Sing The Idaho-Washington Concert Chorales...resume Psalm 23. Their innocent melody gradually quiets...
Transcript of Sing The Idaho-Washington Concert Chorales...resume Psalm 23. Their innocent melody gradually quiets...
The Idaho-Washington Concert ChoraleSings Concert 2002-20034
Friday, May 2 � 7:30 pm � Moscow, IdahoSunday, May 4 � 6:00 pm � Uniontown, Washington
Sponsored by Edmund O.& Mary Schweitzer
Program NotesThe Book of Psalms has been one of themost important sources of texts in music
history. In their original form, psalms were notpure poetry but songs intended to be sung. Themajority of psalms originated during themonarchic period of Israel and Judah (ca. 1025-586 B.C.) and are associated with the JerusalemTemple. Many practices of these early synagogueservices soon became part of Christian worshipservices and carried over into the liturgy of theCatholic Church. The present “Book of Psalms” isa collection of previously existing anthologiesthat date back to the Jewish worship services inthe first century A.D. This evening’s program, asits title suggests, consists entirely of psalm textsettings.
In 1816, Felix Mendelssohn’s father had hischildren converted to Christianity and added thename Bartholdy to distinguish them fromunconverted Mendelssohns and to avoid anti-Semitic trends of the 19th century. Throughout hislife, Mendelssohn wrote music for the Protestantand Catholic Churches, and also for thesynagogue. Jauchzet dem Herrn alle Welt(Psalm 100) is one of three English church motetscomposed in 1847. It utilizes a more purifiedstyle of liturgical composition – a renunciation ofexternal vocal display and a return to a moreconservative, straightforward approach.
In an October 9, 1867 letter to Carl MartinReinthaler, organist and choir director of BremenCathedral, Johannes Brahms wrote about EinDeutsches Requiem, “I will admit that Icould happily omit the ‘German’ and simply say‘human’.” As the title implies, the work has norelation to the Roman Liturgy. It is ‘German’ in no
nationalistic sense but because it is rooted in thelanguage of the Lutheran Bible. It is uniqueamong requiems in that it is not an enactedprayer for the dead. Brahms’ thorough knowledgeof the Lutheran Bible enabled him to drawtogether many related and complimentary textfragments. The result is a work of great powerand focus whose main themes are the bleak realityof the transience of life, the need for comfort, thehope of some happy resolution, and the rewardfor effort. How Lovely Is Thy DwellingPlace (Psalm 84:1, 2, 4) is the fourth of sevenmovements that comprise Ein DeutschesRequiem. As the central chorus, it serves as amusical fulcrum upon which Movements I – IIIand V – VII are carefully balanced.
After hearing the folksongs that his friend RalphVaughan Williams had been collecting, GustavHolst found the simplicity and economy that heneeded in his own music. As a result, hiscomposing became less chromatic and moredirect. According to his daughter, Imogen, one ofHolst’s aims was to discover “the musical idiom ofthe English language.” To that end, VaughanWilliams also taught Holst about plainsong. Thereturn to harmonic simplicity and the influence ofplainsong helped Holst write his 1912 setting ofPsalm 86. The words of the solos are takenfrom the authorized version. The words of thechorus are a metrical version by Joseph Bryan(1620). The melody was composed or adapted forthis psalm by L. Bourgeois in the Genevan Psalter(1543).The work was originally scored for stringsand organ, but Holst later added brass parts foran outdoor performance during halftime at afootball (soccer) match.
Program NotesAbout his own compositions, Leonard Bernsteinsaid, “I have a deep suspicion that every work Iwrite, for whatever medium, is really theatermusic in some way.” In 1965, the Dean ofChichester, the Very Reverend Walter Hussey,commissioned Bernstein to write a work for anannual summer choral festival held at theCathedral of Chichester in Sussex, England. Theresult, Chichester Psalms, is a three-movement composition whose psalm textsdramatically juxtapose war and peace. Theopening chorale from Psalm 108:2 is a majesticchoral introit that leads directly into a joyful,dance-like setting of Psalm 100. The secondmovement begins with a lyrical, almost naive,solo setting of Psalm 23. This simple melody isrepeated by the women in canon, but is suddenlyinterrupted by a ferocious outburst from the men(Psalm 2:1-4), “Why do the nations rage?” indramatic opposition to the previous pastoralsection. The violence moves into the distance,but it remains softly insistent while the womenresume Psalm 23. Their innocent melodygradually quiets the menace of Psalm 2, but evenunder their final long note, the organ whispers areminder of the disturbance. The third movementopens with an organ reverie that serves aspreparation for a warm, comforting rendition ofPsalm 131. The work concludes with an acappella version of the opening chorale, a codaof yearning for peace (Psalm 133:1).
