the Saturday Concert Program

Transcription

HELENA CHORAL WEEK 2010
Kerry Krebill, Artistic Director
presents
American Music —
A Melting Pot
Saturday, June 26, 2010
8:00 pm
St. John’s Lutheran Church
Helena, MT
MUSIKANTEN MONTANA
presents
American Music – a Melting Pot
Prelude for Voices
William Schuman (1910-1992)
Evanne Browne, soprano
Are You Washed in the Blood?
Elisha A. Hoffman (1839-1929)
General William Booth Enters into Heaven
Charles Ives (1894-1954)
Bobb Robinson, baritone
Jean Browne, piano
Sequence for Easter
Russell Woollen (1923-1994)
Gretchen Mundinger, soprano
Joe Munzenrider, organ
Agnus Dei
Samuel Barber (1910-1981)
intermission
Selections from The City and the Sea
i walked the boulevard
the moon is hiding in her hair
little man in a hurry (commissioned work)
Jean Browne, piano
Eric Whitacre (born 1970)
Selections from The Hour-Glass Suite
Irving Fine (1914-1962)
Have You Seen the White Lily Grow?
O Do Not Wanton With Those Eyes
Evanne Browne, Chris Dudley, Thomas A. Gregg, trio
Lament
The Hour-Glass
Missa Brevis
Kyrie
Gloria
Sanctus
Benedictus
Agnus Dei
Dona Nobis Pacem
Leonard Bernstein (1918-1990)
Chris Dudley, countertenor
Kerry Brown and Staci Brower, percussion
Three Spirituals
Ain’t Got Time to Die
words and music by Hall Johnson (1888-1970)
Frederick Peterbark, tenor
My Lord, What a Mornin’
Harmonized and arranged by Harry T. Burleigh (1866-1949)
Kathy Bramer, mezzo-soprano
Hold On
Adapted and arranged by Howard A. Roberts (born 1924)
Frederick Peterbark, tenor
THIS CONCERT SPONSORED BY
Quentin Schroeter and the Mark W. Ohnmacht Charitable Trust
Helena Choral Week’s participation in the commissioning of “little man in a hurry”
was made possible by a generous grant from Mimi Gonigam Stevens.
Please silence all cell phones and pagers.
TEXTS AND TRANSLATIONS
Prelude for Voices
– Thomas Wolfe (1900-1938)
A stone, a leaf, an unfound door; of a stone, a leaf, a door.
And of all the forgotten faces.
Naked and alone we came into exile.
In her dark womb we did not know our mother's face;
from the prison of her flesh have we come into the unspeakable
and incommunicable prison of this earth.
Which of us has known his brother?
Which of us has looked into his father's heart?
Which of us has not remained forever prison pent?
Which of us is not forever a stranger and alone?
O Waste of loss, in the hot mazes,
O lost among bright stars on this most weary unbright cinder, lost!
Remembering speechlessly we seek the great forgotten language,
the lost lane-end into heaven, a stone, a leaf, an unfound door.
Where? When?
O lost, and by the wind grieved, ghost, come back again.
Are You Washed in the Blood?
Have you been to Jesus for the cleansing pow’r?
Are you washed in the blood of the Lamb?
Are you fully trusting in His grace this hour?
(CHORUS)
– Elisha A. Hoffman
Are you walking daily by the Savior’s side?
Do you rest each moment in the Crucified?
Are you washed in the blood, In the soul-cleansing blood of the Lamb?
Are your garments spotless? Are they white as snow?
General William Booth Enters into Heaven
Booth led boldly with his big bass drum —
(Are you washed in the blood of the Lamb?)
Saints smiled gravely and they said, “He’s come.”
(Washed in the blood of the Lamb?)
Walking lepers followed, rank on rank,
Lurching bravos from the ditches dank,
Drabs from the alleyways and drug fiends pale —
Minds still passion ridden, soul-powers frail: —
Vermin-eaten saints with moldy breath,
Unwashed legions with the ways of Death —
Ev’ry slum had sent its half-a-score
The round world over.
– from a poem by Vachel Lindsay (1879-1931)
(Booth had groaned for more.)
Every banner that the wide world flies
Bloomed with glory and transcendent dyes.
Big-voiced lassies made their banjos bang,
Tranced, fanatical they shrieked and sang: —
“Are you washed in the blood of the Lamb?
Hallelujah!” It was queer to see
Bull-necked convicts with that land make free,
Loons with trumpets blowed a blare
On, on upward thro’ the golden air!
Jesus came from the court house door,
Stretched his hands above the passing poor.
Booth saw not, but led his queer ones,
Round and round the mighty courthouse square.
Yet! in an instant all that blear review
Marched on spotless, clad in raiment new.
The lame were straightened, withered limbs uncurled
And blind eyes opened on a sweet new world.
– Latin Chant, 9th Century
Sequence for Easter Sunday
To the Paschal victim let Christians offer a sacrifice of praise.
The lamb redeemed the sheep;
Christ, sinless, reconciled sinners to the Father,
death and life were locked together in a unique struggle.
Life’s captain died; now he reigns, never more to die.
Tell us, Mary, what did you see on the way?
“I saw the tomb of the now living Christ, I saw the Glory of Christ, now risen.
