SATURDAY, JANUARY 12, 1980, AT 8:30P.M. Dorothy Chandler Pavilion lOS ANGELES MASTER CHORAlE . and SINFONIA ORCHESTRA ROGER WAGNER, Music Director FOLK JUBILEE FOLK SONGS OF THE OLD WORLD Wales Men of Harlech arr. R. Wagner All Through the Night arr. R. Wagner France II "Etait Une Bergere arr. R. Wagner Au Clair de Ia lune arr. R. Wagner J'ai Du Bon Tabac arr. R. Wagner TWO SPANISH SCENES ROGER WAGNER Valencia, Spain Conductor Canto de Sereno (Night Watch Song) arr. S. Terri Salli Terri , Sing praises to the Holiest Sacrament! Singer-Arranger It is the night-watchman calling out to all! It is raining. Jubilee Singers, It is eleven o'clock. Albert McNeil, Director Alabado (Morning Hymn) Robert Hunter, Pianist· The Dawn is breaking! Bright shines the morning. Come join in singing praise: Ave Maria! Sa IIi. Terri Azulao (Bluebird) In Portuguese Brazilian love Song arr. Almeida & Terri fly, little friend, fly! Tell my love that life is nothing without him. Fly! Fly! Oh, sweet bird! Black Is The Color of My True love's Hair arr. R. Wagner He's Gone Away arr. Salli Terri FEBRUARY CONCERT Kerry Barnett, Baritone Japanese Children Song LOS ANGELES MASTER CHORALE Clii-Chi Pap-Pa arr. S. Terri AND SINFONIA ORCHESTRA (Chi-chi pap-pa is the sound of the sparrows) Roger Wagner, Music Director Mrs. Sparrow teaches at her singing school. TREASURES OF THE MASTERS Taps her baton to lead the little birds. HANDEL: Funeral Anthem on the All the tiny sparrows in a circle just so! Death of Queen Caroline Sweetly sing the pretty song of Chi-pap_- pa. VAUGHAN WILLIAMS: Benedicite "Open wide your mouth and sing Chi-pap-pa." VIVALDI: Dixit Dominus (with " Sing togethe r everyone: Chi-pap-pa." double chorus and orchestra) An Salli Terri & Chorale extraordinary offering of majestic music-these complex, works are Certainly, Certainly, Certainly, lord arr. Hall Johnso n seldom-performed gems to which Soloists: John Nix, Paul Smith, Tenors the Master Chorale brings its for­ Soloists: Victor Graham, Bass midable powers. Talk About A Child That Do love Jesus arr. Howard Roberts Roger Wagner, Conductor Go Down Moses arr. larry Farrow Soloists: Michael Gallup, Janet Smith, Lila Stuart and Byron Soloist: Michael Kelly, Baritone Wright. The Amen Chorus arr. Hairston/McNeil SATURDAY, FEBRUARY 9, 1980, Jubilee Singers 8:30 p.m. (Preview: 7:30 p.m.) INTERMISSION England Program Notes by Richard H . Trame, Greensleeves arr. S. Terri S.J., Ph.D. Oh, Dear! What Can The Matter Be? arr. G. Kubik Ireland This evening's concert billed as a Danny Boy arr. R. Wagner "Folk Jubilee" requires for its enjoy­ ment and appreciation some under­ SONGS OF THE FRONTIER standing from the listener not so I'm a Poor Lonesome Cowboy much of detailed analysis of each Home On The Range selection but rather some com­ Whoopee Ti Vi Yo prehension of the folk idiom, its Green Grow the Lilacs Oh Bury Me Not on the Lone Prairie characteristic variations among na­ Men of the Chorale tional genres represented. Folk music welled up among New Mexico/USA peoples as a natural musical evolution At The Gate of Heaven (A Ia Puerta del Cielo) arr. Dorothy Remsen without benefit of scientific training, At the gate of heaven, they sell shoes, a product of the common man com­ Come and try them Tiny barefoot angels, memorating in songs the whole Oh, come now and buy them, rhythm of life on land and sea, its joys Sleep, oh my baby arru, arru. God will send His blessings to all babes asleeping. and sorrows, its social festivals,.its ag­ God will bless the mothers as watch they are keeping. ricultural and religious celebrations, Sleep, oh, my baby, arru, arru. its times of mourning. Every facet of human life finds reflection in songs of American Folk Song arr. S. Terri war, patriotism and peace, love and Come All Ye Fair and Tender Ladies labor, lullabies, dance and dirge, and I Wonder As I Wander arr. R. Wagner even such pedestrian occurrances as American White Spiritual arr. S. Terri the hawking of street wares. like to­ Poor· Wayfarin' Stranger bacco. African lullaby-prayer arr. S. Terri Since the beginning of the Twen­ Aliunde (Oh, God, of the Sunrise) In Swahili tieth Century, especially, various na­ Oh, God of the Sunrise, tional composers like Vaughan As I have given of myself to my baby Williams, Kodaly, Bartok, and Cop­ Please prot ~t my child through the night. land to mention some of the more If the child awakes in the morning sunrise, noteworthy, have utilized modern re­ He will grow to be a man, and be a good member of the tribe. cording techniques to capture and Salli Terri and Chorale , preserve their country's heritage in Satisfied Andre Crouch its native and primitive form. Indeed Paul Smith, Pianist the treasures of a nation's fo1k song World Goin' Down (from the Lennox Suite) Arthur Cunningham had previously exercised consider­ Dolores Davis, Soprano able influence on the