Eastman Chorale

~ PROGRAM ~ Eastman Chorale

I A.M.D.G. (1939) Benjamin Britten O Deus, eg amo te (1913-1976) Prayer I 6’ Rosa mystica William Weinert, conductor

II Heu me, Domine Vicente Lusitano (1520 - 1561) 4’ Herbstlied, op. 48, no. 6 Felix Mendelssohn (1809 - 1847) 3’ Eastman Chorale Revecy Venir du Printans Claude Le Jeune (1530 - 1600) Gilbert Donohue, Anna Lenti, 3’ James Wolter, conductor Eric Meincke, James Wolter, and William Weinert, conductors III Da Jakob vollendet hatte Johann Hermann Schein (1586 - 1630) 5’ Alexander Little, continuo organ Eric Meincke, conductor Nigra Sum Sed Formosa: A Fantasia on Microagressions Jonathan Woody (b. 1983) 6’ Sunday, November 1, 2020 Remember not, Lord, our offences Henry Purcell (1659 - 1695) Kodak Hall at Eastman Theatre 3’ Cor mio, mentre mi viro Claudio Monteverdi 3pm (1567 - 1643) 2’ James Wolter, conductor

~ INTERMISSION ~ ~ PROGRAM (continued) ~

~ PROGRAM NOTES, TEXTS AND TRANSLATIONS ~ IV Trois Chansons de Charles d’Orleans Claude Debussy 1. Dieu! qu’il la fait bon regarder! (1862 - 1918) 2. Quant j’ai ouy le tambourin 7’ Lauren Case, mezzo-soprano 3. Yver, vous n’estes qu’un villain Meg Brilleslyper, soprano Lauren Case, mezzo-soprano A.M.D.G. Alexander Nick, tenor Britten’s A.M.D.G. cycle (1939) takes its name from the motto of the Sam Yuh, baritone Jesuit order: Ad majorem Dei gloriam (“To the greater glory of God”). William Weinert, conductor It’s texts are all by Gerard Manley Hopkins (1844-89), a Jesuit priest, and an important voice in 19th-century British poetry. The work was written during Britten’s sojourn in the United States after the outbreak of World War II, and was intended for a small ensemble that included Britten’s partner Peter Pears. It is unlikely that the cycle was ever performed during Britten’s V lifetime, and he withdrew the work. It was not published until thirteen years after Britten’s death. The entire cycle contains seven settings; proper order Songs of Farewell Charles Hubert H. Parry was never established by Britten. This afternoon we will hear three of the 1. My Soul, There is a Country (1848 - 1918) seven movements. 2. I Know My Soul Hath Power to Know All Things 9’ - William Weinert 3. Never Weather-Beaten Sail Gilbert Donohue, conductor O Deus, Ego Amo Te O God, I love thee, I love thee — Not out of hope of heaven for me Nor fearing not to love and be VI In the everlasting burning. Thou, thou, my Jesus, after me Musikalische Exequien, Op. 7 Heinrich Schütz Didst reach thine arms out dying, Concert in Form einer teutschen Begräbnis-Messe: (1585 - 1672) For my sake sufferedst nails and lance, Mocked and marred countenance, “Nacket bin ich vom Mutterleibe kommen” 25’ Sorrows passing number, McKenzie Garey & Ella Torres, soprano solos Sweat and care and cumber, Veronica Siebert, mezzo-soprano solo Yea and death, and this for me, Joshua Carlisle & Jacob Hunter, tenor solos And thou couldst see me sinning: Then I, why should not I love thee, Noah Sesling & Peter Schoellkopff, bass solos Jesu so much in love with me? Not for heaven’s sake; not to be Andrew Van Varick, continuo organ Out of hell by loving thee; Anna Lenti, conductor Not for any gains I see; But just the way that thou didst me I do love and I will love thee: What must I love thee, Lord, for then? — For being my king and God. Amen. Heu me, Domine Oratio Patris Condren: O Jesu Vivens in Maria Jesu that dost in Mary dwell, Unfortunately, not much is known about African-Portuguese composer and Be in thy servants’ hearts as well, theorist Vicente Lusitano. As the ﬁ rst known published composer of color, In the spirit of thy holiness, his treatises on composition were published in three editions in the 1550s. In In the fulness of thy force and stress, 1551, he had a widely publicized debate with the theorist Nicola Vicentino. In the very ways that thy life goes Despite the judges declaring Lusitano as the winner, history books tend to And virtues that thy pattern shows, ignore Lusitano all together yet often give a brief mention of Vicentino. Heu In the sharing of thy mysteries; me, Domine comes from Lusitano’s unpublished manuscript on improvised And every power in us that is contrapuntal singing. In it we ﬁ nd this motet of breathtaking harmonic Against thy power put under feet exploration using chromatic canons. In the Holy Ghost the Paraclete To the glory of the Father. Amen.