“I saw angels who gave witness, the cloths, too, which had once covered head and limbs.
“Christ, my hope, has arisen. He will go before his own into Gallilee.”
We know that Christ has indeed risen from the dead.
Do you, conqueror and king, have mercy on us. Amen. Alleluia.
i walked the boulevard (from Tulips and Chimneys, 1923)
– e e cummings (1894-1962)
i walked the boulevard
while nearby the father
i saw a dirty child
skating on noisy wheels of joy
a thick cheerful man
pathetic dress fluttering
behind her a mothermonster
with red grumbling face
cluttered in pursuit
pleasantly elephantine
with majestic bulbous lips
and forlorn piggish hands
joked to a girlish bore
with busy rhythmic mouth
and silly purple eyelids
of how she was with child
the moon is hiding in her hair (from Tulips and Chimneys)
the moon is hiding in
her hair.
The
lily
of heaven
full of all dreams,
draws down.
cover her briefness in singing
close her with the intricate faint
birds
by daisies and twilights
Deepen her,
e e cummings
Recite
upon her
flesh
the rain’s
pearls singly-whispering
little man in a hurry (from No Thanks, 1935)
– e e cummings
little man
(in a hurry
full of an
important worry)
halt stop forget relax
(little child
who have tried
who have failed
who have cried)
lie bravely down
big rain
big snow
big sun
big moon
(enter
wait
sleep
us)
Selections from The Hour-Glass
– Ben Jonson (1573-1637)
Have You Seen the White Lily Grow?
Lament
Have you seen the white lily grow,
Before rude hands have touched it?
Have you seen the fall of the snow,
Before the soil hath smutched it?
Have you felt the wool of beaver?
Or swan’s down ever?
Have you tasted the bag of the bee?
O so fair, so soft, so sweet is she!
Have you seen the white lily grow?
Slow, slow, fresh fount, keep time with my salt tears;
Yet slower, yet, O faintly gentle streams.
List to the heavy part the music bears.
Woe weeps out her division when she sings.
Droop, herbs and flowers,
Fall, grief, in show’rs,
Our beauties are not ours;
O! I could still
Like melting snow upon some craggy hill,
Drop, drop, drop, drop
Since nature’s pride is, now, a withered daffodil.
O do not wanton with those eyes
O do not wanton with those eyes,
Lest I be sick with seeing;
Nor cast them down, but let them rise,
Lest shame destroy their being.
O be not angry with those fires,
For then their threats will kill me;
Nor look too kind on my desires,
For then my hopes will spill me.
O do not steep them in thy tears,
For so will sorrow slay me;
Nor spread them as distract with fears.
Mine own enough betray me.
The Hour-glass
Do but consider this small dust,
Here running in the glass by atoms moved:
Could you believe that this the body
Ever was of one that loved?
And in his mistress’ flame, playing like a fly,
Burned into cinders by her eye?
Yes, and in death, as life unblest,
In death as in life, to have it exprest,
Even ashes of lovers find no rest.
Missa Brevis
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Gloria in excelsis Deo
Et in terra pax hominibus bonæ voluntatis.
Laudamus te, benedicimus te,
Adoramus te, glorificamus te.
Glory to God in the highest
And on earth peace to men of good will.
We praise Thee, we bless Thee,
We worship Thee, we glorify Thee.
Gratias agimus tibi
propter magnam gloriam tuam;
Domine Deus, Rex cœlestis,
Deus Pater omnipotens,
Domine Fili unigenite,
Jesu Christe,
Domine Deus, Agnus Dei,
Filius Patris.
Qui tollis peccata mundi,
miserere nobis,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus sanctus,
tu solus Dominus,
tu solus altissimus,
Jesu Christe.
Cum sancto Spiritu
in gloria Dei Patris. Amen.
We give thanks to Thee
for Thy great glory.
Lord God, heavenly King,
God the Father almighty,
Lord God the only begotten Son,
Jesus Christ,
Lord God, Lamb of God,
Son of the Father,
Thou that takest away the sins of the world,
have mercy on us,
receive our prayer.
Thou that sittest at the right hand
of the Father, have mercy on us.
For thou only art holy,
thou only art the Lord,
thou only art the most high,
Jesus Christ.
With the Holy Spirit
in the glory of God the Father. Amen.
Sanctus, Dominus Deus Sabaoth.
pleni sunt caeli et terra gloriae tuae
Osanna in excelsis.
Holy, Lord God of Hosts,
The heavens and the earth are full of thy glory.
Hosanna in the highest.
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Blessed is he who cometh in the name of the Lord.
Hosanna in the highest.
Agnus Dei qui tollis peccata mundi,
miserere nobis.
Agnus Dei qui tollis peccata mundi,
dona nobis pacem.
Laudate Dominum. Alleluia. Amen.
Lamb of God, that takest away the sins of the world,
have mercy upon us.
Lamb of God, that takest away the sins of the world,
grant us peace.
Praise the Lord. Alleluia. Amen.
Ain’t Got Time to Die
– Hall Johnson (1888-1970)
Lord, I keep so busy praisin’ my Jesus, Ain’ got time to die.
’Cause when I’m healin’ de sick, I’m praisin’ my Jesus, Ain’ got time to die.
