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 Women’s Chamber Ensemble – Matador Singers – Women’s Chorale Thursday, March 27, 2014 8:00pm Hemmle Recital Hall PROGRAM NOTES Women’s Chamber Ensemble Dan Smith, conductor Vier Gesänge, Op. 17 Johannes Brahms (1833-­‐1897) As a young musician working and socialising in Hamburg, Johannes Brahms founded the Hamburg Frauenchor in 1859 with a small group of friends. The choir grew from its small and social origins to an ensemble of around forty women. A women's choir was an unusual ensemble at this time, and as such there was a great need for repertoire. Brahms made arrangements of folk songs for the choir to sing, as well as a number of original compositions, many of which are still are the heart of women's choir repertoire today. This set of four songs arose in part to fulfil that need for the Frauenchor. Its first public performance was in 1860, at a concert given by Clara Schumann, with Brahms and the violinist Joseph Joachim. Clara wrote in her diary of the songs: ‘They are pearls. How can one help loving such a man?’ Brahms' choice of two horns and harp to accompany the choir is unusual, but is no doubt influenced in large part by the texts. Friedrich Ruperti's 'Es tönt ein voller Harfenklang' conjures the image of the harp sound ringing out as a motif for unrequited love, and horn calls have long been associated with death and mourning. Although the textual sources are quite disparate, this selection of four poems is tied together by these melancholy themes. The nineteenth century German poets, Ruperti and Eichendorff, are set alongside translations from Shakespeare and Ossian. In Shakespeare’s comedy Twelfth Night, Duke Orsino pays the fool Feste to sing for the gathered company the ‘ancient’ song, ‘Come away, come away death’. Brahms’ unpretentious strophic setting reflects the underlying innocence of unrequited love. The writer James Macpherson claimed to have discovered fragments of an epic poem in Gaelic by Ossian, a third-­‐century Scottish king, but this was later uncovered as a spectacular literary hoax. His translation of Fingal was admired across Europe, and even Napoleon and Goethe were known to carry copies. By the time Brahms set this portion of the text, the forgery was probably suspected. However, the grim story of a young maid mourning for the Scottish warrior Trenar clearly appealed to the Romantic imagination, just as the Celtic legend of Tristan and Isolde had done to Wagner only a couple of years earlier. This setting by Brahms perfectly evokes the bleak yet sublime landscape of Inistore. -­‐ Dan Smith German Text English Translation 1. Es tönt ein voller Harfenklang (Friedrich Ruperti) Es tönt ein voller Harfenklang den Lieb’ und Sehnsucht schwellen, er dringt zum Herzen tief und bang und läßt das Auge quellen. O rinnet, Tränen, nur herab, o schlage Herz, mit Beben! Es sanken Lieb’ und Glück ins Grab, verloren ist das Leben! 1. A full harp sound rings A full harp sound rings, Swelling love and yearning; It pierces deep into the fearful heart, And brings tears to the eyes. Fall then, my tears: Heart, throb and tremble; Love and happiness lie in the grave, My life is lost. 2. Lied von Shakespeare Komm herbei, komm herbei, Tod, Und versenk’ in Cypressen den Leib; Lass mich frei, lass mich frei, Not, Mich erschlägt ein holdseliges Weib. Mit Rosmarin mein Leichenhemd, O bestellt es! Ob Lieb’ ans Herz mir tötlich kommt, Treu’ hält es. Keine Blum, keine Blum süß, Sei gestreut auf den schwärzlichen Sarg; Keine Seel’, keine Seel’ grüß mein Gebein, wo die Erd’ es verbarg. Um Ach und Weh zu wenden ab’, bergt alleine mich, wo kein Treuer wall’ ans Grab und weine. 