The Department of Music presents Cornell University Chorus and Glee Club John Rowehl, director Cornell Chamber Orchestra Arsenia Soto, soprano; Toby Newman, mezzo-soprano; Nathaniel McEwen, tenor; Brian Ming Chu, baritone Chris Younghoon Kim, conductor

Mass for Peace

Mass in B-flat Major, Hob. XXII:14 (“”) (1732–1809) Introitus: Da pacem, Domine Kyrie Gloria Gloria in excelsis Deo Gratias agimus tibi Quoniam tu solus Sanctus

Graduale: Rogate Alleluia: Qui posuit Credo Credo in unum Deum Et incarnatus est Et resurrexit Et vitam venturi

Offertorium: Laudate Dominum Sanctus Benedictus Benedictus Osanna Agnus Dei Agnus Dei Dona nobis pacem

Communion: Pacem relinquo vobis Dismissal: Ite missa est

We are pleased to announce that this concert is part of Daniel Pearl World Music Days, the world’s largest symphony for peace. This international network of concerts is in memory of slain journalist/ musician Daniel Pearl, who traveled the world working toward cross-cultural understanding with simply a pen and a fiddle. Through our music tonight, we reaffirm our conviction that humanity will triumph and harmony will prevail.

SAGE CHAPEL CORNELL UNIVERSITY Friday, October 26, 2012 – 8:00 PM Program Notes

Haydn’s “Harmoniemesse” (1802) is the last of the six mass settings composed in Vienna follow- ing his return from London; they celebrated the name-day of Princess Esterházy, the wife of the reign- ing Prince Nicolaus. In their treatment of the orchestra they share many traits with the “London” symphonies (1791–95); indeed the (inauthentic) nickname “Harmoniemesse” — Haydn titled the autograph simply Missa — was coined in response to the unusually prominent parts for the winds, “” being the standard German term for a group of wind-instruments. In terms of formal procedure and generic orientation, however, the ‘symphonic’ character of Haydn’s late masses has been exaggerated; they more closely resemble The Creation (1798) and (1801), especially in the inexhaustible freedom with which Haydn exploits the complementary functions of soloists and chorus.

The “Harmoniemesse” is in B-flat major. The Kyrie is in the half-slow tempo Poco adagio, with astonishing contrasts of dynamics and performing forces both in the large and in detail. It is in free sonata form with wide-ranging modulations, and conveys a deeply-felt, barely restrained fervor; some have called it Haydn’s greatest individual movement. —The much longer Gloria and Credo are both divided into three large sections, fast–slow–fast. Both initial vigorous sections in duple meter set long stretches of liturgical text (it is worthwhile to follow the text closely) and again fea- ture contrasting motives and textures, including vivid word-paintings on clauses such as (in the Gloria) “laudamus te,” “adoramus te,” and “descendit de coelis.” In both movements, the contrast- ing middle section in triple meter sets the central, expressive portion of the text. In the Gloria, this is a long, moderately fast movement (“Gratias agimus … Qui tollis peccata mundi, miserere nobis … Suscipe deprecationem nostram”), which moves through many keys, never returning to any of them. It begins with solos for each of the three upper soloists in turn, before moving to more varied, rapidly shifting textures and eventually to the chorus. In the Credo, this section (“Et incarnatus est ... Et homo factus est … Cruxifixus … Passus et sepultus est”) is shorter but slower and more intense; it begins with a soprano solo, leading to all four soloists and then the chorus. Both concluding sections first resume the vigorous, foursquare discourse of the opening, then move to a climactic fugue with much chromaticism. In the Gloria this is a long double fugue (“In gloria dei patris”) that runs on from the preceding music without pause; in the Credo (“Et vitam venturi saeculi”) it is briefer, enter- ing after a pause in a different tempo and meter. Towards the end, both fugues break off from coun- terpoint, in favor of homophonic passages both soft and loud, for soloists as well as the chorus. The brief Sanctus/Osanna pair, as is often the case, functions like a prelude to the much longer, separate “Benedictus.” This resembles the Kyrie in being in sonata form (the long ‘first theme’ is for orchestra alone); it is unusual in being in a very fast tempo (Molto allegro) and yet much of the time piano. —In the Agnus dei/Dona nobis pacem pair, again slow–fast, the Agnus is set for the soloists alone, in triple meter and a remote key; it is in three subsections (reflecting the tripartite text) and leads to….

