Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 4-15-2004 Spring Concert of the University Singers: An Evening of Bach Chapman University Singers Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman University Singers, "Spring Concert of the University Singers: An Evening of Bach" (2004). Printed Performance Programs (PDF Format). Paper 1154. http://digitalcommons.chapman.edu/music_programs/1154 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Singers William Hall, conductor CHAPMAN UNIVERSITY Louise Thomas, accompanist SCHOOL OF MUSIC Soprano Alto Tenor Bass Tara Bloomquist Amber Brewster Ben Bliss Tim Ahlering presents the Aubri Burnham Molly Glynn Darin Brown Evan Brummel Danielle Cobb Erin Gonzalez Daniel Curran Troy Gutherie Valerie Estle Stacey Kikkawa Ashley Faatolia Wes hanson Cynthia Glass Emily Kirstein Joey Nicosia B.J. Johnson Spring Concert Carly Shepard Sarah Shields John Paul Putney Chris Paizis Chrissy Suits Nicole Smith Aren Rodriguez Mark Roberts Brynn Terry Erin Weber of the Chapman University Chamber Orchestra Mark Laycock, conductor University Singers Cantata No. 65 Cantata No. 31 Flute Hom Oboe Timpani William Hall, conductor Hiroko Yamakawa Piotr Sidoruk Pam Curtis Brandon Miller Louise Thomas, accompanist Maya Kalinowski Jon Harmon Elizabeth Beeman String Sextet English Hom String Quintet Bassoon Anastasiya Dudar Pam Curtis Anastasiya Dudar Teren Shafer Adriana Hernandez Elizabeth Beeman Adriana Hernandez Phillip Triggs Trumpet An Evening of Bach Phillip Triggs Si Tran Bassoon Brent Dickason TimHall Brent Dickason Teren Shafter James Bennett Eric Jay James Bennett Cantata No. 65 "Sie werden aus Saba alle kommen" Webster Peters Cantata No. 31 "Der himmel lacht, die Erde jubiliert" Carly Shepard, soprano Annual Sholund Scholarship Concert Duke Rausavljevich, tenor Don't miss this opportunity to hear the renowned Chapman University Choir and Soloists join forces Wesley Hanson, bass with the Chapman Symphony Orchestra in a performance of Benjamin Britten's Cantata Academica Matthew Wight, bass and Maurice Durufle's Requiem Cantata Academica B. Britten With members of the William D. Hall, Conductor University Chamber Orchestra Requiem Mass M. Durufle Mark Laycock, conductor Alumnus of the Year, Jonathan Talberg '91, Conductor Featuring the Chapman Symphony Orchestra; University Choir and Soloists Friday, April 15, 2004 • 8:00 p.m. Saturday • May 7, 2005 • 4:00 p.m. Salmon Recital Hall Chapman Auditorium For Tickets and Information, call 714-997-6812 Chapman University School of Music Program Cantata No. 65 Johann Sebastian Bach Sie werden aus Saba a/le Kommen (They shall all come from Sheba) Wesley Hanson, bass Duke Rausavljevich, tenor A brief consideration of the packed performance calendar for Bach's first Christmas season in Leipzig Annual Sholund reveals, on the one hand, his interest in presenting an extraordinary citywide musical program, and on the other, his awareness of what was doable and what was not. This cantata was written for Epiphany on Sunday, January 6, 1724. The lavish and differentiated scoring for the works on the high feast days is immediately apparent: BWV 63 is Bach's biggest Scholarship Concert Weimar score, the Magnificat is his heretofore biggest Leipzig score and the only five-voiced Don't miss this opportunity to hear the renowned Chapman University Choir and concerted piece before the Mass in B minor, and the cantatas BWV 40, 190, and 65 are carefully scaled. Soloists join forces with the Chapman Symphony Orchestra in a performance of Benjamin Britten's Cantata Academica and Maurice Durufl6's Requiem From the opening short sinfonia of horns, flutes (recorders) oboes and strings, one hears a grave and deliberate character that is almost dance-like when it finally introduces the chorus. This is followed by a short chorale which is quite uncharacteristic of Bach to present a congregational hymn so early in the Cantata Academica Be Britten work. William D. Hall, Conductor It would almost seem as though he on his part had wished to insist on the feeling of the Epistle in the Requiem Mass M: Durufle cantata, though it had to be performed at morning service. But the beginning-chorus on the last verse of Alumnus of the Year, Jonathan Talberg '91, Conductor the Epistle with a chorale immediat~ly following is oflofty and peculiar beauty. Featuring the Chapman Symphony Orchestra, This cantata is scored only for tenor and bass solos (both are magnificent) and closes with a University Choir and Soloists congregational favorite Was mein gott will, gescheh' all zeit (If now, 0 Lord, it pleases thee). 