summo corrui Now I tumble from the summit gloria privatus. Deprived of glory.

Fortune rota volvitur: Fortune whirls around; descendo minoratus, I descend, shamed; alter in altum tollitur; Someone else is elevated; nimis exaltatus So high sits rex sedet in vertice The king at the summit, caveat ruinam! Let him fear ruin! Nam sub axe legimus For Queen Hecuba Hecubam reginam. Lurks under the axle.

I. PRIMO VERE (SPRINGTIME)

3. Veris leta facies 3. The smiling face of spring (SMALL CHORUS) (SMALL CHORUS) Veris leta facies The smiling face of spring mundo propinatur, Is given to the world, hiemalis acies Winter’s harshness victa iam fugatur, Flees defeated; in vestitu vario Enrobed in many colors, Flora principatur, Flora reigns, nemorum dulcisono The forest flatters her qui cantu celebratur. With songs of praise.

Flore fusus gremio Lying in Flora’s lap Phebus novo more Phoebus once more laughs, risum dat, hoc vario Now covered iam stipate flore. In multi-colored flowers. Zephyrus nectareo Zephyr breathes spirans in odore; The nectar scent. Certatim pro bravio Let us rush to vie curramus in amore. For the prize of love.

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Cytharizat cantico Harp-like sings dulcis Philomena, The sweet nightingale, flore rident vario With many flowers prata iam serena, The radiant meadows are laughing. salit cetus avium Birds dart about silve per amena, The pleasant forests, chorus promit virginum The chorus of maidens iam gaudia millena. Brings a thousand delights.

4. Onmia sol temperat 4. The sun tempers everything (BARITONE SOLO) (BARITONE SOLO) Omnia sol temperat The sun tempers everything, purus et subtilis, Pure and gentle, nova mundo reserat The world reveals faciem Aprilis, April’s fresh face, ad Amorem properat The soul of man animus herilis Rushes to love, et iocundus imperat And the joyful are governed deus puerilis. By the youthful god.

Rerum tanta novitas This great renewal in solemni vere In spring’s ritual et veris auctoritas And power iubet nos gaudere, Calls us to rejoice, vias prebet solitas, Shows us again the well-known paths et in tuo vere And in spring fides est et probitas. It is good and proper tuum retinere. To hold fast to your mate.

Ama me fideliter! Love me faithfully! Fidem meam nota: See the faithfulness: de corde totaliter In all of my heart et ex mente tota And my whole mind sum presentialiter I am with you absens in remota, Even when I am far away. quisquis amat taliter. Whoever loves that much volvitur in rota. Is tortured on the wheel.

5. Ecce gratum 5. Behold, the pleasant spring (CHORUS) (CHORUS) Ecce gratum Behold the pleasant et optatum And awaited ver reducit gaudia; Spring brings back happiness, purpuratum Purple flowers floret pratum, Fill the fields, Sol serenat omnia. The sun brightens everything. Iam iam cedant tristia! Already sadness is ended! Estas redit, Summer returns, nunc recedit Now the ferocity Hyemis sevitia. Of winter retreats.

Iam liquescit Now melts et decrescit And disappears grando, nix et cetera; Hail, snow, and everything else; bruma fugit, Winter flees, et iam sugit, And spring now sucks Ver Estatis ubera; At summer’s breast; illi mens est misera, Miserable is he

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qui nec vivit, Who does not live nec lascivit sub Or frolic Estatis dextera. Under the rule of summer.

Gloriantur They boast et letantur And rejoice in melle dulcedinis, In honeyed sweetness qui conantur, Who endeavor ut utantur To use Cupid’s prize; premio Cupidinis; At Cyprian Venus’ command simus jussu Cypridis Let us boast gloriantes et letantes And rejoice pares esse Paridis. In being equals of Paris.

UF DEM ANGER (ON THE MEADOW)

6. Tanz 6. Dance (ORCHESTRA) (ORCHESTRA)

7. Floret silva nobilis 7. The noble woods are blooming (CHORUS) (CHORUS) Floret silva nobilis, The noble woods are blooming floribus et foliis. With flowers and leaves. Ubi est antiquus Where is the lover meus amicus? I knew long ago? hinc equitavit. He has ridden away. Eia, quis me amabit? Oh, who will love me?

Floret silva undique, The woods are blooming all over, nah mime gesellen ist mir wê. I am longing for my lover. Gruonet der walt allenthalben, The woods are green all over, wâ ist min geselle alse lange? Where has my lover gone for so long? Der ist geriten hinnen, He has ridden away, owî, wer sol mich minnen? Oh woe, who will love me?

