DOCSLIB.ORG

Temple University Concert Choir Sunday, March 15, 2015 | 3PM Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Temple University Concert Choir

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Temple University Concert Choir Sunday, March 15, 2015 | 3PM Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Temple University Concert Choir Concerts at the presentsCathedral Basilica Temple University Concert Choir Sunday, March 15, 2015 | 3PM Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Temple University Concert Choir Dr. Paul Rardin, conductor Kevin Crouch, graduate assistant conductor Kelly Wyszomierski, graduate assistant conductor Program From Cantiones Sacrae (1619) Jan Pieterszoon Sweelinck O sacrum convivium 1562-1621 O sacrum convivium, in quo Christus sumitur; O sacred banquet, in which Christ is received, recolitur memoria passionis ejus; the memory of his Passion is renewed, mens impletur gratia; the mind is filled with grace, et futurae gloriae nobis pignus datur. and a pledge of future glory is given to us. (I Corinthians 11:26 and Romans 8:18) Gaude et laetare Jerusalem Gaude et laetare, Jerusalem; ecce Rex tuus venit: Rejoice and be glad, O Jerusalem; behold, thy King cometh: de quo Prophetae praedixerunt, whom the prophets foretold, quem Angeli adoraverunt, whom angels worship, quem Cherubim et Seraphim Sanctus, Sanctus, whom Cherubim and Seraphim Sanctus proclamant. proclaim: Holy, Holy, Holy. (Magnificat Antiphon at Vespers for the Nativity) -1- The Lord’s Prayer Notre Père (1978) Maurice Duruflé 1902-1986 Pater noster (1995) Javier Busto b. 1949 Katherine Geiger, chant soloist Tyler Tejada, chant soloist Graduate Conductors Chorus Kelly Wyszomierski, conductor Our Father, who art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done on earth as it is in Heaven. Give us this day our daily bread, and forgive us our sins as we forgive those who sin against us, and lead us not into temptation, but deliver us from evil. (Amen.) * * * Light Eternal Light (1958) Leo Sowerby 1895-1968 Kevin Crouch, conductor Eternal Light, shine into our hearts, Eternal Goodness, deliver us from evil, Eternal Power, be our support, Eternal Wisdom, scatter the darkness of our ignorance, Eternal Pity, have mercy upon us, through Jesus Christ our Lord, Amen. Petition Christus factus est (1873) Anton Bruckner 1824-1896 Christus factus est pro nobis obediens Christ was made obedient for us, usque ad mortem, mortem autem crucis. even unto death, even death on the cross. Propter quod et Deus exaltavit illum et dedit illi nomen, Therefore God also has exalted him, quod est super omne nomen. and given him a name that is above all names. A Prayer of King Henry VI (2004) Gabriel Jackson b. 1962 Domine Jesue Christe, qui me creasti, redemisti, Lord Jesus Christ, who did create me, and redeem me, et praeordinasti ad hoc quod sum, and has foreordained me to that which I am. tu scis quid de me facere vis; Thou knowest what Thou wilt do with me; fac de me seduncum voluntatem tuam, do with me according to thy will, cum misericordia. Amen. and show me thy mercy Lord. Amen. -2- Exaltation Ave Maria (1861) Anton Bruckner Ave Maria, gratia plena, Dominus tecum; Hail Mary, full of grace, the Lord is with you. benedicta tu in mulieribus, Blessed are you among women, et benedictus fructus ventris tui, Jesus [Christus]. and blessed is the fruit of your womb, Jesus Christ. Sancta Maria, Mater Dei, Holy Mary, mother of God, ora pro nobis peccatoribus,nunc et in hora mortis nostrae. intercede for our sins, now and in the hour of our death. Amen. Amen. Illumina le tenebre (2009) Joan Szymko b. 1957 O alto e glorioso Dio All highest, glorious God illumina le tenebre del cuore mio. cast your light into the darkness of my heart. Dammi una fede retta,speranza certa, Give me right faith, firm hope, caritá perfetta e umiltà profonda. perfect charity and profound humility. Dammi Signore Lord, give me senno e discernitmento wisdom and perception per compiere la tua vera e santa voluntá so that I may do what is truly your holy will. Grandeur Os justi (1879) Anton Bruckner Os justi meditabitur sapientiam: The mouth of the righteous utters wisdom, et lingua ejus loquetur judicium. and his tongue speaks what is just. Lex Dei ejus in corde ipsius: The law of his God is in his heart: et non supplantabuntur gressus ejus. and his feet do not falter. Alleluia. Alleluia. Ave Maria (1964) Franz Biebl 1906-2001 Andrew Shaw, Richard Hill, Kevin Crouch, soloists Concert Choir Paul Rardin, conductor Angelus Domini nuntiavit Mariae The angel of the Lord visited Mary et concepit de Spiritu sancto. and she conceived of the Holy Spirit. Ave Maria, gratia plena, Dominus tecum. Hail Mary, full of grace, the Lord