S. Katherine Shealy Christopher G. McGinley

Child/Adolescent
Services
Fairmount assists children and adolescents in developing
effective coping skills and building self-esteem to be able
to return home and back to school.
• 24 Hour Assessment Center
• Inpatient and Acute Partial
Psychiatric Programs
• Separate and distinct units
for children, adolescent boys
and adolescent girls
• Specialized GenderResponsive Program for
Adolescent Girls
• Parent Education and
Support Group
• Daily School Program run
by two certified special
education teachers
• Group, Allied and Family
Therapy
• Two play yards and access to
a full gymnasium
Please call 215-487-4100 to schedule an immediate evaluation.
561 Fairthorne Avenue • Philadelphia, PA 19128
www.fairmountbhs.com
The Academy is grateful to this program patron.
Advertise in our program next season by contacting [email protected].
S. Katherine Shealy
Christopher G. McGinley
DIRECTOR
ASSISTANT DIRECTOR
night watch
a choral journey
from sun down to sun up
PRESENTED BY
Pennsylvania Academy of Performing Arts
Masterworks and Chamber Choirs
The Unionville Chadds Ford Education Foundation
Presents
www.UCFEC.org
From Beethoven to Broadway
featuring
The Chesco Pops Orchestra, Jacques Voois, Music Director
and
The Westminster Presbyterian Church Chancel Choir
Robert F. Morris, Music Director
Saturday, May 4 ∙ Unionville High School ∙ 7:30 p.m.
Adults $15 ∙ Seniors $12 ∙ All children and students FREE
Tickets available online and at the door.
For more concert information visit us at www.chescopops.org
The Chester County Pops Orchestra
will present its 2013 Summer Series in July:
Thursday, July 11 – Unionville High School – 7:30 pm
Sunday, July 14 – Phoenixville Middle School – 3:00 pm
Tuesday, July 16 – Fugett Middle School (W.C.) – 7:30 pm
The Academy is grateful to these program patrons.
Advertise in our program next season by contacting [email protected].
Pennsylvania Academy of Performing Arts
www.paperforming.org
Our mission is to provide an environment that culturally
enriches the community through exposure to the performing arts.
BOA R D OF DIR EC TOR S:
JA NE BUAT TI | President
K EV IN DEYOE | Vice President, Artistic Development
JENNIFER SHE A LY | Vice President, Business Development
DAV ID KOCH | Treasurer
CH A R LOT TE K ROFT | Secretary
CONCERT ETIQUET TE:
The members of the Pennsylvania Academy of the Performing Arts strive to
provide a program of musical excellence. For our mutual enjoyment of the
concert, we kindly ask:
If you have a young child who begins to cry, exit the performance hall
and return when (s)he has settled;
Wait for applause to enter or exit the performance hall;
Silence your cell phone and other personal electronic devices; and
Refrain from flash photography and video recording, as both are strictly
forbidden and violate copyright law.
W ITH OUR TH A NK S,
enjoy the performance
THE PA AC A DEM Y OF PER FOR MING A RTS
Members & Volunteers
THE 2013 SPR ING CHOIR:
SOPR A NO I
Jane Buatti ]
Erica DeFruscio
Laura Mikowychok ]
Theresa Moss
Rebecca Shealy ]
Katie Sprick
SOPR A NO II
A LTO I
A LTO II
Leslie Clarke
Jennifer Shealy ]
Lynn Shealy ]
Jennifer Wright
TENOR I
Lenore Clarke
Kevin DeYoe ]
Jen Ford
Aaron Shealy ]
Mary McGinty
Stephen Wilburn ]
Barbara Mercer
Lorie Waters ]
Marie E. Weber ]
TENOR II
Gail Busch
Ian Bowen ]
Joanne Jenkins
Jeremy Clarke
Charlotte Kroft
Dale Marchand
Beth McAdoo ]
Ellen Mikowychok Yusuf ]
Sue Newman
Elizabeth Sickler ]
BA SS I
Luke Bauerlein ]
Thomas F. McCormick
Christopher G. McGinley ]
Alexander Newman
Joel Waters ]
BA SS II
Ryan K. Battin
David Koch ]
Kurt Newman
David Shealy ]
Wesley R. Weber ]
] also a Chamber Choir member
STA FF A ND DISTINGUISHED VOLU NTEER S:
S. K ATHER INE SHE A LY | Director
CHR ISTOPHER G. MCGINLEY | Assistant Director
GA IL H ABECK ER | Accompanist
R EBECCA SHE A LY | Librarian
ELLEN MIKOW YCHOK Y USUF | Attendance Manager
CATHER INE SELIN | Concert Attire Manager
SUE NEW M A N | Fundraising Coordinator
Our most sincere thanks is given to the volunteers that coordinate PAPA
operations, and to the generous Sponsors listed on the opposite page.
