Special Music Offerings The Village Church Soloists

Special Music Offerings The Village Church Soloists

Program Notes
Donald Chen
Repertoire chosen for tonight’s concert explores genres of vocal and
instrumental music that are slightly less formal, of lighter character and are
meant to be performed in informal gatherings. The common denominator, one
might say, is the tradition of Hausmusik (literally, “House Music”). It is that
form of music-making that was intended for private festive family occasions,
perhaps even informal religious devotions. One might equate them to, say, jamsessions -- to use modern jazz parlance.
Hausmusik was fashionable, popular, and an integral part of life in the Austrian
bourgeois society of late 18th and early 19th century. Almost all composers
working in Vienna at the time kept a steady supply of music for that market.
Between 1796 and 1799, Haydn composed 13 songs in this genre for three and
four part vocal ensembles. He had just returned from his second trip to England
and was anticipating the premier, in 1798, of his oratorio, Die Schöpfung (“The
Creation”). The text of these songs – which covers a wide variety of subjects – is
derived from anthologies popular at the time. The music, as you will hear, can
best be described as vocal chamber music of utmost clarity and delicacy. It
shows Haydn at his highest mastery using musical material economically, treating
the text with vivid graphic tone painting and creating perfect harmony between
homophonic and polyphonic scoring. He was apparently fond of these pieces
himself, saying that he wrote them “in a happy hour, con amore, for my own
self.”
As one would expect, the genre of Hausmusik also includes instrumental forms.
Divertimento could be considered one of such forms. The term, Divertimento, is
derived from Italian divertire “to amuse.” Its character, mood and structural
organization is much less formal, less regulated (it can consist of one to as many
as nine movements). It is generally written for a small ensemble of varying
combination, and meant to be played in less formal occasions.
Georg Piatigorsky (1903-1976), the famous Russian-American cellist, edited and
transcribed this version of the D major Divertimento, originally scored for a
baryton trio. It is popular among cellists and is the version most commonly
performed now-a-days. Baryton is a string instrument akin to a viola da gamba.
It had six (or seven) strings arranged over a fretted fingerboard, played with a
bow, and is held between and supported by one’s legs rather than by an end pin
like a modern cello.
Irving Gifford Fine (1914-1962), together with Arthur Berger, Leonard Bernstein,
Aaron Copland, Lukas Foss and Harold Shapero, formed the so-called “Boston
Six” (or “Boston School”) which quite literally dominated the American musical
scene in the better part of the 20th century. Fine was born in Boston, studied
composition with Walter Piston (Harvard) and Nadia Boulanger (Paris),
conducting with Serge Koussevitzky (Tangelwood), served as pianist of the Boston
Symphony Orchestra, taught music theory at Harvard and composition at both
the Tanglewood Music Festival and Brandeis University, and became a close
associate of Leonard Bernstein, Igor Stravinsky and Aaron Copland. He died in
Natick, Massachusetts on August 23, 1962 at age 47.
His instrumental music spanned many genres: sonatas, string quartets, piano
pieces, woodwind quintets and symphonies. Among his frequently performed
choral works are two sets of choruses from Alice in Wonderland. They were
composed in 1942 as incidental music for a production – adapted by Eva
LeGallienne -- of Lewis Carroll's Alice in Wonderland. The same year, Fine drew
from the score three separate works for chorus and piano: "The Lobster
Quadrille," "The Lullaby of the Duchess," and "Father William." They became so
popular that in 1949 he created an orchestral arrangement, completing it during
one of his stays at the MacDowell Colony.
Cantique de Jean Racine was written when Gabriel Fauré was only 19 years
old. It won him the first prize when he graduated from L’Ecole Niedermeyer
de Paris (whose mission was to train church musicians) and was premiered on
August 4, 1866 accompanied by a string orchestra and organ.
The Village Presbyterian Church
The text, “Verbe égal au Très-Haut” is a paraphrase by Jean Racine of an
Ambrosian hymn for Tuesday matins, Consors paterni luminis (“O Light of
light”). Jean Racine (1639-1699) was one of the most important French
playwrights of the 17th century. His name is frequently mentioned together
with that of two other playwrights: Jean-Bapiste Poquelin (1622-1673, better
known by his stage name, Molièr) and Pierre Corneille (1606-1684).
Many arrangements of the accompaniment exist including one for strings and
harp by John Rutter. Based on the piano/vocal score, published in 1952 by
Broude Brothers of New York, I arranged this version for cello and piano as a
finale for all our wonderful musicians. I hope you enjoy hearing it.
Special Music Offerings
Upcoming Special Music Offerings
presents
Come to as many of these offerings as you wish.
All services and concerts are held in our beautiful Sanctuary.
Concerts and Recitals - (Free, unless indicated otherwise)
Friday, May 16, 7:30 p.m.