Rosa Mystica The rose in a mystery, where is it found? Heu me, Domine, quia peccavi nimis Alas, my Lord, I have sinned greatly Is it anything true? Does it grow upon ground? — in vita mea: in the course of my life: It was made of earth’s mould but it went from men’s eyes quid faciam miser, What should I, poor wretch, do? And its place is a secret and shut in the skies. ubi fugiam, In whom should I fi nd refuge Refrain — nisi ad te, Deus meus? if not in you, my God? In the gardens of God, in the daylight divine Find me a place by thee, mother of mine. Libera me, Domine, de morte aeterna Deliver me, O Lord, from eternal death, in die illa tremenda on that fearful day But where was it formerly? which is the spot quando coeli movendi sunt et terra. when the heavens are moved and the earth. That was blest in it once, though now it is not? — Mendelssohn’s It is Galilee’s growth: it grew at God’s will from the Matins of the Dead And broke into bloom upon Nazareth hill. Herbstlieddeparts from Nikolaus Lenau’s original poetry. In the gardens of God, in the daylight divine Instead of each new year bringing “Welkes Laub und welkes Hoffen” I shall look on thy loveliness, mother of mine. (dying leaves and dying hopes) Mendelssohn’s new year now brings “Neues Tell me the name now, tell me its name. Laub und neues Hoffen” (new leaves and new hopes). Here Mendelssohn The heart guesses easily: is it the same? — changes the tempo and shifts to the parallel major creating a more Mary the Virgin, well the heart knows, optimistic ending than the original poem. She is the mystery, she is that rose. In the gardens of God, in the daylight divine I shall come home to thee, mother of mine. Lovely spring you are gone! Is Mary the rose then? Mary the tree? Nowhere nowhere may you stay! But the blossom, the blossom there, who can it be? — Holder Lenz, du bist dahin! Where I saw your happy blossoms, Who can her rose be? It could be but one: Nirgends, nirgends darfst du bleiben! Blusters Autumn’s uneasy struggles, Christ Jesus our Lord, her God and her son. Wo ich sah dein frohes Blüh’n In the gardens of God, in the daylight divine Braust des Herbstes banges Treiben. How the wind goes so sadly Shew me thy son, mother, mother of mine. Through the bush as if it cries; Wie der Wind so traurig fuhr Dying sighs of nature Does it smell sweet too in that holy place? — Durch den Strauch, als ob er weine; shudder through the decaying groves. Sweet unto God, and the sweetness is grace: Sterbeseufzer der Natur O Breath of it bathes great heaven above Schauern durch die welken Haine. Again, how soon, how soon! In grace that is charity, grace that is love. A year has faded to me. To thy breast, to thy rest, to thy glory divine Wieder ist, wie bald, wie bald! Asking as it rustles through the woods: Draw me by charity, mother of mine. Mir dahin ein Jahr geschwunden. Has your heart found its happiness? Fragend rauscht es durch den Wald: Gerard Manley Hopkins Hat dein Herz sein Glück gefunden? Wood-breezes, wonderfully you have stung my heart Waldesrauschen, wunderbar Every year faithfully brings Hast du mir das Herz getroffen! new leaves like new hopes. Treulich bringt ein jedes Jahr Neues Laub wie neues Hoffen. Nikolaus Lenau Da Jakob vollendet hatte Continuing with the theme of new growth,Revecy venir du Printans Johann Herman Schein (1586-1630) lived a short life full of loss. In addition to celebrates life and the return of spring. This lively Renaissance chanson was the deaths of his wife and many of his children, Schein experienced the Thirty published after the composer’s death by his sister Cecile. In the preface she Years War which ravaged German speaking lands. Beyond deaths tied directly writes extensively about the importance of rhythm and how it can animate to fi ghting, the war caused further suffering due to the spread of disease