CONDUCTORS: Peter Stoltzfus Berton Natasha Ulyanovsky
Saint John’s Episcopal Church and present
A CELEBRATION OF PSALMS SUNDAY, MAY 5TH, 2013 at 4 pm
WITH THE COMBINED CHOIRS OF ST. JOHN’S EPISCOPAL CHURCH AND CONGREGATION BETH ISRAEL
And guest singers from BETH EL TEMPLE choir with FESTIVAL CHAMBER ORCHESTRA
directed by Pamela Siskin Peter Stoltzfus Berton Natasha Ulyanovsky
A Celebration of PSALMS
is made possible by the generous support of
Arnold and Sandy Chase at Congregation Beth Israel
Sacred Music at the Red Door, the Music Series of St. John’s Episcopal Church
and a grant from The Richard P. Garmany Fund at the
page 1 page 2 WELCOME
Hinei ma tov u’ma-nayim Shevet ach-im gam ya-chad – Behold, how good and how pleasant it is for brethren to dwell together in unity! Psalm 133
What a blessing to bring the ancient words of the Psalmist to life. As St. John’s Parish and Congregation Beth Israel join together in song our collective spirits will be lifted. The 150 Psalms are the record of an ancient people’s thoughts, feelings, and hopes that reveal our timeless and universal human condition. As our two communties perform (with guests from Temple Beth El as well), may we be inspired by the words, lifted by the music, and carried by the bonds that link us together. In most of the Bible, God reaches out to humanity. The initiative is God’s. In the Book of Psalms, it is the other way around. Human beings reach out to connect with God. The initiative is human. The language is human. Overwhelmed, confused, distraught, despairing – and/or profoundly grateful, reflective, renewed, attuned – whatever our state, we are often left speechless, feeling that words fall flat, or do not convey what we want, need, or intend. In the face of these challenges, those who are in pain, as well as those who care for them, may need new ways of communicating, new tools for talking, and new modes of relating. For generations communities and individuals have turned to the Psalmists’ words to express their inner- most feelings. As we join together to hear these ancient words, may we as the Psalmist wrote, “Behold, how good and how pleasant it is for brethren to dwell together in unity!” (Psalm 133) And may we rejoice: This is the day the LORD has made; let us rejoice and be glad in it. (Psalm 118)
Rabbi Michael Pincus, Senior Rabbi, Congregation Beth Israel
The psalms are the first and oldest hymnals and prayer books of church worship, a rich inheritance from our Jewish ancestors. They have been an integral part of Christian worship since the days of the apostles themselves and continue to shape our liturgy and be the inspiration for many of our hymns and prayers. The enduring value of the psalms – and a reason why they are integral to Christian and Jewish worship – is their ability to address every possible human emotion, always directing us to the providence of our Creator. Because the psalms speak to every human emotion – from praise and trust to anger and despair – they have long been a fundamental part of the community’s liturgical worship, both in Judaism and Christianity. Even though a majority of psalms are classified as laments (complaints or anguished prayers), they invariably direct the believer through whatever the trouble at hand may be (illness, despair, particularly vicious enemies) to a renewed trust in God, the creator and redeemer. This quality makes the psalms suitable for both private worship and devotion as well as Shabbat and the Sunday Eucharist. The psalms have a timeless ability to speak to any situation, any occasion. It is a challenge to match the exuberant invitation to worship of Psalm 150, which in two different settings opens this afternoon’s program. Is there a more eloquent hymn in praise of creation than Psalm 19, which inspired one of Haydn’s great oratorios? And Psalm 130 is masterfully succinct in the way it pulls together the complex emotions of grief. The richness of the psalms also has power to bring together people of different faiths and traditions and is the occasion for this afternoon’s offering of the choirs of Congregation Beth Israel, Temple Beth El and St. John’s Episcopal Church. Hearing selections from the psalms this afternoon, I pray that no matter what our tradition we may hear clearly the words of God’s mercy, justice and love speaking to us.
The Rev’d Joseph L. Pace, Rector, St. John’s Episcopal Church
page 3 Please silence all electronic devices. Thank you. If you require shuttle transportation to Part II (and back again after the Reception), please speak to an usher before Part I begins.
PROGRAM, Part I
at St. John’s Episcopal Church 4:00 p.m.
Organ prelude Fantasy: Torah Song (Yisrael V’oraita) Craig Phillips (born 1961)
O Praise God in his Sanctuary Psalm 150 Anglican Chant by The Rev’d G. S. Talbot St. John’s Choirs (1875-1916)
Let All Things Praise the LORD Psalm 150 Yemenite Folk Song; arr. Richard Cohn Congregation Beth Israel Choir
Hineih Ma Tov Psalm 133:1 Erik L. F. Contzius St. John’s and Congregation Beth Israel Choirs (b. 1968) Sheryl Simoni, soloist
Sicut cervus (Like as the hart desireth the waterbrooks) Psalm 42 Giovanni Pierluigi da Palestrina St. John’s Adult Choir (1525-1594)
Psalm-Prelude “Out of the depths have I called to thee, O Lord” Psalm 130 Herbert Howells Peter Stoltzfus Berton, organ solo (1893-1982)
I was glad Psalm 122 Henry Purcell St. John’s Choirs with organ, strings (1659-1695)
Praise the Lord, his glories show based on Psalm 150 Peter Niedmann St. John’s Youth Choir (born 1962)
Hine ma tov Psalm 133 Allan Naplan St. John’s Youth Choir (born 1962)
Bennisez-Nous Dieu de lumiere Psalm 118 French Sephardic song, arr. Stephen Cohen Congregation Beth Israel Choir
Laudate Jehovam, omnes gentes Psalm 117 Georg Philipp Telemann Combined Adult Choirs (1659-1695)
Intermission (30 minutes) page 4 Please show your printed program for admission to Part II. Please silence electronic devices again, if used recently. Thank you. Archival recordings are being made.
PROGRAM, Part II
at Congregation Beth Israel 5:15 p.m.
Organ prelude The Heavens declare the Glory of God (Psalm 19) Benedetto Marcello (1686-1739)
How lovely is thy dwelling-place (1865) from A German Requiem, Op. 45 Johannes Brahms Psalm 84:1,2,4 (1833-1897) Combined Adult Choirs
The Lord is my shepherd, D. 706 (ca. 1820) Franz Peter Schubert Psalm 23 (1797-1828) Margaret Beers, Jennifer Berton, Barbara Friedman, Corinne Harney, Adlyn Loewenthal, Michelle Meyer, Whitney Perrine, Sheryl Simoni
Lord, you have searched me out (2001) Peter Stoltzfus Berton Psalm 139 (born 1968) St. John’s Adult Choir Oren Givoni, tenor Jennifer Berton, soprano Britt Emerick, treble
On the willows (from Godspell, 1971) Stephen Schwartz Psalm 137:2-4 (born 1948) St. John’s Youth Choir
Chichester Psalms (1965) Leonard Bernstein I. Psalm 108:2; Psalm 100 (1918-1990) II. Psalm 23; Psalm 2:1-4 III. Psalm 131; Psalm 133:1
Combined Choirs Teddy Babbitt, treble Sharon Dix, soprano Margaret Beers, mezzo-soprano Farren Bratten, tenor John Janeiro, baritone
Reception in The Lobby page 5 THE PSALTER
The word psalms is derived from the Greek Psalmoi, perhaps originally meaning “music of the lyre” or “songs sung to a harp” and then to any piece of music. From psallein, “play upon a stringed instrument,” and then to “make music in any fashion.” The Book of Psalms (Psalter), in its current, most commonly used form consists of 150 songs and prayers referred to individually as psalms and referenced by chapter and verse.
The biblical poetry of the Psalms uses parallelism as its primary poetic device. Parallelism is a kind of rhyme, in which an idea is developed by the use of repetition, synonyms, or opposites. Synonymous parallelism involves two lines expressing essentially the same idea:
The LORD is my light and my salvation; whom shall I fear? The LORD is the stronghold of my life; of whom shall I be afraid? Psalm 27:1 Lines expressing opposites are known as antithetic parallelism:
The LORD watches over the way of the righteous, but the way of the wicked will perish. Psalm 1:6 In addition to the title of the collection, which translates as “song” or “hymns” from both Hebrew and Greek, superscriptions (or headings) in many of the Psalms provide musical references and some direction, in some cases even references to melodies that, anciently, would have been well-known; however, no musical notation has survived. Dating of individ- ual compositions is difficult, and in some cases impossible. Many appear to have been written early in the history of ancient Israel (first millennium BC or even earlier), while others may have been written after the exile to Babylon, which occurred in the sixth century BC. (Wikipedia) David Playing the Harp (1670) Jan de Bray (1627–1697)
PROGRAM NOTES, TEXTS, AND TRANSLATIONS
ORGAN PRELUDE Fantasy: Torah Song (Yisrael V’ oraita) Craig Phillips Craig Phillips is Music Director and Organist of All Saints Episcopal Church, Beverly Hills, California. This color- ful composition is the winner of the 1994 National Organ Composition Competition sponsored by the Ruth and Clarence Mader Memorial Scholarship Fund and the American Guild of Organists. The melody on which it is based is a song of praise sung at Shavuot (The giving of the Ten Commandments on Mt. Sinai), of Hassidic origin (a sect of Jews using dance and song to pray), and published in Psalms for all seasons: a complete Psalter for worship (2012) by the Calvin Institute of Christian Worship. Middle sections of prayer and nimble dance are framed by festive outbursts.
PSALM 150 – O praise God in his holiness Anglican Chant by The Rev. G. S. Talbot Anglican chant is a way to sing un-metrical texts, such as prose translations of the psalms, canticles, and other, similar biblical texts by matching the natural speech-rhythm of the words in each verse to a short piece of metrical music. It may be fairly described as “harmonized recitative.” It is said to have the twofold purpose of enhancing the words text and serving as an aid for both the singer and listener to attain a meditative state. Anglican Chant was developed in England at the time of the English Reformation and appears to be an adaptation of the plainchant method that was in common use at the time for singing the same texts but in Latin. These Latin-language texts were also un-metrical as they too were prose translations of the earlier Greek, Aramaic, and Hebrew originals. Although previously in more widespread use throughout the Anglican Church, today Anglican Chant is used primarily in Anglican cathedrals and also in parish churches that have retained a choral liturgical tradition; a Gloria is customary. page 6 O praise God in his holiness: praise him in the firmament of his power. Praise him in his noble acts: praise him according to his excellent greatness. Praise him in the sound of the trumpet: praise him upon the lute and harp. Praise him in the cymbals and dances: praise him upon the strings and pipe. Praise him upon the well-tuned cymbals: praise him upon the loud cymbals. Let everything that hath breath praise the Lord! Glory be to the Father, and to the Son: and to the Holy Ghost. As it was in the beginning, is now, and ever shall be: world without end. Amen.
PSALM 150 – Let All Things Praise the LORD Yemenite Folk Song; arr. Richard Cohn Although instrumental music was discouraged in the Jewish liturgical tradition of ancient times, after the destruc- tion of the Second Temple many Jews found themselves living among the Arab peoples. The Arab secular musical style developed a rhythmical music for their poems which were accompanied by bodily motions and percussive instruments. Gradually the Arabic type of verse and music was not only introduced into Jewish secular life but also into the life of the synagogue. This processional suggests a performance practice that may have been used long ago.
