ALSO BY WILLIAM FERRIS ON CEDILLE RECORDS

SNOWCAROLS CDR 90000 101

“If you’re a choral music fan — and especially if you enjoy Christmas music — you really can’t afford to miss this unique recording. It offers not only a host of new and pleasing discoveries but also serves as an introduction to a lesser-known but revered American composer/conductor . . . whose friends/colleagues included Barber, Menotti, and Rorem. It’s easy to applaud — and recommend — important new additions to the recording catalog, and this is definitely one of them.” — ClassicsToday.com Reissue Producer: James Ginsburg MUSIC OF WILLIAM FERRIS (1937–2000) Remastering: Bill Maylone Art Direction: Adam Fleishman / www.adamfleishman.com 1 6 Cover: Sun Ray in the Woods Gloria for Mixed Chorus, Solo Bristol Hills, a Reflection for , and Orchestra (18:57) Orchestra (7:45) Patricia Spencer, soprano London Symphony Strings Kathleen Meredith, alto Arnie Roth, conductor John Vorrasi, tenor Philip Skeris, bass Recorded January 12, 2001, Abbey Road Studios, London; Arnie Roth, producer; William Ferris Chorale Jonathan Allen, Andrew Dudman, and Dave Composer Festival Orchestra Forty, engineers William Ferris, conductor Recorded in concert May 15, 1992, in Our Lady Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not- 7 Corridors of Light for Baritone, for-profit foundation devoted to promoting the finest musicians and ensembles in the of Mt. Carmel Church, Chicago; Hudson Fair, Oboe, Piano, Percussion, and String engineer Chicago area. The Chicago Classical Recording Foundation’s activities are supported Orchestra (21:18) in part by contributions and grants from individuals, foundations, corporations, and John Shirley-Quirk, baritone government agencies including the Alphawood Foundation, Irving Harris Foundation, Ed È Subito Sera, Solo Cantata for Sara Watkins, oboe Kirkland & Ellis Foundation, The MacArthur Fund for Arts and Culture at Prince, NIB Tenor and String Orchestra (23:14) Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural William Ferris Chorale Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. 2 I. Ride la gazza, nera sugli aranci (9:48) Composer Festival Orchestra 3 II. Ora che sale il giorno (5:00) William Ferris, conductor 4 III. Ed è subito sera (1:03) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION Recorded in concert May 19, 1995, in Our Lady 5 IV. Forse il cuore (7:22) MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. of Mt. Carmel Church, Chicago; Hudson Fair, John Vorrasi, tenor engineer Chicago String Ensemble Alan Heatherington, conductor Cedille FOUNDation is a trademark of World Premiere Recordings The Chicago Classical Recording Foundation Recorded in concert March 10, 1989, in St. 1205 W. Balmoral Ave, Chicago IL 60640 USA Paul’s United Church of Christ, Chicago and Total Time: (71:40) 773.989.2515 tel - 773.989.2517 fax www.cedillerecords.org March 11, 1989, in Christ Church of Oak Brook, CDR 7004 P & © 2010 Cedille Records Oak Brook IL; Richard Werner, engineer All Rights Reserved. Made in U.S.A. DDD

2 3 MUSIC OF WILLIAM FERRIS I believe William Ferris would have Notes by Francis Crociata created his significant body of music even if he had not attracted the William Ferris was a born story- loyal, fervent band of admirers and teller. Through words, gestures, benefactors who followed his career, and the alternately wistful, playful, swapping dubs of the rare orchestral and passionate melodies that were and chamber music performances, the heart of his compositions, he subscribing to season after season of communicated, in vivid detail, his his William Ferris Chorale concerts, experiences of life, love, faith, and art. enjoying the privilege of being I am not the first to observe that the present at the creation of music we quality and beauty of William Ferris’s were convinced would stand the music is far out-of-proportion to its test of time. Having been one of relative obscurity. Nor am I the first their number and having enjoyed to marvel that when Bill was taken the friendship of Bill Ferris for 41 from us in 2000, he left more than 500 years, I can honestly say I have never works for virtually every medium. It is encountered anyone else involved regrettable that his premature death in the making of art who was more (at age 63, as he led his Chorale in the thoroughly convinced that he was opening bars of the “Lux Aeterna” put on this earth for one purpose: of the Verdi Requiem) denied him to create this lyrically conceived and the joy of this disc — the first widely- lucidly expressed music — his music. distributed recording of a significant William Ferris was born in Chicago selection of his orchestral music. This in 1937, the son of Irish-American- is what Bill desired most of all — the Catholic parents. He was the product chance for his music to be heard by of Catholic parochial education, listeners with open ears and open William Ferris the survivor of an extended hos- hearts. Photo by Lisa Howe-Ebright pitalization for polio, and a believing

