03-06 DCINY:Carnegie Hall Rental 2/26/10 11:36 AM Page 1 Saturday Evening, March 6, 2010, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director Presents MUSIC MASTERS OF WALES KARL JENKINS Palladio I. Allegretto (4:00) KARL JENKINS Sacred Songs (Selections) “Ave Verum” (from Stabat Mater ) (4:00) “Benedictus” (from The Armed Man ) (7:30) PENNSBURY HIGH SCHOOL CONCERT CHOIR KARL JENKINS Euphonium Concerto (US Premiere) (24:00) I. The Juggler II. Romanza III. “It Takes Two…” IV. A Troika? Tidy! KARL JENKINS, Guest Conductor DAVID CHILDS, Euphonium Intermission ARWEL HUGHES Dewi Sant (New York Premiere) (69:00) JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor SUSAN HOLSONBAKE, Soprano TIMOTHY BIRT, Tenor MARK WOMACK, Baritone PENNSBURY HIGH SCHOOL CONCERT CHOIR THE PENNSBURY COMMUNITY CHORUS Please hold your applause until after the final movement. Part of Wales Week USA Presented in association with the Welsh Assembly Government PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 03-06 DCINY:Carnegie Hall Rental 2/26/10 11:36 AM Page 2 Notes ON THE PROGRAM KARL JENKINS Palladio Born: February 17, 1944, Neath, Wales, United Kingdom Palladio was inspired by the 16th-century borrowed from classical antiquity, a Italian architect Andrea Palladio, whose philosophy which Karl Jenkins feels work embodies the renaissance cele - reflects his approach to composition. bration of harmony and order. Two of Palladio’s hallmarks are mathematical Palladio is for string orchestra, and is in harmony and architectural elements the style of a baroque concerto grosso. KARL JENKINS Sacred Songs (Selections) “Ave Verum” from Stabat Mater Stabat Mater is a 13th-century Roman It has been set to music by many com - Catholic poem attributed to Jacopone posers, among them Haydn, Dv oˇrák, da Todi. Its title is an abbreviation of Vivaldi, Rossini, Pergolesi, Gounod, the first line, Stabat Mater dolorosa Penderecki, Poulenc, Szymanowski, (“the sorrowful mother was stand - Alessandro Scarlatti, Domenico Scar - ing”). This text, one of the most latti, and Verdi. powerful and immediate of medieval poems, meditates on the suffering of I have set six texts that lie outside the Mary, Jesus Christ’s mother, during original poem; these include a choral his crucifixion. arrangement of the Ave Verum that I originally composed for Bryn Terfel. —Note by Karl Jenkins Text of “Ave Verum” Ave verum corpus natum Hail, true body, De Maria Virgine. Born of the Virgin Mary, Vere passum, immolatum Truly suffered, sacrificed In cruce pro homine. On the cross for mankind, Cujus latus perforatum Whose pierced side Fluxit aqua et sanguine. Flowed with water and blood, Esto nobis praegustatum Be for us a foretaste Mortis in examine. In the trial of death. Jesu dulcis! Jesu pie, Sweet Jesus! Blessed Jesus, Fili Mariae. Son of Mary. Amen. Amen. 03-06 DCINY:Carnegie Hall Rental 2/26/10 11:36 AM Page 3 “Benedictus” from The Armed Man: A Mass For Peace “Benedictus” is an excerpt from The its slow and stately affirmation of Armed Man: A Mass For Peac e, a special faith and leads us to the final, positive millennial commission from the Royal climax of the work. Armouries and the latest in a six century – old tradition of “Armed Man” masses The Armed Man: A Mass For Peace that take the 15th-century French song received its world premiere in April “L’homme armé” as their starting point. 2000 at London’s Royal Albert Hall. The theme that the armed man must be In a rapturous performance, by turns feared, which is the message of the song, visceral and ethereal, the mass was “a seemed painfully relevant to the 20th cen - fire bomb of orchestral and human tury, and so the idea was born to com - voices” (the London Times ) that drew mission a modern “Armed Man Mass.” “prolonged shouts of approval from the audience” (the Independent ). “Benedictus” follows the Agnus Dei , which, with its lyrical chorale theme, —Note by Guy Wilson, Master of reminds us of Christ’s ultimate sacrifice. The Armouries (retired), Britain’s “Benedictus” heals those wounds in oldest national museum Text of “Benedictus” Benedictus qui venit in nomine Blessed is he that cometh in the Domini. name of the Lord. Hosanna in excelsis. Hosanna in the Highest. KARL JENKINS Euphonium Concerto (New York Premiere) The euphonium has, for many years, to win the euphonium new audiences been associated with the world of brass has been to commission new pieces for and traditional marching bands rather it, one of the most important of which than that of the symphony orchestra was Alun Hoddinott’s concerto, heard and concert hall. Indeed, it is such a rare by an enthusiastic audience at the BBC visitor to the concert