AMERICAN CLASSICS SONGS OF PEACE AND PRAISE Choral Music from Queens College Weisgall • Brings • Mandelbaum • Smaldone Sheng • Schober • Saylor • Kraft The New York Virtuoso Singers Harold Rosenbaum Queens College Choir and Vocal Ensemble Bright Sheng • James John SONGS OF PEACE AND PRAISE Songs of Peace and Praise Choral Music from Queens College Choral Music from Queens College Hugo Weisgall (1912–1997) Bruce Saylor (b. 1946) The choral music on this recording represents a group of Foundation. He twice served as composer-in-residence at composers who are or were at one time faculty members of the American Academy in Rome, was president of the 1 God is due praise (Ki lo noeh) (1958) 2:34 Missa Constantiae (2007) the Aaron Copland School of Music at Queens College, American Music Center for ten years, and also served as 8 Kyrie 1:31 CUNY. It was conceived as a vehicle to celebrate the long president of the American Academy and Institute of Arts and Allen Brings (b. 1934) 9 Sanctus 1:03 history of composers associated with the school, through Letters. Weisgall is a former director of the composer-in- 2 In paradisum (1957) 3:15 0 Benedictus 1:30 the vocal excellence of the incomparable New York residence program for the Lyric Opera of Chicago and was ! Agnus Dei 3:06 Virtuoso Singers, and the vibrant talents of the students in professor of music at Queens College from 1961 to 1983. Joel Mandelbaum (b. 1932) the Queens College Choir and Vocal Ensemble. A Weisgall’s God is due praise (Ki lo noeh) is a musical 3 The Village – Act 1, Finale (1995) 4:53 somewhat larger selection of works was performed in April setting of one of the hymns traditionally sung by Leo Kraft (1922–2014) 2015 at Merkin Hall in NYC, and all were recorded in the Ashkenazi Jews at the conclusion of the Passover Seder. @ Adam in Eden (2003) 1:56 Edward Smaldone (b. 1956) LeFrak Concert Hall at the Aaron Copland School of Music. This poem is from an anonymous medieval source, but As the recording came together, the assembled can be traced back to the 13th century. The tune Weisgall 4 L’infinito (2013) 10:11 Bruce Saylor pieces seemed to gather around the concept of “Songs of uses as the basis for this choral work was a favorite at his Peace and Praise.” The languages (Hebrew, Latin, Italian, family Seders. # Ave Maria (2001) 3:02 Bright Sheng (b. 1955) English, Chinese) and poetry represent a group of far flung The transliteration of this particular text corresponds Two Folk Songs from Qinghai (1990) aesthetics, but taken as a whole, they share a surprisingly to the Ashkenazi pronunciation, which was common 5 Morningstar Lily 2:51 David Schober concise intention. Three of the works (Weisgall, Brings, among Eastern European Jews, which was the particular 6 A Pair of Mules 7:43 $ All Creation Sings Praise (2009) 4:13 Saylor) speak directly to praise; one (Mandelbaum) heritage of Professor Weisgall. invokes a direct call for peace, and the others (Smaldone, David Schober (b. 1974) David Schober Sheng, Schober and Kraft) evoke a celebration of the 1 God is due praise (Ki lo noeh) peace that the world offers. Taken as a whole, these works 7 Curiosity (2011) 5:30 % O day full of grace (2006) 4:48 pay tribute to the special nature of the shared experience Ki lo no’eh. Ki lo yo’eh of the glorious world we all inhabit and a hope that we can Adir bim’lucho. Bochur kahalucho. Kathryn Wieckhorst, Soprano ...................... Maman 3 share it and live in it together for a long time. G’dudov yom’ru lo. Alex Guerrero, Tenor ....................................... Priest 3 As artists and musicians, all of us who contributed to L’cho ul’cho. L’cho ki l’cho. L’cho af l’cho. Steven Morse, Baritone .................................. Mayor 3 this recording therefore dedicate this music to the L’cha adonoy hamam’locho. continuing celebration of peace and praise. Ki lo no’eh. Ki lo yo’eh. Youn Ju Namkoong, Piano 3 Sarah Griffiths, Soprano 4 Hugo Weisgall (1912–1997) Dogul bim’lucho. Hodur kahalocho. The New York Virtuoso Singers 1–4 / Harold Rosenbaum 1–4 Vosikov yom’ru lo. Opera composer Hugo Weisgall’s output includes L’cho ul’cho. L’cho ki l’cho. L’cho af l’cho. Jeremy Chan, Aiko Imaizumi, Pianos 5–6 orchestral, chamber and choral works, eight major song L’cha Adonoy hamam’locho. Alex Cauttero, Sean Kelly, Stefano di Lorenzo, Percussion 5–6 cycles, and music for ballet. Born in Czechoslovakia, he Ki lo no’eh. Ki lo yo’eh. Queens College Choir 5–6 / Bright Sheng 