1. Chorus: Sie werden aus Saba a/le kommen Nathaniel Black, tenor Troy Gutherie, bass (They shall come from Sheba) Darin Brown, tenor Joey Nicosia, tenor Evan Brummel, baritone 2. Choral: Die konige aus Saba karmen dar Weston Olson, baritone Danielle Cobb, soprano Steve Pence '01, bass (Three Kings from Sheba by the star) Valerie Estle, soprano Carly Shepard, soprano 3. Recitativo: Was dart Jesaias vorher geseh 'n Tammie Fox, soprano Nicole Smith, alto Bass - (The child of Isiah of old fortold) Cynthia Glass, soprano Chrissy Suits, soprano Molly Glynn, alto 4. Aria: Gold und ophir is zu schecht Bass - (Gold and ophir is not enough) And guest faculty artist, Jonathan Mack, tenor 5. Recitativo: Verschmake nicht, du, meine Seele Licht Tenor - (Despise Thou not, Thou, Sunshine of my soul) 6. Aria: Nimm mich dir zu eigen hin Saturday • May 7, 2005 • 4:00 P.M. Tenor- (Take me, Jesus, take Thou me) 7. Chorale: Ei nun, mein Gott, so fall' ich dir (If now, 0 Lord, it pleases The~) Chapman Auditorium For Tickets and Information Please call 714-997-6812 THE CHAPMAN UNIVERSITY SCHOOL OF MUSIC Cantata No. 31 LEGACY FOR THE FUTURE DONORS Der Himmel lacht, die Erde jubilieret FOUNDERS Cornerstone Founders Cantata Overture Visionary Founders Steeve and Helen Kay Hanna Bauer Family Trust Alan and Charlene Caddick (The Heavens rejoice and the Earth is filled with gladness) Ken and Toni Oliphant Robert and Norma Lineberger The Ann and Gordon Laura K. Holmes Margaret Richardson Getty Foundation Felicity Sodaro Carly Sheperd, soprano Capstone Founders Marye Greenwood Spencer '32 Merwin and Mildred Griffiths Richard and Hyla Bertea SCHOOL OF MUSIC Duke Rausavljevich, tenor John and Donna Crean Founders Concerto HERITAGE SOCIETY Matthew Wight, bass Marion Knott The Shigeru Kawai Foundation Allen B. Cagle Archie and Linda Dunham and Tony Montapert Melvin and Anna Lin Thomas '60 and Patricia Elliott '60 Robert and Diane Guyett Sebastian Paul Hugh and Lynn Galt Thomas and Willy Hall '64 The "modem" German church cantata actually originated in 1700 near Weimar, at the neighboring Keystone Founders and Marybelle Musco Robert and Diane Guyett Doy and Dee Henley M. Douglas Trust Charles Shaffer Trust Jerrel T. Richards Robert and Norma Lineberger court of Saxe-Weissenfels. The capellmeister there, Johann Philipp Krieger, set to music the Thomas and Willy Hall '64 Ruth E. Stewart Gordon '64 and Dixie Shaw Marjorie T. Rawlins Geistliche Cantaten statt einer Kirchen-Music (Sacred Cantatas Instead of Church Music) by the Doy and Dee Henley The Jack and Evelyn Margaret C. Richardson Marjorie T. Rawlins PILLARS Stoltz '48 Family Donald and Gwen Shaffer Trust young Lutheran theologian and poet Erdmann Neumeister. Donald and Gwen Oratorio Harmon '35 and Nadine Gordon '64 and Dixie Shaw Shaffer Trust Liberace Foundation for the Wilkinson '44 John and Laura Shanley Performing and Creative Arts In March 1714, Bach began translating his duty "to perform new works monthly" into an extraordi- Marcus and Louise Pomeroy nary artistic program closely related to his goal of "a well-regulated church music." Until then, he CHAPMAN MUSIC ASSOCIATES FUND FOR EXCELLENCE PARTNERS has been able to compose and perform cantatas only rarely and irregularly, but earlier works such as cantatas BWV 18, 54, and 199 demonstrate the direction in which the new concertmaster planned to SUSTAINING PARTNERS Mona Lamb '91, '95 Kathryn Carpenter '77 Charles '65 and Carolyn Neff Neil Davis Encore Richard and Linda Nordrum Renato M. and Mrs. Cataneda Alfred and Lillian Neukuckatz Kaye DeVries '70 move. The sequence of cantatas for the years 1714-1717 only confirmed Bach's commitment to Thomas and Patricia Elliott '60 Ted and Marilyn Rasmussen Thomas and Janice Colella William '52 and Dr. Onnolee Elliott Anastasio '61 and Jeff and Carol Cogan Barbara Parker '64 Rodney and Janet R. Estle defining his personal cantata style broadly yet in line with the most recent practices at Protestant Bravo · Betty Rivera '62 Carol Cooper-Ajibabi 76 . Parker Hannifin Corporation Betty P. Forrest Hugh and Lynn Gault James and Emma Taresh Steven '83 and Emma Course Prichard and Kathy Pearce Lyn and Robert Frenzel princely courts in Thuringia. Henley Foundation Budi Widjaja '02 Marjorie Criddle James and Teresa L. Pontzious Robin and Fred Fry Norma Lineberger Alex M. Wilson and Sherry Donald W. and Diana Curtis Kathy Quisling '85 The Fuhrman Family Morrison-Wilson Darci Dembik Paul J. Raheb '88 Donald and Marcia Gilchrist Der Himmel lacht