To make a tax-deductible donation to PAPA, please see
your ticket-taker or visit http://www.paperforming.org.
Thank you for your support of the performing arts!
THE PA AC A DEM Y OF PER FOR MING A RTS
2013 Sponsors
COR POR ATE SPONSOR S:
AGC Chemicals, Inc.
Music Training Center
COR POR ATE M ATCHING GIFT:
Johnson & Johnson
CONDUC TOR’S CIRCLE:
Jane Buatti
David & Lynn Shealy
FOU NDER:
Anonymous
Catherine G. McGinley
Albert B. Murphy
BENEFAC TOR:
Bill & Gwen Carpenter
AJ & Lenore Clark
Pete & Laura DeYoe
Perry & Gail Habecker
Keith & Genie Hibbard
Nancy J. Lady
Victor & Sally Vogel
Anonymous
Alan & Lorraine Warren
Steve & Connie White
Rick & Sue Zackroff
PATRON:
Ronald & Dorothy Baughman
Joseph & Diane Jastrzembski
David & Donna Koch
In Memory of Alfons & Elsa Rieger
In Memory of Herbert & Louise Kroft
Brett & Ann Pleines
Rose & Mike Tricoski
David & Karen Valentino
Louise A. Vogel
FR IEND:
Mr. & Mrs. Charles Ambrogi
Steven & Karen Foard
Jim & Gail Guterl
Karen & Mark Lukenda
Anonymous
Charley & Kathy Parker
Linda Schneider
Carla Short
Debra Skrajewski
Maggie Tucker
Private Voice Instruction
with
S. Katherine Shealy
Refine your skills or discover new talent!
Voice lessons for ages 12 and up
Contact Kate for more information
[email protected] / 484.459.0739
W ITH OUR
gratitude
The Pennsylvania Academy of Performing Arts would like to express sincere
thanks to the following people and organizations:
Gail Habecker for her ongoing time, effort, talent, and support;
Christ Community Church for lending instruments for “Cover Me
With the Night” and “Ask the Watchman”;
Paoli United Methodist Church, The Church of the Holy Trinity,
and The Church of the Good Samaritan for providing rehearsal and
performance facilities;
Choir Committee Members and PAPA volunteers who have donated
time to help our organization run efficiently;
Kevin DeYoe for providing audio recording equipment and services for
the performances;
Laura Mikowychok for program and marketing materials design;
Rebecca Shealy and Roger Taylor for media outreach; and
Leslie Clarke for assisted living performance facilitation and support.
THE PA AC A DEM Y OF PER FOR MING A RTS
Leadership
S. K ATHER INE SHE A LY
Director of Masterworks, Chamber Choir, and
Ariana Women’s Choir
S. Katherine Shealy obtained her Bachelor of Music in Choral
Music Education from the University of Delaware with Paul
Head. During the summer of 2006, Ms. Shealy directed and
led the Pennsylvania Academy of Performing Arts envoy
of singers on a tour of four cities through China as part
of the Fourth Annual Eric Whitacre International Choral
Festival. Currently, she is the director of Masterworks, co-founder and co-director
of Chamber Choir, an advanced ensemble that specializes in outreach performances
throughout the community, and the founder and director of Ariana Women’s Choir.
Ms. Shealy is currently pursuing her Master of Music in Choral Conducting at West
Chester University as the graduate assistant to David DeVenney. She teaches voice
privately in West Chester.