(CHORUS)
’Cause it takes all o’ ma time to praise my Jesus, all o’ ma time to praise my Lord.
If I don’t praise Him de rocks gonter cry out, “Glory an’ honor, glory an’ honor!”
Ain’ got time to die.
Lord, I keep so busy workin’ fer de Kingdom, Ain’ got time to die.
’Cause when I’m feedin’ de po’, I’m workin’ fer de Kingdom, Ain’ got time to die. (CHORUS)
Lord, I keep so busy servin’ my Master, Ain’ got time to die.
’Cause when I’m givin’ my all, I’m servin’ my Master, Ain’ got time to die. (CHORUS)
Now won’t you git out o’ my way, lemme praise my Jesus? Out o’ my way! Lemme praise my Lord.
If I don’t praise Him de rocks gonter cry out, “Glory an’ honor, glory an’ honor!” Ain’ got time to die!
My Lord, what a mornin’
– Spiritual
My Lord, what a mornin’, My Lord, what a mornin’,
Oh, my Lord, what a mornin’, When de stars begin to fall.
Done quit all my worl’ly ways, Jine dat hebbenly ban’
Oh! my Lord, what a mornin’, When de stars begin to fall.
Hold On
– Spiritual
Norah, Norah, lemme come in, doors all fastened and the window pinned,
Keep-a your hand on-a the plow, hold on.
Norah said you done lost your track, Can’t plow straight and keep a-lookin’ back.
Keep your hand on-a the plow, hold on.
Mary had a golden chain, ev’ry link was my Jesus name,
Keep on plowin’ and don’t you tire, ev’ry road goes higher and higher,
If you wanna get to Heaven, let me tell you how, Keep your hand on the Gospel plow,
’Cause if that plow stays in-a your hand, Land you straight in the Promised Land.
NOTES ON THE PROGRAM
WILLIAM SCHUMAN was born in 1910 in
New York, where he died on February 15, 1992.
He had led a double life as composer and arts
administrator through most of a musical career that
began when he was in his teens. (He wrote his first
piece, a tango, when he was 16.) By 1936 he had
written more than 150 popular songs, but his study
and composing turned increasingly toward concert
music. He took summer courses at the Juilliard
School, spent a summer in the conducting school at
the Salzburg Mozarteum, and in 1936 began two
years of study with Roy Harris at Juilliard. Harris
proved to be a dominant and enduring influence on
Schuman's music.
Schuman's work as a teacher and administrator
has had wide and lasting influence. From 1935 to
1945 he taught at Sarah Lawrence College,
initiating an approach to general arts instruction
aiming at students' self-discovery of the nature of
the creative process. The years at Sarah Lawrence
were followed by a three-year term as director of
publications at G. Schirmer. He remained as a
special editorial consultant there when he left that
position to become president of the Juilliard School.
In 1952, Schuman was made president of the
Lincoln Center for the Performing Arts, a position
he held until the end of 1969. He was the recipient
of two Pulitzer prizes, including the first ever
awarded for music, and in 1989 he was a Kennedy
Center honoree. In addition to a wealth of music,
Schuman's work to develop institutions responsible
for teaching and performing music at the highest
level is an enduring legacy to the arts in America.
The lines from Thomas Wolfe's Look
Homeward, Angel which William Schuman selected
as text for his Prelude for Voices are unrelievedly
gloomy. Wolfe describes birth as exile, this life a
prison from which we cannot escape. He speaks of
our isolation from one another, lost and mourned by
the wind.
Originally written for female voices, the
Prelude was subsequently arranged by the
composer for mixed voices, and this is the version
we hear today. The voices begin in unison and
move apart stepwise to reach a B-flat major chord,
the foundation for the entrance of the solo soprano.
This progression by steps from unison to
dissonance to consonance is one of the harmonic
devices Schuman uses to good effect in this work;
another is the use of parallel major triads, building
dramatic emphasis.
At times the chorus serves as accompaniment,
repeating short phrases over and over while the
soloist carries the thought. Particularly effective is
the passage where the soprano and tenor voices
whisper the words "naked and alone we came into
exile" creating the vocal equivalent of a brushed
snare drum, while the alto drones the word "alone"
on a single tone. The piece closes with the tenors
repeating, "Where? When?" as the solo soprano
sings the well-known line: "O lost, and by the wind
grieved, ghost, come back again."
In 1878, the hymn “Are You Washed in the
Blood?” was published. Written by Elisha A.
Hoffman, whose published works number in the
thousands, it sets the stage for Charles Ives’
General William Booth Enters into Heaven. When
Vachel Lindsay’s poem was first published in 1913,
a newspaper review reprinted 32 lines; it became a
perfectly selected libretto for what is arguably Ives’
greatest song. Lindsay’s poem indicates below the
title that it is to be sung to the tune of “The Blood
of the Lamb” but his meter obviously does not fit.
Happily, Ives put his own distinctive gift to work
and transformed Lindsay’s exaggeratedly marchlike verse into an exciting musical tour-de-force.
Charles Ives is viewed almost universally as
the first great American composer of concert music.
