J University of Alberta USIC ma together again on stage f,'{y 9 at the Francis Winspear Centre for Music Program Iti the presence of Her Honor, the Honorable Lois Hok, CM, Oh Canada(1880) Calixa Lavallee (1842-1891) Licutenant-Govemor of Alberta, (arranged by Malcolm Forsyth, 1997) Chanceller, Utiiversity ofAlberta Overture: Benvenuto Cellini(1836) Hector Berlioz (1803-1869) Concerto No. 2 in F Minor Op. 21 (1829) Fryderyk Chopin for Piano and Orchestra (1810-1849) Maestoso Larghetto P/ano concur To no. Allegro vivace ■ Dn/u pQrf/a//u' Soloist: Michelle Santiago, piano re corded- Intermission I Symphony of Psalms(1930) Igor Stravinsky l/€rd/. /e /Jco/T) Part I, Part II, Part III performed without break (1882-1971) —no-f on fapc-''Ccp>i 7:10 pm Te Deum, from Four Sacred Pieces(1898) Giuseppe Verdi for Soprano Solo, Double Choir and Orchestra(1813-1901) Upper Circle Lobby Soloist: Catherine Kubash, soprano U of A Madrigal Singers (Leonard Ratzlaff, director) David Cook is a Professor in the Faculty U of A Concert Choir(Debra Cairns, director) of Medicine and Dentistry, who has had a passionate interest in music for many years. He has given pre-concert talks for Edmonton Symphony Orchestra concerts, chaired the Canadian Concerto Competition jury at the Edmonton rESOund Contemporary Music Eestival last year, and is a member of the Program Committee for the Edmonton Symphony Orchestra, and the Artistic Liaison Committee for Edmonton Opera. Text and Translation Part III: Psalm 150, complete (Latin Part III: Psalm 150, complete(Latin Vulgate) Vulgate) Symphony of Psalms Alleluia. Alleluia Laudate DOMINUM. Laudate Eum. Praise the LORD. Part I: Psalm 38, verses 13 & 14 Part I: Psalm 38, verses 13 & 14 Laudate Eum in timpano et choro. Praise him with timbrel and dance. (Latin Vulgate) (Latin Vulgate) Laudate Eum in cordis et organo. Praise him with strings and pipe. Hear my prayer O LORD, Exaudi orationem meam, DOMINE Laudate Eum in cymbalis Praise him with sounding cymbals, Et deprecationem meam. And my supplication. benesonantibus. praise him with cymbals ofjubilation. Auribus percipe lacrimas meas. to my cry give ear; Laudate Eum in cymbalis jubilationibus,. Ne sileas. Do not remain silent. Quoniam advena ego sum apud te For I am but a wayfarer before you, Laudate DOMINUM. Laudate Eum. Praise the LORD. et peregrinus, sicut omnes patres mei a pilgrim like all my fathers. Omnis spiritus laudet DOMINUM All souls, praise the LORD. Remitte mihi, ut refrigerer mihi, Forgive me, Omnis spiritus laudet Eum. All souls praise him. Prius quam abeam that I may find respite et amplius non ere. ere I depart and be no more. Alleluia. Alleluia Laudate DOMINUM. Praise the LORD. Part II: Psalm 39, verses 2,3 & 4 Part II: Psalm 39, verses 2,3 & 4 Te Deum (Latin Vulgate) (Latin Vulgate) (Bishop Ambrose's Song of Praise) Expectans expectavi DOMINUM, I have waited, for the LORD, Te Deum laudamus, We praise Thee, O God: et intendit, intendit mihi. and he stooped toward me te Dominum confitemur. we acknowledge thee to be the Lord. Et exaudivit preces meas; and heard my cry; Te aetemum Patrem omnis terra All the earth doth worship Thee, Et eduxit me de lacu miseriae, He drew me out of the pit of veneratuT. the Father everlasting. et de luto faecis. destruction, Et statuit super petram pedes meos: out of the mud of the swamp. Tibi omnes Angeli, To Thee all angels cry aloud, et direxit gressus meos. He set my foot upon a crag; tibi coeli et universae potestates, the Heavens and all the Powers therein: Et immisit in os meum canticum novum, he made firm my steps. tibi Cherubim et Seraphim to Thee Cherubim and Seraphim carmen DEO nostro. And he put a new song into my mouth, incessabili voce proclamant: continually do cry: Videbunt multi, et timebunt: a hymn to our GOD. et sperabunt in DOMINO. Many shall see and shall fear, Sanctus, sanctus, sanctus Holy, holy, holy. and shall hope in the LORD. Dominus Deus Sabaoth. Lord God of Sabaoth. Pleni sunt coeli et terra Heaven and Earth are full Part III: Psalm 150, complete (Latin majestatis gloriae tuae. of the majesty of Thy glory. Vulgate) Alleluia. Alleluia Te gloriosus Apostolomm chorus, The glorious company of the Apostles Laudate DOMINUM in sanctis Ejus. Praise the LORD in his sanctuary. te Prophetamm laudabilis numerus, praise Thee: The goodly fellowship of Laudate Eum in firmamento virtutis Ejus. Praise him in the firmament of his te Martyrum candidatus the Prophets praise Thee: The noble Laudate DOMINUM. strength. laudat exercitus. army of the Martyrs praise Thee. Praise the LORD. Laudate Eum in virtutibus Ejus. Te per orbem terramm The holy Church throughout all the Laudate DOMINUM in virtutibus Ejus. Praise him for his mighty deeds. sancta confitetur ecclesia, world doth acknowledge Thee: Laudate DOMINUM in sanctis Ejus. Praise the LORD for his mighty deeds. Patrem immensae