CHR ISTOPHER G. MCGINLEY
Director of Chamber Choir, Orpheus Men’s Choir,
and Assistant Director of Masterworks
Christopher G. McGinley received his formal choral training
from Paul Head at the University of Delaware. He currently
teaches general music, chorus, and music history at Springside
Chestnut Hill Academy, an Independent School for girls and
boys in Chestnut Hill. There he serves as artistic director
of Musica Mundi and oversees Players, the extracurricular theatre program in the
upper school. Mr. McGinley is the founder and director of Orpheus Men’s Choir,
assistant director of Masterworks, and co-founder and co-director of Chamber
Choir. Chris has been proud to sing in, direct, or assist nearly every choir in PAPA.
GA IL H ABECK ER
Accompanist
Gail Habecker, of Coatesville, joined PAPA the summer of
2007 to accompany Ariana Women’s Choir and is in her
third season accompanying Masterworks. Born into a musical
family, Gail has been playing piano since the age of four.
She graduated from Juniata College with an emphasis on
vocal accompaniment. Through the years, she has accompanied soloists, as well as
numerous church and school choirs. She has also played in instrumental ensembles at
chamber concerts of Immaculata University. Ms. Habecker is also a graduate of the
Wharton School of the University of Pennsylvania. She has a career in investment
management and is part owner of PMG Advisors in West Conshohocken, PA.
NIGHT WATCH
Every Night (When the Sun Goes Down). . ..................... arr. Gwyneth Walker
Traditional Appalachian
Stephen Wilburn, tenor
Chindia�������������������������������������������������������������� Alexandru Paşchanu (1920-1989)
Romanian Folk Dance Tune
The Gartan Mother’s Lullaby.................................................. arr. Neil Ginsberg
Traditional Irish
Beth McAdoo, flute
Berceuse��������������������������������������������������������������������������������������������� Gabriel Faure
From Dolly suite
Gail Busch and Gail Habecker, piano
Aftonen��������������������������������������������������������������������������� Hugo Alfvén (1872-1960)
English text by Norman Luboff
Hotaru Koi��������������������������������������������������������������������������������������� arr. Rō Ogura
Japanese Children’s Song
Masterworks Women
Cover Me With the Night���������������������������������������������������������� Andrea Ramsey
Traditional Prayer from Ghana
Alex Newman, baritone
Ryan Battin, Joel Waters, and Stephen Wilburn, trio
Aaron Shealy, percussion
Masterworks Men
Clair de Lune����������������������������������������������������������� Claude Debussy (1862-1918)
From Suite bergamasque
Theresa Moss, piano
Nächtens����������������������������������������������������������������� Johannes Brahms (1833-1897)
O Schöne Nacht������������������������������������������������������������������������ Johannes Brahms
Sarah�������������������������������������������������������������������������������������� arr. Stephen Hatfield
Newfoundland Folk Song
INTERMISSION
Moonlight Sonata����������������������������������������������������������� Ludwig van Beethoven
From Piano Sonata No. 14 in C# Minor, Op. 27, No. 2
Kevin DeYoe, piano
Water Night������������������������������������������������������������������������������������� Eric Whitacre
Poem by Octavio Paz
Reggel����������������������������������������������������������������������������� György Ligeti (1923-2006)
Poem by Sándor Weöres
Ecco mormorar l’onde������������������������������������� Claudio Monteverdi (1567-1643)
Chamber Choir
The Last Words of David���������������������������������� Randall Thompson (1899-1984)
II Samuel 23:3-4 The Drunken Sailor������������������������������������������������������������������� arr. Robert Sund
Sea Chantey
Ask the Watchman���������������������������������������������������������� arr. Caldwell and Ivory
Two Sea Island Spirituals
Joel Waters, baritone
Aaron Shealy, percussion
PROGRAM NOTES
EV ERY NIGHT (W HEN THE SU N GOES DOW N) Gwyneth Walker
Every Night (When the Sun Goes Down) is an arrangement of a traditional folk
song from the Appalachian region of the Eastern United States. Appalachian
music, which influenced the early development of country and bluegrass styles in
the 1920s, grew out of European and African music traditions, including English
ballads, Irish and Scottish fiddle music, hymns, and African-American blues. Of
her arrangement, Walker says, “Every Night (When the Sun Goes Down) focuses on
the transcendence of faith over sorrow and of peace (through death) over suffering
and pain. A new verse is added at the end, during [which] the listener might hear
a fluttering of wings (“la-la”s) from within the choral texture. This is to symbolize
the spirit of a bird hovering close by.”
