the concert program - St. John`s Episcopal Church

CONDUCTORS:
Peter Stoltzfus Berton
Natasha Ulyanovsky
Saint John’s Episcopal Church
and
present
A CELEBRATION OF
PSALMS
SUNDAY, MAY 5TH, 2013 at 4 pm
WITH THE COMBINED CHOIRS OF
ST. JOHN’S EPISCOPAL CHURCH
AND CONGREGATION BETH ISRAEL
And guest singers from
BETH EL TEMPLE choir with
FESTIVAL CHAMBER ORCHESTRA
directed by
Pamela Siskin
Peter Stoltzfus Berton
Natasha Ulyanovsky
A Celebration of PSALMS
is made possible by the generous support of
Arnold and Sandy Chase
at Congregation Beth Israel
Sacred Music at the Red Door,
the Music Series of St. John’s Episcopal Church
and a grant from The Richard P. Garmany Fund at the
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WELCOME
Hinei ma tov u’ma-nayim Shevet ach-im gam ya-chad –
Behold, how good and how pleasant it is for brethren to dwell together in unity! Psalm 133
What a blessing to bring the ancient words of the Psalmist to life. As St. John’s Parish and
Congregation Beth Israel join together in song our collective spirits will be lifted. The 150 Psalms are the record
of an ancient people’s thoughts, feelings, and hopes that reveal our timeless and universal human condition. As our
two communties perform (with guests from Temple Beth El as well), may we be inspired by the words, lifted by the
music, and carried by the bonds that link us together.
In most of the Bible, God reaches out to humanity. The initiative is God’s. In the Book of Psalms, it is the
other way around. Human beings reach out to connect with God. The initiative is human. The language is human.
Overwhelmed, confused, distraught, despairing – and/or profoundly grateful, reflective, renewed, attuned –
whatever our state, we are often left speechless, feeling that words fall flat, or do not convey what we want, need,
or intend. In the face of these challenges, those who are in pain, as well as those who care for them, may need new
ways of communicating, new tools for talking, and new modes of relating.
For generations communities and individuals have turned to the Psalmists’ words to express their innermost feelings. As we join together to hear these ancient words, may we as the Psalmist wrote, “Behold, how good
and how pleasant it is for brethren to dwell together in unity!” (Psalm 133) And may we rejoice: This is the day the
LORD has made; let us rejoice and be glad in it. (Psalm 118)
Rabbi Michael Pincus, Senior Rabbi, Congregation Beth Israel
The psalms are the first and oldest hymnals and prayer books of church worship, a rich
inheritance from our Jewish ancestors. They have been an integral part of Christian worship since
the days of the apostles themselves and continue to shape our liturgy and be the inspiration for
many of our hymns and prayers. The enduring value of the psalms – and a reason why they are
integral to Christian and Jewish worship – is their ability to address every possible human emotion,
always directing us to the providence of our Creator.
Because the psalms speak to every human emotion – from praise and trust to anger and despair – they have
long been a fundamental part of the community’s liturgical worship, both in Judaism and Christianity. Even though
a majority of psalms are classified as laments (complaints or anguished prayers), they invariably direct the believer
through whatever the trouble at hand may be (illness, despair, particularly vicious enemies) to a renewed trust in
God, the creator and redeemer. This quality makes the psalms suitable for both private worship and devotion as
well as Shabbat and the Sunday Eucharist.
The psalms have a timeless ability to speak to any situation, any occasion. It is a challenge to match the
exuberant invitation to worship of Psalm 150, which in two different settings opens this afternoon’s program. Is
there a more eloquent hymn in praise of creation than Psalm 19, which inspired one of Haydn’s great oratorios?
And Psalm 130 is masterfully succinct in the way it pulls together the complex emotions of grief. The richness of
the psalms also has power to bring together people of different faiths and traditions and is the occasion for this
afternoon’s offering of the choirs of Congregation Beth Israel, Temple Beth El and St. John’s Episcopal Church.
Hearing selections from the psalms this afternoon, I pray that no matter what our tradition we may hear clearly the
words of God’s mercy, justice and love speaking to us.
The Rev’d Joseph L. Pace, Rector, St. John’s Episcopal Church
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Please silence all electronic devices. Thank you.
If you require shuttle transportation to Part II (and back again after the Reception),
please speak to an usher before Part I begins.
PROGRAM, Part I
at St. John’s Episcopal Church
4:00 p.m.
Organ prelude Fantasy: Torah Song (Yisrael V’oraita) Craig Phillips
(born 1961)
O Praise God in his Sanctuary Psalm 150 Anglican Chant by The Rev’d G. S. Talbot
St. John’s Choirs (1875-1916)
Let All Things Praise the LORD Psalm 150
Yemenite Folk Song; arr. Richard Cohn
Congregation Beth Israel Choir
Hineih Ma Tov Psalm 133:1 Erik L. F. Contzius
St. John’s and Congregation Beth Israel Choirs (b. 1968)
Sheryl Simoni, soloist
Sicut cervus (Like as the hart desireth the waterbrooks) Psalm 42
Giovanni Pierluigi da Palestrina
St. John’s Adult Choir (1525-1594)
Psalm-Prelude “Out of the depths have I called to thee, O Lord” Psalm 130
Peter Stoltzfus Berton, organ solo
Herbert Howells
(1893-1982)
I was glad Psalm 122 Henry Purcell
St. John’s Choirs with organ, strings (1659-1695)
Praise the Lord, his glories show based on Psalm 150
Peter Niedmann
St. John’s Youth Choir (born 1962)
Hine ma tov Psalm 133 Allan Naplan
St. John’s Youth Choir
(born 1962)
Bennisez-Nous Dieu de lumiere Psalm 118 French Sephardic song, arr. Stephen Cohen
Congregation Beth Israel Choir
Laudate Jehovam, omnes gentes Psalm 117 Georg Philipp Telemann
Combined Adult Choirs (1659-1695)
Intermission (30 minutes)
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Please show your printed program for admission to Part II.
Please silence electronic devices again, if used recently.
Thank you. Archival recordings are being made.
PROGRAM, Part II
at Congregation Beth Israel
5:15 p.m.
Organ prelude The Heavens declare the Glory of God (Psalm 19)
Benedetto Marcello
(1686-1739)
How lovely is thy dwelling-place (1865) from A German Requiem, Op. 45
Johannes Brahms
Psalm 84:1,2,4 (1833-1897)
Combined Adult Choirs
The Lord is my shepherd, D. 706 (ca. 1820)
Franz Peter Schubert
Psalm 23 (1797-1828)
Margaret Beers, Jennifer Berton, Barbara Friedman, Corinne Harney,
Adlyn Loewenthal, Michelle Meyer, Whitney Perrine, Sheryl Simoni
Lord, you have searched me out (2001)
Peter Stoltzfus Berton
Psalm 139 (born 1968)
St. John’s Adult Choir
Oren Givoni, tenor
Jennifer Berton, soprano
Britt Emerick, treble
On the willows (from Godspell, 1971)
Psalm 137:2-4
St. John’s Youth Choir
Stephen Schwartz
(born 1948)
Chichester Psalms (1965)
Leonard Bernstein
I. Psalm 108:2; Psalm 100 (1918-1990)
II. Psalm 23; Psalm 2:1-4
III. Psalm 131; Psalm 133:1
Combined Choirs
Teddy Babbitt, treble
Sharon Dix, soprano
Margaret Beers, mezzo-soprano
Farren Bratten, tenor
John Janeiro, baritone
Reception in The Lobby
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THE PSALTER
The word psalms is derived from the Greek Psalmoi, perhaps originally meaning “music of the lyre” or “songs sung
to a harp” and then to any piece of music. From psallein, “play upon a stringed instrument,” and then to “make
music in any fashion.” The Book of Psalms (Psalter), in its current, most commonly used form consists of 150
songs and prayers referred to individually as psalms and referenced by chapter and verse.
The biblical poetry of the Psalms uses parallelism as its primary poetic device. Parallelism is a kind of rhyme, in
which an idea is developed by the use of repetition, synonyms, or opposites. Synonymous parallelism involves two
lines expressing essentially the same idea:
The LORD is my light and my salvation; whom shall I fear?
The LORD is the stronghold of my life; of whom shall I be afraid? Psalm 27:1
Lines expressing opposites are known as antithetic parallelism:
The LORD watches over the way of the righteous,
but the way of the wicked will perish. Psalm 1:6
In addition to the title of the collection, which translates as “song” or
“hymns” from both Hebrew and Greek, superscriptions (or headings) in
many of the Psalms provide musical references and some direction, in
some cases even references to melodies that, anciently, would have been
well-known; however, no musical notation has survived. Dating of individual compositions is difficult, and in some cases impossible. Many appear
to have been written early in the history of ancient Israel (first millennium
BC or even earlier), while others may have been written after the exile to
Babylon, which occurred in the sixth century BC. (Wikipedia)
David Playing the Harp (1670)
Jan de Bray (1627–1697)
PROGRAM NOTES, TEXTS, AND TRANSLATIONS
ORGAN PRELUDE Fantasy: Torah Song (Yisrael V’ oraita)
Craig Phillips
Craig Phillips is Music Director and Organist of All Saints Episcopal Church, Beverly Hills, California. This colorful composition is the winner of the 1994 National Organ Composition Competition sponsored by the Ruth and
Clarence Mader Memorial Scholarship Fund and the American Guild of Organists. The melody on which it is based
is a song of praise sung at Shavuot (The giving of the Ten Commandments on Mt. Sinai), of Hassidic origin (a sect
of Jews using dance and song to pray), and published in Psalms for all seasons: a complete Psalter for worship (2012) by the
Calvin Institute of Christian Worship. Middle sections of prayer and nimble dance are framed by festive outbursts.
PSALM 150 – O praise God in his holiness
Anglican Chant by The Rev. G. S. Talbot
Anglican chant is a way to sing un-metrical texts, such as prose translations of the psalms, canticles, and other,
similar biblical texts by matching the natural speech-rhythm of the words in each verse to a short piece of metrical
music. It may be fairly described as “harmonized recitative.” It is said to have the twofold purpose of enhancing
the words text and serving as an aid for both the singer and listener to attain a meditative state. Anglican Chant was
developed in England at the time of the English Reformation and appears to be an adaptation of the plainchant
method that was in common use at the time for singing the same texts but in Latin. These Latin-language texts were
also un-metrical as they too were prose translations of the earlier Greek, Aramaic, and Hebrew originals. Although
previously in more widespread use throughout the Anglican Church, today Anglican Chant is used primarily in
Anglican cathedrals and also in parish churches that have retained a choral liturgical tradition; a Gloria is customary.
page 6
O praise God in his holiness: praise him in the firmament of his power.
Praise him in his noble acts: praise him according to his excellent greatness.
Praise him in the sound of the trumpet: praise him upon the lute and harp.
Praise him in the cymbals and dances: praise him upon the strings and pipe.
Praise him upon the well-tuned cymbals: praise him upon the loud cymbals.
Let everything that hath breath praise the Lord!
Glory be to the Father, and to the Son: and to the Holy Ghost.
As it was in the beginning, is now, and ever shall be: world without end. Amen.