3. Der Gärtner (Joseph von Eichendorff) Wohin ich geh’ und schaue, In Feld und Wald und Tal, Vom Berg hinab in die Aue; Viel schöne, hohe Fraue, Grüß ich dich tausendmal. In meinem Garten find’ ich Viel’ Blumen schön und fein, Viel’ Kränze wohl draus wind’ ich Und tausend Gedanken bind’ ich Und Grüße mit darein. Ihr darf ich keinen reichen, Sie ist zu hoch und schön, Die müssen alle verbleichen, Die Liebe nur ohnegleichen Bleibt ewig im Herzen stehn. Ich schein’ wohl froher Dinge Und schaffe auf und ab, Und, ob das Herz zerspringe, Ich grabe fort und singe, Und grab mir bald mein Grab. 4. Gesang aus Ossians “Fingal” Wein’ an den Felsen, der brausenden Winde weine, o Mädchen von Inistore! Beug’ über die Wogen dein schönes Haupt, lieblicher du als der Geist der Berge, 2. Song from Twelfth Night Come away, come away, death, And in sad cypress let me be laid. Fly away, fly away, breath, I am slain by a fair cruel maid. My shroud of white, all stuck with yew, O prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand thousand sighs to save, Lay me, O where Sad true lover never find my grave, To weep there. 3. The Gardener Where’er I walk and gaze, In field and wood and vale, From mountain-­‐top to meadow, Most lovely noble lady, I greet you thousandfold. In my garden I do find Many flowers fair and fine, Many a garland I weave of them, And a thousand thoughts and greetings Into them entwine. I dare offer her none of them, She is too noble and fair, They must all wither away, Love alone beyond compare Remains for ever in the heart. I seem to be of good cheer, And bustle back and forth, And as if my heart will break, I dig away and sing, And soon shall dig my grave. 4. Song from Ossian’s “Fingal” Weep on the rocks of the roaring winds, Weep, O maid of Inistore! O’er the waves bend thy fair head, Lovelier thou than the spirit of the mountain, wenn er um Mittag in einem Sonnenstrahl über das Schweigen von Morven fährt. Er ist gefallen, dein Jüngling liegt darnieder, bleich sank er unter Cuthullins Schwert. Nimmer wird Mut deinen Liebling mehr reizen, das Blut von Königen zu vergießen. Trenar, der liebliche Trenar starb O Mädchen von Inistore! Seine grauen Hunde heulen daheim, sie sehn seinen Geist vorüberziehn. Sein Bogen hängt ungespannt in der Halle, nichts regt sich auf der Haide der Rehe. When at noon upon a sunbeam He soars o’er the silence of Morven. He has fallen; thy young love lies low Pale he sank beneath Cuchulain’s sword. Nevermore shall valour rouse thy love, To shed the blood of kings. Trenar, the winsome Trenar has died, O maid of Inistore! His greyhounds are howling at home, They see his ghost passing by. His bow hands unstrung in the hall, Nothing moves upon the heath of the hinds. Matador Singers Joseph Svendsen, conductor Freiwillige her! (Volunteers Go!) Johannes Brahms (1833-­‐1897) The singular war song in the collection Fünf lieder (1867), Frewillige her! is a march-­‐like patriotic song Lyricist Carl von Lemcke supplied the text. The year of its publication, 1867, marked the first year of the new North German Confederation, a unified government of German states led by Otto von Bismarck. Patriotic sentiment was pervasive in all of German-­‐speaking society during that time. Interestingly, the piece was not given an official public performance until almost thirty years after its publication, in April of 1893 in Vienna, though it was almost certainly sung by many a mannerchor before this date. Brahms darkens the mood of Freiwillige her! by choosing c-­‐minor arpeggio to begin the selection. The voices emulate the sound of marshal horns calling troops to assembly. The urgency of the call is felt in the driving duplicity of triplets against eighth notes, dotted rhythms and surprisingly timed entrances. As the song progresses, the declarative, “Freiwillige her!” serves as a sort of harmonic and dramatic “reset button”. A hush comes over the ensemble during the questioning third verse, culminating in the triumphant united call of the 4th verse. A new verse with minor harmonic changes follows each reiteration of the call, culminating in a triumphant G major cadence at the song’s completion. German Text English Translation Freiwillige her! Von der Memel bis zum Rhein, von den Alpen bis zum Meer, Freiwillige her! Schwarz, Rot, Gold ist das Panier, für dich, Deutschland, kämpfen wir! Freiwillige her! Freiwillige her! Nehmt die Büchsen, zielet gut! Auf zu Ross mit Schwert und Speer, Volunteers go! From the Memel to the Rhine, from the Alps to the sea, Volunteers go! Black, red, and gold are our colors, For you, Germany, we fight! Volunteers go!
