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Transcript of Baroque Around the World - Oakland Choral...
With Orchestra & Soloists
Noah Horn, Artistic Director
Scott Walters, Associate Conductor
Presents
Baroque Around the World
Featuring works by Gabrieli (Italy), Charpentier (France),
Araujo (Peru), Zelenka (Bohemia), Arañés (Spain),
J. S. Bach (Germany), and Handel (England)
Sunday, November 19, 2017 3:00 PM
St. James Episcopal Church
355 W. Maple Rd.
Birmingham, MI 48009
2
Welcome to the first concert of the Oakland Choral Society’s 2017-2018
season, under the baton of our artistic director and conductor, Noah
Horn. We are pleased that several of Dr. Horn’s choral students at
Wayne State University are singing with us this season.
Our program offers a variety of works from the Baroque era, c1600-1750.
In the Baroque, four-part melody structures and syncopated phrases
were important aspects of many musical compositions, including choral
works, with three of the parts in four-count rhythm and the fourth voice
adding a syncopated eighth or sixteenth note series. While the Baroque
style began in Europe, it was exported to the Americas, primarily by
Spanish colonists, where the music commingled with the traditions of
the indigenous peoples and African slaves, creating dance rhythms that
helped form the basis of European musical forms such as the chaconne.
One example of the chaconne is the piece by Juan Arañés: Un sarao de la
chacona (A la vida bona). You can also hear these influences in Juan de
Araujo’s Los coflades de la estleya, with its use of African rhythms.
For our next concert in April 2018, we will present Gabriel Fauré’s
Requiem and Morten Lauridsen’s Lux Aeterna. More details are available
on our website, oaklandchoralsociety.org.
After today’s concert, we would appreciate receiving your review and
comments. Please go to our website and proceed to the “Contact Us”
tab. We welcome your input.
Thank you, audience and supporters, for your patronage.
Hope you enjoy the concert!
Mark Bartnik President, Oakland Choral Society
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Oakland Choral Society
Noah Horn, Artistic Director & Conductor
Scott Walters, Associate Conductor
Shari Fiore, Rehearsal Pianist
Soprano
Ann Bayleran
Mary F. Bennett
Barbara Burnham
Gisele Carrera
Kate Connolly
Wei Du
Mary Dunn
Linda Freeze
Cleo Hamilton
Laurie Harris
Vera Hurchik
Linda Isbell
Elizabeth Kanasty
Lisa Keinert
Marlene Knaus *
Janilla Lee
Mary Sue Livingston
Olga S. Meyer
Luanne M. Offer
Jane Ozolins
Lynn Pember
Candace Pierce-
Winters
Kathleen Ransome
Kathleen Rogers
Reiko Saito
Nancy Smith
Anne Tomiak
Sandra Toms
Bonnie Topper-
Bricker
Catherine Waring
Jennifer Yan
Alto
Sachiko An
Serafina Belletini
Christine Brown
Sandra Collins
Nora Conn
Mary E. Creager
Ellen Dempsey
Bette Duprey
Karen Eldred *
Barbara Fairbrother
Anita DeMarco Goor
Deborah Hoover
Marissa McConnell
Susan McDonald
Linda Morrison
Bea Sandweiss
Marjie Scott
Marilyn Sicklesteel
Mary Weinhold
Allison Weinmann
* Section Leader
Tenor
Mark Bartnik
David E. Crawford
Chad Creager #
Benjamin Findlan √
Cindy Oberg
Gloria Rhodes
Harold Silk
Pierce Ward
Larry Wolf *
Paul Yu
Bass
Glen Battjes #
Clarence Bennett #
Ed Conn
Michael Dempsey
Marilyn Duguid
David Field
Karl Geisler
Daniel Harris
Timothy Higle
Rick Johnston
Bud Kilgore
Chris Owens
Ward Randol
Craig Sieferd *
Josiah Tazelaar
Willem Tazelaar
√ Assistant Conductor
# Stage Manager
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Noah Horn, Oakland Choral Society’s
Artistic Director and Conductor, heads the
choral program at Wayne State University,
where he conducts three choirs, supervises
the master's program in choral conducting,
and teaches ear training. He also serves as
artistic director of Audivi, a professional
vocal ensemble with an extensive repertory.
On weekends he directs the music program at
Grosse Pointe Woods Presbyterian Church.