Praise the LORD! Praise God in His sanctuary; Praise Him in His mighty firmament! Praise Him for His mighty acts; Praise Him according to His excellent greatness! Praise Him with the sound of the trumpet; Praise Him with the lute and harp! Praise Him with the timbrel and dance; Praise Him with stringed instruments and flutes! Praise Him with loud cymbals; Praise Him with clashing cymbals! Let everything that has breath praise the LORD. Praise the LORD!
PSALM 133 – Hineih Mah Tov Erik L. F. Contzius arr. by Erik L. F. Contzius, Joseph Myerov, and Sharon MacCabe Cantor Erik Contzius serves as cantor and music director of Temple Israel of New Rochelle, New York. He previ- ously served as cantor at Congregation Keneseth Israel in Elikns Park, Pennsylvania, and wrote this setting for the installation of Lance J. Sussman, Ph.D. as Rabbi of that Reform congregation in 2004. This widely published and popular modern setting has been compared to the American melody ‘Shenendoah’ for the breadth of its main tune which welcomes community. The splendid English paraphrase text derived from the Psalm verse, and the English translation, are by Erik Contzius. The anthem will be sung as part of an ecumenical service of worship opening the Region I/II Convention of the American Guild of Organists in Hartford this summer. This text also closes today’s concert in the quiet Finale of Bernstein’s Chichester Psalms. The audience is invited to sing the final refrain when directed.
Hineih ma tov, umah naim shevet achim gam yachad. Psalm 133:1 Behold how good it is when we dwell together, living as one people hand in hand; What keeps us safe and strong is that we have each other, the human family across the land.
Stately # ™ & # ˙ œ œ œ œ œ j Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Hi - nei ma tov, u - ma - na - im she - vet a-khim gam ya - khad, # ™ U & # ˙ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Hi - nei ma tov, u - ma - na - im she - vet a-khim gam ya - khad.
page 7 PSALM 42 – Sicut cervus Giovanni Pierluigi da Palestrina Throughout the Middle Ages and for many centuries in the Christian church, in some traditions still to the present day, Psalms were communicated through the highly spiritual and almost charismatic quality of Gregorian Chant, which, in its fully developed elaborations and melismas captures a deep sighing and yearning for God. It is a kind of singing in tongues which draws the worshipper into deep worship of a contemplative kind. The “long” elaborations express a “longing” of the soul for deep union with God.
The great tradition of Renaissance Polyphony also shows forth a lot of this longing. Some have traced the ori- gins of the polyphony to a kind of musical representation of an ancient philosophy known as the “music of the spheres.” The Ancient Greek Philosophy of Plato, Pythagoras and many others had been “rediscovered” in the Middle Ages. Among the cosmological theories they advanced was that as the planets swept through the solar sys- tem they each made a perfect tone that together created a wonderful and perfect celestial harmony. In the 16th Cen- tury Kepler and others reintroduced this ancient cosmology. This may have been one of factors that influenced the sound of Renaissance Polyphony which captured the sounds of heaven and brought them to earth for the faithful to contemplate and pray with. Much of it is highly mystical and can assist deep prayer and express great longing for God. This afternoon, Palestrina’s setting is preceded by the same text sung to Gregorian chant:
Sicut cervus desiderat ad fontes aquarum: ita desiderat anima mea ad te, Deus. As the deer longs for the waterbrooks, so longs my soul for you, O God. My soul is athirst for God, athirst for the living God; when shall I come to appear before the presence of God? My tears have been my food day and night, while all day long they say to me, “Where now is your God?” I pour out my soul when I think on these things: how I went with the multitude and led them into the house of God. With the voice of praise and thanksgiving, among those who keep holy-day. (Book of Common Prayer, 1979)
One of the great musical masterpieces of the Church, Palestrina’s setting beautifully depicts a musical “sigh.” As the notes soar the longing builds and you can hear the choir giving an almost perfect expression of the human yearning for God. The music comes to a peaceful end on a note of hope that one day we shall see God. --Msgr. Charles Pope, Music to Long By: A Brief Meditation on Palestrina’s “Sicut Cervus”
PSALM 130 – Out of the depths have I called to you, O Lord (organ solo) Herbert Howells One of a set of Psalm-Preludes for organ, this twentieth-century English music describes a fervent prayer with the full dynamic range of the instrument, from the anguished “Lord, hear my voice” to the peaceful reassurance that the prayer has been heard. Howells’ son died at age nine from polio, and this music was written three years after- wards, in 1938, the same year of completion of his choral masterpiece “Hymnus Paradisi” in his son’s memory.
PSALM 122 – I was glad Henry Purcell Henry Purcell is honored together with Johann Sebastian Bach and George Frideric Handel with a feast day on the liturgical calendar of the Episcopal Church on July 28. Although incorporating Italian and French stylistic elements into his compositions, Purcell’s legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar. He was appointed Organist of Westminster Abbey at the age of twenty, and three years later he was appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at the Abbey. In these capacities he composed music for Royal occasions, including I was glad in 1685 for the Corona- tion of King James II. (Wikipedia.) I was glad contains four sections contrasting merriment and peace. Its rich texture throughout is derived from two intertwining soprano parts in addition to alto, tenor and bass; all five parts contain delightfully complex rhythms. There are a few daringly colorful cross-relations between the parts, jarring even to a modern ear, for example one part singing an F-sharp while simultaneously another sings F-natural.
page 8 I was glad when they said unto me: We will go into the house of the Lord. For thither the tribes go up, ev’n the tribes of the Lord: to testify unto Israel, and to give thanks unto the Name of the Lord. For there is the seat of judgment: ev’n the seat of the house of David. O pray for the peace of Jerusalem: they shall prosper that love thee. Peace be within thy walls: and plenteousness within thy palaces. Glory be to the father and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end, Amen.
Psalm 122:1,4-7
PSALM 150 – Praise the Lord, his glories show Peter Niedmann In this merry setting of a hymn inspired by Psalm 150, West Hartford composer Peter Niedmann captures the lilt of a dance in 6/8 meter, with contrasting music in the third stanza. Written for the youth choir of Church of Christ, Congregational (UCC), Newington, where Mr. Niedmann is Music Director, it has been published as part of GIA’s “Not for Children Only” series, affirming that this music of praise, and its message, has no age limit.
Praise the Lord, his glories show, Alleluia! Saints within his courts below, Alleluia! Angels round his throne above, All that see and share his love. Alleluia!
Earth to heav’n, and heav’n to earth, Alleluia! Tell his wonders, sing his worth. Alleluia! Age to age and shore to shore, Praise him, praise him evermore! Alleluia!
Praise the Lord, his mercies trace, Praise his providence and grace, All that he for us has done, Loving and eternal One.
Strings and voices, hands and hearts, Alleluia! In the concert play your parts. Alleluia! All that breathe, your Lord adore, Praise him, praise him evermore! Alleluia!
Henry F. Lyte (1793-1847), based on Psalm 150, alt. P. Niedmann
PSALM 133 – Hineih ma tov Allan Naplan Klezmer, a term meaning ‘instruments of music,’ is a tradition of the Ashkenazic Jews of Eastern Europe. Played by professional musicians called klezmorim, the genre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish- speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924, met and assimilated American jazz. During the initial years after the klezmer revival of the 1970s, this was what most people knew as klezmer, although in the current century musicians have begun paying more attention to the “original” pre-jazz traditions. Allan Naplan’s composition in this style (1995) incorporates the tradition’s lively syncopated bounce feeling, as well as the structured progression between major and minor modes. The “lai, lai, lai” refrain is equivalent to the “fa, la, la” of the English madrigal, not far removed from the repetition of text in the final section of the Purcell anthem just heard. Instrumental elements have been added for today’s concert by Peter Niedmann.
Hineih ma tov, umah naim shevet achim gam yachad. Psalm 133:1 How good it is for all of us to join together in song. Let our voices raise with songs of praise that we’ll sing the whole day long. page 9 LLC
www.WalbridgeDesignBuild.com (860) 216-3006
Margaret and David Beers continue to support the Arts at St. John’s- for more than 30 years.
www.YellowHouseVogue.com (860) 523-1529
Showcasing the latest Carlisle collection. Featuring a showroom complete with private changing rooms in the heart of West Hartford.
page 1210 PSALM 118 – Bennisez-nous Dieu de lumiere traditional Sephardic, arr. Stephen Cohen This song originated in the Jewish community in the Bayonne area of France, and is based on an old popular Sephardic (Spanish) tune. It is sung in the autumn around the harvest festival of Sukkot and by children who are about to begin their Jewish studies. Stephen Cohen has written and arranged a variety of choral pieces for Jewish choirs. Since 1982, he has sung or conducted continuously in various Jewish choral groups Sharim v’Sharot, LaShir, the Arbel Chorale, and Kinneret.
Bennisez-nous Dieu de lumiere Bless us G-D of light; Eloignez de nous les malheurs remove from us misfortune, Et sur notre famille entiere and upon our entire family Etendez vos saintes faveurs bestow your holy favors. Hodu L’Adonai ki tov Praise our G-D for G-D is good; Ki l’olam chasdo. everlasting is G-D’s kindness.
Based on Psalm 118
PSALM 117 – Laudate, Jehovam omnes gentes! Georg Philipp Telemann Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was consid- ered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann’s music incorporates several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Clas- sical styles. Almost completely self-taught in music, Telemann became a composer against his family’s wishes. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city’s five main churches.
With just two verses and sixteen words in Hebrew, Psalm 117 is the shortest of all 150 psalms. Telemann makes the most of the brief text by setting it in three distinct movements, each giving ample opportunity for text repetition and bearing a distinct mood, while exploiting characteristic instrumental color and rhythmic intensity of the period.
Laudate, Jehovam omnes gentes! Praise the Lord, all you nations; Laudibus efferte omnes populi! Laud him, all you peoples. Quia valida facta est For his loving-kindness super nos misericordia ejus, toward us is great, et veritas Domini in aeternum. And the truth of the Lord endures for ever. Alleluia. Hallelujah!
Psalm 117
Intermission
page 11
••
Millennium Music Elegant Music for Weddings and All Occasions •• Classical solos, duos, trios and quartets
860-392-9188 www.millenniummusic2.com
WILLIAM RAVEIS EXCEPTIONAL PROPERTIES New England’s Largest Family-Owned Real Estate Company
Since 1984, people just like you have trusted us to transform their financial picture into an organized, unified plan for their life and lasting legacy.