After working with Nadia Boulanger inFontainebleau, France, Adolphus Hailstorkcontinued his composition studies with DavidDiamond at the Manhattan School of Music. Inthe 1970’s, many academically trained African-American composers wrote music that was
decidedly “non-cultural,” having been influencedby then-current serialistic and atonal practices.Hailstork’s compositions, however, always containsome features of traditional African-Americanmusic. His musical language is appealing andfamiliar, and he is one of the most performedblack composers of his generation. Hailstork usesEuropean structural principles fused with African-American conventions to consciously create“black” concert music. He believes in writingmusic that will be performed. “I just enjoy music.I prefer to write music. I’m a pragmatist. I writemusic to get performed. I don’t write esoteric,Ivory Tower works to be played by a few people ina loft for an audience of a few people. That’s justnot me.”
His three-movement cantata, I Will Lift UpMine Eyes, was written in 1989. The exuberantsetting of Psalm 121 that comprises the firstmovement is followed by a quasi-blues treatmentof Psalm 13 in the second movement. Thecolloquial text used in this movement is takenfrom the New English Bible and contributes to itspopular style. Movement 2 also contains animprovisatory section that depicts the emotionaloutbursts often heard in the rural churches of theDeep South. The third movement begins with astately “Alleluia” followed by a gospel treatmentof Psalm 2. This leads directly into a brief repriseof Psalm 121. The work concludes with the same“Alleluia” that began the movement, but this timethe mood is triumphant and confident.
� John Weiss
An Evening of PsalmsJauchzet dem Herrn alle Welt Felix Mendelssohn
Opus 69, No. 2 (Psalm 100) (1809-1847)Be joyful in the Lord, all ye lands. O go your way into His gatesServe the Lord with gladness and come with thanksgiving, and into His courtsbefore His presence with a song. with praise. Be thankful unto Him,He is God, our Lord. and speak good of His name.He has made us, and not we, ourselves. For the Lord is gracious and His mercyWe are His people, and the sheep of His pasture. and truth are everlasting.
How Lovely Is Thy Dwelling Place Johannes Brahmsfrom Ein Deutsches Requiem (1833-1897)
Psalm 84:1, 2, 4How lovely is Thy dwelling place, my soul and body crieth out, yea,O Lord of Hosts! for the living God.For my soul, it longeth, yea fainteth O blest are they that dwell within Thy house;for the courts of the Lord; they praise Thy name evermore!
Psalm 86 Gustav Holst(1874-1934)
Gary Bingham, TenorJanet Parsons, Soprano
Erich Lear, Concertmaster Michael Neville, Principal ViolaSwannee Herrmann, Violin Rosa Spaeth, ViolaDiane Worthey, Principal Violin II Eugene Zenzen, VioloncelloRebecca Miller, Violin Dave Snider, Contrabass
Katy Vogt, Trumpet Todd Mosebar, TromboneKurtis Cantley, Trumpet Kiyomi Sugaya, TromboneJonathan Kirk, French Horn Jeremy Faxon, Bass TromboneJoe Trudeau, French Horn Scott Bradford, Tuba
To my humble supplication, Lord, help nor hope but Thee alone.give ear and acceptation. Send, O send relieving gladnessSave Thy servant that hath none to my soul opprest with sadness,
An Evening of PsalmsWhich, from clog of earth set free, Give ear, O Lord, unto my prayer and winged with zeal, flies up to Thee. attend to the voice of my supplication.Bow down thine ear, O Lord, I will praise Thee, O Lord my God,hear me; for I am poor and needy. with all my heart,Be merciful unto me, O Lord; And I will glorify Thy name forevermore.for I cry unto Thee daily. To Thee, rich in mercies’ treasure andRejoice the soul of Thy servant, in goodness without measure,for unto Thee, O Lord, Never failing help to those who ondo I lift up my soul. Thy sure help repose.For Thou, Lord, art good and Heavenly Tutor, of Thy kindness, teach my dullness,ready to forgive, and plenteous in mercy guide my blindness, That my steps Thy pathsunto them that call upon Thee. may tread which to endless bliss do lead.