… But here this surface description must break off, in favor of a different kind of story. Like many late Haydn vocal works, notably the two oratorios, the “Harmoniemesse” projects (among many other topics) a new, dynamic sense of the musical sublime. The primary musical resource as- sociated with the dynamic sublime is incommensurability in temporal contrast. The Kyrie of the “Har- moniemesse” begins with a long orchestral introduction, in which contrast is ubiquitous: soft vs. loud, diatonic vs. chromatic, and so forth. Eventually, in the middle of a quiet descending sequence in the winds, the entire chorus and very large orchestra burst in ff, on a completely unexpected dimin- ished seventh chord. This ‘gestural shock’ subsides at once, but this only enhances the sublime effect: like a thunderbolt (the characteristic rhetorical trope for the sublime), it is as astonishing as it is inex- plicable, and it resonates long afterwards. The Agnus Dei begins in the remote key of G major, which eventually works its way around to the dominant of G minor; the pp close is run on without pause to a ff outburst on the single note D, which leads to the Dona nobis pacem. Although the harmonic transition is not unusual (D is the common tone between the dominant of G and the tonic B flat), this outburst is at once astonishing and confusing. After three bars of this naked D, F is added on top, but the sonority is still incom- plete; only after three more bars do the chorus and orchestral basses enter, to complete the B-flat triad. However, the most startling stroke (literally) is in the , which anticipate this act of completion by entering on B-flat one bar ‘too soon.’ This at once grounds the passage in what we instantaneously know must be the tonic, yet — because the timpani are both indistinct in pitch and enter out of sync — at first cannot quite grasp.

Surely Haydn intended this overwhelming moment as an invocation of revelation — of the Last Judgment. – James Webster

Texts and Translations Introitus: Da pacem, Domine Da pacem, Domine, sustinentibus te, ut prophetae tui Grant peace, O Lord, I wait for Thee, that thy proph- fideles inveniantur: exaudi preces servi tui, et plebis ets be found faithful: hear the prayers of thy servant, tuae Israel. Laetatus sum in his quae dicta sunt mihi: and of thy people, Israel. I am happy at these things in domum Domini ibimus. Gloria Patri, et Filio, et that were said to me: we will go into the house of the Spiritui Sancto. Sicut erat in principio, et nunc, et Lord. Glory to the Father, and to the Son, and to the semper, et in saecula saeculorum. Amen. Holy Spirit. As it was in the beginning, also now, and forever, and unto ages of ages. Amen.

Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Gloria Gloria in excelsis Deo. Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. and on earth peace to people of good will. Laudamus te. Benedicimus te. We praise thee, we bless thee, Adoramus te. Glorificamus te. we worship thee, we glorify thee.

Gratias agimus tibi propter magnam gloriam We give thanks to thee for thy great glory, tuam. Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, miserere nobis. Thou that takest away the sins of the world, have mercy upon us. Qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world, nostram. receive our prayer. Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of God the Father, have mercy upon us.

Quoniam tu solus Sanctus. Tu solus Dominus. For thou only art holy; thou only art the Lord; Tu solus Altissimus, Iesu Christe. thou only, O Christ, with the Holy Ghost, Cum Sancto Spiritu, in gloria Dei Patris. art most high in the glory of God the Father. Amen. Amen. Graduale: Rogate Rogate quae ad pacem sunt Jerusalem: et abundantia O pray that there is peace in Jerusalem: and that they diligentibus te. Fiat pax in virtute tua: et abundantia shall prosper that love Thee. Peace be within Thy walls: in turribus tuis. and abundance in Thy palaces.

Alleluia: Qui posuit Alleluia. Qui posuit fines tuos pacem, et adipe fru- Alleluia. That Thy borders are able to be at peace, and menti satiate. that Thou are satiated with the finest wheat.

Credo Credo in unum Deum. I believe in one God, Patrem omnipotentem, the Father almighty, factorem coeli et terrae, Maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible. Et in unum Dominum And in one Lord, Jesum Christum, Jesus Christ, Filium Dei unigenitum, Only begotten Son of God, Et ex Patre natum ante omnia saecula. Begotten of his Father before all worlds. Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero. Very God of very God. Genitum, non factum, Begotten, not made, consubstantialem Patri: being of one substance with the Father: per quem omnia facta sunt. by whom all things were made. Qui propter nos homines Who for us men et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.

Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria Virgine: of the Virgin Mary: Et homo factus est. And was made man. Crucifixus etiam pro nobis sub Pontio Pilato: And was crucified also for us under Pontius Pilate: passus, et sepultus est. suffered, and was buried.

Et resurrexit tertia die, And the third day He rose again secundum scripturas. according to the scriptures. Et ascendit in coelum: And ascended into heaven, sedet ad dexteram Patris. and sitteth at the right hand of the Father Et iterum venturus est And He shall come again cum gloria judicare vivos et mortuos: with glory to judge the living and the dead: Cujus regni non erit finis. His kingdom shall have no end. Et in Spiritum sanctum Dominum, And (I believe in) the Holy Ghost, Lord et vivificantem, and giver of life: Qui ex Patre, Filioque procedit. Who proceedeth from the Father and Son. Qui cum Patre, et Filio simul adoratur, Who with the Father and Son et conglorificatur: together is worshipped and glorified: Qui locutus est per Prophetas. Who spake by the Prophets. Et unam, sanctam, catholicam et apostolicam And in one holy catholic and apostolic church. Ecclesiam. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum And I look for the resurrection of the dead

Et vitam venturi saeculi. Amen. And the life of the world to come. Amen. Offertorium: Laudate Dominum Laudate Dominum, quia benignus est: psallite nomini Rejoice in the Lord, Who is kind: sing His name, which ejus, quoniam suavis est: omnia quaecumque voluit, is sweet: all things whatsoever He wanted, He made in fecit in caelo et in terra. Heaven and on earth.

Sanctus Sanctus, Sanctus, Sanctus, Holy, holy, holy Dominus Deus Sabaoth. Lord God of Hosts.

Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest.

Benedictus Benedictus qui venit Blessed is he who comes in nomine Domini. in the name of the Lord.

Osanna in excelsis. Hosanna in the highest.

Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere Lamb of God, who take away the sins of the nobis. world, have mercy on us. Agnus Dei, qui tollis peccata mundi, miserere Lamb of God, who take away the sins of the nobis. world, have mercy on us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who take away the sins of the world, dona nobis pacem. grant us peace.

Communion: Pacem relinquo vobis Pacem relinquo vobis: pacem meam do vobis, dicit Peace I leave you: I grant to you my peace, says the Dominus. Lord.

Dismissal: Ite missa est Ite, missa est. Deo gratias. Go, the Mass Is. Thanks be to God. Soloists

“Sing out Louise” yelled a colleague to Arsenia Soto before her first performance of Carlotta in Phantom of the (Las Vegas Spectacular). Ms. Soto (College Scholar, 2000) went on to perform the role over forty times during her four-year engagement as a Carlotta understudy and ensemble member in the production. In all, the soprano sang over 1500 performances of Andrew Lloyd We- ber’s iconic musical while completing her D.M.A. at Peabody Conservatory and teaching voice at the University of Nevada, Las Vegas. During her residency in Las Vegas, Ms. Soto cultivated her interest and talents in the interpretation of contemporary music and appeared as a frequent guest artist with NEXTET, the resident new musical ensemble at UNLV. She established a close working relationship with composer Virko Baley and collaborated with guest composers Erica Muhl and Dan Welcher. She is equally at home on the opera stage and has been praised for her dramatic interpretation. Tim Smith of the Baltimore Sun remarked that her acting, “had a disarming naturalness” in response to Ms. Soto’s performance of Sophie in Udo Zimmermann’s Die Weisse Rose. Other operatic credits include Konstanze (Abduction from the Seraglio), Despina (Così fan tutte), Poppea (L’Incoronazione di Poppea), and Second Lady (The Magic Flute). Ms. Soto has performed with the Baltimore Opera Company, Washington National Opera Com- pany, Bay Area Summer Opera Company, Henderson Symphony, Green Valley Chamber Music Festival, Kennett Square Symphony, Richmond Philharmonic, and the Cornell University Symphony. She presented solo recitals at Carnegie Hall’s Weill Recital Hall and at Monticello in Charlottesville, Virginia. Ms. Soto is a proud member of the Actors Equity Association, the American Guild of Musi- cal Artists, and the National Association of Teachers of Singing.