Dr. Horn holds degrees in conducting and organ from Yale University
and Oberlin College. In the past he has served as interim director of
choral activities at Western Michigan University, artistic director of The
Madison Chorale, conductor of the Wesleyan University Orchestra, and
director of the professional choirs at Christ Church, New Haven. As a
professional tenor, he has sung with Conspirare, Yale Choral Artists,
Yale Schola Cantorum, sounding light, and several other nationally-
recruited ensembles, with which he has recorded albums for Naxos and
Delos. As an organist he has given recitals across the United States and
in Germany. His compositions have recently received several premieres
in Michigan and Illinois. Venturing over to reality television, he
appeared in the final rounds of America’s Got Talent 2013 with Three
Penny Chorus and Orchestra. A native of Davenport, Iowa, he now
resides in Detroit.
Shari Fiore, Rehearsal Pianist, graduated
from Oakland University with a Master of
Music degree in organ performance and
sacred music and a Bachelor of Arts degree in
piano. She studied piano with the late Joyce
Adelson and organ with D. Frederic
DeHaven. In her extensive career, Ms. Fiore
has been accompanist and assistant director
for the Rackham Symphony Choir and has
performed with the DeHaven Chorale. She
has also performed major organ works and accompanied choral
performances in cathedrals throughout Europe. Ms. Fiore currently
teaches at the Detroit School of Arts and is the organist at First
Presbyterian Church of Farmington Hills.
5
William Scott Walters, Associate Conductor,
enjoys a multifaceted career as a conductor,
singer, and educator. He studied conducting
with Jerry Blackstone in the University of
Michigan's Master of Music conducting
program, and studied privately with Robert
Spano, Harry Bicket, and Kenneth Kiesler.
While at Michigan, Mr. Walters has served as
conductor of the Orpheus Singers, assistant
conductor of the Residential College Singers,
Arts Chorale, and assistant conductor of the University and Chamber
Choirs. He has also served as assistant conductor for the Atlanta
Symphony Orchestra's 2013 performance of Bach's B Minor Mass, and
provided music direction for the Ann Arbor Opera Guild's 2013
American premiere performance and recording of von Suppe's Light
Cavalry. Mr. Walters has been a conducting fellow for Sarteano Chamber
Workshop in Italy, and Conductors Retreat at Medomak in Maine. A
versatile performer, Walters has appeared as a soloist and section
member of the UMS Choral Union and Atlanta Symphony Orchestra
Chorus, as well as singing backup for Barry Manilow. He was sought out
regularly for vocal lessons and coaching in the metro-Atlanta area before
returning to Ann Arbor. Walters studied voice performance with
Carmen Pelton and Valerie Walters. Before commencing graduate
studies, Mr. Walters served as director of choral music and taught drama
at Pepperell High School in Rome, GA. Originally from Kennesaw, GA,
he earned his Bachelor’s degree in music education from Kennesaw State
University, where he studied conducting with Leslie Blackwell.
Oakland Choral Society Officers and Board of Directors
Mark Bartnik – President, Rick Johnston – Vice-President
Lisa Keinert–Recording Secretary, Karl Geisler – Treasurer
Anita DeMarco Goor – Corresponding Secretary
Sandra Collins, Ed Conn, Nora Conn, Marilyn Duguid, Marilyn
Sicklesteel, Harold Silk, Pierce Ward, Edwin Washington
Artistic Director and Conductor – Noah Horn
Associate Conductor – Scott Walters
Rehearsal Pianist – Shari Fiore
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November 19, 2017
Baroque Around the World
Program
Italy Giovanni Gabrieli: In ecclesiis (c1605)
France Marc-Antoine Charpentier:
In Nativitatem DNJC canticum H414 (1684)
Peru Juan de Araujo: Los coflades de la estleya (c1680)
Bohemia Jan Dismas Zelenka: Miserere ZWV 57 (1738)
Intermission
Spain Juan Arañés: Un sarao de la chacona (1624)
(Chacona: A la vida bona)
Germany Johann Sebastian Bach:
Christ lag in Todes Banden BWV 4 (1707)
England George Frideric Handel:
Hallelujah Chorus, from Messiah (1741)
Soloists Victoria Fraser, soprano (VF)
Arianne Abela, soprano (AA)
Lara Alami, mezzo-soprano (LA)
Brian White, tenor (BW)
Michael Hawes, bass (MH)
Kate Connolly, soprano (KC)
Serafina Belletini, mezzo-soprano (SB)
(Initials will be used in the program text to
designate solos)
Orchestra Mary Riccardi, Violin 1
Phoebe Gelzer-Govatos, Violin 2
Debra Lonergan, Cello
Jeffrey Noonan, Theorbo
Kiri Tollaksen, Cornetto
Glenn Burdette, Harpsichord
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Giovanni Gabrieli – In ecclesiis
Giovanni Gabrieli (c1555–1612) was a prominent Venetian composer and
an important musical figure in the transition from the late Renaissance to
the early Baroque. One of his early teachers was his uncle, Andrea
Gabrieli, the organist at St. Mark’s Cathedral. His uncle also provided
connections to teachers in Germany, most notably Orlando di Lasso.
