CHARLOTTE SYMPHONY

The Classics Concert Series is presented to the community by Wells Fargo Private Bank.

Thursday, May 12, 2016 Friday, May 13, 2016 Saturday, May 14, 2016 Belk Theater, Blumenthal Performing Arts Center

Christopher Warren-Green, conductor Charlotte Symphony Chorus Klara Ek, soprano Kenney Potter, director Lawrence Zazzo, Charlotte Children’s Choir of Community Javier Arrey, baritone School of the Arts Heather Potter, director

ORFF

Fortuna imperatrix mundi (Fortune, Empress of the World)

Part I Primo vere (Spring) Uf dem Anger (On the Green)

Part II In taberna (In the Tavern)

Part III Cours d’amour (The Court of Love) Blanziflor et Helena (Blanchefleur and Helen)

Fortuna imperatrix mundi (Fortune, Empress of the World)

Text and translation can be found starting on page 9K.

Tonight’s concert is made possible by the Philip L. Van Every Foundation. Friday night’s concert is being recorded and broadcast live on WDAV through a generous gift from Catherine and Wilton Connor.

Join us immediately following the concert for a Musically Speaking Talk-Back at the front of the stage.

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CONDUCTOR Christopher Warren-Green

usic Director In the U.K., Maestro Warren-Green has conducted Christopher the Philharmonia, London Philharmonic, Royal Warren-Green Philharmonic, BBC Concert, Royal Liverpool Phil- joined the harmonic, and Royal Scottish National orchestras. Charlotte He has also previously worked with Beethoven M Symphony at Orchester Bonn, Zürcher Kammerorchester, RTÉ the beginning of the Symphony Orchestra, and Iceland Symphony 2010-2011 season and Orchestra. also serves as Principal Conductor of the London He returns to Orchestre National de Belgique, Chamber Orchestra. Royal Philharmonic Orchestra and Nordic Cham- A highly sought-after guest conductor and work- ber Orchestra, and conducts Sinfonia Varsovia ing extensively in the U.S., Warren-Green’s key for a special commemorative concert in Warsaw engagements have included the Philadelphia for Yehudi Menuhin. He also returns to Japan to Orchestra and Washington’s National Symphony conduct a two-week tour with the Yomiuri Nippon Orchestra, as well as concerts with the Detroit, St. Symphony Orchestra including concerts in key Louis, Toronto, Milwaukee, Seattle and Vancouver cities such as Tokyo and Osaka. In Asia he has pre- symphony orchestras. viously conducted the NHK, Singapore, Sapporo During the 2015-2016 season, Warren-Green will and KBS symphony orchestras. conduct several significant works in Charlotte, Over the last 30 years, Warren-Green has been namely Mahler Symphony No. 5 and Vaughan personally invited to conduct for the Royal Family Williams Symphony No. 2. Past season highlights on many occasions. In April 2011, he conducted have included collaborations with Itzhak Perlman the LCO during the marriage ceremony of HRH and Sir James Galway, plus Beethoven Missa The Duke of Cambridge and HRH The Duchess Solemnis, Holst The Planets, and Strauss Ein Hel- of Cambridge at Westminster Abbey, which was denleben, a performance that Classical Voice of broadcast to a global audience of 2 billion. Other North Carolina called“ a benchmark that showed notable occasions have included Her Majesty The how much Warren-Green has achieved in his five Queen’s 80th birthday celebration at Kew Palace years of working with his Charlotte musicians.” and HRH The Prince of Wales’s 60th birthday Dedicated to the promotion of music education, concert. Warren-Green plays a key role in the Charlotte Warren-Green is a Fellow of the Royal Academy Symphony’s Winterfield Elementary program, of Music and has recorded extensively for an initiative aimed at providing music education Sony, Phillips, Virgin EMI, Chandos, Decca and in the Title 1 east Charlotte school, and fostering Deutsche Grammophon, and also records with a lifelong appreciation of music. In London, he the London Chamber Orchestra for Signum works extensively with LCO’s education program, Classics. Music Junction, which gathers together young people from different backgrounds to create mutual empathy and connection through music- making.

