Musical Arts of Santa Cruz presents The SantaCruzChorale ... Program FINAL... · Season 36...

❦ Saturday, December 8, 2018, 8:00pm

❦ Sunday, December 9, 2018, 4:00pm

Holy Cross Church

126 High Street, Santa Cruz

Christmas with the ChoraleC

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director

T h e S an t a C r uz C h o r a l e S e a s o n 3 6 ❦ 2 0 1 8 – 2 0 1 9

ArtisticDirectorChristian Grube, artistic director of theSanta Cruz Choralesince July 2006, is emer-itus professor of choralconducting at theUniversity of Arts,

Berlin. As director of the Berlin State andCathedral Boys’ Choir and the Chamber Choir ofthe University of Arts, Professor Grube has conducted and toured with his choirs throughoutthe world. In 1995, because of the diplomaticinfluence of his work, he was awarded theNational Medal for Distinguished Service, thehighest civilian honor given by the German government.

Professor Christian Grube continues to spendpart of the year in Europe, holding workshopsand serving as a guest conductor with variouschoral groups. He teaches conducting at theUniversity of Arts, Berlin, and performs andtours with the University Chamber Choir. Therest of the year he lives in the Santa CruzMountains, where he gives private conductinglessons.

2 The Santa Cruz Chorale Season 36 ❦ 2 0 1 8 – 2 0 1 9

About the CoverThe artwork on our program cover is from theupper portion of “Adoration of the Magi” byDomenico Ghirlandaio (1449-1494). It shows fourangels holding a scroll with the first notes andwords of the Gloria. The painting, originally commissioned as an altarpiece for the adjacentchurch, is now displayed in the gallery of theOspedale degli Innocenti, which at that time wasthe orphanage for Florence, Italy.

Santa Cruz Chorale AuditionsSingers with choral experience who read musicat an intermediate or advanced level are invitedto audition for the Chorale. Call 831-427-8023 orcheck our website to receive materials thatdescribe the audition and the responsibilitiesthat go along with membership in the ensemble.

The Santa Cruz ChoraleFounded in 1983, the Santa Cruz Chorale dedicates itself to two goals: presenting its audiences with distinctive, exciting concerts ofchoral works from diverse periods, and giving itssingers the chance to experience the delight andartistic growth that come from making music atthe highest level. The Chorale has recorded threeCDs and has toured in Italy, Croatia, and Spain.

The Chorale’s 40-some members, who livethroughout Santa Cruz County and beyond, jointhe ensemble by audition. Although several areprofessional musicians, all volunteer their time,and all are amateurs in the original sense of thatword—people who seriously pursue an art for thelove of it.

Christian Grube has been our conductor and artistic director since 2006.

Season 36 ❦ 2 0 1 8 – 2 0 1 9 The Santa Cruz Chorale 3

Reminders❦ Please turn off cell phones, watch alarms, andother devices that might disrupt the concert.

❦ Please refrain from taking photos or makingaudio or video recordings of performances. Nosuch activities are allowed without advance written permission.

❦ Due to the nature of live performance, all programs are subject to change.

Members of the Santa Cruz ChoraleSopranosCrista BerryessaNancy Brookie-ConnorAlexandra Dillinger★❉ Suzanne DuvalMargie EricksonAlexandra FlorimonteBarbara GaskellKaren GordonVirginia HolcombeRuth KasparAlissa RoedigClara Sherley-Appel♥ Gabrielle StockerJulia van der WykAnnette von OepenApril Zilber

AltosJaeleen BennisAnne BonnerDiane BridgemanCecila CondesMary Crawford★❉ Rosella Crawford-BathurstTanya DavidsonAlisa KlausEliza LinleyAlisa MerlineSharon NelsonDeana SlaterLois Van BurenMary Ann WielandWendy WyckoffAbby Young

TenorsJas CluffKevin CrewsRon GoodmanJim GroveCody HallenbeckGary HintzMark JohnsonPaul LawtonRobert Ley★❉ Tom PennelloRichard Roullard

BassesBrad BurgonRoger ChaffinAlan ChaseDenis HaskinLars Johannesson★❉ Jean LarocheLuiz RazeraNiel WarrenStafford Warren

★ Sectional conductor❉ Section leader♥ On temporary leave

Monterey BaySinfoniettaShannon Delaney D’Antonio, Violin I

Alice Talbot, Violin II

Eleanor Angel, Viola

Nicole Welch, Cello

Stan Poplin, Bass

John Thomas, Trombone I

Michael Cushing, Trombone II

Charlie McDowell, Trombone III

Lawrence Rhodes, Bassoon

Vlada Volkova-Moran, Harpsichord and Organ


Program

Hosanna to the Son of David . . . . . . . . . . . . . . . . . . . . . Orlando Gibbons

Weihnachtslied. . . . . . . . . . . . . . . . . . . . . . . . . Heinrich von Herzogenberg

Salve regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anonymous

O magnum mysterium . . . . . . . . . . . . . . . . . . . . . . . . . . Morten Lauridsen

O magnum mysterium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jacob Handl

Lullaby my Sweet Little Baby . . . . . . . . . . . . . . . . . . . . . . . . William Byrd

Ave Regina. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josef Rheinberger

Hodie Christus natus est . . . . . . . . . . . . . . . . . . . . . . . . . Gregorian Chant

Magnificat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claudio Monteverdi

Intermission

This Day Christ was Born . . . . . . . . . . . . . . . . . . . . . . . . . . . William Byrd

Monterey Bay Sinfonietta

Shalom Aleichem . . . . . . . . . . . . . . . . . . . . . . . . . . . Rabbi Israel Goldfarb

My Dancing Day . . . . . . . . . . . . . . . . . . . . . . . . . Alice Parker/Robert Shaw

Lord of the Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sidney Carter

CChristmas with the Chorale

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director


Mary’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brian W. Holmes

Es wird scho glei dumpa . . . . . . . . . . . . . . . . . . . . . . . . . Anton Reidinger

Quand le bon Sauveur Jésus-Christ. . . . . . . . . . . . Jean-François Dandrieu

Vlada Volkova-Moran, organ

Lo, how a Rose e’er blooming . . . . . . . . . . . . . . . . . . . . . David Blackwell

