BYU-IDAHODEPARTMENTOFMUSICPRESENTS

SYMPHONYORCHESTRACOLLEGIATESINGERS&

CONCERTCHOIR

SergeiProkofiev1891–1953

FEATURINGDEMAREECLAYSONBROWN,MEZZO-SOPRANO

NOVEMBER1,2019,7:30PM

BARRUSCONCERTHALL

The first performance took place November 2, 1947, on All Souls Day—when faithful Catholics pray for the souls of the deceased in Purgatory, awaiting redemption. Our performance, appropriately, is at the same season, though on Nov. 1, All-Saints Day—the day commemorating those who have already achieved, through penitence, their place in heaven. While Latter-day Saints and Catholics may not see eye to eye on every question, we share a belief in life after death, the reality of the Resurrection, and the idea that death for the faithful is a passage from mortality to a state of rest, peace, and love. In another sense, our performance is well timed (though we wish it could be otherwise). Our friend and colleague, percussion faculty Dr. David Taylor, passed away early this semester after a years-long battle with breast cancer. We miss our colleague and friend, and dedicate this performance—on All Saints Day—to him and to his family. Its sweet message of hope, peace, and faith seems appropriate to the memory of this man, whose spirit was so obviously refined and sweetened by illness.

Dr.Kempton Composer Sergei Prokofiev left his homeland in 1918, slightly ahead of the Russian revolution. With New York and later Paris as his base, he gained a highly successful reputation. By the late 1930s, there was great interest in having such an international star return to Russia, with promises of new commissions and freedom to tour internationally. However, when Prokofiev returned permanently to Moscow in 1936, he found great difficulty navigating the political climate. The Great Purge of 1936-1938 affected his music, with many of his works rejected. He feared disfavor, prison and even execution if his music was considered counter to the accepted ideology. The Soviet Union’s entry into World War II diminished this internal pressure, and Prokofiev found himself again popular as a valuable propaganda tool. He even received the Stalin Prize for his Piano Sonata No. 7. Therefore, the premiere of his Symphony No. 5 was highly anticipated. Composed in 1944 as the tides of war shifted toward victory, Prokofiev described the work: “I regard the Fifth Symphony as the culmination of a long period in my creative life… I conceived of it as glorifying the grandeur of the human spirit . . . praising the free and happy man—his strength, his generosity, and the purity of his soul.” The anticipation of the first performance was bolstered by the knowledge that the Red Army’s troops were embarking on their triumphant march into Germany. Prokofiev took his place on the podium. The audience fell silent and at the moment he raised his baton, salvos of artillery thundered, signifying the troops' success. He waited and began the work only after the cannons stopped. The symphony enjoyed huge success due to its uplifting spirit coupled with wartime patriotism. It received similar excitement in the United States. Just weeks after its 1945 premiere with the Boston Symphony, Prokofiev’s picture appeared on the cover of Time magazine with conductor Sergei Koussevitzky’s assessment: “The greatest musical event in many, many years. The greatest since Brahms and Tchaikovsky! It is magnificent! It is yesterday, it is today, it is tomorrow."

Dr. Tueller

COLLEGIATESINGERSDr.RandallKempton,Director

CONCERTCHOIRDr.EdaAshby,Director

JonathanRoseandAnnaBulatova,assistantconductors

PROGRAMRequiem,Op.9.................................................................................................MauriceDuruflé

1902–1986I. IntroitII. KyrieIII. DomineJesuChristeIV. SanctusV. PieJesuVI. AgnusDeiVII. LuxaeternaVIII. LiberameIX. Inparadisum

Dr.DemareeClaysonBrown,mezzo-sopranoDr.RandallKempton,conductor

Thisevening’sperformanceisdedicatedtoourdearfriendandcolleague

Dr.DavidTaylor1959–2019SymphonyNo.5inBbMajor,Op.100....................................................SergeiProkofiev

1891–1953I.AndanteII.AllegromarcatoIII.AdagioIV.Allegrogiocoso

TRANSLATIONIntroitEternalrestgrantthem,OLord,andleteternallightshineuponthem.Ahymntoyouisfitting,OGodinZion,andavowmadetoyouinJerusalem;hearmyprayer,allfleshcomestoyou.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.KyrieLordhavemercy,Christhavemercy,Lordhavemercy.DomineJesuChristeLord Jesus Christ, King of glory, free the souls of all the faithful departed from the punishments of hell and from the deep abyss. Deliver them from the lion’s mouth so that Tartarus does not swallow them, and that they do not fall into darkness.

