REQUIEM LUX AETERNA - Memphis Masterworks Chorale

M E M P H I S
M A S T E R W O R K S
P R E S E N T S
REQUIEM
MAURICE DURUFLÉ
LUX AETERNA
MORTEN LAURIDSEN
F E B R U A R Y 1 3 , 2015
SECOND PRESBYTERIAN CHURCH
featuring the MEMPHIS MASTERWORKS CHORALE & ORCHESTRA
with the COLLIERVILLE HIGH SCHOOL CHAMBER CHOIR
and the OVERTON HIGH SCHOOL CHAMBER CHOIR
The music ministry of Second Presbyterian Church
created the Memphis Masterworks Chorale to continue
our longstanding tradition of presenting sacred
masterworks for chorus and orchestra.
The goal of the Chorale is to involve talented singers from all walks of life to participate in these
enriching and edifying works of sacred art. We aim to utilize and respect the time of singers
who may be involved in other organizations or church choirs without stretching their rehearsal
commitments beyond what is needed to fully prepare for a given concert. We also aim to
welcome supporters and audiences from the greater community and from sister churches.
Apply online at www.memphismasterworks.org through October 15, 2015 to be a part of the
2016 concert: Mendelssohn’s Elijah.
DEAR FRIENDS AND GUESTS,
Welcome to Second Presbyterian Church for the fourth annual concert of the Memphis
Masterworks Chorale. We hope you will enjoy the beauty of this music, the message of
the scripture set to music, and the ambiance of our sanctuary this evening.
Tonight marks an important musical and community collaboration. It is a great joy and
honor to partner with two distinguished high school choirs: the Collierville High School
Chamber and the Overton High School Concert Choir. These groups will join us on
two modern pieces of sacred music that have just recently entered into the “masterworks” status.
Both pieces were written for choir and orchestra in the 20th century. Like many of the great
compositions, they are deep in their musical and theological language. This is obvious because of
the weight of the texts used: Requiem and Lux Aeterna. Both pieces are considered in the liturgical
tradition to be reflections on those saints who have gone before us. We have adjusted the texts to
better reflect a posture of remembering those who had a faith in our Lord, Jesus Christ, rather than
praying to them.
I hope the mood of the music and the poignancy of these ancient texts will be powerful for each
listener tonight as you may personally remember those who have gone before us as Christ’s
followers. Even more, I pray that you will enjoy the opportunity to reflect on the love of Christ Himself,
and the redemption He has provided for us in His own death and passion.
We invite you to discover our musical and worship events at Second Presbyterian Church. Our music
ministry offers opportunities for musicians and listeners alike through our various offerings, including
the Memphis Masterworks Chorale. For more information, we invite you to visit our website at
www.2pc.org/music or www.memphismasterworks.org.
We pray that you will be inspired by the music and message of the text tonight.
In Christ,
Dr. Gabriel C. Statom
Artistic Director of Memphis Masterworks Chorale
and Director of Music, Second Presbyterian Church
Grant to Thy faithful,
those trusting in Thee,
Thy sacred seven-fold gifts.
Grant the reward of virtue.
Grant the deliverance of salvation.
Grant everlasting joy.
– from Veni, Sancte Spiritus
REQUIEM
LUX AETERNA
featuring the MEMPHIS MASTERWORKS CHORALE & ORCHESTRA
with the COLLIERVILLE HIGH SCHOOL CHAMBER CHOIR
and the OVERTON HIGH SCHOOL CHAMBER CHOIR
Please silence all electronic devices at this time.
Hold applause until the end of each work.
R E QUI E M , O PU S 9
Maurice Duruflé (1902-1986)
Terri Theil, mezzo-soprano; Kyle Ferrell, baritone
INTROIT
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Te decet hymnus Deus in Sion,
et tibi redetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Rest eternal is granted to them, O Lord,
And let perpetual light shine upon them.
A hymn befits thee, O God in Zion.
And to thee a vow shall be fulfilled in Jerusalem.
Hear my prayer,
For unto thee all flesh shall come.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
KYRIE
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
DOMINE JESU CHRISTE
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium defunctorum
de poenis inferni, et de profundo lacu.
Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum.
Sed signifer sanctus Michael
repraesentet eas in lucem sanctam,
quam olim Abrahae promisisti, et semini ejus.
Hostias et precestibi, Domine, laudis offerimus.