8. Chramer, gip die varwe mir 8. Clerk, give me rouge (SOPRANOS AND CHORUS) (SOPRANOS AND CHORUS) Chramer, gip die varwe mir, Clerk, give me rouge diu min wengel roete, To make my cheeks red, damit ich die jungen man So that I can make the young men an ir dank der minnenliebe noete. Welcome my love. Seht mich an, Look at me, jungen man! Young men! Lat mich iu gevallen. Let me please you.

Minnet, tugentliche man, Good men love minnecliche frouwen! Lovely women! Minne tuot iu hoch gemuot Love lifts your spirits unde lat iuch in hohen eren schouwen. And brings you great honor. Seht mich, Look at me, jungen man! Young men! Lat mich iu gevallen. Let me please you.

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Wol dir Werlt, daz du bist Hail, world, also freudenriche! So rich in joys! Ich will dir sin undertan I will always be loyal to you durch din liebe immer sicherliche. Because of the pleasures you give me. Seht mich, Look at me, jungen man! Young men! Lat mich iu gevallen. Let me please you.

9. Reie 9. Round Dance (CHORUS) (CHORUS) Swaz hie gat umbe Those who go round and round daz sint alles megede, Are all maidens die wellent an man Who want to have a man alle disen sumer gan! All summer long!

Chume, chume, geselle min, Come, come, my love, ih enbite harte din. I long for you. Suzer rosenvarwer munt, Sweet rosy lips, chum uñ mache mich gesunt. Come and make me whole.

Swaz hie gat umbe, Those who go round and round daz sint alles megede, Are all maidens die wellent an man Who want to have a man allen disen sumer gan! All summer long!

10. Were diu werlt alle min 10. If the world were all mine (CHORUS) (CHORUS) Were diu werlt alle min If the world were all mine, von deme mere unze an den Rin, From the sea to the Rhine, des wolt ih mih darben, I would give it up daz diu chünegin von Engellant To have the Queen of England lege an minen armen. Lying in my arms.

II. IN TABERNA (IN THE TAVERN)

11. Estuans interius 11. Boiling inside (BARITONE SOLO) (BARITONE SOLO) Estuans interius Boiling inside ira vehementi With violent rage, in amaritudine Bitterly loquor mee menti: I speak to myself: factus de materia, Made of matter, cinis elementi Ash of the elements similis sum folio I am like a leaf de quo ludunt venti. Teased by the winds.

Cum sit enim proprium If it is the way viro sapienti Of the wise man supra petram ponere To build sedem fundamenti, On a foundation of rock, stultus ego comparor Then I am a fool, fluvio labenti, Like a flowing stream sub eodem tramite That never remains nunquam permanenti. Within its set course.

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Feror ego veluti I am carried along sine nauta navis, Like a ship without a navigator, ut per vias aeris And like a flying bird vaga fertur avis, I am blown by the winds; non me tenent vincula, No chains hold me, non me tenent clavis, No key holds me; quero mihi similes, I seek other people like me et adiungor pravis. And join up with the wicked.

Mihi cordis gravitas Heaviness of heart res videtur gravis; Seems like a burden to me; iocus est amabilis Joking is delightful dulciorque favis; And sweeter than honeycombs; quicquid Venus imperat, Whatever Venus commands labor est suavis, Is a sweet task, que nunquam in cordibus And never dwells habitat ignavis. In spiritless hearts.

Via lata gradior I travel the broad path more iuventutis Like a young person, implicor me vitiis I give in to vice immemor virtutis, And forget about virtue, voluptatis avidus More eager for pleasure magis quam salutis, Than for well-being, mortuus in anima Dead in soul curam gero cutis. I look after my body.

12. Cignus ustus cantat 12. The roast swan sings (TENOR SOLO AND MALE CHORUS) (TENOR SOLO AND MALE CHORUS) Olim lacus colueram, Once I lived on lakes, olim pulcher extiteram Once I looked beautiful dum cignus ego fueram. When I was a swan.

Miser, miser! Poor, poor! modo niger Now I am black et ustus fortiter! And roasting fiercely!

Girat, regirat garcifer; The servant turns me on the spit; me rogus urit fortiter: I burn fiercely on the pyre; propinat me nunc dapifer, The waiter now serves me up.

Miser, miser! Poor, poor! modo niger Now I am black et ustus fortiter! And roasting fiercely!

Nunc in scutella iaceo, Now I lie on the platter, et volitare nequeo And cannot fly, dentes frendentes video: I see bared teeth.

Miser, miser! Poor, poor! modo niger Now I am black et ustus fortiter! And roasting fiercely!