Susie Hatch A second opinion is a risk-free way to determine if Exceptional Properties Specialist your entire financial picture is aligned with your goals and positioned to potentially grow and preserve wealth. Call 800.416.1655 to schedule yours. West Hartford Office 125 LaSalle Road, West Hartford, CT 06107 www.hammondiles.com Cell Phone: 860.841.0866
Home Phone: 860.232.3333 Securities offered through Securities Service Network, Inc. Member FINRA/SIPC. Hammond Iles Wealth Advisors is a Registered Investment Advisor. page 12 ORGAN PRELUDE Psalm 19 Benedetto Marcello Born in Venice, Benedetto Marcello was a member of a noble family and his compositions are frequently referred to as Patrizio Veneto. In 1711 he was appointed a member of the Council of Forty (in Venice’s central government), and in 1730 he went to Pola as Provveditore (district governor). Marcello composed a variety of music including con- siderable church music, oratorios, hundreds of solo cantatas, duets, sonatas, concertos and sinfonias. Marcello was a younger contemporary of Antonio Vivaldi in Venice and his instrumental music enjoys a Vivaldian flavor. This organ piece is a transcription of Marcello’s vocal setting of Psalm 19: The Heavens declare the Glory of God.
PSALM 84 – How lovely is thy dwelling-place Johannes Brahms Brahms’s well-loved A German Requiem established in 1868 the practice of regular departure from the traditional Latin text of the Requiem Mass (Missa pro defunctis, or Mass for the dead). Brahms achieved this by discarding all of it, substituting passages of scripture which had similar or singular meaning of importance to the composer, all in German. This movement from the Requiem is often sung in English, in the composer’s spirit of bringing sacred texts to life in the vernacular of the hearer, which is usually but not always possible (see: Chichester Psalms)! The lyricism of the melodies and finely constructed counterpoint of the exciting “they praise Thy name” section have made this music an enduring favorite of choral societies, church choirs, high school choirs and orchestras. Equally as versatile is the goal of the psalmist’s intent, which can be freely interpreted as meaning heaven, eternal life, the corporate temporal life of a sacred community, an inspiring sacred edifice, or any combination of gateways to God.
How lovely is thy dwelling-place, O Lord of Hosts! For my soul, it longeth, yea, fainteth for the courts of the Lord; my soul and body crieth out, yea, for the living God. Blest are they that dwell within thy house; they praise Thy name evermore!
Psalm 84:1,2,4
PSALM 23 – The Lord is my shepherd Franz Peter Schubert In this exquisite setting for four-part women’s voices of one of the most popular of all the psalms, we hear the master composer of nineteenth-century art song (in both vocal and accompanimental writing), painting a characteristic programmatic picture, perhaps not unlike the back cover of this program. A pool of water (at least the equivalent of Central Air to animals in the Holy Land), peaceful grazing symbolizing contentment with our relationship to God, and merciful deliverance from difficult times are all depicted with charming melody and harmony, creating an overall effect as delightful to perform as to hear.
The Lord is my shepherd; I shall not want. He maketh me to rest in green pastures: He leadeth me beside still waters. He giveth peace unto my soul, He leadeth me in paths of goodness for His Name’s sake. Yea, though I walk through Death’s dark vale of shadows, no evil will I fear, for Thou art with me; Thy rod and staff, they comfort me. Thou preparest here a table for me in presence of mine enemies; My head with oil Thou anointest; my cup runneth over; yea, surely peace and mercy all my life shall follow me: and I will dwell with God for evermore.
Psalm 23 page 13 JenniferJennifer Berton, Berton, PhD,PhD, LCSW, LCSW, CADC-II CADC-II
Designing for the Arts, Non-profit Private Therapy and and Religious community for ConsultationPrivate Therapy for and Consultation for over 20 years. AdolescentsAdolescents and Adultsand Adults
hartford | 860.233.4173 | www.keldesco.com Individual,Individual, Couples Couples & & Family Therapy FamilySupervision Therapy and Consultation Supervision and Consultation Office (West Hartford), OfficeHome (West Visits, Hartford), and HomeOnline Visits, Sessions and Available Online Sessions Available
www.jenniferberton.com • 888-237-8660 www.jenniferberton.com • 888-237-8660
Joanne & John Hoye
(860) 561-8007
Prudential Connecticut Realty
HoyeHomeTeam.com
page 14 PSALM 139 – Lord, you have searched me out Peter Stoltzfus Berton This anthem setting of Psalm 139 was composed in honor of the fifth anniversary of The Rev. Sharon P. Blackburn as Senior Minister of Plymouth Church of the Pilgrims, Brooklyn Heights. Searching is symbolized by the power- ful pull between major and minor tonality heard in the opening triplet motive of the accompaniment. A variety of textures and moods suits the wide emotional range of Psalm 139 and pays homage to the long history of musical settings of the psalms, with solo, choral and chant sections. In the chant section, a duet between an adult and a child is based on the interval of the descending minor third, which research shows to be a remarkably constant first musical utterance of children around the world regardless of native cultural tradition. Is it not amazing that God would know us before we are born, each in our individualities, and also give us a common first voice?
Lord, you have searched me out and known me; you know my sitting down and my rising up; you discern my thoughts from afar. You trace my journeys and my resting-places and are acquainted with all my ways. Indeed, there is not a word on my lips, but you, O Lord, know it altogether. You press upon me behind and before and lay your hand upon me. Such knowledge is too wonderful for me; is so high that I cannot attain to it. Where can I go then from your Spirit? Where can I flee from your presence? If I climb up to heaven, you are there; if I make the grave my bed, you are there also. If I take the wings of the morning and dwell in the uttermost parts of the sea, Even there your hand will lead me and your right hand hold me fast. For you yourself created my inmost parts; you knit me together in my mother’s womb. My body was not hidden from you, while I was being made in secret and woven in the depths of the earth. Your eyes beheld my limbs yet unfinished in the womb; all of them were written in your book; they were fashioned day by day, when as yet there was none of them. How deep I find your thoughts, O God! How great is the sum of them! If I were to count them, they would be more in number than the sand; to count them all, my life span would need to be like yours. I will thank you because I am marvelously made; your works are wonderful, and I know it well.
Psalm 139:1-9, 12-17 (Book of Common Prayer, 1979)
PSALM 137 – On the willows (from Godspell, 1971) Stephen Schwartz In this poignant reminder of the emotional torture of slavery in exile, the music is written in a way to suggest the playing of a harp, or lyre, even when a harpist is not present. The instrument of the original psalmists is in this case a metaphor for something larger, and has been altered in some versions of the song, described by the composer in a discussion of the music of his very popular musical: “The adaptation of the lyric, with the change of the word lives for lyres, was suggested by the conceiver and original director of the show, John-Michael Tebelak. I’m not sure I would make the same change today, but the reasoning behind it was that we wanted to be clear it was their entire life that had changed for each of the disciples, and we weren’t sure the metaphor of the “lyres” would be clear enough, particularly since we don’t get to the explanatory line about singing the Lord’s song in a foreign land until much later in the song.”
On the willows there, we hung up our lyres for our captors there required of us songs and our tormentors mirth, saying: “Sing us one of the songs of Zion.” But how shall we sing the Lord’s song in a foreign land?
Psalm 137:2-4 page 15 CONCORA to Celebrate 40th Season, 2013-2014 Maestro Richard Coffey’s Final Season as Artistic Director
Pleased to support the Jeffrey L. Martin St. John’s Music Series composer 2013-2014 season
Edward B. Whittemore For information on [email protected] commissioning an original work: 860.240.6075 [email protected] http://jlmartin726.wix.com/jlmartinmusic
Mike Mahoney Lisa Mahoney, Marketing Strategist Real Estate Ninja 52 Linnard Road West Hartford, CT 06107 [email protected] P: 860.983.3564
COMMERCIAL REAL ESTATE
10 North Main Street • West Hartford, Connecticut 06107 MARKETING ATLAS Phone 860-236-1253 • Fax 860-232-5259 • Cell 860-983-3563 Strategy + Creative Communications Email [email protected] • www.rlmco.com
page 16 Chichester Psalms Leonard Bernstein In June of 1964, Leonard Bernstein began a sabbatical from the New York Philharmonic, “officially free of chore,” with “fifteen beautiful months to kill!”1 He summarized the events of his sabbatical in a colorful, rhyming poem that appeared in The New York Times on October 24, 1965.
But not to waste: there was a plan, For as long as my sabbatical ran, To write a new theater piece. (A theater composer needs release, And West Side Story is eight years old!) …
Bernstein’s original plan had been to collaborate with lyricists Betty Comden and Adolph Green on a musical version of Thornton Wilder’s The Skin of our Teeth, to be directed by Jerome Robbins.2 Unfortunately, the project did not come to fruition. After frequent meetings all through the fall of 1964, business talks with the producer, and even a ten-day writing trip together to Martha’s Vine- yard, the project was abandoned.3 The poem continues:
Six months we labored, June to bleak December. And bleak was our reward, when Christmas came, To find ourselves uneasy with our work. We gave it up, and went our several ways, Still loving friends; but there was the pain Of seeing six months of work go down the drain.4
Calling the cancellation “a dreadful experience,” Bernstein wrote to David Diamond in January 1965, “The wounds are still smarting. I am suddenly a composer without a project, with half that golden sabbatical down the drain.”5 However, the collapse of the musical would ultimately prove to be quite fortuitous. Bernstein, instead, produced the Chichester Psalms, a piece that he called “the most accessible, B-flat-majorish tonal piece I’ve ever written.”6
The needed inspiration for the writing of this piece arrived in the form of a commission from the Very Reverend Walter Hussey, Dean of Chichester Cathedral. Hussey invited Bernstein to write a piece for the annual music festival involving the combined forces of the English cathedrals of Winchester, Salisbury, and Chichester.7 It was here that the collapse of The Skin of Our Teeth became quite the fortunate coincidence. Bernstein had at his disposal a wealth of discarded musical material; music from his unused sketchbook ultimately became the basis for the thematic material in all three movements of Chichester Psalms.8 It is equally important to note that Hussey’s request came at the ideal time, one of the few periods of relative calm in Bernstein’s life. Had he been preoccupied with another project, he might have accepted Hussey’s invitation only to leave it to wait for years, as had been the case with his Kaddish Symphony.9
Before the “official” premiere at Chichester on July 31, 1965, Bernstein obtained permission to give his work a “try-out” in New York; Bernstein conducted the piece at Philharmonic Hall on July 15, with the New York Philharmonic and the Camerata Singers, led by Abraham Kaplan. Kaplan recalls being so excited upon seeing the score for the first time that he assuredly told Bernstein that this would become one of his most famous and frequently performed works.10 Though Bernstein modestly dismissed it at the time as just a twenty-minute piece, Kaplan’s prediction has held true over time; with its universal appeal and its Broadway elements, Chichester Psalms quickly established itself as Bernstein’s most popular choral work.11
page 17 From Proud Grandparents
JCSmith Piano Studio Specializing in Suzuki Piano Instruction Jacqueline C. Smith Piano teacher, accompanist 21 Greenhurst Rd West Hartford, CT 06107 860-428-0774
[email protected] jcsmithpianostudio.com
page 18
Chichester Psalms is most definitely an eclectic work, a designation that surely would have pleased Bernstein. The setting for the intended premiere was most certainly a Christian one. Yet, Bernstein made the choice to use Hebrew texts, and insisted that they be sung only in Hebrew, making it a distinctly Jewish work. Marin Alsop finds that with his “choice of a Hebrew text for a premiere in the Church of England,” we see Bernstein’s “deep desire to embrace and include everyone in the experience.”12 In particular, his choice of Psalms confirms Alsop’s interpretation; the texts are primarily ecumenical ones of universal appeal. A reference to Israel occurs only once, late in Psalm 131. Psalms 23 and 100 are very commonly used in Christian contexts. Finally, the excerpt from Psalm 133 that concludes the work implies the peaceful coexistence of all peoples and cultures and the acceptance of all faiths.