IntermissionChichester Psalms Leonard Bernstein
(1918-1990)Chamber Choir
Jill Price, Soprano Glenn Petersen, TenorMary Flores, Mezzo Soprano David Spencer, Bass
David Jarvis, PercussionHarry Wells, Organ
I. Psalm 108:2Awake, psaltry and harp: I will rouse the dawn!
Psalm 100Make a joyful noise unto the Lord all ye lands. Enter into His gates with thanksgivingServe the Lord with gladness. and into His courts with praise.Come before His presence with singing. Be thankful unto Him and bless His name.Know ye that the Lord, He is God. For the Lord is good, His mercyIt is He that hath made us, and not we ourselves. is everlasting and His truthWe are His people and the sheep of His pasture. endureth to all generations.
Please help us reduce our printing costs and recycle your program in the box by the door at the end of the evening.
An Evening of PsalmsII. Psalm 23
Noah Qualls, Alto
The Lord is my shepherd, I shall not want. Thou preparest a table before meHe maketh me to lie down in green pastures, in the presence of mine enemies,He leadeth me in the paths of righteousness Thou anointest my head with oil,for His name’s sake. my cup runneth over.Yea, though I walk through the valley Surely goodness and mercy shallof the shadow of death, I will fear no evil, follow me all the days of my life,for Thou art with me. and I will dwell in the houseThy rod and Thy staff they comfort me. of the Lord forever.
Psalm 2:1-4Why do the nations rage, Saying, let us break their bands asunder,and the people imagine a vain thing? and cast away their cords from us.The kings of earth set themselves, He that sitteth in the heavens shall laugh,and the rulers take counsel together and the Lord shall have them in derision!against the Lord and against His anointed.
III. Psalm 131Lord, my heart is not haughty, as a child that is weaned of his mother;nor mine eyes lofty, my soul is even as a weaned child.neither do I exercise myself in great matters Let Israel hope in the Lordor in things too wonderful for me. from henceforth and forever.Surely I have calmed and quieted myself,
Psalm 133:1Behold how good and how pleasant it is, for brethren to dwell together in unity.
I Will Lift Up Mine Eyes Adolphus Hailstork(b. 1941)
Todd Strange, Tenor
1. I Will Lift Up Mine Eyes (Psalm 121)I will lift up mine eyes to the hills, He that keepeth thee will not slumber nor sleep.from whence cometh my help. The sun will not smite thee by day,My help surely cometh from the Lord, nor the moon by night.maker of heaven and earth. The Lord shall preserve thee from evil:He will not suffer thy foot to be moved: the Lord shall preserve thy soul!
An Evening of Psalms2. How Long? (Psalm 13)How long, O Lord? How long must I suffer anguishHow long, O Lord, will Thou forget me? in my soul and grief in my heart?How long will Thou hide Thy face from me? Look now and answer me, O Lord.How long? Give light, O Lord, to my eyes,
lest I sleep the sleep of death.
Psalm 121I will lift up mine eyes to the hills, from whence cometh my help.
3. The Lord Is My Shepherd, Alleluia (Psalm 23)The Lord is my shepherd, I shall not want. Thy rod and Thy staff they comfort me.He maketh me to lie down in green pastures, Thou preparest a table before meHe leadeth me beside the still waters, in the presence of mine enemies,He restoreth my soul, Thou anointest my head with oil,He leadeth me in the paths of righteousness my cup runneth over.for His name’s sake. Surely goodness and mercy shall follow meYea, though I walk through the valley all the days of my life,of the shadow of death, and I will dwell in the houseI will fear no evil, for Thou art with me. of the Lord forever.