Every night, when the sun goes down,
I hang my head and mournful cry.
True love, don’t weep or mourn for me;
The Lord has come to set me free.
Text added by the composer:
And when I rise up in the sky,
If you look up quickly,
You will see me passing by.
On wings of silver, I will fly.
CHINDI A
Alexandru Paşchanu
Alexandru Paşchanu was a Romanian composer of choral, orchestral, and chamber
music, as well as a faculty member of the Music Conservatory in Bucharest until his
death in 1989. Chindia is Paşchanu’s most well known composition for voices and
is based on an instrumental Romanian folk dance that is performed by both men in
women in a closed circle, with the dancers’ arms on each others’ shoulders. Nonsense
syllables are sung in this arrangement to represent the vigorous, small steps as well as
entertaining athletic stunts that form the traditional dance. In addition to it being
the name of the folk dance, the word chindia refers to the time of day just before the
sun sets as well as to the place in the sky where the sun goes down.
THE GA RTA N MOTHER’S LULL A BY
Arr. Neil Ginsberg
Neil Ginsberg is an American composer, educator, and clinician residing in Brooklyn,
New York, where he teaches music at Essex Street Academy High School. He has
taught music and theater through a variety of schools, theaters, and programs both
in the United States and abroad. The Gartan Mother’s Lullaby is an old Irish song and
poem written by Herbert Hughes and Seosamh Mac Cathmhaoil, first published
in Songs of Uladh [Ulster] in 1904. Hughes collected the traditional melody in
Donegal the previous year and Campbell wrote the lyrics. The song is a lullaby by a
mother, from the parish of Gartan in the lovely County Donegal. The song refers to
Irish places and words, as well as a number of figures in Irish mythology, including
Banshee (a ghost-like fairy woman who haunted the rock of Graglea), the Green
Man (a medieval face with leaves growing out of it, which represents the death and
rebirth of life in nature), and Sheevra (a mischievous type of fairy people).
Sleep, my child, for the red bee hums;
The silent twilight falls.
The Banshee from the grey rock comes,
To wrap the world in thrall.
Alyanvan, O my child, my joy,
My love, my heart’s desire,
The cricket sings you a lullaby
Beside the dyin’ fire.
Dusk is drawn and the Green Man’s thorn
Is wreathed in rings of fog.
Sheevra sails his boat ‘til morn
Upon the starry bog.
Alyanvan, O the pale half-moon
Hath brimmed her cusp in dew,
And weeps to hear this sad, sleep tune,
I sing, my love, to you.
A FTONEN
Hugo Alfvén
Hugo Alfvén was a Swedish Nationalist composer, conductor, and violinist who
is best known for his three “Swedish Rhapsodies” for orchestra. Aftonen, which
translates to “Evening”, is one of his most beloved works for chorus, serenely
depicting the lush landscape of his homeland at sunset. The piece will be performed
on the English text by Norman Luboff, which is based on the Swedish poem by
Herman Sätherberg.
Still, still, the woods,
Radiant, the heavens.
Dim, distant horns fill the air with their echo.
Sunset a-glow, soon disappears beneath the sea.
Slowly, so slowly, it disappears beneath the sea.
Through the mountains, through the valleys,
Lingering, the echoes sound.
HOTA RU KOI
Rō Ogura
Hotaru Koi (“Ho, Firefly”) is a popular Japanese children’s song that is sung during
the early summer rainy season when fireflies begin to hatch. Like many nursery
rhymes, some of the text is silly and nonsensical, but Ogura used layered voices in
canon to create the magical effect of blinking fireflies swarming at night.
Ho, firefly,
Come, there’s some water that’s bitter to taste,
Come, here’s some water that’s sweet to your taste;
Ho, firefly, up this mountain path.
Firefly’s daddy struck it rich, so he’s got lots of dough,
No wonder that his rear end sparkles in the dark.
Ho, firefly, up this mountain path.
In the daytime hiding amongst the dewy blades of grass,
But when it’s night, his lantern burns bright.
Even though we’ve flown all the way from India,
Zoom! And those sparrows swarm to swallow us.
Look! See a thousand lanterns sparkling in the dark.
Ho, firefly, up this mountain path.