is with you. Benedicta tu in mulieribus, Blessed are you among women, Et benedictus fructus ventris tui, Jesus, Jesus. and blessed is the fruit of your womb, Jesus, Jesus. Maria dixit: Ecce ancilla Domini. Maria said: See the servant of the Lord. Fiat mihi secundum verbum tuum. May it happen to me according to your word. Ave Maria, gratia plena, Dominus tecum. Hail Mary, full of grace, the Lord is with you. Benedicta tu in mulieribus, Blessed are you among women, Et benedictus fructus ventris tui, Jesus, Jesus. and blessed is the fruit of your womb, Jesus, Jesus. Et Verbum caro factum est And the Word became flesh et habitavit in nobis. and lived among us. Ave Maria, gratia plena, Dominus tecum. Hail Mary, Full of grace, the Lord is with you. Benedicta tu in mulieribus, Blessed are you among women, Et benedictus fructus ventris tui, Jesus, Jesus. and blessed is the fruit of your womb, Jesus, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, Holy Mary, Mother of God, pray for us sinners, Sancta Maria, ora pro nobis, nunc et in hora mortis nostrae. Holy Mary, pray for us now and in the hour of our death. Amen. Amen. Amen. Amen. Amen. Amen. INTERMISSION -3- Mass for Double Choir (1922) Frank Martin 1890-1974 Kyrie -Sung in Latin, with English Translation- Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. Gloria Gloria in excelsis Deo. Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and on earth peace, good will towards men. 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 tuam. we give thanks to thee for thy great glory, Domine Deus, Rex caelestis, Deus Pater omnipotens. O Lord God, heavenly King, 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 nostram. Thou that takest away the sins of the world, receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of God the Father, miserere nobis. 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. 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, Iesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the 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, descendit de coelis. and for our salvation, 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 And was crucified also for us sub Pontio Pilato; under Pontius Pilate. passus et sepultus est. He 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 dextram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And he shall come again with glory iudicare vivos et mortuos, to judge both the quick and the dead; cuius regni non erit finis. whose kingdom shall have no end. Et in Spiritum Sanctum And I believe in the Holy Ghost Dominum et vivificantem, the Lord and giver of life, qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; qui cum Patre et Filio who with the Father and the Son together simul adoratur et conglorificatur; is worshipped and glorified; qui locutus est per Prophetas. who spake by the prophets. Et unam sanctam catholicam et apostolicam ecclesiam. And I believe in one holy, Catholic and Apostolic church. 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. -4- Sanctus Sanctus, Sanctus, Sanctus, Holy, holy, holy Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua.
Load more

Recommended publications
  • 6013 Missa Solemnis
    (LYRCD 6013) MISSA SOLEMNIS & Egmont Overture Ludwig van Beethoven AMA DEUS ENSEMBLE Valentin Radu, Artistic Director and Conductor Sarah Davis, Soprano Jody Kidwell, Mezzo-Soprano Timothy Bentch, Tenor Ed Bara, Bass PROGRAM NOTES: EGMONT, OP. 84, is a set of incidental music pieces for the 1787 play of the same name by Goethe. It consists of an overture and nine separate subsequent pieces for soprano and full orchestra. Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The overture, powerful and expressive, is one of the last works of his middle period; it has become as famous a composition as the Coriolan Overture, and is in a similar style to the Fifth Symphony which he completed two years earlier. When in 1809 the Burgtheater of Vienna asked Beethoven, a great admirer of Goethe, to compose incidental music for a revival of the play, he accepted with enthusiasm. It recalled themes close to his own political preoccupations, already expressed in his opera Leonore (renamed Fidelio, in the definitive 1814 version) and in his overture Coriolan (in 1807). 1 MISSA SOLEMNIS, OP. 123 “The Missa Solemnis is the greatest work I have composed so far.” Even allowing for the facts that Beethoven was telling this to a publisher and that in1822 he had not yet composed the Ninth Symphony and the last string quartets, his declaration must be taken seriously nevertheless. The Mass is Beethoven’s largest and longest composition (not counting the opera Fidelio), and yet at times also one of his most intimate and personal.
