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Liberty University School of Music Liberty University School of Music presents Liberty University Concert Choir Dr. John Hugo, director & University Chorale Dr. Dan Suttles, director November 9, 2020 Center for Music and the Worship Arts Concert Hall MUSIC 050 7:30 PM Liberty University Concert Choir Dr. John Hugo, director The Star-Spangled Banner Francis Scott Key/John Stafford Smith Kyrie eleison Hans Leo Hassler from Missa Secunda (sine nomine*) (1564-1612) Alelluia John Hugo (b. 1956) Ave verum corpus, KV 618 Wolfgang A. Mozart (1756-1791) Locus Iste Anton Bruckner (1824-1896) Quem vidistis Francis Poulenc (1899-1965) God So Loved the World John Stainer (1840-1901) Valiant-for-truth Ralph Vaughan Williams (1872-1958) Ride On, King Jesus arr. Robert Shaw and Alice Parker Hush! Somebody’s Callin’ My Name Brazeal Dennard Sleigh Ride Leroy Anderson (1908-1975) Ades Puisque tout passe Paul Hindemith (1895-1963) Champions, Arise! Alma Mater (composed 1993) University Chorale Dr. Dan Suttles, director Caroline Petrick, accompanist Waymaker Osinachi Sinach (b. 1973) The Heavens are Telling Ludwig van Beethoven (1770-1827) Toccata of Praise Joseph M. Martin (b. 1959) If Ye Love Me Thomas Tallis (1505-1585) O Bone Jesu Marc’Antonio Ingegneri (1536-1592) Praise His Holy Names Fred Bock (1939-1998) Let Everything That Hath Breath Jeffery L. Ames (b. 1969) Mackenzie Mendenhall, soloist Amy Blalock, conductor Be Thou My Vision Dallán Forgaill, (530-598) arr. Josh Stewart Joshua Tomes, conductor Gloria I: Allegro Vivace John Rutter (b. 1945) God Rest Ye Merry, Gentlemen Traditional 16th c. English Carol arr. Don Marsh - PROGRAM NOTES - Miniatures of Grace When we think of the monumental works of choral literature, Handel’s Messiah, Bach’s Mass in b minor, and Mendelssohn’s Elijah come to mind. Indeed, these works are certainly the ‘Giant Sequoias’ of the choral forest, but around these great trees have sprung up equally beautiful works of smaller dimensions. God thunders in the great choral/orchestral works, but He whispers in the more intimate works of the a cappella tradition. The music on this evening’s program consists of works where listener and performer alike can be transported by the subtleties of the choral art, an art that simultaneously conveys objective meaning and evokes an emotional or even a spiritual response; choral works of brief duration must accomplish their purpose by distilling rich musical meaning into a restricted time frame. While we value large scale choral works with their power and splendor, we also value the smaller forms as gems in the crown of the choral art for which we thank and glorify God. The Star-Spangled Banner Note: It was common practice in early America to write new words to tunes that everyone knew. Key apparently had the tune To Anachreon in Heaven (written by Gloucester, England’s John Stafford Smith in 1780) in mind when writing his poem ‘The Defence of Fort M’Henry’ on September 16, 1814. Key published his poem as a broadside (a single sheet) with instructions to sing it to Smith’s familiar melody! According to the Smithsonian Institution, “the first documented public performance of the words and music together took place at the Holliday Street Theatre in Baltimore on October 19, 1814.” Thus, The Star Spangled Banner that we know today was born. It was designated as the National Anthem of the United States by Congress in 1931. Kyrie eleison, from Missa Secunda (sine nomine*) (ca. 1599) Hassler was the first important German composer to study at the Basilica of St. Mark in Venice, where he had interaction with the Gabrielis in the late 1500s. His experiences in St. Mark’s strongly influenced his style, and it is said that he was the first to bring the Italian style to the German lands. The contrast of alternating imitative and homorhythmic textures in this Kyrie reflects both Netherlandish contrapuntal and lilting Italian Renaissance characteristics. The simple descending motive heard at the beginning is repeated no less than 18 times; these reiterations give unity to this concise three part movement, whose text translates as ‘Lord have mercy, Christ have mercy, Lord have mercy.’ *(sine nomine is a term composers and publishers used to indicate that the mass has no borrowed material in it, or more simply, that it has no ‘nickname. In this case, ‘Missa Secunda’ also simply means that the mass is the second but unnamed mass in a larger collection of masses.) Alleluia (2005) This simple work updates older styles while capturing the essence of the word “Alleluia.” The cheerful melody moves through major and minor harmonies, reflecting the idea that Christians ought to cheerfully praise God in all circumstances. The inner voice parts act as foils that wrestle a bit with this cheerful tune, but despite any ‘circumstantial turmoil,’ the musical journey ends serenely. Ave verum corpus (KV 618) One of the great short choral works of all time, Mozart’s Ave verum corpus is a very late work by the inspired genius: some have called it the most perfect 46 bars of music ever written. It was first performed at a small church outside Vienna on June 23, 1791, in the year of the composer’s death; the serenity of this accompanied motet contrasts strongly with the inner turmoil that the busy Mozart, beset as he was with many personal troubles, must have been suffering. Somehow, in his turmoil, Mozart was able to produce a work of infinite serenity, expressive of his confidence in the Almighty. The text translates: ‘Hail, true body, born of the Virgin Mary, who has truly suffered, sacrificed on the cross for mankind, whose side was pierced, out of which flowed water and blood. Be for us a foretaste of heaven during our final examining. O sweet Jesus, O pious Jesus, O Jesus Son of Mary, have mercy on me.’ Perhaps the weary Mozart empathized with the suffering Savior and found peace and comfort in the One who suffered all for his sake. Locus Iste (1869) The text of this is Latin gradual by Austria’s favorite musical son is sung for celebrations of anniversaries of church building dedications in the Roman rite. Music with this text is performed annually on November 9th at the Pope’s Cathedral Church in Rome, St. John Lateran, so while we are performing this text here today, it was performed in Rome earlier today! A translation of the text is: This place was made by God: a priceless holy place, it is without fault. Quem vidistis (1952) Poulenc wrote a set of four church motets to commemorate the Christmas season. This one (Quem vidistis, pastores, dicite) is a dialog between curious townspeople and the shepherds who witness the Nativity. “Whom did you see? Tell us shepherds! Proclaim to us who has appeared to us on the earth?” “We saw the new-born child and the Angel choirs praising God. “Tell us what you have seen! Announce the birth of Christ!” We can almost hear the wanderings of the shepherds in the alto part in the opening bars. God so loved the world (1887) This famous piece is an excerpt from Stainer famous Oratorio, The Crucifixion; it became a choral staple in Protestant worship in the 20th century. It is probably the most famous English setting of John 3:16-17. Stainer’s music speaks quietly and directly to the soul with irresistible tenderness and poignancy. - PROGRAM NOTES - Valiant-for-Truth (1941) The Pilgrim’s Progress by John Bunyan (1628-1688) is one of the most popular books written in English, although sadly it has lately fallen out of favor; still, it bears reading by Christians who wish to understand more about the hazards faced by the believer during the earthly pilgrimage. Among the beloved pilgrims in this book is Mr. Valiant-for-truth, honored for using his sword (Word of God) to fight God’s battles during his journey. One day, he is called “to cross the river” and joint the other pilgrims in the Celestial City. Vaughan Williams chose Valiant’s farewell speech as his text for this moving work, first performed in 1942; it must have resonated strongly with those living in England through the darkest days of World War II; the brilliant trumpet calls that welcome Valiant into the Celestial City are particularly affecting. The entire text is quoted below. “After this it was noised abroad that Mister Valiant-for-truth was taken with a summons…; and had this for a token that the summons was true, ‘That his pitcher was broken at the fountain.’ When he understood it, he called for his friends and told them of it. Then, said he, ‘I am going to my Father’s, and though with great difficulty I am got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword, I give to him that shall succeed me in my pilgrimage, and my courage and skill, to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought his battles who now shall be my rewarder.’ When the day that he must go hence was come, many accompanied him to the riverside, into which as he went, he said, ‘Death, where is thy sting?’ And as he went down deeper, he said, ‘Grave, where is thy victory?” So he passed over, and all the trumpets sounded for him on the other side. Ride on, King Jesus (1963) This setting is powerful yet clever use of canonic imitation, complete with the technique of augmentation and diminution, and a rough- hewn carefree harmonic treatment.
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