Tu suscipe pro animabus illis,
quarum hodie memoriam facimus;
fac eas, Domine, de morte transire ad vitam,
quam olim Abrahae promisisti et semini ejus.
Lord Jesus Christ, King of glory,
Liberate the souls of all the faithful
From the pains of hell and from the deep pit;
Deliver them from the lion’s mouth;
Let not hell swallow them up,
Let them not fall into darkness:
But let Michael, the holy standard-bearer,
Bring them into the holy light,
Which thou promised to Abraham and his seed.
Sacrifices and prayers of praise, O Lord, we offer to Thee.
Receive them, Lord, on behalf of those souls
We remember this day.
Grant us, O Lord, to pass from death unto life,
Which thou promised to Abraham and his seed.
RE Q UIE M, OP U S 9
SANCTUS
Sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Holy, Holy, Holy, Lord God of Hosts.
Heaven and earth are full of thy glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
PIE JESU
Pie Jesu Domine,
dona eis requiem sempiternam.
Merciful Lord Jesus,
Granted to them is rest eternal.
AGNUS DEI
Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.
Lamb of God, who takest away the sins of the world,
Grant us eternal hope and rest.
LUX AETERNA
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum:
quia pius es.
Requiem aeternam, dona eis Domine,
et lux perpetua luceat eis.
May light eternal shine upon us, O Lord,
In the company of thy saints forever and ever,
For thou art merciful.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
LIBERA ME
Libera me, Domine, de morte aeterna,
in die illa tremenda,
quando coeli movendi sunt et terra,
dum veneris judicare saeculum per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit,
atque ventura ira.
Dies illa, dies irae,
calamitatis et miseriae,
dies magna et amara valde.
Dum veneris judicare saeculum per ignem.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Deliver me, O Lord, from death eternal,
On that dreadful day:
When the heavens and the earth shall quake,
When thou shalt come to judge the world by fire.
I am seized by trembling, and I fear
Until the judgment should come,
And I also dread the coming wrath.
O that day, day of wrath,
Day of calamity and misery,
Momentous day, and exceedingly bitter,
When thou shalt come to judge the world by fire.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
IN PARADISUM
In Paradisum deducant Angeli,
in tuo adventu suscipiant te martyres,
et perducant te in civitatem sanctam Jerusalem.
Chorus Angelorum te suscipiat,
et cum Lazaro quondam paupere
aeternam habeas requiem.
May the angels lead us into paradise;
May the martyrs welcome us upon our arrival
And lead us into the holy city of Jerusalem.
May a choir of angels welcome us,
And, with poor Lazarus of old,
May we have eternal rest.
L U X AE TE RNA
Morten Lauridsen (b. 1943)
THOUGHTS ON THE MUSIC Rev. Michael G. Stokke
INTROITUS
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Te decet hymnus Deus in Zion,
et tibi redetur votum
in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
Hymn befits thee, O God in Zion.
And to Thee a vow shall be fulfilled
In Jerusalem:
Hear my prayer,
For unto Thee all flesh shall come.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
IN TE, DOMINE, SPERAVI
Tu ad liberandum suscepturus hominem
non horruisti Virginis uterum.
Tu devicto mortis aculeo,
aperuisti credentibus regna coelorum.
Exortum est in tenebris lumen rectis.
Miserere nostri, Domine,
miserere nostri.
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.
In te Domine, speravi:
non confundar in aeternum.
To deliver us, You became human
And did not disdain the virgin’s womb.
Having blunted the sting of death, You
Opened the Kingdom of heaven to all believers.
A light has risen in the darkness for the upright.
Have mercy upon us, O Lord,
Have mercy upon us.
Let Thy mercy be upon us, O Lord,
As we have trusted in Thee.
In Thee, O Lord, I have trusted:
Let me never be confounded.
O NATA LUX
O nata lux de lumine,
Jesu redemptor saeculi,
dignare clemens supplicum
laudes preces que sumere.
Qui carne quondam contegi
dignatus es pro perditis.
Nos membra confer effici,
tui beati corporis.
O born light of light,
Jesus, Redeemer of the world,
Mercifully deem worthy and accept
The praises and prayers of Your supplicants.
Thou who once deigned to be clothed in flesh
For the sake of the lost ones,
Grant us to be made members
Of Your holy body.