COV ER ME W ITH THE NIGHT
Andrea Ramsey
Andrea Ramsey is an award winning composer, conductor, educator, and clinician.
She is the composer-in-residence for Allegro Community Children’s Choir of
Kansas City, Kansas and is currently a Ph.D student in choral music education at
Michigan State University. Cover Me With the Night, her dazzling piece for men’s
chorus, speaks for itself!
Come, Lord! Come, Lord, and cover me with the night.
Spread your grace over us, when the night is cold and dark.
Your promises are more than the stars in the sky.
Your mercy is deeper than the night.
Lord, we wait for you. Day and night, we wait for you.
NÄCHTENS and O SCHÖNE NACHT
Johannes Brahms
Johannes Brahms was a German composer and pianist, and one of the leading
musicians of the Romantic period. Born in Hamburg, Brahms spent much of his
professional life in Vienna, Austria, where he was a leader of the musical scene.
In his lifetime, Brahms’ popularity and influence were considerable; he composed
for piano, chamber ensembles, symphony orchestra, and for voice and chorus.
Many of his works have become staples of the modern concert repertoire. Brahms,
an uncompromising perfectionist, destroyed many of his works and left some of
them unpublished. Nächtens and O Schöne Nacht are two of Brahms’ part songs,
secular songs that were typically sung in casual settings for personal entertainment
purposes, with just one singer per voice part. These part songs represent two very
different depictions of nighttime: one in which grief and worry occupy the mind,
and one in which young love blossoms.
NÄCHTENS:
At night awaken those wandering,
deceptive phantoms
that bewilder the mind.
(continued)
At night in the flower garden
frost falls so that it is futile
to wait for flowers to bloom.
At night grief and worry
nestle within your heart
and the morning gazes in upon tears.
-FR A NZ THEODOR K UGLER
O SCHÖNE NACHT:
O beautiful night!
In the heavens, the moon gleams magically
in all its splendor;
about it, the sweet comradeship
of tiny stars.
The dew glimmers brightly
on the green blades of grass; with great power,
the nightingale sings out in the elder-bush;
the young man steals quietly to his sweetheart.
-GEORG FR IEDR ICH DAUMER
SA R A H
Arr. Stephen Hatfield
Canadian composer Stephen Hatfield’s playful arrangement of Sarah, a song much
beloved in Newfoundland, tells a fine tale of comic romance as a young couple
tries to outwit the girl’s ferocious mother. The piece features story-telling, characterplaying and exchanges between the sections.
I came upon a charmin’ girl an’ Sarah is her name.
Her parents want the husband with riches, wealth an’ fame.
I haven’t the riches, wealth an’ fame; have never come my way,
‘til the night I went to visit my love an’ through the keyhole say:
Sarah, Sarah, won’t you come out tonight?
Sarah, Sarah, the moon is shining bright.
Put yer hat and jacket on, tell your mother you won’t be long,
An’ I’ ll be waiting for you round the corner.
Now Sarah is a girl like this, a girl you’ ll seldom see.
She loves me only for me-self and not for me money.
And every night at eight o’ clock she puts her needle away
An’ standing just outside the door an’ through the keyhole say:
Sarah, Sarah ...
One night after eight, I crept to the door.
I whispered, “Sarah, darling!” as I’ve often done before.
“I’ ll give yeh Sarah!” said a voice, as down I went a-flop.
An’ her mother sang as she kicked me carcass all around her shop:
Sarah, Sarah ...
Her mother thought she’ d finished me an’ I let her think so, too.
As I lay there groaning on the floor, I scarce knew what to do.
At last she said, “Alive or dead, my girl I’ ll let ‘ im wed.”
Then up I jumps, says, “Thank you Ma’am” an’ to me girl I said:
Sarah, Sarah, won’t you come out tonight?
Sarah, Sarah, the moon is shining bright.
Put yer hat and jacket on, tell your mother you won’t be long,
An’ I’ ll be waiting for you round the corner.
WATER NIGHT
Eric Whitacre
Eric Whitacre is one of the leading American choral composers of his generation,
with his choral music having been firmly rooted in the repertory of high school,
collegiate, community, and professional choirs around the world over the past 15
years. Most recently he’s been acclaimed for his establishment of the Eric Whitacre
Singers, a professional chamber ensemble that performs and records Whitacre’s
compositions, as well as four Virtual Choir recordings, available on YouTube, which
have gained international attention through his innovative use of the Internet to
incorporate thousands of singers from across the globe into one online performance.