and harmonies. The refrain alternates with verses which increase in forces from a famine. Under such conditions, the resources available greatly diminished for duet to quintet resulting in a sustained increase of energy throughout the work. his job at the famous Thomasschule in Leipzig, where Bach was to work a century later. First published in his Fontana d’Israel (1623), Da Jakob vollendet - James Wolter hatte contains striking, unprepared dissonances in the seconda practica, the style pioneered by Monteverdi. Attention to the mournful text is the primary Refrain: Refrain: concern. Voices are subdued and low in the register when Jacob passes, and Revecy venir du Printans. Here again comes the Spring, falling gestures occur in imitation when Joseph falls on his father’s face. L’amoureuz’ et belle saizon. the amorous and fair season. Syncopations during weeping create a momentary sense of metric uncertainty. Schein, knowing these dark emotions all too well, uses these musical resources Chant à 2 Chant à 2 to depict a deep, palpable sense of suffering. Le courant des eaus recherchant, The currents of water that seek - James Wolter Le canal d’été s’éclaircît: The canal in summer become clearer; Et la mer calme de ces fl ots, And the sea calms her waves, Amolit le triste courrous: Softens the sad anger. Da Jakob vollendet hatte When Jacob had fi nished Le Canard s’égay’ se plonjant, The duck, elated, dives in, die Gebot an seine Kinder, his commandments to his sons, Et se lave coint dedans l’eau And washes itself happily in the water. tät er seine Füße zusammen aufs Bett He brought his feed together on the bed Et la grû’ qui fourche son vol, And the crane breaks its path, und verschied und ward versammelt And passed away and was gathered Retraverse l’air et s’en va. Crosses back and fl ies away. zu seinem Volk. to his people. Da fi el Joseph auf seines Vaters Angesicht Then Joseph fell on his father’s face Chant à 3 Chant à 3 und weinet über ihn und küsset ihn. And cried over him and kissed him. Le Soleil éclaire luizant, The sun shines brightly D’une plus sereine clairté: With a most serene clarity: Genesis 49:33-50:1 Du nuage l’ombre s’enfuit, From the cloud the shadow fl ies Qui se ioû’ et court et noircît And plays and runs and darkens Et foretz et champs et coutaus, And forests and fi elds and hillsides, Nigra Sum Sed Formosa: a Fantasia on Microaggressions Le labeur humain reverdît, Human labor makes green again, Et la prê’ decouvre ses fl eurs. And the prairie unveils its fl owers. Reggie Mobley (librettist) and Jonathan Woody (composer) are two successful black singers working in the fi eld of early music. Mobley’s text is a combination Chant à 4 Chant à 4 of microaggressions shared with him by fellow musicians of color. These words De Venus le fi lz cupidon, From Venus’ son, Cupid, represent circumstances in which these artists found themselves confronted by L’univers semant de ses trais, The universe is seeded in milk, listeners, who though they may have been well-intentioned, offered comments De sa fl amme va réchaufér. Is warmed by his fl ames. that were nonetheless steeped in racial stereotyping and assumptions. Alongside Animaus, qui volet en l’air, Animals that fl y in the air, Animaus, qui rampet au chams Animals that slither in the fi elds, this new text is the traditional “Nigra Sum” from the old testament, a favorite Animaus, qui naget auz eaus. Animals that swim in the seas, among composers. Woody’s setting places both texts in the musical context Ce qui mesmement ne sent pas, Even the unsentient ones, of the early Baroque, evoking a Monteverdi-like counterpoint which contrasts Amoureux se fond de plaizir. Once in love, are melted by pleasure. sharply with these 21st-century examples of microaggressions. - Anna Lenti Chant à 5 Chant à 5 Rion aussi nous: et cherchon So let us laugh: and let us seek out Les ébas et ieus du Printans The frolicking and the games of Spring Nigra sum, sed formosa I am black but beautiful, Toute chose rit de plaizir: All the world laughs in pleasure: fi liae, Jerusalem, O daugthers of Jerusalem, Sélebron la gaye saizon. Let us celebrate the happy season. nolite me considere quod fusca sim, Do not think that I am dark, quia decoloravit me sol. for the sun has changed my color. Jean Antoine de Baïf sicut tabernacula cedar, Like the tents of cedar, sicut pelles Salomonis. Like the curtains of Solomon. You are so exotic, I bet you sing spirituals very well. When you stood, I was shocked, you should play in the NFL. I’d hate to run into you at night, you should smile more. Would you open the hall for me? I thought you were the janitor. When you opened your mouth, I expected to hear “Ol’ Man River.” It’s not jungle drumming, Play it like a... Reggie Mobley Remember not, Lord, our offences Trois Chansons de Charles d’Orleans(1898-1908) stand fi rmly in the late nineteenth-century practice of borrowing elements from Renaissance Before working as organist of the Chapel Royal in 1682, Henry Purcell served music. In this case Debussy sets texts from the fi fteenth century, employs modal as Organist and Master of the Choristers for Westminster Abbey starting in harmonies rather than major and minor keys, and even takes the term “chanson” 1679. It is likely during this time period that Purcell wrote the sacred anthem from the Renaissance, linking these works to the tradition of Janequin, LeJeune, Remember not, Lord our offences. As can be heard in this piece, Purcell and other French Renaissance masters. The poet, Charles, Duke of Orléans, was already found his unique harmonic language by his early twenties. With these captured by the British in 1415 at the battle of Agincourt, and spent the next dense harmonies, Purcell aptly paints pleas for forgiveness. twenty-fi ve years in prison in England, writing a great number of poems, in both French and English. Remember not, Lord, our offences, - William Weinert nor the offences of our forefathers; neither take thou vengeance of our sins: spare us, good Lord, spare thy people, 1. Dieu! qu’il la fait bon regarder! God! but she is fair! whom thou hast redeemed with thy most precious blood, La gracieuse bonne et belle! graceful, good and beautiful. and be not angry with us forever. Pour les grans bien que sont en elle. All are ready to praise Chascun est pres de la loüer. her excellent qualities. from The Book of Common Prayer, 1559 Qui se pourroit d’elle lasser? Who could tire of her? Tousjours sa beauté renouvelle. Her beauty is ever new. Par de ca, ne de là, la mer. Nowhere does the sea Ne scay dame ne damoiselle look on so fair and perfect Qui soit en tous bien parfais telle. a lady or maiden. C’est ung songe que d’i penser: Thinking on her is but a dream. Monteverdi’sCor mio, mentre vi mirodepicts the transformational Dieu qu’il la fait bon regarder! God! but she is fair! power of love. Published in 1603 in his Fourth Book of Madrigals, Monteverdi sets the sensuous imagery by poet Guarini with the utmost care. 2. Quant j’ai ouy le tabourin When I heard the tambourine The text can be readily understood, and rhythms mimic speech patterns. Sonner pour s’en aller au may call us to go a-Maying, While in this case love refers to a romantic nature, in the context of this set, En mon lit n’en ay fait affray I did not let it frighten me in my bed love can be viewed more broadly as an answer to transform many of the Ne levé mon chief du coissin or lift my head from my pillow, En disant: il est trop matin saying, “It is too early, persistent and harmful societal issues present today. Ung peu je me rendormiray. I will go back to sleep.” - James Wolter Cor mio, mentre vi miro, Oh my heart, while I watch you, Quant j’ai ouy... When