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Great Big Choruses: from Broadway to Beethoven

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SEASON FINALE GREAT BIG CHORUSES: FROM BROADWAY TO BEETHOVEN 1 GREAT BIG CHORUSES: FROM BROADWAY TO BEETHOVEN SUNDAY, JUNE 7, 2015, 4:00 PM Dell Hall, Long Center for the Performing Arts Pre-concert talk one hour before the performance: Margaret Perry, Director, Armstrong Community Music School CONSPIRARE SYMPHONIC CHOIR CONSPIRARE COMPANY OF VOICES VICTORIA BACH FESTIVAL CHORUS AND ORCHESTRA MELA DAILEY, SOPRANO LAURA MERCADO-WRIGHT, MEZZO-SOPRANO ERIC NEUVILLE, TENOR CHARLES WESLEY EVANS, BARITONE CRAIG HELLA JOHNSON ARTISTIC DIRECTOR & CONDUCTOR SEASON SUSTAINING UNDERWRITER 2 3 PROGRAM NOTES GREAT BIG CHORUSES By default, everything the combined Conspirare/Victoria chorus sings is big. Among these are big choruses—mostly excerpted from larger PROGRAM works—that rise to the level of greatness. Some you may have sung D E D ICATE D TO B O B K ARLI yourself at a Conspirare “Big Sing,” others are familiar favorites, and one on this program is a world premiere. Sanctus (Messa de Requiem) ..................................................................Giuseppi Verdi (1813-1901) The joyful and dancelike “Sanctus” from Verdi’s Requiem is a contrast Zadok the Priest ................................................................................George Frideric Handel (1685-1759) and a brief relief from the somber character of most of the work. The double chorus’s surges of enthusiasm are mirrored in the virtuoso Agnus Dei (Requiem, Op. 48) ...............................................................Gabriel Fauré (1845-1924) orchestral accompaniment, culminating in upward and downward sweeps near the end and closing in a blaze of choral-orchestral glory. Sanctus (Requiem, Op. 9) ......................................................................Maurice Duruflé (1902-1986) Handel’s four Coronation Anthems were commissioned for the crowning Dies irae (Requiem in D minor, K. 626) .....................Wolfgang Amadeus Mozart (1756-1791) of George II in 1727. The longest and most familiar, Zadok the Priest, ed. Süssmayer has been used at every British coronation since. As site-specific artworks, Handel composed the anthems in broad, emphatic strokes to Lacrimosa (Requiem in D minor, K. 626) ...................................... Wolfgang Amadeus Mozart suit the vast space and reverberation of Westminster Abbey. ed. Süssmayer Choruses are not great only from being loud and dramatic. The Requiem Let Us Join in Celebration ................................................................... Bedřich Smetana (1824-1884) Mass movements by French Romantic composers Fauré (“Agnus Dei”) (The Bartered Bride) choral arr. Greg Pliska and Duruflé (“Sanctus”) offer a complete contrast to the theatrical “Sanctus” of Verdi. Their overall restraint and transparency evoke a O Fortuna (Carmina Burana) ............................................................................. Carl Orff (1895-1982) divine image that is more personal and familiar while still mysteriously complex and awe-inspiring. Geistliches Lied ..........................................Johannes Brahms (1833-1897), arr. Sir John Eliot Gardiner A movement from Mozart’s Requiem Mass returns to a Classic view The Heavens Are Telling (The Creation) ................................. Franz Josef Haydn (1732-1809) of the texts, with the “Dies irae” (Day of Wrath) depicting God as the Eternal Judge in fiery trumpets, timpani, flaming strings, and chorus phrases like glowing embers. The later “Lacrimosa” (“Tearful”) section — INTERMISSION — of the Dies irae text extends the image of fire transformed to the ashes and tears of the guilty sinner. So Long As Days Shall Be ....................................................................... Donald Grantham (b. 1947) Smetana’s comic opera The Bartered Bride has always been popular in World premiere his Czech homeland but rarely produced in the United States, with only its overture and dance numbers regularly excerpted for concert use. It’s a Grand Night for Singing (State Fair) ....................................Richard Rogers (1902-1979) Now that there is a renewed enthusiasm for the institution of marriage, orchestral arr. Bruce Pomahac a revival of at least this (mostly) joyful chorus of villagers extolling the virtues of marriage seems appropriate. Till There Was You (The Music Man) .......................................... Meredith Willson (1902-1984) orchestral arr. Don Walker Orff’s Carmina Burana is a setting of sometimes-bawdy love and drinking songs from the Middle Ages, an innovative pouring of old wine Finale “Ode to Joy” (Symphony No. 9 in D minor) ........... Ludwig van Beethoven (1770-1827) into a new wineskin. The opening “O Fortuna” is a perennial audience 4 5 favorite and one of the most massive of big choruses. It drives home its 4. The orchestra seems to agree and develops the theme depiction of fickle fate with overwhelming choral thrusts backed up by extensively, but then doubts itself and abruptly returns to the immense orchestra with intense percussion. furious opening music. 5. Now only the entrance of the human voice—the baritone solo With its hopeful and consoling text, Brahms’s Geistliches Lied, in this recitative—can calm the chaos. He begs for peace and re- string orchestra arrangement of the original organ-accompanied version, introduces the “Ode to Joy” melody, this time with words. could almost be a bonus movement to the composer’s later A German 6. The human chorus agrees immediately and continues with Requiem. The broad, expansive gestures and profound calm of the music variations on the theme that develop into the extended express the acceptance of God’s grace and the renunciation of all worry. movement. By age 65, Haydn knew what worked in musical composition, and –ERIC LEIBROCK he put it to fullest use in his masterpiece The Creation. Part One of the oratorio ends with this famous chorus winding up the fourth day of creation. The three angel soloists lead the heavenly host (the rapid COMPOSER NOTE: beating of their wings painted in the strings) in this increasingly ecstatic number, cunningly designed to close Act I with a bang. SO LONG AS DAYS SHALL BE So Long as Days Shall Be takes its text from The Bay Psalm Book, Rodgers and Hammerstein originally wrote “It’s a Grand Night for which was first printed in 1640 in Cambridge, Massachusetts. This Singing” for the movie State Fair. Hayseed siblings have run into new translation of the psalms was the first book in English to be produced in big-city romances at the Iowa State Fair, and all looks rosy for the America, appearing just twenty years after the Pilgrims’ arrival. “Thirty time being. The sweeping waltz melody is reminiscent of traditional pious and learned ministers” including John Eliot and Richard Mather American hits like “After the Ball” and “Take Me Out to the Ballgame.” (grandfather of Cotton Mather of Salem witch trial fame) authored the work. Their translation is metrical, roughly-rhymed, and—in their More from Iowa: native son Meredith Willson spent almost a decade view—closer to the Hebrew originals than the ones found in other perfecting The Music Man before its Broadway premiere. Its loving psalters of the period. They sound rather eccentric to modern ears; none portrayal of the American heartland features Marian the Librarian, are now in common use and all have disappeared from contemporary whose romantic passion had never been awakened “Till There Was You,” hymnals. that is, “Professor” Harold Hill, the charlatan band director. The couple is improbably but unavoidably united in the last moments of this finale. It was precisely this unfamiliar aspect that appealed to me as a composer, and I chose two of the most familiar psalms—23 and 100—to A blow-by-blow description of music is for once appropriate in set to music. I heard these texts in a new and fresh way when I first read understanding the finale of Beethoven’s Symphony No. 9, the first them because of the striking contrast with the traditional versions that symphony ever to include a chorus and perhaps the greatest of the I knew. Psalms 23 and 100 are very different in tone and character: the great big choruses, often quoted in spinoff versions. The entire first is serene and pastoral, while the second, the Jubilate Deo, is opening section of the movement may be seen as a rhetorical/dramatic celebratory and boisterous. The music proceeds from the first to the justification of the inclusion of voices in what had traditionally been an second without pause, and the settings share some of the same material. instrumental form: 1. The “chorus” of instruments enters with a chaotic expression of So Long as Days Shall Be was commissioned by the Victoria Bach Festival. dissonant fury. 2. The low strings’ “solo” counters with an instrumental recitative –DONALD GRANTHAM that seems to plead for something more peaceful. 3. A dialogue ensues in which the orchestra suggests snippets of themes from the symphony’s earlier movements; the lower strings reject these and finally introduce their own new melody, the “Ode to Joy” theme. 6 7 TEXTS & TRANSLATIONS quia pius es for you are merciful. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and may light always shine upon them. Sanctus (Messa de Requiem) -ORDINARY OF THE MASS Sanctus, sanctus, sanctus Holy, Holy, Holy Sanctus (Requiem, Op. 9) Deus Dominus Sabaoth! Sanctus, sanctus, sanctus Lord God of Sabaoth! Holy, Holy, Holy Pleni sunt coeli et terra gloria tua. Deus Dominus Sabaoth! Heaven and earth
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  • THE LITTLE MATCH GIRL PASSION Redeemer Presbyterian Church

