Das Paradies und die Peri - North Shore Choral Society

Das Paradies und die Peri - North Shore Choral Society

THE NORTH SHORE CHORAL SOCIETY
directed by Donald Chen, presents
Das Paradies und die Peri
by Robert Schumann
The North Shore Choral Society
For the past three years, members of the North Shore Choral Society have been planning
this special season to celebrate our seventieth birthday. And “special” it has been.
Our December concert with The Agape Ringers and the Horizon Brass Quintet sent both
performers and audience members into the busy holiday season with a musical flourish.
In March, the Parish Church of St. Luke was filled to overflowing with an audience that
gave an enthusiastic response to our contrasting program of Brahms’ Liebeslieder-Walzer
and Orff’s Carmina Burana, with the Red Rose Chamber Choir joining us in the latter.
And just last month, we sang the Shostakovich Second Symphony with the Northbrook
Symphony Orchestra in an exciting performance that kept most of the audience in their
seats for a second hearing.
Now the season comes to an end—with Robert Schumann’s fascinating Das Paradies
und die Peri. Throughout the season, we have trumpeted the fact that this work—perhaps
more than any other—established Schumann’s international reputation. As the chorus,
the instrumentalists, and the soloists join in this afternoon’s presentation, we may all
come to understand why this claim has been made. Be sure to read Donald Draganski’s
program notes for details about the creation of this unique piece.
And next season? These are our tentative plans: a December concert featuring John
Rutter’s Gloria, Conrad Husa’s A Christmas Garland, and—of course—traditional holiday
carols; a second concert with a chamber ensemble joining the chorus in a performance
of Stravinsky’s Mass, plus music of Ron Nelson and Randall Thompson; and a singlework season finale: Haydn’s Missa Cellensis.
If you are on our mailing list, you will receive information about our seventy-first season
in August. If you are not and would like to be, please stop at our table in the lobby and
make your wish known. And be sure to join us in our anniversary celebration after
today’s concert.
Have a delightful summer. We hope to see you again next fall.
Featuring
Michelle Areyzaga, soprano,
in the role of Die Peri
and James Doing, tenor solo
with solo quartet:
Amy Conn, soprano [Die Jüngfrau],
Emily Lodine, alto [Der Engel],
Calland Metts, tenor [Der Jüngling],
Peter Van De Graaff, bass-baritone
[Gazna, Der Mann]
Sunday, June 11, 2006, 3:00 PM
Pick-Staiger Concert Hall
50 Arts Circle Drive, Evanston
THE NSCS IS SUPPORTED IN PART BY THE ILLINOIS ARTS COUNCIL
www.northshorechoral.org
SMOKING IS NOT PERMITTED IN PICK-STAIGER CONCERT HALL.
FOOD AND BEVERAGES ARE NOT PERMITTED IN THE LOBBY OR AUDIENCE SEATING AREA.
PHOTOGRAPHS AND TAPE RECORDINGS ARE NOT PERMITTED DURING A PERFORMANCE.
ONLY MEMBERS OF THE HOUSE STAFF ARE PERMITTED TO STAND IN AISLES.
PROGRAM
DAS PARADIES UND DIE PERI OPUS 50 ................... Robert Schumann (1810–1856)
Michelle Areyzaga, soprano [in the role of The Peri]; James Doing, tenor solo;
Solo quartet: Amy Conn, soprano [The Maiden]; Emily Lodine, alto [The Angel];
Calland Metts, tenor [The Young Man]; Peter Van De Graaff, bass-baritone [Gazna, The Man]
ERSTER TEIL. (PART ONE)
No. 1. Vor Edens Tor im Morgenprangen .................................................................. alto solo
No. 2. Wie glücklich sie wandeln ................................................................................ The Peri
No. 3. Der hehre Engel, der die Pforte .................................... tenor recitative and The Angel
No. 4. Wo find’ich sie? ................................................................................................. The Peri
No. 5. So sann sie nach ............................................................................................... tenor solo
O süßes Land! ............................................................................................... solo quartet
No. 6. Doch seine Ströme sind jetzt rot .... chorus, Chorus of Conquerors, Chorus of Indians
No. 7. Und einsam steht ein Jüngling ................ tenor solo, chorus, Gazna and The Young Man
No. 8. Weh, weh, weh, er fehlte das Ziel ....................................................................... chorus
No. 9. Die Peri sah das Mal der Wunde .......... tenor solo, The Peri, solo quartet and chorus
ZWEITER TEIL. (PART TWO)
No. 10. Die Peri tritt mit schüchterner Gebärde ........ tenor, The Angel and Chorus of Angels
No. 11. Ihr erstes Himmelshoffen schwand ............................................................... tenor solo
Hervor aus den Wässern ................................. Chorus of the Nile Spirits and The Peri
No. 12. Fort streift von hier das Kind der Lüfte ................................. tenor solo and The Peri
No. 13. Die Peri weint .................................................................................................. tenor solo
Denn in der Trän’ ist Zaubermacht ............................................................ solo quartet
No. 14. Im Waldesgrün am stillen See ........................................ alto solo and The Young Man
No. 15. Verlassener Jüngling ............................... soprano solo, tenor solo and The Young Man
No. 16. O laß mich von der Luft durchdringen .............................The Maiden and tenor solo
No. 17. Schlaf nun und ruhe in Träumen voll Duft ................................ The Peri with chorus
Intermission 15 minutes
DRITTER TEIL. (PART THREE)
No. 18. Schmücket die Stufen zu Allahs Thron .......................... Chorus of Heavenly Maidens
No. 19. Dem Sang von ferne lauschend .............................................. tenor solo and The Angel
No. 20. Verstoßen! Verschlossen aufs neu .................................................................... The Peri
No. 21. Jetzt sank des Abends goldner Schein ...................................................... baritone solo
No. 22. Peri, ist’s wahr? ...................................... tenor solo, Chorus of Peris and baritone solo
No. 23. Hinab zu jenem Sonnentempel ........ The Peri, tenor solo, soprano solo and The Man
No. 24. O heil’ge Tränen inn’ger Reue ................................................. solo quartet and chorus
No. 25. Es fällt ein Tropfen aufs Land ............................. The Peri and tenor solo with chorus
No. 26. Freud’, ew’ge Freude, mein Werk ist getan ... Peri and Chorus of the Blessed Spirits
The businesses listed in this program have been very helpful to us in bringing
you this concert. Please think of them when you need the services and products
they offer and tell them how much we appreciate their support!
ART & MUSIC
Alexandria Kung Photography
Audio Consultants
Evanston Symphony Orchestra
FolkWorks Gallery
Good’s of Evanston
Horizon Brass Quintet
J.O’Reilly Productions
Music of the Baroque
Music Unlimited
Northbrook Symphony Orchestra
TAR Audio
WFMT
AUTOMOTIVE SERVICES
Duxler Tire & Care Center
BOOKS, GIFTS, & CLOTHING
“Enchanted Remembrances” (Inge Kistler)
“Keeping The Beat” (Ada Kahn)
Natural Things
Williams Shoes - The Walking Spirit
COMPUTER & COPY SERVICES
Compassionate Computing
Quartet Copies
CONSULTING & BUSINESS SERVICES
K G Communications
National Award Services
EDUCATION & INSTRUCTION
The Kitchen Warrior (Paul Siegal)
Roycemore School
FINANCIAL SERVICES
Cardinal Financial Services
Devon Bank
First Bank & Trust of Evanston
Lee Canfield, Northwestern Mutual
United Financial Group (UFG)
Henricus Vroegh, Widmann, Siff & Co., Inc.
FOOD & BEVERAGES
Casteel Coffee
D&D Finer Foods
Evanston Grill
Food For Thought
Jilly’s Café
MJ Caterers
Rollin’ in Dough
Symphony’s Café
Tre Kronor Restaurant
HARDWARE, PLUMBING & APPLIANCES
Cahill Plumbing
Harold’s Hardware
Kelly’s Appliances
LeMoi Hardware
PERSONAL SERVICES
Art + Science = Hair
Cat Hospital of Chicago
Coiffure Copenhagen
Coventry Eye Care
Enzo’s Hair Design (Hair by Elizabeth)
Family Medicine Associates of Lutheran General
Frank Kiesel & Associates Hair Design
Kathleen Buchanan Trusdell, Psychotherapy
Natural Phenomena (Linda Schultz, massage)
Norm Underwood, Jr., Legal Services
North Shore Dental (Jill Horwitz)
Pamela Kihm, Movement Therapy
Presbyterian Homes
REAL ESTATE, HOME & GARDEN
Anton’s Greenhouse
Cyrus Development Group
Dahlquist Architecture
Lake Shore Partners
Prairie Shore Properties (Carol Bild)
Prairie Shore Properties
(Merry Juell & Rosanne O'Donnell)
Tim Murphy Carpentry, Inc.
TEXT AND TRANSLATIONS
DAVID DYNES LARSON MEMORIAL GIFT
A permanent Memorial Fund has been established to honor the memory of
David Dynes Larson, Music Director of the North Shore Choral Society from 1973 to
1984. Donations and memorial gifts to this fund are to be used for activities that
improve the performance and musicianship of the North Shore Choral Society.
Mariko Aki and Margaret Larson have made contributions to the David Dynes Larson
Memorial Fund this season.
MATCHING GIFTS
The Allstate Foundation, AT&T, and The Northern Trust Company have donated funds through
employee matching gift and charitable premium programs.
LEGACY GIFTS
Leave a lasting legacy to singers and audiences of the future by providing for the North Shore
Choral Society through a bequest in your will or trust. You can honor or memorialize a loved
one and help build an endowment to carry us forward for the next seventy years. Among our
members are specialists in estate and charitable gift planning. Call the Society at (847)272-2351
to arrange a confidential discussion.
GIFTS IN KIND
Computer Services: Paul M.W. Green
Copying and Printing: Central Avenue Printing, Mars Longden, Quartet Copies
Credit Card Services: First Bank & Trust of Evanston
Facilities: Northminster Presbyterian Church, Evanston;
Parish Church of Saint Luke, Evanston;
Saints Faith, Hope and Charity Catholic Church, Winnetka;
St. John’s Lutheran Church, Wilmette;
Trinity Lutheran Church, Evanston;
Mailings: George and Cynthia Zilliac
Music: Music Unlimited
Poster Design: Ryan Stremke
Program Notes: Donald Draganski
“Vielen Dank” to Antje Draganski for being
our expert and patient German diction coach.
DAS PARADIES UND DIE PERI .............. German text by Emil Flechsig and Robert Schumann
from the English poem “Lalla Rookh” by Thomas Moore
ERSTER TEIL
PART ONE
No. 1 ALT-SOLO
Vor Edens Tor im Morgenprangen
stand eine Peri schmerzbefangen:
Und wie sie lauscht dem Lebensquelle,
des Flut harmonisch drinnen hallte,
und wie vom Licht ihr Fittich helle,
das durch halboffne Pforten wallte:
Weint sie, verbannt aus diesen Au’n,
ihr sündiges Geschlecht zu schaun.