Whitacre has described in detail the genesis of Water Night: “I got home, opened
up my book of Octavio Paz poetry, and started reading. I can’t really describe what
happened. As I read the poem Water Night, the music seemed to sing itself out into
the air, as if it were a part of the poetry itself. I just started taking ‘dictation’ as fast
as I could, and the thing was basically finished in about 45 minutes. I have never
experienced anything like it, before or since, and with my limited vocabulary I can
only describe it as a pure and perfect and simple gift. I’ve heard countless people who
sing it or hear it describing the same feeling I had when I wrote it down; I remain
eternally grateful for this gift.” Though the twentieth-century Mexican poet Octavio
Paz wrote in Spanish, Whitacre has set the words in English translation. Within a
predominantly four-part texture, the voices divide occasionally, however, at two
notable instances they expand into fourteen-note tone clusters. These dissonant but
resonant sonorities have become a hallmark of Whitacre’s compositional style.
Night with the eyes of a horse that trembles in the night,
night with eyes of water in the field asleep
is in your eyes, a horse that trembles,
is in your eyes of secret water.
Eyes of shadow-water,
eyes of well-water,
eyes of dream-water.
Silence and solitude,
two little animals moon-led,
drink in your eyes,
drink in those waters.
If you open your eyes,
night opens, doors of musk,
the secret kingdom of the water opens
flowing from the center of the night.
And if you close your eyes,
a river, a silent and beautiful current,
fills you from within, flows forward, darkens you:
night brings its wetness to beaches in your soul.
R EGGEL
György Ligeti
“György Ligeti’s initial studies in composition at the provincial ethnic-Hungarian
town of Kolozsvár (now Cluj-Napoca, Romania) were interrupted by the Second
World War. Eventually he resumed his studies at the Academy of Music in Budapest,
where he then taught in the early 1950s. This was a tumultuous decade in Hungarian
politics, and in such a music-oriented culture as Hungary, the arts were not immune
from political controversy. In December 1956, amid the Soviet invasion of his
homeland, Ligeti fled dangerously across the border to Austria. Ensconced in the
West, he became affiliated with leading avant-garde composers such as Karlheinz
Stockhausen and Pierre Boulez. The premieres of several orchestral works in the
early 1960s, especially Apparitions and Atmosphères, brought him to international
fame. By the time Stanley Kubrick used several of his works in his 1968 film 2001:
A Space Odyssey, Ligeti was one of the most respected modernist composers. Reggel
(“Morning”) and its partner piece, Éjszaka (“Night”) are two choruses on texts by
Ligeti’s friend, the Hungarian poet and translator Sándor Weöres, which date from
a brief period of thaw in mid-1950s totalitarianism. This political cooling allowed
Ligeti to publish more adventuresome works than the straightforward folksong
arrangements he had hitherto produced. Hallmarks of Ligeti’s style include static
harmony and expansive structures.”
–Gary D. Cannon
Ring, tick-tock, tick-tock, bell!
And the clock ticks, wishing well!
In the dawn, cock-a-doodle-doo,
The cock cries and the duck, too.
Ring well, bell!
Ring, tick-tock, tick-tock bell!
ECCO MOR MOR A R L’ONDE
Claudio Monteverdi
Monteverdi’s setting of Torquato Tasso’s evocative description of a sunrise expresses
perfectly the text, because the music, like the text, moves literally from darkness to
bright sunlight. Monteverdi indicates a dynamic marking of piano at the opening
through his use of covered vowels and low voices, but indicates forte at the end
through sustained full chords. Tasso also uses the arrival of dawn as a metaphor for
renewal of the soul.
Hear the gentle breezes murmuring,
And the leaves and young trees
Trembling in the morning air.
And, above, on leafy branches
Beautiful birds sing sweetly,
And, slowly, the eastern sky brightens.
Now the dawn begins to appear,
And to cast a reflection in the sea,
And to lighten the sky,
And to make pearls of delicate dewdrops,
And to clothe in gold the high mountains.