Es ist ein Ros’ entsprungen . . . . . . . . . . . . . . . . . . . . . Michael Praetorius

In dulci jubilo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Lucas Pearsall

Ave Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Xaver Biebl

Stille Nacht. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hermann Ebenhoech

Quempas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Praetorius

Exhilarating Vocal Music from theRenaissance to the Modern Day

Ariose Spring Concerts

Saturday, May 18, 8:00 PMSunday, May 19, 4:00 PM

St. Stephen’s Lutheran Church

2500 Soquel Avenue

Santa Cruz

ariosesingers.org


Program Notes, Texts and Translations❦ Hosanna to the Son of DavidOrlando Gibbons (1583–1625), Text: Matthew 21:9

Our program begins with the words of welcome called out by the multitudes to Jesus as He enteredJerusalem. The many manuscript and printed sources of Gibbons’ piece are testimony to its wide-spread popularity in the seventeenth century.

Hosanna to the Son of David.Blessed is He that cometh in the name of the Lord.Blessed be the King of Israel.Blessed be the King that cometh in the name of the Lord.Peace in heav’n, and glory in the highest places.Hosanna in the highest heav’ns.

❦ WeihnachtsliedHeinrich von Herzogenberg (1843–1900), Text: Ernst Christoph Homburg (1607–1681)[Homburg was originally a secular poet, but severe illness moved him to write sacred poetry such as this.]

The Austrian composer Heinrich von Herzogenberg and his wife Elizabeth—herself a gifted pianist—were among the most influential friends of Johannes Brahms. Brahms once said of Herzogenberg:“(he) is more capable than all the rest of us put together;” and Brahms greatly valued Elizabeth’s critical commentaries on his own compositions.

Herzogenberg’s highly Romantic “Weihnachtslied,” or “Christmas Song,” expresses religious longing thatalternates between desperation and hope. The question “kommst Du?” (“comest Thou?”), sung in aminor key, is a plea that begs Him who is the light to come without delay. These words come from aplace of agonized despair, and they are sung by a soul almost too weary to call upon Him. But whenHe appears, suddenly all becomes bright. The words “Ja, du kommst...” (“yes, Thou comest...”) are sungin a liberated major key and the tone becomes ecstatic, as the heart of the believer opens to Him.

Kommst du, Licht der Heiden?Ja, du kommst, und säumest nicht.Weil du weisst, was uns gebricht. O! du starker Trost im Leiden.Jesu, Jesu, meines Herzens ThürSteht dir offen.Jesu komm, zu mir, zu mir,Komm zu mir.

❦ Salve Regina (“Hail Holy Queen”)Anonymous (17th century), Text: Gregorian chant

In this double choir setting, the choirs take turns singing words of a prayer begging for Mary’s mercy.

Salve, Regina, Mater misericordiae,Vita, dulcedo, et spes nostra, salve.

Hail, holy Queen, Mother of mercy,Our life, our sweetness and our hope.

Comest Thou, light of the heathens?Yes, Thou comest, and delayest not.For Thou knowest our afflictions.O! Thou great consolation in suffering,Jesus, Jesus, the door of my heartStands open to Thee.Jesus come, to me, to me,Come to me.

(Transl. K.G.)


Ad te clamamus exsules filii Hevae,Ad te suspiramus, gementes et flentes,In hac lacrimarum valle.Eja, ergo advocata nostra, illos tuosMisericordes occulos ad nos converte.Et Jesum, benedictum fructum ventris tui,Nobis post hoc exsilium ostende.O clemens, O pia, O dulcis Virgo Maria.

❦ O magnum mysteriumMorten Lauridsen (b. 1943)

The atmosphere of this piece is one of devotion. Lauridsen expresses the “great mystery” of Christ’s birthwith lovely expansive melodies that soar with quiet intensity over a mainly homophonic accompaniment.

O magnum mysterium, et admirabile sacramentum,Ut animalia viderent Dominum natum,Jacentem in praesepio!Beata Virgo, cujus viscera meruerunt portareDominum Christum.Alleluia.

❦ O magnum mysteriumJacob Handl (1550–1591)

“Handl” is variously known as “Jacobus Gallus” or “Jacobus Handelius.” It was common practice in theRenaissance for educated personages and academics to use Latinized forms of their names, as languagesother than Latin were considered by some to be “barbaric.” (“Handl” means “rooster” in German.)

Jacob Handl was an Austrian composer of both sacred and secular music. He composed many madrigals, but his most notable work is the six-part Opus musicum, a collection of 374 motets thatwould eventually cover the liturgical needs of the entire ecclesiastical year. The motet “O magnummysterium” for eight voices comes from this collection.

Whereas Lauridsen’s “O magnum mysterium” remains more in an atmosphere of wonder when contemplating Christ’s birth, Handl’s Renaissance setting emphasizes the joy of the event. (In thismotet for double choir, the notes of the second choir—in our performance played by wind instruments—always echo those of the first.) Handl begins telling the story with reverence, but withthe text “lying in a manger” Handl suddenly deviates from the original script, ending the story rightthere. He makes no mention of the “blessed Virgin” who was worthy to bear the Child, but insteadseems so overcome by the fact that “the new-born Lord” is lying there in a manger that he bursts intohappy calls of “noe, noe”—a traditional exclamation of joy at the birth of Christ.

O magnum mysterium, et admirabile sacramentum,Ut animalia viderent Dominum natum,Jacentem in praesepio,Noe, noe.

To thee do we cry, poor banished children of Eve,To thee do we send up our sighs,Mourning and weeping in this valley of tears.Turn then, our most gracious advocate,Thine eyes of mercy toward us;And after this our exile,Show unto us the blessed fruit of thy womb, Jesus.O clement, O loving, O sweet Virgin Mary.

(Transl. Wikipedia)

O great mystery, and wonderful sacrament,That animals should see the new-born Lord,Lying in a manger!Blessed is the Virgin whose womb was worthy to bearChrist the Lord.Alleluia.