PSALM 150 – Let All Things Praise the LORD
Yemenite Folk Song; arr. Richard Cohn
Although instrumental music was discouraged in the Jewish liturgical tradition of ancient times, after the destruction of the Second Temple many Jews found themselves living among the Arab peoples. The Arab secular musical
style developed a rhythmical music for their poems which were accompanied by bodily motions and percussive
instruments. Gradually the Arabic type of verse and music was not only introduced into Jewish secular life but also
into the life of the synagogue. This processional suggests a performance practice that may have been used long ago.
Praise the LORD!
Praise God in His sanctuary; Praise Him in His mighty firmament!
Praise Him for His mighty acts; Praise Him according to His excellent greatness!
Praise Him with the sound of the trumpet; Praise Him with the lute and harp!
Praise Him with the timbrel and dance; Praise Him with stringed instruments and flutes!
Praise Him with loud cymbals; Praise Him with clashing cymbals!
Let everything that has breath praise the LORD.
Praise the LORD!
PSALM 133 – Hineih Mah Tov
Erik L. F. Contzius arr. by Erik L. F. Contzius, Joseph Myerov, and Sharon MacCabe
Cantor Erik Contzius serves as cantor and music director of Temple Israel of New Rochelle, New York. He previously served as cantor at Congregation Keneseth Israel in Elikns Park, Pennsylvania, and wrote this setting for the
installation of Lance J. Sussman, Ph.D. as Rabbi of that Reform congregation in 2004. This widely published and
popular modern setting has been compared to the American melody ‘Shenendoah’ for the breadth of its main tune
which welcomes community. The splendid English paraphrase text derived from the Psalm verse, and the English
translation, are by Erik Contzius. The anthem will be sung as part of an ecumenical service of worship opening the
Region I/II Convention of the American Guild of Organists in Hartford this summer. This text also closes today’s
concert in the quiet Finale of Bernstein’s Chichester Psalms. The audience is invited to sing the final refrain when directed.
Hineih ma tov, umah naim shevet achim gam yachad. Psalm 133:1
Behold how good it is when we dwell together, living as one people hand in hand;
What keeps us safe and strong is that we have each other, the human family across the land.
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PSALM 42 – Sicut cervus
Giovanni Pierluigi da Palestrina
Throughout the Middle Ages and for many centuries in the Christian church, in some traditions still to the present
day, Psalms were communicated through the highly spiritual and almost charismatic quality of Gregorian Chant,
which, in its fully developed elaborations and melismas captures a deep sighing and yearning for God. It is a kind of
singing in tongues which draws the worshipper into deep worship of a contemplative kind. The “long” elaborations
express a “longing” of the soul for deep union with God.
The great tradition of Renaissance Polyphony also shows forth a lot of this longing. Some have traced the origins of the polyphony to a kind of musical representation of an ancient philosophy known as the “music of the
spheres.” The Ancient Greek Philosophy of Plato, Pythagoras and many others had been “rediscovered” in the
Middle Ages. Among the cosmological theories they advanced was that as the planets swept through the solar system they each made a perfect tone that together created a wonderful and perfect celestial harmony. In the 16th Century Kepler and others reintroduced this ancient cosmology. This may have been one of factors that influenced the
sound of Renaissance Polyphony which captured the sounds of heaven and brought them to earth for the faithful
to contemplate and pray with. Much of it is highly mystical and can assist deep prayer and express great longing for
God. This afternoon, Palestrina’s setting is preceded by the same text sung to Gregorian chant:
Sicut cervus desiderat ad fontes aquarum: ita desiderat anima mea ad te, Deus.
As the deer longs for the waterbrooks, so longs my soul for you, O God.
My soul is athirst for God, athirst for the living God; when shall I come to appear before the presence of God?
My tears have been my food day and night, while all day long they say to me, “Where now is your God?”
I pour out my soul when I think on these things: how I went with the multitude and led them into the house of God.
With the voice of praise and thanksgiving, among those who keep holy-day. (Book of Common Prayer, 1979)
One of the great musical masterpieces of the Church, Palestrina’s setting beautifully depicts a musical “sigh.” As the
notes soar the longing builds and you can hear the choir giving an almost perfect expression of the human yearning
for God. The music comes to a peaceful end on a note of hope that one day we shall see God.
--Msgr. Charles Pope, Music to Long By: A Brief Meditation on Palestrina’s “Sicut Cervus”
PSALM 130 – Out of the depths have I called to you, O Lord (organ solo)
Herbert Howells
One of a set of Psalm-Preludes for organ, this twentieth-century English music describes a fervent prayer with the
full dynamic range of the instrument, from the anguished “Lord, hear my voice” to the peaceful reassurance that
the prayer has been heard. Howells’ son died at age nine from polio, and this music was written three years afterwards, in 1938, the same year of completion of his choral masterpiece “Hymnus Paradisi” in his son’s memory.
PSALM 122 – I was glad Henry Purcell
Henry Purcell is honored together with Johann Sebastian Bach and George Frideric Handel with a feast day on the
liturgical calendar of the Episcopal Church on July 28. Although incorporating Italian and French stylistic elements
into his compositions, Purcell’s legacy was a uniquely English form of Baroque music. He is generally considered
to be one of the greatest English composers; no other native-born English composer approached his fame until
Edward Elgar. He was appointed Organist of Westminster Abbey at the age of twenty, and three years later he was
appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at
the Abbey. In these capacities he composed music for Royal occasions, including I was glad in 1685 for the Coronation of King James II. (Wikipedia.) I was glad contains four sections contrasting merriment and peace. Its rich texture
throughout is derived from two intertwining soprano parts in addition to alto, tenor and bass; all five parts contain
delightfully complex rhythms. There are a few daringly colorful cross-relations between the parts, jarring even to a
modern ear, for example one part singing an F-sharp while simultaneously another sings F-natural.
page 8
I was glad when they said unto me: We will go into the house of the Lord.
For thither the tribes go up, ev’n the tribes of the Lord: to testify unto Israel,
and to give thanks unto the Name of the Lord. For there is the seat of judgment:
ev’n the seat of the house of David.
O pray for the peace of Jerusalem: they shall prosper that love thee.
Peace be within thy walls: and plenteousness within thy palaces.
Glory be to the father and to the Son: and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be: world without end, Amen.
Psalm 122:1,4-7
PSALM 150 – Praise the Lord, his glories show
Peter Niedmann
In this merry setting of a hymn inspired by Psalm 150, West Hartford composer Peter Niedmann captures the
lilt of a dance in 6/8 meter, with contrasting music in the third stanza. Written for the youth choir of Church of
Christ, Congregational (UCC), Newington, where Mr. Niedmann is Music Director, it has been published as part of
GIA’s “Not for Children Only” series, affirming that this music of praise, and its message, has no age limit.
Praise the Lord, his glories show, Alleluia!
Saints within his courts below, Alleluia!
Angels round his throne above, All that see and share his love. Alleluia!
Earth to heav’n, and heav’n to earth, Alleluia!
Tell his wonders, sing his worth. Alleluia!
Age to age and shore to shore, Praise him, praise him evermore! Alleluia!
Praise the Lord, his mercies trace, Praise his providence and grace,
All that he for us has done, Loving and eternal One.
Strings and voices, hands and hearts, Alleluia!
In the concert play your parts. Alleluia!
All that breathe, your Lord adore, Praise him, praise him evermore! Alleluia!
Henry F. Lyte (1793-1847), based on Psalm 150, alt. P. Niedmann
PSALM 133 – Hineih ma tov Allan Naplan
Klezmer, a term meaning ‘instruments of music,’ is a tradition of the Ashkenazic Jews of Eastern Europe. Played
by professional musicians called klezmorim, the genre originally consisted largely of dance tunes and instrumental
display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddishspeaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924, met and assimilated
American jazz. During the initial years after the klezmer revival of the 1970s, this was what most people knew as
klezmer, although in the current century musicians have begun paying more attention to the “original” pre-jazz
traditions. Allan Naplan’s composition in this style (1995) incorporates the tradition’s lively syncopated bounce
feeling, as well as the structured progression between major and minor modes. The “lai, lai, lai” refrain is equivalent
to the “fa, la, la” of the English madrigal, not far removed from the repetition of text in the final section of the
Purcell anthem just heard. Instrumental elements have been added for today’s concert by Peter Niedmann. Hineih ma tov, umah naim shevet achim gam yachad. Psalm 133:1
How good it is for all of us to join together in song.
Let our voices raise with songs of praise that we’ll sing the whole day long.
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PSALM 118 – Bennisez-nous Dieu de lumiere
traditional Sephardic, arr. Stephen Cohen
This song originated in the Jewish community in the Bayonne area of France, and is based on an old popular
Sephardic (Spanish) tune. It is sung in the autumn around the harvest festival of Sukkot and by children who are
about to begin their Jewish studies. Stephen Cohen has written and arranged a variety of choral pieces for Jewish
choirs. Since 1982, he has sung or conducted continuously in various Jewish choral groups Sharim v’Sharot, LaShir,
the Arbel Chorale, and Kinneret.
Bennisez-nous Dieu de lumiere
Eloignez de nous les malheurs
Et sur notre famille entiere
Etendez vos saintes faveurs
Hodu L’Adonai ki tov
Ki l’olam chasdo.
Bless us G-D of light;
remove from us misfortune,
and upon our entire family
bestow your holy favors.
Praise our G-D for G-D is good;
everlasting is G-D’s kindness.
Based on Psalm 118
PSALM 117 – Laudate, Jehovam omnes gentes!
Georg Philipp Telemann
Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably
both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp
Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann’s music incorporates
several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the
forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles. Almost completely self-taught in music, Telemann became a composer against his family’s wishes. He
held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he
became musical director of the city’s five main churches.
With just two verses and sixteen words in Hebrew, Psalm 117 is the shortest of all 150 psalms. Telemann makes the
most of the brief text by setting it in three distinct movements, each giving ample opportunity for text repetition
and bearing a distinct mood, while exploiting characteristic instrumental color and rhythmic intensity of the period.
Laudate, Jehovam omnes gentes!
Laudibus efferte omnes populi!
Quia valida facta est
super nos misericordia ejus,
et veritas Domini in aeternum.
Alleluia.
Praise the Lord, all you nations;
Laud him, all you peoples.
For his loving-kindness
toward us is great,
And the truth of the Lord endures for ever.
Hallelujah!
Psalm 117
Intermission
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ORGAN PRELUDE Psalm 19
Benedetto Marcello
Born in Venice, Benedetto Marcello was a member of a noble family and his compositions are frequently referred
to as Patrizio Veneto. In 1711 he was appointed a member of the Council of Forty (in Venice’s central government),
and in 1730 he went to Pola as Provveditore (district governor). Marcello composed a variety of music including considerable church music, oratorios, hundreds of solo cantatas, duets, sonatas, concertos and sinfonias. Marcello was
a younger contemporary of Antonio Vivaldi in Venice and his instrumental music enjoys a Vivaldian flavor. This
organ piece is a transcription of Marcello’s vocal setting of Psalm 19: The Heavens declare the Glory of God.