Volunteers go! Take your rifles and aim well! Mount your horses with sword and lance, Freiwillige her! Volunteers go! Schwarz, Rot, Gold ist bedroht. Black, red, and gold is at risk. Vaterland! Sieg oder Tod! Fatherland! Victory or death! Freiwillige her! Volunteers go!
Freiwillige her! Volunteers go! Duldet ihr der Feinde Spott? Will we allow the enemy to sneer at us? Ist der Fluch noch nicht zu schwer? Is our destiny not bad enough as it is? Freiwillige her! Volunteers go! Dänen, Welsche, wer es sei, Danish, French, whoever it may be, nieder fremde Tyrannei! Down with their foreign tyranny! Freiwillige her! Volunteers go!
Freiwillige her! Volunteers go! Durch das Volk da braust der Sturm: There’s a storm brewing among the people: Einig! Keine Trennung mehr! Let’s be united! No separation anymore! Freiwillige her! Volunteers go! Einig! ruft's im Schlachtenrot! Let’s be united! Call for the red shine of battle! Deutsches Volk, Sieg oder Tod! German people, victory or death! Freiwillige her! Volunteers go! Der frohe Wandersmann (The Happy Wanderer) Felix Mendelssohn-­‐Bartholdy (1809-­‐1847) Pastoral imagery is beloved by Romantic männerchor composers, and Der frohe Wandersmann Mendelssohn uses articulation as his main weapon for text painting in this strophic, dance-­‐like song about man’s relationship with God and His creation. The score is full of staccati, slurs, and fermate, which imitate the various bounds, skips, frolics, and leaps the speaker undertakes as he explores the wilderness with wonder and appreciation. German Text English Translation Wem Gott will rechte Gunst erweisen, When God wishes to show favor to someone, Den schickt er in die weite Welt, he sends him out into the wide world Dem will er seine Wunder weisen and points out his miracles In Berg und Wald und Strom und Feld. In mountain and wood and river and field. Die Bächlein von den Bergen springen, The brook springs out of the mountains, Die Lerchen schwirren hoch vor Lust, the lark zips high with pleasure; Was sollt' ich nicht mit ihnen singen is there anything I should not sing with them Aus voller Kehl' und frischer Brust? With full throat and fresh spirit? Den lieben Gott laß ich nur walten; Let dear God alone prevail; Der Bächlein, Lerchen, Wald und Feld, He sustains the brook, larks, wind and field, Und Erd' und Himmel will erhalten, and the earth and sky; Hat auch mein Sach' aufs Best' bestellt. And he has also ordered my life for the best. Die Nacht (The Night) Franz Schubert (1797-­‐1828) Schubert uses only four chords to construct Die Nacht: D, e, G, and A, each occasionally spelled in inversion or with an added seventh or suspension to aid in shaping the harmonic line to the melody. This harmonic and rhythmic simplicity allows the top voice (1st tenor) melody to shine at the forefront, a hallmark of Schubert’s compositional style. It also makes a statement about the delicate and soft-­‐spoken text, which Schubert has called to be sung at a whisper. The choir is instructed to sing as loudly as mezzo forte for just two measures. Schubert composed Die Nacht in 1823, a pivotal year in his own life. It was in this year that Schubert learned that he had contracted syphilis, which, during this time period, was equivalent to a death sentence. One might imagine him gazing heavenward in the moonlight, coming to terms with his smallness, and longing for the rejuvenation of another Spring. German Text English Translation Wie schön bist du, Freundliche Stille, himmlische Ruh'! Sehet wie die klaren Sterne Wandeln in des Himmels Auen Und auf uns hernieder schauen, Schweigend aus der blauen Ferne. Schweigend naht des Lenzes Milde Sich der Erde weichem Schooß, Kränzt den Silberquell mit Moos Und mit Blumen die Gefilde. Glory-­‐Bound! How beautiful you are, Friendly silence, heavenly peace! Look how the bright stars walk in the meadows of Heaven and look down upon us, Silently out of the blue distance. Silently, the mildness of Spring approaches the soft bosom of the Earth, crowning its beautiful source with moss And the entire realm