(Transl. Wikipedia)

O great mystery, and wonderful sacrament,That animals should see the new-born Lord,Lying in a manger,Today, today.

(Transl. Wikipedia)


❦ Lullaby my Sweet Little BabyWilliam Byrd (c. 1539/40 or 1543–1623)

Byrd’s “Lullaby” deals with a tragic part of the Christmas story. According to the Gospel of St.Matthew, when King Herod learned that wise men had come to Bethlehem to worship the new-born“King of the Jews,” he became infuriated. In his attempt to kill this “King,” he ordered the massacre ofall male children under the age of two in and around Bethlehem.

In accordance with the sad theme, Byrd’s Christmas lullaby is set in a minor key that is heavy withsorrow. The “lullaby” motif begins in a low range, and as it moves gradually higher—heavenward—the music becomes increasingly anxious. As Mary sings to her “sweet little Baby,” she seems tobecome more and more desperate, torn between her attempt to comfort her Child and the knowledgethat He has reason to mourn—for infants are being slaughtered in His name. At the same time, Maryseems to be lamenting the fate that awaits her own Son—the “sweet Savior” of humanity. However,when the “lullaby” motif ends in a major key, it seems to signal Mary’s acceptance of all that is to come.

The “lullaby” that began with a mother’s lament ends with the heart-rending wailings of the mothersof Bethlehem, whose babies are being slaughtered by King Herod. Cries of “oh woe, woe, oh woe”interrupt each other again and again in the mayhem. Byrd’s composition is tortured, yet poignantlybeautiful—a musical ambivalence that calls attention to the price of Salvation.

Lulla, la-lulla, lulla, lullaby,My sweet little Baby, what meanest Thou to cry?

Be still, my blessed Babe, though cause Thou hast to mourn,Whose blood most innocent to shed the cruel king has sworn;And lo, alas! Behold what slaughter he doth make,Shedding the blood of infants all, sweet Savior, for Thy sake.A King, a King is born, they say, which King this king would kill.

Oh woe, woe, oh woe and woeful heavy day,When wretches have their will!

❦ Ave ReginaJosef Rheinberger (1839–1901)The precise source of the Latin “Ave Regina” text is not known, but it appears to be of monastic originfrom around the 12th century.

Josef Rheinberger was born in Liechtenstein, but he lived most of his life in Germany. He is particu-larly remembered by choral singers the world over for his famous “Abendlied.” His setting of the “AveRegina” text is a beautiful example of music that expresses an intimate, Romantic piety.

Ave Regina, Regina caelorum, Ave Domina Angelorum:Salve radix, salve porta,Ex qua mundo lux est orta.

Ave Regina, Regina caelorum: Gaude Virgo gloriosa,Super omnes speciosa:Salve, O valde decora,

Hail, O Queen of heaven.Hail, O Lady of angels:Hail, thou root, hail, thou gateFrom whom unto the world a light has arisen.

Hail, O Queen of heaven.Rejoice, O glorious Virgin,Lovely beyond all others,Hail, O hail beautiful one,


Et pro nobis Christum ex ora.Ave Regina, Regina caelorum.

❦ Hodie Christus natus estGregorian chant

“Hodie Christus natus est” is the antiphon traditionally sung before the Magnificat in the vespers ofChristmas Day.

Hodie Christus natus est,Hodie salvator apparuit,Hodie in terra canunt angeliLaetantur archangeli,Hodie exultant justi, dicentes:“Gloria in excelsis Deo,Alleluia”

❦ Magnificat (for choir, soli and instruments)

From Selva Morale e Spirituale (1640), Claudio Monteverdi (1576–1643)

The words of the Magnificat are from Luke 1:46-55. After the angel of the Lord tells Mary that she hasconceived and will bear a Son, she visits her cousin Elizabeth to share the news. Elizabeth praisesMary’s faith, whereupon Mary sings her “song of joy” at having been thus chosen.

Monteverdi’s setting begins with splendor, as the choir and all the instruments join for the tumultuousopening chorus. The choir sings “magnificat, magnificat” in a dancing rhythm; but in the midst of thisjubilation the tenors enter alone, singing “mag—ni—i—fi-cat” slowly, serenely, as if from a differentrealm. They intone the word with the opening notes of the Gregorian chant “Hodie Christus natusest,” which we previously sang. The transcendence of the word “magnificat” could hardly beexpressed with greater musical clarity than Monteverdi has done here.

The sheer magnitude of the “event” causes the emotions of the young maiden Mary to fluctuatebetween a barely containable joy and humble reverence. Throughout the composition Monteverdiunderlines Mary’s changing emotional state by moving back and forth between happily dancing 3/2(or 3/4) rhythms and stately 2/2 rhythms.

This setting is for double choir and solo ensembles, and as the different groups take turns with eachother, they add commentaries that expand on, and musically interpret, what is being said. To mentiononly one example from the opening chorus, the words “quia respexit humilitatem” are sung as asoprano duet, with sweet, innocent parallel thirds serving to describe Mary’s humility—a humilitywhich is underlined by the choir’s interjected responses of “beatam,” “beatam” (“blessed,” “blessed”).

As a response to this passage, the full choir again demonstrates Mary’s fluctuating emotional state. Shesings of the “great things” He has done to her, “quia fecit mihi magna qui potens est,” and with the fullorchestra and long notes in all voices Monteverdi creates an atmosphere of grandeur that is truly magnificent.But all this splendor seems too much for Mary to bear and, overcome with humility, she sings of Hismercy. Here Monteverdi creates a contrast that could hardly be greater. Beginning with only one voice, a

And pray to Christ for us.Hail, O Queen of heaven.

(Transl. Wikipedia)

Today Christ is born,Today the Savior has appeared,Today on earth the angels sing,The archangels rejoice,Today the just exult, saying:“Glory to God in the highest,Alleluia.”

(Transl. CPDL)


chromatic line gradually ascends through the voices, singing “et misericordia ejus...” (“and His mercy ison them...”)—and the words that thus sing OF His mercy have the tone of a prayer FOR His mercy.