PSALM 84 – How lovely is thy dwelling-place
Johannes Brahms
Brahms’s well-loved A German Requiem established in 1868 the practice of regular departure from the traditional
Latin text of the Requiem Mass (Missa pro defunctis, or Mass for the dead). Brahms achieved this by discarding all of
it, substituting passages of scripture which had similar or singular meaning of importance to the composer, all in
German. This movement from the Requiem is often sung in English, in the composer’s spirit of bringing sacred texts
to life in the vernacular of the hearer, which is usually but not always possible (see: Chichester Psalms)! The lyricism
of the melodies and finely constructed counterpoint of the exciting “they praise Thy name” section have made this
music an enduring favorite of choral societies, church choirs, high school choirs and orchestras. Equally as versatile
is the goal of the psalmist’s intent, which can be freely interpreted as meaning heaven, eternal life, the corporate
temporal life of a sacred community, an inspiring sacred edifice, or any combination of gateways to God.
How lovely is thy dwelling-place, O Lord of Hosts!
For my soul, it longeth, yea, fainteth for the courts of the Lord;
my soul and body crieth out, yea, for the living God.
Blest are they that dwell within thy house; they praise Thy name evermore!
Psalm
84:1,2,4
PSALM 23 – The Lord is my shepherd
Franz Peter Schubert
In this exquisite setting for four-part women’s voices of one of the most popular of all the psalms, we hear the
master composer of nineteenth-century art song (in both vocal and accompanimental writing), painting a
characteristic programmatic picture, perhaps not unlike the back cover of this program. A pool of water (at least
the equivalent of Central Air to animals in the Holy Land), peaceful grazing symbolizing contentment with our
relationship to God, and merciful deliverance from difficult times are all depicted with charming melody and
harmony, creating an overall effect as delightful to perform as to hear.
The Lord is my shepherd; I shall not want.
He maketh me to rest in green pastures:
He leadeth me beside still waters.
He giveth peace unto my soul,
He leadeth me in paths of goodness for His Name’s sake.
Yea, though I walk through Death’s dark vale of shadows,
no evil will I fear, for Thou art with me;
Thy rod and staff, they comfort me.
Thou preparest here a table for me in presence of mine enemies;
My head with oil Thou anointest; my cup runneth over;
yea, surely peace and mercy all my life shall follow me:
and I will dwell with God for evermore.
Psalm
23
page 13
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page 14
PSALM 139 – Lord, you have searched me out
Peter Stoltzfus Berton
This anthem setting of Psalm 139 was composed in honor of the fifth anniversary of The Rev. Sharon P. Blackburn
as Senior Minister of Plymouth Church of the Pilgrims, Brooklyn Heights. Searching is symbolized by the powerful pull between major and minor tonality heard in the opening triplet motive of the accompaniment. A variety of
textures and moods suits the wide emotional range of Psalm 139 and pays homage to the long history of musical
settings of the psalms, with solo, choral and chant sections. In the chant section, a duet between an adult and a child
is based on the interval of the descending minor third, which research shows to be a remarkably constant first
musical utterance of children around the world regardless of native cultural tradition. Is it not amazing that God
would know us before we are born, each in our individualities, and also give us a common first voice?
Lord, you have searched me out and known me;
you know my sitting down and my rising up; you discern my thoughts from afar.
You trace my journeys and my resting-places and are acquainted with all my ways.
Indeed, there is not a word on my lips, but you, O Lord, know it altogether.
You press upon me behind and before and lay your hand upon me.
Such knowledge is too wonderful for me; is so high that I cannot attain to it.
Where can I go then from your Spirit? Where can I flee from your presence?
If I climb up to heaven, you are there; if I make the grave my bed, you are there also.
If I take the wings of the morning and dwell in the uttermost parts of the sea,
Even there your hand will lead me and your right hand hold me fast.
For you yourself created my inmost parts; you knit me together in my mother’s womb.
My body was not hidden from you,
while I was being made in secret and woven in the depths of the earth.
Your eyes beheld my limbs yet unfinished in the womb; all of them were written in
your book; they were fashioned day by day, when as yet there was none of them.
How deep I find your thoughts, O God! How great is the sum of them!
If I were to count them, they would be more in number than the sand;
to count them all, my life span would need to be like yours.
I will thank you because I am marvelously made;
your works are wonderful, and I know it well.
Psalm 139:1-9, 12-17 (Book of Common Prayer, 1979)
PSALM 137 – On the willows (from Godspell, 1971)
Stephen Schwartz
In this poignant reminder of the emotional torture of slavery in exile, the music is written in a way to suggest the
playing of a harp, or lyre, even when a harpist is not present. The instrument of the original psalmists is in this case
a metaphor for something larger, and has been altered in some versions of the song, described by the composer in a
discussion of the music of his very popular musical:
“The adaptation of the lyric, with the change of the word lives for lyres, was suggested by the conceiver and
original director of the show, John-Michael Tebelak. I’m not sure I would make the same change today, but the
reasoning behind it was that we wanted to be clear it was their entire life that had changed for each of the disciples,
and we weren’t sure the metaphor of the “lyres” would be clear enough, particularly since we don’t get to the
explanatory line about singing the Lord’s song in a foreign land until much later in the song.”
On the willows there, we hung up our lyres
for our captors there required of us songs and our tormentors mirth,
saying: “Sing us one of the songs of Zion.”
But how shall we sing the Lord’s song in a foreign land?
Psalm
137:2-4
page 15

CONCORA to Celebrate 40th Season, 2013-2014
Maestro Richard Coffey’s Final Season as Artistic Director
    
       
        
       






       
      
          
       






Jeffrey L. Martin
Pleased to support the
St. John’s Music Series
2013-2014 season
composer
Edward B. Whittemore
[email protected]
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Mike Mahoney
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page 16
MARKETING ATLAS
Strategy + Creative Communications
Chichester Psalms
Leonard Bernstein
In June of 1964, Leonard Bernstein began a sabbatical from the New York Philharmonic, “officially free of
chore,” with “fifteen beautiful months to kill!”1 He summarized the events of his sabbatical in a colorful,
rhyming poem that appeared in The New York Times on October 24, 1965.
But not to waste: there was a plan,
For as long as my sabbatical ran,
To write a new theater piece.
(A theater composer needs release,
And West Side Story is eight years old!) …
Bernstein’s original plan had been to collaborate with
lyricists Betty Comden and Adolph Green on a musical
version of Thornton Wilder’s The Skin of our Teeth, to be
directed by Jerome Robbins.2 Unfortunately, the project
did not come to fruition. After frequent meetings all
through the fall of 1964, business talks with the producer,
and even a ten-day writing trip together to Martha’s Vineyard, the project was abandoned.3 The poem continues:
Six months we labored, June to bleak December.
And bleak was our reward, when Christmas came,
To find ourselves uneasy with our work.
We gave it up, and went our several ways,
Still loving friends; but there was the pain
Of seeing six months of work go down the drain.4
Calling the cancellation “a dreadful experience,” Bernstein wrote to David Diamond in January 1965,
“The wounds are still smarting. I am suddenly a composer without a project, with half that golden
sabbatical down the drain.”5 However, the collapse of the musical would ultimately prove to be quite
fortuitous. Bernstein, instead, produced the Chichester Psalms, a piece that he called “the most accessible,
B-flat-majorish tonal piece I’ve ever written.”6
The needed inspiration for the writing of this piece arrived in the form of a commission from the Very
Reverend Walter Hussey, Dean of Chichester Cathedral. Hussey invited Bernstein to write a piece for the
annual music festival involving the combined forces of the English cathedrals of Winchester, Salisbury, and
Chichester.7 It was here that the collapse of The Skin of Our Teeth became quite the fortunate coincidence.
Bernstein had at his disposal a wealth of discarded musical material; music from his unused sketchbook
ultimately became the basis for the thematic material in all three movements of Chichester Psalms.8 It is equally
important to note that Hussey’s request came at the ideal time, one of the few periods of relative calm in
Bernstein’s life. Had he been preoccupied with another project, he might have accepted Hussey’s invitation
only to leave it to wait for years, as had been the case with his Kaddish Symphony.9
Before the “official” premiere at Chichester on July 31, 1965, Bernstein obtained permission to give his
work a “try-out” in New York; Bernstein conducted the piece at Philharmonic Hall on July 15, with the
New York Philharmonic and the Camerata Singers, led by Abraham Kaplan. Kaplan recalls being so excited
upon seeing the score for the first time that he assuredly told Bernstein that this would become one of his
most famous and frequently performed works.10 Though Bernstein modestly dismissed it at the time as just
a twenty-minute piece, Kaplan’s prediction has held true over time; with its universal appeal and its
Broadway elements, Chichester Psalms quickly established itself as Bernstein’s most popular choral work.11
page 17
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page 18
Chichester Psalms is most definitely an eclectic work, a designation that surely would have pleased Bernstein.
The setting for the intended premiere was most certainly a Christian one. Yet, Bernstein made the choice to
use Hebrew texts, and insisted that they be sung only in Hebrew, making it a distinctly Jewish work. Marin
Alsop finds that with his “choice of a Hebrew text for a premiere in the Church of England,” we see
Bernstein’s “deep desire to embrace and include everyone in the experience.”12 In particular, his choice of
Psalms confirms Alsop’s interpretation; the texts are primarily ecumenical ones of universal appeal. A
reference to Israel occurs only once, late in Psalm 131. Psalms 23 and 100 are very commonly used in
Christian contexts. Finally, the excerpt from Psalm 133 that concludes the work implies the peaceful
coexistence of all peoples and cultures and the acceptance of all faiths.
The eclecticism designation applies equally in the musical realm. Integral to this piece are mixed meters,
characteristic of composers such as Copland and Stravinsky. The harmonic language of the orchestral
interlude that opens the third movement can be compared to that of Shostakovich with its added tones and
poignant dissonances in a tonal context.13 The frequent use of hemiola can certainly call to mind Brahms
and countless Baroque composers. Jack Gottlieb has written at length about the presence of motives from
traditional Jewish music in this and other works of Bernstein. And of course, perhaps most prominent is the
theatrical element, especially given the Broadway roots of the melodies themselves. In fact, David Stevens
feels that all of Bernstein’s large scale compositions are theatrical with a “highly varied musical language, by
turns jazzy, sentimental, austere or thunderously eruptive.”14 Paul Epstein calls Chichester Psalms “a
soundtrack” and writes of Biblical texts being “brashly set off by jazzy rhythms, pop-song harmonies, and
scat singing delivery.”15 And yet, Bernstein seamlessly weaves together these eclectic influences and styles
into a coherent and brilliant musical piece.
The text was arranged by Bernstein from the psalms in the original Hebrew. Abraham Kaplan, sensing that
this would become Bernstein’s greatest work, suggested at the time that it be published with a singable
English translation. Keeping an open mind about the idea, Bernstein asked Kaplan to prepare one. Kaplan
recalls that he “worked like a dog on it.” When it was finished, Kaplan recalls being driven by Jack Gottlieb
to Bernstein’s Westchester home, where the three of them worked on it together for about eight hours
without a break. Suddenly at one point, Bernstein stopped and said, “You know what, if they don’t want to
do it in Hebrew, let them not do it!” This proved to Kaplan that Bernstein, even though he was in show
business and often had to compromise, had a conscience when it came to composition. He knew it had to
be done only in Hebrew and would not budge on the idea.16
Chichester Psalms and the first movement in particular are noted among performers for their musical
difficulty, with the opening section of the first movement often considered one of the hardest
passages for choral tenors ever written, owing to the range of the piece, its rhythmic complexity and
the consistent presence of the strange and difficult-to-maintain parallel sevenths between the tenor
and bass parts. The seventh interval figures prominently due to its numerological importance in the
Judeo-Christian tradition (the Creation narrative, the Sabbath, Sabbattical and Jubilee years); also the
first movement is written in 7/4 meter. Despite the work’s difficulty, it is occasionally performed as
an anthem in services of choral Evensong in the most musical Anglican cathedrals.