4 5 Catholic whose faith stayed with him musician to them was also most an informal, master-apprentice basis. more change your style than you can all his life. Habits of study, instilled important to Ferris the composer: One story illustrates the most change your face. So you might as early, also stayed with him. He was they were artists who stayed true important lesson Bill derived from well get used to it and learn to use it. widely and eclectically read in fiction, to their own styles, regardless of his five years in Sowerby’s studio. . . . And besides, Bill, would you really non-fiction, and poetry. During his the winds of fashion. When Bill He had just heard, for the first time, want to be the composer of The Rite long, productive career, in addition encountered that integrity in a fellow a live performance of Stravinsky’s of Spring?” Bill’s answer is heard on to writing music, he constantly composer, his commitment to the this disc — works from the 1960s and The Rite of Spring, presumably at worked as an organist/choirmaster, person and his music was absolute. one of Hans Rosbaud’s memorable 1990s, all exhibiting the composer’s taught composition, and directed Ferris’s own musical gifts were Chicago Symphony concerts. Bill distinctive sound. the William Ferris Chorale, often recognized early. As a child, his was thunderstruck and his sense of In the course of his life, Bill was augmented by an orchestra that over pleasing boy soprano voice was called himself as a creative artist was shaken fortunate to meet and receive the the years became “his” orchestra. upon at the boisterous gatherings of to the core. William Ferris was the help of key figures who provided With his lifelong partner and his extended family, heard at countless most self-reflective person I’ve ever decisive assistance at crucial periods. collaborator, the tenor and poet John morning masses, and won prizes on known and when it came to wrestling Sowerby and Vorrasi were two of Vorrasi, Bill made miraculous music radio amateur hours. As he finished with his own emotions, there was these. So was the legendary Catholic and miraculously raised money to high school, his keyboard skill and nothing half-way. Sowerby, who knew priest and preacher, Bishop Fulton provide a forum for composers such facile score-reading ability won him a thing or two about laboring in J. Sheen, who invited Bill to serve as William Walton, Ned Rorem, David the position of organist at Chicago’s semi-obscurity, assured his protégé as composer-in-residence at his Diamond, Robert Ward, Dominick Holy Name Cathedral, a post he held that any composer “worth his salt” Cathedral in Rochester, NY. There Argento, , Vincent during his studies with Arthur Becker, would feel humbled and challenged was John Edwards, president of the Persichetti, , Gian Paul Stassevitch, and Alexander by this bedrock composition that Chicago Symphony, who arranged a Carlo Menotti, John McCabe, William Tcherepnin at DePaul University. did so much to free the creativity of commission for Bill’s organ , Mathias, and many more, all of whom Bowled over upon discovering 20th century artists. But he added Acclamations, and engaged him to he recognized as kindred spirits. They the Organ Symphony of fellow- that any good composer would play it four times with the Symphony were composers with highly personal Chicagoan Leo Sowerby, he queried look inside himself, find something in Orchestra Hall. And, lastly, Father styles, too conservative for the Dr. Becker and learned that Sowerby worthwhile to say, and get it down on Thomas Healy, who brought Bill to academically prevailing avant garde taught at a local conservatory. Ferris paper. “And forget about copying Our Lady of Mt. Carmel Parish on and too modern for conservatives. soon became Sowerby’s student on Stravinsky or anyone else. You can no Chicago’s North Side, giving him What attracted Ferris the performing