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Klara Ek, SOPRANO lara Ek has sung the roles of Oriana (Amadigi Koopman, Schumann’s Szenen aus Goethes Faust di Gaula) under and with Gewandhausorchester Leipzig and Christo- Arminda (La finata giardiniera) under Richard pher Hogwood, Mahler’s Symphonies Nos. 2 and K Egarr and has collaborated with Pablo Heras- 4 with the Simón Bolívar Symphony Orchestra Casado and Compañía y Orquesta Barroca and the Los Angeles Philharmonic under Gustavo de Aranjuez in the first modern performance of Dudamel and, most recently, her BBC Proms Bonno’s L’isola disabitata. In addition, with Alan debut with Mahler Symphony No. 4 under Thomas Curtis and Il Complesso Barocco she has recorded Søndergård. Jommelli’s Ezio, Scarlatti’s Tolomeo e These performances mark Ms. Ek’s second appear- and Handel’s Berenice. Notable symphonic debuts ance with the Charlotte Symphony. She previously include Die Schöpfung with Washington’s National performed Mahler’s Fourth Symphony on April Symphony Orchestra and Helmuth Rilling, Bach’s 27 & 28, 2012 with Christopher Warren-Green Magnificatwith Berliner Philharmoniker and Ton conducting. Lawrence Zazzo, COUNTERTENOR awrence Zazzo made his operatic debut as Norske Opera and Ottone in L’incoronazione di Oberon (A Midsummer Night’s Dream) to great Poppea at Staatsoper unter den Linden and Bayer- acclaim while completing his vocal studies at ische Staatsoper, as well as Farnace in Mozart’s Mi- L the in London. He has tridate, re di Ponto at the Munich Opera Festival. since appeared at many of the world’s leading These performances mark Mr. Zazzo’s second opera houses. He has appeared in the title role of appearance with the Charlotte Symphony. He at The , La Mon- previously performed Handel’s on naie, and Opéra national December 9, 1998 with David Tang conducting. de Paris (available on DVD). Other significant roles include the title role in for Den Javier Arrey, BARITONE graduate of Washington National Opera’s Do- summer in the title role of Don Giovanni. mingo-Cafritz Young Artist Program, Chilean- Highlights from recent seasons include Melot born baritone Javier Arrey was a finalist at the (Tristan und Isolde), Sharpless (Madama Butterfly), A 2009 Cardiff Singer of the World competition Malatesta (Don Pasquale) and Lescaut (Manon and winner of the CulturArte Prize at the 2011 Lescaut) at Washington National Opera; Il Marito Operalia Competition in Moscow. He has already (Amelia al Ballo) at Opera de Monte-Carlo and Palau amassed a broad operatic repertoire including de les Arts Reina Sofia in Valencia; Silvio(I Pagliacci) Figaro (Il barbiere di Siviglia), Rodrigo (Don Carlo), at the NCPA Mumbai under Antonello Allemandi; Germont (La traviata), Enrico (Lucia di Lammer- Giorgio (Il Postino) at the Teatro Municipal de Santi- moor) and Belcore (L’elisir d’amore). Following an ago under Grant Gershon; and Ben (The Telephone) acclaimed debut as Iago (Otello) at the Castleton in Valencia. On CD he can be heard as Lescaut on Festival under Lorin Maazel, a performance Wash- the recording of Manon Lescaut for Decca Classics ington Post described as “menaced and connived under the baton of Plácido Domingo. but [Arrey] did so subtly and with a voice so lovely to listen to that his scheming seemed all the more These performances mark Mr. Arrey’s debut with the threatening,” Javier returned there the following Charlotte Symphony.

2015-2016 SEASON • 9H Kenney Potter, Director of Choruses Annie Brooks, Rehearsal Pianist