He was the son of a bandmaster and teacher of
music who, although not a composer himself,
provided an atmosphere in which musical
experimentation and innovation (rare qualities in
America at the time) could flourish. His father’s
experiments with microtone tuning, echoes and
antiphonal effects had a profound influence on
Charles’ approach to musical composition. Aware
of the gulf between his musical aims and the
general climate, Ives turned to the insurance
business for his livelihood. He spent evenings and
weekends composing, but this double life
eventually exhausted his creative flair, and after
1926 his musical activities consisted solely of
revising and polishing his earlier works. Although
his work began to receive widespread recognition in
the 1930's, he never attended performances of his
own music.
Born in Hartford, Connecticut in January of
1923, Russell Woollen entered St. Thomas
Seminary in 1940. He was later sent to Pius X
School of Liturgical Musical in New York City.
During this time, his studies with Ernest White
were to provide him with rich and varied
experiences, as did a period of residence as singer
and tutor with the Trapp Family. Appointed to the
faculty of the Catholic University of America as
head of all liturgical music, Woollen and four other
music teachers founded the Department of Music in
1950, where Woollen continued to teach until 1962.
In the early 1950's he undertook graduate studies at
the Peabody Conservatory with Nicholas Nabokov,
and in Paris with Nadia Boulanger. He received a
Master of Music degree from Harvard University
where he studied symphonic composition with
Walter Piston. In 1956 he was appointed keyboard
artist with the National Symphony, a post he held
until 1980. Two of his major choral works are
featured on a compact disc recorded by Musikanten
under the direction of Kerry Krebill.
The Sequence for Easter Sunday is a
microcosmic view of his larger musical voice,
employing typical Woollen harmonies while paying
homage to the chant melody of the original Latin
text.
Samuel Barber began composing at the age
of seven. Among his early pieces was a short
opera, a foreshadowing of his lifelong inclination
toward vocal music. He entered the Curtis Institute
as a member of its first class when he was 14, and
spent eight years there studying composition, voice,
and conducting. Many of the recognizable
elements of Barber’s style are already evident in the
works of his student years at the Curtis, and a
number of his compositions from this period have
become standards in the American repertoire.
Barber’s best known work is probably the
Adagio for Strings, a 1938 reworking of the adagio
movement of his 1936 String Quartet. In the late
1960s a third version of the piece appeared as
Barber transformed it into a choral work using the
text of the Agnus Dei.
Although he lived entirely in the 20th century,
Barber’s music is essentially romantic, using the
harmonic language of the late 19th century. In 1971
he made this statement: “ ... it is said that I have no
style at all but that doesn’t matter. I just go on
doing, as they say, my thing. I believe this takes a
certain courage.”
Called by The Philadelphia Inquirer “the
hottest thing in choral music,” Eric Whitacre had
no formal musical training or experience until he
joined his college choir at the age of 18. By the
time he was 21 he had completed his first concert
work, and he subsequently studied at the Juilliard
School with John Corigliano. Among composers he
lists as his “compositional progenitors” are
Monteverdi, Debussy, Prokofiev, Bernstein and
Pärt, but his own style is distinctive and individual.
From his website: “The City and the Sea is a
set of five settings on poems of E.E. Cummings
(sic). ... The entire set is based on white-key
clusters on the piano. I’ve started calling this the
‘oven-mitt’ technique, because the chords are
played as if you’re wearing mitts on your hands –
the four fingers all bunched together and the thumb
on its own.”
(More on the commissioned work may be
found after the rest of the Notes on the Program.)
American composer, educator, conductor, and
writer Irving Fine created The Hour-Glass in 1949
while teaching and serving as assistant director of
the Glee Club at Harvard, his alma mater. This
song cycle for unaccompanied chorus to poems by
Renaissance poet Ben Jonson (or Johnson) was first
performed in 1951 by the Hufstader Singers in New
York.
Fine studied composition with Piston at
Harvard and Boulanger in Paris, but spent most of
his tragically short life in Boston. The influence of
such composers as Stravinsky and Hindemith is
evident in his neo-classical style, so well
represented in his treatment of Jonson’s verses.
Jonson, who lived from 1572 to 1637, was better
known as a dramatist, but these lyrics, carefully
selected by Fine, exemplify his touch as a poet,
depicting the stages of love from adoration, to
possessiveness, and then to loss and death. Fine’s
music, with its complex chromaticism and rhythmic
energy contrasting with melodic lyricism, provides
the perfect setting for this wide range of human
emotion.
Leonard Bernstein graduated from Harvard
in 1939, and then attended the Curtis Institute for
two years. At this time conducting became his
major interest, and it is primarily as a conductor that
he was known to the general public, especially due
to his many appearances on television. However,
he continued to pursue a parallel career as a
composer of concert pieces and works for musical
theater.
In 1955, Bernstein wrote a series of choruses
as incidental music for Lillian Hellman’s play The
Lark, a drama about the trial of Joan of Arc. Robert
Shaw, who attended one of the early performances,
suggested to Bernstein that the musical material in
these choruses (which included a Sanctus and
Benedictus) could be used as the basis for a Missa
Brevis. More than thirty years later, Bernstein
honored Shaw’s retirement as conductor of the
Atlanta Symphony Orchestra by following his
suggestion. The liturgical version of the Missa
Brevis, like the original Latin choruses from The
Lark, is scored for mixed choir with countertenor
solo and bells.