L UX A E TE R NA
VENI, SANCTE SPIRITUS
Veni, Sancte Spiritus, et emitte coelitus
Lucis tuae radium. Veni, pater pauperum,
Veni, dator munerum, veni, lumen cordium.
Come, Holy Spirit, send forth from heaven
The ray of Thy light. Come, Father of the poor,
Come, giver of gifts, come, light of hearts.
Consolator optime, dulcis hospes animae,
Dulce refrigerium. In labore ruquies,
In aestu temperies, in fletu solatium.
Thou best of consolers, sweet guest of the soul,
Sweet refreshment. In labor, Thou art rest,
In heat, the tempering, in grief, the consolation.
O lux beatissima, reple cordis intima
Tuorum fidelium. Sine tuo numine,
Nihil est in homine, nihil est innoxium.
O light most blessed, fill the inmost heart
Of all Thy faithful. Without Your grace,
There is nothing in us, nothing that is not harmful.
Lava quod est sordidum, riga quod est aridum.
Sana quod est saucium. Flecte quod est rigidum,
Fove quod est frigidum, rege quod est devium.
Cleanse what is sordid, moisten what is arid,
Heal what is hurt. Flex what is rigid,
Fire what is frigid, correct what goes astray.
Da tuis fidelibus, in te confidentibus,
Sacrum septenarium.
Da virtutis meritum,
Da salutis exitum,
Da perenne gaudium.
Grant to Thy faithful, those trusting in Thee,
Thy sacred seven-fold gifts.
Grant the reward of virtue,
Grant the deliverance of salvation,
Grant everlasting joy.
AGNUS DEI – LUX AETERNA
Agnus Dei,
qui tollis peccata mundi,
dona eis requiem.
Lamb of God,
Who takest away the sins of the world,
Grant us Your rest.
Agnus Dei,
qui tollis peccata mundi,
dona es requiem sempiternam.
Lamb of God,
Who takest away the sins of the world,
Grant us Your rest everlasting.
Lux aeterna luceat eis, Domine:
cum sanctis tuis in aeternum
quia pius es.
Light eternal shines upon them, O Lord,
In the company of Thy saints forever
For Thou art merciful.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Rest eternal is granted to them, O Lord,
And perpetual light shines upon them.
Alleluia. Amen.
Alleluia. Amen.
L E T P E AC E T HE N STILL THE STRIFE
Mack Wilberg, (b. 1955)
Let peace then still the strife, the loneliness and grief,
Come heal the piercing silence of passing.
And sweet familiar strains, the voices lost in death,
Arise in songs of hope everlasting.
Then let the voices roll as waves upon the sea;
Come forth and break upon us, refreshing.
And barren coves be filled o’er flow with reverie!
Let mem’ry salve as Gilead’s caressing.
And though the balm be spread, let tender rifts remain
That breaking hearts not yield to forgetting.
For hearts rent wide at death, unfolded to our dead,
Hear singing from beyond sunlight’s setting.
Then sing, beloved ones, reach o’er the summer sea.
Pour forth thy boundless love for us living!
Sweep into ev’ry soul, make music of our tears,
Turn all our songs to joy and thanksgiving!
And when we silent pass, from far across the sea
Let praises ring for life’s wond’rous blessing.
Then sing ye living souls! Sing generations past,
Swell high the tide of life, us refreshing!
Sing forth as with one voice, bear silent grief away,
Resound with peace and hope everlasting!
And all who wait and sing, sing on from earth and heav’n
And make our crossing forth joyful passing! Amen.
PROGRAM NOTES
REQU I EM
by Maurice Duruflé
M
aurice Duruflé is best known by far for the
Requiem we present tonight. He published
only 14 compositions; we are told that he was a
perfectionist who revised each work endlessly
before releasing it into the world. At the same
time, he was a church and concert organist
renowned for his powers of improvisation. If
he was less than prolific as a composer, it was
probably not for lack of ideas.
Duruflé was born in Louviers, Normandy, and
received early musical training at the cathedral
in Rouen, where there was a famous school of
Gregorian chant. This repertory of liturgical song
had become something of a French specialty in
the nineteenth century, when controversy arose
over the correct interpretation of the medieval
manuscripts in which the chant melodies were
compiled. The notation used to set down the
tunes was well understood with regard to pitch
but mysterious with regard to rhythm. Among
the scholars working on the problem were a
group of Benedictines at the French monastery
of Solesmes, who developed a theory of chant
rhythm as a free succession of notes of mostly
equal value in groups of two and three. The
Solesmes school of chant restoration and
performance achieved widespread acceptance
in the Catholic church and even some
Protestant congregations.