Margaret and Chris Martin Concert for trumpet and organ
The Village Church Soloists
with guest artist cellist Lisa Agan
June 4, 6, and 7, 7:30 p.m.
Fourth Annual North Shore Chamber Music Festival Concerts.
Tickets may be purchased from Dr. Donald Chen,
847-272-0900, ext. 144 or [email protected].
TVPC members receive a 25% discount.
in concert
Friday • April 30, 2014 • 7:30 pm
THE VILLAGE PRESBYTERIAN CHURCH
1300 Shermer Road, Northbrook, Illinois 60062-4577
Office: 847-272-0900
Fax: 847-509-TVPC
TVPC Website: www.tvpchurch.org
TVPC e-mail: [email protected]
Program
Nine Four-part Songs, Hob. XXVc
(“Neun vierstimmige Gesänge”)
No.
No.
No.
No.
Biographies
Translations
7
1
2
9
Franz Joseph Haydn
(1732-1809)
Against Presumption (“Wider den Übermut”)
Eloquence (“Die Beredsamkeit”)
Harmony in Marriage (“Die Harmonie in der Ehe”)
Evening Hymn to God (“Abendlied zu Gott”)
Divertimento in D Major for Cello and Piano
Franz Joseph Haydn
Arr. Gregor Piatigorsky
Adagio
Minuet / Trio
Allegro di molto
Delights from G & S
Lyrics by William Schwenck Gilbert
(1836-1911)
Music by Arthur Seymour Sullivan
(1842-1900)
"A Simple Sailor Lowly Born" (H.M.S. Pinafore)
“When Frederic Was a Little Lad” (The Pirates of Penzance)
“When All Night Long a Chap Remains” (Iolanthe)
“Take a Pair of Sparkling Eyes” (The Gondoliers)
“Then One of Us will be Queen” (The Gondoliers)
Three Choral Settings from “Alice in Wonderland”
Irving Fine
(1914-1962)
The Lobster Quadrille
Lullaby of the Duchess
Father William
Cantique de Jean Racine, Op. 11
Gabriel Fauré
(1845-1924)
We gratefully accept free will offerings to
defray expenses incurred by Special Music Offerings.
Collection plates will be available as you exit.
Village Church Choir Section Leaders
Ashley Johnson Barney, soprano
Denise Knowlton, alto
Joseph Cloonan, tenor
Warren Kaplan, bass
Guest artists
Lisa Agan, cello
Shirley Trissell, piano
Reception to follow in the Narthex
Wider den Übermut
(C. F. Gellert)
Was ist mein Stand, mein Glück
und jede gute Gabe?
Ein unverdientes Gut
bewahre mich, O Gott!
von dem ich alles habe,
vor Stolz und Übermut.
* Against Presumption
Die Beredsamkeit
(G. E. Lessing)
Freunde, Wasser machete stumm,
lernet dieses an den Fischen,
doch beim Weine kehrt sich’s um,
dieses lernt an unsern Tischen.
* Eloquence
Was für Redner sind wir nicht,
wenn der Rheinwein aus uns spricht,
wir ermahnen, straiten, lehren,
keiner will den andern hören,
Freunde, Freunde, Freunde,
Wasser machete stumm.
What orators we are indeed
when Rhenish wine speaks in us,
we admonish, quarrel, teach,
no one wants to listen to the other,
friends, friends, friends,
water makes you dumb.
Die Harmonie in der Ehe
(J. N. Götz)
O wunderbare Harmonie,
was Er will, will auch Sie,
bechert gern, er lombert gern,
er hat den Beutel gern,
und spielet gern der Herrn.
sie auch, sie auch.
auch das ist ihr Gebrauch.
* Harmony in Marriage
Abendlied zu Gott
(C. F. Gellert)
Herr! Der du mir das Leben
bis’ diesen Tag gegeben
dich bet’ ich kindlich an;
ich bin viel zu geringe der Treue,
die ich singe
und die du heut’ an mir getan.
* Evening Hymn to God
What is my estate, my fortune
and my fortune and every talent?
An undeserved property.
Preserve me, Oh God,
to whom I owe everything
from pride and presumption.
Friends, water makes you dumb,
learn that from the fishes,
with wine the reverse is true,
learn that at our table.
Oh blessed harmony,
what he wants she wants as well
he likes his drink, he like his cards,
he likes money,
and likes to be the boss.
She too, she too,
and that is their custom.
Lord who has given me life
to this day
I adore you child like
I am not worthy of the truth
which I sing and
which you did unto me today.
* English translations were extracted from a CD recording issued by Hunapoton Classic of a
performance by Budapest Tomkins Vocal Ensemble, Janos Dobra, conductor.