No. 1 ALTO SOLO
One morn a Peri at the gate
Of Eden stood, disconsolate;
And as she listen’d to the springs
Of life within, like music flowing,
And caught the light upon her wings
Through the half-open portal glowing,
She wept to think her recreant race
Should e’er have lost that glorious place!
No. 2 DIE PERI
Wie glücklich
sie wandeln, die sel’gen Geister,
im Dufte von Blumen, die nimmer verblühn!
Sind mein auch die Gärten auf Landen und Meer,
und pflück’ ich selbst Blumen auf Sternen umher:
Ein Blümlein des Himmels ist schöner denn alle!
Glänzt Kaschemirs See auch sonnig und rein
mit seiner Plataneninseln Schein,
und rinnen dort Ströme auf goldnem Sand,
doch ach! nur den Seligen ist’s bekannt:
Ein Tropfen des Himmels ist schöner denn alle!
Geh, schwing dich im Fluge von Stern zu Stern,
von Welt zu leuchtender Welt, so fern
als der Himmel wölbt seine Sonnenhalle,
nimm alle die Wonnen von allen den Sphären
und laß durch unendliche Zeiten sie währen:
Ein Stündlein des Himmels ist schöner denn alle!
No. 2 THE PERI
How happy, [exclaim’d this child of air,]
Are the holy spirits who wander there,
Mid flowers that never shall fade or fall;
Though mine are the gardens of earth and sea,
And the stars themselves have flowers for me,
One blossom of Heaven out-blooms them all!
Though sunny the lake of cool Cashmere,
With its plane-tree isle reflected clear, [...]
And the golden floods that thitherward stray
Yet – oh, ’tis only the blest can say
How the waters of Heaven outshine them all!
Go, wing thy flight from star to star,
From world to luminous world, as far
As the universe spreads its flaming wall:
Take all the pleasures of all the spheres,
And multiply each through endless years,
One minute of Heaven is worth them all!
Note: Thomas Moore’s poem has been modified where necessary to bring it into correspondence with the
German text set by Schumann. Passages printed in italics have been newly translated from the German,
either because they do not form part of Moore’s original or are too removed from it to be taken over directly.
Words or phrases enclosed in brackets are found in Moore’s poem but do not form part of Schumann’s text.
The use of elipses enclosed in brackets [...] indicates places where redundant portions of Moore’s text have
been omitted.
No. 3 RECITATIV TENOR-SOLO
Der hehre Engel, der die Pforte
des Lichts bewacht, vernimmt die Worte,
und wie er lauscht und näher schleicht
dem sanften Lied, entsinkt ihm eine Träne;
er sprach:
No. 3 RECITATIVE TENOR SOLO
The glorious Angel, who was keeping
The gates of Light, beheld her weeping;
And, as he nearer drew and listen’d
To her sad song, a tear-drop glisten’d
Within his eyelids. Gently he said:
DER ENGEL
Dir, Kind des Stamms, schön, doch voll Sünden,
kann eine frohe Hoffnung ich noch künden.
Im Schicksalsbuche stehn die Worte:
»Es sei der Schuld die Peri bar,
die bringt zu dieser ew’gen Pforte
des Himmels liebste Gabe dar!«
Geh, suche sie und werde rein:
Gern laß ich die Entsühnten ein!
THE ANGEL
Nymph of a fair but erring line!
[...] One hope is thine.
’Tis written in the Book of Fate,
“The Peri yet may be forgiven
Who brings to the eternal gate
The gift that is most dear to Heaven!”
Go, seek it, and redeem thy sin –
’Tis sweet to let the pardon’d in.
No. 4 DIE PERI
Wo find’ich sie? Wo blüht, wo liegt
die Gabe, die dem Hirnmel g’nügt?
Ich kenne die Urnen, mit Schätzen gefüllt,
tief unter Tschelminars Säulen verhüllt;
ich sah der Weihrauchinseln Grün
viel Klaftern tief im Meere blühn;
ich weiß auch, wo die Genien
König Jamschids Pokal verhehlen.
Er ist von Gold und von Juwelen,
und Lebenstropfen sind sein Getränk.
Doch will auch der Himmel solch Geschenk?
Strahlt je der Demant einer Krone
wie die Stufen an Allahs Wunderthrone?
Und, o ihr Lebenstropfen, was seid
ihr für die Tiefen der Ewigkeit!
No. 4 THE PERI
But whither shall I go
To find this gift for Heav’n? – I know
The wealth, [she cries,] of every urn,
In which unnumber’d rubies burn,
Beneath the pillars of Chilminar;
I know where the Isles of Perfume are
Many a fathom down in the sea,
I know, too, where the genii hid […]
The jewell’d cup of the King Jamshid,
With life’s elixir sparkling high –
But gifts like these are not for the sky.
Where was there ever a gem that shone
Like the steps of Alla’s wonderful throne?
And the drops of life – oh! what would they be
In the boundless deeNo. 3 p of Eternity?
No. 5 TENOR-SOLO
So sann sie nach und schwang die Flügel
jetzt über Indiens Blumenhügel.
No. 5 TENOR SOLO
While thus she mus’d, her pinions fann’d
The air of that sweet Indian land.
PATRONS (continued)
John & Judith Li on behalf of
Nancy Oft Rose
Andrew & Karen Fish Schurder
Steven & Melody Schneider
Johanne Noll
Roxann & Jerry Specht
Diane Nordstrand
Charlotte Thiemecke-Floyd
The Northern Trust Company
Peter P. Thomas
Frank Perry
Kathleen Trusdell
Catherine Porter
R. Stephen Warner
Mr. Robert L. Porter
Gerald & Barbara Weiner
Bill & Ellen Pullin
Charles & Mary Zitnick
Paul & Louise Quillman
for Kathy Tolisano
Rev. James & Elizabeth Roghair
DONORS ($50 to $99)
Eleanor W. Aldred
Anonymous
Marcia Maus Bollo
Dr. & Mrs. Richard Caldwell
Erica & Wylie Crawford
James E. Crawford
Lynne Curtis
Lenore & Randal Dupuis
Sharon Robbins Fellars
in memory of Irv Fishkin
Deborah Geismar & Leonard Koroski
Bruce & Betsy Gladfelter
Harold & Jane Goodman
Judith & Peter Greene
Jill Horwitz
Anne N. Lindahl
Thomas Miller
Michael & Patricia Seidl
Milly Silverstein
David & Judy Taylor
Ms. Joan K. Varner
Jean C. Yedlicka
Ted & Mariane Zelewsky
CONTRIBUTORS (under $50)
Mariko Aki
Carol Albertson
Yvonne Vanden Avenne
Gordon H. Berry
Sheila & Ray Brand
Harriet & Peter Brandt
Joan & Bruce Daugherty
Dorothy DiIorio
Sheran Fiedler
Mrs. Robin Goldsmith
Alexandra Lexton-Metzner
Peggy Lipschutz
Zoe Kessler Marshall
Pauline M. Mayo
John & Jan McCarron
Marshall J. Rasof
Dr. & Mrs. William O. Reid
Ms. Nancy Reise
Ms. Ann Stevens
The Stolz/Biel Household
Julie Struhar
Dan & Joan Woodard
OUR THANKS
to our friends whose financial support helps make possible the presentation of our concerts and
ensures the continuation of our choral tradition. The contributions listed were received between
May 1, 2005 and May 23, 2006. Contributions received after May 23, 2006,
will be acknowledged in the next concert program. Please mail contributions to NSCS,
P.O. Box 103, Evanston, IL 60204-0103.
PRINCIPAL BENEFACTORS ($1000 or more)
The Allstate Foundation
Mr. & Mrs James W. Miller
in recognition of Ellen Pullin
Karen L. Rigotti
Barbara K. DeCoster
The Illinois Arts Council
Philip & Nina Martin
in honor of Miriam B. Rigotti
Kay & Pete Rossiter
Susan Wiegand
GUARANTORS ($500 to $999)
Careen Taylor
Inge & Alan Kistler
Julie & Herb McDowell
Jean & Chuck Thompson
Henricus J. J. Vroegh
Mr. & Mrs. James W. Miller
in memory of Dr. Vera Fenyes
Camille M. Taylor
SUSTAINING MEMBERS ($250 to $499)
The AT&T Foundation
Marj Lundy & Jamie Godshalk
in recognition of Ms. Karen Rigotti
Christine A. McGuire
Katherine Biddle Austin
Thomas & Lolotte Olkowski
John Darrow
Myron & Alicia Resnick
Barbara & Bob Harmon
Dr. Barbara Struthers
David W. Hunt
Mrs. Frederick D. Taylor, Sr.
Karl & Marie Kroeger
PATRONS ($100 to $249)
John & Marilyn Fish
Len Barker
Robert E. Brotman
Lucinda Fuller
Sheila & David Crumrine
Anthony & Lesley Green
Ronald Dahlquist
John & Jeanne Kapps
Bruce & Jane Kenamore
Cecilia K. Davis
Mary Ann & Don Kissock
Else-Britt De Long
Joseph & Romayne Fargo
Heather Kitchens
Donald & Martha Farley
Melinda Kwedar
Linda W. Felker
Fran & Bob Langewisch
in the name of Elizabeth Roghair
Margaret Larson
Irving Lauf Jr.
Mr. & Mrs. Joseph C. Fenner
VOKALQUARTETT
O süßes Land! O Götterpracht!
Es flüstern die Palmen sacht,
es flimmert die Sternennacht,
dort schäumt auf Bernsteingrund das Meer
über Korallenriffe her,
dort brütet heiß der Sonne Brand,
im Schoß der Berge Diamant,
es rieseln, reichen Bräuten gleich,
die Bächlein hold an Golde reich,
dort duften Sandelhaine süß –
O Paradies!
VOCAL QUARTET
O fairest land, the gods’ delight,
Where rustling palms rejoice the sight
And stars twinkle in the sky at night;
[Whose air is balm;] whose ocean spreads
O’er coral rocks, and amber beds;
Whose mountains, pregnant by the beam
Of the warm sun, with diamonds teem;
Whose rivulets are like rich brides,
Lovely, with gold beneath their tides,
Whose sandal groves and bowers of spice
[Might be a Peri’s] Paradise!
No. 6 CHOR
Doch seine Ströme sind jetzt rot
von Menschenblut,
es wütet fürchterlich der Tod;
er schreitet durch die blumigen Wiesen
verheerend mit den ehernen Füßen.
O Land der Sonne, wessen Schritt
geht über deinen Boden,
wirft deine Pfeiler um, zertritt
die Göttersäulen und Pagoden?
Er ist’s, er ist’s von Gazna,
er naht in seinem grimmen Zorn!
No. 6 CHORUS
But crimson now her rivers ran
With human blood – the smell of death
Came reeking from those spicy bowers.
The flowering fields turn hideous red
As Death stalks, to universal dread,
Spreading havoc with his iron tread.
Land of the Sun! what foot invades
Thy Pagods and thy pillar’d shades –
The cavern shrines, and idol stones?
’Tis he of Gazna – fierce in wrath
He comes!