After a thorough steeping in this tradition,
Duruflé came to Paris and studied at the
Conservatoire, where he confronted the
tradition of Fauré, Debussy, and Ravel.
His composition teacher was Paul Dukas,
remembered largely for “The Sorcerer’s
Apprentice,” a gripping orchestral scherzo.
It was perhaps here that Duruflé developed
a dramatic or even cinematic manner to
complement the meditative side of his
musical personality.
Like the earliest composers of polyphonic
Requiems, Duruflé took the Gregorian
plainchant as his raw material. His declared
intention was “to reconcile, as far as possible,
Gregorian rhythm ... with the exigencies of
modern meter.” That is, he did not transcribe
literally the original melodies with their
irregular alternation of twos and threes;
he adjusted the rhythms subtly so that larger
metric patterns emerge, but still he allowed
the meter to shift frequently so that a sense
of spontaneity is preserved. At the same time,
he clothed the sometimes archaic-sounding
melodies in sophisticated harmonies of the
early modern school.
In the opening movement, the first section of
the text (“Requiem aeternam”) is sung by the
lower voices to a lightly reshaped version of the
original melody; the high voices then continue
with the middle section of the melody (“Te decet
hymnus”), but transposed to different starting
pitches as if in a bow to modern expectations
of harmonic contrast; finally the original melody
returns expectations of harmonic contrast, but
this time in the strings, while the voices sing a
slow-moving accompaniment. The Kyrie follows
without pause; here the plainsong melody is
dressed in imitative texture and spread among
the four voice parts. Again the middle section
(“Christe eleison”) is set off by a passage
through contrasting keys, and the return of
the words “Kyrie eleison” is matched with a
fortissimo resolution to the original key
of F major.
As Fauré had done in composing his Requiem,
Duruflé chose not to set the “Dies irae”
sequence that comes next in the liturgical text,
so that the next movement is the offertory
(“Domine Jesu Christe”). Here Duruflé takes
a looser approach to the chant material as
he intimates a naive survivor’s distress over
the lion’s mouth and the bottomless pit that
threaten the souls of the departed. As if in reply
to this expression of fear and grief, the Sanctus
movement builds from exotic percussion and
brass motifs, background music for a procession
through Jerusalem perhaps, to a massive climax
suggestive of divine power and majesty.
P RO GRA M NOT E S
Duruflé again follows Fauré in inserting after the
Sanctus the very last words of the “Dies irae”
sequence (“Pie Jesu”) and in setting this text as
a simple and poignant solo for a female vocalist
(here a mezzo-soprano). His Agnus Dei and Lux
Aeterna preserve the Gregorian melodies intact,
but again in each movement Duruflé creates
harmonic contrast and drama by recasting
the tune in different keys and interweaving
LU X A E TE R N A
countermelodies of his own invention. The piece
ends here, but Duruflé, like Fauré, concludes
his Requiem with two texts imported from the
separate Burial Service. The Libera me speaks
of terror and ecstasy in its evocation of the
judgment that awaits the living as well as the
dead. There follows a brief but fully realized
statement of otherworldly serenity to bring the
Requiem to a close.
by Morten Lauridsen
I
n his preface to the published choral score,
American composer Morten Lauridsen
writes, “Lux Aeterna was composed for and is
dedicated to the Los Angeles Master Chorale
and its superb conductor, Paul Salamunovich,
who gave the world premiere in the Dorothy
Chandler Pavilion of the Los Angeles Music
Center on April 13, 1997.”
Writes Lauridsen, “The instrumental introduction to the Introitus softly recalls motivic
fragments from two pieces especially close
to my heart (my settings of Rilke’s Contre Qui,
Rose and O Magnum Mysterium) which recur
throughout the work in various forms. Several
new themes in the Introitus are then introduced
by the chorus, including an extended canon
on “et lux perpetua.” “In Te, Domine, Speravi”
contains, among other musical elements, the
“cantus firmus” Herzliebster Jesu ... and a lengthy
inverted canon on “fiat misericordia.”
“O Nata Lux and Veni, Sancte Spiritus are paired
songs—the former the central a cappella motet
and the latter a spirited, jubilant canticle.