I heard... visibilmente mi trasformo in voi, I am patently transformed in you, Jeunes gens partent leur butin: young folks dividing their spoils, e trasformato poi, and, once transformed, De non cha loir m’accointeray I cloaked myself in nonchalance, A lui je m’a butineray clinging to it in un solo sospir l’anima spiro. in a single breath I exhale my spirit. Trouvé l’ay plus prouchain voisin. and fi nding the nearest neighbour. O bellezza mortale, Oh, mortal beauty, O bellezza vitale, Oh, vital beauty, Quant j’ai ouy... When I heard... poiché sí tosto un core because a heart quickly lives again En mon lit n’en ay fait affray I did not let it frighten me in my bed Ne levé mon chief du coissin. or lift my head from my pillow. per te rinasce, e per te nato more for you; and for you, if alive, it dies. Giovanni Battista Guarini 3. Yver, vous n’estes qu’un villain Winter, you’re nothing but a villain Esté est plaisant et gentil. Summer is pleasant and kind, En témoing de may et d’avril as we see from May and April, Qui l’accompaignent soir et main. which accompany it night and day. Esté revet champs, bois et fl eurs Summer clothes fi elds, woods and fl owers, De sa livrée de verdure with its livery of green Et de maintes autres couleurs and many other hues. Par l’ordonnance de nature. By Nature’s orders. Mais vous, Yver, trop estes plein But you, Winter, are too full De nège, vent, pluye et grézil. of snow, wind, rain and sleet. On vous deust banir en éxil. We must send you into exile. Sans point fl ater je parle plein: I’m no fl atterer, I speak my mind. Yver, vous n’estes qu’un villain. Winter, you’re nothing but a villain. Charles d’Orleans Songs of Farewell Musikalische Exequien Sir Charles Hubert Hastings Parry’s Songs of Farewell were written during Heinrich Schütz wrote his Musikalische Exequien in 1636 as a commission World War I, with the fi rst fi ve songs premiering in 1916. The title is apt for for the funeral of Count Heinrich Posthumus Reuß, a German nobleman. The several reasons: Parry was in his mid-seventies and in poor health- he would mid-1600s in Germany was a time of great unrest: between the 30 Years’ War go on to die during the 1918 infl uenza pandemic. In addition to this, many and multiple outbreaks of the plague, performing forces were often slim, and of his students were sent to fi ght in World War I and killed (notably, George unexpectedly early death was an occurrence more common than our modern minds Butterworth). As such, Parry had a grim view of the war, despite being can possibly imagine. known for writing the patriotic hymn Jerusalem. The texts Parry assembled It is perhaps through this lens that we can understand Count Heinrich’s refl ect his weariness and despair at a suffering world, but also a belief that obsession with his own death. In the year preceding his demise, he took it upon this suffering had a deeper meaning and an optimism for a world to come. himself to commission the creation of a special coffi n, upon which he had engraved his favorite biblical and chorale texts. Upon his death, his family offi cially - Gilbert Donohue commissioned Schütz to set these specifi c texts to music for his funeral service. It is also likely that Schütz and Count Heinrich discussed plans for the work in person, as they had a close relationship for at least two decades. The work consists of three sections to be performed at different portions of the funeral service. The opening movement, which you will hear this afternoon, My soul, there is a country is in what we call a concerted style: soloists, duets, and other small ensembles alternate with a larger chorus. This movement is structured as an unconventional My soul, there is a country setting of the Kyrie and Gloria in a traditional mass. Schütz carefully orders the Far beyond the stars, texts from the coffi n to conform