with flowers. E.J. King (1821-­‐1844) & William Walker (1809-­‐1875) arr. Karl Dent The text of Glory-­‐Bound! is drawn from the southern Baptist shape-­‐note hymn The Saints Bound for Heaven, which was published in the songbook entitled The Southern Harmony in 1835 and The Sacred Harp in 1844 under the title Our Bondage, it shall end. Professor Dent's arrangement for men’s voices adds contemporary touches to the harmony, with a modulation from the original key of A major to E major and back to A. Several seventh chords are added, particularly at the piece’s conclusion, giving it hints of barbershop quartet flair. He also weaves the melody together polyphonically in the third verse, breaking from traditional homophonic hymn treatments. Professor Dent's energized contribution to men’s choral repertoire will be rewarded in the piece’s publication later this year. Wedding Qawwali A.R. Rahman (b. 1967), arr. Ethan Sperry A qawwali is a musical form that traces its origins back to 14th century Persia. It is performed by adherents to Sufism, a branch of Islam. Even though the lyrics of many qawwalis may appear secular, they are all meant to emphasize praise and longing for the Divine and humanity’s relationship with God. Today qawwalis are heard primarily in India, Pakistan, and Bangladesh and are performed exclusively by men. Eight to ten musicians sit cross-­‐legged on the ground in two rows: soloists and harmonium player/instrumentalists in front and chorus and percussionists in back. Instruments and soloist begin in a somewhat improvisatory fashion, followed immediately by the soloist singing the first verse. The chorus and percussion enter last, adding texture and complexity to the sound and restating the most important line in the song: “Sohna mera sohna, mahi sohna” (my darling is like gold). This particular qawwali setting comes from a contemporary musical, Bombay Dreams, written by Bollywood composer A.R. Rahman. The story focuses on Akaash, a man who struggles with his abrupt rise to fame and wealth from humble beginnings in a Bombay slum. The wedding is a culminating event of the musical, when Akaash finally weds Priya (a wealthy woman from a famous family who helped him rise out of his poverty). Punjabi Text English Translation Mubaraqa! Sohna mera sohna, mahi sohna Mera rang de lalaariya Rang de dupatta mera, rang de lalaariya Mere hathon me laga de rang mehendi lallariya Mil gaya, mujhe mil gaya Rahmaton ka rang khil gaya Sab gale mile shagun manye e Sajna ke geet sunaye e Paraji Pera Liya Congratulations! My darling is like gold Color me red Color my veil in red Apply red henna to my palms I have found All my prayers are blooming in color Let’s all embrace and follow the rituals Let’s sing songs for my beloved With our scarves flowing under our legs. -­‐ Joseph Svendsen, program notes Women’s Chorale Dr. Carolyn Cruse, conductor We Belong to the Earth J. David Moore (b. 1962) "We Belong to the Earth" is modeled after the congregational songs of the Taizé community in eastern France. The community has sought to include people and traditions worldwide. They have sought to demonstrate this in the music and prayers where songs are sung in many languages. The music emphasizes simple phrases, usually lines from Psalms repeated and also sung in canon. In 1852, Chief Seattle wrote a letter to President Franklin Pierce concerning the selling of the native land to settlers. His words in the letter is what inspired the song: "This we know: the earth does not belong to man, man belongs to the earth. All things are connected like the blood that unites us all. Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself". -­‐ Victoria Howard i thank you god Gwyneth Walker (b. 1947) A graduate from Brown University and the Hartt School of Music, Dr. Gwyneth Walker holds BA, MM and DMA degrees in Music Composition and currently splits her time between her childhood hometown of New Canaan, Connecticut, and Randolph, Vermont. Dr. Walker has received numerous accolades for her commitment to the fine arts. Known most notably for her interest in composing works that combine music with dramatic readings, acting, and movement, her compositions have been widely performed as well as adored by performers and audiences alike. This piece was adapted from the e.e. cummings poem, "i thank you God for most this amazing day," and it was commissioned by the American Choral Directors Association in memory of Raymond W. Brock. Composer Dr. Gwyneth Walker calls this piece a "song of praise" and remarks that the piano introduction "spans the entire range of the keyboard, as if expressing the breadth of space and life." The grandeur and wonder as seen in the text with phrases such as "i who have died am alive again today," and thanking God "for everything which is natural, which is infinite," is emulated by an unfolding triumph in the piano accompaniment and colorful chords sung by the choir. -­‐ Rebecca Kozinski Christe eleison, from Mass in B minor Johann Sebastian Bach (1685-­‐1750) Johann Sebastian Bach was one of the most celebrated composers from the Baroque period. He compiled the Mass in B minor toward the end of his life (1747-­‐1749). The movement we share with you this evening, Christie eleison (translation: Christ have mercy), is from the “Missa,” the Kyrie and Gloria of the larger work. This movement is scored as a duet for two sopranos with violin obbligato and continuo. Choral ensembles traditionally have not performed Christie eleison in a choral setting, but the individual vocal ranges and the intertwining vocal lines are suited perfectly for a women’s chorus. We are delighted to share this movement with you tonight! -­‐ K. J. Smith & Carolyn Cruse Cassiopeia Timothy C. Takach (b. 1978) Premiere performance as part of the Women’s Choir Consortium with Mr. Takach, 2013-­‐2014. Applauded for his melodic lines and rich, intriguing harmonies, Takach has received a number of commissions from various organizations including the St. Olaf Choir, Cantus, The Singers: Minnesota Choral Artists, and the Western Michigan University Chorale. His compositions have been heard on NPR and have been recorded by various groups in North America. The 2007 Texas and the 2009 Florida All-­‐State Choirs performed his piece “The Darkling Thrush,” and his arrangement of “What Child is This” was featured on the 2007 Boston Pops holiday tour. Most recently, the 2014 Texas All State Men’s Choir performed his TTBB version of “Salve Regina.” Takach has been awarded grants from the American Composers Forum and Meet the Composer, and yearly ASCAP awards since 2004. Takach received a BA in Music Theory and Composition at St. Olaf College, Northfield, MN, where he graduated with honors. He lives in Minneapolis with his wife and two sons. My sister washes as I rinse and dry. I am beyond wishing, dry the last glass instead. Looking out the window, all I can see Want to bargain with time, with cancer, offer is in, the scene behind me, whatever it’ll take to keep her here table, now clear, our mother with us at her side, we walk to the porch sitting in a chair, hands like stars so low we can hold them in our hands small birds, flutter in her lap. stars to make a thousand wishes on The light above the table, its harsh there, she says, is Cassiopeia. And there rings of gold glint off the wood’s surface. the Archer. I try to take comfort in their names, I wonder if there are stars tonight— these constellations she’s pointed out to me the days thick clouds blown south all my life. Try not to hate that they’ll by a Canadian wind. Wonder too still be here, on the darkest of nights, what wish she’d make, if she could make one. when she no longer is. “Cassiopeia,” by Julia Klatt Singer Ride On, King Jesus Traditional Spiritual, arr. Moses Hogan Moses Hogan (1957-­‐2003) is a well-­‐known name in gospel choral literature, with over 70 choral arrangements. Hogan also created and conducted two superior choral groups in his native New Orleans, The Moses Hogan Singers and The Moses Hogan Chorale, both of which earned critical acclaim. “Ride On, King Jesus” is a shining example of Hogan’s work, featuring many soloistic and choral expressions of the spiritual style. -­‐ Taylor Bell