The opening chorus is followed by the choir’s statement, “fecit potentiam in brachio suo” (“He hathshewed strength with His arm”). These words, sung in the rhythm of a battaglia (a battagliamusically depicts a battle), are followed by a soprano duet that gives a dramatic example of Hisstrength: He scatters to the winds those who have arrogant thoughts in their hearts. The sopranosdemonstrate the “scattering” (“of the proud”) as they sing the word “dispersit.” Beginning in a highrange to indicate the haughtiness of the proud, the sopranos’ rapid little groups of eighth-note runscircle around and around and fly off every which way. The gradual descent of these lines demon-strates how the proud are brought down.

The choir then repeats the statement about His strength (“fecit potentiam...”), and a bass duet gives afurther example: “He hath put down the mighty from their seats” (“deposuit potentes de sede”).Monteverdi demonstrates how easily His strong arm achieves this. The words “deposuit potentes” aresung with a short, descending motif of very few notes, whereby the rhythmic emphasis of the last two“potentes” syllables underlines just how pompous the “mighty ones” are; the final downward fifthinterval with which they fall from their seats (“de sedes”) makes quite a weighty musical “plump.” Incontrast to His brusque treatment of the mighty, the longer part of the duet demonstrates His benevolence toward those who are humble. Over and over again the words “et exaltavit humiles”(“He hath exalted them of low degree”) are sung with serenely ascending lines that illustrate the exal-tation of the humble—to the highest realms. With unpretentious simplicity, the final word “humiles” demonstrates humility.

Yet a third time the choir sings the passage affirming that “He hath shewed strength with His arm” (“fecitpotentiam...”), and now a tenor duet gives an example of His strength: His strong arm “hath filled thehungry with good things” (“esurientes implevit bonis”). As the soloists repeat the word “esurientes”(“the hungry ones”), the tone at first seems to imitate a searching hither and yon of the hungry ones. Butthe sound quickly becomes more replete, and the words “implevit bonis...” (“He hath filled...”) are sungwith the highest, longest, most satiated notes. But the tone changes when, singing in a low range, thetenors describe the fate of the rich: “et divites dimisit inanes” (they will be “sent empty away.”) The duetends as the word “inanes” (“empty”) is sung on long, mournful notes; the two part harmony is reducedto unisono on the final note of “inanes,” and the emptiness of the rich becomes absolute.

The final chorus is an outpouring of praise. As He helped Israel in the past (“suscepit Israel...”), Heremembers (“recordatus”) His promise (“sicut locutus est”) to have mercy on Abraham and his seed(“et semini ejus”) forever. The repetition of the words illustrates the fact that His promise is forever(“in saecula”). A soprano duet with the words “Gloria patri et filio et spiritui sancto...” (“Glory be tothe Father, and to the Son, and to the Holy Ghost...”) introduces the tutti finale. The words “sicut eratin principio...” (“as it was in the beginning...”) are repeated again and again with jubilant eighth-notesthrough all voices, until equally jubilant, long, drawn-out whole notes underline the endlessness ofHis glory that “shall be forever” (“et semper”).

Opening chorus:Magnificat anima mea dominumEt exultavit spiritus meusIn deo salutari meo.

Opening chorus:My soul doth magnify the Lord,And my spirit hath rejoicedIn God my Savior.


Embedded Soprano duet (soloists: Crista Berryessa, Suzanne Duval):Quia respexit humilitatemAncillae suae,Ecce enim ex hocBeatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est,Et sanctum nomen ejus.Et misericordia ejus a progenieIn progenies timentibus eum.

Chorus:Fecit potentiam in brachio suo.

Soprano duet (soloists: Crista Berryessa, Suzanne Duval):Fecit potentiam in brachio suo,Dispersit superbosMente cordis sui.


Bass duet (soloists: Jim Grove, Niel Warren, Jean Laroche):Fecit potentiam in brachio suo,Deposuit potentes de sede,Et exaltavit humiles.


Tenor duet (soloists: Jim Grove, Tom Pennello, Jas Cluff):Fecit potentiam in brachio suo,Esurientes implevit bonisEt divites dimisit inanes.

Final Chorus:Suscepit Israel puerum suum,Recordatus misericordiae suae.Sicut locutus est ad patres nostros,Abraham et semini ejus in saecula

Embedded Soprano duet (soloists: Christa Berryessa, Suzanne Duval):Gloria patri et filio et spiritui sancto,

Sicut erat in principio et nunc et semper,Et in secula seculorum. Amen.

Intermission Program notes continue on page 16

Soprano duet:

For He hath regarded the low estateOf His handmaiden: For, behold, from henceforth all generationsShall call me blessed.

For He that is mighty hath done to me great things:And holy is His name.And His mercy is on them that fear Him fromGeneration to generation.

Chorus:He hath shewed strength with His arm.

Soprano duet:

He hath shewed strength with His arm:He hath scattered the proud In the imagination of their hearts.


Bass duet:

He hath shewed strength with His arm:He hath put down the mighty from their seats,And exalted them of low degree.


Tenor duet:

He hath shewed strength with His arm:He hath filled the hungry with good things;And the rich He hath sent empty away.

Final Chorus:He hath holpen His servant Israel,In remembrance of His mercy;As He spake to our fathers,To Abraham, and to his seed forever.

Soprano duet:Glory be to the Father, and to the Son, and to theHoly Ghost;

As it was in the beginning, is now, and ever shall be,World without end. Amen.


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❦ This Day Christ Was BornWilliam Byrd (c. 1540–1623)

Monterey Bay Sinfonietta

As was often the case in Byrd’s day, instruments will perform a piece of music that was originallycomposed for voices.

❦ Shalom AleichemRabbi Israel Goldfarb (1879–1956), Arr. Gil Aldema (1928–2014)

Text: Hebrew liturgical poem, late 16th or early 17th century

Rabbi Goldfarb was a noted cantor and liturgical composer of the early 20th century. He was born inwhat is now Poland, and he emmigrated to the United States in 1893.

He graduated from Columbia University and attended the Institute of Musical Art (now Juilliard). Healso attended the Jewish Theological Seminary, where he later taught for more than twenty years, buthe is best remembered today for his many contributions to synagogue music. Goldfarb was the rabbiof an active traditional synagogue in Brooklyn for fifty-one years.