Like many of Bernstein’s works, Chichester Psalms significantly features the harp; the full orchestral version
requires two intricate harp parts. Bernstein completed the harp parts before composing the accompanying
orchestral and choral parts, thus granting the harpists a pivotal role in realizing the music. In rehearsals,
Bernstein is noted to have requested that the harpists play through the piece before the rest of the orchestra
to emphasize the importance of the harp’s role. A reduction written by the composer pared down the
orchestral performance forces to organ, one harp, and percussion.
page 19
Introduction
The introduction (presented in the score as part of movement one) begins gathering energy. Word painting
is used in that the dissonant sevenths present in every chord sound like clanging bells, indicating that we are
being told to awaken in a deep and profound way. In the first measure, Bernstein also introduces a leitmotif
in the soprano and alto parts consisting of a descending perfect fourth, ascending minor seventh, and
descending perfect fifth. The motif conjures up images of tuning the harp and psaltery (especially the use of
perfect fourths and fifths), and is found elsewhere in the work, including the end of the first movement, the
third movement prelude, and the final a cappella section of movement three (“Hineh mah tov”) and Amen.
.‫ ַהנֵּבֶל ְוכִנּוֹר‬,‫עוּרה‬
ָ
Urah, hanevel, v’chinor.
Awake, psaltery and harp:
A-irah shaḥar!
I will rouse the dawn!
.‫שּׁחַר‬
ָ ‫ִירה‬
ָ ‫אָע‬
Psalm 108, vs. 2 (in English; vs. 3 in Hebrew)
First Movement
The first movement is in a joyous 7/4 meter, sung in a festive fashion, as is implored in the first verse of the
psalm. Its last words, “Ki tov Adonai,” recall the seventh interval presented as the main theme in the
introduction.
.‫ָאָרץ‬
ֶ ‫ָה ִריוּע לַיהוָה כָּל־ה‬
Hari’u l’Adonai kol ha’arets.
.‫שׂ ְמחָה‬
ִ ‫ִעבְדוּ אֶת־י ְהוָה ְבּ‬
.‫בּ ֹאוּ ְל ָפנָיו בּ ְִרנָנָה‬
Iv’du et Adonai b’simḥa.
Bo’u l’fanav bir’nanah.
.‫ כִּי י ְהוָה הוּא אֱֹלהִים‬--‫דְּ עוּ‬
.‫הוּא־ ָעשָׂנוּ ולא ֲאנַחְנוּ‬
D’u--ki Adonai Hu Elohim.
Hu asanu v’lo anaḥnu.
.‫עַמּוֹ וְצ ֹאן מ ְַרעִיתוֹ‬
Amo v’tson mar’ito.
.‫שׁע ָָריו בְּתוֹדָ ה‬
ְ ‫בּ ֹאוּ‬
Bo’u sh’arav b’todah.
.‫ֲחצֵר ֹתָ יו בִּתְ ִהלָּה‬
. ‫שׁמוֹ‬
ְ ‫ בּ ְָרכוּ‬,‫הוֹדוּ־לוֹ‬
ḥatseirotav bit’hilah.
Hodu lo, bar’chu sh’mo.
.‫ לְעוֹלָם ַחסְדּוֹ‬,‫כִּי־טוֹב י ְהוָה‬
Ki tov Adonai, l’olam ḥas’do.
.‫ְועַד־דּ ֹר וָד ֹר אֱמוּנָתוֹ‬
V’ad dor vador emunato.
Psalm 100
page 20
Make a joyful noise unto
the Lord, all the Earth.
Serve the Lord with gladness.
Come into His presence
with singing.
Know ye that the Lord, He is God.
It is He that has made us,
and not we ourselves.
We are His people and the
sheep of His pasture.
Enter into His gates with
thanksgiving,
and into His courts with praise.
Be thankful unto Him,
and bless His name.
For the Lord is good,
His mercy is everlasting,
And His faithfulness endures
for all generations.
Second Movement
The second movement begins with a psalm of David set in a conventional meter (3/4) with a tranquil
melody, sung by a boy and repeated by the soprano voices in the chorus. This is abruptly interrupted by the
orchestra and the low, rumbling sounds (again word painting) of the men’s voices singing Psalm 2 (also
notably featured in Handel’s Messiah). This is gradually overpowered by the soprano voices (with the
direction, “blissfully unaware of threat”) with David serenely reaffirming the second portion of Psalm 23.
However, the last measures of the movement contain notes which recall the interrupting section,
symbolizing mankind’s unending struggle with conflict and faith.
Bernstein stated explicitly in his writing that the part in movement 2 may be sung by either a countertenor
or a boy soprano, but never by a woman. This was to reinforce the Psalter’s original heading, perhaps to
suggest that the 23rd Psalm, a “Psalm of David,” was to be heard as if sung by the boy David himself, while
playing a harp. The men’s theme was adapted from material that was cut out of West Side Story.
“David” and sopranos
Adonai ro-i, lo eḥsar.
.‫י ְהוָה רֹעִי ֹלא ֶא ְחסָר‬
Bin’ot deshe yarbitseini,
‫ִבּנְאוֹת דֶּ שֶׁא י ְַרבִּי ֵצנִי‬
.‫מֵי ְמנֻחוֹת יְנַ ֲה ֵלנִי‬-‫עַל‬
‫נַ ְפשִׁי י ְשׁוֹבֵב‬
‫יַנְ ֵחנִי ְב ַמ ְע ְגּלֵי־צֶדֶ ק‬
Al mei m’nuḥot y’nahaleini.
Naf’shi y’shovev,
Yan’ḥeini b’ma’iglei tsedek,
.‫ְל ַמעַן שְׁמוֹ‬
L’ma’an sh’mo.
Sopranos
‫גַּם כִּי־ ֵאלְֵך‬
‫ְבּגֵיא ַצ ְל ָמוֶת‬
Gam ki eilech
b’gei tsalmavet,
‫ִירא ָרע‬
ָ ‫ֹלא־א‬
.‫כִּי־אַתָּ ה ִעמָּדִ י‬
‫שׁ ַענְתֶּ ָך‬
ְ ‫שׁ ְבטְָך וּ ִמ‬
ִ
.‫ֵהמָּה יְנַ ֲח ֻמנִי‬
Lo ira ra,
ki Atah imadi.
Shiv’t’cha umishan’techa
hemah y’naḥamuni.
The Lord is my shepherd, I shall not want.
He makes me to lie down
in green pastures,
He leads me beside the still waters.
He restores my soul,
He leads me
in the paths of righteousness,
For His name’s sake.
Yea, though I walk
through the
Valley of the Shadow of Death,
I will fear no evil,
for You are with me.
Your rod and Your staff
they comfort me.
Psalm 23:1-4
Tenors and basses
‫ָלמָּה ָרגְשׁוּ גוֹי ִם‬
.‫ְגּוּ־ריק‬
ִ ‫וּ ְל ֻאמִּים יֶה‬
‫י ִתְ יַצְּבוּ ַמ ְלכֵי־א ֶֶרץ‬
‫וְרוֹזְנִים נוֹסְדוּ־יָחַד‬
.‫עַל־י ְהוָה ְועַל־ ְמשִׁיחוֹ‬
‫נְנַתְּ קָה אֶת־מוֹסְרוֹתֵ ימוֹ‬
Lamah rag’shu goyim,
ul’umim yeh’gu rik?
Yit’yats’vu malchei erets,
v’roznim nos’du yaḥad
Al Adonai v’al m’shiḥo.
N’natkah et mos’roteimo,
Why do the nations rage,
and the people imagine a vain thing?
The kings of the earth set themselves,
and the rulers take counsel together
Against the Lord and against His anointed.
Saying, let us break their bands asunder,
page 21
.‫שׁלִיכָה ִממֶּנּוּ עֲב ֹתֵ ימוֹ‬
ְ ַ‫ְונ‬
‫שׂחָק‬
ְ ִ ‫שּׁ ַמי ִם י‬
ָ ‫יוֹשֵׁב ַבּ‬
.‫אֲדֹנָי י ִ ְלעַג־לָמוֹ‬
v’nashlichah mimenu avoteimo. and cast away their cords from us.
Yoshev bashamayim yis’ḥak, He that sits in the heavens laughs,
Adonai yil’ag lamo!
and the Lord mocks them!
Psalm 2:1-4
Sopranos and Altos (simultaneously with tenors and basses)
Ta’aroch l’fanai shulchan
You prepare a table before me
‫שׁ ְלחָן‬
ֻ ‫תַּ עֲרְֹך ְל ָפנַי‬
Neged tsor’rai
In the presence of my enemies,
‫נֶגֶד צ ְֹר ָרי‬
Dishanta vashemen roshi
You anoint my head with oil,
‫שּׁמֶן ר ֹאשִׁי‬
ֶ ‫שּׁנְתָּ ַב‬
ַ ִ‫דּ‬
Cosi r’vayah.
My cup runneth over.
.‫כּוֹסִי ְר ָוי ָה‬
“David”
‫אְַך טוֹב ָו ֶחסֶד‬
‫כָּל־י ְ ֵמי ִ ַחיּ ָי‬--‫י ְִרדְּ פוּנִי‬
‫שׁבְתִּ י ְבּבֵית־י ְהוָה‬
ַ ‫ְו‬
.‫לְא ֶֹרְך יָמִים‬
Ach tov vaḥesed
Yird’funi kol y’mei ḥayai
V’shav’ti b’veit Adonai
L’orech yamim.
Surely goodness and mercy
Shall follow me all the days of my life,
And I will dwell in the house of the Lord
Forever.
Psalm 23:5-6
Third Movement
The third movement begins with a conflicted and busy instrumental prelude which recapitulates the chords
and melody from the introduction; then suddenly it breaks into a gentle chorale set in a rolling 10/4
(1+ 2++, 3+ 4++) meter which suggests desert palms swaying in the breeze, or a child’s lullaby.
‫ י ְהוָה‬,‫י ְהוָה‬
‫ֹלא־גָבַהּ ִלבִּי‬
‫ְֹלא־רמוּ עֵינַי‬
ָ
‫ו‬
‫וְֹלא־ ִה ַלּכְתִּ י‬
‫ִבּגְד ֹלוֹת‬
.‫וּ ְבנִ ְפלָאוֹת ִמ ֶמּנִּי‬
Adonai, Adonai
lo gavah libi
V’lo ramu einai
v’lo hilachti
Big’dolot
uv’niflaot Mimeni.
Lord, Lord,
my heart is not proud,
Nor my eyes lofty,
neither do I aspire
to things too great
and too wonderful for me.