SOPRANO ALTO Jessica Todd Ames Fran Huske Lisa M.H. Allen Emily Lupsor Samantha Balsam Emily Kathryn Johnston Judy Anderson Daryl Lynn Martin Kari Ann Brown Charlotte Judge Amber Joy Carpenter Susan McConnell Sandra Carter Meghan Keogh Amy Carpenter Mary Alyssa Nance Romy Cawood Fran Morrison Sara Doggett Sheri Pellerin Katie DeLauder Elizabeth Rennie Donna Ferretti Reta R. Phifer Betsy Ellington-Boynton Hilary Rivera Lori Garber Katie Porier Sarah L. Fink Jennifer Shea Liliana Garzon Audrey Lynn Robinette Mary Ann Foltz Nancy L. Sinclair Tandy Graham Taylor Rogers Bernadette Franco Rebecca H. Smith Whitney Greene Marcia Scheideman Jessica Garthe Julia J. Souther Carin Bissiere-Grote Kristen Shejen Giovanna Gomez Christine Fink Starnes Marie Hager Julie Anna Smith Phyllis Grayson Lucy Stickler Lauren Hultz Dottie Stowe Holly Grundheber Carole Whittington Gloria P. Jackson Rachel Sykes Caroline Castle Hicks Wendy Wiseman Olga Kleto Peggy van Brederode Lisa J. Honeycutt Katharine Kolb Cricket Weston Karen Kummer Katie Wilkes TENOR Dwayne Fink Andrew Neisler BASS Ned Harris Gale Pendergraph Edwin Bagley Seth Joyner David Herring David G. Scholz Chris Bateson Jerry Ledford Seth Hickel William Stanley Philip Bugaiski Patric Lummuka Adam Hunter Jesse M. Tillman Sam Bullard John Pinter Zachary Jones Michael H. Trammell Josh Carpenter Manley Roberts Joel King Paul A. Delaney Michael Rukstelis Parkes Dibble Neal Sigmon Ronald Fisher Dickson Stowe John Fohner Homer Sutton Richard Greene Lloyd Torrence Thomas Griffin Ray Trogdon Peter Allen Haley Dick Tubbs Ryan Harrison Eric Wallace Richard Jarrell

Charlotte Children’s Choir of Community School of the Arts Heather Potter, Artistic Director Mary-Catherine Berger Zachary Mangan Gianna Pendergrass Esha Thorat Lana Farr Katie Marsh Georgeanna Randall Jane Xing Taylor Fluid Claudia Michaels Sarah Reynolds Elizabeth Yardley Kareena Gor Mary Nattaradol Lili Schumacher Tim Yardley Emma Hall Camden Nelson Morgan Stoeling Jazmin Harrington Kaya Nichols Lindsey Tefft Olivia Joyner

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Carmina Burana (1937) arl Orff was born into a family of In the early 20th century, many compos- army officers who demonstrated ers attempted to stretch the traditional a keen interest in science, history, concepts of tonality as far as possible. and music. He began his own music Some 20th century composers, such studies (piano, organ, and cello) at as Schoenberg, abandoned tonality C age 5. While pursuing further stud- altogether. Their atonal compositions ies in Munich, Orff became interested in inspired heated reactions, both by critics the music of French Impressionist com- and audiences. To this day, the subject of poser Claude Debussy (1862-1918) and atonality is guaranteed to inspire lively Austrian composer Arnold Schoenberg exchanges among music lovers. (1874-1951), a pioneer in atonal music was born in In that context, Carmina Burana expression. Munich, Germany, on represents a stunning departure from July 10, 1895, and died Orff was drafted into the army in 1917. the course of much of the concert music there on March 29, 1982. After being wounded at the front, he of the time. From the opening chorus, The first performance was discharged from service. Upon his “”—a hymn to the inexorable of Carmina Burana return to Munich in 1919, Orff began an power of Fate—it is clear that Carmina took place in Frankfurt, intensive study of music from the 16th Burana marks an emphatic return to Germany, on June 8, 1937. and 17th centuries, and in particular, the the forces of melody and rhythm in works of the great Italian Baroque com- their most elemental form. Twentieth FROM THE poser, Claudio Monteverdi (1567-1643). century atonality is nowhere to be ARCHIVES Orff also co-founded the Güntherschule, found; instead, Orff’s infectious and an educational center that explored the decidedly tonal melodies are repeated, The Charlotte synthesis of body movement, poetry, with variety supplied by contrasts in Symphony’s first performance set and music. dynamics, and vocal and instrumental colors. Throughout, Carmina Burana’s of this work took On June 8, 1937, Carl Orff’s “scenic raucous celebration of the philosophy of place on cantata,” Carmina Burana, premiered April 8 & 9, 1970 carpe diem creates an irresistible force of in Frankfurt. Carmina Burana (Songs of with Jacques energy guaranteed to leave the audience Benediktbeuern) is Orff’s setting of texts Brourman breathless at the conclusion. conducting at discovered in the monastery of Benedikt- Ovens Auditorium beuern, located south of Munich. The and Pfeiffer The score calls for soprano, tenor, and texts are taken from the songs of the baritone solos, mixed chorus, children’s University. The —medieval students, monks, and eighth and most chorus, two piccolos, three flutes, three recent performance seminarians who seem to have spent oboes, English horn, three clarinets, E-flat set took place as much time carousing as they did clarinet, bass clarinet, two bassoons, on February 25 studying. The songs of the goliards cel- contrabassoon, four horns, three trumpets, & 26, 2012 with ebrate (sometimes in the most explicit three trombones, tuba, timpani, tam-tam, Scott Allen Jarrett terms) the pleasures of food, wine, and snare drums, suspended cymbals, orchestra conducting at lovemaking. bells, xylophone, tambourine, cymbals, Knight Theater at castanets, bass drum, triangle, ratchet, Levine Center for Orff scored Carmina Burana for soprano, the Arts. sleigh bells, chimes, church bell, antique tenor, and baritone soloists, as well as cymbals, two pianos, celeste, and strings. huge choral (large chorus, small chorus, and boy chorus) and orchestral forces. Duration: ca. 65 minutes Orff also envisioned dance as an integral part of his “scenic cantata.”