Surely there is no music more American than
the spiritual. Tonight’s concert concludes with
three examples, from the works of AfricanAmerican composers and arrangers who played an
important part in moving this music of the people
into the concert hall.
Hall Johnson, whose grandmother had been
born a slave, taught himself to play the violin at an
early age and became a professional violinist and
violist, but in time he became more interested in
choral music. He graduated from the University of
Pennsylvania and later studied at the Juilliard
School of Music and the University of Southern
California. In 1925 he formed the Hall Johnson
Negro Choir, which was featured in the 1930
Broadway production of The Green Pastures. He
had an extensive career in theatrical work, and
conducted his choir in more than thirty featurelength Hollywood films.
Johnson made many arrangements of
traditional spirituals, but he was also the composer
of a number of original songs in the style of
spirituals. Ain’t Got Time to Die is one of these.
Harry T. Burleigh made a significant
contribution to the spread of the American spiritual
during the time he spent at the National
Conservatory of Music in New York City, where he
became “an inspiration” to Antonin DvoÍák. He is
known for his arrangements of African-American
spirituals for voice and piano, and was the first to
make spirituals available to concert singers. His
many choral arrangements have been popular with
choruses everywhere. As the first African-American
to sing in an Episcopal church in New York City, at
a time when Episcopal churches in New England
were restricted to whites only, he has been honored
by having a feast day in the liturgical calendar of
the Episcopal Church (USA) on September 11.
Howard A. Roberts was already active as a
jazz musician during his high school years in
Cleveland, and later earned both undergraduate and
graduate degrees from the Cleveland Institute of
Music. He played with the Evelyn Freeman
Ensemble, which started out as a symphonic
ensemble playing classical music but gradually
moved into swing and jazz, giving a concert entitled
“From Symphony to Swing.” He is well-known as
an educator, composer and conductor, and for his
choral arrangements of such spirituals as Steal
Away, Soon I Will Be Done, and Wade in the Water,
as well as Hold On.
Hall Johnson wrote this about the spiritual:
“True enough, this music was transmitted to us
through humble channels, but its source is that of
all great art everywhere—the unquenchable,
divinely human longing for a perfect realization of
life. It traverses every shade of emotion without
spilling over in any direction. Its most tragic
utterances are without pessimism, and its lightest,
brightest moments have nothing to do with frivolity.
In its darkest expressions there is always a hope,
and in its gayest measures a constant reminder.
Born out of the heart-cries of a captive people who
still did not forget how to laugh, this music covers
an amazing range of mood. Nevertheless, it is
always serious music and should be performed
seriously, in the spirit of its original conception.”
– Mimi Stevens
A note on our new commissioned work…
Chorus America is the service organization for
American choruses, “building a dynamic and
inclusive choral community, so that more people
are transformed by the beauty and power of choral
singing.” More than 1,600 choruses, individuals
(conductors, singers, arts administrators etc.), and
businesses throughout North America belong to this
dynamic organization.
Last June at the Chorus America annual
conference, Eric Whitacre, one of the hottest young
composers in the US, offered to write a work as a
benefit for Chorus America – any chorus which
contributed $1500 to CA would share equally in the
commissioning consortium, with premiering rights
AND our names in the dedication of the printed
music. Since we have enjoyed performing
Whitacre’s works in the past (“Leonardo Dreams
of His Flying Machine” for last year’s Helena
Choral Week, and on tour in the Baltics; “Lux
Aurumque,” last heard in our Catch and Release
collaboration with choreographer Ann Carlson last
summer on the Boulder River), we were interested!
When Mimi Stevens offered to fund this
commissioning project, we were in!
Whitacre told the choruses he would write a
secular piece on an e.e. cummings poem. We
received this music “little man in a hurry” in
February. It had a difficult piano part. (“The
accompanist must have some chops,” he said in the
accompanying note when he emailed the score!
Well, YES!!!) We called Jean Browne to see if she
would come out to Helena again this summer and
work with us on this piece. The Helena Choral
Week program began to take shape around the
Whitacre commission.
You will certainly remember our baritone
Brian Chu from the first years of Helena Choral
Week and his engagements with the Helena
Symphony. He is now, besides teaching and
singing opera on the east coast, involved with a
small professional ensemble in New York City.
Turns out they are premiering a new work by Eric
Whitacre, The City and the Sea, 6 poems of e.e.
cummings, in Spain and France this summer.
Hmmmm. I asked Brian if “little man in a hurry”
was by any chance one of those poems – yes, it’s
the finale. Long story short, we got permission to
do two more of the pieces from this set on our
concert this week, giving us some context for our
new piece, and a more substantial chunk of our
program. Enjoy!!
– Kerry Krebill
ABOUT THE ARTISTS
Musikanten (German for "musicians") was formed by Artistic Director Kerry Krebill in 1979 in
Bethesda MD, as a project for her masters degree in choral conducting at the Catholic University of
America. In its 31 seasons, the ensemble has made nearly a thousand appearances, including DC area
concerts at the National Gallery of Art, the Smithsonian Institution, Kennedy Center, and venues in
Pennsylvania, Virginia and Maryland, as well as 19 international tours, including Maestra Krebill's 50th
birthday celebration singing Monteverdi's Vespers in Venice with the acclaimed ensemble now known as
the Venice Baroque Orchestra. The group continues to perform in the Washington area, appearing each year
at a local First Night celebration, singing a traditional Latin Mass at St. Mary's in downtown DC, and to
tour; in September 2007 Musikanten made its first foray to South America, performing in Buenos Aires, La
Plata and Ayacucho, Argentina.