CHOR DER EROBERER
Gazna lebe, der mächtige Fürst!
CHORUS OF THE CONQUERORS
Long live Gazna, the mighty prince!
CHOR DER INDER
Es sterbe der Tyrann!
CHORUS OF THE INDIANS
Death to the tyrant!
No. 7 TENOR-SOLO
Und einsam steht ein Jüngling noch,
es fließt sein Blut aus manchen Wunden,
er beugt den Nacken nicht ins Joch,
ein Leu, umstellt von Waidmannshunden.
Schon hat sein Schwert im Feindesschwarm
mit blut’gen Lettern es geschrieben,
daß ungebeugt ihm Herz und Arm,
ein Pfeil nur ist ihm übrig blieben.
No. 7 TENOR SOLO
Behold, a youthful warrior stands alone,
Blood gushing from his many wounds,
The hated tyrant he defies,
Love of country shining in his eyes,
A lion beset by baying hounds.
His sword has dealt a mortal blow
To many a vainglorious foe;
Undaunted still in arm and heart,
He aims his last remaining dart.
CHOR DER EROBERER
Gazna lebe, es lebe der mächtige Fürst!
CHORUS OF THE CONQUERORS
Long live Gazna, the mighty prince!
GAZNA
Komm, kühner Held, und huld’ge mir,
willst du umsonst dein Blut verspritzen?
Dein eitles Kämpfen kann nichts nützen,
komm, dein Leben schenk’ich dir!
GAZNA
Come, bold hero, bend the knee to me:
Why should you shed your blood in vain?
In your resistance lies no gain:
Come, your life I guarantee!
DER JÜNGLING
Du schlugst des Landes Bürger,
du meiner Brüder Würger –
dir diesen letzten Pfeil!
THE YOUNG MAN
You smote the people of my land,
To slay my brethren you have planned –
This, my last arrow, is for you!
GAZNA
Das sollst du büßen!
GAZNA
This you shall rue!
No. 8 CHOR
Weh, weh, weh, er fehlte das Ziel,
es lebt der Tyrann, der edle Jüngling fiel!
No. 8 CHORUS
False flew the shaft. Ah, sad to tell,
The tyrant liv’d, the hero fell!
No. 9 TENOR-SOLO
Die Peri sah das Mal der Wunde,
und nun vertobt des Kampfes Wut,
kam sie im Strahl des Morgenrots
und nahm das letzte Tröpflein Blut,
das aus dem Heldenherzen drang,
eh’ sich der freie Geist entschwang.
No. 9 TENOR SOLO
Yet mark’d the Peri where he lay,
And when the rush of war was past,
Swiftly descending on a ray
Of morning light, she caught the last –
Last glorious drop his heart had shed,
Before its free-born spirit fled!
DIE PERI, VOKALQUARTETT und CHOR
Sei dies mein Geschenk,
willkommen dorten
an Edens Pforten!
Denn heilig ist das Blut,
für die Freiheit verspritzt vom Heldenmut,
und würde nicht trüben die klarste Flut,
die durch die Haine der Sel’gen fließt!
O, gibt es ein Opfer der Erdenwelt,
ein Geschenk, das teuer der Himmel hält,
’s ist das Blut, das der Freiheit sterbender Sohn
ihr bringt als letzte Libation!
Sei dies mein/dein Geschenk,
willkommen dorten!
THE PERI, VOCAL QUARTET and CHORUS
Be this
my welcome gift
at the gates of light.
Blood like this,
For liberty shed, so holy is,
It would not stain the purest rill,
That sparkles among the bowers of bliss!
Oh, if there be, on this earthly sphere,
A boon, an offering Heaven holds dear,
’Tis the last libation liberty draws
From a dying son.
Be this my gift
Welcome to thee!
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ZWEITER TEIL
PART TWO
No. 10 TENOR-SOLO
Die Peri tritt mit schüchterner Gebärde
vor Edens Tor,
im Herzen Himmelshoffnungsglück:
Ob sich die Pforte öffnen werde,
sie fragt’s mit stummem Liebesblick.
No. 10 TENOR SOLO
With timid steps the Peri then,
Hope of heav’nly bliss at heart,
Approached the pearly gates of Eden,
And asked with silent loving glance
If now she might through them advance.
DER ENGEL
Gern grüßen wir, die so gegangen
den Heldentod fürs Vaterland.
Doch sieh, noch weicht der eh’rne
Riegel nicht
Viel heil’ger muß die Gabe sein,
die dich zum Tor des Lichts läßt ein!
THE ANGEL
[...] Sweet is our welcome of the brave
Who die thus for their native Land.
But see – alas! – the rigid bar
[Of Eden] moves not – holier far
[Than ev’n this drop] the boon must be
That opes the gates of Heav’n for thee!
ENGEL-CHOR
Viel heil’ger muß die Gabe sein,
die dich zum Tor des Lichts läßt ein!
CHORUS OF ANGELS
Holier far the boon must be
That opes the gates of Heav’n for thee!
No. 11 TENOR-SOLO
Ihr erstes Himmelshoffen schwand.
Jetzt sank sie fern im heißen Land
auf Afrikas Gebirge nieder
und badete ihr matt Gefieder
im Quell des Nils, dessen Entstehn
kein Erdgeborner noch gesehn.
No. 11 TENOR SOLO
Her first fond hope of Eden blighted,
Now among Afric’s lunar mountains,
Far to the south, the Peri lighted;
And sleek’d her plumage at the fountains
Of that Egyptian tide – whose birth
Is hidden from the sons of earth.
CHOR DER GENIEN DES NILS
Hervor aus den Wässern geschwind
und sehet das holde, liebliche Kind!
Eine Peri ist’s, welch hold’ Gesicht –
doch stört sie nicht!
Hört, wie sie singt,
hört, wie sie klagt!
Hervor aus den Wässern geschwind usw.
Stille! Still!
CHORUS OF THE NILE SPIRITS
From out the waters come in haste
To see this child with beauty graced!
She is a Peri, fair of face –
But act now with restraint!
Hark, how she sings!
Listen to her plaint!
From out the waters come in haste, etc.
Hush! Hush!
DIE PERI
THE PERI
Ach Eden, ach Eden, wie sehnt sich nach dir
O Eden, how I yearn for thee!
mein Herz! O wann öffnet die Pforte sich mir? When will thy gates be opened for me?
No. 12 TENOR-SOLO
Fort streift von hier das Kind der Lüfte
über Ägyptens Königsgrüfte,
von Palmenhainen hehr umrauscht;
jetzt sieht sie in Rosettas Tal
dem Nesterbau’n der Tauben zu,
jetzt lauscht sie Schwänen, weiß wie Schnee,
die stolz durchziehen Möris-See.
Welch Bild! Kein sterblich’ Aug’ hat je
ein Land gesehn voll höh’rer Pracht!
Doch eine Stille, fürchterlich,
liegt über diesen Himmelsfluren,
mit gift’gem Hauche ihre Spuren
verfolgend, zieht durchs Land die Pest.
DIE PERI
Für euren ersten Fall
wie hart, ihr Armen, büßt ihr doch,
habt einige Blüten aus Eden zwar noch,
die Schlang’ überschleichet sie all’.
No. 12 TENOR SOLO
Thence over Egypt’s palmy groves,
Her grots, and sepulchres of kings,
The exil’d spirit sighing roves;
And now hangs listening to the doves
In warm Rosetta’s vale – now loves
To watch the moonlight on the wings
Of the snow-white swans that break
The azure calm of Moeris’ Lake.
’Twas a fair scene – a land more bright
Never did mortal eye behold!
Who could have thought, that there, ev’n there,
Amid those scenes so still and fair,
The demon of the plague hath cast
From his hot wing a deadlier blast.
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THE PERI
Poor race of men! [said the pitying spirit,]
Dearly ye pay for your primal fall –
Some flow’rets of Eden ye still inherit,
But the trail of the serpent is over them all!
No. 13 TENOR-SOLO und VOKALQUARTTET
Die Peri weint, von ihrer Träne scheint
rings klar die Luft, der Himmel lacht.
Denn in der Trän’ ist Zaubermacht,
die solch ein Geist für Menschen weint.
No. 13 TENOR SOLO and VOCAL QUARTET
She wept – the air grew pure and clear
Around her, as the bright drops ran;
For there’s a magic in each tear,
Such kindly spirits weep for man!
No. 14 ALT-SOLO
Im Waldesgrün am stillen See,
da seufzt ein Jüngling im schweren Weh:
Gepackt von der tötenden Seuche, stahl
er her sich, zu enden seine Qual.
Er, dem im Leben, wo er stand,
sich jedes Herz einst zugewandt,
stirbt jetzt, als hätt’ er keinen Freund,
hier ungesehn und unbeweint.
No. 14 ALTO SOLO
Beneath that fresh and springing bower,
Close by the lake, she heard the moan
Of one who, at this silent hour,
Had thither stol’n to die alone.
One who in life where’er he mov’d,
Drew after him the hearts of many;
Yet now, as though he ne’er were lov’d,
Dies here unseen, unwept by any!
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THE YOUNG MAN
Ah, a single droplet from the lake
My feverish burning woe to slake!
Ah, a single droplet from the flood
To cool the agitation in my blood!
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DER JÜNGLING
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No. 15 MEZZOSOPRAN-SOLO
Verlassener Jüngling, nur das eine
bleibt, was ihm Trost noch gibt,
daß sie, die er seit Jahren treu geliebt,
geschützt ist vor dem Hauch der Gruft
in ihres Vaters Fürstenhallen;
denn dorten kühlig fallen
Fontänen, süß durchraucht
balsam’scher Duft die Hallen,
und rein ist dorten noch die Luft,
rein wie die Stirn, von ihr umhaucht.
No. 15 MEZZO-SOPRANO SOLO
Deserted youth! one thought alone
Shed joy around his soul in death –
That she, whom he for years had lov’d, [...]
Was safe from fetid graveyards’ breath,
Safe in her father’s princely halls,
Where the cool airs from fountain falls,
Freshly perfum’d by many a brand
Of the sweet wood from India’s land,
Were pure as she whose brow they fann’d.
TENOR-SOLO
Doch sieh, wer naht dort leise schleichend
dem melancholischen Gebüsch,
der Göttin der Gesundheit gleichend,
mit Rosenwangen frühlingsfrisch!
Sie ist’s, vom Strahl des Mondes schaut
er still verklärt sich nah’n die treue Braut.
Sie hält im Arm den Freund, sie preßt
die rote Wang’ an seine bleiche,
sie netzt ihr wallend’ Haar im Teiche,
daß es die Stirn ihm kühlend näßt.
TENOR SOLO
But see – who yonder comes by stealth,
This melancholy bower to seek,
Like a young envoy, sent by health,
With rosy gifts upon her cheek?
’Tis she – far off, through moonlight dim
He knew his own betrothed bride.
Her arms are round her lover now,
His livid cheek to hers she presses,
And dips, to bind his burning brow,
In the cool lake her loosen’d tresses.
DER JÜNGLING
Du hier? – Entflieh!