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Carl Orff: Carmina Burana TEXT AND TRANSLATIONS

FORTUNA IMPERATRIX MUNDI FORTUNE, EMPRESS OF THE WORLD 1. O FORTUNA, 1. OH FORTUNE, O Fortuna, Oh, Fortune velut Luna changeable statu variabilis, as the moon, semper crescis always waxing and waning; aut decrescis; hateful life, vita detestabilis first, you mistreat us, nunc obdurat and then soothe us et tunc curat according to your whim, ludo mentis aciem, poverty and power egestatem, melt like ice. potestatem dissolvit ut glaciem.

Sors immanis Monstrous et inanis, and empty fate, rota tu volubilis, you turning wheel, status malus, you are cruel, vana salus always destroying semper dissolubilis, well-being, obumbrata shadowed and veiled et velata you attack me michi quoque niteris; as well. nunc per ludum I bare my back dorsum nudum to your cruel pleasure. fero tui sceleris.

Sors salutis Fate is against me et virtutis in health and virtue, michi nunc contraria put-upon est affectus and weighted down, et defectus always imprisoned. semper in angaria. Therefore, Hac in hora in this hour, sine mora let us pluck the vibrating strings corde pulsum tangite; without delay, quod per sortem since Fate crushes the strong, sternit fortem, everyone weep with me! mecum omnes plangite!

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2. FORTUNE PLANGO VULNERA 2. I MOURN THE WOUNDS Fortune plango vulnera I mourn the wounds stillantibus ocellis, of Fortune with weeping eyes, quod sua michi munera for she cruelly takes away subtrahit rebellis. the gifts she once gave me. Verum est, quod legitur It is written that in truth, fronte capillata, she has a beautiful head of hair, sed plerumque sequitur but when it comes to opportunity, Occasio calvata. she is bald.

In Fortune solio I once sat sederam elatus, at Fortune’s throne, prosperitatis vario crowned with a garland flore coronatus; of prosperity, quicquid enim florui though I may have flourished, felix et beatus, happy and blessed, nunc a summo corrui now, I fall from the summit, gloria privatus. deprived of glory.

Fortune rota volvitur: As the wheel of Fortune turns, descendo minoratus; I descend in shame, alter in altum tollitur; another is raised, nimis exaltatus far too high, rex sedet in vertice a king sits on high— caveat ruinam! let him fear his ruin! nam sub axe legimus For beneath the axle of the wheel is Hecubam reginam. written: “Queen Hecuba.”

PART I PRIMO VERE (SPRING) 3. VERIS LETA FACIES 3. THE HAPPY FACE OF SPRING Veris leta facies The happy face of spring mundo propinatur, shows itself to the world, hiemalis acies the cold of winter victa iam fugatur, flees, vanquished. in vestitu vario Flora reigns Flora principatur, in her colorful robes, nemorum dulcisono the woods sing que cantu celebratur. her sweet praises.