majestatis; the Father, of an infinite majesty: Laudate Eum secundum multitudinem Praise the LORD in his sanctuary. venerandum tuum verum Thine honourable, true, and only Son: magnitudinis Ejus. Praise him for his many great deeds. et unicum Filium; also the Holy Ghost, the Comforter. Laudate Eum in sono tubae, Praise him with the sound of the sanctum quoque Paraclitum Spiritum. Laudate Eum. trumpet. Praise him. Tu, Rex gloriae, Christe, Thou art the King of glory, O Christ. tu Patris sempitemus as Filius. Thou art the everlasting Son of the Tu ad liberandum suscepturus hominem Father. When Thou tookest upon Thee non horruisti Virginis uterum. to deliver man, Thou didst not abhor the womb of the Virgin. Te Deum (cont'd.) Program Notes Tu devicto mortis aculeo, When Thou had'st overcome the aperuisti credentibus regna coelorum. sharpness of death. Thou did'st open the Berlioz: OveiTure, Benvenuto Cellini Tu ad dexteram Dei sedes, Kingdom of Heaven to all believers. Reviewing his score fifteen years later, Berlioz remarked," I like better in gloria Patris. Thou sittest at the right hand of God, in than ever that dear old Benvenuto, which is more vivid, more fresh, more Judex crederis esse venturus. the glory of the Father. We believe that new — that is its greatest disadvantage ~ than any of my works". Yet at Thou shalt come to be our Judge. its premiere in 1838 it was a resounding flop, apart from its brilliant overture, which has remained in the repertoire ever since. It failed again Te ergo quaesumus, tuis famulis We therefore pray Thee, help Thy in London some years later, yet the opera was eventually revived subveni, servants, whom Thou hast redeemed successfully and continues to be played even today. quos pretioso sanguine redemisti. with Thy precious blood. Make them to Aetema fac cum sanctis tuis be numbered with the Saints in glory The failure at its premiere was not all the fault of the composer. In his in gloria numerari. everlasting. autobiography he recounts the debacle of rehearsals. The conductor was incompetent yet treated Berlioz with disdain and spoke disparagingly of the Salvum fac populum tuum, Domine, O Lord, save Thy people, work to the performers who, in turn, refused to concentrate; some et benedic haereditati tuae. and bless Thine heritage. orchestral members were heard playing folksongs instead of their parts; the Et rege eos et extolle illos Govern them, male dancers were seen pinching the females, to great hilarity and applause usque in aetemum. and lift them up forever. from the chorus members; the conductor weis unable to keep the appropriate tempi and responded to Berlioz's criticism by smashing his bow and Per singulos dies benedicimus te, Day by day, we magnify Thee. terminating the rehearsal. et laudamus nomen tuum, in saeculum And we worship Thy name ever, et in saeculum saeculi. world without end. The ebullient overture incorporates several of the melodies of the opera Dignare, Domine, die isto Vouchsafe, O Lord, to keep us this day proper, bursting into life with flying bows. A beautiful larghetto presents sine peccato nos custodire. without sin. the love-theme. Tempo is whipped up to a whirling, frantic conclusion. Miserere nostri, Domine, O Lord have mercy on us, — Malcolm Forsyth miserere nostri. have mercy on us. Chopin: Piano Concerto No. 2 in F Minor, Op.21 Fiat misericordia tua, Domine, super Let Thy mercy be upon us, "You wouldn't believe how depressing Warsaw is for me just now", writes nos, quemadmodum speravimus in te. as our trust is in Thee. Chopin to a friend in 1829, yet he also refers to his new concerto In te speravi: In Thee have I trusted; (actually his first, despite the publisher's numbering), mentioning, in non confundar in aetemum. let me never be confounded. passing, a comely young woman in Vienna: "While I think I told you she is young and pretty and plays well, it is perhaps my misfortune that I have already found my ideal, whom I have served faithfully, though without saying a word to her, for six months; whom I dream of, in whose memory the Adagio "[ac:tually the Larghetto]"of my concerto has been written, and who this morning inspired me to write the little waltz I am sending you". The lady was Constantia Gladkowska, a singer. The brilliance of the solo part in both of Chopin's concertos is such as might be accompanied by an orchestration of but a diaphanous and subservient lightness, which is exactly what he provided for himself, thus eaming the opprobrium of generations of commentators. We should, however, notice the extraordinarily colourful "operatic" middle section of the Larghetto,rvhere the declamatory statements of the piano are offset by a string tremolo and ominous pizzicato thuds in the double basses, which gives the lie to any suggestion that Chopin was unable to imagine an important role for the orchestra to play.