Ein Hauch von mir bringt dir den Tod!
THE YOUNG MAN
Thou here? – O flee!
A breath from me brings death to thee!
No. 16 DIE JUNGFRAU
O laß mich von der Luft durchdringen,
der sel’gen Luft, gehaucht von dir,
und was sie trag’ auf ihren Schwingen,
Tod oder Leben, süß ist’s mir.
Trink meine Tränen, auch mein Blut,
mein Herzblut selbst empfingest du,
wär’s Balsam nur für deine Glut,
gäb’s dir nur auf Minuten Ruh!
Wend’, o! dein hold Gesicht nicht ab,
bin ich nicht deine Braut, bin dein?
Ist nicht im Leben wie im Grab
der Platz an deiner Seite mein?
No. 16 THE MAIDEN
Oh! let me only breathe the air,
The blessed air, that’s breath’d by thee,
And, whether on its wings it bear
Healing or death, ’tis sweet to me!
There – drink my tears, while yet they fall, –
Would that my bosom’s blood were balm,
And, well thou know’st, I’d shed it all,
To give thy brow one minute’s calm.
Nay, turn not from me that dear face –
Am I not thine – thy own lov’d bride –
The one, the chosen one, whose place
In life or death is by thy side?
Denkst du, daß sie, die nur von dir
in dunkler Welt empfängt ihr Licht,
die trübe Nacht erträgt, die ihr
hereinsinkt, wenn dein Auge bricht?
Ich leben ohne dich, allein,
du meines Lebens Leben, nein!
O laß mich von der Luft durchdringen,
der sel’gen Luft, gehaucht von dir,
und was sie trag’ auf ihren Schwingen,
Tod oder Leben, süß ist’s mir!
Think’st thou that she, whose only light,
In this dim world, from thee hath shone,
Could bear the long, the cheerless night,
That must be hers when thou art gone?
That I can live, and let thee go,
Who are my life itself? – No, no –
Oh! let me only breathe the air,
The blessed air, that’s breath’d by thee,
And, whether on its wings it bear
Healing or death, ’tis sweet to me!
TENOR-SOLO
Sie wankt – sie sinkt – und wie ein Licht
im giftigen Hauche des Schachts
verlischt, so plötzlich bricht
ihr holdes Auge –
ein Krampf, sein Weh ist dann vergangen,
vollendet ist sein Leben.
Auf drückt sie ihm noch einen langen
und letzten Kuß und stirbt im Geben.
TENOR SOLO
She fails – she sinks – as dies the lamp
In charnel airs, or cavern-damp,
So quickly do his baleful sighs
Quench all the sweet light of her eyes.
One struggle – and his pain is past –
Her lover is no longer living!
One kiss the maiden gives, one last,
Long kiss, which she expires in giving!
No. 17 DIE PERI und CHOR
Schlaf nun und ruhe in Träumen voll Duft,
balsam’scher umweh dich die Luft,
als dem magischen Brand der Phönix entsteigt,
wenn er sein eigenes Grablied singt.
Schlaf nun und ruh in Träumen voll Lust,
du, die treueste, liebendste Brust!
Sie sprach’s, und Himmelshauch durchfließt
von ihren Lippen diese Stelle,
sie schwingt den Strahlenkranz und gießt
auf beider Antlitz solche Helle,
daß wie ein Heil’genpaar sie lagen.
Indes die Peri wacht und Licht
mild strahlt in ihre Todesnacht,
bis ihre Seelen auferwacht.
No. 17 THE PERI and CHORUS
Sleep on, in visions of odour rest,
In balmier airs than ever yet stirr’d
Th’ enchanted pile of that lonely bird,
Who sings at the last his own death-lay,
Sleep on, in pleasing dreams now rest,
Thou the truest, most beloved breast!
Thus saying, from her lips she spread
Unearthly breathings through the place,
And shook her sparkling wreath, and shed
Such lustre o’er each paly face,
That like two lovely saints they seem’d
While that benevolent Peri beam’d
Like their good angel, calmly keeping
Watch o’er them till their souls would waken.
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DRITTER TEIL
PART THREE
No. 18 CHOR
Schmücket die Stufen zu Allahs Thron,
schmückt sie mit Blumen, Freundinnen alle,
daß auf des Himmels Unterste auch
gnädig ein Blick des Ewigen falle!
Schlinget den Reigen,
laßt uns verneigen
freudig, demutsvoll vor dem Herrn!
No. 18 CHORUS
Bedeck the steps to Alla’s throne,
Strew them with flowers, companions all,
So that the Eternal Gaze
May even on the lowliest fall.
Let us all join hands in a round
And in humility profound
Bow joyfully before our Lord!
VOKALQUARTETT
Auch der Geliebten vergesset nicht,
die auf der Erde zurückgeblieben!
Unten ist’s dunkel, oben das Licht,
Haß ist dort, hier ewiges Lieben.
VOCAL QUARTET
Do not forget the lovers’ plight
Who on earth must still remain!
Below is darkness here is light,
There is hatred, this is love’s domain.
Schmücket die Stufen usw.
Bedeck the steps, etc.
SOPRAN I & II und CHOR
Seht da, die Bahn zum ew’gen Licht
kommt schon die Peri herangeflogen!
Liebliche Peri, verzweifle nicht,
Treu’ und Glaub’ hat noch nie betrogen!
Suche das Gut,
im Auge ruht,
was das Teuerste ist dem Herrn!
Jetzo zurück in die Rosenlauben,
Freude zu geben, Freud’zu empfangen,
an des Geliebten Lippen zu hangen,
Küsse zu bieten, Küsse zu rauben.
Schon naht die Sonne, ewige Wonne
harret, die freudig dienen dem Herrn!
SOPRANOS I & II and CHORUS
Lo, to the path to eternal light
The Peri now has taken her flight.
Lovely Peri, be thou not afraid;
Truth and faith have never been betrayed!
Seek what is good;
In thine eye there lies
What is most precious to the Lord.
Now go back to the rosy bower,
Joy to give, joy to receive,
To the beloved’s lips to cleave,
Kisses to offer and devour.
The sun draws near; endless reward
Waits for those who joyfully serve the Lord.
No. 19 TENOR-SOLO
Dem Sang von ferne lauschend, schwingt
die Peri höher sich empor;
der reinsten Liebe Seufzer bringt
sie als Geschenk vor Edens Tor.
Hoch kopft ihr Herz, die Hoffnung spricht’s:
Bald soll sie Edens Palmen nahn,
denn lächelnd nimmt der Geist des Lichts
am Tore diese Gabe an.
No. 19 TENOR SOLO
Hearkening to the distant song,
Again the Peri soars above,
Bearing to Heav’n that precious sigh
Of pure, self-sacrificing love.
High throbb’d her heart, with hope elate,
The Elysian palm she soon shall win,
For the bright spirit at the gate
Smil’d as she gave that offering in;
Und horch, von Himmelsbäumen ruft
kristallner Glöckchen Klang, sie lauscht
dem Läuten in ambrosischer Luft,
die her von Allahs Throne rauscht;
sie sieht die Sternenschalen blinken,
rings um den See des Lichts gereiht,
wo die verklärten Seelen trinken
den ersten Trank der Herrlichkeit.
Doch eitel war der Peri Hoffen,
noch stand das ew’ge Tor nicht offen;
es spricht der Engel, Schmerz im Blick:
And she already hears the trees
Of Eden, with their crystal bells
Ringing in that ambrosial breeze
That from the throne of Alla swells;
And she can see the starry bowls
That lie around that lucid lake,
Upon whose banks admitted souls
Their first sweet draught of glory take!
But, ah! even Peri’s hopes are vain –
Again [the Fates forbade, again]
Th’ immortal barrier clos’d.
The angel said, as with regret:
DER ENGEL
Noch nicht!
Treu war die Maid, und die Geschichte,
geschrieben überm Haupt des Herrn,
liest lange noch der Seraph gern;
doch, Peri, noch währt der Verschluß
von Edens Tor:
Viel heil’ger muß die Gabe sein,
die dich zum Tor des Lichts läßt ein!
THE ANGEL
Not yet!
True was the maiden, and her story,
Written in light o’er Alla’s head,
By seraph eyes shall long be read.
But, Peri, see – the [crystal] bar
Of Eden moves not – holier far
Than ev’n this sigh the boon must be
That opes the gates of Heav’n for thee.
No. 20 DIE PERI
Verstoßen! Verschlossen
aufs neu das Goldportal!
Gerichtet! Vernichtet,
der Hoffnung letzter Strahl!
So soll ich’s nimmer finden,
das edle, köstliche Gut,
weh mir, ich fühl’ ihn schwinden,
den hohen Mut;
doch will ich nicht ruhn, will ohne Rast
von einem Pol zum andern schreiten,
durchpilgern will ich alle Weiten
bis ich das Gut, bis ich’s erfaßt,
das mir das höchste Glück verheißt,
das, Eden, mir dein Tor erschleußt.
Und wär’s bewacht in Grau’n und Nacht,
tief in der Erde tiefsten Gründen,
ich will, ich muß das Kleinod finden!
No. 20 THE PERI
Cast out! From the golden gate
Once more turned away!
Condemned! Of hope
Denied the smallest ray!
Like this I shall never gain
The noble, precious gift
Ah, woe is me; my spirits wane,
I feel they nevermore will lift.
Yet I will never rest, nor cease
To wend my way from pole to pole,
A pilgrim till I reach my goal
And seize the prize of perfect peace
That I will hope to celebrate
When to me Eden opens the gate.
And even, if by a fate so cruel,
It lay hidden in the deepest depths,
I will, I must now find this jewel!
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Nr.21 BARITON-SOLO
Jetzt sank des Abends goldner Schein
auf Syriens Rosenland herein,
wie Glorienschimmer hing die Sonn’
über dem heil’gen Libanon.
Es ragt in Wintermajestät
sein Haupt, vom ew’gen Schnee beglänzt,
indes der Sommer schläft bekränzt
am Fuß auf einem Blumenbeet.
Die aus der Höhe konnte schau’n
herab auf all die Zauberau’n,
wie schön erschien ihr nicht die Welt,
das rege Leben, rings erhellt
der Gärten Pracht, der Wellen Schimmern,
an ihren Ufern goldne Früchte,
die schöner noch im Sonnenlichte,
und dann das tausendstimm’ge Rufen,
das alte Schäferrohr, das Summen
der Bienen im gelobten Land,
die schwärmen über Blumenfelder,
und Jordan, dein beglückter Strand
und deine nachtigallenreichen Wälder!
No. 21 BARITONE SOLO
Now, upon Syria’s land of roses
Softly the light of eve reposes,
And, like a glory, the broad sun
Hangs over sainted Lebanon;
Whose head in wintry grandeur towers,
And whitens with eternal sleet,
While summer, in a vale of flowers,
Is sleeping rosy at his feet.
To one, who look’d from upper air
O’er all th’ enchanted regions there,
How beauteous must have been the glow,
The life, the sparkling from below!