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Flore fusus gremio Lying in Flora’s lap, Phoebus novo more Phoebus smiles once again, risum dat, hoc vario surrounded by many-colored flowers, iam stipate flore Zephyr breathes Zephyrus nectareo their nectars’ fragrance, spirans in odore; let us compete certatim pro bravio for love’s prize. curramus in amore. Cytharizat cantico The sweet nightingale dulcis Philomena, begins her song, flore rident vario the bright meadows, prata iam serena, filled with flowers, laugh, salit cetus avium birds fly silve per amena, in the pleasant woods, chorus promit virginum a chorus of maidens promises iam gaudia millena. a thousand joys. nam sub axe legimus Hecubam reginam.

4. OMNIA SOL TEMPERAT 4. THE PURE AND GENTLE SUN Omnia Sol temperat The pure and gentle sun purus et subtilis, warms everything, novo mundo reserat it reveals facies Aprilis, April’s face to the world, ad Amorem properat the soul of man animus herilis, hurries toward love, et iocundis imperat the boyish god deus puerilis. rules over everything. Rerum tanta novitas Spring’s festival of rebirth, in solemni vere and its power et veris auctoritas command us to rejoice, iubet nos gaudere; spring shows us vias prebet solitas, paths we know well, et in tuo vere it is good and right fides est et probitas to keep what is yours. tuum retinere. Ama me fideliter! Love me faithfully! fidem meam nota: See that I am faithful, de corde totaliter With all my heart et ex mente tota and soul, sum presentialiter I am with you, absens in remota. even when we are far apart, quisquis amat taliter, whoever loves so much, volvitur in rota. suffers.

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5. 5. BEHOLD, THE PLEASANT SPRING Ecce gratum Behold, et optatum joy returns Ver reducit gaudia, with the pleasant purpuratum and long-awaited spring, floret pratum, purple flowers Sol serenat omnia, fill the meadows, iamiam cedant tristia! the sun brightens all. Estas redit, No more sadness! nunc recedit Summer returns Hyemis sevitia. and cold winter withdraws!

Iam liquescit Ice et decrescit and snow grando, nix et cetera, melt and disappear, bruma fugit, winter flees, et iam sugit, and spring Ver Estatis ubera; nurses at summer’s breast, illi mens est misera, unhappy soul qui nec vivit, who does not love or lust nec lascivit under summer’s spell! sub Estatis dextera.

Gloriantur They glory and rejoice et letantur in honey’s sweetness, in melle dulcedinis those who compete qui conantur, for Cupid’s prize, ut utantur ruled by Venus, premio Cupidinis; let us, simus jussu Cypridis proud and joyful, gloriantes emulate Paris! et letantes pares esse Paridis.

6. UF DEM ANGER 6. ON THE GREEN TANZ DANCE

7. FLORET SILVA NOBILIS 7. THE NOBLE WOODS ARE FILLED Floret silva nobilis The noble woods floribus et foliis. are filled Ubi est antiquus with buds and leaves meus amicus? Where is the lover I knew? hinc equitavit, He rode away on horseback! eia, quis me amabit? Who will love me now?

2015-2016 SEASON • 9M 2015-2016 SEASON • 9N Floret silva undique, The woods nah mime gesellen ist are in bloom everywhere. mir wê. I long for my lover. Gruonet der walt The woods are green everywhere. allenthalben, Why is my lover away wâ ist min geselle alse so long? lange? He has ridden away. der ist geriten hinnen, Alas, who will love me? owî, wer soll mich minnen?

8. CHRAMER, GIP DIE VARWE MIR 8. SHOPKEEPER, GIVE ME COLOR Chramer, gip die varwe mir, Shopkeeper, give me color die min wengel roete, to paint my cheeks red, damit ich die jungen man so that the young men an ir dank der will not be able minnenliebe noete. to resist me.

Seht mich an, jungen Young men, man! look at me! lat mich iu gevallen! Let me please you!

Minnet, tugentliche man, Worthy men and women, minnecliche frouwen! make love! minne tuot iu hoch Love ennobles you gemuot and gives you honor. unde lat iuch in hohen eren schouwen.

Wol dir werlt, das du bist Hail, world, also freudenriche! so rich in joys! ich will dir sin undertan I will obey you durch din liebe immer sicherliche. and accept your gifts.