The eclecticism designation applies equally in the musical realm. Integral to this piece are mixed meters, characteristic of composers such as Copland and Stravinsky. The harmonic language of the orchestral interlude that opens the third movement can be compared to that of Shostakovich with its added tones and 13 JCSmith Piano Studio poignant dissonances in a tonal context. The frequent use of hemiola can certainly call to mind Brahms Specializing in Suzuki Piano Instruction and countless Baroque composers. Jack Gottlieb has written at length about the presence of motives from traditional Jewish music in this and other works of Bernstein. And of course, perhaps most prominent is the Jacqueline C. Smith theatrical element, especially given the Broadway roots of the melodies themselves. In fact, David Stevens Piano teacher, accompanist feels that all of Bernstein’s large scale compositions are theatrical with a “highly varied musical language, by 21 Greenhurst Rd turns jazzy, sentimental, austere or thunderously eruptive.”14 Paul Epstein calls Chichester Psalms “a West Hartford, CT 06107 soundtrack” and writes of Biblical texts being “brashly set off by jazzy rhythms, pop-song harmonies, and 15 860-428-0774 scat singing delivery.” And yet, Bernstein seamlessly weaves together these eclectic influences and styles into a coherent and brilliant musical piece. [email protected] jcsmithpianostudio.com The text was arranged by Bernstein from the psalms in the original Hebrew. Abraham Kaplan, sensing that this would become Bernstein’s greatest work, suggested at the time that it be published with a singable English translation. Keeping an open mind about the idea, Bernstein asked Kaplan to prepare one. Kaplan recalls that he “worked like a dog on it.” When it was finished, Kaplan recalls being driven by Jack Gottlieb to Bernstein’s Westchester home, where the three of them worked on it together for about eight hours without a break. Suddenly at one point, Bernstein stopped and said, “You know what, if they don’t want to do it in Hebrew, let them not do it!” This proved to Kaplan that Bernstein, even though he was in show business and often had to compromise, had a conscience when it came to composition. He knew it had to be done only in Hebrew and would not budge on the idea.16
Chichester Psalms and the first movement in particular are noted among performers for their musical difficulty, with the opening section of the first movement often considered one of the hardest passages for choral tenors ever written, owing to the range of the piece, its rhythmic complexity and the consistent presence of the strange and difficult-to-maintain parallel sevenths between the tenor and bass parts. The seventh interval figures prominently due to its numerological importance in the Judeo-Christian tradition (the Creation narrative, the Sabbath, Sabbattical and Jubilee years); also the first movement is written in 7/4 meter. Despite the work’s difficulty, it is occasionally performed as an anthem in services of choral Evensong in the most musical Anglican cathedrals.
Like many of Bernstein’s works, Chichester Psalms significantly features the harp; the full orchestral version requires two intricate harp parts. Bernstein completed the harp parts before composing the accompanying orchestral and choral parts, thus granting the harpists a pivotal role in realizing the music. In rehearsals, Bernstein is noted to have requested that the harpists play through the piece before the rest of the orchestra to emphasize the importance of the harp’s role. A reduction written by the composer pared down the orchestral performance forces to organ, one harp, and percussion.
page 19 Introduction
The introduction (presented in the score as part of movement one) begins gathering energy. Word painting is used in that the dissonant sevenths present in every chord sound like clanging bells, indicating that we are being told to awaken in a deep and profound way. In the first measure, Bernstein also introduces a leitmotif in the soprano and alto parts consisting of a descending perfect fourth, ascending minor seventh, and descending perfect fifth. The motif conjures up images of tuning the harp and psaltery (especially the use of perfect fourths and fifths), and is found elsewhere in the work, including the end of the first movement, the third movement prelude, and the final a cappella section of movement three (“Hineh mah tov”) and Amen.
:Urah, hanevel, v’chinor. Awake, psaltery and harp עוּרָ ה, הַנֵּבֶל וְכִנּוֹר. !A-irah shaḥar! I will rouse the dawn אָ ִע י רָ ה שָּׁ חַ ר .
Psalm 108, vs. 2 (in English; vs. 3 in Hebrew)
First Movement
The first movement is in a joyous 7/4 meter, sung in a festive fashion, as is implored in the first verse of the psalm. Its last words, “Ki tov Adonai,” recall the seventh interval presented as the main theme in the introduction.
Hari’u l’Adonai kol ha’arets. Make a joyful noise unto הָ רִ יוּע לַיהוָה כָּל־הָאָרֶ ץ. the Lord, all the Earth. .Iv’du et Adonai b’simḥa. Serve the Lord with gladness עִבְדוּ אֶת־יְהוָה בְּ שִׂ מְ חָ ה. Bo’u l’fanav bir’nanah. Come into His presence בּ ֹא וּ לְפָנָיו בִּרְ נָנָה. with singing. .D’u--ki Adonai Hu Elohim. Know ye that the Lord, He is God דְּ עוּ-- כִּי יְהוָה הוּא אֱֹלהִים. ,Hu asanu v’lo anaḥnu. It is He that has made us הוּא־עָשָׂנוּ ולא אֲ נַחְ נוּ. and not we ourselves. Amo v’tson mar’ito. We are His people and the עַמּוֹ וְ צ ֹא ן מַ רְ ִ ע י ת וֹ. sheep of His pasture. Bo’u sh’arav b’todah. Enter into His gates with בּ ֹא וּ שְׁ ָ ע רָ י ו בְּ תוֹדָ ה. thanksgiving, .ḥatseirotav bit’hilah. and into His courts with praise חֲ צֵ ר ֹתָ י ו בִּתְ הִלָּה. ,Hodu lo, bar’chu sh’mo. Be thankful unto Him הוֹדוּ־לוֹ, ָבּ רְ כ וּ שְׁ מוֹ . and bless His name. ,Ki tov Adonai, l’olam ḥas’do. For the Lord is good כִּי־טוֹב יְהוָה, לְעוֹלָם חַ סְ דּוֹ. His mercy is everlasting, V’ad dor vador emunato. And His faithfulness endures וְעַד־דֹּר וָ ד ֹר אֱמוּנָתוֹ. for all generations. Psalm 100
page 20 Second Movement
The second movement begins with a psalm of David set in a conventional meter (3/4) with a tranquil melody, sung by a boy and repeated by the soprano voices in the chorus. This is abruptly interrupted by the orchestra and the low, rumbling sounds (again word painting) of the men’s voices singing Psalm 2 (also notably featured in Handel’s Messiah). This is gradually overpowered by the soprano voices (with the direction, “blissfully unaware of threat”) with David serenely reaffirming the second portion of Psalm 23. However, the last measures of the movement contain notes which recall the interrupting section, symbolizing mankind’s unending struggle with conflict and faith.
Bernstein stated explicitly in his writing that the part in movement 2 may be sung by either a countertenor or a boy soprano, but never by a woman. This was to reinforce the Psalter’s original heading, perhaps to suggest that the 23rd Psalm, a “Psalm of David,” was to be heard as if sung by the boy David himself, while playing a harp. The men’s theme was adapted from material that was cut out of West Side Story.
“David” and sopranos .Adonai ro-i, lo eḥsar. The Lord is my shepherd, I shall not want יְהוָה ר ֹעִ י ֹלא אֶ חְ סָ ר. Bin’ot deshe yarbitseini, He makes me to lie down בִּנְאוֹת דֶּ שֶׁ א יַ רְ ִבּ י ֵ צ נִ י in green pastures, .Al mei m’nuḥot y’nahaleini. He leads me beside the still waters עַל-מֵ י מְ נֻחוֹת יְנַהֲלֵנִי. ,Naf’shi y’shovev, He restores my soul נַפְ שִׁ י יְשׁוֹבֵב Yan’ḥeini b’ma’iglei tsedek, He leads me יַנְחֵנִי בְמַ עְגְּלֵי־צֶדֶ ק in the paths of righteousness, .L’ma’an sh’mo. For His name’s sake לְ מַ עַ ן שְׁ מוֹ.
Sopranos Gam ki eilech Yea, though I walk גַּם כִּי־אֵ לְֵך b’gei tsalmavet, through the בְּגֵיא צַ לְ מָ וֶ ת Valley of the Shadow of Death, ,Lo ira ra, I will fear no evil ֹלא־אִירָ א רָ ע .ki Atah imadi. for You are with me כִּי־אַתָּה עִ מָּ דִ י. Shiv’t’cha umishan’techa Your rod and Your staff שִׁ בְ טְ ָך וּמִ שְׁ עַ נְתֶּ ָך .hemah y’naḥamuni. they comfort me הֵ מָּ ה יְנַחֲמֻנִי.
Psalm 23:1-4
Tenors and basses ,Lamah rag’shu goyim, Why do the nations rage לָ מָּ ה רָ גְ שׁ וּ גוֹיִם ?ul’umim yeh’gu rik? and the people imagine a vain thing וּלְ אֻ מִּ ים יֶהְגּוּ־רִ יק. ,Yit’yats’vu malchei erets, The kings of the earth set themselves יִתְיַצְּבוּ מַ לְ כֵ י־אֶ רֶ ץ v’roznim nos’du yaḥad and the rulers take counsel together וְרוֹזְנִים נוֹסְדוּ־יָחַד .Al Adonai v’al m’shiḥo. Against the Lord and against His anointed עַל־יְהוָה וְעַל־מְשִׁיחוֹ. ,N’natkah et mos’roteimo, Saying, let us break their bands asunder נְנַתְּקָה אֶת־מוֹסְרוֹתֵימוֹ
page 21 .v’nashlichah mimenu avoteimo. and cast away their cords from us וְנַשְׁ לִיכָה מִ מֶּ נּוּ עֲבֹתֵימוֹ. ,Yoshev bashamayim yis’ḥak, He that sits in the heavens laughs יוֹשֵׁ ב בַּ שָּׁ מַ י ִם י ִשְׂ חָ ק !Adonai yil’ag lamo! and the Lord mocks them אֲ ד ֹנָ י יִלְעַג־לָמוֹ.
Psalm 2:1-4
Sopranos and Altos (simultaneously with tenors and basses) Ta’aroch l’fanai shulchan You prepare a table before me תַּ רעֲ ְֹך לְפָנַי שֻׁ לְ חָ ן ,Neged tsor’rai In the presence of my enemies נֶגֶד צ ֹרְ רָ י ,Dishanta vashemen roshi You anoint my head with oil דִּ שַּׁ נְתָּ בַ שֶּׁ מֶ ן ר ֹא שִׁ י .Cosi r’vayah. My cup runneth over כּוֹסִ י רְ ָו יָ ה.
“David” Ach tov vaḥesed Surely goodness and mercy אַ ְך טוֹב וָחֶ סֶ ד ,Yird’funi kol y’mei ḥayai Shall follow me all the days of my life יִרְ דְּפוּנִי--כָּ ל־י ְמֵ יִ חַ יָּי V’shav’ti b’veit Adonai And I will dwell in the house of the Lord וְ שַׁ בְ תִּ י בְּבֵית־יְהוָה .L’orech yamim. Forever לְ א ֹרֶ ְך י ָמִ ים.