After his return from Germany, Giovanni served as principal organist at
St. Mark’s until his uncle’s death in 1586, at which time he assumed the
position of principal composer, a position he held until his death.
Gabrieli’s work at St. Mark’s, with its tradition of musical excellence,
made him one of the most noted composers in Europe. His influential
volume, Sacrae symphoniae (1597), brought composers from all over
Europe to Venice to study with him, including Heinrich Schütz and
Hans Leo Hassler, who helped bring early Baroque music to Germany.
Gabrieli composed in many forms but he preferred sacred vocal and
instrumental music, particularly that which maximized sonority. Among
the innovations credited to Gabrieli are the use of dynamics, the use of
specifically notated instrumentation, and the use of massive groups of
instruments or voices arrayed in multiple and spatially separated
groups. The motet, In ecclesiis, based on Psalm 26:12, showcases his
polychoral techniques, such as sections solely for instruments, called
“sinfonia,” small sections for soloists accompanied simply by a basso
continuo, and close dialogue between choirs and soloists forming rondo
patterns in the motet.
(LA) In ecclesiis benedicite Domino.
Alleluja.
(MH) In omni loco dominationis benedic
anima mea Dominum. Alleluja.
(BW/MH) In Deo salutari meo et gloria
mea. Deus auxilium meum et spes mea
in Deo est. Alleluja.
(VF/BW) Deus noster, te invocamus, te
laudamus, te adoramus. Libera nos,
vivifica nos. Alleluja.
(VF/LA/BW/MH) Deus, adjutor noster in
aeternum. Alleluja.
Bless the Lord in the congregation.
Alleluia.
In every region of his power, may my
soul bless the Lord. Alleluia.
In God is my salvation and my glory.
The Lord is my aid, and my hope is in
God. Alleluia.
Our God, we call upon you, we praise
you, we adore you. Liberate us,
revive us. Alleluia.
God, our Helper forever.
Alleluia.
8
Marc-Antoine Charpentier – In Nativitatem D(omini)
N(ostri) J(esu) C(hriste) Canticum H 414
Marc-Antoine Charpentier (1643–1704), born in or near Paris, was an
exceptionally prolific and versatile composer, producing works of the
highest quality in many genres including Psalm settings, hymns, motets,
operas, and masses. He studied in Rome with the Italian composer,
Giacomo Carrisimi, who introduced him to the oratorio form. Upon his
return to Paris, Charpentier was the house composer for the Duchesse de
Guise for about seventeen years. From 1687 to 1698, he served as music
master for the Church of Saint-Louis and in 1698 he became music
master of children at Sainte-Chappelle, remaining there until his death.
In Nativitatem DNJC is a dramatic motet or oratorio, but Charpentier
preferred to call it a canticum, the Latin term for oratorio. He composed
more than 30 oratorios with six related to the Nativity. This canticum has
been described as the “Little Christmas Oratorio” and includes a narrator
(l’Historien) who tells the story and introduces the other characters in
the drama.
Praeludium Prelude
Récit de l’Historien (KC/SB)
Frigidae noctis umbra totum orbem
tegebat, et immersi jacebant omnes in
somno profundo. Pastores autem
Judeæ vigilabant super gregem suum.
Et ecce angelus Domini stetit juxta eos.
Et claritas Dei circum fulsit eos.
Timuerunt autem pastores timore
magno. Et dixit illis Angelus:
The Historian’s Tale
The shadow of the cold night covered
all the earth, and plunged all into a
profound sleep. The shepherds of
Judea were watching over their flocks.
And lo, an angel of the Lord stood by
them. And the glory of the Lord shone
about them. The shepherds were
greatly afraid. And the angel said to
them:
Air de Angelus (AA)
Nolite timere, pastores. Ecce enim
annuntio vobis gaudium magnum
quod erit omni populo: quia natus est
hodie Salvator vester in civitate David;
et hoc erit vobis signum: invenietis
infantem pannis involutum et
reclinatum in præsepio. Ite, pastores,
et adorate illum.
Air of the Angel
Fear not, shepherds. For lo, I bring
news of great joy which shall be to all
people: for today your Savior is born
in the city of David; and this will be a
sign to you: you will find the baby
wrapped in swaddling clothes and
lying in a manger. Go, shepherds, and
adore him.
9
Choer de Pastores
Surgamus, festinemus, properemus,
eamus usque Bethleem.
Ibi videbimus puerum qui natus est
nobis.
Surgamus, festinemus, properemus,
eamus usque Bethleem.
Ibi laudabimus et adorabimus Deum
sub forma peccatoris velatum. Quid
moramur, quid cunctamur, O pastores
inertes?