The greeting “Shalom Aleichem” brings a message of peace. It is traditionally sung by Jews on Fridaynight to welcome the angels of peace, and it signals the arrival of the Sabbath. Rabbi Goldfarb said of“Shalom Aleichem:” “the popularity of the melody traveled not only throughout [Israel] but through-out the world, so that many people came to believe that the song was handed down from Mt. Sinaiby Moses.”

Shalom aleichem malachei ha-shalom malachei elion,Mi-melech malchei ha-melachim

Ha-Kadosh Baruch Hu. Boachem le-shalom malacheiHa-shalom malachei elion,Mi-melech malchei ha-melachim Ha-Kadosh Baruch Hu.

❦ My Dancing DayEnglish traditional, Arr. Alice Parker (b. 1925); Robert Shaw (1916–1999)

The American conductor Robert Shaw won many awards throughout his career, particularly for hisattention to choral music (e.g., with his Robert Shaw Chorale) and his mentoring of young conductors. Alice Parker was Shaw’s student at Juilliard School, and the two often collaborated witharrangements such as “My Dancing Day.”

“My Dancing Day” first appeared in print in 1833, and although it is usually categorized as “traditional,”the assumption is that it is much older. The line “the legend of my play” is said to hint that its originmight be in the medieval mystery play.

The lilting carol is actually a song of courtship—Jesus is courting His “true love” as a dancing partner.Jesus describes all the circumstances of His birth as preparations for the joyous “dance,” and He is

Peace be upon you, ministering angels,Messengers of the Most High, of the Supreme King ofKings,The Holy One, blessed be He.Come in peace, messengers of peace,Messengers of the Most High, of the Supreme King ofKings,The Holy One, blessed be He.

(Transl. J. Yalovitser)


willing to go to any lengths to convince His love—the believer—to join Him. He even sees it as His“chance” for success if He does something “silly,” like presenting Himself all wrapped up (as a prettylittle gift?), and lying “betwixt an ox and a silly poor ass” in a manger. Perhaps His “true love” will recognize the loving gesture and join His dance—the “dance” of Salvation, in which the two will bepartners.

Tomorrow shall be my dancing day:I would my true love did so chanceTo see the legend of my play,To call my true love to my dance:

Refrain:Sing O my love, my love;This have I done for my true love.

Then was I born of a virgin pure,Of her I took fleshly substance;Thus was I knit to man’s nature,To call my true love to my dance.

Refrain:

In a manger laid and wrapped I was,So very poor, this was my chance,Betwixt an ox and a silly poor ass,To call my true love to my dance:

Refrain:

Then afterwards baptized I was;The Holy Ghost on me did glance,My Father’s voice heard from above,To call my true love to my dance:

Refrain:

❦ Lord of the DanceSydney Carter (1915–2004), Arr. Larry L. Fleming (1936–2003)

Melody: Shaker tune “Simple Gifts”

Carter explained the imagery of this song as follows: “I see Christ as the incarnation of the piper whois calling us. He dances that shape and pattern which is at the heart of our reality. I sing of the dancing pattern in the life and words of Jesus. Jesus is the Lord of the Dance.”

In Carter’s jolly setting, Jesus invites all to join in His dance—but that proves to be not so easy! Forexample, choppy rhythms illustrate the stumblings of those “who would not dance and follow me...,”and as the women interject these words in the men’s verse, the women’s notes do not follow theemphases of their words. (In other words, the men’s and women’s steps aren’t in synch.)

Also, after the basses sing that “it’s hard to dance with the devil on your back,” the sopranos and altosdemonstrate the truth of the fact by stammering “dance, d-aa-ance, dnnnn-ce, d-anc, d-nce” in a staggered rhythm—as if the devil’s weight has thrown the dancers out of step.


Refrain (full choir):Dance then wherever you may be;I am the Lord of the Dance, said He.And I’ll lead you all, wherever you may be,And I’ll lead you all in the dance, said He.

Sopranos:I danced in the morning when the world was begun,And I danced in the moon and the stars and the sun,And I came down from heaven and I danced on the earth;

(Altos interject in the above:)So my soul now for joy does leap, My lips no more can silence keep.

At Bethlehem I had my birth.

Refrain:

Men:I danced for the scribe and the Pharisee.But they would not dance, and they would not follow me;I danced for the fishermen, for James and John,They came with me and the dance went on.

(The women stumblingly interject in the above:)Dance, o won’t you dance with me.Would not dance, and they would not follow me.Dance, John, oh dance.Came with me, so let us...

Refrain:

Basses:I danced on a Friday when the sky turned black:It’s hard to dance with the devil on your back.They buried my body and they thought I’d gone;But I am the Dance and I still go on.

(The women, struggling under the devil’s weight, interject in the above:)Dance, d-aa-ance, dnnnn-ce, d-anc, d-nce.

Women sing:Dance then wherever you may be;I am the Lord and...

While the men sing:Then they cut me down and I leapt up high,

All sing:I am the life that will never, never die;I will live in you if you live in me;I am the Lord of the Dance, said He, said He.Dance, said He, said He, Dance!


❦ Mary’s SongBrian W. Holmes (born 1946), Words: Charles Causley (1917–2003)

Holmes is a professor of physics at San Jose State University, having earned his PhD in experimentallow temperature physics from Boston University. He is also a free-lance horn player who has performed with the San Jose Symphony and Opera San Jose. As a composer, Holmes often writes forsolo voice and chorus, as well as for brass and chorus, and he is known for his settings of texts relatedto Christmas. Holmes composed the words of the poem “Mary’s Song” as a lullaby, and the music iswell suited to help the infant “King Jesus” dream sweetly. In accordance with the charmingly naivetext, a calm melody rises and falls above a swaying 3/4 rhythm in the lower voices—keeping theBaby oblivious to His fate as He is gently rocked to sleep.