Mezzo-soprano Toby Newman (B.A. in Psychology, 1999) is a versatile singer whose work spans the opera, concert and new music repertoire. Opera magazine (U.K.) recently praised “Toby New- man’s moving, plaintive-voiced account of the name part” for her portrayal of the title role in Holst’s Savitri. Other traditional opera credits include Dinah in Trouble in Tahiti (Anchorage Opera), Zerlina in (Phoenicia International Festival of the Voice), Dorabella in Così fan tutte (St. Peters- burg Opera), Cherubino in Le nozze di Figaro (Light Opera Company of Salisbury), Meg Page in Fal- staff (Natchez Festival of Music), and the Mother in Amahl and the Night Visitors at the Bushnell Center for Performing Arts in Hartford, Connecticut. Ms. Newman’s longtime association with Meredith Monk has included multiple recordings and concerts at Carnegie Hall, among many other settings. Other new music engagements include the lead female role in the world premiere of Robert Een’s opera The Escape Artist at Disney Hall in Los Angeles. Recent concert credits include the alto solos in Handel’s Messiah, Judas Maccabaeus, and Dettigen Te Deum, Bach’s St. Matthew Passion and Cantata No. 80, and Brahms’ Liebeslieder Walzes. Upcoming performances include lead roles in world premieres by Thomas Pastieri and Gerald Cohen.