Surgamus, festinemus, properemus,
eamus usque Bethleem.
Chorus of Shepherds
Let us rise up, let us hurry,
let us hasten, and go to Bethlehem.
There shall we see the child that is
born for us.
Let us rise up, let us hurry,
let us hasten, and go to Bethlehem.
There shall we praise and adore God
hidden under the form of a sinner.
Why delay, why linger, O idle
shepherds?
Let us rise up, let us hurry,
let us hasten, and go to Bethlehem.
Marche de Pastores
Récit de l’Historien (MH)
Euntes autem pastores pervenerunt ad
locum ubi Jesus natus erat, et intrantes
domum, invenerunt Mariam et Joseph
et puerum involutum pannis et
reclinatum in præcipio. Et procidentes
adoraverunt eum, inculto sed devoto
carmine dicentes:
Air d’un Pastor et Choer
(BW) Salve puerule, salve tenellule,
O nate parvule quam bonus es.
Tu cælum deseris, tu mundo nasceris,
nobis te'ut miseris assimiles.
(LA) O summa bonitas, Excelsa deitas
Vilis humanitas fit hodie.
Æternus nascitur, immensus capitur
et rei tegitur sub specie.
(VF) Virgo puerpera, beata viscera
Dei cum opera dent filium.
Gaude, flos virginum, gaude, spes
hominum, fons lavans criminum
proluvium.
March of the Shepherds
The Historian’s Tale
So the shepherds came with haste to
the place where Jesus was born, and
entering the house they found Mary
and Joseph and the boy wrapped in
swaddling clothes and lying in a
manger. And they bowed down and
adored him with artless but devoted
songs, saying:
Air of the Shepherd and Chorus
Hail, little child, hail, tender babe,
O tiny child how good you are. You
leave heaven, you are born in the
world, making yourself like us, poor
wretches.
O highest goodness, lofty Godhead
that today becomes poor humanity.
The Eternal is born, the boundless
circumcised, and hid in worldly garb.
Virgin mother, your blessed womb,
through God gives birth to a son.
Rejoice, flower of virgins, rejoice, hope
of mankind, fount that washes away
the stain of sins.
Latin translation: Kelly Braxton and Keith Anderson
10
Juan de Araujo – Los coflades de la estleya
Juan de Araujo (1646–1712) was born in Spain but traveled to Peru at an
early age with his father. He served as choirmaster for a time at the Lima
Cathedral but most of his professional life was spent at the Cathedral of
La Plata (present-day Sucre), Bolivia. Araujo composed prolifically.
While his output of sacred music in Latin is relatively small, there is an
abundance of villancicos that incorporate the dialects and rhythms of the
ethnically diverse Latin American populations and employ systemic
syncopation in 6/8 time to provide unexpected rhythmic drive, as in Los
coflades de la estleya. This piece, subtitled Black Song for the Birth of Our
Lord, uses the musical language of the streets to present the story of the
Wise Men following the star to Bethlehem, using contemporary
characters and imagery familiar to Latin Americans of the time.
(VF/AA) Los coflades de la estleya
vamo turus a Beléya
y velemo azio la beya
con Siolo en lo poltal:
¡Vamo, vamo curendo ayá!
Oylemo un viyansico
que lo compondlá Flacico
ziendo gayta su focico,
y luego, lo cantalá
Blasico, Pellico, Zuanico y Tomá
y lo estliviyo dilá:
Gulumbé, gulumbé, gulumbá,
Guaché, moleniyo de Safalá.
Bamo abel que traen de Angola a ziolo
y a ziola, Baltasale con Melchola y mi
plimo Gasipar.
¡Vamo, vamo curendo ayá!
Gulumbé, gulumbé, gulumbá,
Guaché, moleniyo de Safalá.
Fellow brothers of the Star
let us go to Bethlehem
and we shall see our beautiful Lady
with our Lord in the manger:
Let’s go, let’s run there!
We shall hear a carol
that Francisco will compose
piping in his little voice,
then Blasico will sing it with Perico,
Juanico and Tomás
and the chorus will go:
Gulumbé, gulumbé, gulumbá,
Poor children, black children from
Safala.
Let us go and see what they have
brought from Angola for Our Lord and
Our Lady, Balthasar and Melchoir and
my cousin Caspar.
Let’s go, Let’s run there!
Gulumbé, gulumbé, gulumbá,
Poor children, black children from
Safala.
11
Vamo siguiendo la estleya eya
lo negliyo coltezano vamo
pus lo reye con tesuro turo
de calmino los tres ban. ayá
Blasico, Pellico, Zuanico, y Tomá,
¡Eya! ¡Vamo turu ayá!