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13. Ego sum abbas 13. I am the abbot (BARITONE SOLO AND MALE CHORUS) (BARITONE SOLO AND MALE CHORUS) Ego sum abbas Cucaniensis I am the abbot of Cockaigne et consilium meum est cum bibulis, And my congregation are drinkers, et in secta Decii voluntas mea est, And my sect is that of Decius, et qui mane me quesierit in taberna, And whoever finds me in the tavern post vesperam nudus egredietur, In the morning will leave naked after Vespers, et sic denudatus veste clamabit: And, stripped of his garments, will cry out:

Wafna, wafna! Wafna, wafna! quid fecisti sors turpissima? What have you done, evil Fate? Nostre vite gaudia You have stolen abstulisti omnia! All the joys of my life!

14. In taberna quando sumus 14. When we are in the tavern (MALE CHORUS) (MALE CHORUS) In taberna quando sumus, When we are in the tavern non curamus quid sit humus, We do not worry how we will return to dust, sed ad ludum properamus, But we rush to gamble, cui semper insudamus. Which always makes us sweat. Quid agatur in taberna, If you ask what happens in the tavern, ubi nummus est pincerna, Where money brings more wine, hoc est opus ut queratur And you may well ask, si quid loquar, audiatur. Then hear what I say.

Quidam ludunt,quidam bibunt Some gamble, some drink quidam indiscrete vivunt. Some behave indiscriminately. Sed in ludo qui morantur, But of those who stay and gamble, ex his quidam denundantur, Some lose their clothes, quidam ibi vestiuntur, Others win them, Quidam saccis induuntur. Some wear sackcloth. Ibi nullus timet mortem, Here no one fears death, sed pro Baccho mittunt sortem. They throw the dice in the name of Bacchus.

Primo pro nummata vini, First for the wine merchant ex hac bibunt libertini; For which the libertines drink; semel bibunt pro captivis, Once they drink for the prisoners, post hec bibunt ter pro vivis, Then three times for the living, quater pro Christianis cunctis, Four times to the Christians, quinquies pro fidelibus defunctis, Five times for the faithful departed, sexies pro sororibus vanis, Six times for the brazen sisters, septies pro militibus silvanis. Seven times for the foot soldiers in the forest.

Octies pro fratribus perversis, Eight times for the errant brothers, nonies pro monachis dispersis, Nine times for the scattered monks, decies pro navigantibus, Ten times for the seamen, undecies pro discortantibus, Eleven times for the quarrelers, duodecies pro penitentibus, Twelve times for the penitent, tredecies pro iter agentibus. Thirteen times for the travelers, Tam pro papa quam pro rege For the Pope just as for the king bibunt omnes sine lege. They all drink freely.

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Bibit hera, bibit herus, The mistress drinks, the master drinks, bibit miles, bibit clerus, The soldier drinks, the cleric drinks, bibit ille, bibit illa, The man drinks, the woman drinks, bibit servus cum ancilla, The servant drinks with the maid, bibit velox, bibit piger, The quick man drinks, the slow man drinks, bibit albus, bibit niger, The white man drinks, the black man drinks, bibit constans, bibit vagus The settled man drinks, the wanderer drinks, bibit rudis, bibit magnus. The stupid man drinks, the wise man drinks,

Bibit pauper et egrotus, The poor man and the sick man drink, bibit exul et ignotus, The exile and the stranger drink, bibit puer, bibit canus, The boy drinks, the old man drinks, bibit presul et decanus, The bishop and the deacon drink, bibit soror, bibit frater, The sister drinks, the brother drinks, bibit anus, bibit mater, The old lady drinks, the mother drinks, bibit ista, bibit ille, This man drinks, that man drinks, bibunt centum, bibunt mille. A hundred drink, a thousand drink.

Parum sexcente nummate durant, Six hundred coins cum immoderate Will not be enough bibunt omnes sine meta, If everyone drinks without limits. Quamvis bibant mente leta; Though they may happily drink, sic nos rodunt omnes gentes, Everyone will scold us, et sic erimus egentes. And thus we will be destitute. Qui nos rodunt confundantur Let those who slander us be cursed, et cum iustis non scribantur. And may their names not be inscribed with the just.

III. COUR D’ AMOURS (THE COURT OF LOVE)

15. Amor volat unique 15. Love flies everywhere (SOPRANO SOLO AND CHILDRENS CHORUS) (SOPRANO SOLO AND CHILDRENS CHORUS) Amor volat undique; Love flies everywhere; captus est libidine. Seized by desire. Iuvenes, iuvencule Young men and girls coniunguntur merito. Are rightly coupled.