Psalm 23:5-6
Third Movement The third movement begins with a conflicted and busy instrumental prelude which recapitulates the chords and melody from the introduction; then suddenly it breaks into a gentle chorale set in a rolling 10/4 (1+ 2++, 3+ 4++) meter which suggests desert palms swaying in the breeze, or a child’s lullaby.
,Adonai, Adonai Lord, Lord יְהוָה, יְהוָה ,lo gavah libi my heart is not proud ֹלא־גָבַהּ לִבִּי ,V’lo ramu einai Nor my eyes lofty וְֹלא־רָ מוּ עֵינַי v’lo hilachti neither do I aspire וְֹלא־הִלַּכְתִּ י Big’dolot to things too great בִּגְדֹלוֹת .uv’niflaot Mimeni. and too wonderful for me וּבְנִפְלָאוֹת מִ מֶּ נִּי.
Im lo shiviti Surely I have calmed אִם־ֹלא שִׁ וִּ יתִ י ,v’domam’ti and quieted my soul וְ דוֹמַ מְ תִּ י Naf’shi k’gamul As a child that is weaned of נַפְ שִׁ י כְּ גָמֻ ל .alei imo. his mother עֲלֵי אִ מּוֹ. Kagamul alai My soul is even as כַּ גָּמֻ ל עָלַי .naf’shi. a weaned child נַפְ שִׁ י.
page 22 Yaḥel Yis’rael Let Israel hope יַחֵ ל י ִשְׂ רָ אֵ ל el Adonai in the Lord אֶ ל־ יְהוָה Me’atah From henceforth מֵ עַ תָּ ה .v’ad olam and forever וְעַד־עוֹלָם.
Psalm 131
Finale The finale comes in from the third movement without interruption. The principal motifs from the introduction return to unify the work and create a sense of returning to the beginning, but here the motifs are sung pianississimo, and greatly extended in length. Particularly luminous harmonies eventually give way to a unison note on the last syllable of the text - another example of word painting, since the final Hebrew word, yaḥad, means “together” or, more precisely, “as one.” This same note is that on which the choir then sings the amen, while one muted trumpet plays the opening motif one last time and the orchestra, too, ends on a unison note (with just a hint of a major third).
,Hineh mah tov, Behold how good הִנֵּה מַה־טּוֹב ,umah na’im, and how pleasant it is וּמַה־נָּעִים shevet aḥim for brothers to dwell שֶׁ בֶ ת אַחִ ים .gam yaḥad. Amen. together in unity. Amen גַּם־יָחַד .אמן
Psalm 133:1
Chichester Psalms notes adapted and English translation provided for this concert from Ethan Nash’s extensive article in Choral Journal, February 2009, by kind permission of the author and Choral Journal; and from Wikipedia (some history, descriptions of movements). Ethan Nash has a DMA in choral conducting from the Hartt School of Music, is the director of choirs at Glastonbury High School, and Artistic Director of the West Hartford Women’s Chorale. He is the author of the earthsongs publication, Translations and Annotations of Choral Repertoire: Volume 4, Hebrew Texts, written with Joshua Jacobson and Gordon Paine.
Notes: 1 Leonard Bernstein, Findings, (NY: Anchor Books/Doubleday 1982), 327. 2 Humphrey Burton, Leonard Bernstein (NY: Doubleday Books, 1994), 343. 3 Burton, Bernstein, 343. 4 Bernstein, Findings, 237. 5 Burton, Bernstein, 343. 6 Bernstein added that if one is looking for “optimism vs. pessismism in his music,” the closest musical equivalent is tonality versus non-tonality. Paul Myers, Leonard Bernstein, (London: Phaidon Press Limited, 1998), 137. 7 Myers, Bernstein, 136–37. 8 Dale Warland, liner notes to The Dale Warland Singers, ACC (American Choral Catalogue) 123, 1999. 9 Myers, Bernstein, 137. 10 Abraham Kaplan, interview, 8/28/06. 11 Burton, Bernstein, 349. 12 Marin Alsop, liner notes from Bernstein Chichester Psalms, Naxos, 8.559177, 2003. 13 Paul Laird, Leonard Bernstein, A Guide to Research, (New York: Routledge, 2002), 37. 14 David Stevens, liner notes, Erato Disques S.A., Paris, France 1999 3984-21669-2, 5. 15 Paul Epstein, Collegiate Chorale Concert Notes, Spring 2006. 16 Abraham Kaplan, interview 8/28/06.
page 23 THE ST. JOHN’S CHOIRS are well-known in the greater Hartford community and beyond as a regional center of excellence in vocal training and repertoire. The youth choir (ages 7 and up) receives a stipend to sing the soprano (treble) line every other Sunday, alongside adult volunteers and professionals on the other parts, for a flexible performing schedule aiming at the highest standards of musical expression within a safe, supportive, inspiring environment. Affiliated with the Royal School of Church Music in America, the program focuses on a centuries-old tradition of music composed originally for children’s voices alongside adults. The youth also sing on their own once per month and for special occasions. A week-long residential choir camp each August is a part of the program, as are choir festivals and the broadening experience of travel. The adult choir sings on its own every other week and is open to experienced choral singers by audition. Occasionally only the men or the women sing. These configurations allow variety of repertoire as well as breathing room in the schedule. Inquiries from prospective singers are welcome any time, no religious affiliation necessary; call 860 523 5201 or contact [email protected].
CONGREGATION BETH ISRAEL CHOIR is a vibrant mix of vocal enthusiasts who offer numerous blessings with their music and with their strong connections to each other and to the community. Many of us have been singing together for more years than we care to remember and we embrace new members with enthusiasm and warmth – so if you want to join us, every Wednesday from October through June call Cantor Pamela Siskin at 860 233 8215 or contact her at [email protected]
Theodore S. Babbitt is eight and eleven/twelfths-years-old and has been singing in the Saint John’s choir for just under two years. Teddy is a third-grader at Cherry Brook Primary School. He loves all types of music and is apt to be heard cheerfully singing a medley of the Fauré Requiem, the Darth Vader theme from Star Wars, and Missa Gaia. He enjoyed choir camp immensely last summer, particularly the swimming and diving, and is excited about returning. Outside of making music, Teddy loves dogs, riding his bike, and adventuring in the woods behind his house. Teddy sings in the choir with his two older sisters, Margaret and Christine, and with his younger sister, Morgan, one of the group’s most recent recruits.
Margaret Beers’ musical journey has taken her to Washington D.C., England, New York City, Massachusetts and Connecticut. For 30 years she has been a soprano in the choir of Saint John’s Episcopal Church. As a soloist she continues to perform in the New England area, expanding her repertory to include oratorios, opera arias and song literature in French, German, Italian, Latin, Spanish, Hebrew, and English. She has been a frequent soloist at her childhood summer church, St. Andrew’s-By-The-Sea in Hyannis Port, Massachusetts, and she cantors regularly at Sacred Heart Church in Suffield, CT. Recently, Margaret sang in a Shabbat Service with the choir of Congregation Beth Israel. She studies with Myrna Reynolds of West Hartford, and Doris Jung Popper of New York City.
Jennifer Delmhorst Berton studied voice, flute, and piano at Packer Collegiate Institute, Manhattan School of Music and Skidmore College. She has been a member and soloist in choirs, both sacred and secular, since she was six years old. Enjoying a wide range, Jennifer has performed solos in all four vocal ranges. She has performed in musical theatre since age seven, carrying leading roles throughout high school before turning to directing and producing, including vocal direction, throughout college. She also enjoyed a position as Technical Director for all productions in the dance and musical theatre departments. A dance major in college, Jennifer danced with Paul Taylor’s second company before hanging up her dance shoes. She began singing with the St. John’s Choir regularly in 2011. page 24 Farren Bratton, tenor, studied originally with Richard Donohue at Wesleyan University as a voice major and was privileged to participate in a master class with Swiss tenor, Hughes Cuenod. He was a long term member and section leader in the Blanche Moyse Chorale which performed exclusively as the chorus for the New England Bach Festival, founded and directed by Mme. Moyse. As such he performed principally at Persons Auditorium in Marlboro, VT and many times at major venues, notably Jordan Hall (Boston), Symphony Space, Metropolitan Museum and Carnegie Hall (NYC). A Vermonter, Farren joined many local productions, as soloist or chorister. He has been a member of the choir of Congregation Beth Israel since December, 2012, when he and Leah (the new Director of Noah’s Ark) came to West Hartford.
Sharon Dix, as a member of CBI’s Choir since 2003, has enjoyed the opportunity to play Eliza Doolittle in My Fair Lady, sing opera, Gershwin and croon along with classics such as “Old Devil Moon” and “I’m Beginning to See the Light.” She has frequently worshipped as a soloist for the regular Choir Shabbat services. Sharon has also been found onstage with The Plainville Choral Society since 2004, performing solos in holiday concerts and decade reviews as well as playing Cinderella’s Stepsister, Barbel the Wicked Fairy in Sleeping Beauty and the Flower Seller in The Pied Piper. Most recently she was honored to sing the soprano aria “Domine Deus” from Vivaldi’s Gloria. Her principal joy is having her two small children sing along as she rehearses.
Britt Emerick is a proud member of the St. John’s Youth Choir. She also sings in the Canticum Choir of the Connecticut Children’s Chorus (CCC) at the University of Hartford. Britt performed with CCC at the Heritage Music Festival in NYC this week. She also studies piano and viola and will perform with the Inter-Elementary Orchestra of West Hartford at the Bushnell in May. Britt loves dancing almost as much as music and is a member of the University of St. Joseph youth ensemble. Cats, the beach, and her younger sister Cate also rank high on her list of favorite things. She is a fifth-grader at Bugbee Elementary School.
Oren Givoni, music educator, tenor, and guitarist is a choral scholar at St. John’s Church. He received his Bachelor of Science in Music Education from Western CT State University where he focused on voice and choral methods. He also attended California Recording Institute, San Francisco, CA where he received a Certificate in Recording Arts and has worked in professional recording studios as both a musician and engi- neer. Oren has served as a Cantor and Section Leader for St. Peter’s Catholic Church, Danbury, CT and for St. John of the Cross Catholic Church, Middlebury, CT. Most recently, he has been teaching general music and chorus in Cheshire public schools. He has studied guitar since an early age and continues to grow as both an instrumentalist and vocalist. He is a fan of all music, highly passionate about teaching, performing and composing.