Gulumbé, gulumbé, gulumbá,
Guaché, moleniyo de Safalá.
Vamos turus los Neglios plimos
pues nos yeba nostla estleya beya
que sin tantuz neglos folmen noche
mucha luz en lo poltal ablá
Blasico, Pellico, Zuanico y Tomá,
plimo neglo, bueye ablá.
Gulumbé, gulumbé, gulumbá,
Guache, moleniyo de Safala.
Let us follow the star Come on!
we black courtiers Let’s go!
since the Three Kings All of us!
are coming with treasure. That way!
Blasico, Perico, Juanico and Tomás
Come on! Let’s all go there!
Gulumbé, gulumbé, gulumbá,
Poor children, black children from
Safala.
Let’s go, all the black children, my
cousins!
since our Star is leading us, beautiful!
even though we’re all as black as night
on the manger, plenty of light there’ll be.
Blasico, Perico, Juanico, and Tomás,
Black cousins, there will be oxen.
Gulumbé, gulumbé, gulumbá,
Poor children, black children from
Safala.
Translation by Jules Whicker, University of Birmingham
Jan Dismas Zelenka – Miserere ZWV 57
Jan Zelenka (1679-1745) was born in Bohemia, which was part of the
present-day Czech Republic. Not much is known of his early years but it
is likely that he received his music training from his father, a
schoolmaster and organist. From 1710 until his death in 1745, he held
positions at the Dresden Hofkapelle, the court orchestra, first as a double
bass player and later as church-music composer. Except for a few years
in Vienna to further his studies, he remained in Dresden, where he
composed works for the Catholic church service, including masses,
vespers, litanies, and other liturgical services.
The Miserere in C minor, a setting of the 50th Psalm, was completed in
1738 and was most likely intended for use with the Holy Week liturgy. It
is comprised of six movements with the complete psalm text sung in the
12
second movement with lively rhythms that are anchored by the basses
repeating the text, Miserere mei, Deus, throughout the movement. The
third movement, Gloria Patri I, is sung by a solo soprano and provides a
pleasing contrast to the rest of the piece. Movements four and five
complete the doxology, the expression of praise to God, and the final
movement reprises the opening one.
Miserere I
Miserere, miserere mei,
Deus; miserere.
Miserere II
Miserere mei, Deus, secundum
magnam misericordiam tuam.
Miserere mei, Deus.
Et secundum multitudinem
miserationum tuarum, dele, dele
iniquitatem meam.
Amplius lava, lava me ab iniquitate
mea: et a peccato meo munda, munda
me.
Quoniam iniquitatem meam ego
cognosco: et peccatum meum contra
me est semper, contra me est semper.
Tibi soli peccavi, et malum coram te
feci: ut justificeris in sermonibus tuis,
et vincas, et vincas cum judicaris.
Ecce enim, in iniquitatibus conceptus
sum. Et in peccatis meis concepit me
mater mea.
Ecce enim, veritatem dilexisti. Ecce
enim: incerta et occulta sapientiæ tuæ
manifestasti mihi.
Have mercy, have mercy on me,
O God; have mercy.
Have mercy on me, O God; your
mercy is so great.
O God, have mercy on me.
And through the vastness of your
mercies, take away, take my sins away
from me.
Wash me all over, wash away from me
all my sins: cleanse me from all my
wrongs; wash, wash me.
For I know my iniquities: and my sins
are always before me, always before
me.
Against you alone have I sinned, and
done evil in your sight: your sentence
upon me is justified, and blameless,
blameless is your judgment against me.
Behold, I was born, I was conceived in
sin. It was in sin that my mother
conceived me.
Behold, you want inward truth in us.
Look then: teach me, in the depths of
my heart teach me your wisdom.
13
Asperges me hyssopo, et mundabor: et
super nivem dealbabor.
Auditui meo dabis gaudium, dabis
gaudium et lætitiam, et exsultabunt
ossa humiliata.
Averte faciem tuam a peccatis meis et
omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et
spiritum rectum innova, innova in
visceribus meis et spiritum sanctum
tuum.
Ne projicias me a facie tua, ne auferas
a me salutaris tui: et spiritu principali
confirma me.
Redde mihi laetitiam: et spiritu
principali confirma me.
Docebo iniquos vias tuas: et impii ad te
convertentur, ad te convertentur,
convertentur.
Libera me de sanguinibus, Deus. Deus
salutis meae: et exultabit lingua mea
justitiam tuam, exultabit justitiam
tuam.
Domine, labia mea aperies: et os meum
annuntiabit laudem tuam.
Quoniam si voluisses sacrificium
dedissem utique.
Holocaustis non delectaberis.
Miserere mei, Deus.