Tenor Nathaniel McEwen is a senior at Cornell University, double-majoring in music and biolog- ical sciences in the College of Arts and Sciences. He hails from Verona, and as an upstate New Yorker, feels very at home amidst Ithaca’s highly volatile weather. McEwen was the recipient of the 2011–12 Harold A. Falconer Prize given by the Department of Music. Last spring, he was the tenor soloist in the Chorus and Glee Club’s performance of Rachmaninoff’s All-Night Vigil and was a participant in the world premiere of the first act of Indian composer Vanraj Bhatia’s opera, Agni Varsha, in New York City. Nathaniel is a member of the Cornell University Glee Club and studies voice with Judith Kel- lock. He enjoys singing, conducting, composing, and listening to music. Baritone Brian Ming Chu (Architecture, ‘96; M.M. Voice/Opera, Peabody Conservatory) has been hailed for his “rich and resonant voice . . . an impressive performer of wide range, agility, and expres- sive storytelling ability.” His performances encompass the oratorio repertory, with repeat appear- ances in the title role of Mendelssohn’s Elijah, the Bach Passions, Haydn’s Creation and Die Jahreszeiten, Brahms and Mozart Requiems, Monteverdi’s 1610 Vespers, and Handel’s Messiah on three continents. Orchestral credits include Orff’s Carmina Burana, Vaughan Williams’ Dona nobis pacem, Beethoven’s Ninth Symphony, and Mahler’s Songs of a Wayfarer. Chu has performed as soloist with the King’s Noyse, Cathedral Choral Society, Orchestra of the 17th Century, Dryden Ensemble, Piffaro, Choral Arts Society of Philadelphia, Brandywine Baroque, Dolce Suono, and the Carmel Bach Festival. As a U.S. Embassy Cultural Artist, he has toured West Africa and Austria in recital. Mr. Chu has appeared in signature roles with numerous opera companies, including Marcello in La bohème, Leporello in Don Giovanni, Lescaut in Manon, and the title role in The Barber of Seville. A Baltimore Opera studio artist, he sang roles in Carmen, Lakmé, Salome, La scala de seta, Madama But- terfly, and Lady Macbeth of Mtsensk. A gifted recitalist and advocate for new music, Mr. Chu has ap- peared in concert at New York’s Weill and Merkin Halls, Philadelphia’s Annenberg Center, and the Phillips Collection in Washington, premiering the music of composers such as Aaron Jay Kernis, Lori Laitman, and William Bolcom. This season, he reprises Marcello in La bohème (N.J.) and performs Finzi’s Et in terra pax in Baltimore and Wolf’s Italienisches Liederbuch in Dallas. Mr. Chu teaches on the faculties of Haverford College, Muhlenberg College, and Rowan University. Cornell University Chorus and Glee Club Soprano Helen Cowan Jake Cohen Patrick Dorion Katelynn Abernathy Leslie Decker George Epstein Pablo Garcia-Quedesa Rachel Benjamin Anne Dickey Phillip Fargo Aaron Gittelman Sarah Marie Bruno Jennifer Dilzell Benjamin Feinson * Dan Golland Jessica Budiman Devon England Jeremy Gilston Zach Hempstead * Meghan Burns Krista Galie Brian Gips Nick Huang Alex Cesare Eva Gonzalez Michael Gross Paul Hwang Becky Dugal Rose Hanson Aaron Gustafson Garret Jancich Lorraine Fitzmaurice Kira Hicks Kareem Hamdy Jon Kaufman Erin Goers Tae Kim Scott Hare Max Ke Olivia Gustafson Dakota Kliamovich Daniel Hemberger Christian Kelly Shavon Henry Julie Kohn Noah Kaminsky * Benjamin Lillard * Emily Higgins Eunice Koid Dan Kuhr Chris McGinn Jingru Huang Vaishali Kumaraguru Yannick Lingelbach * Kurt Miller Dedzidi Ladsekpo Linda Liu Warren Lowell Terry Moon Jennifer Lambert Abby Maranga Alex Moore Steven Notovitz Lauren Lee April Miller Donny Morrissey Stephen Pallone Claire Lender Katherine Minnes Dan Petralia Ari Prescott Emily Lutz Eilis Monahan Erik Rego McKenzie Read Gwen Petro Esther Okech Jeffrey Schwartz * Nick Ringelberg Laura Powis Sophie Rogers Thomas Shepherd John Rowehl * Collette Roberto Ariel Schwartz Ryan Smith Matt Skroce Katie Rosenberger Emily Sleasman David Thomason Andrew Tennant Isabella Ruof Sanjana Thirumalai Jordan Toth Ben Wu Renee Wall Chelsea Tucker Patrick Weill Evan Yetter * Michelle Wan Olivia Vaz Chris Wolfrom Daniel Young Kelly Wallace Alto Bass Sara Birmingham Tenor Adam Beckwith * member of Cornell Chelsea Brite Roshun Alur Eric Burkholder Schola Cantorum; Lorraine Maddy Butzbach Patrick Chamberlain Mitchell Davis Fitzmaurice, director Cornell Chamber Orchestra Violin I Bass Rachael Communale, History/Government, ‘14 * Katie Klapheke, Arts & Sciences, ‘15 Hae Soo Cheon, Psychology/Asian Studies, ‘15 Rebecca Lomnicky, Music/Anthropology, ‘14 Flute Micaella Zubkov, Engineering, ‘16 Anne Kwok, Physics, ‘14 Yuko Usami Elizabeth Hoover, International Agriculture and Rural Development, ‘13 Kit Stone, Education, Grad Elaine Higashi, Biological Materials Engineering, Rachel Schlesinger, Music, Ithaca College Grad Violin II Vanessa Davis, Music, Ithaca College Eileen Kim, Mechanical and Aerospace Jackie Burd, Music, Ithaca College Engineering, ‘14 Carlos Kong, Molecular and Cell Biology, ‘15 Amy Li, English, ‘14 Marion Quien, Computer Science, ‘13 Gene Hu, Biology/Psychology/Chemistry, ‘15 Tommy Connors, Music, Ithaca College Jason Boada, German Studies/Mathematics, ‘13 Matthew Bange, Physics, ‘16 Horn James Young, Mechanical Engineering, ‘12 Viola Emma Staudacher, Music, Ithaca College Jialin Jia, Economics/ISST, ‘13 * Calvin Lai, Applied Economics and Management, ‘15 Sam Thurston, Music, Ithaca College Hanna De Jong, Biology, ‘14 Danny Venora, Music, Ithaca College David Vakili, Arts & Sciences, ‘16 Mallory Stellato, Biology & Society, ‘15 Timpani Clint Ko, Biology, ‘14 Mike Compitello, Music faculty

Cello Organ James Eaglesham, Biological Science, ‘15 * Mariko Morita Diana Glattly, DEA Human Factors and Ergonomics, ‘14 Jaime Lee, Economics, ‘14 Irene Tsai, Human Biology, Health, & Society, ‘16 Zachary Wu, Chemical Engineering, ‘15 Harris Karsch, Engineering Physics/Computer Science, ‘14