6 7 the freedom to write and perform lies in the impulse to recreate in of musical color. Although filled with Giuseppe Ungaretti and like the great composer-organists the concert hall the sheer joy this with contrasts, the work flows Eugenio Montale, he is one of the who inspired Ferris — his teacher, moment in the familiar Catholic forward in an inevitable manner. foremost Italian poets of the 20th Sowerby, the Frenchmen Vièrne, liturgy engenders in the faithful. And, The mood is one of fervent prayer century. Quasimodo’s mature style Dupré, Widor, and Messiaen, and the indeed, this is a defining work in the and rich celebration. The angelic is marked by increased clarity and lesser-known Italians, Lorenzo Perosi music of William Ferris, with all of his song echoes again on high: “Gloria sensitivity. He chose to interpret and Licinio Refice. These composers stylistic hallmarks, captured here in in excelsis Deo!” man’s history and fate with an were all encouraged by partners and an incisive and exultant performance, underlying lament for human benefactors who believed in them conducted by Ferris himself. Ed È Subito Sera (1965) defeat in a violent universe. and their music. Ferris was similarly For the premiere of his Gloria on May Ed È Subito Sera was composed blessed by the friendship and support This work was among Bill’s first for 15, 1992, the composer provided in 1965, just as Ferris’s mentor of Sowerby, Vorrasi, Sheen, Edwards, the concert hall that I heard him play these thoughts: at his beloved Yamaha upright and Leo Sowerby was leaving Chicago and Healy, all of whom, directly or to found the College of Church This large-scale setting of the croak in his tobacco-tinged, once- indirectly, touch upon the creation of Musicians at the National Cathedral ancient Latin hymn of praise tenor voice. Our mutual friend, John the four works presented here. in Washington, DC. It was a was composed in celebration of Vorrasi, was soloist in the work’s long- composition he never showed to Gloria (1992) the 20th anniversary season of delayed March 10, 1989, premiere. Sowerby for advice because, as the William Ferris Chorale. The This reflection is adapted from the Foremost among Ferris’s favorite he said, there are just some works individual sections are all defined notes Vorrasi penned for that first composers (in addition to the you cannot share with your teacher. by the text. The chorus and solo performance: host of Americans and British he Sowerby was a great classicist and voices are influenced by the words championed) was an eclectic group Italian author Salvatore Quasimodo no doubt Ferris was afraid that in two distinct ways: primarily, as composed of Verdi, Puccini, Delius, (1901–1968) wrote the words tinkering with the free flowing one would expect, by their literal Bartók, Ravel, Honegger, and Ferris set for Ed È Subito Sera. form of the work or superimposing meaning, and then by the rhythmic Poulenc. Despite this, one would be Quasimodo won the 1959 Nobel formal structure would damage it. and formal shape which the hard pressed to find a thematic or Prize for Literature “for his lyrical Originally conceived as a chamber vowels and consonants lend to the even stylistic connection between poetry, which with classical fire work for tenor and string quintet, musical texture. The antiphonal Ferris’s festival Gloria and Poulenc’s expresses the tragic experience Ferris revised the instrumentation use of orchestral and vocal choirs famous concert work. The connection of life in our own times.” Along for full string orchestra in the creates a rich and varied tapestry