    [Show full text]
  • 6010 Beethoven Ninth
    (LYRCD 6010) BEETHOVEN SYMPHONY No. 9 in D Minor, Op. 125 Ama Deus Ensemble Valentin Radu, Conductor Tatyana Galitskaya, Soprano Tatyana Rashkovsky, Mezzo-Soprano Kenneth Garner, Tenor Ed Bara, Bass I. Allegro ma non troppo, un poco maestoso II. Molto vivace (Scherzo) III. Adagio molto e cantabile IV. Presto: O Freunde, nicht diese Töne! Allegro assai: Freude, schöner Götterfunken, Tochter aus Elysium (from Schiller’s Ode to Joy) PROGRAM NOTE The Symphony No. 9 in D minor, Op. 125 “Choral” is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the Ninth Symphony is one of the best-known works of the Western repertoire, considered both an icon and a forefather of Romantic music, and one of Beethoven’s greatest masterpieces. The 1 composer struggled for more than ten years before completing the work, and turned to the mighty Missa Solemnis while he considered his final symphony. Using voices in an orchestral symphony had never been attempted before. Beethoven finally decided to incorporate part of the Ode an die Freude (“Ode to Joy”), a poem by Friedrich Schiller, with text sung by soloists and a chorus in the new symphony’s last movement. It is, indeed, the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that sets the tone for the Romantic symphonic form. Ludwig van Beethoven (1770-1827) TRACKS AND TIMINGS: CD ONE (61:55) Symphony No. 9 (“Choral”) in D Minor, Op. 125 1 I. Allegro ma non troppo (13:19) 2 II.
    [Show full text]
  • Vox Ama Deus 11-12 Brochure 9:Layout 1.Qxd
    VoxAmaDeus Valentin Radu, Artistic Director & Conductor Concert Season XXV Silver Anniversary 2011-2012 Ama Deus Ensemble Vox Renaissance Consort Camerata Ama Deus Camerata Consort from the Maestro by Valentin Radu, Artistic Director and Conductor Highlights of Silver Anniversary Concert Season XXV Anniversaries have always been both happy and emotional for me. And quite obviously, VoxAmaDeus turning 25 will be major for both categories! It has been an amazing journey – from that frosty December 5, 1987, at Daylesford Abbey, when 12 singers draped in rented Renaissance costumes made their debut performance under my baton – to the 100+ choristers, soloists and orchestra performing Fauré, Stravinsky & Gershwin at the Kimmel Center last Good Friday, April 22, 2011, as part of PIFA (Philadelphia International Festival of the Arts). Not to mention that the first concert season (’87-’88) consisted of three performances, all at Daylesford Abbey and all by one group (Vox Renaissance Consort), while next season will have 23 performances by four Vox groups (Vox Renaissance Consort, Ama Deus Ensemble, Camerata Ama Deus, plus the newest one, Camerata Consort) and “yours truly” on the keys! To start the season, we return to the Cathedral Basilica of SS. Peter and Paul and St. John Vianney Church (Angelus with Vox Renaissance Consort). Next, on October 14, the first of five magnificent concerts at the Kimmel Center roars off the runway with an all-Mozart program, including “yours truly” on the Steinway keys and baton, and Mozart’s final Requiem. In
    [Show full text]
  • Jennifer Lane Curriculum Vitae
    Jennifer Lane Curriculum Vitae Professor of Voice phone: (650) 867-2930 Division of Vocal Studies, College of Music email: [email protected] University of North Texas http://music.unt.edu/faculty-and-staff/detail/60 Denton, Texas 76203 http://www.seidelartistsmgmt.com/artist.asp?ID=35 Education Juilliard Symposia: Care of the Professional Voice, NY, NY 1980 Brooklyn College Conservatory of Music, City University of New York, MA, 1980 Chicago Musical College, Roosevelt University, BM, 1977 University Positions Held Professor of Voice with tenure, University of North Texas 2016 - present Associate Professor with tenure, 2007-2015 Associate Professor of Voice, with tenure, University of Kentucky–Lexington, 2005-2007 Senior Lecturer in Voice, with continuing term of appointment granted in 2002, Stanford University, 1996-2005 Papers Presented “Musical Performance and/as