‫שׁוִּיתִ י‬
ִ ‫אִם־ֹלא‬
‫וְדוֹ ַממְתִּ י‬
‫נַ ְפשִׁי ְכּגָמֻל‬
.‫ֲעלֵי אִמּוֹ‬
‫ַכּ ָגּמֻל ָעלַי‬
.‫נַ ְפשִׁי‬
Im lo shiviti
v’domam’ti
Naf’shi k’gamul
alei imo.
Kagamul alai
naf’shi.
Surely I have calmed
and quieted my soul,
As a child that is weaned of
his mother.
My soul is even as
a weaned child.
page 22
‫יַחֵל יִשׂ ְָראֵל‬
‫אֶל־ י ְהוָה‬
‫ֵמעַתָּ ה‬
.‫ְועַד־עוֹלָם‬
Yaḥel Yis’rael
el Adonai
Me’atah
v’ad olam
Let Israel hope
in the Lord
From henceforth
and forever.
Psalm 131
Finale
The finale comes in from the third movement without interruption. The principal motifs from the
introduction return to unify the work and create a sense of returning to the beginning, but here the motifs
are sung pianississimo, and greatly extended in length. Particularly luminous harmonies eventually give way
to a unison note on the last syllable of the text - another example of word painting, since the final Hebrew
word, yaḥad, means “together” or, more precisely, “as one.” This same note is that on which the choir then
sings the amen, while one muted trumpet plays the opening motif one last time and the orchestra, too, ends
on a unison note (with just a hint of a major third).
‫ִהנֵּה מַה־טּוֹב‬
‫וּמַה־נָּעִים‬
‫שׁבֶת אַחִים‬
ֶ
‫אמן‬. ‫גַּם־יָחַד‬
Hineh mah tov,
umah na’im,
shevet aḥim
gam yaḥad. Amen.
Behold how good,
and how pleasant it is,
for brothers to dwell
together in unity. Amen.
Psalm 133:1
Chichester Psalms notes adapted and English translation provided for this concert from Ethan Nash’s extensive article in Choral
Journal, February 2009, by kind permission of the author and Choral Journal; and from Wikipedia (some history, descriptions of
movements). Ethan Nash has a DMA in choral conducting from the Hartt School of Music, is the director of choirs at Glastonbury High
School, and Artistic Director of the West Hartford Women’s Chorale. He is the author of the earthsongs publication, Translations and
Annotations of Choral Repertoire: Volume 4, Hebrew Texts, written with Joshua Jacobson and Gordon Paine.
<[email protected]> Hebrew layout and proofreading by Norman Schain.
Notes:
1
Leonard Bernstein, Findings, (NY: Anchor Books/Doubleday 1982), 327.
Humphrey Burton, Leonard Bernstein (NY: Doubleday Books, 1994), 343.
3
Burton, Bernstein, 343.
4
Bernstein, Findings, 237.
5
Burton, Bernstein, 343.
6
Bernstein added that if one is looking for “optimism vs. pessismism in his music,” the closest musical equivalent is tonality
versus non-tonality. Paul Myers, Leonard Bernstein, (London: Phaidon Press Limited, 1998), 137.
7
Myers, Bernstein, 136–37.
8
Dale Warland, liner notes to The Dale Warland Singers, ACC (American Choral Catalogue) 123, 1999.
9
Myers, Bernstein, 137.
10
Abraham Kaplan, interview, 8/28/06.
11
Burton, Bernstein, 349.
12
Marin Alsop, liner notes from Bernstein Chichester Psalms, Naxos, 8.559177, 2003.
13
Paul Laird, Leonard Bernstein, A Guide to Research, (New York: Routledge, 2002), 37.
14
David Stevens, liner notes, Erato Disques S.A., Paris, France 1999 3984-21669-2, 5.
15
Paul Epstein, Collegiate Chorale Concert Notes, Spring 2006.
16
Abraham Kaplan, interview 8/28/06.
2
page 23
THE ST. JOHN’S CHOIRS are well-known in the greater Hartford
community and beyond as a regional center of excellence in vocal training
and repertoire. The youth choir (ages 7 and up) receives a stipend to sing
the soprano (treble) line every other Sunday, alongside adult volunteers and
professionals on the other parts, for a flexible performing schedule aiming
at the highest standards of musical expression within a safe, supportive,
inspiring environment. Affiliated with the Royal School of Church Music in
America, the program focuses on a centuries-old tradition of music
composed originally for children’s voices alongside adults. The youth also
sing on their own once per month and for special occasions. A week-long
residential choir camp each August is a part of the program, as are choir festivals and the broadening experience of travel. The
adult choir sings on its own every other week and is open to experienced choral singers by audition. Occasionally only the men
or the women sing. These configurations allow variety of repertoire as well as breathing room in the schedule. Inquiries from
prospective singers are welcome any time, no religious affiliation necessary; call 860 523 5201 or contact [email protected].
CONGREGATION BETH ISRAEL CHOIR is a vibrant mix of vocal
enthusiasts who offer numerous blessings with their music and with their
strong connections to each other and to the community. Many of us have
been singing together for more years than we care to remember and we
embrace new members with enthusiasm and warmth – so if you want to
join us, every Wednesday from October through June call Cantor Pamela
Siskin at 860 233 8215 or contact her at [email protected]
Theodore S. Babbitt is eight and eleven/twelfths-years-old and has been singing in the Saint John’s choir
for just under two years. Teddy is a third-grader at Cherry Brook Primary School. He loves all types of music
and is apt to be heard cheerfully singing a medley of the Fauré Requiem, the Darth Vader theme from Star
Wars, and Missa Gaia. He enjoyed choir camp immensely last summer, particularly the swimming and diving,
and is excited about returning. Outside of making music, Teddy loves dogs, riding his bike, and adventuring
in the woods behind his house. Teddy sings in the choir with his two older sisters, Margaret and Christine,
and with his younger sister, Morgan, one of the group’s most recent recruits.
Margaret Beers’ musical journey has taken her to Washington D.C., England, New York City, Massachusetts
and Connecticut. For 30 years she has been a soprano in the choir of Saint John’s Episcopal Church. As a
soloist she continues to perform in the New England area, expanding her repertory to include oratorios,
opera arias and song literature in French, German, Italian, Latin, Spanish, Hebrew, and English. She has
been a frequent soloist at her childhood summer church, St. Andrew’s-By-The-Sea in Hyannis Port,
Massachusetts, and she cantors regularly at Sacred Heart Church in Suffield, CT. Recently, Margaret sang
in a Shabbat Service with the choir of Congregation Beth Israel. She studies with Myrna Reynolds of West
Hartford, and Doris Jung Popper of New York City.
Jennifer Delmhorst Berton studied voice, flute, and piano at Packer Collegiate Institute, Manhattan School
of Music and Skidmore College. She has been a member and soloist in choirs, both sacred and secular, since
she was six years old. Enjoying a wide range, Jennifer has performed solos in all four vocal ranges. She has
performed in musical theatre since age seven, carrying leading roles throughout high school before turning
to directing and producing, including vocal direction, throughout college. She also enjoyed a position as
Technical Director for all productions in the dance and musical theatre departments. A dance major in
college, Jennifer danced with Paul Taylor’s second company before hanging up her dance shoes. She began
singing with the St. John’s Choir regularly in 2011.
page 24
Farren Bratton, tenor, studied originally with Richard Donohue at Wesleyan University as a voice major
and was privileged to participate in a master class with Swiss tenor, Hughes Cuenod. He was a long term
member and section leader in the Blanche Moyse Chorale which performed exclusively as the chorus for
the New England Bach Festival, founded and directed by Mme. Moyse. As such he performed principally
at Persons Auditorium in Marlboro, VT and many times at major venues, notably Jordan Hall (Boston),
Symphony Space, Metropolitan Museum and Carnegie Hall (NYC). A Vermonter, Farren joined many local
productions, as soloist or chorister. He has been a member of the choir of Congregation Beth Israel since
December, 2012, when he and Leah (the new Director of Noah’s Ark) came to West Hartford.
Sharon Dix, as a member of CBI’s Choir since 2003, has enjoyed the opportunity to play Eliza Doolittle
in My Fair Lady, sing opera, Gershwin and croon along with classics such as “Old Devil Moon” and
“I’m Beginning to See the Light.” She has frequently worshipped as a soloist for the regular Choir Shabbat
services. Sharon has also been found onstage with The Plainville Choral Society since 2004, performing
solos in holiday concerts and decade reviews as well as playing Cinderella’s Stepsister, Barbel the Wicked
Fairy in Sleeping Beauty and the Flower Seller in The Pied Piper. Most recently she was honored to sing the
soprano aria “Domine Deus” from Vivaldi’s Gloria. Her principal joy is having her two small children sing
along as she rehearses.
Britt Emerick is a proud member of the St. John’s Youth Choir. She also sings in the Canticum Choir of
the Connecticut Children’s Chorus (CCC) at the University of Hartford. Britt performed with CCC at
the Heritage Music Festival in NYC this week. She also studies piano and viola and will perform with the
Inter-Elementary Orchestra of West Hartford at the Bushnell in May. Britt loves dancing almost as much
as music and is a member of the University of St. Joseph youth ensemble. Cats, the beach, and her
younger sister Cate also rank high on her list of favorite things. She is a fifth-grader at Bugbee
Elementary School.
Oren Givoni, music educator, tenor, and guitarist is a choral scholar at St. John’s Church. He received his
Bachelor of Science in Music Education from Western CT State University where he focused on voice and
choral methods. He also attended California Recording Institute, San Francisco, CA where he received a
Certificate in Recording Arts and has worked in professional recording studios as both a musician and engineer. Oren has served as a Cantor and Section Leader for St. Peter’s Catholic Church, Danbury, CT and for
St. John of the Cross Catholic Church, Middlebury, CT. Most recently, he has been teaching general music
and chorus in Cheshire public schools. He has studied guitar since an early age and continues to grow as
both an instrumentalist and vocalist. He is a fan of all music, highly passionate about teaching, performing and composing.
John Janeiro, baritone, is a choral
with conducting and with
John
Choralscholar
ScholaratatSt.St.John’s
John’sChurch,
Church,where
whereheheassists
also assists
theory
instructionand
forwith
the youth
He is afor
private
voice choir.
instructor,
with
conducting
theorychoir.
instruction
the youth
He isbaritone
a privatevocal
voiceartist and board
member ofbaritone
CONCORA,
and frequent
vocal
sectionofleader
for the Hartford
Chorale.
He has appeared as
instructor,
vocal artist
and board
member
CONCORA,
and frequent
vocal
soloist with
thefor
Hartford
Symphony
Orchestra
the Waterbury
Orchestra, choral section
section
leader
the Hartford
Chorale.
He hasand
appeared
as soloistSymphony
with the Hartford
leader for Yale
Graduate
and soloist
for the former
Connecticut
Opera’sleader
director,
Symphony
Orchestra
andOpera,
the Waterbury
Symphony
Orchestra,
choral section
for Willie Waters.
Last Graduate
summer, John
performed
in Connecticut
Lyric
Opera’s productions
of Pergolesi’s
Yale
Opera,
and soloist
for the former
Connecticut
Opera’s director,
Willie La Serva Padrona,
and Bach’s
Cantata.
hiredsection
throughleader,
the Waterbury
Symphony
Orchestra
serve as vocal section
Waters.