In June of 2004, Maestra Krebill instituted Helena Choral Week in her new home in Montana, inviting
singers from the Helena Symphony Chorale, Musikanten and other ensembles to come together in Helena
for an intensive week of rehearsals, concerts, classes and private lessons. Building on the success of this
project, Musikanten Montana was established as a new choral chamber ensemble in Helena in September
of 2004. The new group's first season included liturgies at St. Peter's Episcopal Cathedral, St. John's
Lutheran Church and the Cathedral of St. Helena, culminating in two performances, in Helena and
Missoula, of Monteverdi's masterpiece, the Vespers of 1610, as part of the Montana Early Music Festival,
which the ensemble sponsored.
Besides the Helena Choral Week in June (now attracting singers from all over the US and Argentina)
and the spring Montana Early Music Festival, Musikanten Montana continues to sing an annual concert for
All Souls, the Advent Lessons and Carols, and Christmas Eve Prelude and Mass at St. Peter's Cathedral.
The ensemble also searches out collaborative appearances in the Helena community – in November 2007,
the group participated in “Raise the Roof!” — an event celebrating Harper Lee's classic To Kill a
Mockingbird, which featured two local actors, the Helena Middle School Voices of Tomorrow and a gospel
choir from Great Falls. In August 2009, the ensemble was honored to perform music for “Catch and
Release,” featuring 4 fly-fisherman on the Boulder River choreographed by Ann Carlson under an
American Masterpieces Dance grant from the National Endowment for the Arts.
Singers from Musikanten Montana continue to venture to Washington DC and further (including the
spring 2009 tour to the Baltic capitals) to perform with their Washington DC friends. In March, Musikanten
Montana invited Argentina conductor Andrés Bugallo to Montana for the 2010 Early Music Festival,
continuing on to Washington to conduct the combined Musikanten forces in Schütz' Musikalisches
Exequien and Scarlatti's Stabat Mater. In September, the ensemble will travel to Turkey for concerts in
Istanbul and Ismir.
Born and raised in Iowa, Musikanten’s Artistic Director, Kerry Krebill,
worked in the Washington DC area for 25 years before moving to Helena in
2002 to assume the position of Chorale Director of the Helena Symphony
Orchestra. In addition to founding Musikanten in Bethesda MD in 1979, she
conducted the Alexandria (VA) Choral Society for 19 seasons, and was choral
director for Musica Antiqua and the Congressional Chorus of the United States,
as well as holding several university and church positions in the nation’s
capital.
Maestra Krebill is known for her innovative programming, seeking out
rarely performed masterpieces from all periods. Her DC groups were the
Capital area’s foremost proponents of American music – performing,
commissioning, recording and touring music of our nation’s composers. In
1992 the Alexandria Choral Society won the first award ever given to a chorus
by ASCAP for Adventuresome Programming. Other national awards include the prestigious grants from the
National Endowment for the Arts, and Chorus America’s American Performing Works Program.
Musikanten’s recordings were aired on the national choral music radio program "The First Art."
Maestra Krebill guest conducted 6 SRO concerts of the Santa Fe Desert Chorale’s 1998 season, the
combined choirs at the Salzburg Sacred Music Festival in the Mozartjahr (1991) and the combined choirs of
St. Paul’s Within the Walls in Rome in April 2007. She also has planned concert tours for her ensembles
nearly every year since 1989, taking singers to Poland, Estonia, Scandinavia, Ireland and the UK, St.
Petersburg, the Low Countries, Portugal, Andalucia, Italy many times, Sarajevo, Dubrovnik, Slovenia, the
Hapsburg capitals, France, Salzburg, the Baltic capitals and Argentina. In November 2009, Maestra Krebill
conducted the Argentine "Coro Polifonico de la Fundacion Catedral de La Plata" in the Buenos Aires
premiere of Morten Lauridsen’s Lux Aeterna.
In addition to conducting bi-coastal Musikanten rehearsals, Maestra Krebill is Choirmaster for St.
Peter’s Episcopal Cathedral in Helena; in the spring of 2006, she prepared the Butte Symphony Chorale for
their performance of Mozart’s Requiem. She holds music degrees from Drake University and the Catholic
University of America.