9. REIE 9. ROUND Swaz hie gat umbe, The maidens dance daz sint allez megede, round and round, die wellent an man they want to be without a man alle disen sumer gan. all summer long!

Chume, chum, geselle Come, min, my love, ih enbite harte din. I long for you.

2015-2016 SEASON • 9O 2015-2016 SEASON • 9P Suzer rosenvarwer munt, Sweet rosy mouth, chum unde mache mich come and make me gesunt. feel better.

10. WERE DIU WERLT ALLE MIN 10. IF THE WHOLE WORLD WERE MINE Were diu werlt alle min If the whole world were mine, von dem mere unze an from the sea den Rin, to the Rhine, des wolt ih mih darben, I would happily trade it daz diu chünegin von for the Queen of Engellant in my arms. lege an minen armen.

PART 2 IN TABERNA (IN THE TAVERN) 11. ESTUANS INTERIUS 11. BURNING INSIDE Estuans interius Burning ira vehementi with violent rage in amaritudine I talk loquor mee menti: to myself, factus de materia, created of matter, cinis elementi ashes of the elements, similis sum folio, I am a leaf de quo ludunt venti. in the wind.

Cum sit enim proprium If a wise man viro sapienti builds supra petram ponere his house sedem fundamenti, upon stone, stultus ego comparor then I, fool, fluvio labenti, am like a stream sub eodem tramite that follows nunquam permanenti. no consistent path.

Feror ego veluti I am swept away sine nauta navis, like a ship without a pilot, ut per vias aeris I am a bird, vaga fertur avis; hovering in the air, non me tenent vincula, no chains or locks non me tenet clavis, can hold me, quero mihi similes I seek people like me et adiungor pravis. and join the wretches.

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Mihi cordis gravitas The burdens of my heart res videtur gravis; weigh heavily on me, iocus est amabilis joking is lovely dulciorque favis; and sweeter than the honeycombs, quicquid Venus imperat, what Venus commands labor est suavis, is sweet labor, que nunquam in she never dwells cordibus in cowardly hearts. habitat ignavis.

Via lata gradior I travel more iuventutis, the broad road inplicor et vitiis as a youth wants to do, immemor virtutis, I yield to vice, voluptatis avidus and am ignorant of virtue, magis quam salutis, I want lust more than salvation, mortuus in anima my soul is dead, curam gero cutis. I satisfy only my body.

12. OLIM LACUS COLUERAM 12. ONCE I DWELT IN THE LAKES Olim lacus colueram, Once I dwelt in the lakes, olim pulcher extiteram, once I was beautiful, dum cignus ego fueram. when I was a swan. Miser, miser! Miserable me! modo niger Now I am black et ustus fortiter! and roasting fiercely!

Girat, regirat The cook turns me garcifer; on the spit, me rogus urit fortiter: I am burning through, propinat me nunc and now they serve me up. dapifer, Now I am lying in a serving dish Nunc in scutella iaceo, and can no longer fly, et volitare nequeo, I see gnashing teeth. dentes frendentes video.

13. EGO SUM ABBAS 13. I AM THE ABBOT Ego sum abbas I am the Abbot Cucaniensis of Cockaigne, et consilium meum est cum and I meet with my bibulis, fellow drinkers,

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et in secta Decii voluntas and I want to be in the sect mea est, of Decius, et qui mane me quesierit in and whoever searches for me taberna, in the tavern, post vesperam nudus will leave naked egredietur, after Vespers, et sic denudatus veste stripped of his clothes, clamabit: he will cry out: Wafna, wafna! Woe! Woe! quid fecisti sors What have you done, vile Fate? turpissima? You have taken always Nostre vite gaudia all of life’s joys! abstulisti omnia!

14. 14. WHEN WE ARE IN THE TAVERN In taberna quando sumus, When we are in the tavern, non curamus quid sit we don’t think of the grave, humus, we rush to the gambling sed ad ludum properamus, tables cui semper insudamus. which make us sweat. Quid agatur in taberna, If you want to know ubi nummus est pincerna, what happens in the tavern, hoc est opus ut queratur, where money rules, sic quid loquar, audiatur. then listen to my tale.