Sleep, King Jesus, your royal bedIs made of hay in a cattle shed.Sleep, King Jesus, do not fear,Joseph is watching and waiting near.Sleep, King Jesus, sleep, King Jesus,Sleep, King Jesus, sleep.Warm in the wintry air you lie,The ox and the donkey standing by.With summer eyes they seem to say:Welcome, King Jesus, on Christmas Day!Sleep, King Jesus, your diamond crownShines high in the sky where the stars look down.Let your reign of love begin,That all the world may enter in.Sleep, King Jesus, sleep, King Jesus,Sleep, King Jesus, sleep.

❦ Es wird scho glei dumpaMelody and words: Anton Reidinger (1839–1912)

Reidinger was a Roman Catholic priest from Austria, who wished to rekindle interest in traditional“Nativity Plays.” Such reenactments of the Christmas story had been performed in Austria and northernItaly as early as the 12th century, and Reidinger lamented the waning of the folk tradition. It was inthis context that he composed his Christmas cradlesong. The melody is based on an older hymn inpraise of the Virgin Mary, and the words are in an Austrian dialect. The song charms not only becauseof the typically “Austrian sound” of the music, but also because diminutive words and endings (“dl,”“rl,” “li”) of the dialect are able to express affection for the Christ-child with particular tenderness.

Es wird scho glei dumpa,Es wird jå scho Nåcht,Då kim i zu dir her,Mein Heiland, auf d’Wåcht.Will singa a Liadl,Dem Liabling, dem kloan,Du mågst jå net schlåfn,I hör di nur woan.

It will soon be dark,It will be night,So I come to you, my Savior,To watch over you.I want to sing a little songTo the darling, the tiny one.You don’t want to sleep,I only hear you crying.


Hei, hei, hei, hei,Schlåf süaß, herzliabs Kind!Måch zua deine ÄugerlIn Ruah und in FriedUnd gib ma zum ÅbschiedDein Segn nu gråd mit.Åft werd a mei SchlaferlA sorgenlos sein,Åft kånn i mi rualiAufs Niedalegn gfreun.Hei, hei, hei, hei,Schlåf süaß, herzliabs Kind!

❦ Quand le bon Sauveur Jésus-ChristJean-François Dandrieu (1682–1739)

Vlada Volkova-Moran, organist

This light and playful Christmas piece by Dandrieu is based on a religious song. Dandrieu, a prolificBaroque composer as well as harpsichordist and organist, began giving public harpsichord performances at the age of five—he even played for King Louis XIV of France and his court.Dandrieu held organ positions at several churches throughout his life, and his career culminated with his appointment as one of the four organists at the prestigious Chapelle Royale of France.

❦ Lo, how a Rose e’er bloomingDavid Blackwell (born 1961)

David Blackwell grew up in Oxford and studied music at Edinburgh University. He plays variousinstruments and has sung in and conducted church and concert choirs throughout his life. He nowworks as a freelance composer, arranger, writer and editor.

In Blackwell’s setting, the actual hymn “Lo, how a Rose e’er blooming” is preceded by a short introduction. The higher voices sing “a Rose e’er blooming, a lovely Rose,” and as these notes gentlydescend, they seem to spread the love that He, the “Rose,” brings to earth. In wonder, the male voicesenter with long notes, singing simply “A Rose——.”

Verse 1:Lo, how a Rose e’er blooming, from tender root hath sprung.Of Jesse’s lineage comingAs men of old have sung.Brought forth a flower brightAmid the cold of winterAnd in the dark midnight.

Verse 2:The Rose, which I am singingWhereof Isaiah toldIs Mary, purest maiden

Hei, hei, hei, hei,Sleep sweetly, beloved Child.Close your little eyes,Be calm and peaceful,And now give me your blessingAs a farewell.Then my own slumberWill also be carefree,And I can surely alsoLook forward to my own rest.Hei, hei, hei, hei,Sleep sweetly, beloved Child.

(Transl. K.G.)


Who bears the holy Child.At God’s eternal willShe bore to us a Savior,Yet stays a virgin still.

❦ Es ist ein Ros’ entsprungenMichael Praetorius (1571–1621)

[Michael Praetorius was born as Michael “Schultheiss.” Praetorius is the Latinized form of “Schultheiss,”which is a sort of mayor.]

Praetorius was one of the most versatile and prolific composers of the 17th century, but he was also atheorist of the greatest importance. His three volume work Syntagma Musicum remains a primarysource of information on performance practice of 17th century music, and the detailed illustrations ofperiod instruments are invaluable for modern reconstructions.

In 1599 “Es ist ein Ros’ entsprungen” first appeared in a Cologne hymnal, and with MichaelPraetorius’ 1609 four-part setting it became one of the most beloved German Christmas hymns. Wesing the third verse of the hymn in Praetorius’ well-known setting.

Verse 3:Das Blümelein so kleine,Das duftet uns so süß;Mit seinem hellen ScheineVertreibt’s die Finsternis:Wahr’ Mensch und wahrer GottHilft uns aus allem Leide,Rettet von Sünd und Tod.

❦ In dulci jubiloArr. Robert Lucas Pearsall (1795-1856)

The German carol “In dulci jubilo” is among the oldest and most famous of the macaronic songs (i.e.,songs that combine one language—usually Latin—and a vernacular language, such as English, French,German, etc.). The melody “In dulci jubilo” first appeared in a manuscript in Leipzig around 1400.

Robert Pearsall was an educated English gentleman who studied law and became involved withmusic only when he moved to Germany in 1825. He bought a castle by Lake Constance, where heremained. Pearsall was a considerable linguist, and he published English translations of Schiller andGoethe. The main goal of Pearsall’s compositions was to revive interest in Renaissance-era styles ofmusic—as can be seen in his setting of “In dulci jubilo.”

In dulci jubilo [In sweet joy]Let us our homage show;Our heart’s joy reclinethIn praesepio [In a manger]And like a bright star shineth,Matris in gremio. [In the mother’s lap.]Alpha es et O. [Thou art Alpha and Omega.]

O Flower, whose fragrance tenderWith sweetness fills the air,Dispels with glorious splendorThe darkness everywhere;True man, yet very God,From sin and death now saves us,And shares our every load.