THANK YOU FOR YOUR SUPPORT
Archangels: $1000+
Anonymous (1)
Toby DeWolf*
Maria Francis*
Pianos International
Mimi Gonigam Stevens*
Angels: $500 - $999
Anonymous (1)
Blackfoot Telecommunications
Group
Episcopal Church Women*
Carol and Peter Jobusch
Patricia Mandeville*
Patty and Joe Mazurek*
The Metropolitan Opera
Mitchell Engineering*
Myrna Loy Theater
St. Peter's Cathedral,
Dean Stephen Brehe*
Seraphim: $250 - $499
John and Linda Almas*
Steve and Jackie Brehe*
The Rt. Rev. Franklin Brookhart, Jr.
and Susan Brookhart*
Crowley/Fleck PLLP*
Phyllis Gonigam*
Mark Ohnmacht Charitable Trust
Darien and Roger Scott*
Harlan and Bill Shropshire*
Sommeliers*
Gordon and Sharon Stockstad*
David and Patty Sulser*
Valley Bank*
Cherubim: $100 - $249
Donna Aline
C. H. Ammons
Jody and Roy Anderson
Darwyn Banks
and Yvonne Besselieu
Andrea and Robert Bateen*
Wayne and Nancy Beckman
Bert & Ernie’s*
Kerry L. Brandhoff
Charlie and Christie Briggs*
Jean Browne
Ralph and Diana Bunday
Dr. David and Fay Buness
John Butterfield*
Don and Charlene Carey
Shaun Deola
East Serendipity Railway
Denise Field
Denise and Tim Finn*
Dale Fleck
John Flink and Kathy Bramer
John Helzer*
Gail and the Very Reverend
Arch Hewitt*
Jane and Doug Horton
Kiesling Dental Associates
Kerry Krebill*
Jerry and Joanne LaRusso*
Fred Leuty and Tomi Kent
Ernie Lucero
Michelle Maltese*
Joan Mandeville
Tori Marion*
Rob Mayer*
Mediterranean Grill*
André Melief
Diana Nash*
Mary A. Nugent*
Paul Pacini Photography*
John and Nina Portis
Queen City News
Bernadine Reckert*
Linda E. Reed
Bill and Carol Roberts*
Tammy Rogers
Mary Jane Ruhl
Quentin Schroeter*
Thea Seese
Jane and Cliff Shipp
Marge Short*
Gina Shropshire
John and Carolyn Snively
Special Session
Larry and Kristin Stayner
Susan Tarner
Martha Jane Thieltges*
Norma Tirrell and Gordon Bennett*
Chris and Jeanne Tweeten*
David Washburn
Stephen White
Bailey Whiteman
Blaise Wrenn
Putti: $25 - $99
Doug and Mary Lou Abbott
Luke Almas
American Express*
Megan Anderson
Dr. William and Helen Ballinger*
Laura Bender
Benny's Bistro*
Blackfoot River Brewery
Barbara Blegen
Bonnie Bowler*
The Brewhouse*
Jacqi Brown
Cinemark*
The Coffee Spot
Russell Harper
IBM*
Donna Koch
Lasso the Moon Toys and Games*
Ron Lee and Sue Clarke
Liz LeLacheur
Arthur Lieb
Margy Love
Warren and Beth McCullough*
Gwynn and John Mundinger*
Nancy Palmerino
David M. Petrou
Andreus and Jean Piske*
Becky Piske and Paul Pacini*
The Pita Pit*
Rob Psurny
Francisco Roman
Kathryn Schultz
Ad Settle*
The Silver Star Steakhouse
Mary Spain
Staples*
Maggie and Chris Stockwell
Alex Swaney
Taco del Sol*
TangoHelena
Jeff Van Tine*
Gary Wiens*
The Windbag
We appreciate the generosity of our many donors, who help keep Musikanten Montana alive. Reliable repeat donors
help us plan our programs. Names marked with * have supported us in at least three consecutive years. We hope you
will consider adding your name to our donor “Honor Roll” if it is not already there.
Musikanten is a 501 (c) (3) non-profit corporation. Your donations are fully tax-deductible under the law.
ACKNOWLEDGMENTS
Musikanten Montana acknowledges Quentin Schroeter and Mark Ohnmacht for major support for this
evening’s concert. We could not continue to produce Helena Choral Week without your generosity. Thank
you for making the music happen!
Special thanks to Mimi Stevens for “little man in a hurry”!!
We are especially grateful to the businesses and individuals who made our popular lunchtime concerts
possible this year: Mediterranean Grill, Valley Bank, Gina Shropshire, Bert & Ernie’s, and the East
Serendipity Railway. Please tell them you appreciate their support!
We are grateful to Pastor Douglas Vold and St. John’s Lutheran Church for tonight’s beautiful concert
venue. Thanks also to St. Paul’s United Methodist Church and to Dave Buness and his state-of-the-art
choir room for our rehearsals! And, as always, a huge thank you to St. Peter’s Episcopal Cathedral for
generously sharing their entire church for classes and lessons for the week, as well as being our Helena
home all year. Your support is treasured.
We are immensely grateful to Ed Noonan and the Myrna Loy staff for producing and promoting our
lunchtime concerts – the Myrna is the perfect venue.
Very special thanks to the hosts of our visiting performers: Fay and Dave Buness, Pat Mandeville, Patty
and Joe Mazurek, Becky Piske and Paul Pacini, Marge Short, Steve and Jackie Brehe, Cathy Siegner, and
John and Gwynn Mundinger. Thanks also to the Farnys and the Goldes family for hosting our welcome
and farewell parties.
We are grateful for the special support of the local restaurants who “treated” our guest artists this week:
Benny’s, The Windbag, the Pita Pit, Taco del Sol, and the Brewhouse Pub and Grill.