Sacrificium Deo spiritus contribulatus:
cor contritum, et humiliatum, Deus,
non despicies.
Purge me with hyssop, and I will be
clean: I will be whiter than snow.
Fill me with gladness, with gladness
and joy, and let the bones which you
have crushed rejoice.
Hide your face from my sins and blot
out all my iniquities.
Create in me a clean heart, O God: and
renew a steadfast spirit within me,
renew me within with your Holy
Spirit.
Do not cast me away from your face,
do not take your salvation away from
me: strengthen me with your holy
spirit.
Restore to me the joy of your salvation:
and uphold me with a willing spirit.
Then I will teach the wicked your
ways: and they will come back to you,
they will come back, back to you.
Free me from death, O God. O God of
my salvation: and my tongue shall sing
aloud of your justice, shall sing of your
deliverance.
O Lord, open thou my lips: and my
mouth shall show forth thy praise.
If you wished for sacrifice, I would
surely offer it.
But you delight not in burnt offerings.
Have mercy on me, O God.
My sacrifice to God is a broken spirit: a
contrite and humble heart, O God, you
will not despise.
14
In bona voluntate tua Sion: benigne
fac, Domine, ut aedificentur muri
Jerusalem.
Miserere mei, Deus.
Tunc acceptabis sacrificium justitiae:
oblationes, et holocausta, Deus. Tunc
imponent super altare tuum vitulos.
Gloria Patri I (VF)
Gloria Patri, Patri, et Filio, et Spiritui
Sancto, Spiritui Sancto, et Spiritui, et
Spiritui Sancto.
Gloria Patri II
Gloria Patri, Patri, et Filio, et Spiritui,
et Spiritui Sancto.
Sicut Erat
Sicut erat in principio, et nunc,
et semper, et in saecula saeculorum.
Amen. Miserere mei, Deus.
Miserere III
Miserere, miserere, miserere mei,
Deus, miserere.
In your good will toward Zion: be
merciful, Lord, rebuild the walls of
Jerusalem.
Have mercy on me, O God.
Then you will delight in just sacrifices:
in offerings, and burnt offerings, O
God. Then will bulls be offered on
your altar.
Glory be to the Father, to the Father,
and to the Son, and to the Holy Ghost,
the Holy Ghost, the Holy, the Holy
Ghost.
Glory be to the Father, to the Father,
and to the Son, and to the Holy, and to
the Holy Ghost.
As it was in the beginning is now, and
ever shall be, world without end.
Amen. Have mercy on me, O God.
Have mercy, mercy, mercy on me, O
God, have mercy.
Translation by Olivia Holmes
Juan Arañés – Un sarao de la chacona
(also known as Chacona: A la vida bona)
Juan Arañés (c1580-1649) was a Spanish composer, active briefly in Italy.
A la vida bona was the first chacona for voices by a Spanish composer to
appear in print. Writers from the time (such as Cervantes) indicate that
the chacona, a lively dance in triple time, was associated with servants,
slaves, and Amerindians. It was often condemned for its suggestive
rhythms and mocking texts, and was said to have been invented by the
devil. A la vida bona celebrates life and pleasure.
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Un sarao de la chacona
se hizo el mes de las rosas,
hubo millares de cosas
y la fama lo pregona.
A la vida, vidita bona
vida vámanos a chacona.
(AA/LA/BW/MH)
Porque se casó Almadán
se hizo un bravo sarao,
dançaron hijas de Anao
con los nietos de Milán.
Un suegro de Don Beltrán
y una cuñada de Orfeo
comemçaron un guineo
y acabólo una amaçona
y la fama lo pregona.
(MH) Salió la çabala garda
con la mujer del encenque
y de Zamora el palenque
con la pastora Lisarda.
La mezquina doña Albarda
trepó con pasta a Gonzalo
y un ciego dió con un palo
tras de la braga lindona
y la fama lo pregona.
(LA) Porque se casó Almadán…(repeat)
One evening in the month of roses
a dancing party was held,
it afforded a thousand pleasures
and was famed both far and wide.
Here’s to the good, sweet life,
my sweet, let’s dance the chaconne.
When Almadan was wed
a grand old party was thrown,
the daughters of Aneus danced
with the grandsons of Milan.
The father-in-law of Bertran
and Orpheus’s sister-in-law
began a Guinea dance
and was finished by an Amazon
and was famed both far and wide
The plump shepherdess went out
with the wife of the puny man
and of Zamora the pregnant one
with Lizzy the shepherdess.
The stingy Doña Albarda
stumbles with the splendid Gonzalo
and a blind man with a stick
goes for the pretty knickers,
and was famed both far and wide.