DemareeClaysonBrown,amezzo-sopranofromSanAngelo,Texas,holdsdegreesfromBrighamYoungUniversity(BM),theUniversityofNebraska-Lincoln(MM),andtheUniversityofUtah(DMA).WhileattheUniversityofUtah,shestudiedwithProfessorArielBybeeandherresearchfocusedonartsongfromSpainandLatinAmerica.Recently,Dr.BrownmadeherdebutwithUtahLyricOperainProvo,performingtheroleofRosinainIlbarbierediSiviglia.Hervoicewasdescribedasexudinga“warmthandrichness”thatallowedherto“portrayhercharactervividlyjustthroughhersinging.”HerconcertandoratorioworkincludebeingthealtosoloistforMendelssohn’sElijah,Bach’sSt.MatthewPassion,Mozart’sRequiem,Handel’sMessiah,andthemezzo-sopranosoloistforJohnRutter’sFeeltheSpirit.Dr.Brownhassungseveralrecitals,concerts,andoperasonstagesthroughouttheUnitedStates,Ireland,Spain,China,andItaly.Hermostrecentoperarolesinclude:Carmen(Carmen),Mercedes(Carmen),Hansel(HanselandGretel),Cherubino(LeNozzediFigaro),DameQuickly(Falstaff),Mother(AmahlandtheNightVisitors),Mrs.McLean(Susannah),Angelina(LaCenerentola),Ottavia(L’incoronazionediPoppea),Suzuki(MadamaButterfly),JadeBoucher(DeadManWalking),Marie(TheMostHappyFella),andLaPrincipessa(SuorAngelica).Inadditiontoperforming,Dr.BrownteachesvoiceatUtahValleyUniversityandpreviouslytaughthighschoolandmiddleschoolchoirinNevada,Utah,Nebraska,andNewMexico.Sheandherhusband,Marco,currentlyresideinSaltLakeCityandaretheproudparentsoftheirsons,ElliotandTheodore.

PROGRAMNOTES The Requiem, or Mass for the Dead, is many centuries old, but the setting by Maurice Duruflé (1902-1986) is the first since the Renaissance to be based primarily on the original Gregorian chants from the Catholic liturgy. In many movements, he quotes the chant verbatim, supporting and commenting on the ancient modal melodies with twentieth century harmonies and orchestral colors. It is one of the undisputed masterpieces of 20th century choral-orchestral music. Unlike some other settings (notably, Verdi’s and Mozart’s) Duruflé’s omits the Dies irae, which details the terrors of Final Judgment. There is drama in his setting, to be sure, and some of the “fear and trembling” many of us feel when faced with the reality of death—whatever our belief system. But the edge is softened, the overall tone more consonant with a Latter-day Saint worldview. The first performance took place November 2, 1947, on All Souls Day—when faithful Catholics pray for the souls of the deceased in Purgatory, awaiting redemption. Our performance, appropriately, is at the same season, though on Nov. 1, All-Saints Day—the day commemorating those who have already achieved, through penitence, their place in heaven. While Latter-day Saints and Catholics may not see eye to eye on every question, we share a belief in life after death, the reality of the Resurrection, and the idea that death for the faithful is a passage from mortality to a state of rest, peace, and love.

BYU-IDAHOSYMPHONYORCHESTRADr.RobertTueller,Director

DrAdamBallif,WoodwindSpecialistAndrewAlphin,BrassSpecialist

FluteClarissaTracyKaylaRobinsonMickaylaHunter,piccoloOboeBenSchankAliviaJensonHannahRingo,englishhornClarinetMeganMeservyMayaMillerMadilynSass,bassclarinetDr.AdamBallif,EbclarinetBassoonRileyBarmoreHenryMollatElizabethCrawford,contraHornTateWadsworthBrandonTibbittsAbigailTaylorAnnaPerryTrumpetKatherineHoffmanTylerMcTavishRyleeCollinsTromboneLauraRhynardAlyssaCrawfordCalebLarsen,bass

TubaTomKinderTimpaniAdrianRosalesPercussionBeccaBradyRileyCooperJackEnsignAndyNelsonPiano/CelesteClaireThuesonOrganCalebLyonsHarpKatieCalderwoodChiyunLiuViolinIMcKennaMottoNoelleSingletonKrystellTaylorAnnaRasmussenGrayClaytonHintonMikaylaCareyAnnaSimmonsMeganHaroldsenSethBeusRachelAllenHaileyHinnenViolinIISarahCampbellEmilyFilmoreRapp