8 9 spring of 1988, at the request of gave rise to its composition: In 1993, when James Buonemani, and strings) between May 25 and conductor Alan Heatherington. the Director of Music at the June 15. On a trip to the nearby Finger Ed È Subito Sera is quite operatic Episcopal Church of the Epiphany Lakes region, I took Bill to the top Corridors of Light is a through- in scope and reflects, in a highly in Washington, D.C., asked me to of what seemed an unassuming composed setting of the text, personal way, the sense of human compose a work in celebration hill. But once you climbed to the meaning that it is a non-formal, fragility and the power of love so of the 150th anniversary of the crest, you were suddenly at a continuous structure, always evident in the verse. historic parish’s founding, I was great vista — the expanse of the reflecting the rhythm, shape and at once taken with the idea and green valley below and the light atmosphere of the words. There Bristol Hills (1969) accepted the commission. I was of the sun reflecting down on the are several themes, harmonic especially happy to accept since When Bill moved from Chicago to distant Canandaigua Lake — all textures and rhythmic motives the first performance of the work Rochester NY, he was “adopted” by enveloped in an amazing silence of real importance that recur was to be given by two remarkable the Vorrasi family and especially by broken only by a gentle wind and and commingle throughout the artists: baritone John Shirley- John himself. Vorrasi took it upon the muffled chirping of birds. This composition, but it is always the Quirk and oboist Sara Watkins. himself to organize an orchestral experience is captured in Bristol text itself which generates the Added to that, the text selected concert, engaging a core of players Hills, a work which bears the music’s flow and gives the work its for the occasion was Stephen from the Rochester Philharmonic, dedication: “To John, who taught form. Spender’s The Truly Great. This which provided the context for Bill me of the hills.” to conduct a symphonic movement extraordinary poem, written in The soloist and chorus are fairly entitled October–November. The Corridors of Light (1994) 1934, is one of Spender’s most equal partners throughout, but concert also involved a modest, but radiant and transcendental. the oboe takes on a unique James Buonemani was a student in intense and driven church musician, role. It serves to provoke the Sacred Heart Cathedral School when Although I felt humbled by the David Fetler. Fetler managed to protagonist Baritone and chorus Bishop Sheen called Bill to Rochester. challenge of these words, I fell mount an annual season of chamber into song, and follows these vocal Jim became Bill’s first composition immediately under their spell orchestra concerts for the Rochester acclamations with rich periods of student and, in adulthood, a and began work in earnest during Chamber Orchestra, which gave meditation in coloristic dialogue renowned organist, composer, and February of 1994. The short score the first performance of this lush with the orchestra. conductor. For the first performance was finished on May 4, 1994, and work for strings. Vorrasi recalls the The oboe music also acts as a of Corridors of Light, Ferris provided the orchestration (for baritone, circumstances and inspiration that the following commentary: chorus, oboe, piano, percussion ritornello, giving the otherwise

10 11 free structure points of It is my fond hope that this 1 Gloria reference. The music is modal musical harbinger will help us Gloria in excelsis Deo. Glory to God in the highest. and richly chromatic, but always reflect on the profound quality Et in terra pax hominibus bonae And on earth peace to men of good very lyrical, and though filled of Spender’s clarion call to faith voluntatis. will. with contrasts of mood and and true humanity as we travel Laudamus te. We praise You. energy, moves relentlessly our short while toward the sun. Benedicimus te. We bless You. toward an inevitable, ecstatic Adoramus te. We adore you. conclusion. Glorificamus te. We glorify You. Gratias agimus tibi propter magnam We give You thanks for Your great gloriam tuam. glory. Domine Deus Rex caelestis, Deus Lord God, heavenly King, God the Father almighty, As a young student and parish organist in Rochester, NY, Francis Crociata would rush from his Pater omnipotens, own church to Sacred Heart Cathedral to hear music performed and, more often than not, Domine Fili unigenite, Jesu Christe. Lord Jesus Christ, the Only-begotten written by William Ferris. When the last church he served as organist/choirmaster was leveled Son. to make way for an Eastman Kodak parking lot, Crociata took it as a sign from above, gave up Domine Deus, Agnus Dei, Filius Lord God, Lamb of God, Son of the performing, and later became a noted writer and lecturer on the lives of Sergei Rachmaninoff Patris: Father: and Ferris’s teacher, Leo Sowerby. He has been president of the Leo Sowerby Foundation since Qui tollis peccata mundi, miserere You who take away the sins of the 1993 and works in the advancement division of Saint Leo University in Florida. nobis, suscipe deprecationem world, have mercy on us, receive nostram. our prayer. Qui sedes ad dexteram Patris, You who sit at the right hand of the miserere nobis. Father, have mercy on us. Quoniam tu solus Sanctus. For you alone are holy. Tu solus Dominus. You alone are the Lord. Tu solus Altissimus, Jesu Christe. You alone are the most high, Jesus Christ. Cum Sancto Spiritu, in gloria Dei With the Holy Spirit in the glory of Patris. God the Father. Amen. Amen.