to this framework, beginning with texts that plead Where stands a winged sentry If thou canst get but thither, All skilful in the wars: There grows the fl ow’r of Peace, for mercy, and continuing with texts that glorify God. Throughout the movement, The Rose that cannot wither, Schütz’s mastery of the German language is on full display. The subtlety of each There, above noise and danger Thy fortress and thy ease. individual word and idea is brought to life by his imaginative text-painting and Sweet Peace sits crowned with smiles Leave then thy foolish ranges, compositional prowess. The result is a moving exploration of themes of both life And One, born in a manger and death. Commands the beauteous fi les. For none can thee secure But One who never changes, In what can surely be described as our own time of plague and civil He is thy gracious friend Thy God, thy life, thy cure. unrest, this work from centuries ago feels as timely and relevant as ever. One man’s And, O my soul, awake! Henry Vaughan attempt to wrestle with the concept of his own mortality through the exploration Did in pure love descend of sacred texts has brought to life, through Schütz’s hands, a work of immense To die here for thy sake. complexity, but also comfort. From the vulnerable opening statement evoking a cry for one’s mother, to the fi nal, impassioned statement of God’s promise to his people, this piece represents the journey through fear, uncertainty and ultimate I know my soul hath power to know all things peace that awaits us all. I know my soul hath power to know all things, - Anna Lenti Yet she is blind and ignorant in all: I know I’m one of Nature’s little kings, Yet to the least and vilest things am thrall. I know my life’s a pain and but a span; I know my sense is mock’d in ev’rything; And, to conclude, I know myself a Man, Concert in Form Concerto in the form Which is a proud and yet a wretched thing. einer teutschen Begräbnis-Missa of a German burial Mass John Davies Nacket bin ich von Mutterliebe kommen, Naked came I out of my mother’s womb, nacket werde ich wiederum dahinfahren. naked shall I return. Never weather-beaten sail Der Herr hat’s gegeben, The Lord gave, Never weather-beaten sail more willing bent to shore. der Herr hat’s genommen, the Lord has taken away, Never tired pilgrim’s limbs affected slumber more, der Name des Herren sie gelobet. blessed be the name of the Lord. Than my wearied sprite now longs to fl y out of my troubled breast: O come quickly, sweetest Lord, and take my soul to rest. Herr Gott, Vater im Himmel, Lord God, Father in heaven, erbarm dich über uns! have mercy upon us! Ever blooming are the joys of Heaven’s high Paradise. Cold age deafs not there our ears nor vapour dims our eyes: Christus ist mein Leben, Christ is my life Glory there the sun outshines whose beams the blessed only see: Sterben ist mein Gewinn. and to die is gain. O come quickly, glorious Lord, and raise my sprite to thee. Siehe, das ist Gottes Lamm, Look, this is the Lamb of God, Thomas Campion das der Welt Sünde trägt. which carries the sin of the world. Der Gerechten Seelen sind The souls of the righteous are Jesu Christe, Gottes Sohn Jesus Christ, Son of God, in Gottes Hand, in the hand of God erbarm dich über uns! have mercy upon us! und keine Qual rühret sie an; and no torment shall touch them; Leben wir, so leben wir dem Herren; When we live, we live for the Lord; für den Unverständigen in the sight of the unwise sterben wir, so sterben wir dem Herren; when we die, we die for the Lord: werden sie angesehen, als stürben sie, they seem to die, darum, wir leben oder sterben therefore, whether we live or die, und ihr Abschied wird and their departure so sind wir des Herren. we are the Lord‘s. für eine Pein gerechnet, is taken for torment, und ihr Hinfahren für Verderben, and their going away from us is destruction; Herr