Johann Sebastian Bach
Christ lag in Todes Banden BWV 4
Johann Sebastian Bach (1685-1750) was born in Eisenach, Germany, to a
family of musicians. Orphaned by the age of ten, he first lived with an
older brother, who was an organist, and then continued his musical
education at St. Michael’s church school in Lüneburg, where he was
exposed to the German choral tradition and French orchestral music.
Before the age of twenty, Bach was employed as a church organist, and
within a few years he began composing sacred vocal and choral music.
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Christ lag in Todes Banden is Bach’s first cantata for Easter, written in the
style of a chorale cantata, in which both text and music are based on a
hymn. Bach used Martin Luther’s hymn of the same name, and the
movements of the cantata correspond to the stanzas of the hymn, which
focuses on the struggle between Life and Death. Unlike Bach’s later
cantatas, all movements here are in the same key. The seven stanzas are
treated as chorale variations in each movement, with the melody present
as a cantus firmus. All stanzas end with the word Halleluja.
Sinfonia
Verse 1 – Chorus Christ lag in Todes Banden
für unsre Sünd gegeben,
er ist wieder erstanden
und hat uns bracht das Leben.
Des wir sollen fröhlich sein,
Gott loben und ihm dankbar sein
und singen halleluja,
Halleluja!
Verse 2 – Duet: VF & LA Den Tod niemand zwingen kunnt
bei allen Menschenkindern;
das macht' alles unsre Sünd,
kein Unschuld war zu finden.
Davon kam der Tod so bald
und nahm über uns Gewalt,
hielt uns in seinem Reich gefangen.
Halleluja!
Verse 3 – Solo: BW Jesus Christus, Gottes Sohn,
an unsre Statt ist kommen
und hat die Sünde weggetan,
damit dem Tod genommen
all sein Recht und sein Gewalt;
da bleibet nichts denn Tods Gestalt,
den Stachel hat er verloren.
Halleluja!
Symphony (Introduction)
Christ lay in death's bonds
handed over for our sins,
he is risen again
and has brought us life
For this we should be joyful,
praise God and be thankful to him
and sing alleluia,
Alleluia!
Nobody could overcome death
among all the children of mankind;
our sin was the cause of all this,
no innocence was to be found.
Therefore death came so quickly
and seized power over us.
held us captive in his kingdom.
Alleluia!
Jesus Christ, God's son,
has come to our place
and has put aside our sins,
and in this way from death has taken
all his rights and his power;
here remains nothing but death's
outward form, it has lost its sting.
Alleluia!
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Verse 4 – Chorus Es war ein wunderlicher Krieg,
da Tod und Leben rungen;
das Leben behielt den Sieg,
es hat den Tod verschlungen.
Die Schrift hat verkündigt das,
wie ein Tod den andern fraß,
ein Spott aus dem Tod ist worden.
Halleluja!
Verse 5 – Solo: MH Hier ist das rechte Osterlamm,
davon Gott hat geboten,
das ist hoch an des Kreuzes Stamm
in heißer Lieb gebraten.
Das Blut zeichnet unser Tür,
das hält der Glaub dem Tode für,
der Würger kann uns nicht mehr
schaden.
Halleluja!
Verse 6 – Duet: VF & BW So feiren wir das hohe Fest
mit Herzensfreud und Wonne,
das uns der Herr erscheinen läßt.
Er ist selber die Sonne,
der durch seiner Gnaden Glanz
erleuchtet unsre Herzen ganz,
der Sünden Nacht ist verschwunden.
Halleluja!
Verse 7 – Chorus Wir essen und leben wohl
in rechten Osterfladen;
der alte Sauerteig nicht soll
sein bei dem Wort der Gnaden.
Christus will die Koste sein
und speisen die Seel allein,
der Glaub will keins andern leben.
Halleluja!
It was a strange battle
where death and life struggled;
life won the victory,
it has swallowed up death
Scripture has proclaimed
how one death ate the other,
death has become a mockery.
Alleluia!
Here is the true Easter lamb
that God has offered
which high on the trunk of the cross
is roasted in burning love.
His blood marks our doors,
which faith holds in front of death,
the strangler can harm us no more.
Alleluia!
Thus we celebrate the high feast
with joy in our hearts and delight,
that the Lord lets shine for us.
He is himself the sun
who through the brilliance of his grace
enlightens our hearts completely,
the night of sin has disappeared.
Alleluia!
We eat and live well
on the right Easter cakes;
the old sour-dough should not
be with the word grace.
Christ will be our food
and alone feed the soul,
faith will live in no other way.