October 10 � (tent.) Gladish Auditorium, Pullman, 7:30 pmOctober 11 � (tent.) Silverthorne Theatre, LCSC, Lewiston, 7:30 pm
December 16 � St. Boniface Catholic Church, Uniontown, 7:30 pmDecember 18 � Administration Auditorium, UI, Moscow, 7:30 pm
March 5 � Administration Auditorium, UI, Moscow, 7:30 pmMarch 6 � Silverthorne Theatre, LCSC, Lewiston, 7:30 pm
March 28 � Wine & Song Chorale Benefit Fund Raiser
April 30 � Administration Auditorium, UI, Moscow, 7:30 pmMay 2 � St. Boniface Catholic Church, Uniontown, 6:00 pm
Thank you for your patience as we finalize the details of our 2004-2005 Season.Season Ticket information will be sent to our mailing list during the summer. If you are not on our mailing list
and would like to add your name, please sign up at the ticket table.
The 2004 - 2005 Season
Dr. .John Weiss, Conductor
ohn Weiss earned a Bachelor of Music,Music Education at Boston University, a
Master of Fine Arts, Choral Conducting at theUniversity of California, Irvine, and a Doctor ofMusical Arts, Choral Conducting from the Universityof Arizona. He is currently Assistant Professor ofMusic at Washington State University. In 2001-02,he served as Interim Director of Choral Activities atthe University of South Alabama in Mobile. In January,2002, USA’s Choirs performed for the Alabama MusicEducators Association In-Service Conference inTuscaloosa. Past choral groups under his directionhave won numerous first prizes at the All-AmericanMusic Festival in Orlando, FL, and gold medals at theMassachusetts American Choral Directors AssociationState Choral Festival, the Massachusetts InstrumentalConductors Association State Choral Festival, and theMassachusetts International Association of JazzEducators State Festival. He has been a guest clinicianat the Massachusetts Music Educators Association
(MMEA) All-State Conference; choral director forNorth American Music Ensembles’ European tour; andguest conductor for the Vermont Northwest DistrictFestival High School Chorus, the SoutheasternMassachusetts Scholastic Band Association FestivalHigh School Chorus, and the MMEA Southeast JuniorDistrict Festival Chorus. He was also past musicdirector of the Harbour Choral Arts Society inHanover, Massachusetts. Next spring, he will presenta workshop on developing tone in the high schoolchoir at the Oregon Music Educators NationalConference.
As a bass, Dr. Weiss was a Metropolitan OperaRegional Finalist and won First Prize in theAssociazione Lirica Italo-Americana Mario DelMonaco Voice Competition. He has performed leadingand supporting roles with Boston Lyric Opera,Indianapolis Opera, Ash Lawn-Highland SummerFestival (VA), Raylynmor Opera (NH), CambridgeChamber Opera, Commonwealth Opera, LongwoodOpera, and Salisbury Lyric Opera (all of MA), VermontOpera, Oakland Opera, and Sacramento Opera, andwas a member of the San Francisco Opera Chorus forthree seasons. He has also soloed for suchorganizations as the Keene Chorale (NH), Harvard-Radcliffe Chorus, College of the Holy Cross Choirs,and Oakland Chamber Orchestra and Oratorio Society.Some of his favorite roles include Leporello in DonGiovanni, Tevye in Fiddler on the Roof, Mustafain L’italiana in Algeri, Alfie Doolittle in My FairLady, Sarastro in Die Zauberflöte, Colline in LaBohéme, Bartolo in Il Barbiere di Siviglia and SirJoseph Porter in H.M.S. Pinafore.
Dr. Weiss’ doctoral research, Operatically TrainedSingers in the Collegiate Choral Rehearsal, wasnominated by the University of Arizona for the JuliusHerford Award sponsored by the American ChoralDirectors Association. An article based on thisresearch appeared in The Choral Journal, August2002.