12 13 Ed È Subito Sera 3 II. Ora che sale il giorno II. Now Day Breaks Text by Salvatore Quasimodo Finita è la notte e la luna The night is done, the moon 2 I. Ride la gazza, nera sugli I. The Magpie Laughs, Black Upon si scioglie nel sereno, slowly melts in the serene, aranci the Orange Trees tramonta nei canali. sets in the canals. Forse è un segno vero della vita: Perhaps it is a very sign of life: È cosí vivo settembre in questa terra September lives so in this land intorno a me fanciulli con leggeri around me, children in a game di pianura, i prati sono verdi come of plains, the meadows are as green moti del capo danzano in un gioco of cadences and voices dance nella valli del sud a primavera. as in the valleys of the south in spring. di cadenze e di voci lungo il prato with easy movements of the head Ho lasciato i compagni, I have left my comrades, della chiesa. along the meadow of the church. ho nascosto il cuore dentro le have hid my heart within the old Pietà della sera, ombre Piety of evening, shadows vecchie mura, per restare solo a walls, to rest alone remembering riaccese sopra l’erba cosí verde, rekindled on the grass so green, ricordarti. you. bellissime nel fucco della luna! loveliest in fire of the moon! Come sei più lontana della luna, How you are more distant than the Memoria vi concede breve sonno; Memory grants you brief sleep; ora che sale il giorno e sulle pietre moon, now day breaks and on the ora, destatevi. but now, awake. batte il piede dei cavalli! stones the hoofs of horses beat! Ecco, scroscia il pozzo per la prima Behold, the well churns for the first marea. tide. Questa è l’ora: non più mia, arsi, This is the hour: mine no longer, burnt remoti simulacri. and distant semblances. E tu vento del sud forte di zàgare, And you, south wind thick with orange spingi la luna dove nudi dormono blossoms, drive the moon where fanciulli, forza il puledro sui campi children sleep naked, force the umidi d’orme di cavalle, apri il mare, foal to fields damp with the tracks 4 III. Ed è subito sera III. And Suddenly It’s Evening alza le nuvole dagli alberi: of mares, bare the sea, lift the già l’airone s’avanza verso l’acqua clouds from the trees: the heron Ognuno sta solo sul cuor della terra Each alone on the heart of the earth e fiuta lente il fango tra le spine, now moves waterward and slowly trafitto da un raggio di sole: impaled upon a ray of sun: ride la gazza, nera sugli aranci. sniffs the mud among the thorns, ed è subito sera. and suddenly it’s evening. the magpie laughs, black upon the orange trees.

14 15 5 IV. Forse il cuore IV. Perhaps the Heart 7 Corridors of Light Sprofonderà l’odore acre dei tigli The acrid odour of the lindens The Truly Great Never to deny its pleasure in the nella notte di pioggia. will sink within the night of rain. From SELECTED POEMS by Stephen Spender. simple morning light Sarà vano il tempo della gioia, la sua The time of joy, its fury, will be vain, Copyright ©1934, renewed 1962 Nor its grave evening demand for furia, quel suo morso di fulmine che its lightning bite that shatters. by Stephen Spender. love. schianta. Reprinted by permission of Random House, Inc. Never to allow gradually the traffic to Rimane appena aperta l’indolenza, There scarce remains the indolence, smother il ricordo d’un gesto, d’una sillaba, the memory of a gesture, of a syl- I think continually of those who were With noise and fog, the flowering of ma come d’un volo lento d’uccelli lable, but like a slow flight of birds truly great. the spirit. fra vapori di nebbia. in fumes of fog. Who, from the womb, remembered Near the snow, near the sun, in the E ancora attendi, non so che cosa, And still you await, I know not what, the soul’s history highest fields, mia sperduta; forse un’ora che my lost one; perhaps an hour that de- Through corridors of light, where the See how their names are fêted by the decida, che richiami il principio o la cides, that recalls the end or the be- hours are suns, waving grass fine; uguale sorte, ormai. ginning; henceforward, equal fates. Endlessly singing. Whose lovely And by the streamers of white cloud Qui nero il fumo degli incendi Here black the smoke of fires still ambition And whispers of wind in the listening secca ancora la gola. dries the throat. Was that their lips, still touched with sky. Se lo puoi, dimentica quel sapore di O if you can, forget the taste of fire, The names of those who in their lives zolfo, e la paura. sulphur, and the fear. Should tell of the Spirit, clothed from fought for life, Le parole ci stancano, risalgono da Words wear us out, they rise again head to foot in song. Who wore at their hearts the fire’s un’acqua lapidata; forse il cuore ci from a stoned water; perhaps the And who hoarded from the Spring centre. resta, forse il cuore… heart is left us, perhaps the heart... branches Born of the sun, they travelled a short The desires falling across their bodies while toward the sun like blossoms. And left the vivid air signed with What is precious is never to forget their honour. The delight of the blood drawn from ageless springs Breaking through rocks in worlds before our earth.