A quiet setting of the Agnus Dei precedes the
final Lux Aeterna, which reprises the opening
section of the Introitus and concludes with a
joyful Alleluia.”
Lux Aeterna was aptly described by The Times
(London) as “a classic of new American choral
writing ... in this light-filled continuum of sacred
texts, old world structures and new world spirit
intertwine in a cunningly written score, at once
sensuous and spare.”
EXPERIENCING HOPE
THROUGH MUSIC
by Michael G. Stokke
Assistant Pastor at Second Presbyterian Church
It is interesting how certain events or experiences stay with us so vividly, and for me, one
of those was the first time I heard Lux Aeterna. My wife and I were driving late on a winter
evening in northeast Ohio. The moon and stars were shining brightly over the deep snow
around us, and we were listening to the local NPR classical music station. And over the air
came this wonderful, unfamiliar piece.
My immediate sense was that this was transcendent music; sung to a Latin text, it seemed
clearly sacred. The rich and layered choral harmonies and instrumental accompaniment, so
beautifully clear and warm, had the effect of grabbing me by the heart. It has never let go.
Upon acquiring the CD of its premier recording, I was not surprised to find the translation
of the text to be a combination of biblical quotes and ancient sacred music. I have played
this music countless times over the years, and it invariably moves my heart and mind
toward a sense of deep, quiet beauty.
Most of all, it points me toward the God who is the “Light,” the object of the piece. The
beauty of such music is a wonderful reflection of the beauty of the Creator. While we do
not worship music, it is a vehicle of praise rising from human hearts which bear the image
of the Creator.
Thank you, Mr. Lauridsen!
ABOUT THE ARTISTS
T E RRI TH E I L
Terri Theil received her Bachelor of Music Education from University of Memphis with
a double concentration in vocal and instrumental music. Currently at Second
Presbyterian Church, she is director of children’s music, the Second Ringers handbell
choir, and the Second Conservatory of Music. She also serves as co-director for the
Memphis Children’s Choir. As lead vocal instructor for the Conservatory, she has been
teaching students from Memphis and surrounding areas for nearly 20 years. Her
children’s choirs have performed for the National Orff Music Conference and locally
with the Memphis Symphony. In addition to teaching, she has performed as a soloist across the
Mid-south in several oratorio works including Handel’s Saul and Messiah, Haydn’s Creation, and St.
John’s Passion as well as several cantatas by J.S. Bach. Theil is an active member of the National
Association for the Teachers of Singing and serves as a clinician for choral festivals in the area.
K Y L E FERR I L L
Baritone Kyle Ferrill is rapidly developing a reputation as a sensitive and versatile
performer of repertoire from Monteverdi to modern works. Ferrill’s special interests
include Baroque music, German Lieder, and contemporary music. He has sung on
five continents, including a recent tour in China, and has worked with such
conductors as Stefan Asbury, Miguel Harth-Bedoya, Keith Lockhart, Helmuth Rilling,
Gil Rose, Robert Spano, and John Williams. Orchestras include the Boston Pops, the
Chicago Symphony Orchestra, the Indianapolis Baroque Orchestra, the Indianapolis
Chamber Orchestra, the Orchestra of St. Luke’s, and the Tanglewood Music Center Orchestra. Festival
appearances include Ravinia, Songfest, Tanglewood, and the Oregon Bach Festival. A committed
chamber musician, Ferrill has also performed with Bach Collegium San Diego, Seraphic Fire, the
Berwick Chorus of the Oregon Bach Festival, and the Tucson Chamber Artists.
Recordings include Eccles’ Semele with Florida State Opera (Forum), Ruth Fazal’s Awakening with
the Slovak National Orchestra (Tributary) and a forthcoming recording of Argento’s songs (Centaur).
Ferrill enjoys working closely with composers, and these collaborations have included Osvaldo
Golijov, Ricky Ian Gordon, John Harbison, and Jake Heggie. One such collaboration led to Ferrill’s
Carnegie Hall debut, performing works by David Bruce and Anna Clyne.
Ferrill received his undergraduate training at Butler University and his master’s and doctorate from
Florida State University. He is an assistant professor of voice at the University of Memphis and is
married to mezzo Lexa Ferrill.