J
Guest SoloistsTodd Strange is currently completing his Master’sdegree in Vocal Performance at the University of Arizonawhere he is a student of Professor Charles Roe, and aGraduate Teaching Assistant in Voice. Most recently, Toddwas a finalist in the Western Regional Metropolitan OperaCouncil auditions in Pasadena. He was also awarded 2ndplace in the 2003 Amelia Reimann Opera Competition. Sinceattending the University of Arizona, Todd has been highlyinvolved with the U of A Opera Theater. Recent roles includeEisenstein in Die Fledermaus, Ruggero in La Rondine,Ramiro in La Cenerentola, Tamino in The Magic Flute,and Nanki Poo in The Mikado. Todd has also had theprivilege to work with the Tucson Symphony last Decemberas the tenor soloist in Mozart’s orchestration of Handel’sMessiah with The Arizona Choir, conducted by Dr. BruceChamberlain. He has worked with Arizona Opera the pastthree seasons doing comprimario roles. Todd is also memberand frequent soloist with The Arizona Choir. Originally from
Yuba City, California, Todd received his Bachelor of Arts Degree in Voice from the University of thePacific, Conservatory of Music in Stockton, California. He is a lover of the classical repertoire, andfeels truly blessed for the opportunities that have been given to him.
Noah Qualls, the son of Lisa and Russ Qualls ofMoscow, is the Alto soloist for Bernstein’s ChichesterPsalms this evening. This is his first appearance with theIdaho-Washington Concert Chorale. Noah sings in ChristChurch Boys' Choir under the direction of Dr. Louis Schuler.Noah started his music study with piano at the age of eightand, though extremely talented as a vocalist, considers thecello to be his primary instrument. Currently in the sixthgrade, Noah is homeschooled. He will be 12 at the end ofthis month. When he is not practicing music, Noah enjoysplaying on a lacrosse team, juggling, and sharing hisimpressive array of magic tricks.
New Member
Auditions:
August, 2003If you are interested in singingwith us, please contact JaniceO’Toole 509.229.3654 [email protected] more information.
SopranosKathy AndersonNancy BeebeMarilyn Bingham �Heather DixonMeredyth Goodwin �Monique C. LillardHelen LombardMary MaceyMarlene Michael �Janet MountHeather Nelson �Sharon NitzAnn NortonJanice O’TooleJanet Parsons �Jill Price �Jennifer Scovell �Zuma Lee StabaJanice Willard �
Board of DirectorsGordon Thomas
Chorale President
Janice O’TooleChorale Vice-President
Janet Brandt,Chorale Treasurer
Shirley EngerbretsonChorale Secretary
Gordon Lamb,Lamb & Co., Pullman
Kirk McMichael,Chorale Member-at-Large
Gary Peterson,Law Office of Duncan Palmatier
Rosemary Waldrop, Private Voice, Pullman
Horace Young,WSU Faculty, Pullman
ConductorDr. John Weiss
AccompanistCaroline Germain
House ManagerShelly Houghtaling
TenorsErol BarbutGary Bingham �Tom Brandt �Bill Dugger �Ben Gudgeon �John Haugen �George LaBar �Glenn Petersen �Christopher Robinson �Don Willows
BassesAllen Alstad �Walter AsbeMiles Dresser �Ryan JohnsonKirk McMichaelRich MillerJim MuellerGary PetersonJim ReeceJustin Smith �David Spencer �Steve Swannack �Gordon Thomas �Dean VanderwallChristopher Wang �
AltosAlice BarbutCheryl Blackburn �Susan BohmDonna BrandmeyerJanet BrandtDebbie BrudieElinor ButcherJennifer ColemanMimi DimitrovskaMary Donohoe �June DouglasMiriam EdlefsenJennifer EldridgeShirley EngerbretsonMary Flores �Judie Hanley �Jana Joyce �Jan KellerAmanda LuellLaura McMichaelAnita MooreJan PatrickMimi PengillyLaura Rankin �Hilary RoseRuth VanderwallKaren Weathermon �
Chorale LeadershipTom Brandt
Tenor Section Leader
Judy CampbellAlto Section Leader
Mary FloresAudition Committee Accompanist
Jan KellerAdvertising
Helen LombardAdvertising Manager
Heather NelsonBox Office Manager
Ann NortonChorale Librarian
Laura McMichaelFront Door Manager
Jim MuellerWeb Master
Jill PriceMarketing DirectorSoprano Section Leader
David SpencerBass Section Leader
Steve SwannackRiser Crew Coordinator
Marketing InternHeatherEbba Maib
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� Chamber Choir
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Acknowledgments
SupportersWe would like to thank the following individuals and businesses for their
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ShermanSt. Boniface Church,
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