Fair gardens, shining streams, with ranks
Of golden melons on their banks,
More golden where the sun-light falls; –
And then the mingling sounds that come,
Of shepherd’s ancient reed, with hum
Of the wild bees of Palestine,
Banquetting through the flowery vales;
And, Jordan, those sweet banks of thine,
And woods, so full of nightingales.
No. 22 TENOR-SOLO
Und wie sie niederwärts sich schwingt,
eine Schar von Peris sie umringt:
No. 22 TENOR SOLO
And as she downward wings her way,
A host of Peris with her say:
CHOR
Peri, ist’s wahr,
daß du in den Himmel willst?
Genügt dir nicht
das Sonnenlicht
und Sterne, Mond und Erde?
Peri, ist’s wahr,
daß du in den Himmel willst?
so nimm uns eilig mit.
CHORUS OF PERIS
Peri, is it really true
That thou dost long for Heaven’s blue?
Is the light of the glorious sun
Not itself of sufficient worth,
Along with stars, the moon and earth?
Peri, is it really so
That thou to Heav’n dost long to go?
Then make haste to take us too!
BARITON-SOLO
Mit ihrer Schwestern Worten wächst ihr Schmerz,
schwer ist ihr Fittich, trüb’ ihr Herz;
freudlos sieht sie die Sonn’ sich neigen
dort hinterm Tempel, einst ihr eigen,
des Säulen, hoch und einsam, weit
die Schatten breiten durch die Au’n.
BARITONE SOLO
[...] Her sisters’ words increase her pain;
Her soul is sad – her wings are weary –
Joyless she sees the sun look down
On that great temple, once his own,
Whose lonely columns stand sublime,
Flinging their shadows on the plain.
No. 23 DIE PERI
Hinab zu jenem Sonnentempel!
Ein Amulett, auf dessen Stein
ein Zeichen glänzt, vom Blitz hinein –
geschmolzen, dort gewahr’ ich’s, auch
ein Blatt, auf welchem rein
das Siegel prangt von Salomo;
vielleicht entziffern sie mir’s, wo
auf Erden, in den Meeren ruht
die Zaubermacht, das edle Gut,
das Eden öffnet sünd’gen Wesen,
vielleicht vermag’s mein Aug’ zu lesen,
hinab!
No. 23 THE PERI
Downward to that temple of the sun!
An amulet, upon whose stone
Appears a lightning-flash’s glint,
Do I see there, also a page
That bears great Solomon’s imprint.
Perhaps they will decode for me
Where on earth or in the sea
Lies the magic power, the noble boon
That will open Eden soon
To sinners. Let my eye read it:
I will go down!
TENOR-SOLO
Sie schwebt herab im frohen Hoffen,
noch lacht des Himmels Auge hold,
die Lauben auch aus Abendgold
stehn noch im Westen offen.
Jetzt über Balbecks Tal sich schwingend,
erblickt im Spiele sie ein Kind,
inmitten wilder Rosen singend,
so rosig wild wie selbst sie sind.
Beim Knaben, der, des Spiels nun satt,
in Blumen sich gelagert hat,
sieht sie vom heißen Rosse steigen
jetzt einen müden Mann und schnell
an einem hochumgrasten Quell
zum Trunke sich hinunterbeugen,
TENOR SOLO
Cheer’d by this hope she bends her thither; –
Still laughs the radiant eye of Heaven,
Nor have the golden bowers of even
In the rich west begun to wither; –
When, o’er the vale of Balbec winging
Slowly, she sees a child at play,
Among the rosy wild flowers singing,
As rosy and as wild as they;
And near the boy, who tir’d with play
Now; nestling ’mid the roses lay,
She saw a wearied man dismount
From his hot steed, and on the brink
Of a small imaret’s rustic fount
Impatient fling him down to drink.
Jamie O’Reilly
“Songs of the Kerry
Madwoman”
A Song Cycle for Soprano and Folk/Chamber Ensemble
Based on the 7th century Irish Myth of Mis
An ethereal and powerful 14 song cycle for voice and chamber ensemble,
produced by J. O'Reilly Productions. Author Patricia Monaghan’s highly specialized
Celtic poetry acts as the lyrics, with singer/songwriter Michael Smith’s original music.
Musical arrangements are by Smith and Peter Swenson—who wrote the woodwind parts,
and plays guitar and various lutes. O’Reilly is featured on vocals. Smith on guitar.
Also appearing are Bob Weber (Cello), John Floeter (Double Bass), Lily Floeter (Flute),
Shawna Lake (Oboe, English Horn) and Special Guests Anne Hills (Vocals),
James Conway (Tin Whistle), Michael Zerang (Percussion), and Bob Long (Piano).
Distributed by J. O'Reilly Productions
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The Perfect Gift for every Music Lover!
Enchanted Remembrances:
1838-1925
The Life of a Sunday’s Child
By Susanne Schmaltz
• Translated from the German by Inge Kistler •
4 October 1995
Dear Mrs. Kistler,
I wish to tell you how throroughly I enjoyed your great
grandaunt’s book “Enchanted Remembrances” which you so
very finely tailored to the present.
What a remarkable woman she must have been — with
her indomitable courage and determination, with her sense of
adventure, but even more so with her uncanny ability to record
so interestingly for posterity those engrossing minutiae of the
historic personalities and artistic greats of whom today’s world
only knows so little. Reading your book was like a window
being opened ever so slightly, permitting the reader to see and
feel how life was a century ago and how it touched so many
persons we still admire. I was mesmerized and am grateful to
you for enriching my life by affording me the opportunity to
read what your great grandaunt observed and felt.
Thank you very much.
Sincerely,
Peggy O. Wolf
San Antonio, Texas
She left Hamburg “to see the world,” and as teacher, governess and companion she saw
most of Europe. The enchantment in the life of this courageous, independent woman
came from music and musicians. Piano lessons from Brahms, Ernst Wenzel and Clara
Schumann, participation in Brahms’ Women’s Chorus, and singing in Weimar under the
direction of Liszt were some of the highlights of her life.
Evanston Publishing, Inc. ISBN: 1-879260-29-8 $24.50 includes tax & delivery!
When you order from Inge Kistler, you will be making
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Inge Kistler, 3241 Park Place, Evanston, IL 60201 (847) 328-5158
dann kehrt er schnell sein wild’ Gesicht
aufs schöne Kind, das furchtlos saß,
obgleich noch nie des Tages Licht
ein wild’res Antlitz sah als das,
entsetzlich wild, ein grauser Bund,
wie Wetterwolk’ aus Nacht und Glut,
dort stehn die Laster al1, es tut
dort jedes Bubenstück sich kund –
Meineid, erschlag’ner Gast,
betrog’ne Braut, mit blut’ger Schrift
auf jenem Antlitz stand’s geschrieben.
Then swift his haggard brow he turn’d
To the fair child, who fearless sat,
Though never yet hath day-beam burn’d
Upon a brow more fierce than that, –
Sullenly fierce – a mixture dire,
Like thunderclouds, of gloom and fire;
In which the [Peri’s] eye could read
Dark tales of many a ruthless deed;
The ruin’d maid – the shrine profan’d –
Oaths broken – and the threshold stain’d
With blood of guests! – there written, all.
MEZZOSOPRAN-SOLO
Doch horch, wie Vesperruf zum Beten,
da still die Sonn’ herniederschwebt,
von Syriens tausend Minaretten
jetzt durch die Lüfte bebt;
vom Blumenbeet hebt sich der Knab’,
das seinem Haupt ein Lager gab,
kniet nieder auf dem blum’gen Grund,
worauf mit reinem Engelsmund
er Gottes ew’gen Namen spricht;
er scheint, indem er Blick und Hand
zum Abendhimmel aufgewandt,
ein Engelskind, das sich hernieder
verirrt hat
und seine Heimat suchet wieder.
MEZZO-SOPRANO SOLO
But, hark! The vesper call to prayer,
As slow the orb of daylight sets,
Is rising sweetly on the air,
From Syria’s thousand minarets!
The boy has started from the bed
Of flowers, where he had laid his head,
And down upon the fragrant sod
Kneels lisping the eternal name of God
From purity’s own cherub mouth,
And looking, while his hands and eyes
Are lifted to the glowing skies,
Like a stray babe of Paradise,
Lost upon the earthly plain
And seeking for his home again.
TENOR-SOLO
Und was fühlt er, der sünd’ge Mann,
der dort lehnt und sich nun entsann
so manchen Jahrs voll Schuld und Blut,
der auf des Lebens dunkler Flut
umsonst späht nach dem Rettungspfade,
wo nichts den Ölzweig bringt der Gnade!
TENOR SOLO
And how felt he, the wretched man,
Reclining there – while memory ran
O’er many a year of guilt and strife,
Flew o’er the dark flood of his life,
Nor found one sunny resting-place,
Nor brought him back one branch of grace.
DER MANN
’s war eine Zeit, du selig Kind,
da jung und rein, wie du, mein Tun
und Beten war – doch nun!
THE MAN
There was a time, [he said, in mild
Heart-humbled tones] – thou blessed child! –
When, young and haply pure as thou,
I look’d and pray’d like thee – but now!
No. 24 VOKALQUARTETT und CHOR
O heil’ge Tränen inn’ger Reue,
in eurer sanften Sühnungsflut
die einzige, die erste neue
schuldlose Lust für Schuld’ge ruht!
No. 24 VOCAL QUARTET and CHORUS
Blest tears of soul-felt penitence!
In whose benign, redeeming flow
Is felt the first, the only sense
Of guiltless joy that guilt can know.
No. 25 DIE PERI
Es fällt ein Tropfen aufs Land
Ägypten, von Juniushitze verbrannt,
vom Mond herab,
von so heilender Kraft, daß zur Stunde
der Dämon der Pest entschwebt
und Gesundheit Himmel und Erde belebt.
Läßt so, o Sünder, nicht genesen
dich dieser Reuetränen Fall?
Wie glüh’nd die Wunden der Brust gewesen,
ein Himmelstropfen, er heilt sie all’!
No. 25 THE PERI
There’s a drop […] that down from the moon
Falls through the withering airs of June
Upon Egypt’s land, of so healing a power,
So balmy a virtue, that ev’n in the hour
That drop descends, contagion dies,
And health re-animates earth and skies! –
Oh, is it not thus, thou man of sin,
The precious tears of repentance fall?
Though foul thy fiery plagues within,
One heavenly drop hath dispell’d them all!
TENOR-SOLO mit CHOR
Und sieh, demütig betend kniet
der Mann dort an des Kindes Seite,
indes ein Sonnenstrahl auf beide,
den Sünder und den Reinen glüht.
Und Hymnen durch den Himmel schweben,
denn einer Seele ward vergeben!
Gesunken war der gold’ne Ball,
noch lagen sie auf ihren Knien,
da fiel ein rein’rer, schön’rer Strahl,
als je aus Sonn’und Sternen schien,
auf jene Träne.
Hymnen durch den Himmel schweben,
denn einer Seele ward vergeben!