He Coffee
has also
servedHeasisvocal
soloist, assisting
conductor,
andtovocal
leader,
soloist,
assistant
conductor,
and
vocal
coach
for
the
Naugatuck
Valley
Community
coach for the Naugatuck Valley Community College Choir. Recently, he was named Artistic Director of College Choir.
the Naugatuck Valley Opera Society. He plans to develop this program by collaborating with Tutti Opera
Sheryl Simoni
been a member
of CBI her
whole
life,Tutti
as herplans
family
been
members for over fifty
Company, where “anyone
has an has
OPERAtunity
to perform.”
Next
spring,
to have
present
Pergolesi’s
years.
She
joined
the
CBI
Choir
four
years
ago
after
having
performed
with
Simsbury
comedy La Serva Padrona, with the rich, stubborn, and cranky “Uberto” sung by John Janeiro. Please Light Opera
Companywith
for twelve
years.or
She
also served as Ticket Chair, Board Member and Vice President with
contact [email protected]
any interest
questions.
SLOCO. Sheryl began her musical/theatre endevors at Hall High School with Pops and Jazz, and
continued at Southern CT State University originally as a theatre major. Her favorite musical role was as
Agnes
Gooch
in Mame.
Sheryl
is employed
she loves
and of
lives
in West
with her husband
Susan
Knapp
Thomas,
harp,
studied at at
thea job
Eastman
School
Music.
SheHartford
is a
Dennis,
daughters
Sarah,orchestral
Samantha and
and solo
theirconcert
three cats.
Sheand
is delighted
participate in the Celebration
well-known
chamber,
artist
instructortothroughout
of Connecticut
Psalms concert.
and Southern New England. As an orchestral harpist, she has enjoyed a
25-year long relationship with the Hartford Symphony where she is currently serving
her second year as Acting Principal Harp. She also plays regularly for the Rhode Island
page 25
Philharmonic, is Principal Harpist for the Waterbury Symphony, and performed as
harpist for the U.S. Coast Guard Band from 1987-2002. Her diverse performing range
contact [email protected] with any interest or questions.
Susan Knapp
Knapp Thomas,
Thomas, harp,
harp,received
studied at
EastmanDegree
Schoolfrom
of Music.
She is a School of Music. She
herthe
Bachelor’s
the Eastman
well-known
chamber,
orchestral
solosolo
concert
artist
andthroughout
instructor Connecticut
throughout and Southern New
is
a well-known
chamber,
orchestral
and
concert
artist
John
Janeiro,
baritone,
is aand
Choral
Scholar
at
St.
John’s
Church,
where he also assists
Connecticut
andorchestral
Southernharpist,
New England.
As an orchestral
she has enjoyed
a the Hartford
England.
As an
she is currently
serving asharpist,
Acting Principal
Harp with
with conducting
and with
theory
instruction
for
thealso
youth
choir.
Hefor
is the
a private
voice
25-year
longwith
relationship
Hartford
where
isplays
currently
serving
Symphony,
whom shewith
hasthe
a 25-year
longSymphony
relationship.
She she
regularly
Rhode Island
instructor,
baritone
artist
andWaterbury
board
member
ofand
CONCORA,
and frequent
vocal
her
second year
Actingvocal
Principal
She
also plays
regularly
forperformed
the RhodeasIsland
Philharmonic,
is as
Principal
Harpist
forHarp.
the
Symphony,
harpist
for the U.S.
Philharmonic,
is Principal
Harpist
for
thediverse
Waterbury
performed
section
leader
for
the1987-2002.
Hartford
Chorale.
He Symphony,
has appeared
as soloist
Coast
Guard
Band
from
Her
performing
rangeand
includes
regularaswith
showsthe
for Hartford
the
harpist
for
the
U.S.
Coast
Guard
Band
from
1987-2002.
Her
diverse
performing
range
Goodspeed
Opera
House,
touring
shows
for
the
Bushnell
and
the
Shubert
Theaters
in
Hartford
and New
Symphony Orchestra and the Waterbury Symphony Orchestra, choral section leader
for
Haven,
regular
work
forfor
thethe
Frank
Sinatra Jr.Opera
show,House,
and backup
work
for such
notables
as Judy Collins,
includes
regular
shows
Goodspeed
touring
shows
for
the
BushYale Graduate Opera, and soloist for the former Connecticut Opera’s director, Willie
group “Yes,”
the Beach
Boys,Haven,
Peter Cetera,
Johnny music
Mathissocieties,
and others.
A passionate
nell and the Shubertthe
Theaters
in Hartford
and New
CT, chamber
regular
work for instructor, she is
Waters.
has
also
as
vocal
section
leader,
assisting
conductor,
and vocal
the faculty
at
MusicMakers
Academy
in Manchester,
andthe
is soloist,
Director
and Founder
of Simsbury’s
the Frank Sinatra Jr.on
show,
andHe
backup
work served
for such
notables
as
Judy Collins,
group “Yes,”
the Beach
coach
for the
Naugatuck
Valley
Community
Recently,
he she
wasis named
Artistic Director of
Connecticut
Valley
Harp
Intensive
Summer
Camp (ctvalleyharp.com).
Boys, Brian
Wilson,
Peter Cetera,
Johnny
Mathis
andCollege
others.
AChoir.
passionate
instructor,
on the faculty
at MusicMakers
in Manchester,
College,
Centralthis
Connecticut
University, and iswith Tutti Opera
the
NaugatuckAcademy
Valley Opera
Society.Trinity
He plans
to and
develop
programState
by collaborating
Cantor
Pamela
Siskin
was
born
in
London
and
studied
music
at
Trinity
College
London,
andPergolesi’s
opera
Director andwhere
Founder
of Simsbury’s
Valley Harp
Intensive Summer
Camp (ctvalleyharp.com).
Company,
“anyone
has anConnecticut
OPERAtunity
to perform.”
Next spring,
Tutti
plansin to
present
at The London Opera Studio, attached to The Royal Opera House, Covent Garden in England. After
comedy La Serva singing
Padrona,
with the rich, stubborn, and cranky “Uberto” sung by John Janeiro. Please
with The Royal Opera for several years, she became Principal Mezzo-Soprano with the Israel
contact [email protected]
with
any
interest
or
questions.
National
Opera.
Cantor
Siskin represented
the United
Kingdom
in the International
Peter
Stoltzfus
Berton,
director,
studied
at The
University
of Michigan
School of Competition for
Young
Opera
Singers
in
Sofia,
Bulgaria.
In
1985,
she
decided
to
continue
musical and religious studies
Music and the Yale University School of Music. Integral to his training as aher
church
in the United
States as
of Assistant
America. Organist
Cantor Siskin
a student
Union College in New
musician
was serving
at thebecame
Cathedral
ChurchatoftheSt.Hebrew
Paul, Detroit,
York
City,
earning
a
Masters
degree
in
Sacred
Music
and
earned
her
investiture
in
Trinity
ChurchKnapp
on the Green,
New harp,
Haven,studied
and SaintatThomas
Church Fifth
Avenue,
NewDuring
Susan
Thomas,
the Eastman
School
of 1989.
Music.
She her
is astudies
she
served
pulpits
in
East
Falmouth,
Massachusetts,
as
well
as
at
Temple
Ner
Tamid
in
Bloomfield,
New
York.well-known
Prior to coming
to St. John’s
Church, West
Hartford
in October
2010,
he held
chamber,
orchestral
and
solo
concert
artist
and
instructor
throughout
Jersey,
beforepositions
joining Congregation
Beth Israel,
West Hartford,
where she
became
Cantor and Director
music
director
at All Saints Church,
Worcester,
Massachusetts,
Christ
Episcopal
Connecticut
and
Southern
New
England.
As
an
orchestral
harpist,
she has
enjoyed a
For
Lifelong
Learning.
Cantor
Siskin
became
an
American
Citizen
in
1993
and
has
served
Congregation
Church, Los Altos, California, and Plymouth Church of the Pilgrims, Brooklyn Heights,
Beth
for
almost
sixteen
years.
25-year
long
relationship
with
therecitalist
Hartford
Symphony
where
is currently serving
New York. He is active
asIsrael
a composer,
choral
clinician,
organ
and recording
artist,
and isshe
a singing
her
year as
Acting
Principal
Harp. She
member of and organist
forsecond
Mastersingers
USA,
a men’s
touring ensemble.
Healso
is anplays
adjunctregularly
faculty for the Rhode Island
Natasha
Ulyanovsky,
pianist,
organist
and
conductor,
is
a
graduate
of
Odessa
of the
member of the Vocal Performance
Department
of theHarpist
Hartt School,
andWaterbury
associate organist
at the Conservatory,
Parish
Philharmonic,
is Principal
for the
Symphony,
and performed
as
former
U.S.S.R.,
and
undertook
further
music
studies
at
the
Moscow
Conservatory,
at
Speyer
Cathedral,
of St. Peter Claver in West
Hartford.
harpist
the U.S.College,
CoastOxford.
GuardBefore
Band emigrating
from 1987-2002.
Her diverse
Germany
andfor
at Queen’s
from the U.S.S.R.
in 1989performing
she was an range
includes
shows
the Goodspeed
House,pianist
touring
shows with
for the
Bushorchestra
artistregular
and vocal
coach for
at Odessa
Opera House,Opera
and a concert
and organist
Moscow
Soyuzconcert
concertand
management
for professional
musicians)
concertizing
She hasfor
nell and the Shubert
Theaters(the
in state
Hartford
New Haven,
CT, chamber
music
societies,worldwide.
regular work
released
recordings
on
the
Melodia
label.
In
1980
Mrs.
Ulyanovsky
became
a
chief
organist
at
Pitsunda
the Frank Sinatra Jr. show, and backup work for such notables as Judy Collins, the group “Yes,” the Beach
Hall of the Abkhazian Republic, where she earned a title of Honored Artist in1988. Mrs. Ulyanovsky has
Boys, Brian Wilson,
Peter Cetera, Johnny Mathis and others. A passionate instructor, she is on the faculty
also concertized in Hungary, Italy, Russia, Ukraine, Georgia, Armenia, Lithuania, and throughout New
at MusicMakers Academy
Manchester,
College,Twoand
Central
State
England. Inin2004
she appearedTrinity
in the program
Nations
– OneConnecticut
Love at Carnegie
Hall,University,
NYC. She isand
the is
Director and Founder
Connecticut
Valley
Harp Intensive
Camp
(ctvalleyharp.com).
founderofofSimsbury’s
the ‘Alla Breve
Opera & Consort’
Company.
Since 1999Summer
she has held
the position
of Music
Director at Congregation Beth Israel. She was honored in 2011 by the CT Immigrant and Refugee
Coalition for her outstanding contributions to the community of the State of CT.
Peter
Stoltzfus
Berton,
studied
at The University
of Michigan
School
of
Peter
Stoltzfus
Berton
studied atdirector,
The University
of Michigan
School of Music
and the Yale
University
Music
the
Yale University
of Music.
to as
hisAssistant
training
as a church
School
of and
Music.