EM I L Y TAY L O R
A native of Bowling Green, Kentucky, Emily Taylor received her Bachelor of Music
degree in music education from Western Kentucky University with a concentration in
voice performance and a Master’s Degree in Voice Performance from the prestigious
College Conservatory of Music at the University of Cincinnati. Following graduate
school, Taylor began her teaching career in the Preparatory Department of the
University of Cincinnati, teaching private voice and music theory. She has performed
throughout the eastern United States as a soloist in opera, oratorio, and sacred
concert venues. She has maintained a private voice studio throughout her career and has been an
active piano accompanist as well.
A B O UT TH E A R T I ST S
After working in church music full time for many years, Taylor moved with her family to Memphis and
began teaching voice and piano at Germantown Baptist Church, Lausanne School, and in her private
studio. She also performed regularly with the Memphis Vocal Arts Ensemble as a choral singer,
regular soloist, and assistant director to Thomas Machen. In August of 2000, she took the position
as Director of Choirs at Collierville High School and has led all three choral ensembles in receiving
superior ratings in both regional and national festivals each year. She has been an active member of
the West Tennessee Vocal Music Educators Association and MENC since 2000, having chaired and
hosted southwest regional auditions and honor choir events. She has also served as the west region
chair for the Tennessee Allstate SATB choir.
She and her husband, Rhea, are members of Second Presbyterian Church. They have three adult
children and three grandchildren. Their son, Lee, is the Junior High Director at Second.
DEL PH I ME R I C E HUD DL E S T O N
Delphime Rice Huddleston, a Columbus, Mississippi native, is currently in her
twenty-ninth year as an educator. She began teaching “Gifted and Talented” in
Desoto County at Horn Lake Elementary. After four years in Desoto County,
Huddleston served as choir director at Raleigh Middle School and Raleigh Egypt
High School for nine years. Mrs. Huddleston taught fifteen years at Kirby High School.
Her Concert , Swing/ Show, and Jazz Choirs have received superior ratings in local
and national festivals: All American Music Festivals, Music in the Parks, Festivals of
Music, West Tennessee Vocal Music Educators Association Festivals and Events, National Conventions,
State Festivals, and numerous local functions and activities.
Huddleston is a member of the New Hope Baptist Church of Memphis, West Tennessee Vocal Music
Educators Association, American Choral Directors Association, National Educators Association of
Music, Tennessee Music Educator Association, and served as chairperson of West Tennessee Vocal
Music Association Festivals and Events. Huddleston is presently teaching at Overton High School
where she directs the Overton CAPA Singers, Chamber Chorus, and Overton Jazz Choir.
Prior to Huddleston’s teaching career, she received a Bachelor of Music Degree from the University
of Mississippi. There she performed in the University Concert Choir, and was a member of Lambda
Sigma Honor Society, Mortar Board Honor Society, “Most Talented,” Ole Miss Rebelette, Ole Miss
Modeling Board and Alpha Kappa Sorority. Huddleston is the proud parent of two beautiful children:
Jeffrey and Madeline. Jeffrey is an honor roll student, who plays trumpet and piano. Madeline will
receive her Doctor of Dental Surgery this spring.
S AM U E L M E T ZG E R
Born in Rochester, NY, Samuel Metzger grew up in northern Arizona, where his
parents were missionaries to the Navajo Indians. Early studies began at Northern
Arizona State University in Flagstaff, where he was accepted into the Preparatory
School of Music as an organ student of Dr. Marilyn Brandon. In high school he
studied with Dr. Royce Johnson at the University of Arizona, Tucson. Metzger’s
undergraduate studies were at Arizona State University with Robert Clark. There he
studied on a Regents Scholarship and at graduation was named “Most Outstanding
Undergraduate in Performance.”
A B O UT TH E A R T I ST S
In 1995, Metzger was awarded a Fulbright Scholarship and studied with Jon Laukvik at the
Hochschule für Musik und Darstellende Kunst in Stuttgart, Germany. He was awarded a second
Fulbright Scholarship and in 1997 graduated with a degree of Künstleriches Aufbaustudium (KA). He
then went on to study with Marie-Claire Alain in St. Germain-en-Laye, France.
In 2003, he became Senior Organist at Coral Ridge Presbyterian Church, Fort Lauderdale, FL, serving
with the late Dr. D. James Kennedy, Senior Pastor. Services were broadcast on the Coral Ridge Hour,
a TV program that was broadcast throughout the USA and internationally to 202 countries. In 2009,
Samuel joined the staff of New Presbyterian Church, Pompano Beach, FL. In 2014, he took the position
of Organist and Music Associate at Second Presbyterian Church in Memphis, TN.