Cantique de Jean Racine
(Paraphrased by Jean Racine; English translation by Harold Heiberg)
Verbe égal au Très-Haut, notre unique
espérance, notre unique espérance
Jour éternel de la terre et des cieux,
De la paisible nuit nous rompons le silence:
Divine sauveur, jette sur mous les yeux.
O Redeemer divine, our sole hope of
salvation,
Eternal Light of the earth and the sky,
We kneel in adoration, O Savior,
Turn upon us Thy loving eye!
Répands sur nous le feu de ta grâce
puissante;
Que tout l’enfer fuie au son de
ta voix;
Dissipe le sommeil d’une âme
languissante
Qui la conduit àl’oubli de tes lois!
Send down on us the fire of Thy grace allconsuming,
whose wondrous might dispersed the
pow’rs of hell,
And rouse our slumb’ring souls with
radiance all-illum’ning,
that they may waken Thy mercy to tell!
Ô Christ! Sois favorable à ce
people fidèle,
Pour te bénir maintenant assemble;
O Christ, bestow Thy blessing on us, we
implore Thee,
who here are gathered on penitent
knee,
Accept the hymns we chant to Thine
eternal glory;
and these Thy gifts we return unto
Thee!
Reçois les chants qu’il offer à
ta gloire immortelle
Et de tes dons qu’il retourne comblé.
Ashley Johnson Barney, soprano, is a graduate of Wheaton College and
DePaul University (MM) where she studied with Jane Bunnell. She was
cast as Patience in Gilbert and Sullivan’s Patience, as the Vixen in
Janacek’s The Cunning Little Vixen, as Dido in Henry Purcell’s Dido and
Aeneas, and as Casilda in G & S’s The Gondoliers. Ashley won a fully
stipend position with Opera North (Lebanon, NH) and sang the role of
Beth in Mark Adamo’s Little Women in the summer of 2013.
Denise Knowlton, alto, holds the degree Doctor of Musical Arts in Vocal
Performance from University of Missouri-Kansas City. She has appeared
as Ulrica in Verdi’s Un ballo in maschera (“The Masked Ball”) with Union
Avenue Opera Theater (St. Louis, MO), as Berthe in Il Barbieri di Siviglia
with the DuPage Opera Theater, as Duchess in G & S’s The Gondolier
with the G & S Society of Chicago, as Mamma Lucia in Cavalleria
Rusticana with Chelsea Opera (NYC), and as Gertrude in Hansel und
Gretel with Cleveland Orchestra. She is a long-time member of Chicago
Symphony Chorus and Grant Park Festival Chorus.
Joseph Cloonan, tenor, marks his 32 years of singing with of the
Chicago Symphony Chorus this season, during which he covered tenor
soloists for the Mozart C Minor Mass and Berlioz Romeo and Juliet and
Damnation of Faust, toured nationally with the 24-voice Chicago
Symphony Singers, and participated in 11 Grammy Award winning
recordings. Joe has also sung with the Grant Park and Lyric Opera
Choruses, among many other Chicago area ensembles. He has appeared
as tenor soloist with the Downer Grove Choral Society, the Sine Nomine
Ensemble & Orchestra and has sung six comprimario roles with DuPage
Opera Theater.
Warren Kaplan, bass, excels in a wide range of musical styles, from
Bach to Glass. His performance as Gremin in Tchaikovsky’s Eugene
Onegin with Union Avenue Opera Theater in St. Louis received great
acclaim. He has been feature soloist of orchestras such as Dubuque
Symphony, Springfield (MA) Symphony, Sheboygan Symphony, and
Arkansas Symphony. Tony Award-winning director Mary Zimmerman
cast him to cover the bass roles in Philip Glass’ world premiere of
Galileo Galilei at the Goodman Theater in Chicago. Warren also records
voiceovers for TV and radio commercials and film. You may have heard
him in spots for Sears, Pizza Hut, Chevrolet, Home Depot, Coors and
McDonald’s.
Lisa Agan, cello, earned her Masters of Music Performance degree from
Boston University. She also studied at Peabody Conservatory and
Berklee College of Music, and enjoys playing many different genres of
music besides classical. She has performed as a member of the
Greenville Symphony in South Carolina, and as a soloist with various
symphony orchestras in Michigan. Lisa currently teaches cello lessons
and is a part-time member of the Northbrook Symphony. She also
enjoys playing chamber music as a professional freelance cellist.
Shirley Trissell, piano, completed her formal training at the University
of Oklahoma, the Musikhochschule in Vienna, Austria and DePaul
University where she earned a Bachelor of Music in piano, a chamber
music diploma, and Masters in piano, respectively. Her teachers
included Digby bell, Tong Il Han, Georg Ebert and Dmitry Paperno. She
freelances in the Chicago area.