JohnJohn Janeiro, baritone, isis aa choralChoral scholar Scholar at at St. St. John’s John’s Church, Church, where where he he assists also assistswith conducting and with withtheory conducting instruction and for with the youththeory choir. instruction He is a for private the youth voice choir.instructor, He is baritone a private vocal voice artist and board instructor,member of baritone CONCORA, vocal artistand frequent and board vocal member section of leader CONCORA, for the Hartford and frequent Chorale. vocal He has appeared as sectionsoloist withleader the for Hartford the Hartford Symphony Chorale. Orchestra He has and appeared the Waterbury as soloist Symphony with the HartfordOrchestra, choral section Symphonyleader for Yale Orchestra Graduate and Opera, the Waterbury and soloist Symphony for the former Orchestra, Connecticut choral section Opera’s leader director, for Willie Waters. YaleLast Graduatesummer, John Opera, performed and soloist in Connecticutfor the former Lyric Connecticut Opera’s productions Opera’s director, of Pergolesi’s Willie La Serva Padrona, Waters.and Bach’s He Coffeehas also Cantata served. He as is vocal hired section through leader, the Waterbury soloist, assisting Symphony conductor, Orchestra and to vocal serve as vocal section coach for the Naugatuckleader, soloist,Valley Communityassistant conductor, College andChoir. vocal Recently, coach forhe wasthe Naugatucknamed Artistic Valley Director Community of College Choir. the Naugatuck Valley Opera Society. He plans to develop this program by collaborating with Tutti Opera Company, where “anyoneSheryl Simoni has an hasOPERAtunity been a member to perform.” of CBI her Next whole spring, life, Tutti as her plans family to havepresent been Pergolesi’s members for over fifty comedy La Serva Padronayears. She, with joined the therich, CBI stubborn, Choir four and yearscranky ago “Uberto” after having sung performed by John Janeiro. with Simsbury Please Light Opera contact [email protected] with for twelveany interest years. or She questions. also served as Ticket Chair, Board Member and Vice President with SLOCO. Sheryl began her musical/theatre endevors at Hall High School with Pops and Jazz, and continued at Southern CT State University originally as a theatre major. Her favorite musical role was as AgnesSusan Gooch Knapp in MameThomas. Sheryl, harp, is employedstudied at atthe a jobEastman she loves School and oflives Music. in West She Hartford is a with her husband Dennis,well-known daughters chamber, Sarah, orchestral Samantha andand solotheir concert three cats. artist She and is delightedinstructor to throughout participate in the Celebration ofConnecticut Psalms concert. and Southern New England. As an orchestral harpist, she has enjoyed a 25-year long relationship with the Hartford Symphony where she is currently serving her second year as Acting Principal Harp. She also plays regularly for the Rhode Island page 25 Philharmonic, is Principal Harpist for the Waterbury Symphony, and performed as harpist for the U.S. Coast Guard Band from 1987-2002. Her diverse performing range includes regular shows for the Goodspeed Opera House, touring shows for the Bush- nell and the Shubert Theaters in Hartford and New Haven, CT, chamber music societies, regular work for the Frank Sinatra Jr. show, and backup work for such notables as Judy Collins, the group “Yes,” the Beach Boys, Brian Wilson, Peter Cetera, Johnny Mathis and others. A passionate instructor, she is on the faculty at MusicMakers Academy in Manchester, Trinity College, and Central Connecticut State University, and is Director and Founder of Simsbury’s Connecticut Valley Harp Intensive Summer Camp (ctvalleyharp.com).
Peter Stoltzfus Berton, director, studied at The University of Michigan School of Music and the Yale University School of Music. Integral to his training as a church musician was serving as Assistant Organist at the Cathedral Church of St. Paul, Detroit, Trinity Church on the Green, New Haven, and Saint Thomas Church Fifth Avenue, New York. Prior to coming to St. John’s Church, West Hartford in October 2010, he held music director positions at All Saints Church, Worcester, Massachusetts, Christ Episcopal Church, Los Altos, California, and Plymouth Church of the Pilgrims, Brooklyn Heights, New York. He is active as a composer, choral clinician, organ recitalist and recording artist, and is a singing member of and organist for Mastersingers USA, a men’s touring ensemble. He is an adjunct faculty member of the Vocal Performance Department of the Hartt School, and associate organist at the Parish of St. Peter Claver in West Hartford. John Janeiro, baritone, is a Choral Scholar at St. John’s Church, where he also assists with conducting and with theory instruction for the youth choir. He is a private voice instructor, baritone vocal artist and board member of CONCORA, and frequent vocal section leader for the Hartford Chorale. He has appeared as soloist with the Hartford Symphony Orchestra and the Waterbury Symphony Orchestra, choral section leader for Yale Graduate Opera, and soloist for the former Connecticut Opera’s director, Willie Waters. He has also served as vocal section leader, soloist, assisting conductor, and vocal coach for the Naugatuck Valley Community College Choir. Recently, he was named Artistic Director of the Naugatuck Valley Opera Society. He plans to develop this program by collaborating with Tutti Opera Company, where “anyone has an OPERAtunity to perform.” Next spring, Tutti plans to present Pergolesi’s comedy La Serva Padrona, with the rich, stubborn, and cranky “Uberto” sung by John Janeiro. Please contact [email protected] with any interest or questions.
Susan Knapp ThomasThomas,, harp,harp, receivedstudied ather the Bachelor’s Eastman Degree School fromof Music. the Eastman She is a School of Music. She iswell-knownJohn a well-known Janeiro chamber, chamber,, baritone, orchestral orchestral is aand Choral and solo solo concert Scholar concert artist atartist St.and throughout John’sinstructor Church, Connecticutthroughout where and he Southern also assists New England.Connecticut As anand orchestral Southern harpist, New England. she is currently As an orchestral serving as harpist, Acting Principalshe has enjoyed Harp with a the Hartford Symphony,25-yearwith conducting long with relationship whom and she withwith has the atheory 25-year Hartford instructionlong Symphony relationship. for where Shethe she alsoyouth is plays currently choir. regularly servingHe for is thea private Rhode Islandvoice Philharmonic,herinstructor, second year baritone is asPrincipal Acting vocal HarpistPrincipal artist for Harp. theand Waterbury She board also playsmember Symphony, regularly of and CONCORA,for performed the Rhode as Island harpistand frequent for the U.S. vocal CoastPhilharmonic,section Guard leader Band is Principalfor from the 1987-2002. HarpistHartford for Her Chorale.the diverse Waterbury performing He Symphony,has appeared range and includes performedas soloist regular as with shows the for Hartfordthe GoodspeedharpistSymphony for the Opera Orchestra U.S. House,Coast Guard touringand the Band shows Waterbury from for 1987-2002.the Bushnell Symphony Her and diverse the Orchestra, Shubert performing Theaters choral range in section Hartford leader and New for Haven,includesYale Graduate regular regular work shows Opera, for for the the andFrank Goodspeed soloist Sinatra for Jr. Opera show, the formerHouse, and backup touring Connecticut work shows for such for Opera’s the notables Bush director,- as Judy Collins, Willie nell and the Shubertthe Theaters group “Yes,”in Hartford the Beach and NewBoys, Haven, Peter Cetera, CT, chamber Johnny musicMathis societies, and others. regular A passionate work for instructor, she is the Frank Sinatra Jr.on Waters.show, the facultyand He backup athas MusicMakers alsowork servedfor such Academy asnotables vocal in Manchester,assection Judy Collins, leader, and the is soloist,Director group “Yes,” assistingand Founder the Beach conductor, of Simsbury’s and vocal coachBoys, Brian for the Wilson, Naugatuck ConnecticutPeter Cetera, Valley Valley Johnny Community Harp Mathis Intensive and College others. Summer A Choir. passionateCamp (ctvalleyharp.com).Recently, instructor, he shewas is namedon the faculty Artistic Director of theat MusicMakers Naugatuck Academy Valley Opera in Manchester, Society. Trinity He plans College, to anddevelop Central this Connecticut program State by collaboratingUniversity, and is with Tutti Opera Company,Director and where Founder Cantor“anyone of Simsbury’s Pamela has an Siskin Connecticut OPERAtunity was born Valley in London Harpto perform.” Intensive and studied Summer Next music spring, Camp at Trinity (ctvalleyharp.com).Tutti College plans in toLondon, present and Pergolesi’s opera comedy La Serva atPadrona The London, with Operathe rich, Studio, stubborn, attached toand The cranky Royal Opera “Uberto” House, sung Covent by Garden John Janeiro. in England. Please After singing with The Royal Opera for several years, she became Principal Mezzo-Soprano with the Israel contact [email protected] Stoltzfus Opera. with Berton, anyCantor interest director, Siskin representedor studied questions. at Thethe UnitedUniversity Kingdom of Michigan in the InternationalSchool of Competition for MusicYoung and Opera the Yale Singers University in Sofia, School Bulgaria. of Music. In 1985, Integral she decidedto his training to continue as a churchher musical and religious studies musicianin the United was serving States asof AssistantAmerica. Organist Cantor Siskin at the became Cathedral a student Church at of the St. Hebrew Paul, Detroit, Union College in New TrinityYorkSusan City,Church earning Knapp on the a Masters Green,Thomas Newdegree, harp,Haven, in Sacred studied and MusicSaint at Thomasand the earned Eastman Church her investiture FifthSchool Avenue, ofin 1989. Music. New During She heris a studies she served pulpits in East Falmouth, Massachusetts, as well as at Temple Ner Tamid in Bloomfield, New York.well-known Prior to coming chamber, to St. John’s orchestral Church, Westand soloHartford concert in October artist 2010, and instructorhe held throughout musicJersey, director before positions joining Congregation at All Saints Church,Beth Israel, Worcester, West Hartford, Massachusetts, where she Christ became Episcopal Cantor and Director Church,ForConnecticut Lifelong Los Altos, Learning. California, and CantorSouthern and Siskin Plymouth New became England. Church an American of As the an Pilgrims,Citizen orchestral in Brooklyn 1993 harpist,and Heights,has served she has Congregation enjoyed a New York. He is activeBeth25-year as Israel a composer, for long almost relationshipchoral sixteen clinician, years. with organ the recitalist Hartford and recordingSymphony artist, where and is she a singing is currently serving member of and organisther for second Mastersingers year as USA, Acting a men’s Principal touring ensemble.Harp. She He also is an playsadjunct regularly faculty for the Rhode Island member of the VocalNatasha PerformancePhilharmonic, Ulyanovsky Department is, pianist,Principal of organist the Harpist Hartt and School, conductor, for the and Waterbury associateis a graduate organist Symphony, of Odessa at the Conservatory,Parish and performed of the as of St. Peter Claver informer West U.S.S.R.,Hartford. and undertook further music studies at the Moscow Conservatory, at Speyer Cathedral, Germanyharpist and for at Queen’sthe U.S. College, Coast Oxford. Guard Before Band emigratingfrom 1987-2002. from the U.S.S.R. Her diverse in 1989 performingshe was an range orchestraincludes artist regular and vocal shows coach forat Odessa the Goodspeed Opera House, Opera and a concert House, pianist touring and organistshows withfor theMoscow Bush - nell and the ShubertSoyuzconcert Theaters (the in stateHartford concert and management New Haven, for professional CT, chamber musicians) music concertizing societies, worldwide. regular workShe has for the Frank Sinatrareleased Jr. show, recordings and backup on the Melodiawork for label. such In 1980notables Mrs. Ulyanovsky as Judy Collins, became thea chief group organist “Yes,” at Pitsunda the Beach Hall of the Abkhazian Republic, where she earned a title of Honored Artist in1988. Mrs. Ulyanovsky has Boys, Brian Wilson,also Peterconcertized Cetera, in Hungary, Johnny Italy, Mathis Russia, and Ukraine, others. Georgia, A passionate Armenia, instructor, Lithuania, and she throughout is on the New faculty at MusicMakers AcademyEngland. In in 2004 Manchester, she appeared Trinity in the program College, Two and Nations Central – One Connecticut Love at Carnegie State Hall, University, NYC. She is and the is Director and Founderfounder of of Simsbury’s the ‘Alla Breve Connecticut Opera & Consort’ Valley Company. Harp Intensive Since 1999 Summer she has held Camp the position (ctvalleyharp.com). of Music Director at Congregation Beth Israel. She was honored in 2011 by the CT Immigrant and Refugee Coalition for her outstanding contributions to the community of the State of CT. PeterPeter Stoltzfus Stoltzfus Berton Berton, studied atdirector, The University studied of Michiganat The University School of Music of Michigan and the Yale School University of SchoolMusic of andMusic. the Integral Yale Universityto his training School as a church of Music.musician Integral was serving to ashis Assistant training Organist as a church at the Cathedralmusician Church was ofserving St. Paul, as Detroit, Assistant Trinity Organist Church on at thethe Green, Cathedral New Haven, Church and of Saint St. Thomas Paul, Detroit, Church FifthTrinity Avenue, Church New York. on the Hallmarks Green, of New his career Haven, have andbeen Saintthe development Thomas Churchof intergenerational Fifth Avenue, choral New programsYork. Priorin the modernto coming Anglican to St. tradition, John’s andChurch, production West of Hartford multiple-choir in October festivals. Prior 2010, to hecoming held to St. John’s Church, West Hartford as Music Director in October 2010, he held similar positions at All Saints Church,music Worcester, director MA,positions Christ Episcopalat All Saints Church, Church, Los Altos, Worcester, CA, and Plymouth Massachusetts, Church of Christ the Pilgrims, Episcopal BrooklynChurch, Heights, Los Altos, NY. He California, is active as a andcomposer, Plymouth choral Churchclinician, organof the recitalist Pilgrims, and recordingBrooklyn artist, Heights, and New York. He isis activea singing as member a composer, of and organistchoral clinician,for Mastersingers organ USA, recitalist a men’s and touring recording ensemble. artist, He is and Associate is a singing member of and Organistorganist of for the Mastersingers Church of St. Peter USA, Claver a men’s in West touring Hartford. ensemble. He lives in HeWest is Hartford an adjunct with facultyhis wife Jenn, two musical daughters, two cats, and model trains. member of the Vocal Performance Department of the Hartt School, and associate organist at the Parish of St. Peter Claver in West Hartford.