CourtneyMajorsKarlyLayGraceCluffHadleyDelHoyoHayleeJohnsonXandyHarkerSarahKingAveryGriffethIdaliaBravoMelissaGriffinJoshPowellMeganHendricksonViolaTessaDayTannerBoyackClaytonJohnsonRachelFeltLauraMcTavishChloeBengelEmilyPilkingtonCelloSebastianFraserAmyVillacortaCharlottePetersenJacksonLaBaughElisabethJonesMarissaFarberKatyRasmussenKatheryneBoscanKarsenWilliamsKatieRaeMcOmberBassBriannaSchmidtEmilyGageJessicaHarrisElizabethWatson

But let holy Michael, lead them into the holy light, as you promised long ago to Abraham and his seed. Offerings and prayers to you, Lord, praise we offer. Hear them for the sake of those souls which today we remember, grant, Lord, that they may pass from death to life, which long ago to Abraham and his offspring you promised. SanctusHoly,holy,holy,LordGodofHosts.Heavenandeartharefullofyourglory,Hosannahinthehighest.BlessedishewhocomesinthenameoftheLord,Hosannahinthehighest.PieJesuGraciousLordJesus,grantthemeternalrest.AgnusDeiLambofGod,whotakesawaythesinoftheworld,grantthemeternalrest.LuxaeternaMayeternallightshineonthem,Lord,withyoursaintsforever,becauseyouaregracious.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.LiberameDeliverme,Lord,frometernaldeathonthattremendousdaywhentheheavensandtheeartharedisturbed,whenyouwillcometojudgetheworldthroughfire.IamforcedtotrembleandIfear,whenthedestructioncomesandtheimpendingwrath,whentheheavensandtheeartharedisturbed.Thatday,thedayofwrath,ofcalamity,ofmisery,dayimmenseandmostbitter.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.InparadisumIntoParadisemaytheangelsleadyou,maythemartyrswelcomeyouinyourcomingandguideyouintotheholycityJerusalem.Achorusofangelswillgreetyou,andwithLazarus,onceabeggar,mayyouhaveeternalrest.

BYU-IDAHOSYMPHONYORCHESTRADr.RobertTueller,Director

DrAdamBallif,WoodwindSpecialistAndrewAlphin,BrassSpecialist

FluteClarissaTracyKaylaRobinsonMickaylaHunter,piccoloOboeBenSchankAliviaJensonHannahRingo,englishhornClarinetMeganMeservyMayaMillerMadilynSass,bassclarinetDr.AdamBallif,EbclarinetBassoonRileyBarmoreHenryMollatElizabethCrawford,contraHornTateWadsworthBrandonTibbittsAbigailTaylorAnnaPerryTrumpetKatherineHoffmanTylerMcTavishRyleeCollinsTromboneLauraRhynardAlyssaCrawfordCalebLarsen,bass

TubaTomKinderTimpaniAdrianRosalesPercussionBeccaBradyRileyCooperJackEnsignAndyNelsonPiano/CelesteClaireThuesonOrganCalebLyonsHarpKatieCalderwoodChiyunLiuViolinIMcKennaMottoNoelleSingletonKrystellTaylorAnnaRasmussenGrayClaytonHintonMikaylaCareyAnnaSimmonsMeganHaroldsenSethBeusRachelAllenHaileyHinnenViolinIISarahCampbellEmilyFilmoreRapp

CourtneyMajorsKarlyLayGraceCluffHadleyDelHoyoHayleeJohnsonXandyHarkerSarahKingAveryGriffethIdaliaBravoMelissaGriffinJoshPowellMeganHendricksonViolaTessaDayTannerBoyackClaytonJohnsonRachelFeltLauraMcTavishChloeBengelEmilyPilkingtonCelloSebastianFraserAmyVillacortaCharlottePetersenJacksonLaBaughElisabethJonesMarissaFarberKatyRasmussenKatheryneBoscanKarsenWilliamsKatieRaeMcOmberBassBriannaSchmidtEmilyGageJessicaHarrisElizabethWatson