Alleluia
English Translation by Francis Browne (January 2005)
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George Frideric Handel
Hallelujah Chorus, from Messiah
George Frideric Handel (1685-1759) was born in Halle, Saxony. He
showed an early gift for music and studied with the organist of the
parish church, Friedrich Zachow. Handel may have started composing
church music as early as the age of nine. In 1712, after four years in Italy,
he moved to England and quickly became a favorite of the royal court.
When the popularity of his Italian-style operas began to wane, Handel
started writing oratorios. Although he composed several on biblical
themes, Messiah is the only one based on the New Testament, and the
only one he titled “A Sacred Oratorio.”
Messiah was written during a bleak time in Handel’s life, when he was
beset by financial troubles and poor health. Despite these problems, he
was so inspired by Charles Jennens’ libretto for Messiah that he wrote the
music in just 24 days. When Handel himself conducted the first
performance in Dublin on April 13, 1742, it was a huge success, and the
work has continued to be much in demand to this day. Handel
conducted his last performance of Messiah just eight days before his
death in London in 1759.
Hallelujah: for the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom
of our Lord and of his Christ;
and he shall reign for ever and ever.
King of Kings and Lord of Lords. Hallelujah!
Revelations 19:6; 11:15; 19:16
OCS 2017-2018 Season Continues
Sunday, April 22, 2018
Lux Aeterna by Morten Lauridsen
&
Requiem, Op. 48 by Gabriel Fauré
Details at www.oaklandchoralsociety.org
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2017 – 2018 Season Supporters
Oakland Choral Society is a 501(c) 3 organization.
Donations are tax-deductible. Thanks to all of you!
We are extremely grateful for your generosity and support!
SPONSORS ($500 - $999) Richard Johnston
PATRONS ($100 - $249) Mary and Chad Creager
Anita DeMarco Goor
Jane and Andis Ozolins
Gloria Rhodes
Nancy and John Smith
Sandra Toms
BENEFACTORS ($250 - $499) Les and Bonnie Bricker
David Szymborski and
Marilyn Sicklesteel
FRIENDS (up to $100) Sachiko An
Wei Du
Karen Eldred
Cynthia Oberg
Luanne Offer
Bea Sandweiss
HONORARIUMS AND MEMORIALS In honor of Karen McGrath by Joan Barnard
In honor of Karen Mayer by Polly and Bill McGrath
In memory of Paul John from Mom
Acknowledgments The music that we are privileged to bring to you would not be possible
without the efforts of our members, the board, the support of our
families and friends, and the involvement of the community. We would
especially like to thank the following:
Birmingham Unitarian Church: Rev. Patricia Shelden, Rev. Daniel
Budd, Kym Worth
St. James Episcopal Church, Birmingham: Rev. Joshua A. Hoover,
Glenn Burdette, Quenten Matthews
Program and Publicity: Mary Creager, Anita Goor, Luanne Offer, Gloria
Rhodes, Marilyn Sicklesteel
Tickets & Concert Support: Glen Battjes, Chad Creager, Joan & Janet
Geisler, Luanne Offer, Sandra Pinchback, Edwin Washington
Website: Mark Bartnik, Pierce Ward
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Corporate Programs that Support OCS
Kroger Community Rewards, Luanne Offer, Coordinator. Oakland Choral
Society is enrolled in Kroger Community Rewards. Through this program,
Kroger makes donations to your designated nonprofit organization based on
your spending as a registered Kroger Plus Card customer. There is no cost to
you, the customer. To participate, go to www.kroger.com. Our organization
number is 96419.
AmazonSmile, Mark Bartnik, Coordinator. Amazon will donate 0.5% of
your purchases to the nonprofit organization you designate through your
Amazon account. Follow the directions on the Amazon website and select
Oakland Choral Society as your designated nonprofit organization. When
making purchases, you must log into Amazon through
https://smile.amazon.com using the same login and password as your
existing account.
Please encourage your family and friends to designate Oakland Choral
Society for these corporate programs. We appreciate your participation and
support. Thank you.
Do you or someone you know like to sing classical choral music?
Then consider joining Oakland Choral Society (OCS).
The story of OCS began in 1963, when Oakland University first offered a
course for a community chorus. In early 2003, the university discontinued
the course. A group of those singers then formed a separate, independent
chorus, OCS, under the baton of D. Frederic DeHaven. While the conductor
of OCS has changed since then, many of the original singers still remain.
The OCS mission is to provide educational enrichment for Oakland County
and metropolitan Detroit communities; to expand and enhance cultural
experiences through dedication to the highest possible musical performance
standards by presentation of significant classical and contemporary choral
works; and to expose the listener to the finest choral literature in order to
foster an appreciation of composers and singing. Our activities are made
possible through ticket sales, choir membership dues, and the generosity of
individuals and businesses.
We welcome those who read music, have some singing experience, and love
singing classical choral music. No audition required. Please join us!