And finally, thanks to the superb vocal artists who are the heart of this week of singing – Evanne, Gretchen,
Chris, Tom, Fred, Bobb and Rob. Their generosity in sharing their love for singing inspires and ignites us
all.
And to Jean Browne, pianist and accompanist extraordinaire, thanks for your amazing talent, skill,
generosity, and endurance. You’re the best!
HELENA CHORAL WEEK FESTIVAL CHORUS
Soprano
Kathy Bramer
Susan Brookhart
Evanne Browne
Sharon Maynard
Karen McLean
Lorna McMurray
Sherry Mitchell
Jane Wells
Alto
Mary Lou Abbott
Linda Almas
Andrea Bateen
Chris Dudley
Liz LeLacheur
Pat Mandeville
Jan Novy
Becky Piske
Gina Shropshire
Harlan Shropshire
Mimi Stevens
Marty Thieltges
Win Youngblood
Tenor
Darwyn Banks
Tom Gregg
Steve Labas
John Mundinger
Paul Pacini
Fred Peterbark
Bass
Doug Abbott
Don Mitchell
Bobb Robinson
Gordon Stockstad
Rob Tudor
Chris Tweeten
HELENA CHORAL WEEK 2010 STAFF
Fay Buness, Donna Stone, June Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . rehearsal accompanists
Becky Piske . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . registration
Karen McLean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . program ads, posters
Linda Almas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . catering
Paul Pacini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . coffees, activities
Sharon Stockstad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Saturday concert house manager
Mimi Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . programs, badges
Donna Aline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . mailing list
Pat Mandeville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . publicity, rehearsal goodies, and much more
Musikanten Montana
8 Park Place, Clancy, MT 59634-9759
406 .933.5246
www.MusikantenMT.org
The
QuaruV
6ar & Grille
Holidaglnn
Sports Bar
12 Beers on Tap
Conference Center
Dorvntown Helena
)>
FREE Popcom
Newly Renovated Guest Rooms
lndoor Pool/Flot Tub
Free
Wifi
Located on Historic Downtown
Walking Mall
22 North Last Chance Gulch
Holiday Inn 406-4 43-2200
Quarry Bar 406-443-8515
Qrr<vtFlFoN lPlrRlrss
Graphic & Web Design
Blarsr'WnpNN
qo6. qgg.074a
POSTERS o FLYERS o INVITATIONS o POSTCARDS
LOGOS o BUSINESS CARDS O STATIONERY
PROGRAMS T MENUS o COMPACT DISI(S
COPYWRITING & MORE
www.GryffonPress.com
Compossion Tonzonio presents . .
..6R,A55
.
IN THE 6ARDEN"
A Benefit concert for wells in Africo
July 15, ?OtO,6:00 pm
Grizzly Gardens
2000 Grizzly 6ulch Rood
Heleno, MT
Feoturing
Mountain Moongross
The Hoyseeds
Covenont Bluegross Band
r
r
r
Tickets $10.00 - avoilable ot Leslie's Hqllmork (both locotions),
The Montono Store (Copitcl Hill Moll),
Cornerstone Christion Book Store, ot the gate, or coll (406)439-?137
U
ffik}:ir,:1::::Md:'J
at the Creat Horthern Town C€nler
Science is Fun, Try
arninsl
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o Family Fun for Every Season
Flands-On Interactive Exhibits
o Science-Themed Gift Shop
Adult and Children's Classes
o Join Us Often, Become a
Member
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Brown Sheep
Thirteen Mile
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Bar-tlettyams
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Plymouth
Dale of Norway
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Wednesday 6:30-8:3opm
Saturday lOam-Spm
6rrlorg
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3. 888/688-9276 (YARN)
ertlail . yamings@init(o.net
406t 443-807
B ecc:us e Adu o:nced E
Experie/tce, o:nd.
duestiott,
Kindness Matter
*No refenal required for.
Sandra Marston (abd) DScPI, COMT, CPI
Specializing in:
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417N. BentonAve.
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I N. l-ast Chance Gulch zl0G443-6300 .'. l-877443-6300
Suite 3C ^'. Arcade Building Fax:406-443'2090
II
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petcm(@sullivanfinancialgroup.com
! ^ t,fris beter with a plan
iI
nr
216 East Lyndale Avenue
Helena. MT
59601
(406) 449-0131
[email protected]
Search Service Available
ARI]ONNIJ
Nora Bazuin - |D]76i13803
lndependent Consultani
District Manager
8780 Canyon Ferry Road
Helena, MT 59602
t
406.431.6038
[email protected]
http://NJoraJ.myarbonne.com
ai.
/-Az
,
,
cr,eat/ftt'
.world-class , /
exhibitions \'/
. free admission
. fine museum store
. classes for all ages
. community-oriented
. member-supported
. openTuesday-Sunday
HOLTER
MUSEUM of ART
12
P
LAWF[N([ . HfttNA Ml 5963]
406-4,12-5400
4tfr.44)-1404
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Women of all ages""
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Visit us at rehearsal - Mondays - 7$O pm
First Dresbyterian Churdr 20
I
For more information. call 431-5g54
Ot vbit our wbsite ,prc\'sing6.org - W
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the Saturday Concert Program

Transcription

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