Dream Out Loud Westminster Chapel Choir Amanda Quist, conductor Sinhaeng Lee, accompanist e Saturday, November 3, 2018 7:30 p.m. Bristol Chapel Westminster Choir College Princeton, N.J. 2 Program Westminster Chapel Choir Amanda Quist, conductor Sinhaeng Lee, piano Missa brevis in C major “Coronation Mass,” K. 317 Wolfgang Amadeus Mozart Gloria (1756 – 1791) Jocelyn Alam, soprano Emma Moyer, alto Joe Kelley, tenor Kyle St. Sauveur, bass Vesperae solennes de Confessore, K. 339 Mozart Laudate Dominum Morgen Zwicharowski, soprano Verleih uns Frieden gnädiglich Felix Mendelssohn (1809 – 1847) Westminster Chapel Choir Soloists “Batti, Batti o bel Masetto” from Don Giovanni Mozart Chelsea Holbrook, soprano Les Filles de Cadix Léo Delibes (1836 – 1891) Mary Fetterman, soprano When I Have Sung My Songs to You Ernst Charles (1895 – 1984) Abraham Cruz, bass-baritone Come Ready and See Me Richard Hundley (1931 – 2018) Rebecca Kirk, soprano Le Violette Alessandro Scarlatti (1660 – 1725) Lillie Judge, soprano The Vagabond Ralph Vaughan Williams (1872 – 1958) Kyle St. Sauveur, baritone Weep You No More Roger Quilter (1877 – 1953) David Helmer, tenor Program 3 Nobody Knows de Trouble I’ve Seen H. T. Burleigh (1866 – 1949) William Butron, bass-baritone Westminster Chapel Choir Amanda Quist, conductor Cloudburst Eric Whitacre (b. 1970) Gianna LaMantia, soprano William Butron, baritone Tim Brent, Sam Scheibe, David Sherman, Sergey Tkachenko, percussion Sinhaeng Lee, piano One By One Lebo M. (b. 1964) Jordan Allen, Charlie Ibsen, tenor William Butron, baritone Chapel Choir Tenors and Basses Will the Circle Be Unbroken Traditional Appalachian arr. J. David Moore Laura Albrecht, soprano Azhaneet Blackwell, Abigail Flanagan, Chelsea Warner, alto Chapel Choir Sopranos and Altos Soon Ah Will Be Done Traditional spiritual arr. William Dawson Program Notes Wolfgang Amadeus Mozart composed his “Coronation Mass” in 1779 during his time in Salzburg working for the Archbishop Colloredo. The Mass, one of Mozart’s most popular sacred works, is known for its operatic influence and well-crafted combination of choral and solo textures. The Gloria opens in the Mass’s tonic key, C major, with powerful choral entrances and an active accompaniment in dramatic dynamic contrast. The movement features Mozart’s mixture of textures with its juxtaposition of soloists and chorus in stile concertato. Less than a year later, Mozart wrote his Vesperae solennes de Confessore, the last liturgical work he composed for the Archbishop Colloredo. While the music adheres to the Archbishop’s restrictions with its shorter length, it is also quite lively and free-flowing. The Laudate Dominum begins with a now famous, soaring soprano solo, which is joined later by the chorus, flowing beneath the soloist with quiet intensity. The movement ends with the soloist’s delicate cadenza on “Amen,” followed by a final soft “Amen” in the chorus. In Italy about 50 years later, Felix Mendelssohn composed his chorale cantata, Verleih uns Frieden. By 1831, Mendelssohn had been studying the music of J. S. Bach in depth and you can hear Bach’s influence in this work. The chorale features first a 4 Texts and Translations magnificent instrumental introduction with motives in the cellos echoing each other, repeatedly creating a sense of tension and then release. The tenor and bass voices sing a simple chorale melody, then the sopranos and altos have this melody while the tenors and basses join them with a beautiful counter-melody. We then hear a glorious Bachian four-part chorale in true Lutheran style, with the last line gracefully repeated in canon. Eric Whitacre composed Cloudburst for chorus and percussion in 1991. The piece uses the poem “The Broken Water Jug” by Octavio Paz as its text. In the first half of the piece, the choir embodies the rain and water and describes a dreamer that sleeps with open eyes. In the second half, the section Whitacre calls “The Cloudburst,” the choir imitates gathering winds and cracks of thunder and lightning, echoed by the percussion with increasing intensity. Finally, the storm pulls away, and we are left with nothing but little droplets of rain echoing into the distance. Our program continues with selections for the tenors and basses and for the sopranos and altos of Chapel Choir. Abundant with influence of the South African tradition, the music ofOne by One comes from an album inspired by the music of broadway’s The Lion King, and this arrangement was made famous by choral group Cantus. “Will the Circle Be Unbroken” first appeared as a hymn in 1908, was retooled in 1935 by A.P. Carter for The Carter Family and became enormously popular in 1972 with its rendition by The Nitty Gritty Dirt Band. This