Intellectual Activity in the Music Discipline of the Research University” Hawaii International Conference on the Humanities, University of Kentucky Musicology Lectures and Colloquia, 2005 Grants and Awards Grammy Nomination: Best Opera Recording Category (Soloist) for Athena in Naxos Recording of Milhaud’s Orestie, 2015 UNT Research Opportunity Program Grant for filming of interviews for NYCO documentary, $7500.00, 2013-2015 UNT Small Grant for interviews in NY City toward the making of a documentary film on New York City Opera, 2014 UNT Research and Creativity Initiative Award Finalist, 2011, 2012 UNT Research Enabling Grant (for performances of the Solo Alto Cantatas of J.S.
    [Show full text]
  • George Frideric Handel Judas Maccabæus a Sacred Drama, Words by Thomas Morell
    (LEMS 8070) George Frideric Handel Judas Maccabæus A Sacred Drama, Words by Thomas Morell AMA DEUS ENSEMBLE Valentin Radu, Artistic Director and Conductor The Bryn Mawr Boy & Girl Choirs at the Church of the Redeemer, Bryn Mawr, PA. Huw Williams, director CAST Judas Maccabaeus - Timothy Bentch Simon - Ed Bara Israelitish Woman - Andrea Lauren Brown Priest - Tatyana Rashkovsky Israelitish Man - Dana Wilson Messenger - Richard Shapp Chorus of Israelites Handel was lucky in that current events provided him with a hot topic for his new oratorio season in 1747—a Jacobite uprising was put down at Culloden in Scotland in 1746 by the Duke of Cumberland. Handel thought to capitalize on the fervor of the moment and turned again to a score he had begun earlier, Judas Maccabaeus. After several lackluster musical years, he was hopeful for his spring 1747 season. Fired up by the military victory the previous spring, Londoners were excited by Handel’s new 1 military oratorio. He had turned to a Fellow of King’s College Cambridge, a Dr. Thomas Morell, at the recommendation of the Prince of Wales, for his text. The amiable author supplied him with some archaic lyrics, but Handel set them masterfully. Unlike other 18th century arts— painting, literature, poetry, drama and sculpture— classical music was disinclined to be literal in its depiction of contemporary events. Indeed, Handel chose an ancient allegory to celebrate the English victory. The first book of the Maccabees in the Apocrypha was his source—the Jewish resistance to the Syrian conquest of Judea is second century B.C. But this reference of the triumph of a Jewish military leader in decisive battle was clear to London’s musical audience.
    [Show full text]
  • 6008 Verdi Requiem Ama Deus
    (LYRCD 6008) VERDI REQUIEM Giuseppe Verdi (1813-1901) AMA DEUS ENSEMBLE Valentin Radu, Artistic Director and Conductor Tatyana Galitskaya, Soprano Tatyana Rashkovsky, Mezzo-Soprano Kenneth Garner, Tenor Ed Bara, Bass PROGRAM NOTES To Giuseppe Verdi, the great contemporary symbol of Italian culture was the poet/novelist Alessandro Manzoni. Early in his career, Verdi had set several of his poems to music: they were never published. Both composer and poet respected each other’s privacy and not until 1868 did Verdi have his one and only meeting with the man he regarded as a saint. At Manzoni’s death in 1873 at age 89, Verdi wrote his publisher Ricordi: “I am profoundly saddened by the death of our Great Man. I would not have the heart to attend his funeral; I will come soon to visit his grave, alone and unseen, and perhaps afterwards propose something with which to honor his memory.” A month later, Verdi proposed to compose a choral Requiem, to be performed in Milan on the first anniversary of Manzoni’s death, with himself conducting. He did indeed visit the grave and then began work on the score in Paris that summer, finishing the work in the following months at his estate at Bussetto. The Requiem’s premiere on May 22, 1874 took place in the church of St. Mark’s in Milan and was repeated three times on the 1 following days at La Scala. For the premiere’s soprano and mezzo soloists, Verdi engaged Teresa Stolz and Maria Waldmann who were his Aida and Amneris that season at La Scala.