hall that there will Proms in 2004. With Karl Jenkins’ be some who might even be unsure as Euphonium Concerto, David Childs now to exactly what a euphonium is. Within adds a further work by a major composer brass bands it plays a central role and is to the instrument’s repertoire. often referred to as the cello of the band on account of its similarity in register to “Finding major composers willing to its stringed counterpart. In the last five write for the instrument is the challenge,” years or so, these perceptions have begun said Childs in an interview. “Karl’s to change, largely due to the vision of work is very listenable, very virtuosic, one man—the young player David typical of his style. I’m sure it will appeal Childs who, although not even yet 30, to a broad musical population, which has done much to change our view of is the audience I’m trying to reach.” the instrument and develop for it a The concerto was commissioned by new character in fitting with the 21st Euphonium Foundation UK, an organi - century. A major part of his campaign zation set up by Childs devoted to 03-06 DCINY:Carnegie Hall Rental 2/26/10 11:37 AM Page 4 commissioning new and diverse reper - Romanza , is an unashamedly lyrical toire and developing an understanding outpouring for the soloist, initially of the euphonium. accompanied by strings and, later, the full orchestra. The third movement— In bringing the instrument before a wider “It takes two…” —is a sultry tango-like audience, few composers are more melody with a particularly striking qualified to reach out to music lovers ending where the soloist both sings and than Swansea-born Karl Jenkins. “It’s plays the euphonium simultaneously. A been a privilege to write a concerto for Troika? Tidy! , a galloping rhythm in the such a virtuoso performer,” says Jenkins. orchestra joined by the soloist in the “I’ve known David for a few years and lowest register of the instrument in a was hoping this opportunity would troika (a traditional Russian dance happen. As is my wont, I’ve endeavored which imitates the prancing of horses). to make the concerto somewhat quirky A slow romantic episode briefly inter - and “off the wall.” rupts the music’s joie de vivre, out of which the soloist emerges with a The first movement, The Juggler , imme - cadenza of great brilliance (accompa - diately establishes a sense of fun, graph - nied by two sleigh bells) leading to the ically bringing to mind both the ease of Concerto’s rousing conclusion. movement and lolloping suspense of the juggler’s art. The second movement, —Note by Peter Reynolds ARWEL HUGHES Dewi Sant Born: August 25, 1909, Rhosllanerchrugog, Wales, United Kingdom Died: September 23, 1988, Cardiff, Wales, United Kingdom The Welsh composer Arwel Hughes won Williams, whose staunch admirer he the special affection of his compatriots as remained for the rest of his life. much for his personal qualities as for his considerable musical attainments. His Before entering on a BBC career during progress from his origins as the tenth the war years, Arwel Hughes served child of a miner to become head of music terms as an organist and choirmaster, at BBC Wales was in itself an achieve - most notably at an Oxford high angli - ment admired in a country which has can church. By his own admission, the traditionally accorded scant respect to close contact with traditional Latin mere commercial or political success. liturgy and the rituals of the western church had a marked effect on his musi - Hughes was born into a poor but close- cal style. Various duties in the broad - knit and musically active community, casting studios, as arranger, conductor, Rhosllannerchrugog, a mining village producer and auditioner, as well as his near Wrexham in North Wales. His active involvement in the National and talent, largely nurtured by a musical International Eisteddfodau (competitive elder brother, gained him admission cultural festivals), left little time for to the Royal College of Music as a original composition. Nevertheless he composition student. There he studied produced two operas, a symphony, with Gordon Jacob, C .H.Kitson, three string quartets, a mass, and much Gustav Holst and, above all, Vaughan other choral and orchestral music. 03-06 DCINY:Carnegie Hall Rental 2/26/10 11:37 AM Page 5 The oratorio Dewi Sant , Arwel Hugh - eloquent preacher who stood firm in the es’ first large-scale work of this kind, face of pagan opposition and intrigue, was commissioned by the Arts Coun - but above all the loving father to his cil of Great Britain as part of the people, seems in fact to pierce the mists Welsh contribution to the celebrations of time and his traditional apotheosis.