Metzger is heard regularly around the country in concert. He has recorded six CDs, including
“Toccata,” “Majesty and Glory,” “Joy to the World,” and “Prayer and Meditation.” His hymn
arrangements are published by Morning Star Music.
G A B RI EL C . S T AT O M
Gabriel Statom is Director of Music at Second Presbyterian Church in Memphis,
Tennessee. For almost nine years he served as Director of Music and Organist at First
Presbyterian Church of Lake Wales, Florida, where he was also Artistic Director of the
Lake Wales Chorale and Musical Director for the Bach Festival of Central Florida.
Under his direction, the FPC Chancel Choir was selected to perform at the Florida
Chapter of the American Choral Directors Association Fall Conference in Orlando,
Florida. This choir toured Scotland and England, with performances in St. Giles
Cathedral, Edinburgh, Canterbury Cathedral, and St. Bart’s Church in London. The Lake Wales Chorale
toured and presented concerts in Prague, Vienna, Salzburg, and Munich and toured Italy, with mass
services presented in St. Peter’s Basilica at the Vatican, St. Mark’s Cathedral in Venice, and concerts in
Florence, Assisi, and Rome.
Statom has conducted throughout the United States, Europe, and Argentina, including performances
at the Spoleto Festival, the Oregon Bach Festival, and Carnegie Hall, performing with orchestras such
as the Orlando Philharmonic, Florida Orchestra, Memphis Symphony, the New England Symphonic
Ensemble, and the Mississippi Symphony. He has studied conducting with Robert Shaw, André
Thomas, Helmuth Rilling, Jerry Jordan, John Rutter, and David Willcocks. He has been on the staff of the
Berkshire Choral Festival, serving at the Sheffield, Massachusetts, and Salzburg, Austria Festivals and at
the Canterbury, England festival. He is an active clinician, adjudicator, and teacher.
He received the Bachelor of Music Education degree with voice and piano emphasis from The
University of Mississippi and the Master of Music Degree in Choral Conducting with organ as the
principal instrument from Florida State University. He completed other graduate studies at Northern
Theological Seminary, Princeton University, Westminster Choir College, and the University of Oregon.
Dr. Statom has served as chairman of the Committee on Worship for the General Synod of the
Associate Reformed Presbyterian Church, was Vice-President of the Florida Chapter of Choristers Guild
and served as President of the Polk Arts Alliance.
In March, Practice for Heaven: Music for Worship That Looks Higher will be published and is a book
developed for church musicians to focus our music towards the heavenly audience of God Himself. In
addition, Dr. Statom’s compilation of music by J.S. Bach, entitled The Life of Christ, which features music
from many masterworks including Christmas Oratorio, St. John’s Passion, B Minor Mass, and others will
be published by Augsburg Fortress.
TH E M E M P HI S M AS T E RWO RK S CHO RALE
Gabriel C. Statom, Artistic Director
Samuel Metzger, Accompanist
Ruth Abel
Elizabeth Baker
John Beckham
Jennifer Brandon
Jerry Bowman
Marjorie Bowman
Karen Canfield
Madelyn Carson
Pat Corbitt
Julie Dahlhauser
Clay Deacon
Liz Deacon
David Dennis
Pam Dennis
Twyla Dixon
Cody Duff
Libby Ellman
Barbara Faulk
Cara Flynn
Sallie Foster
Brooks Gatlin
Emily Gluntz
Christine Grant
Sharon Green
Kathy Hammond
Jim Harding
Martha Hopper
Wilson Hughes
Ann Hunt
Tom Jenkins
Warren Jones
Carol Kirby
Beth McCaskill
Carol Overcast
Haley Overcast
Annie Petzinger
Virginia Pilcher
Kathleen Quinlen
Liz Rabalais
Debbie Renard
Paul Samuel
Amy Stanfill
Ginger Statom
Daniel Tain
Terri Theil
Anne Thompson
S. C. Toe
Jennifer Vassil
Philip Walkley
Lee Wallace
BJ Webster
Dan Whipple
Nancy Wiggs
Tucker Williams
Logan Williams