(Transl. Wikipedia)


O patris caritas, [O Father’s caring,]O nati lenitas! [O Newborn’s mildness!]Deeply were we stainedPer nostra crimina; [By our crimes]But Thou hast for us gainedCoelorum gaudia. [Heavenly joy.]O that we were there!

Ubi sunt gaudia, [Where be joys]Where, if that they be not there?There are angels singingNova cantica, [New songs,]There the bells are ringingIn regis curia: [At the King’s court]O that we were there!

(Transl. CPDL)

❦ Ave Maria (Angelus Domini)Franz Xaver Biebl (1906-2001)

Biebl was a German composer who wrote primarily for choral ensembles, and in 1964 he composedwhat is his best-loved and most famous work—the magnificent Ave Maria. Longtime former Choralemember Bruce Bridgeman shared privately gleaned background information about this masterpiecein the following letter to the Chorale:

“I just returned from the 50th anniversary reunion of the Cornell University Glee Club (CUGC) 1966Asian tour, where I learned the history of the famous Biebl work. After my time at Cornell, the CUGChad toured Germany and eastern Europe, with a stop in Munich to sing with the Bavarian RadioSymphony Orchestra. Its conductor was Franz Biebl. The CUGC sang concerts with the orchestra, andthe Glee Club’s conductor, Thomas Sokol, and Biebl became friends. Upon the Glee Club’s departureBiebl gave Dr. Sokol a set of his own compositions, and after returning to Cornell, Sokol realized thatthe Ave Maria was a choral gem without ever having heard it. It had been performed only locally inMunich, commissioned by a Munich fireman’s chorus. Sokol and the CUGC rehearsed and performedit at a conference of choral conductors; of course it caused a sensation, and the conductors of severalother men’s choruses (Michigan, Yale etc.) requested copies. Later a CUGC alumnus in San Franciscogave a copy to the director of Chanticleer, and the rest is history....” Bruce is no longer with us, butwe sing this piece in his memory.

Angelus Domini nuntiavit Mariae,Et concepit de Spiritu Sancto.Ave Maria, gratia plena, Dominus tecum.Benedicta tu in mulieribus,Et benedictus fructus ventris tui, Jesus.Maria dixit: Ecce ancilla Domini;Fiat mihi secundum verbum tuum.Ave Maria, gratia plena...Et Verbum caro factum estEt habitavit in nobis.

The angel of the Lord declared unto Mary,And she conceived of the Holy Ghost.Hail Mary, full of grace, the Lord is with thee.Blessed art thou among women,And blessed is the fruit of thy womb, Jesus.Maria said: behold the handmaid of the Lord;Be it unto me according to thy word.Hail Mary, full of grace...And the Word was made flesh,And dwelt among us.


Hail Mary, full of grace...Holy Mary, mother of God,Pray for us sinners,Holy Mary, pray for usNow and in the hour of our death.Amen.

Ave Maria, gratia plena...Sancta Maria, Mater Dei,Ora pro nobis peccatoribus,Sancta Maria, ora pro nobis,Nunc et in hora mortis nostrae.Amen.

❦ Stille NachtFranz Gruber (1787–1863), Arr. Hermann Ebenhoech (1932–2011)

“Stille Nacht” was composed in 1818 by the Austrian composer Franz Gruber, and our arrangementwas also written by an Austrian, Hermann Ebenhoech. (Hermann was a conducting student ofChristian Grube, and a friend of the Chorale). For his setting, Hermann imagined the carol being sungby a group of friends improvising a harmonization.

Noche de paz, noche de amor,Todo duerme en derredor,Entre los astros que esparcen su luz,Bella anunciando al niñito JesúsBrilla la estrella de paz.

Silent night, holy night,Son of God, love’s pure light,Radiant beams from Thy holy face,With the dawn of redeeming grace,Jesus, Lord at Thy birth.

Stille Nacht, heilige Nacht,Hirten erst kund gemachtDurch der Engel Halleluja.Tönt es laut von fern und nahChristus der Retter ist da!

❦ QuempasMichael Praetorius

The so-called “Quempas” combines two 15th century Latin Christmas hymns, “Quem pastores laudavere” and “Nunc angelorum gloria;” a third hymn, the 9th century “Magnum nomen Domini,” is usually added as a refrain. The first of these hymns gives the “Quempas” its name. (English text adaptations for hymn melodies: “Quem pastores...,” Imogen Holst; “Nunc angelorum...” and“Magnum nomen...,” K.G.) The tradition of “Quempas” singing dates back to the 15th century. The“Quempas” was sung in Christmas services, and children (either alone or in groups) took turnssinging the lines of the verses of the first hymn from the four corners of the church. But “Quempas”singing was also part of the caroling tradition, and groups of choristers (also mainly children) performed in the streets, on village squares, and in homes. In his 1607 setting, Michael Praetoriuscomposed the hymn “Nunc angelorum...” in four-part harmony, and it was he who added the hymn“Magnum nomen...” as a refrain.


Verse 1:Shepherds left their flocks astraying,God’s command with joy obeying,When they heard the angel saying:“Christ is born in Bethlehem.”

Refrain:On this day of Jesus’ birthLet us pray for peace on earth.

In a manger lies the Child,His mother mild a lullaby is singing.In Bethlehem this holy nightIs born the light, salvation to all is bringing.Lo, behold, for all to see,A miracle is unfolding:Enraptured souls His love now are beholding.

Verse 2:Wise Men came from far and saw Him;Knelt in homage to adore Him;Precious gifts they laid before Him:Gold and frankincense and myrrh.


Verse 3:Let us now in ev’ry nationSing His praise with exultation.All the world shall find salvationIn the birth of Mary’s Son.