lively arrangement by J. David Moore features a unique combination of two different vocal ensemble styles: the bluegrass trio and the gospel quartet. Our final piece is the traditional spiritual Soon Ah Will Be Done, arranged by William Dawson. Making use of counterpoint and strong homophonic writing, this arrangement highlights the different emotional aspects of physical and spiritual struggle. One of the early composers of spiritual arrangements, William Dawson dedicated his setting of Ezekiel Saw de Wheel to the Westminster Choir, and his music has been heard many times over the years on this campus. — Emma Daniels Texts and Translations Gloria, Missa brevis in C major, W. A. Mozart Gloria in excelsis Deo Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on earth peace to all those 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 tuam. We give thanks to thee according to thy great glory. Domine Deus, Rex coelestis, Deus Pater omnipotens Lord God, Heavenly King, God the Father almighty. Domine Fili unigenite, Jesu Christie Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, miserere nobis. Thou who takest away the sins of the world, have mercy upon us. Qui tollis peccata mundi, suscipe deprecationem nostrum. Thou who takest away the sins of the world, receive our prayer. Qui sedes ad dexteram Patris, miserere nobis. Thou who sittest at the right hand of the Father, have mercy upon us. Quoniam tu solus sanctus. Tu solus Dominus. For Thou alone art holy. Thou alone art the Lord. Tu solus Altissimus, Jesu Christe. Thou alone art the most high, Jesus Christ. Cum Sancto Spiritu in Gloria Dei Patris. Amen With the Holy Spirit in the glory of God the Father. Amen. Laudate Dominum, W.A. Mozart Laudate Dominum omnes gentes; laudate eum omnes populi. O praise the Lord, all ye nations, praise him, all ye peoples. Quoniam confirmata est super nos Misericordia ejus, For his loving kindness has been bestowed upon us, Et veritas Domini manet in aeternum. Amen. And the truth of the Lord endures for ever. Amen. Texts and Translations 5 Verleih uns Frieden, Felix Mendelssohn Verleih uns Frieden gnädichlich, Herr Gott, zu unser‘n Zeiten Grant us peace mercifully, Lord God, at our times. Es ist doch ja kein andrer night, der für uns könnte straiten There is indeed no other who could fight for us Denn du, unser Gott, alleine. Than you, our God, alone. Cloudburst, Eric Whitacre La lluvia… ojos de agua de sombra, ojos de agua de pozo, ojos de The rain…eyes of shadow-water, eyes of well-water, eyes of agua de sueño. dream-water. Soles azules, verdes remolinos, picos de luz que abren astros como Blue suns, green whirlwinds, birdbeaks of light pecking open granadas. stars like grenades. Dime, tierra quemada, no hay agua? Hay solo sangre, solo hay But tell me, burnt earth, is there no water? Only blood, only polvo, dust, Solo pisadas de pies desnudo sobre la espina? Only naked footsteps on the thorns? La lluvia desperita…. The rain awakens… Hay que dormir con los ojos abiertos, hay que sonar con les ma- We must sleep with open eyes, we must dream with our nos, hands, Soñemos sueños activos de rio buscando su cauce, sueños de sol We must dream the dreams of a river seeking its course, of the soñando sus mundos, sun dreaming its worlds, Hay que sonar en voz alta, We must dream outloud, Hay que cantar hasta que el canto eche raices, tronco, ramas, pa- We must sing till the song puts forth roots, trunk, branches, jaros, astros, birds, stars, Hay que desenterrar la palabra perdida, recorder lo que dicen la We must find the lost word, and remember what the blood, sangre y la marea, The tides, the earth, and the body say, and return to the point La tierra y el cuerpo, volver al punto de partida…. of departure… One by One, Lebo M Ibambeni njalo bakithi, Ninga dinwa Ninga phelewa nga Hold tight my people, don’t get weary, don’t lose your mandla strength Siya ba bona, Bebe fun’ ukusi qeda, Ngeke ba lunge, Sizo We can see, they wanted to hold us back, they will not nquoba, One by One succeed, we will win, One by One Ngoba thina Siya zazi, Ibala lami, Elimnyama, Ndiya zidla Because we know who we are, the color of my skin, that is ngalo. Ndiza kufa, Nalo. dark, I’m proud of it. I will die with it. JOIN OUR E-NEWS LIST HELP US STAY IN TOUCH As an e-news subscriber, you’ll receive: • Insider information and updates • Special ticket offers and discounts • Advance notice about special events To join, go to www.rider.edu/arts 6 About the Artists DR. AMANDA QUIST is associate professor and chair of Founded in 1949, the WESTMINSTER CHAPEL CHOIR the Conducting, Organ, and Sacred Music Department at takes its name from Westminster’s rich history of leadership Westminster Choir College.