Ein sterblich’ Auge nähm’ ihn zwar
als Meteor, als Nordlicht wahr,
doch weiß die Peri wohl: der Schein,
es muß des Engels Lächeln sein,
womit er mild die Träne grüßt,
die bald den Himmel ihr erschließt.
TENOR SOLO with CHORUS
And now – behold him kneeling there
By the child’s side, in humble prayer,
While the same sunbeam shines upon
The guilty and the guiltless one,
And hymns of joy proclaim through Heaven
The triumph of a soul forgiven!
’Twas when the golden orb had set,
While on their knees they linger’d yet,
There fell a light more lovely far
Than ever came from sun or star,
Upon the tear. [...]
And hymns of joy proclaim through Heaven
The triumph of a soul forgiven!
To mortal eye this light might seem
A northern flash or meteor beam –
But well th’ enraptur’d Peri knew
’Twas a bright smile the angel threw
From Heaven’s gate, to hail that tear
Her harbinger of glory near!
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No. 26 DIE PERI
Freud’, ew’ge Freude, mein Werk ist getan,
die Pforte geöffnet zum Himmel hinan,
wie selig, o Wonne, wie selig bin ich!
Süß Eden, wie finster sind gegen dich
Schedukiams Demanttürme, wie matt
die duftenden Lauben von Amberabad!
Lebt wohl, ihr Düfte der Erd’, ihr verraucht
schnell, wie der Liebenden Seufzer verhaucht!
Vom Tubabaum ist nun mein Schmaus,
er duftet der Ewigkeit Odem aus!
Lebt wohl, ihr Blüten in meinem Kranz,
ihr blühtet so schön und verwelket doch schon;
o was sind Blumen im irdischen Glanz
doch gegen den Lotos vor Allahs Thron,
mit ew’gen Blütenästen umstrebt,
wo in jeglichem Blatt eine Seele lebt!
O ewige Freud’, mein Werk ist getan,
die Pforte geöffnet zum Himmel hinan,
wie selig, o Wonne, wie selig bin ich!
No. 26 THE PERI
Joy, joy for ever! my task is done –
The gates are pass’d, and Heaven is won!
Oh! am I not happy? I am, I am –
To thee, sweet Eden! how dark and sad
Are the diamond turrets of Shadukiam,
Amid the fragrant bowers of Amberabad!
Farewell, ye odours of Earth, that die
Passing away like a lover’s sigh; –
My feast is now of the Tooba tree,
Whose scent is the breath of eternity!
Farewell ye vanishing flowers, that shone
In my fairy wreath, so bright and brief; –
Oh! what are the brightest that e’er have blown,
To the lote-tree, springing by Alla’s throne,
With eternal flowering branches strewn
Where a soul dwells in every leaf.
Joy, joy for ever! my task is done –
The gates are pass’d, and Heaven is won!
Oh! am I not happy? I am, I am!
CHOR DER SELIGEN
Willkommen, willkommen
unter den Frommen!
Du hast gerungen und nicht geruht,
nun ist’s errungen, das köstliche Gut!
Sei uns willkommen,
sei uns gegrüßt!
Ja, gibt es ein Opfer der Erdenwelt,
ein Geschenk, das teuer der Himmel hält,
die Träne ist’s, die du gebracht,
die aus dem Aug’ des Sünders floß,
die dir den Himmel wieder erschloß.
Du hast gerungen und nicht geruht,
nun hast du’s errungen, das köstliche Gut!
Aufgenommen
in Edens Garten,
wo liebende Seelen deiner warten,
dich ew’ge Wonne umfließt,
sei uns willkommen,
sei uns gegrüßt!
CHORUS OF THE BLESSED SPIRITS
Welcome, welcome
Among the godly!
Without cease thou hast striven and strained;
Now thou hast the precious boon obtained.
Welcome among us,
We greet thee!
Yes, if there is an earthly prize,
A gift that heav’n holds ever dear,
It is the former sinner’s tear
That drops in penitence from his eyes
That opens heaven’s gate for thee.
Without cease thou hast striven and strained;
Now thou hast the precious boon obtained!
Accepted at last
In Eden’s garden,
Where loving souls extend a pardon
And eternal bliss awaits thee,
Be welcome among us
And receive our greeting!
PROGRAM NOTES
by Donald Draganski
Most listeners are familiar with Robert Schumann primarily as a composer of piano music, chamber
music and lieder, in addition to his well-known symphonies and piano concerto. It may therefore
come as something of a surprise to learn that Schumann secured his international reputation with
his oratorio, Das Paradies und die Peri, composed in 1843 and set to a text by the Irish poet
Thomas Moore.
NATURAL THINGS
flowers
In that year the thirty-three year old composer had already composed over 150 songs, three string
quartets, his first symphony, and a veritable library of piano music. He was also editing the Neue
Zeitschrift für Musik, a journal that he had founded nine years earlier. A growing family (he and
Clara would eventually produce a brood of seven children) made further demands on this
phenomenally busy man’s time and energy. (It should also be noted that Schumann suffered from
frequent bouts of manic-depression. During his active periods he produced one work after another
in quick succession with amazing speed and alacrity; but when he suffered through his spells of
depression – he referred to them as “turbid melancholy” – he would brood for months in a state of
paralytic inactivity.)
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Schumann had encountered Thomas Moore’s poetry many years earlier, and in 1841 the composer’s
boyhood friend Emil Flechsig suggested adapting Moore’s Lalla Rookh which he had translated
into German as a suitable libretto for an oratorio. Schumann eagerly agreed and, in a letter to a
friend, he wrote, “At the moment I’m involved in a large project, the largest I’ve yet undertaken – it’s
not an opera – I believe it’s well-nigh a new genre for the concert hall. I plan to put all my energy into
it and hope to have finished it within a year.” Although a few interruptions slowed his work a bit –
he complained of a larcenous cook who stole fifty bottles of wine from his cellar – he completed
the oratorio on the 16th of June, 1843.
Thomas Moore, the Irish poet whose work so inspired Schumann, was born in Dublin in 1779. He
was the first Catholic to be admitted to Trinity College where he received his degree in 1798. The
next year he left for England and became quite the social success in London, first as a singer, then
as an essayist and poet. A brief position as a deputy in the British Admiralty took him to the United
States and Canada. Shortly after his return to England, he read a highly uncomplimentary review
of his poetry in which the writer referred to Moore as a “public nuisance” and his poetry as
“licentious.” The ever-mercurial Moore challenged the critic to a duel; both survived – the critic’s
pistol was unloaded – and the two became fast friends. A long and productive period followed,
interrupted by a brief period of exile on the continent to avoid debtor’s prison. His last years were
marked by chronic money problems, although his straits were relieved somewhat during his last
years when he was awarded a Civil List pension. He died in 1852.
Moore’s Lalla Rookh, published in 1817, consists of a series of oriental tales and stories, with
alternating verse and prose passages. It tells the story of the emperor’s daughter, Lalla Rookh
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(“Tulip Cheek”) who is traveling from Delhi to Kashmir to be married to the king of Bucharia.
During the journey a Kashmiri poet, Feramorz, diverts the princess by spinning four verse tales.
Upon their arrival in Kashmir, the young poet identifies himself as the very king to whom Lalla is
betrothed, and the work concludes with a traditional happy ending.
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Of the four tales with which the Kashmiri poet entertained the princess, Schumann chose the second,
“Paradise and the Peri” as the text for his musical setting. Peris, according to Persian mythology,
are fairy-like creatures who are the offspring of fallen angels and mortals. Although Peris have
been entrusted with the task of accompanying the saved to heaven, their questionable parentage
bars them from gaining admittance into the heavenly realm. However, Moore’s Peri has been
promised entry into heaven if she can produce a suitable gift. In Part One she presents the blood of
a warrior killed by a tyrant, but the guardians of Heaven dismiss this gift. In Part Two the Peri
brings back the sighs of a young maiden who had died in the arms of her beloved during a time of
plague. This gift is also found wanting, but in Part Three, the gatekeeper to Paradise accepts the
final gift: the tears of a repentant criminal, and the oratorio ends triumphantly as the Peri is ushered
into paradise.
Upon completion of the oratorio, Schumann wrote the following in his diary: “On June 16th my Peri
was completed after several days of strenuous work. What a great joy! I don’t know of anything
similar in the musical repertory. I don’t like to write or speak about my own works; my wish is that
they will have a good effect on the world and secure for me the loving memory of my children.”
The work received its premiere six months later at the Leipzig Gewandhaus, in December of 1843.
The public response was sufficiently favorable to schedule a second performance a week later. Within
five years the work had been presented in most of the European music centers, and by 1848 it had even
reached the shores of America where it was performed by the American Musical Institute in New York.
As John Daverio states in his excellent biography of Schumann, “The Peri was the work that made
Schumann into an international, as opposed to a merely German phenomenon. Not only was
[Schumann] getting older; he was poised to develop into a cosmopolitan figure.”
© 2006 by Donald Draganski
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Donald Draganski was born in Chicago and received his Bachelor’s degree in music from DePaul
University where he studied composition privately with the late Alexander Tcherepnin. He is now
retired, after having served as Music Librarian at Roosevelt University for twenty-five years. He
holds the chair of first bassoonist with the Evanston Symphony Orchestra and is also composer-inresidence for the Pilgrim Chamber Players. His musical compositions include works in all forms,
vocal and instrumental, including his Geometry of Music, a choral piece written in 1985 to mark the
50th anniversary of the North Shore Choral Society. He has been writing program notes for the
Society since 1980. Those wishing to know more about Don’s activities are invited to consult his
web site: www.draganskimusic.com
BIOGRAPHIES
Michelle Areyzaga, soprano, has been universally praised for her interpretation of leading operatic
roles, in particular her début in The Kaiser of Atlantis for Chicago Opera Theater. The versatile
singer-actress has also appeared with Lyric Opera Center for American Artists, Opera Theatre
North, Light Opera Works, and Orquesta Sinfónica del Estado de México. Recently, she appeared
as special guest soloist in a new program Bernstein on Broadway, written and presented by the
composer’s daughter, Jamie Bernstein. Ms. Areyzaga is top prize winner in the William C. Byrd
International Young Artist Competition, the Metropolitan Opera Regional Auditions, the Marguerite
McCammon Competition, the Union League Civic & Arts Foundation, the American Opera Society,
and the Bel Canto Foundation Midwest competitions. She was invited to participate as a Steans Institute
Young Artist at Ravinia in 2001 where she performed recitals of Spanish, French, and American
songs. Admired for her commitment to contemporary American music, Ms Areyzaga’s newest CD,
The Sun Is Love, on the Proteus label, features works by American composer Gwyneth Walker.
Her most recent appearance with North Shore Choral Society was in Handel’s Alexander’s Feast.
James Doing, tenor, has had singing careers in both the Netherlands and the U.S. He has performed
more than 70 operatic roles in Europe and Asia, as well as in many U.S. cities. Mr. Doing’s work
in the Bach repertoire is equally energetic with 100 performances of the St. Matthew Passion, St.