Siqua sine socio, The girl without a lover caret omni gaudio, Misses out on all delights; tenet noctis infima Deepest night holds sub intimo Her intimate heart cordis in custodia: In slavery: fit res amarissima. It is a most bitter thing.

16. Dies, nox et omnia 16. Day, night and everything (BARITONE SOLO) (BARITONE SOLO) Dies nox et omnia Day, night and everything michi sunt contraria, Are against me, virginum colloquia, The chattering of young girls me fay planszer, Makes me weep, oy suvenz suspirer, And often sigh, plu me fay temer. And most of all makes me tremble.

Bravo! Official Magazine of the Maryland Symphony Orchestra 39 program notes

O sodales, ludite, O friends, entertain yourselves, vos qui scitis dicite, You who understand, go on, michi mesto parcite, Spare me my sorrow. grand ey dolur My grief is great, attamen consulite Advise me at least, per voster honur. By your honor.

Tua pulchra facies, Your beautiful face me fey planser milies, And my heart pectus habet glacies. Make me cry a thousand tears. A remender, As a remedy, statim vivus fierem I would be revived per un baser. By one kiss.

17. Stetit puella 17. A girl stood (SOPRANO SOLO) (SOPRANO SOLO) Stetit puella A girl stood rufa tunica; In a red tunic; Si quis eam tetigit, If anyone touched the tunic tunica crepuit. It rustled.

Statit puella, A girl stood tamquam rosula; Like a little rose; facie splenduit, Her face was radiant os eius floruit. And her mouth bloomed.

18. Circa mea pectora 18. In my heart (BARITONE SOLO AND CHORUS) (BARITONE SOLO AND CHORUS) Circa mea pectora In my heart multa sunt suspiria Are many sighs de tua pulchritudine, For your beauty, que me ledunt misere. Which cause me pain.

Mandaliet, Mandaliet, Mandaliet, mandaliet, min geselle chumet niet. My lover does not come.

Tui lucent oculi Your eyes shine sicut solis radii, Like the rays of the sun, sicut splendor fulguris Like a flash of lightning lucem donans tenebris. Brightens the darkness.

Mandaliet, Mandaliet, Mandaliet, mandaliet, min geselle chumet niet. My lover does not come.

Vellet deus, vellent dii, May God grant, may all the gods grant quod mente proposui: My resolve: ut eius virginea To undo the bonds reserassem vincula. Of her virginity.

Mandaliet, Mandaliet, Mandaliet, mandaliet, min geselle chumet niet. My lover does not come.

40 Bravo! Official Magazine of the Maryland Symphony Orchestra program notes

19. Si puer cum puellula 19. If a boy and a young girl (BARITONE SOLO AND SMALL MALE CHORUS) (BARITONE SOLO AND SMALL MALE CHORUS) Si puer cum puellula If a boy and a young girl moraretur in cellula, Dally in a little room, felix coniunctio. Their coupling is happy. Amore suscrescente, Love rises up pariter e medio Between them avulso procul tedio, And restraint is driven away, fit ludus ineffabilis An indescribable game begins membris, lacertis, labiis. With their limbs, arms, and lips.

20. Veni, veni, venias! 20. Come, come, come (DOUBLE CHORUS) (DOUBLE CHORUS) Veni, veni, venias, Come, come, come ne me mori facias, Do not make me die, hyrca, hyrce, nazaza, hyrca, hyrce, nazaza, trillirivos trillirivos

Pulchra tibi facies, Your beautiful face, oculorum acies, Your sparkling eyes, capillorum series, Your braided hair, o quam clara species! What a glorious creature!

Rosa rubicundior, Redder than the rose, lilio candidior, Whiter than the lily, omnibus formosior, More beautiful than anyone else, semper in te glorior! I glory in you unceasingly!

21. In trutina 21. Weighed in the balance (SOPRANO SOLO) (SOPRANO SOLO) In trutina mentis dubia Weighed in the balance fluctuant contraria Of my wavering feelings lascivus amor et pudicitia. Are lascivious love and chastity. Sed eligo quod video, But I choose what I can see, collum iugo prebeo; And bend my neck to that yoke: ad iugum tamen suave transeo. To the sweet yoke I yield.

22. Tempus est iocundum 22. This is the delightful time (SOPRANO AND BARITONE SOLOS, (SOPRANO AND BARITONE SOLOS, CHILDRENS CHORUS) CHILDRENS CHORUS) Tempus est iocundum, This is the delightful time o virgines, O maidens, modo con gaudete Rejoice with them, vos iuvenes. Young men.