composition of Virginia White, Contralto refined art music as a melodic and rhythmic source. German and Aus­ Doodlin' (Jazz Novelty) Larry Farrow trian folk melody found highly Sinner Please, Don't Let This Harvest Past arr. Harold Montague sophisticated expression in the m1,1sic Veronica Howell & Gwendolyn Lytle, Sopranos of Haydn, Mozart, Beethoven and Rocka My Soul arr. Howard Roberts Brahms. Haydn and Beethoven even Victor Graham, Baritone benefited financially when they con­ Jubilee Singers tracted with English publishers to arrange, for example, Scottish songs. Swing Low, Sweet Chariot arr. R. Wagner Many are aware of the rhythmic influ­ ence the Irish jig exerted on the com­ Set Down Servant arr. R. Shaw position of the fourth movement of Jubilee Singers & Chorale Beethoven's Seventh Symphony. The All Roger Wagner Arrangements (ASCAP) published by Hungarian Rhapsodies elaborated by lawson-Gould Music Publishers Brahms, Liszt, and Enesco similarly re­ 866 Third Avenue, New York, NY flect that people's vital folk idiom. Generally speaking, as the Oxford History of Music asserts, folk music The Musical presentations on this program are made possible, in part, through the originated with the voice and not the sponsorship of the Los Angeles County Board of Supervisors, and the Los Angeles County instrument. Its rhythmic elaboration Music and Performing Arts Commission. depended on the flow of the words, the bearers of the message. The song Latecomers will not be seated untilthelirs: convenient pause'in the performance. / Invited guests are welcome backstage thus consists of melody without har­ altllf the performance; usa partormllfs' entrances: Grand Ava. Side ol Plaza lor PaviliOn, corner ol Tamp/a & Grand lor monic addition. Nevertheless the in­ Ahmanson. and riJIIf of theatre tor Forum. I Usa ol tapa recordllfs and/or cameras prohlllllad In auditorium. I Your usa of a ticket constHutas aclulowladgemanl ol willingness to appur·ln photographs taken In public areas ol Tha Music Centllf and herent .beauty and emotional impact releases Tha Music Center Operating Co .• Itt lessees and all others lrom 118blllty resuHing lrom usa ol such piiOiographs. 1 Program and artilll subject to change. I Patrons cannot be paged during a performance. IndividualS axpacl/ng emergency of this primitive melodic inventive­ caNs must leave their seat numbers with the H9Us1J Mar;ager. ness invited further development compatible with more cultivated and music of the British Isles particularly sophisticated tastes or national cus­ up through the mid-Nineteenth Cen­ tom. The Welsh love of choral music tury. Thenceforth the music of Britain led naturally to a strong choral em­ in turn came under strong American phasis in various festival competitions influence. A familiar and mutually in­ for which they are still famed. Modern teracting genre, for examp,e, is the ROGER WAGNER, Founder/Director choral arrangements, moreover, often Sea Shanty. A developed type unique of the Roger Wagner Chorale and constituted the only viable means by to American working and frontier Founder/Director of the Los Angeles which a folk song prior to electronic conditions is the familiar " Western" Master Chorale and Sinfonia Or­ means of amplification could be whose variety is illustrated in the chestra, has become a legend in his adequately communicated to a large familiar medley on the program. own time, known the world over as a audience or congregation. The second powerful contributory symbol of the highest achievements However, even though the folk stream influencing American folk in choral art. Dedicated to choral idiom customarily originated in the music is the Afro-American. Through music since early childhood, his in­ voice, as early as the Twelfth Century, their learning of the English language ter11ational reputation in that area has troubadour, trouvere and jongleur shaped as it became by the linguistic been enhanced by his work as a com­ songs, the foundation of French folk peculiarities of their native African poser, arranger, and symphonic con­ music, found elaboration through dialects, the Blacks came into contact ductor, and he is a highly regarded instrumental accompaniment' rein­ with British American music. They re­ authority on the religious music of forcing its characteristic rhythmic tained much of that native musical the Medieval and Renaissance precision and drive and fostering the heritage, but they transmuted what periods. He has been knighted twice subsequent marriage of dance and they learned whether through hymn for his contributions to sacred music. voice with harmonic support. or song and willed us their pro­ Radio, television, motion pictures, A successful modern presentation, foundly felt and magnificent fond of and recordings have all figured prom­ therefore, or folk music in choral ren­ Spirituals and secular songs.