16 17 JOHN VORRASI In partnership with composer William Although his repertoire reaches back Ms. Watkins performed for 13 years as Tenor John Vorrasi is known for his Ferris, he helped create the William into the classical and baroque eras, principal oboist of various American performances on the concert and Ferris Chorale, designing its public Shirley-Quirk has always maintained orchestras, including the Washington opera stage, and for his work as a image, organizing its business affairs, an active association with new National Symphony under Antal librettist (for William Ferris), translator and most importantly, lending his music. His first operatic venture was Dorati and Mstislav Rostropovich. (for William Mathias), essayist (for artistry as the Chorale’s tenor soloist. a performance of Henze’s Elegy In her subsequent career as soloist numerous recordings and journals), He now serves as the ensemble’s for Young Lovers. He created roles and conductor, she collaborated with and program annotator (for the Artistic Director. in Tippett’s The Ice Break and in world-class musicians and ensembles Britten’s last five operas, culminating including the Amadeus, Emerson, Chicago Symphony Chamber Music JOHN SHIRLEY-QUIRK in the sevenfold role of The Traveller and Guarneri Quartets; the Moscow Series). He has been a featured in . Philharmonic; and the Austrian Radio artist with the Virginia Philharmonic, One of Britain’s most renowned Death in Venice Symphony. Chicago Opera Theatre, Aldeburgh and distinguished musicians, John John Shirley-Quirk first appeared with Festival, Spoleto Festival: USA, Shirley-Quirk is known particularly the William Ferris Chorale in January Believing in the importance of new International Music Festival at for his masterly performances of 1993, when he joined Lady Susana music, Ms. Watkins gave more than 30 Genève, and the Pontifical Institute of orchestral repertoire with leading Walton for a performance of Façade. world premieres of works by eminent Sacred Music at the Vatican. conductors and orchestras around He is a member of the voice faculty of composers such as Benjamin Britten the world including in Amsterdam, the Peabody Conservatory. and Henri Dutilleux. His recitals, often with composers Chicago, New York, London, Paris, At the time of her sudden death in William Ferris, Lee Hoiby, and Ned Vienna, and Berlin. He has given SARA WATKINS 1997 at age 52, she was gaining an Rorem as his accompanist, have recitals in these same venues with Born and raised in Chicago, Sara enviable international reputation for been broadcast by the BBC, Radio pianists such as Ashkenazy, Britten, Watkins began her oboe studies her conducting, with performances Vaticana, NPR, and Chicago radio Schiff, and Perahia. He has performed at age nine. Within a year she was in London, Glasgow, Paris, New York, stations WNIB and WFMT. He gave in the world’s major opera houses performing oboe in public. Washington, and Miami as well as the Chicago premieres of Gian Carlo including Covent Garden, La Scala, After receiving her degree at Oberlin at the Aldeburgh and St. Endellion Menotti’s opera The Egg and Missa: O and the Metropolitan Opera. His Conservatory, she was on her way to Festivals in the United Kingdom. She Pulchritudo, both under the direction discography on all major record labels being recognized as one of America’s was married to John Shirley-Quirk. of the composer. He can be heard on has exceeded the century mark. the Cedille, CRI, Musical Arts Society, most gifted instrumentalists. New World, and WFC Live labels.

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