Integral
to his trainingSchool
as a church
musicianIntegral
was serving
Organist
at the
Cathedral
Church
of
St.
Paul,
Detroit,
Trinity
Church
on
the
Green,
New
Haven,
and
Saint
Thomas
Church
musician was serving as Assistant Organist at the Cathedral Church of St. Paul, Detroit,
Fifth
Avenue,
New York.
Hallmarks
his career
have and
been Saint
the development
of intergenerational
choral New
Trinity
Church
on the
Green,ofNew
Haven,
Thomas Church
Fifth Avenue,
programs in the modern Anglican tradition, and production of multiple-choir festivals. Prior to coming to
York. Prior to coming to St. John’s Church, West Hartford in October 2010, he held
St. John’s Church, West Hartford as Music Director in October 2010, he held similar positions at All Saints
musicWorcester,
director MA,
positions
at All Saints
Church,
Worcester,
Massachusetts,
Episcopal
Church,
Christ Episcopal
Church,
Los Altos,
CA, and Plymouth
Church ofChrist
the Pilgrims,
Church,
Los Altos,
Plymouth
of therecitalist
Pilgrims,
Brooklynartist,
Heights,
Brooklyn
Heights,
NY. HeCalifornia,
is active as a and
composer,
choral Church
clinician, organ
and recording
and
is
a
singing
member
of
and
organist
for
Mastersingers
USA,
a
men’s
touring
ensemble.
He
is
Associate
New York. He is active as a composer, choral clinician, organ recitalist and recording artist, and is a singing
theMastersingers
Church of St. Peter
Claver
in Westtouring
Hartford.
He lives in He
WestisHartford
with faculty
his wife Jenn,
member of and Organist
organistoffor
USA,
a men’s
ensemble.
an adjunct
two musical daughters, two cats, and model trains.
member of the Vocal Performance Department of the Hartt School, and associate organist at the Parish
of St. Peter Claver in West Hartford.
page 26
A Celebration of Psalms – The Psalmists
CONGREGATION BETH ISRAEL
and *TEMPLE BETH EL
ST. JOHN’S EPISCOPAL CHURCH
and *YOUTH CHOIR
FESTIVAL CHAMBER
ORCHESTRA
Cantor Pamela Siskin, Musical Director
Natasha Ulyanovsky, Musical Director
Peter Stoltzfus Berton,
Music Director
Violin I
Martha Kayser
Bruna Myftarij
SOPRANO
Beverly Silver
Mary Silverberg
Emily Forman
Deena Sisitsky
Barbara Friedman
Sharon Dix
Jennifer Mailly
Michelle Meyer
Leah Bratton
SOPRANO
Christine Babbitt*
Margaret Babbitt*
Morgan Babbitt*
Teddy Babbitt*
Margaret Beers
Sophie Berton*
Claire Brouillard*
Britt Emerick*
Cate Emerick*
Emma Evica*
Madeline Green*
Anne Harney
Corinne Harney
Whitney Perrine
Daaé Ransom*
Kali Ransom*
ALTO
Diane Dolin*
Judy FitzGerald
Carol Hatch*
Dianne Friedman
Adlyn Loewenthal
Myra Panitch
Michele Rosenberg*
Sheryl Simoni
Pamela Siskin
TENOR
Farren Bratton
Mitch Cohen
Fred FitzGerald
Barbara Mindell
Joshua Youdovin*
BASS
Jim Friedman
Harold Geeter*
Norman Schain
Marc Silver
Joseph Panitch
ALTO
Jennifer Berton
Carrie Hammond
Cynthia Mellon
Ben Rechel
TENOR
Lynn Brooks
John Church
Oren Givoni
Jeff Martin
BASS
Philip Chapman
John Janeiro
Hal Rives
Violin II
Marianne Vogel
Candace Lammers
Violin/Viola
Jessica Heller
Douglas Johnson
Cello
Kathy Schiano
Bass
Jared Gardner
Harp
Susan Knapp Thomas
Percussion
Martin Elster
Organ/Piano
Peter Stoltzfus Berton
Natasha Ulyanovsky
(see the next two pages
for all of the other vital
‘players’ participating)
Contractor
Kathy Schiano,
Millennium Music
page 27
THE ORGAN OF ST. JOHN’S EPISCOPAL CHURCH, WEST HARTFORD
Austin Organs, Inc. Opus 2761 (1995) contains three manuals, 64 ranks, 51 stops, and 3,721 pipes. It is the third
Austin organ to serve the congregation; the original 1909 organ, new with the building, was replaced in 1950 with
a new instrument given by Hartford’s Austin organbuilding family to its home parish. After a fire in October 1992
destroyed much of the pipework, Austin again rebuilt the instrument, updating it in many respects, with a robust
French aesthetic reflected in the nomenclature. Salvaged pipes * below were revoiced from the 1950 instrument.
A simplified auxiliary console, invisible to the left of the orchestra, is used this afternoon for all but the organ solos.
Honoring Ralph Valentine (Music Director, 1976-2010), it improves hearing and sight lines with instrumentalists.
GRAND ORGUE (Manual I), chancel left – 4 1/2” wind
16’
Violon *
61 pipes
8’ Montre
61 pipes
8’
Violon (ext. 16’ Violon) *
12 pipes
8’ Flûte Harmonique 61 pipes
8’ Bourdon 61 pipes
8’
Cor de Chamois*
61 pipes
4’ Prestant 61 pipes
4’ Flûte Ouverte 61 pipes
2 2/3’ Quinte *
61 pipes
2’
Doublette *
61 pipes
1 3/5’ Tierce 49 pipes
1 1/3’ Fourniture IV 244 pipes
8’ Bombarde (ext. Pédale) 29 pipes
8’
Trompette en chamade †
74 pipes
Cloches (digital)
32 notes
† 2 1/2” wind (ANT), 13 double trebles
POSITIF (Manual II), chancel right, near – 3 1/2” wind
8’
Principal *
61 pipes
8’ Flûte Bouchée 61 pipes
8’
Flûte Douce *
61 pipes
8’
Flûte Céleste *
49 pipes
4’ Octave
61 pipes
4’
Flûte à Fuseau *
61 pipes
2 2/3’ Nasard *
61 pipes
2’ Doublette 61 pipes
2’
Quarte de Nasard *
61 pipes
1 3/5’ Tierce *
61 pipes
1’
Sifflet (prep., ext. 2’ Quarte)
61 notes
2/3’ Cymbale IV 244 pipes
8’
Cromorne *
61 pipes
Clochettes (8 bells)
8’ Trompette Harmonique 15” wind 61 pipes
8’
Trompette en chamade ANT
Tremblant
ANTIPHONALE (floating), over Narthex – 2 1/2” wind
8’ Montre
61 pipes
8’
Bourdon en Bois *
61 pipes
4’ Prestant 61 pipes
2’
Flûte à Bec 61 pipes
Fourniture IV 244 pipes
page 28
RÉCIT (Manual III), chancel right, far – 5” wind
16’
Bourdon Doux (ext. 8’ Flûte) * 12 pipes
8’
Principal *
61 pipes
8’ Flûte à cheminée 61 pipes
8’ Viole de Gambe 49 pipes
8’
Voix Céleste *
61 pipes
4’
Octave *
61 pipes
4’
Flûte Octaviante *
61 pipes
2’ Octavin 61 notes
2’
Piccolo Harmonique *
61 pipes
1 1/3’ Larigot 61 pipes
2’ Plein Jeu IV (draws Octavin) 183 pipes
16’
Basson * 61 pipes
8’
Trompette *
61 pipes
8’
Hautbois (ext. 16’ Basson) 12 pipes
4’
Clairon *
61 pipes
8’
Voix Humaine * 4” wind
61 pipes
Voix Humaine Tremblant
Tremblant
ANT
8’
Trompette en Chamade PÉDALE, primarily chancel left – 4 1/2” wind
32’
Flûte Ouverte (digital)
32 notes
32’
Contre Bourdon (digital) 32 notes
16’
Contre Basse *
32 pipes
16’ Soubasse 32 pipes
16’
Violon GD. ORGUE
16’Bourdon (ANT) *
12 pipes
16’
Bourdon Doux
RÉCIT
10 2/3’ Quinte (ext. Bourdon Doux) RÉCIT
8’ Octavebasse 32 pipes
8’
Flûte Couverte (ext. Soubasse) 12 pipes
8’
Flûte à Cheminée RÉCIT
8’
Cor de Chamois
GD. ORGUE
4’
Basse de Chorale *
32 pipes
4’
Cor de Nuit 32 pipes
Fourniture III 96 pipes
32’
Contre Bombarde (digital) 32 notes
16’ Bombarde 32 pipes
16’
BassonRÉCIT
8’ Bombarde (ext.)
12 pipes
8’
Trompette en Chamade ANT
8’ Trompette RÉCIT
4’Cromorne POSITIF
THE ORGAN OF CONGREGATION BETH ISRAEL, WEST HARTFORD
Austin Organs, Inc. Opus 1853 (1934) contains four manuals, 45 ranks, 43 stops, and 3,059 pipes. It was designed by
noted tonal designer James B. Jamison, and received a coveted citation from the Organ Historical Society in 2004.
Historian Orpha Ochse devoted a sizeable section of her book, Austin Organs (2001), to the Beth Israel Austin.
Dr. Ochse relates the importance of the organ as an early example of a transitional tonal design, bridging the older
orchestral emphasis and moving toward a more classical ensemble. The unenclosed independent Great Diapason
chorus was unusual for its day. Since 2002, the congregation has demonstrated its commitment to the historic
integrity of the instrument by gradually restoring the actions and bellows, and by replacing missing Echo pipe work
with vintage Austin (all except the Shofar had been badly damaged during an air conditioning installation).
GREAT (Manual II)
16’
Open Diapason 73 pipes
8’ First Open Diapason 73 pipes
8’ Second Open Diapason * 73 pipes
8’
Violoncello * 73 pipes
8’ Claribel Flute *
73 pipes
8’ Gemshorn *
73 pipes
4’ Octave 73 pipes
4’ Harmonic Flute * 73 pipes
2 2/3’ Twelfth 61 pipes
2’
Super Octave 61 pipes
Grave Mixture III 183 pipes
8’ Trumpet * 73 pipes
Chimes (From Echo) 25 notes
* = Enclosed in Choir swellbox
SWELL (Manual III)
16’ Bourdon 8’ Open Diapason 8’ Stopped Diapason 8’ Salicional 8’
Voix Celeste 8’
Aeoline 4’ Octave 4’
Orchestral Flute 2’ Flautino 16’
Posaune 8’ Horn 8’
Oboe 4’
Clarion Tremolo
CHOIR (Manual I)
8’
Violin Diapason 8’
Viola d’Gamba 8’
Concert Flute 8’
Flute Celeste 8’
Dulciana 8’
Unda Maris 8’
Flute d’Amour 2’ Harmonic Piccolo 8’
Clarinet 8’ Corno d’Amour Harp 8’ Harp Celesta 4’ Tremolo
73 pipes
73 pipes
73 pipes
61 pipes
73 pipes
61 pipes
73 pipes
61 pipes
73 pipes
73 pipes
61 bars
61 notes
PEDAL
32’
Resultant 16’ Open Diapason 32 pipes
16’
Second Open GREAT
16’
Violone (Ext. Great) 12 pipes
16’ Bourdon 32 pipes
16’
Lieblich Gedeckt SWELL
8’
Octave (Ext. Open Diapason) 12 pipes
8’
Major Flute (Ext. Bourdon) 12 pipes
8’
Violoncello GREAT
8’
Minor Flute GREAT
16’
Trombone (Ext. Great) 12 pipes
16’
Posaune SWELL
8’
Trumpet GREAT
73 pipes
73 pipes
61 pipes
73 pipes
61 pipes
ECHO, continued
8’
Shofar special scale 9” wind
25 pipes
This unique two octave stop reproduces the sound of
the Ram’s Horn used on Holy Days (compass G to G)
Chimes 25 tubes
ECHO (Manual IV), rear
8’
Gedeckt 8’
Muted Viole 8’ Vox Angelica 4’
Chimney Flute 8’
Vox Humana 73 pipes
73 pipes
73 pipes
73 pipes
61 pipes
73 pipes
73 pipes
73 pipes
61 pipes
73 pipes
73 pipes
73 pipes
73 pipes
page 29
At a dedication of identical bronze plaques in the Meeting House of
First Congregational Church and at Congregation Beth Israel, in two
stirring West Hartford services one at each location on September 28,
1947, it was proclaimed that “now, through many generations, while
this noble edifice stands, the thousands and tens of thousands who
will cross its threshold will be reminded weekly of the possibility and
practicability of brethren dwelling together in amity, in courtesy, in
mutual reverence and respect.