5–6 came to the US in 1920 with his parents. During the (Choral preparation: James John) Second World War, he was assistant military attaché to Zakay bim’lucho. Chosin kahalocho. the governments-in-exile in London, and later served as Taf strov yom’ru lo. Emily John, Harp 7• Paul Kerekes, Piano $ • John A. Wolfe, Organ % cultural attaché in Prague. L’cho ul’cho. L’cho ki l’cho. L’cho af l’cho. His work was recognized by the Ford Foundation, the L’cho Adonoy hamam’locho. Queens College Choir and Vocal Ensemble 7–% / James John 7–% National Endowment for the Arts, and the Guggenheim Ki lo no’eh. Ki lo yo’eh. Yochid bim’lucho. Kabir kahalocho. To him his subjects sing. 2 In paradisum and ultimately by an impassioned plea from Mme. Bernaud, Limudov yom’ru lo. To thee, Lord, to thee, and only to thee, at whose house both David and the troops are staying, the L’cho ul’cho. L’cho ki l’cho. L’cho af l’cho. To thee, yea to thee, to thee the kingdom and the glory. In paradisum deducant te Angeli, villagers decide to keep David’s identity a secret from the L’cho Adonoy hamam’locho. God is due praise. All of our days. In tuo adventu Germans. The villagers celebrate their shared act of Ki lo no’eh. Ki lo yo’eh. God is due praise. All of our days. Suscipiant te Martyres, goodness and the sense of community it has instilled. The Et perducant te scene begins where the Priest and the Mayor, sensing that Moshel bim’lucho. Noro kahalocho. Translation: Jules Harlow and Hugo Weisgall] In civitatem sanctam Jerusalem. Mme. Bernaud’s pleas have convinced almost everyone, Chorus Angelorum te suscipiat, come forward to lead the villagers in their compact. S’virov yom’ru lo. Allen Brings (b. 1934) Et cum Lazaro quondam paupere L’cho ul’cho. L’cho Ki l’cho. L’cho af l’cho. Aeternam habeas requiem. 3 The Village (Act 1, Finale) L’cho Adonoy hamam’lacho. Allen Brings received a BA degree magna cum laude from Ki lo na’eh. Ki lo ya’eh. Queens College, an MA from Columbia University, and a [May angels lead you to Paradise eternal, PRIEST Ki lo na’eh. Ki lo ya’eh. doctorate in theory and composition from Boston And when you appear, Mme. Bernaud is right. The boy is innocent. So let it be University. In 1962 he was a Naumburg Fellow at Princeton May the blessed martyrs call your name, agreed, then, David is the nephew of Mme. Bernaud. We Text: Anonymous University, where he studied with Roger Sessions. So that you may find treat him as our own. A pianist as well as a composer, Brings has performed Comfort and peace in Holy Jerusalem. CHORUS [God is due praise. All of our days. in programs of music for piano four hands, with Genevieve May the song of angels bring you endless joy, We treat him as our own. Our majestic king. Truly he is supreme. Chinn, with whom he has recorded for Orion, CRI, and And like Lazarus, who was once a pauper, MAYOR To him the angels sing. To thee, Lord to thee, Centaur. He is also co-author of A New Approach to May you find eternal rest. Friends, this must be clear. The boy is not our enemy. As And only to thee, to thee, yea to thee, Keyboard Harmony, published by W.W. Norton. long as we embrace him, we’re all safe. To thee the kingdom and the glory. Brings is professor emeritus of music at the Aaron Translation: Joseph Machlis] CHORUS God is due praise. All of our days. Copland School of Music at Queens College, where he As long as we embrace him – served on the music faculty from 1963 to 2002, and was Joel Mandelbaum (b. 1932) We’re all safe. Celebrated king. Truly he is enthroned. coordinator of the theory and ear training program. MAYOR To him the faithful sing. To thee, Lord to thee, Brings’ setting of the Latin funeral recessional, In Joel Mandelbaum has been teaching at Queens College If we betray him, we betray ourselves. And only to thee, to thee, yea to thee, paradisum, is a tender and moving interpretation of this since 1961. He is professor emeritus at the college, and CHORUS To thee the kingdom and the glory, traditional text. He writes: also served as department chair for seven years in the If we betray him – God is due praise. All of our days. 1970s and early 1980s. His more than 120 compositions We betray ourselves. My music has always had a strong expressive include two operas, sixteen song cycles, orchestral, MAMAN Pure and faithful king. Truly mighty is he. content which I have tried to convey by clarity of choral and chamber works as well as several As you are innocent To him his princes sing.