Christy Young
Keith Young
T HE O R C H E STRA
Violin 1
Barrie Cooper
Diane Zelickman
Paul Turnbow
Violin 2
Gaylon Patterson
Wen-Yih Yu
Viola
Jennifer Puckett
Michelle Pellay-Walker
Cello
Hannah Schmidt
Benji Young
Bass
Scott Best
Chris Butler
Horn
Caroline Kinsey
Robert Patterson
Flute
Bruce Erskine
Trumpet
David Spencer
Ben Lewis
Mark Woodring
Oboe
Shelly Sublett
Clarinet
Rena Feller
Bassoon Susanna Whitney
Trombone
Greg Luscombe
Percussion
Michael Karcz
Harp Leigh Cromwell
TH E C OL L I E R V I L L E HI G H SC HO O L C HAM BE R C HO IR
Emily Taylor, Director
Renee Adams
Ellen Boone
Michael Conder
Mark Elich
Jonathan Gibson
Drew Hancock
Luke Howard
Mairin Knauss
Andrea Lindsey
Jake McCutcheon
Rivers Norment
Ellie Perry
Laura Jayne Perry
Joseph Piercey
Emily Pressler
Madison Pruitt
Luisa Schroth
Alice Sedlacek
Luigi Siligato
Logan Sowder
William Spencer
Taylor Tollett
Megan VandeLinde
Marissa Ward
TH E OV E R T O N HI G H S CHO O L C HAM BE R C HO IR
Delphime R. Huddleston, Director
Zeloria Armstrong
Tiah Barnes
Tarkesia Blakley
Arabian Buckley
Nicklaus Carter
Lanesha Davis
Gabrielle Evans
Jordan Fifer
Khalia Fifer
Karissa Gibson
Gabrielle Green
Alexus Harris
Jamesha Harris
Jeremiah Hollis
Eboni Holloway
Arniece Ibezim
Ronnie Jones
Terrica Jones
Alyssa Malone
Raven Malone
Jalein Mason
Mareko May
Jacob McNary
Jada Moore
Kylan Owens
Josiah Parker
Ebonece Patterson
Keoria Patton
Lorenzo Renfroe
Cynteria Sanders
Caia Smith
Je’Kylynn Steen
Miranda Tate
Keosha Thompson
Brinetria White
Taylor Williams
Paige Yates
S U P P O R T E RS O F THE
M E M P HI S M A S T E R WO RK S CHO RALE
We would like to thank those patrons and supporters for their financial gifts,
listed on our website at www.memphismasterworks.org.
If you would like to contribute, we encourage you to visit our website for more information.
F R I D A Y , M A R C H 6 at 7 : 0 0 P. M .
Second Presbyterian Church Sanctuary
Samuel Metzger will present an organ concert of classical and sacred music,
including “Finlandia” (Be Still, My Soul) by Sibelius.
He will also give insights on the music, composers, and the organ.
T U E S D A Y , M A R C H 2 4 at 6 : 3 0 P. M .
Second Presbyterian Church Chapel
The Memphis Children’s Choir will present a variety of music for the
Lenten season including “Weep No More” and the traditional classic
“Amazing Grace.” Several students from the chorus and the
Second Conservatory will present solos based on classics, hymns, and folk songs.
T H U R S D A Y , M A R C H 2 6 at 7 : 0 0 P. M .
Second Presbyterian Church Chapel
The Laudis Domini Vocal Ensemble will present music for reflection during
the Lenten season including pieces by Palestrina, Bach, Howells, Purcell,
Mendelssohn, and others. Music from the baroque, romantic, and modern eras
will highlight a diversity of artistic expressions as we approach Holy Week.
M O N D A Y , M A R C H 3 0 – F R I D A Y , A P R I L 3 at N O O N
Holy Week Services in the Sanctuary
E A S T E R S U N D AY, A P R I L 5
Easter Sunday Worship
6:30 A.M. – Easter Sunrise Service at Memphis Botanic Garden
8:00, 9:30, and 11:00 A.M. – Worship in the Sanctuary
The Second Conservatory of Music provides
quality music education in a Christian environment
for all ages and abilities. The Conservatory is
open to anyone who seeks to improve musical
proficiency or enrich musical gifts. We are
dedicated to providing quality music instruction
by highly-qualified Christian teachers.
What We Offer
The Second Conservatory of Music offers individualized instruction on a
per-semester basis. All lessons will be given at Second Presbyterian Church.
To learn more and see a list of offerings, please visit 2pc.org/conservatory
or contact Terri Theil at 507-7887.
memphismasterworks.org
(901) 454-0034 / 2pc.org