Program notes and texts by Karen Gordon


The Santa Cruz ChoraleConductor and Artistic Director

Christian Grube

Board of DirectorsNiel Warren, President

Suzanne Duval, Vice PresidentGary Hintz, Treasurer

Tom Pennello, SecretaryMargie Erickson, Cecilia Condes, Mary Crawford,

Paul Lawton, Gary Hintz, Christian Grube (ex officio)

Production CreditsNiel Warren, Event Production

Paul Lawton, Stage ManagementRobert Ley, Printed ProgramRoger Chaffin, Ticket Sales

Pamela Burnham, Box OfficeDiane Bridgeman, Lois Van Buren, Concessions

Jean Laroche, Clara Sherley-Appel, Lois Van Buren, Niel Warren, PublicityClara Sherley-Appel, Jean Laroche, Facebook

Julia van der Wyk, WebsiteKathleen Roberts, Graphic Artist

Cecilia Condes, Volunteer CoordinationRosella Crawford-Bathurst, Sectional and Soloist Coaching

Gabrielle Stocker, Ron Goodman, Music LibraryTom Pennello, Rehearsal Recording, CD Compilation and Production

Contact InformationThere are many ways to stay in touch with us.

Visit our website: www.santacruzchorale.org, a good place to find the latest info on concerts andfundraisers, buy tickets, donate, advertise, schedule auditions, and sign up for our newsletter.

You may also leave your email address at the box office and we do the signup for you. (Note: your email address saves us printing and postage and is never shared with third parties!)

Like our Facebook page: www.facebook.com/SCZChorale. Here you can leave feedback, find concert info, links to reviews, photos, fun stuff, and

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Interact with us on Twitter: @SantaCruzChoral.

Call us or send a letter with your donation, your questions, or your request to be added to the mailing list:

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Organists KaleidophoneWill Ring in the New YearMonday, December 31, 2018, 4:00pmPeace United Church of Christ 900 High Street, Santa Cruz

The 14th annual New Year’s Eve “OrganistsKaleidophone” will be a feast of music for organsolo, duet and other instruments and voices performed by local organists and their musicalfriends. A champagne and chocolate receptionwill follow. The concert is free. A goodwilloffering will be taken at the door with proceedsbenefiting the organ maintenance fund. Fordetails, call 831-460-1030 or e-mail:[email protected]

AcknowledgementsThe Chorale is deeply indebted to the followingindividuals and institutions for their invaluablehelp in producing our concerts:

Sister Barbara Ann Long, OP, Liturgist/Musician,Holy Cross Church

Mr. Ron McLain, Maintenance, Holy CrossChurch, for his assistance with the productionof our concerts

Paul Flight for substitute conducting inrehearsals

Valerie Tisdel for preparation of instrumentalparts

Karen Gordon for her superb, informative and insightful program notes

The staff and congregation of Holy CrossChurch, Santa Cruz

The staff and congregation of the Peace UnitedChurch of Christ, Santa Cruz

Organ SoloistA native of Russia, Vlada Volkova-Moran holdsdiplomas from the Tula Music College, MoscowLenin Pedagogical University and the MoscowTchaikovsky Conservatory as a piano teacher,accompanist, music educator and performingartist.

Vlada works as the organist at Peace UnitedChurch of Christ and serves as the main organistfor the Diocesan Choir of Monterey. She is alsothe principal accompanist for CabrilloSymphonic Choir and Temple Beth El Choir.

Vlada has appeared in concerts with the SantaCruz Chorale, Ariose Singers, UCSC ConcertChoir, Monterey Chamber Orchestra, CadenzaOrchestra, Espressivo Orchestra and with manyother local singers and instrumentalists. She isthe founder and artistic director of the annualNew Year's Eve “Organists Kaleidophone” concert series in Santa Cruz.


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Guest Concert: CantabellaChildren’s Chorus

Eileen Chang, Artistic Director

Cantabella Children’s Chorus and The Santa Cruz Chorale

Sunday, March 24, 2019, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

The Seasons of Our Children

This performance includes songs about childrenand the seasons. We see the children in the playground and in solemn, sacred places; weshiver in the freezing winter wind and relax in acool ocean breeze; we experience childhood inall places and all seasons. The program featuresSub Tuum Praesidium (Miklós Kocsár), Gloriafrom Mass No.6 (Gyögy Orbán), Ave Maris Stella(Ko Matsushita), Virmalised (Veljo Tormis), andselected folk songs and spirituals. Our perform-ance will also include the world premiere of anew work by the award-winning composer,Nackum Paik. This piece was commissioned bythe Cantabella Children’s Chorus for their participation in the 2019 World Youth ChoirFestival and Competition in Jeju Island, South Korea.

Joseph Haydn, Mass in b-flatmajor and Felix Mendelssohn,Psalm 42 & Choruses from ElijahThe Santa Cruz Chorale

Saturday, April; 27, 2019, 8:00pmSunday, April 28, 2019, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

Haydn’s Mass (also known as Harmoniemesse)was his last major work. This composition isfamous for its opulent orchestration, with a fullrange of wind instruments adding splendor tothe sound of the strings. In our performance,choral settings from Mendelssohn’s Elijah willbe interspersed in the Mass, as commentaries onthe mass text. Mendelssohn’s Psalm 42, “Wieder Hirsch schreiet” (“As Pants the Hart”), iscomposed for orchestra, soprano solo, andchoir. The intense emotion of this cantataexpresses the fervor of the Psalmist David’s spiritual longings. Robert Schumann consideredthis setting of Psalm 42 to be the finest piece ofsacred music Mendelssohn ever created.

Musical Arts of Santa Cruz Upcoming Events 2019


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The Monterey Bay Psychological Association’s past president, Diane Bridgeman, Ph.D.,

extends wishes for a peaceful and productive 2018–2019 season to the Santa Cruz Chorale

and its audience.Music has a unique and essential quality that

promotes collaboration, creativity, contemplation and conviviality—enjoy!

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Ticket income covers only about 34% of the costof producing concerts. The remaining 66%comes from foundations, businesses—but mostly from people like you. We appreciateyour generosity!

Help the Santa Cruz Chorale continue its traditionof distinctive vocal music in Santa Cruz County bysupporting us in one of the following ways:

Make a Donation Contribute with your checkin the enclosed envelope or with your credit cardat our website www.santacruzchorale.org/donate.

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Musical Arts of Santa Cruz presents The SantaCruzChorale ... Program FINAL... · Season 36...

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Transcript of Musical Arts of Santa Cruz presents The SantaCruzChorale ... Program FINAL... · Season 36...