Quidam ludunt, quidam Some gamble, some drink, bibunt, others behave loosely. quidam indiscrete vivunt. Of those who stay to gamble, Sed in ludo qui morantur, some are stripped naked, ex his quidam denudantur, some win their clothes, quidam ibi vestiuntur, others are in sackcloth. quidam saccis induuntur. No one here Ibi nullus timet mortem, fears death. sed pro Baccho mittunt They throw dice in Bacchus’s sortem: name.

Primo pro nummata First, the libertines vini toast ex hac bibunt libertini: the wine-merchant, semel bibunt pro twice captivis, for the prisoners, post hec bibunt ter pro three vivis, for the living,

2015-2016 SEASON • 9Q 2015-2016 SEASON • 9R CHARLOTTE SYMPHONY quater pro Christianis four times cunctis, for the Christians, quinquies pro fidelibus five defunctis for the departed, sexies pro sororibus six vanis, for the vain sisters, septies pro militibus seven silvanis. for the forest soldiers.

Octies pro fratribus Eight perversis, for the sinful brothers, nonies pro monachis nine dispersis, for the dispersed monks, decies pro navigantibus, ten undecies pro for the sailors, discordantibus, eleven duodecies pro for the squabblers, penitentibus, twelve tredecies pro iter for the penitent, angentibus. thirteen for the travelers. Tam pro papa quam pro We drink to the Pope rege as to the King, bibunt omnes sine lege. without restraint.

Bibit hera, The mistress drinks, bibit herus, the master drinks, bibit miles, the soldier drinks, bibit clerus, the clergyman drinks, bibit ille, the man drinks, bibit illa, the woman drinks, bibit servus cum ancilla, the servant drinks with the maid, bibit velox, the swift man drinks, bibit piger, the lazy man drinks, bibit albus, the white man drinks, bibit niger, the black man drinks, bibit constans, the homebody drinks, bibit vagus, the traveler drinks, bibit rudis, the stupid man drinks, bibit magus. the wise man drinks.

Bibit pauper The poor man et egrotus, and sick man drink, bibit exul the exile et ignotus, and the stranger drink, bibit puer, the young man drinks,

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bibit canus, the old man drinks, bibit presul et the bishop drinks, decanus, the deacon drinks, bibit soror, the sister drinks, bibit frater, the brother drinks, bibit anus, the old lady drinks, bibit mater, the mother drinks, bibit iste, women drink, bibit ille, and men drink, bibunt centum, by the hundreds bibunt mille. and thousands.

Parum sexcente 600 coins nummate are not enough durant cum for immoderate so much drinking, bibunt omnes our drink sine meta, is always happy, quamvis bibant men but there are those te leta, who scold, sic nos rodunt omnes we are indigent, gentes may those who scold us et sic erimus egentes. be cursed. Qui nos rodunt May their names never be inscribed confundantur et cum iustis among the righteous. non scribantur. Io, io, io! … Yo, yo, yo!...

PART 3 COUR D’AMOURS (THE COURT OF LOVE) 15. AMOR VOLAT UNDIQUE 15. LOVE FLIES EVERYWHERE Amor volat undique, Love flies everywhere, captus est libidine. seized by desire. Iuvenes, Young men and iuvencule women coniunguntur merito. are rightly joined together.

Siqua sine socio, The girl without a man, caret omni gaudio, misses out on all delights, tenet noctis infima darkest night sub intimo cordis in is hidden in the depth custodia: of her hear: fit res amarissima. it is the most bitter fate.

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16. DIES, NOX ET OMNIA 16. DAY, NIGHT AND EVERYTHING Dies, nox et omnia Day, night and everything michi sunt contraria, are against me, virginum women’s voices colloquia make me weep, me fay planszer, and often sigh, oy suvenz suspirer, and even scare me. plu me fay temer.

O sodales, Oh friends, ludite, have your fun, vos qui scitis dicite, say what you please, michi mesto parcite, spare me, a sad man, grand ey dolur, my grief is great, attamen consulite advise me per voster honur. by your honor. Tua pulchra facies, Your beautiful face me fey planszer makes me weep milies, a thousand tears, pectus habens your heart glacies, is made of ice, a remender a single kiss statim vivus fierem would bring me per un baser. back to life.

17. STETIT PUELLA 17. A GIRL STOOD Stetit puella A girl stood rufa tunica; in a red tunic, si quis eam tetigit, if anyone touched it, tunica crepuit. the tunic rustled. Eia. Eia.