Gott, Heiliger Geist Lord God, Holy Spirit, aber sie sind in Frieden. but they are in peace. erbarm dich über uns! have mercy upon us! Herr, wenn ich nur dich habe, Lord, if I have but You, Also hat Gott die Welt geliebt, God loved the world so much, so frage ich nichts nach Himmel und Erden. I ask neither for heaven nor earth. daß er seinen eingebornen Sohn gab, that he gave his begotten son, Wenn mir gleich Leib und Seele verschmacht’, And when my body and soul are dying, auf daß alle, die an ihn gläuben, so that all who believed in him so bist du, Gott, allzeit meines Herzens Trost You, God, are always the comfort of my heart nicht verloren werden, would not be lost, und mein Teil. and part of me. sondern das ewige Leben haben. but have everlasting life. Er ist das Heil und selig Licht He is the salvation and blessed light Er sprach zu seinem lieben Sohn: He spoke to his beloved Son: für die Heiden, zu erleuchten, for the heathen, to enlighten die Zeit ist hie zu erbarmen; now is the time for mercy, die dich kennen nicht, und zu weiden. those who don‘t know You and to tend them. fahr hin, mein’s Herzens werte Kron, go, my heart’s worthy crown, Er ist seines Volks Israel der Preis, He is of His people Israel the prize, und sei das Heil der Armen, and be the salvation of the poor and help them Ehr, Freud und Wonne. honour, joy and delight. und hilf ihn’ aus der Sünden Not, from the distress of sin; erwürg für sie den bittern Tod take upon yourself the bitterness of death Unser Leben währet siebenzig Jahr, We live for about seventy years, und laß sie mit dir leben. and let them live with you. und wenn’s hoch kömmt, so sind’s achtzig Jahr, and at best for eighty years, und wenn es köstlich gewesen ist, and if it was delightful, Das Blut Jesu Christi, des Sohnes Gottes, The blood of Jesus Christ, God’s Son, so ist es Müh und Arbeit gewesen. it was trouble and labour. machet uns rein von allen Sünden. cleanses us from all sin. Ach, wie elend ist unser Zeit allhier Ah, how wretched is our time Durch ihn ist uns vergeben Through Him our sin is forgiven, auf dieser Erden, here on earth, die Sünd, geschenkt das Leben. our life restored. gar bald der Mensch darniederleit, soon man lies down, Im Himmel soll’n wir haben, In heaven we shall have, wir müssen alle sterben, as we all must die: o Gott, wie große Gaben! O God, what wondrous benefactions! allhier in diesem Jammertal here, in this vale of tears, Unser Wandel is im Himmel, Our life is for heaven: ist Müh und Arbeit überall, is everywhere trouble and labour, von dannen wir auch warten des Heilandes from there also we look for the Savior, auch wenn dir’s wohl gelinget. even if you prosper. Jesu Christi, des Herren, Lord Jesus Christ: Ich weiß, daß mein Erlöser lebt, I know that my Redeemer lives, welcher unsern nichtigen Leib verklären wird, he will transfi gure our futile body und er wird mich hernach and he shall make me then daß er ähnlich werde seinem verklärten Leibe. to become similar to His glorious body. aus der Erden auferwecken, stand up from the earth: Es ist allhier ein Jammertal, Here all around is a vale of tears, und werde darnach mit dieser meiner and this my skin then Angst, Not und Trübsal überall, need and sorrow everywhere, Haut umgeben werden und werde shall cover my body des Bleibens ist ein kleine Zeit, our stay here is for but a brief time in meinem Fleisch Gott sehen. and in my fl esh I shall see God. voller Mühseligkeit, full of hardship, Weil du vom Tod erstanden bist, Since You arose from death, und wer’s bedenkt, and if you think about it, werd ich im Grab nicht bleiben, I shall not remain in the grave, ist immer im Streit. you are always in disharmony. mein höchster Trost dein Auffahrt ist, Your Ascension is my greatest comfort, Wenn eure Sünde gleich blutrot wäre, If your sin were as red as blood, Todsfurcht kannst