page 26 A Celebration of Psalms – The Psalmists
CONGREGATION BETH ISRAEL ST. JOHN’S EPISCOPAL CHURCH FESTIVAL CHAMBER and *TEMPLE BETH EL and *YOUTH CHOIR ORCHESTRA
Cantor Pamela Siskin, Musical Director Peter Stoltzfus Berton, Violin I Natasha Ulyanovsky, Musical Director Music Director Martha Kayser Bruna Myftarij SOPRANO SOPRANO Beverly Silver Christine Babbitt* Violin II Mary Silverberg Margaret Babbitt* Marianne Vogel Emily Forman Morgan Babbitt* Candace Lammers Deena Sisitsky Teddy Babbitt* Barbara Friedman Margaret Beers Violin/Viola Sharon Dix Sophie Berton* Jessica Heller Jennifer Mailly Claire Brouillard* Douglas Johnson Michelle Meyer Britt Emerick* Leah Bratton Cate Emerick* Cello Emma Evica* Kathy Schiano ALTO Madeline Green* Diane Dolin* Anne Harney Bass Judy FitzGerald Corinne Harney Jared Gardner Carol Hatch* Whitney Perrine Dianne Friedman Daaé Ransom* Harp Adlyn Loewenthal Kali Ransom* Susan Knapp Thomas Myra Panitch Michele Rosenberg* ALTO Percussion Sheryl Simoni Jennifer Berton Martin Elster Pamela Siskin Carrie Hammond Cynthia Mellon Organ/Piano TENOR Ben Rechel Peter Stoltzfus Berton Farren Bratton Natasha Ulyanovsky Mitch Cohen TENOR (see the next two pages Fred FitzGerald Lynn Brooks for all of the other vital Barbara Mindell John Church ‘players’ participating) Joshua Youdovin* Oren Givoni Jeff Martin Contractor BASS Kathy Schiano, Jim Friedman BASS Millennium Music Harold Geeter* Philip Chapman Norman Schain John Janeiro Marc Silver Hal Rives Joseph Panitch
page 27 THE ORGAN OF ST. JOHN’S EPISCOPAL CHURCH, WEST HARTFORD
Austin Organs, Inc. Opus 2761 (1995) contains three manuals, 64 ranks, 51 stops, and 3,721 pipes. It is the third Austin organ to serve the congregation; the original 1909 organ, new with the building, was replaced in 1950 with a new instrument given by Hartford’s Austin organbuilding family to its home parish. After a fire in October 1992 destroyed much of the pipework, Austin again rebuilt the instrument, updating it in many respects, with a robust French aesthetic reflected in the nomenclature. Salvaged pipes * below were revoiced from the 1950 instrument. A simplified auxiliary console, invisible to the left of the orchestra, is used this afternoon for all but the organ solos. Honoring Ralph Valentine (Music Director, 1976-2010), it improves hearing and sight lines with instrumentalists.
GRAND ORGUE (Manual I), chancel left – 4 1/2” wind RÉCIT (Manual III), chancel right, far – 5” wind 16’ Violon * 61 pipes 16’ Bourdon Doux (ext. 8’ Flûte) * 12 pipes 8’ Montre 61 pipes 8’ Principal * 61 pipes 8’ Violon (ext. 16’ Violon) * 12 pipes 8’ Flûte à cheminée 61 pipes 8’ Flûte Harmonique 61 pipes 8’ Viole de Gambe 49 pipes 8’ Bourdon 61 pipes 8’ Voix Céleste * 61 pipes 8’ Cor de Chamois * 61 pipes 4’ Octave * 61 pipes 4’ Prestant 61 pipes 4’ Flûte Octaviante * 61 pipes 4’ Flûte Ouverte 61 pipes 2’ Octavin 61 notes 2 2/3’ Quinte * 61 pipes 2’ Piccolo Harmonique * 61 pipes 2’ Doublette * 61 pipes 1 1/3’ Larigot 61 pipes 1 3/5’ Tierce 49 pipes 2’ Plein Jeu IV (draws Octavin) 183 pipes 1 1/3’ Fourniture IV 244 pipes 16’ Basson * 61 pipes 8’ Bombarde (ext. Pédale) 29 pipes 8’ Trompette * 61 pipes 8’ Trompette en chamade † 74 pipes 8’ Hautbois (ext. 16’ Basson) 12 pipes Cloches (digital) 32 notes 4’ Clairon * 61 pipes † 2 1/2” wind (ANT), 13 double trebles 8’ Voix Humaine * 4” wind 61 pipes Voix Humaine Tremblant POSITIF (Manual II), chancel right, near – 3 1/2” wind Tremblant 8’ Principal * 61 pipes 8’ Trompette en Chamade ANT 8’ Flûte Bouchée 61 pipes 8’ Flûte Douce * 61 pipes PÉDALE, primarily chancel left – 4 1/2” wind 8’ Flûte Céleste * 49 pipes 32’ Flûte Ouverte (digital) 32 notes 4’ Octave 61 pipes 32’ Contre Bourdon (digital) 32 notes 4’ Flûte à Fuseau * 61 pipes 16’ Contre Basse * 32 pipes 2 2/3’ Nasard * 61 pipes 16’ Soubasse 32 pipes 2’ Doublette 61 pipes 16’ Violon GD. ORGUE 2’ Quarte de Nasard * 61 pipes 16’ Bourdon (ANT) * 12 pipes 1 3/5’ Tierce * 61 pipes 16’ Bourdon Doux RÉCIT 1’ Sifflet (prep., ext. 2’ Quarte) 61 notes 10 2/3’ Quinte (ext. Bourdon Doux) RÉCIT 2/3’ Cymbale IV 244 pipes 8’ Octavebasse 32 pipes 8’ Cromorne * 61 pipes 8’ Flûte Couverte (ext. Soubasse) 12 pipes Clochettes (8 bells) 8’ Flûte à Cheminée RÉCIT 8’ Trompette Harmonique 15” wind 61 pipes 8’ Cor de Chamois GD. ORGUE 8’ Trompette en chamade ANT 4’ Basse de Chorale * 32 pipes Tremblant 4’ Cor de Nuit 32 pipes Fourniture III 96 pipes ANTIPHONALE (floating), over Narthex – 2 1/2” wind 32’ Contre Bombarde (digital) 32 notes 8’ Montre 61 pipes 16’ Bombarde 32 pipes 8’ Bourdon en Bois * 61 pipes 16’ Basson RÉCIT 4’ Prestant 61 pipes 8’ Bombarde (ext.) 12 pipes 2’ Flûte à Bec 61 pipes 8’ Trompette en Chamade ANT Fourniture IV 244 pipes 8’ Trompette RÉCIT 4’ Cromorne POSITIF page 28 THE ORGAN OF CONGREGATION BETH ISRAEL, WEST HARTFORD
Austin Organs, Inc. Opus 1853 (1934) contains four manuals, 45 ranks, 43 stops, and 3,059 pipes. It was designed by noted tonal designer James B. Jamison, and received a coveted citation from the Organ Historical Society in 2004. Historian Orpha Ochse devoted a sizeable section of her book, Austin Organs (2001), to the Beth Israel Austin. Dr. Ochse relates the importance of the organ as an early example of a transitional tonal design, bridging the older orchestral emphasis and moving toward a more classical ensemble. The unenclosed independent Great Diapason chorus was unusual for its day. Since 2002, the congregation has demonstrated its commitment to the historic integrity of the instrument by gradually restoring the actions and bellows, and by replacing missing Echo pipe work with vintage Austin (all except the Shofar had been badly damaged during an air conditioning installation).