Stetit puella, A girl stood tamquam rosula; like a red rose, facie splenduit, her face was radiant, os eius floruit. her mouth bloomed. Eia. Eia.

18. CIRCA MEA PECTORA 18. IN MY HEART Circa mea pectora My heart is filled multa sunt suspiria with sighs de tua pulchritudine, for your beauty, que me ledunt misere. great is my misery.

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Manda liet, Manda liet, manda liet, manda liet, min geselle my lover chumet niet. does not come!

Tui lucent oculi Your eyes shine sicut solis radii, like the sun’s rays, sicut splendor fulguris like flashes of lightning lucem donat tenebris. in the dark.

Vellet deus, May God vellent dii, and the gods quod mente proposui: grant my desire: ut eius virginea to undo the bonds reserassem vincula. of her virginity.

19. SIE PUER CUM PUELLULA 19. WHEN A BOY AND A GIRL Sie puer cum puellula When a boy and a girl moraretur in cellula, are alone together, felix coniunctio. happy is their union. Amore sucrescente, Their passions rise, pariter e medio and modesty disappears. propulso procul tedio, Great pleasure fit ludus ineffabilis pours through membris, lacertis, their limbs, arms labiis. and lips.

20. VENI, VENI, VENIAS 20. COME, COME, COME Veni, veni, venias, Come, come, come, ne me mori facias, do not let me die. hyrca, hyrce, nazaza, hyrca, hyrce, nazaza, trillirivos … trillirivos…

Pulchra tibi facies, Beautiful is your face, oculorum acies, the gleam of your eye, capillorum series, your braided hair, o quam clara species! what a beautiful creature!

Rosa rubicundior, Redder than the rose, lilio candidior, whiter than the lily, omnibus more beautiful than formosior, all the others, semper in I shall always glory te glorior! in you!

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21. IN TRUTINA 21. MY FEELINGS ALTERNATE In trutina mentis dubia My feelings alternate fluctuant contraria between erotic love lascivus amor et pudicitia. and chastity. Sed eligo quod video, But I choose collum iugo prebeo; what I see, ad iugum tamen suave and submit to the yoke, transeo. I yield to the sweet yoke.

22. TEMPUS EST IOCUNDUM 22. THIS IS THE JOYFUL TIME Tempus est iocundum, This is the joyful time, o virgines, maidens, modo congaudete rejoice, vos iuvenes. young men.

Oh, oh, oh Oh, oh, oh, totus floreo, I am bursting, iam amore virginali burning, totus ardeo, with a new love novus, novus novus amor that is est, quo pereo. killing me!

Mea me confortat Yielding comforts me, promissio, refusing mea me deportant makes me grieve. negatio.

Tempore brumali In winter, vir patiens, man is patient, animo vernali the breath of spring lasciviens. makes him lust.

Mea mecum ludit My virginity virginitas, excites me, mea me detrudit my modesty simplicitas. holds me back.

Veni domicella, Come, my mistress, cum gaudio, with joy, veni, veni, pulchra, come, my beauty, iam pereo. for I die.

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23. DULCISSIME 23. SWEETEST ONE Dulcissime, Sweetest one, totam tibi subdo me! I give myself to you totally!

BLANZIFLOR ET HELENA (BLANCHEFLEUR AND HELEN)

24. AVE FORMOSISSIMA 24. HAIL, MOST BEAUTIFUL Ave formosissima, Hail, most beautiful, gemma pretiosa, previous jewel, ave decus virginum, hail pride of virgins, virgo gloriosa, most glorious virgin, ave mundi luminar hail, light of the world, ave mundi rosa, hail rose of the world, Blanziflor et Helena, Blanchefleur and Helen, Venus generosa! noble Venus!

FORTUNA IMPERATRIX MUNDI (FORTUNE, EMPRESS OF THE WORLD) 25. O FORTUNA (REPETITION)

Sing with theCharlotte Symphony! Auditions for the 2016-2017 season featuring Bruckner’s Te Deum, Mendelssohn’s Elijah and Mahler’s Symphony No. 2, “Resurrection,” will take place on June 6 and August 23 at Covenant Presbyterian Church.

The chorus is directed by Kenney Potter and rehearses Tuesday evenings September through May.

For more information visit charlottesymphonychorus.org/auditions.

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