    THE LITTLE MATCH GIRL PASSION Redeemer Presbyterian Church

    TEXAS 3-SHOW PERFORMING SUBSCRIPTIONS ARTS $ UNDER 2016/17 ESSENTIAL SERIES 100 Folk Music, Georgia (Europe), Traditional, Vocal Ensemble, World Music Ensemble Basiani NOV 4 | MCCULLOUGH THEATRE Masterworks from the noble choral tradition of Georgian folk song and chant. Upcoming Performances Grupo Corpo OCT 6 Love and Duty A Celebration of the Music of Brahms NOV 9 & 11 Lost Girl A Texas Theatre and Dance Production NOV 9–20 Spectrum Dance Theater + Donald Byrd Rambunctious NOV 17 & 18 National Theatre of Scotland Let The Right One In JAN 18–29 September 30 & October 1, 2016 texasperformingarts.org $10 STUDENT | $12 MILITARY TICKETS 1 autumn song featuring THE LITTLE MATCH GIRL PASSION Redeemer Presbyterian Church FRIDAY, SEPTEMBER 30, 8PM SATURDAY, OCTOBER 1, 8PM Craig Hella Johnson, Artistic Director & Conductor Stefanie Moore, soprano Kathlene Ritch, alto Dann Coakwell, tenor Cameron Beauchamp, bass Thomas Burritt, percussion guest vocalist, Wravan Godsoe pre-concert talk each night at 7pm post-concert reception following Friday’s performance Season Sustaining Underwriter 1 1 Dear Friends, PART ONE 7iViÌÕÀwÀÃÌVViÀÌvviÀ} The Little Match Girl Passion Words and Music by David Lang (b.1957) in the 2016-2017 Conspirare season. after Hans Christian Andersen, H.P. Paulli, Picander and Saint Matthew It is our great privilege and joy to sing for you. We regularly boast that 1. Come, daughter 9. Have mercy, my God we are fortunate to sing for the most 2. It was terribly cold 10. She lighted another match extraordinary audience members 3. Dearest heart 11. From the sixth hour anywhere. We experience a deep level 4.