John Passion, and Christmas Oratorio in Europe — including the Concertgebouw in Amsterdam,
Japan, and North America, and in 2004, with the Bach Choir of Bethlehem. Mr. Doing sang four
consecutive performances of Hans Zender’s orchestration of Schubert’s cycle Winterreise in
Theaterhaus Stuttgart to critical acclaim. As an interpreter of 20th century music, he has been
invited to many prestigious festivals including Holland, South Bank, Nuova Consonanza, and
Aldeburgh. Mr. Doing is an associate professor of voice at the University of Wisconsin, and many
of his students have won competitions, residencies, and apprenticeships. Since 1994, Mr. Doing
has collaborated with voice scientist Donald Miller on the application of visual feedback from realtime spectrum analysis and electroglottography in the instruction of voice. He can be heard on
Universal Music, Accord, Nonesuch, Opera Rara/Marco Polo, 3M Nederland, and Evangeliums
Rundfunk labels.
Amy Conn, soprano, performs throughout the Midwest as a soloist and small ensemble singer.
Recent engagements include Haydn’s Creation, Handel’s Israel in Egypt, Bach’s Magnificat,
Pergolesi’s Stabat Mater, and Vivaldi’s Dixit Dominus. Ms. Conn has performed as a soloist with
Music of the Baroque, the Northwest Indiana Symphony, the Lutheran Choir of Chicago, and the
Bach Chamber Choir. Her stage appearances include lead roles in The Turn of the Screw and
Pirates of Penzance. Ms. Conn is one of the founding members of Urban Baroque, a small voice
and period instrument ensemble, and has performed with the group since 1999 in concerts and
radio broadcasts. Other chamber groups with which she has performed include Trio Settecento,
Rembrandt Chamber Players, and Ars Antigua. She is featured on an Ars Antigua CD of Celtic
baroque music released in 2004. Accomplishments in the 2005-06 season include a performance
as Cupid in Monteverdi’s Ballo delle Ingrate, participation in The Handel Singing Competition in
London, and becoming semi-finalist for the American Bach Soloist’s Young Artist Competition.
Ms. Conn teaches at The Musical Offering in Evanston and recently joined the faculty at DePaul
University. She last performed with North Shore Choral Society in Haydn’s Creation.
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Emily Lodine, mezzo-soprano, is highly regarded for her impressive musical background, and her
artistry and mastery of many styles place her in great demand for both concert and operatic
performances. She has appeared with the Chicago Symphony Orchestra, the Philip Glass Ensemble,
the Saint Paul Chamber, and she recently made her Carnegie Hall debut in Handel’s Messiah under
the baton of conductor and composer John Rutter. Equally sought after for operatic appearances,
Ms. Lodine created the role of Verena Marsh in Stephen Paulus’ opera Summer for Berkshire
Opera. Other opera credits include Britten’s The Rape of Lucretia with Lyric Opera Cleveland and
Puccini’s Madama Butterfly with Anchorage Opera. Upcoming engagements include Bach’s Mass
in B minor at the Peninsula Music Festival, Gounod’s Romeo and Juliet with Anchorage Opera,
Verdi’s Requiem with the Wichita Symphony, Brahms’ Liebeslieder Waltzes with the Chicago
Chamber Musicians, and Mahler’s Symphony No. 2 with the South Dakota Symphony. Ms. Lodine
was graduated magna cum laude from Indiana University with a degree in music theory and is the
recipient of a Pi Kappa Lambda scholarship and numerous Margaret Hillis fellowships. Bach’s St.
Mathew Passion was her most recent appearance with North Shore Choral Society.
Calland Metts, tenor, is enjoying a widely varied singing career. Mr. Metts has performed with
many opera companies, including Chicago Opera Theater, in such roles as Tamino in Mozart’s The
Magic Flute, Count Almaviva in Rossini’s The Barber of Seville, Ralph in Gilbert and Sullivan’s
H.M.S. Pinafore, and Camille in Lehar’s The Merry Widow. In concert, he has appeared as soloist
in Bach’s St. Matthew Passion, Handel’s Messiah, Hayden’s Creation, Britten’s War Requiem,
and Orff’s Carmina Burana. Equally comfortable on the musical theater stage, Mr. Metts has
played the Padre in The Man of LaMancha with Chicago’s Light Opera Works, Spelvin in Gershwin’s
Strike up the Band, and Martin in A Grand Night for Singing. Most recently, he returned to Cortland
Repertory Theater as Michael in I Do, I Do and Emille Debec in South Pacific and was tenor soloist
with The Arrowhead Chorale in Mozart’s Great Mass in C minor. Future engagements include
Mozart’s The Magic Flute with Lyric Opera of the North, The Narrator in Tchaikovski’s Peter and
the Wolf with the comedy troupe Colder by the Lake in Duluth, Minnesota, and tenor soloist in
Bach’s Mass in B minor with the Peninsula Music Festival in Door County. Mr. Metts last performed
with North Shore Choral Society in Haydn and Mozart Masses in March 2002.
Peter Van De Graaff, bass-baritone, has sung to great acclaim throughout the world including
appearances with the Budapest Concert Orchestra, the Israeli Chamber Orchestra in Tel Aviv, and
as a recitalist in Tokyo. In the United States he has worked with many renowned conductors, such
as Pierre Boulez, Paul Hillier, Robert Page, Thomas Wikman, Jane Glover, Victor Yampolsky, and
Nicholas Kraemer. Having made a specialty of the Baroque repertoire, Mr. Van De Graaff and his
soprano wife have been responsible for the modern premieres of several early 18th century chamber
operas called “intermezzi.” He has performed with Lyric Opera of Chicago, Florentine Opera, and
Chicago Opera Theater, and has recordings under the Naxos and Cedille labels. Mr. Van De
Graaff is recognized nationwide as a leader in classical music broadcasting. For the past 17 years
he has been the host of the Beethoven Satellite Network, a nationally syndicated daily program
carried on 150 stations. Mr. Van De Graaff is presently the host of the LaSalle Bank Tuesday Night
Opera, local broadcasts of Music of the Baroque, and LaSalle by Night, from midnight until 6 on
WFMT. Mr. Van De Graaff’s last appearance with North Shore Choral Society was Haydn’s
Creation in March 2005.
Orchestra
Violin I
Thomas Yang
Irene Radetzky
Karl Davies
Rika Seko
Jeff Yang
Jody Livo
Paul Vanderwerf
Violin II
Jeri-Lou Zike
Kjersti Nostbakken
Andrea Tolzmann
Mark Agnor
Loren Hendrickson
Lori Ashikawa
Viola
Patrick Brennan
Ben Wedge
Frank Babbitt
Dominic Johnson
Claudia Lasareff-Mironoff
Cello
Steven Houser
Margaret Daly
Craig Trompeter
Matthew Agnew
Horn
Neil Kimmel
Daniel O’Connell
Gabriel Webster-Mulcahy
Christine Worthing
Bass
Andrew Anderson
Timothy Shaffer
Trumpet
Chris Hasselbring
Edgar Campos
Flute
Susan Saylor
Karin Ursin
Trombone
Adam Moen
Jeremy Moeller
Mark Fry
Piccolo
Janice MacDonald
Oboe
Deborah Stevenson
Anne Austin
Clarinet
Daniel Won
Teri Foster
Bassoon
Jonathan Saylor
Collin Anderson
Tuba
Rex Martin
Harp
Marcia Labella
Timpani
George Blanchet
Percussion
Rich Janicki
“Vielen Dank” to Antje Draganski for being
our expert and patient German diction coach.
Tim Murphy
PRESIDENT
Finding a common ingredient among North Shore Choral Society members is almost impossible—
except, of course, their love of choral singing. These six members are proof of this diversity.
John Darrow is a third-generation member of North Shore Choral Society. Several of his greataunts were among the early members, and his cousin Mary Sample, from the next generation,
recruited him in 1994. He has served on the NSCS Board as both Vice-President for Fundraising
and President. John began his singing career in the third grade as a paid member of the Christ
Church Boys’ Choir in Winnetka. In high school, his music teacher was Vin Allison, also conductor
of NSCS at the time. He sang with the Yale Glee Club and recently has toured China and Russia
with the Yale Alumni Chorus. John has been a trust officer at Northern Trust for thirty-one years
and is now at the Park Ridge office. He is on the board of the Park Ridge Civic Orchestra and
formerly served on the board of Music of the Baroque. His hobbies include bike riding and learning
about wine. (“Not at the same time,” he says, adding “although wine country is frequently good
riding.”) He has ridden through northern Vermont in the fall, circled the Big Island In Hawaii, and
toured Spain and Italy. John has three children—only one a musician: the director of marketing
and operations for the Nashua Symphony Orchestra.
Cease & Paul Giddings
1310 1/2 Chicago Avenue
Evanston, IL 60201
847 328.0083
847 328.8154 Fax
www.folkworks.com
Folk Art, Country Antiques
Decorative Arts, Vintage Jewelry
Minnesota has played an important role in the life of Barbara DeCoster. She grew up there,
attended college there, got married there, spawned three of her four children there, and returns
there every summer “to refill my cup” at her family’s 100-year-old log cabin. While a student at
Carleton College, she met her husband, who was on the faculty. (She insists she was not one of his
students, though he loved to tell people she was.) After their marriage, she stayed on as a faculty
wife for nine more years before moving to Kansas. Her husband’s research took them to Spain
several times (twice for an entire year) and once to South America. Although Barbara sang both in
high school and college choirs, raising a family and acting as the wife of a university department
chair left little time for singing. However, when she and her family moved to Evanston in 1969, she
joined her church choir and, in 1978, the North Shore Choral Society. Since then, travel has caused
her to miss a few concerts, but not many. In recent years, Barbara has switched from soprano to
alto, a move she calls “a challenge at my age.”
A life-long resident of Glenview, Lucinda Fuller began her choral singing in high school. Other
musical experiences have ranged from the sublime (the Mozart Requiem, performed in Canterbury
Cathedral) to the ridiculous (a New Year’s Eve can-can, which she says is “best forgotten”). Lucinda
joined the North Shore Choral Society in 1994 and served as its treasurer for two years. For the past
three years, she has sung in Evanston’s Bach Week Festival Chorus. Her education includes an MA
in English literature from Northwestern, a Master’s in Library Science from Dominican University,
and an MBA from Keller Graduate School. Lucinda’s first career was as a research librarian, first
at the National Safety Council in Chicago, then at an engineering firm that did expert witness work
for product liability litigation. Now she works as the Finance Director for Northfield Township.
Tim Murphy Carpentry, Inc
Window Division
1733 Central Street
Evanston, IL 60201
Ph: 847.864.8031
[email protected]
www.tmcwindows.com
• PC hardware
and software
• Installation
and upgrades
• Tutoring
• Wireless
networks
• Thirty years in
computing
• Teaching degree
and experience
• PC Networking
• DSL or cable
modem sharing
DAHLQUIST ARCHITECTURE inc.