GREAT (Manual II) SWELL (Manual III) 16’ Open Diapason 73 pipes 16’ Bourdon 73 pipes 8’ First Open Diapason 73 pipes 8’ Open Diapason 73 pipes 8’ Second Open Diapason * 73 pipes 8’ Stopped Diapason 73 pipes 8’ Violoncello * 73 pipes 8’ Salicional 73 pipes 8’ Claribel Flute * 73 pipes 8’ Voix Celeste 61 pipes 8’ Gemshorn * 73 pipes 8’ Aeoline 73 pipes 4’ Octave 73 pipes 4’ Octave 73 pipes 4’ Harmonic Flute * 73 pipes 4’ Orchestral Flute 73 pipes 2 2/3’ Twelfth 61 pipes 2’ Flautino 61 pipes 2’ Super Octave 61 pipes 16’ Posaune 73 pipes Grave Mixture III 183 pipes 8’ Horn 73 pipes 8’ Trumpet * 73 pipes 8’ Oboe 73 pipes Chimes (From Echo) 25 notes 4’ Clarion 73 pipes * = Enclosed in Choir swellbox Tremolo
CHOIR (Manual I) PEDAL 8’ Violin Diapason 73 pipes 32’ Resultant 8’ Viola d’Gamba 73 pipes 16’ Open Diapason 32 pipes 8’ Concert Flute 73 pipes 16’ Second Open GREAT 8’ Flute Celeste 61 pipes 16’ Violone (Ext. Great) 12 pipes 8’ Dulciana 73 pipes 16’ Bourdon 32 pipes 8’ Unda Maris 61 pipes 16’ Lieblich Gedeckt SWELL 8’ Flute d’Amour 73 pipes 8’ Octave (Ext. Open Diapason) 12 pipes 2’ Harmonic Piccolo 61 pipes 8’ Major Flute (Ext. Bourdon) 12 pipes 8’ Clarinet 73 pipes 8’ Violoncello GREAT 8’ Corno d’Amour 73 pipes 8’ Minor Flute GREAT Harp 8’ 61 bars 16’ Trombone (Ext. Great) 12 pipes Harp Celesta 4’ 61 notes 16’ Posaune SWELL Tremolo 8’ Trumpet GREAT
ECHO (Manual IV), rear 8’ Gedeckt 73 pipes ECHO, continued 8’ Muted Viole 73 pipes 8’ Shofar special scale 9” wind 25 pipes 8’ Vox Angelica 61 pipes This unique two octave stop reproduces the sound of 4’ Chimney Flute 73 pipes the Ram’s Horn used on Holy Days (compass G to G) 8’ Vox Humana 61 pipes Chimes 25 tubes page 29 At a dedication of identical bronze plaques in the Meeting House of First Congregational Church and at Congregation Beth Israel, in two stirring West Hartford services one at each location on September 28, 1947, it was proclaimed that “now, through many generations, while this noble edifice stands, the thousands and tens of thousands who will cross its threshold will be reminded weekly of the possibility and practicability of brethren dwelling together in amity, in courtesy, in mutual reverence and respect.
In the sublime realization that over and above creeds – and they are important – although by their very nature they divide – over and above creeds, there is God who is the Creator and Father of us all, and that however differently we define Him and apprehend Him, it is the same Father we adore, it is the same Creator whom we praise, the same Judge, the same Teacher, the same Master whom we seek to follow.
It is good to learn, as did many out of this experience that we have had together, that there is no Jewish God and there is no Christian God; there are only Jewish and Christian conceptions and definitions of God. God is One, the same for Jew and Christian and for Moslem; and that, in the words of Isaiah inscribed on this plaque, God’s house, any house dedicated to His holy name can be, and is, a house of prayer for all peoples.”
page 30 COMING EVENTS
Saturday, June 1, 5:00 p.m. CitySingers of Hartford presents a concert at St. John’s Church entitled A Chorus of Peace, with instrumentalists, Peter Stoltzfus Berton, organist, and the Sankofa Kuumba Dance Ensemble. Voluntary offering.
Sunday, June 30, 8:30 p.m. The Region I/II Convention of the American Guild of Organists presents international concert organist Isabella Demers in a recital at St. John’s Episcopal Church opening the four-day convention. A limited number of tickets will be available at the door.
Wednesday, July 17 Sacred Music at the Red Door and the St. John’s Parish Life Committee are organizing another summer hymn sing, from 6:00 to 7:30 p.m., with ice cream refreshment in the Cloister Garden. To cast a vote for your favorite hymn(s), please send an email of up to five suggestions to [email protected], to be added to the material being assembled. Someone has already suggested a repeat of last summer’s favorite, “Drop-kick me, Jesus, through the goal posts of life.” (Yes, it really exists!) Mark your calendars and invite a friend to the fun. Free
Congregation Beth Israel presents a series of Organ Meditations on the second Friday of each month, October through May, from 7:00 to 7:30 p.m. preceding Shabbat services, with organist Natasha Ulyanovsky and guests. Free
Wednesday, October 30, 7:30 p.m. Sacred Music at the Red Door presents a FOUR CHOIRS FESTIVAL featuring Hereford Cathedral Choir, joined with the St. John’s Choirs and those of Trinity Church, Hartford and St. James’s Episcopal Church, West Hartford. A sublime evening of music from one of England’s finest Cathedral Choirs (host of the triennial Three Choirs Festival nearly 300 years running), with a 120-voice finale of boys, girls and adults trained in the Anglican choral tradition.
Sunday, December 8 at 5:00 p.m. Advent Procession of Lessons and Carols at St. John’s Church
Sacred Music at the Red Door – 2014
The Bonifantes Boychoir from the Czech Republic (late February or early March, tour dates to be confirmed)
Benefit Concert for the combined Haiti ministries of St. John’s Church and the Church of St. Peter Claver, West Hartford, with St. Peter Claver’s Cantor Marian Maccarone, soprano, and Peter Stoltzfus Berton, piano. Lighter music from the “Great American Songbook” in Hubbard Hall, with refreshments! Date to be announced.
Sunday, May 4, 2014 at 4:00 p.m. Celebrating Connecticut Composers, a concert combining the St. John’s Choirs, the Choir of Church of Christ, Congregational (UCC), Newington, members of CitySingers of Hartford, and chamber orchestra including works by Douglas Johnson (Trinity College, Hartford), John Abdenour (St. Paul’s Episcopal Church, Fairfield), Peter Niedmann’s Five New England Songs (recently premiered by The Chorus of Westerly), and the premiere of A Poet’s Requiem by Peter Stoltzfus Berton. page 31 Congregation Beth Israel acknowledges with gratitude generous support of music by Frankie and Bob Goldfarb
acknowledges with gratitude the following donors for the Season 2012-2013 Received or Pledged as of April 30, 2013 Including special donations made to the Storm Sandy Benefit Concert, November 2012
Heavenly Host Drs. Geoffrey and Karan Emerick The Hammond Family Alex and Patricia Vance
Seraphim Curt Blood and Louise Penfield Blood Kim and Chris Byrd in loving memory of Tom & Kay Cox Paul Duncan Parsons, Jr., Anita Dahlgren Parsons, Christine M. Doty and their daughter Barbara Jean Parsons, who loved to sing
The Paul Glover Family Barbara and George Delmhorst Ross & Susie Hatch Janet Erb The Rev'd Joseph L. Pace The Brouillard Family
Marilyn Pease Ms. Suzanne Gates in memory of Charles Austin Pease, 2nd in honor of CitySingers of Hartford
Cherubim Charles and Bette Hardersen Jane M. Bartlett Mr. Douglas K. S. Hyland in memory of Harry O. Bartlett Nina Rosselli Del Turco James E. Miller and Faith Ann Weidner Mr. and Mrs. David Booth Beers Mark R. Proft Lynn & Lissie Brooks in loving memory of Virginia E. Proft Mr. & Mrs. Stephan Christiansen Lorrie and Phil Roberts Halsey Cook in memory of Rodney Hansen Friend Trig and Sam Cooley Anonymous Keith and Cindy Davis Susan and Brian Clemow Mr. John V. Frank Mr. and Mrs. Robert R. Connolly The Murchie Family John and Cathy Earnhardt Lil Nolan Kristie Harrington Hal Rives and Marki Ware The Musical Club of Hartford John and Laura Roche Frisha Hugessen Ralph and Lynne Valentine The Mahoney Family Audree and Stephen Raffay
Archangel M. David Samples Miss Helen P. Cooke in memory of Wayne F. Maxwell, Jr. Mr. & Mrs. Joseph E. Sichler III Lyn Walker and Tyler Smith Mr. Paul Shaker and Mr. Cleveland Williams Mrs. George Stoughton Mr. & Mrs. John W. Stoltzfus Susan Knapp Thomas Patricia Struglia Mrs. James E. C. Walker Ms. Edith Taylor
Angel Supporter Marcie and Stephen Ashford Ellen Brown in memory of Margaret Ashford Mr. & Mrs. John Church Mary Pan Janet and Brad Babbitt Barclay Wood Peter Stoltzfus Berton & Jennifer Delmhorst Berton page 32
Contributions have been received in memory of William G. Abbott III from: Janet M. Amadon; Board of Directors, 18 Hole Ladies Group, and Members of the Country Club of Farmington; Mr. and Mrs. Carl E. Heidt, Elizabeth S. Kelly; Mr. and Mrs. George Mason; Barbara H. McDonnell; Dean’s Office at the Maxwell School of Syracuse University; Nancy Morrell; Herbert F. O’Connell; Emily W. Rankin; Mrs. Anne T. Shafer; Mr. and Mrs. Richard Spencer; Stephen and Laura Spencer; Nina H. Webber; Elizabeth C. Valentine; William and Diann Weinke
Contributions have been received in honor of the Shaker/Williams Wedding from: Mr. and Mrs. Robert R. Connolly; Mrs. James E. C. Walker; Ms. Janet Willard
Community Patrons In addition to the advertisers throughout this program booklet, Sacred Music at the Red Door is grateful to these West Hartford institutions who have supported the music through sponsorship of the West Hartfordopoly board game, available at the Reception after today’s concert for a special price of $20 per game. It is also available at St. John’s Episcopal Church, Tangiers International Market, and The Toy Chest in West Hartford Center, for $25 per game.
American School for the Deaf Jimmie’s Pizza La Petite France Barcelona Joanne Hoye Pfau’s Hardware Blue Acorn Kimberly Boutique RLMCo Real Estate Bricco Kingswood-Oxford School Sacred Movement Yoga Studio Church of St. Peter Claver Lisa Campo Shish Kebab House of Afghanistan The Claypen Lyons Service Corp Silkworm Conard High Molloy Funeral Home Suburban Pharmacy Congregation Beth Israel Max Burger Sugar Bead McLadden’s Irish Publick House Cub Scout Pack 46 Sugarbelle Metcalfe’s Custom Framing Deswani Clothiers Tangiers International Modern Tire Elbow Room Taylor & Modeen Funeral Home Moscarillo’s of West Hartford Grant’s Toy Chest Murtha Cullina LLP The Greeting Shoppe Universal Connectivity Hall High Noah Webster House and West Hartford Historical Society William Raveis Co. Harvey’s Wine and Liquor Yellow House Vogue LLC
Sacred Music at the Red Door Committee: Jane Bartlett Thomas Cox III Karan Emerick, Chair Mei-wa Cheng Kristie Harrington Richard Knapp Susan Knapp Thomas The Rev’d Joseph L. Pace Hal Rives Peter Stoltzfus Berton, Artistic Director
Please join us for future events listed online “One of the signs that a community has made it is when we have our and in our Series Brochure, and tell a friend! own version of Monopoly,” said Mayor Scott Slifka, pictured above To be added to a blind-copy email Series Event with St. John’s parishioners Ginger and Catie Gillespie. “It’s really nice Reminder list, please send an email to to be able to combine a game everybody loves with locations every- [email protected]. Our list is not used for body knows and loves.” WestHartfordopoly is produced by Pride any other purpose nor shared with other Distributors, a Michigan company that publishes the game by agree- organizations. ment with Parker Brothers. Sacred Music at the Red Door worked on the project to help support some local small businesses, institutions, the Follow us church’s youth choir scholarships, and its music series. West Hartford News