In the sublime realization that over and above creeds – and they are
important – although by their very nature they divide – over and above
creeds, there is God who is the Creator and Father of us all, and that
however differently we define Him and apprehend Him, it is the same
Father we adore, it is the same Creator whom we praise, the same
Judge, the same Teacher, the same Master whom we seek to follow.
It is good to learn, as did many out of this experience that we have had
together, that there is no Jewish God and there is no Christian God;
there are only Jewish and Christian conceptions and definitions of
God. God is One, the same for Jew and Christian and for Moslem;
and that, in the words of Isaiah inscribed on this plaque, God’s house,
any house dedicated to His holy name can be, and is, a house of prayer
for all peoples.”
page 30
COMING EVENTS
Saturday, June 1, 5:00 p.m. CitySingers of Hartford presents a concert at St. John’s Church entitled A Chorus of Peace,
with instrumentalists, Peter Stoltzfus Berton, organist, and the Sankofa Kuumba Dance Ensemble. Voluntary offering.
Sunday, June 30, 8:30 p.m. The Region I/II Convention of the American Guild of Organists presents
international concert organist Isabella Demers in a recital at St. John’s Episcopal Church opening the four-day
convention. A limited number of tickets will be available at the door.
Wednesday, July 17 Sacred Music at the Red Door and the St. John’s Parish Life Committee are organizing another
summer hymn sing, from 6:00 to 7:30 p.m., with ice cream refreshment in the Cloister Garden. To cast a vote
for your favorite hymn(s), please send an email of up to five suggestions to [email protected], to be added to the
material being assembled. Someone has already suggested a repeat of last summer’s favorite, “Drop-kick me, Jesus,
through the goal posts of life.” (Yes, it really exists!) Mark your calendars and invite a friend to the fun. Free
Congregation Beth Israel presents a series of Organ Meditations on the second Friday of each month, October
through May, from 7:00 to 7:30 p.m. preceding Shabbat services, with organist Natasha Ulyanovsky and guests. Free
Wednesday, October 30, 7:30 p.m.
Sacred Music at the Red Door presents a
FOUR CHOIRS FESTIVAL featuring
Hereford Cathedral Choir, joined
with the St. John’s Choirs and those of
Trinity Church, Hartford and St. James’s
Episcopal Church, West Hartford.
A sublime evening of music from one of
England’s finest Cathedral Choirs
(host of the triennial Three Choirs Festival
nearly 300 years running), with a
120-voice finale of boys, girls and adults
trained in the Anglican choral tradition.
Sunday, December 8 at 5:00 p.m. Advent Procession of Lessons and Carols at St. John’s Church
Sacred Music at the Red Door –
­ 2014
The Bonifantes Boychoir from the Czech Republic (late February or early March, tour dates to be confirmed)
Benefit Concert for the combined Haiti ministries of St. John’s Church and the Church of St. Peter Claver,
West Hartford, with St. Peter Claver’s Cantor Marian Maccarone, soprano, and Peter Stoltzfus Berton, piano.
Lighter music from the “Great American Songbook” in Hubbard Hall, with refreshments! Date to be announced.
Sunday, May 4, 2014 at 4:00 p.m.
Celebrating Connecticut Composers, a concert combining the St. John’s Choirs,
the Choir of Church of Christ, Congregational (UCC), Newington, members of CitySingers of Hartford,
and chamber orchestra including works by Douglas Johnson (Trinity College, Hartford), John Abdenour
(St. Paul’s Episcopal Church, Fairfield), Peter Niedmann’s Five New England Songs (recently premiered
by The Chorus of Westerly), and the premiere of A Poet’s Requiem by Peter Stoltzfus Berton.
page 31
Congregation Beth Israel acknowledges with gratitude
generous support of music by Frankie and Bob Goldfarb
acknowledges with gratitude the following donors
for the Season 2012-2013
Received or Pledged as of April 30, 2013
Including special donations made to the Storm Sandy Benefit Concert, November 2012
Heavenly Host
Drs. Geoffrey and Karan Emerick
The Hammond Family
Alex and Patricia Vance
Seraphim
Kim and Chris Byrd
Tom & Kay Cox
Christine M. Doty
The Paul Glover Family
Ross & Susie Hatch
The Rev'd Joseph L. Pace
Curt Blood and Louise Penfield Blood
in loving memory of
Paul Duncan Parsons, Jr., Anita Dahlgren Parsons,
and their daughter Barbara Jean Parsons, who loved to sing
Marilyn Pease
in memory of Charles Austin Pease, 2nd
Ms. Suzanne Gates
in honor of CitySingers of Hartford
Cherubim
Jane M. Bartlett
in memory of Harry O. Bartlett
Mr. and Mrs. David Booth Beers
Lynn & Lissie Brooks
Mr. & Mrs. Stephan Christiansen
Halsey Cook
in memory of Rodney Hansen
Trig and Sam Cooley
Keith and Cindy Davis
Mr. John V. Frank
The Murchie Family
Lil Nolan
Hal Rives and Marki Ware
John and Laura Roche
Ralph and Lynne Valentine
Archangel
Miss Helen P. Cooke
Mr. & Mrs. Joseph E. Sichler III
Lyn Walker and Tyler Smith
Mrs. George Stoughton
Susan Knapp Thomas
Mrs. James E. C. Walker
Angel
Marcie and Stephen Ashford
in memory of Margaret Ashford
Janet and Brad Babbitt
Peter Stoltzfus Berton & Jennifer Delmhorst Berton
page 32
Barbara and George Delmhorst
Janet Erb
The Brouillard Family
Charles and Bette Hardersen
Mr. Douglas K. S. Hyland
Nina Rosselli Del Turco
James E. Miller and Faith Ann Weidner
Mark R. Proft
in loving memory of Virginia E. Proft
Lorrie and Phil Roberts
Friend
Anonymous
Susan and Brian Clemow
Mr. and Mrs. Robert R. Connolly
John and Cathy Earnhardt
Kristie Harrington
The Musical Club of Hartford
Frisha Hugessen
The Mahoney Family
Audree and Stephen Raffay
M. David Samples
in memory of Wayne F. Maxwell, Jr.
Mr. Paul Shaker and Mr. Cleveland Williams
Mr. & Mrs. John W. Stoltzfus
Patricia Struglia
Ms. Edith Taylor
Supporter
Ellen Brown
Mr. & Mrs. John Church
Mary Pan
Barclay Wood
Contributions have been received in memory of William G. Abbott III from:
Janet M. Amadon; Board of Directors, 18 Hole Ladies Group, and Members of the Country Club of Farmington;
Mr. and Mrs. Carl E. Heidt, Elizabeth S. Kelly; Mr. and Mrs. George Mason; Barbara H. McDonnell;
Dean’s Office at the Maxwell School of Syracuse University; Nancy Morrell; Herbert F. O’Connell; Emily W. Rankin; Mrs.
Anne T. Shafer; Mr. and Mrs. Richard Spencer; Stephen and Laura Spencer; Nina H. Webber;
Elizabeth C. Valentine; William and Diann Weinke
Contributions have been received in honor of the Shaker/Williams Wedding from:
Mr. and Mrs. Robert R. Connolly; Mrs. James E. C. Walker; Ms. Janet Willard
Community Patrons
In addition to the advertisers throughout this program booklet, Sacred Music at the Red Door is grateful to these
West Hartford institutions who have supported the music through sponsorship of the West Hartfordopoly
board game, available at the Reception after today’s concert for a special price of $20 per game.
It is also available at St. John’s Episcopal Church, Tangiers International Market,
and The Toy Chest in West Hartford Center, for $25 per game.
American School for the Deaf
Barcelona
Blue Acorn
Bricco
Church of St. Peter Claver
The Claypen
Conard High
Congregation Beth Israel
Cub Scout Pack 46
Deswani Clothiers
Elbow Room
Grant’s
The Greeting Shoppe
Hall High
Harvey’s Wine and Liquor
Jimmie’s Pizza
Joanne Hoye
Kimberly Boutique
Kingswood-Oxford School
Lisa Campo
Lyons Service Corp
Molloy Funeral Home
Max Burger
McLadden’s Irish Publick House
Metcalfe’s Custom Framing
Modern Tire
Moscarillo’s of West Hartford
Murtha Cullina LLP
Noah Webster House and West
Hartford Historical Society
La Petite France
Pfau’s Hardware
RLMCo Real Estate
Sacred Movement Yoga Studio
Shish Kebab House of Afghanistan
Silkworm
Suburban Pharmacy
Sugar Bead
Sugarbelle
Tangiers International
Taylor & Modeen Funeral Home
Toy Chest
Universal Connectivity
William Raveis Co.
Yellow House Vogue LLC
Sacred Music at the Red Door Committee:
Jane Bartlett
Thomas Cox III
Karan Emerick, Chair
Mei-wa Cheng
Kristie Harrington
Richard Knapp
Susan Knapp Thomas
The Rev’d Joseph L. Pace
Hal Rives
Peter Stoltzfus Berton, Artistic Director
Please join us for future events listed online
and in our Series Brochure, and tell a friend!
To be added to a blind-copy email Series Event
Reminder list, please send an email to
[email protected]. Our list is not used for
any other purpose nor shared with other
organizations.
Follow us
“One of the signs that a community has made it is when we have our
own version of Monopoly,” said Mayor Scott Slifka, pictured above
with St. John’s parishioners Ginger and Catie Gillespie. “It’s really nice
to be able to combine a game everybody loves with locations everybody knows and loves.” WestHartfordopoly is produced by Pride
Distributors, a Michigan company that publishes the game by agreement with Parker Brothers. Sacred Music at the Red Door worked on the
project to help support some local small businesses, institutions, the
church’s youth choir scholarships, and its music series. West Hartford News