    [Show full text]
  • Concert Program
    Concerts at the Cathedral Basilica & Bryn Mawr Presbyterian presents STEPHEN PAULUS TO BE CERTAIN OF THE DAWN HOLOCAUST ORATORIO Friday, March 20, 2015 | 8PM Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Sunday, March 22, 2015 | 4PM Bryn Mawr Presbyterian Church Bryn Mawr, Pennsylvania To Be Certain of the Dawn Music by Stephen Paulus Libretto by Michael Dennis Browne Jeffrey Brillhart, conductor Chamber Orchestra of Philadelphia Bryn Mawr Presbyterian Sanctuary Choir and Children’s Choirs Cathedral Basilica Choir Archdiocesan Children’s Choir Singers from Area Synagogues Program I. RENEWAL Sh’ma Yisrael! (Hear, O Israel) (Cantor) Sh’ma Yisrael! Adonai Eloheinu Hear, O Israel: Adonai our God, Adonai Echad! Adonai is One. Barukh sheim K’vod malchuto Blessed is the name of God’s l’olam va’ed. glorious reign for ever and ever. Teshuvah (Returning) (Chorus) Create a great emptiness in me. Send a wind. Lay bare the branches. Strip me of usual song. Drop me like a stone, send me down unknown paths, send me into pathlessness; drop me like a stone so that I go where a stone goes. Send me down unknown paths, send me into pathlessness, into the lost places, down into echoes to where I hear voices, but no words: a place of weeping below any of earth’s waters. Teshuvah, Teshuvah, Teshuvah. (Soprano, Tenor) Give me difficult dreams where my skills will not serve me; make bitter the wines I have stored. Chorus Begin the returning. Teshuvah, Teshuvah, Teshuvah. -1- First Blessing (Children’s Chorus) Adonai! Adonai, Adonai, Adonai, Adonai! Who gives us our hearts, and as they open, so You fill them.
    [Show full text]
  • Renaissance Noël
    (LEMS 8075) Renaissance Noël VOX RENAISSANCE CONSORT Valentin Radu, Conductor Christmas motets, carols, dances & Noels by Monteverdi, Gabrieli, Praetorious, Victoria, Corelli, Purcell & others, for voices & period instruments A Note from the Maestro A long time ago in a far-away place, a little boy fell in love with the magic of the regal Renaissance costumes and angelic voices, complemented by the small instrument ensemble that comprised the famous “Coro Madrigal,” founded and directed by the legendary Romanian conductor Marin Constantin. The boy grew up, left Romania and arrived in America at New York City’s Juilliard School, where he was privileged to pursue his dream of becoming a conductor. He was thrilled to be a protegé of Richard Westenburg, teacher and conductor, with a larger-than- life reputation at Juilliard, at Lincoln Center and throughout North America. Westenburg and his trusted assistant, Patricia Handy, taught him the tools of the trade of the art of choral conducting. Some years later—on December 5, 1987—in the snowy woods of Paoli, Pennsylvania at the Daylesford Abbey, Vox Renaissance Consort came to life and with it, the fulfillment of my dream of having my own “Coro Madrigal.” This Christmas recording represents a musical statement by Vox and myself, who together strive through performance to bring back something of the uplifting beauty and 1 spirit of Europe’s Renaissance masters. I am grateful for the inspiration their music stimulates in us and I would like to dedicate this recording to all those who have helped us make it come to life and, most especially, to my two mentors Marin Constantin Richard Westenburg Marin Constantin and Dick Westenburg.
    [Show full text]