du vertreiben, You can drive away the fear of death, soll sie doch schneeweiß werden; it shall be as white as snow, denn wo du bist, da komm ich hin, for where You are, I will go too, wenn sie gleich ist wie rosinfarb, were it red like crimson, daß ich stets bei dir leb und bin, so that I may live and be with You forever, soll sie doch wie Wolle werden. it shall be as wool. drum fahr ich hin mit Freuden. therefore I die with Joy. Sein Wort, sein Tauf, sein Nachtmahl His word, His baptism, His Eucharist serve Herr, ich lasse dich nicht, Lord, I won’t let You go, dient wider allen Unfall, against all misfortune; du segnest mich denn. except if You bless me. der heilge Geist im Glauben belief in the Holy Spirit Er sprach zu mir: He said to me: lehrt uns darauf vertrauen. teaches us to have faith. Halt dich an mich, es soll dir itzt gelingen, Hold on to me, you will succeed; Gehe hin, mein Wolk, in deine Kammer und Go, my people into your chamber ich geb mich selber ganz für dich, I give myself all for You, schleuß die Tür nach dir zu! and shut the door behind you! da will ich für dich ringen. and I struggle for you. Verbirge dich einen kleinen Augenblick, bis der Hide yourself for a little moment Den Tod verschlingt das Leben mein, My life swallows up Death, Zorn vorübergehe. until the wrath has passed. mein Unschuld trägt die Sünden dein, my innocence bears your sins, da bist du selig worden. and you found salvation. ~ PERSONNEL ~ Upcoming Concerts Events are free unless otherwise noted.

Thursday, November 12, 2020 University of Rochester/ Eastman Women’s Chorus Eastman Chorale Music of Eleanor Smith, Carol Barnett, Jake Runestad, Andrea Ramsey, & Philip Silvey Philip Silvey, conductor Soprano Alto Tenor Bass Kodak Hall at Eastman Theatre • 7:30PM Maeve Berry Lily Bogas Joshua Carlisle Jonah Capani Clare DeMarco Meg Brilleslyper Adam Holthaus Gilbert Donohue Hannah Duff Lauren Case Jacob Hunter Max Flores Sunday, November 22, 2020 McKenzie Garey Jenna Cipolla Eric Meincke Murphy Meyn Eastman Repertory Singers and Eastman Chorale Cailin Jordan Laura O’Neill Alexander Nick Peter Schoellkopff Johannes Brahms Neue Liebeslieder, op. 65 and Josquin des Prez Missa Pange lingua Deepti Kumar Jazmine Saunders Lukas Perry Noah Sesling Gilbert Donohue, Anna Lenti, James Wolter, & William Weinert, conductors Lorelei McDaniel Veronica Siebert James Wolter S Joshua Sheppard Kodak Hall at Eastman Theatre • 3PM Samantha Sosa Emma Unkrich Rafﬁ Wright Ashlyn Spanarella Sam Yuh Kayla Stein Ella Torres Anneliese Wolfanger

Information about upcoming Eastman concerts and events can be found at: www.esm.rochester.edu/concerts/calendar.php

Kodak Hall fi re exits are located along the Supporting the Eastman School of Music: right and left sides, and at the back of the hall We at the Eastman School of Music are grateful on each level. In the event of an emergency, you for the generous contributions made by friends, will be notifi ed by the stage manager. If notifi ed, parents, and alumni, as well as local and national please move in a calm and orderly fashion to the foundations and corporations. Gifts and grants nearest exit. to the School support student scholarships, performance and academic facilities, educational Restrooms are located on each level of Kodak initiatives, and programs open to the greater Hall at Eastman Theatre Our ushers will be happy Rochester community. Every gift, no matter the to direct you to them. size, is vital to enhancing Eastman’s commitment to excellence. Please note: The use of unauthorized photo- For more information on making a gift, please graphic and recording equipment is not allowed visit www.esm.rochester.edu/advancement in this building. We reserve the right to ask anyone or contact the Advancement Offi ce by calling disrupting a performance to leave the hall. (585) 274-1040. Thank you!