City- 428 N. Wolcott, Chicago, Il 60622
Suburban- 1020 Butternut, Northbrook, Il 60062
Phones- 312-445-0040 / 847-272-6069
847/328-5193 [email protected]
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Since the township has a small staff, her job involves a lot more than number crunching. A day’s
tasks can range from taking photographs of grumpy toddlers for their passport applications to
dealing with the unexpected arrival of twenty cartons of very ripe bananas contributed to the
Township’s food pantry. Her outdoor hobby is hiking, her best trip being a coast-to-coast trek
across England.
Since 2000, Philip Martin and his wife Nina have been retired, finding time to pursue such interests
as re-establishing connections with friends in their hometown of Sullivan, Illinois, and surrounding
communities (where they are building a “twin home”). After taking degrees at the University of
Illinois, Oxford University (as a Rhodes Scholar), and Harvard Law School, Philip practiced law
for 30 years in Chicago, a period that included two years with a Japanese law firm in Tokyo. Prior
to the Japanese interlude, Nina taught at Evanston’s Park School; in 1985, she returned to professional
interests, obtaining her doctorate and becoming a licensed clinical psychologist. Philip’s personal
interests have always centered on music. He studied piano through his high school years, when he
often served as an accompanist for choral groups. Ten years ago, he came back to the piano in a more
concentrated way and has presented two recitals (the second with his brother Eden), both of which
resulted in CDs. In 2000, he joined the bass section of the North Shore Choral Society and was one
of two piano accompanists for Brahms’ Liebeslieder-Walzer in this season’s March concert. The
Martins have two children: Andy is a composer in New York, Sarah a personal trainer in Chicago.
During her early singing days in high school and college, Roxann Specht had always sung the alto
line. However, when she resumed singing six years ago, her church choir director pronounced her
a soprano—a part she has been singing with the Choral Society since 2001. Also a member of the
Skokie Concert Choir, she especially enjoys their sing-outs at retirement homes. Roxann grew up
on a grain farm near Mt. Carroll, Illinois. After receiving her bachelor’s degree in teaching secondary
school English from the University of Illinois, she taught for two years in Iowa—until she wearied
of losing her voice by the end of each day. Back to Champaign she went, this time for a master’s
degree in library science; there she met her husband Jerry, who now works for ExLibris, Inc., as a
library software engineer. After a less vocally taxing five-year stint at the Chicago Public Library,
Roxann embarked on a 25-year maternity leave (with six years remaining) to raise her children—
Andy, age 19, Mark, 14, and Elizabeth, 12—who, besides taking piano lessons and singing in
several choirs, play electric guitar, drums, and flute, respectively. Roxann spends her days as a
home and family manager, too frequently running Mom’s Taxi Service.
After singing in his church choir while in high school, Steve Warner took a lengthy vocal hiatus,
during which time he completed his university work (BA, MA, PhD) at Berkeley. He did not
resume choral singing until doing research on a small-town California church, where he was invited
to join the choir by its director, Anne Heider. (The story is told in his book, New Wine in Old
Wineskins.) Steve and Anne were married in 1979 and settled in Evanston. Steve is a sociologist of
religion who teaches at the University of Illinois in Chicago. He joined NSCS in 1981; a year later,
Anne became a founding member of His Majestie’s Clerkes (later Bella Voce), of which she
eventually became artistic director. Encouraged by Donald Chen, she also took the job of Director
of Choral Activities at Roosevelt University. Together, Steve and Anne enjoy singing Sacred Harp,
a form of American folk hymnody that (in Steve’s words) they “will cross the country to sing but
wouldn’t cross the street to listen to!” As members of Evanston’s Immanuel Lutheran Church, they
are glad not to stand out as singers. Their blended family includes two children—Dove, a high
school teacher in Chicago, and John, a professor in Milwaukee—and four grandchildren.
NORTH SHORE CHORAL SOCIETY
Jill Horwitz
Suni Kartha
Mary Ann Kissock
Inge Kistler
Heather Kitchens
Marie Kroeger
Melinda Kwedar
Alexandra Lexton-Metzner
Marjorie Lundy
Joan Merchan
Alicia Resnick
Karen Rigotti
Kay Rossiter
Patricia Seidl
Myra Sieck
Loretta Smith
Barbara Struthers
Erica Sufritz
Judy Taylor
Charlotte Thiemecke-Floyd
Jean Thompson
Kathleen Trusdell
Barbara Weiner
Sue Wiegand
Trish Winter
TENOR
Douglas Aden
Sho Andoh
Glen Borntrager
David Crumrine
John Darrow
Nicholas Krupp
Mars Longden
Sanna Longden
Tom Miller
Thomas Olkowski
Milly Silverstein
Paul Smalley
David Taylor
BASS & BARITONE
Len Barker
Hank Bohanon
Robert Brotman
Lee Canfield
Wylie Crawford
Ron Dahlquist
Andrew Fisher
Bruce Gladfelter
Anthony Green
David Hunt
Thomas Keller
Stanley Kobayashi
Karl Kroeger
Philip Martin
Jim Miller
Frank Perry
John Shea
John Summerhays
Chuck Uchtman
Harry Vroegh
Steve Warner
Kenneth Wengzen
David Wojtowicz
OCTOBER 29
ALTO
Lynne Curtis
Else-Britt De Long
Barbara Dershin
Antje Draganski
Katie Eckstein
Fusayo Errico
Nancy Friday
Lucinda Fuller
Debbie Geismar
Jo Anne Gerules
Laura Graedel
Sally Hakes
2006-2007 CONCERT SEASON
Brahms — Tragic Overture
Mozart — Piano Concerto No. 21
Beethoven — Symphony No. 7
Vassily Primakov, piano
FEBRUARY 4
Mary Melady
Ellen Pullin
Anna Roosevelt
Karen Fish Schurder
Dorothy Scott
Margie Skelly
Roxann Specht
Kathleen Tolisano
Jean Yedlicka
Bernstein — Symphonic Dances from “West Side Story”
Tchaikovsky — Variations on a Rococo Theme
Bernstein — Three Meditations from “Mass” for Cello and Orchestra
Tchaikovsky — Romeo and Juliet Overture Fantasy
Edward Arron, cello
MARCH 18
Lorena Estrada
Maria del Rosario Gomez
Judith Greene
Anne Harkonen
Anne Humphrey
Jane Kenamore
Anne Lindahl
Ronnie McCarron
Julie McDowell
Wagner — The Flying Dutchman Overture
R. Strauss — Death and Transfiguration
R. Strauss — Concerto No. 1 for Horn and Orchestra
Listz — Les Preludes
Gail Williams, horn
MAY 13
SOPRANO
Mei Aden
Ritsuko Andoh
Katherine Biddle Austin
Lauren Bauerschmidt
Marcia Maus Bollo
Louise Brueggemann
Elisabeth Case
Deborah Chen
Meg Egan-Hullinger
Herold — Zampa Overture
Calandrelli — Concerto for Jazz Clarinet and Orchestra
Dvorak — Symphony No. 9, “From the New World”
Ralph Wilder, clarinet
SUNDAYS AT 2:30 PM
PICK-STAIGER CONCERT HALL
NORTHWESTERN UNIVERSITY
847.864.8804
www.evanstonsymphony.org
The businesses listed in this program have been very helpful to us in bringing
you this concert. Please think of them when you need the services and products
they offer and tell them how much we appreciate their support!
Art & Music
Alexandria Kung Photography
Audio Consultants
Evanston Symphony Orchestra
FolkWorks Gallery
Good’s of Evanston
Horizon Brass Quintet
J.O’Reilly Productions
Music of the Baroque
Music Unlimited
Northbrook Symphony Orchestra
TAR Audio
WFMT
Automotive Services
Duxler Tire & Care Center
Books, Gifts, & Clothing
“Enchanted Remembrances” (Inge Kistler)
“Keeping The Beat” (Ada Kahn)
Natural Things
Williams Shoes - The Walking Spirit
Computer & Copy Services
Compassionate Computing
Quartet Copies
Consulting & Business Services
K G Communications
National Award Services
Education & Instruction
The Kitchen Warrior (Paul Siegal)
Roycemore School
Financial Services
Cardinal Financial Services
Devon Bank
First Bank & Trust of Evanston
Lee Canfield, Northwestern Mutual
United Financial Group (UFG)
Henricus Vroegh, Widmann, Siff & Co., Inc.
Food & Beverages
Casteel Coffee
D&D Finer Foods
Evanston Grill
Food For Thought
Jilly’s Café
MJ Caterers
Rollin’ in Dough
Symphony’s Café
Tre Kronor Restaurant
Hardware, Plumbing & Appliances
Cahill Plumbing
Harold’s Hardware
Kelly’s Appliances
LeMoi Hardware
Personal Services
Art + Science = Hair
Cat Hospital of Chicago
Coiffure Copenhagen
Coventry Eye Care
Enzo’s Hair Design (Hair by Elizabeth)
Family Medicine Associates of Lutheran General
Frank Kiesel & Associates Hair Design
Kathleen Buchanan Trusdell, Psychotherapy
Natural Phenomena (Linda Schultz, massage)
Norm Underwood, Jr., Legal Services
North Shore Dental (Jill Horwitz)
Pamela Kihm, Movement Therapy
Presbyterian Homes
Real Estate, Home & Garden
Anton’s Greenhouse
Cyrus Development Group
Dahlquist Architecture
Lake Shore Partners
Prairie Shore Properties (Carol Bild)
Prairie Shore Properties
(Merry Juell & Rosanne O’Donnell)
Tim Murphy Carpentry, Inc.
The North Shore Choral Society
For the past three years, members of the North Shore Choral Society have been planning
this special season to celebrate our seventieth birthday. And “special” it has been.
Our December concert with The Agape Ringers and the Horizon Brass Quintet sent both
performers and audience members into the busy holiday season with a musical flourish.
In March, the Parish Church of St. Luke was filled to overflowing with an audience that
gave an enthusiastic response to our contrasting program of Brahms’ Liebeslieder-Walzer
and Orff’s Carmina Burana, with the Red Rose Chamber Choir joining us in the latter.
And just last month, we sang the Shostakovich Second Symphony with the Northbrook
Symphony Orchestra in an exciting performance that kept most of the audience in their
seats for a second hearing.
Now the season comes to an end—with Robert Schumann’s fascinating Das Paradies und
die Peri. Throughout the season, we have trumpeted the fact that this work—perhaps
more than any other—established Schumann’s international reputation. As the chorus,
the instrumentalists, and the soloists join in this afternoon’s presentation, we may all
come to understand why this claim has been made. Be sure to read Donald Draganski’s
program notes for details about the creation of this unique piece.
And next season? These are our tentative plans: a December concert featuring John
Rutter’s Gloria, Conrad Husa’s A Christmas Garland, and—of course—traditional holiday
carols; a second concert with a chamber ensemble joining the chorus in a performance
of Stravinsky’s Mass, plus music of Ron Nelson and Randall Thompson; and a singlework season finale: Haydn’s Missa Cellensis.
If you are on our mailing list, you will receive information about our seventy-first season
in August. If you are not and would like to be, please stop at our table in the lobby and
make your wish known. And be sure to join us in our anniversary celebration after
today’s concert.
Have a delightful summer. We hope to see you again next fall.