Oh, radiant and shining dawn,
This breeze is your messenger,
And you are the messenger of the breath
That restores each ardent and withered heart.
THE L AST WOR DS OF DAV ID
Randall Thompson
“Composer Randall Thompson was a prominent figure in American choral music
in the 20th century. In addition to his choral works, which include the popular
Alleluia, he composed three symphonies and two string quartets. The Last Words
of David was commissioned in 1949 by the Boston Symphony Orchestra, in honor
of Serge Koussevitzky’s 25th anniversary as Music Director. The piece takes its text
from II Samuel 23:3-4 and exists in a number of versions including one for male
voices, one with orchestra, and one with band. The most popular version is for piano
accompaniment. Typical of Thompson’s deep understanding of choral music, the
text declamation in this piece is enormously clear and direct. The “Alleluia” near
the end is especially effective, using a hushed Gregorian chant-like melodic figure
set contrapuntally. Thompson concludes the piece with the chorus singing “Amen”
in block chords, while the accompaniment restates the principal musical idea heard
in the beginning.”
–James Bagwell
He that ruleth over men must be just, ruling in the fear of God.
And he shall be as the light of the morning, when the sun riseth,
even a morning without clouds;
As the tender grass springing out of the earth by clear shining after rain.
Alleluia.
THE DRU NK EN SA ILOR
Arr. Robert Sund
This familiar song is a sea chantey (also sometimes called a “shantey”) that sailors
would sing to accompany certain work tasks aboard sailing ships. It was believed
to originate in the early 19th century, during a period when ships’ crews, especially
those of military vessels, were sufficiently large enough to permit hauling a rope
whilst simply marching along the deck. The Drunken Sailor was revived as a popular
song among non-sailors in the 20th century, and grew to become one of the best
known songs of the chantey repertoire among mainstream audiences. It has been
performed and recorded by many musical artists and appeared in many popular
media. Although the song’s lyrics vary, they usually contain some variant of the
question, “What shall we do with the drunken sailor, earlye in the morning?” In
some styles of performance, each successive verse suggests a method of sobering
or punishing the drunken sailor. In other styles, further questions are asked and
answered about different people. Sund’s vivacious arrangement applies new
compositional treatment to each verse in which punishments are suggested, with an
accelerando overarching the entire piece, culminating in an exciting climax.
What shall we do with the drunken sailor,
earlye in the morning?
Hooray and up she rises,
hooray and up she rises,
hooray and up she rises,
earlye in the morning.
Put him in the long boat till he’s sober,
earlye in the morning.
Pull out the plug and wet him all over,
earlye in the morning.
Put him in the scuppers with a hosepipe on him,
earlye in the morning.
Heave him by the leg in a running bowlin’,
earlye in the morning.
ASK THE WATCHM A N
Arr. Caldwell and Ivory
Paul Caldwell and Sean Ivory’s Ask the Watchman is an arrangement of two
traditional spirituals from the Sea Islands of South Carolina and Georgia, the
culture and music of which are unique in American history. Because these islands
were isolated from the mainland until well into the 20th century, their language (a
Creole dialect, Gullah) and traditions remained intact for several generations longer
than those of other mainland cultures. Caldwell and Ivory describe the connection
of these two spirituals:
“The two spirituals used in this arrangement, Ask the Watchman How Long and
Yonder Come Day, are contextually related. Both songs were sung on the eves of
Christmas and the New Year during Watch Night Meetings, which would begin at
midnight and end after dawn. The songs were performed in a call and response style,
at first slow and somber, then evolve gradually into ecstatic utterances accompanied
by complex clapping rhythms. With the heightening of the music’s intensity,
individual singers (even the elderly and infirmed) would stand spontaneously and
begin to dance. This is a practice strongly rooted in African tradition, and is notably
similar to the custom of the Santeria, an Yoruban-based religion still practiced
in Cuba. This arrangement is a musical snapshot, really, an attempt to capture a
memory of an amazing culture which has almost vanished as a result of real estate
development on the islands.”
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This could be
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Audition for PAPA. We’re waiting for you.
Auditions for Summer 2013 Season: “Fire and Light”
MAY 5, 2013
AUDITIONS BY APPOINTMENT;
CONTAC T [email protected].
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Masterworks and Chamber Choirs
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