But let holy Michael, lead them into the holy light, as you promised long ago to Abraham and his seed. Offerings and prayers to you, Lord, praise we offer. Hear them for the sake of those souls which today we remember, grant, Lord, that they may pass from death to life, which long ago to Abraham and his offspring you promised. SanctusHoly,holy,holy,LordGodofHosts.Heavenandeartharefullofyourglory,Hosannahinthehighest.BlessedishewhocomesinthenameoftheLord,Hosannahinthehighest.PieJesuGraciousLordJesus,grantthemeternalrest.AgnusDeiLambofGod,whotakesawaythesinoftheworld,grantthemeternalrest.LuxaeternaMayeternallightshineonthem,Lord,withyoursaintsforever,becauseyouaregracious.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.LiberameDeliverme,Lord,frometernaldeathonthattremendousdaywhentheheavensandtheeartharedisturbed,whenyouwillcometojudgetheworldthroughfire.IamforcedtotrembleandIfear,whenthedestructioncomesandtheimpendingwrath,whentheheavensandtheeartharedisturbed.Thatday,thedayofwrath,ofcalamity,ofmisery,dayimmenseandmostbitter.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.InparadisumIntoParadisemaytheangelsleadyou,maythemartyrswelcomeyouinyourcomingandguideyouintotheholycityJerusalem.Achorusofangelswillgreetyou,andwithLazarus,onceabeggar,mayyouhaveeternalrest.

COLLEGIATESINGERSDr.RandallKempton,Director

CONCERTCHOIRDr.EdaAshby,Director

JonathanRoseandAnnaBulatova,assistantconductors

PROGRAMRequiem,Op.9.................................................................................................MauriceDuruflé

1902–1986I. IntroitII. KyrieIII. DomineJesuChristeIV. SanctusV. PieJesuVI. AgnusDeiVII. LuxaeternaVIII. LiberameIX. Inparadisum

Dr.DemareeClaysonBrown,mezzo-sopranoDr.RandallKempton,conductor

Thisevening’sperformanceisdedicatedtoourdearfriendandcolleague

Dr.DavidTaylor1959–2019SymphonyNo.5inBbMajor,Op.100....................................................SergeiProkofiev

1891–1953I.AndanteII.AllegromarcatoIII.AdagioIV.Allegrogiocoso

TRANSLATIONIntroitEternalrestgrantthem,OLord,andleteternallightshineuponthem.Ahymntoyouisfitting,OGodinZion,andavowmadetoyouinJerusalem;hearmyprayer,allfleshcomestoyou.Eternalrestgrantthem,OLord,andleteternallightshineuponthem.KyrieLordhavemercy,Christhavemercy,Lordhavemercy.DomineJesuChristeLord Jesus Christ, King of glory, free the souls of all the faithful departed from the punishments of hell and from the deep abyss. Deliver them from the lion’s mouth so that Tartarus does not swallow them, and that they do not fall into darkness.

DemareeClaysonBrown,amezzo-sopranofromSanAngelo,Texas,holdsdegreesfromBrighamYoungUniversity(BM),theUniversityofNebraska-Lincoln(MM),andtheUniversityofUtah(DMA).WhileattheUniversityofUtah,shestudiedwithProfessorArielBybeeandherresearchfocusedonartsongfromSpainandLatinAmerica.Recently,Dr.BrownmadeherdebutwithUtahLyricOperainProvo,performingtheroleofRosinainIlbarbierediSiviglia.Hervoicewasdescribedasexudinga“warmthandrichness”thatallowedherto“portrayhercharactervividlyjustthroughhersinging.”HerconcertandoratorioworkincludebeingthealtosoloistforMendelssohn’sElijah,Bach’sSt.MatthewPassion,Mozart’sRequiem,Handel’sMessiah,andthemezzo-sopranosoloistforJohnRutter’sFeeltheSpirit.Dr.Brownhassungseveralrecitals,concerts,andoperasonstagesthroughouttheUnitedStates,Ireland,Spain,China,andItaly.Hermostrecentoperarolesinclude:Carmen(Carmen),Mercedes(Carmen),Hansel(HanselandGretel),Cherubino(LeNozzediFigaro),DameQuickly(Falstaff),Mother(AmahlandtheNightVisitors),Mrs.McLean(Susannah),Angelina(LaCenerentola),Ottavia(L’incoronazionediPoppea),Suzuki(MadamaButterfly),JadeBoucher(DeadManWalking),Marie(TheMostHappyFella),andLaPrincipessa(SuorAngelica).Inadditiontoperforming,Dr.BrownteachesvoiceatUtahValleyUniversityandpreviouslytaughthighschoolandmiddleschoolchoirinNevada,Utah,Nebraska,andNewMexico.Sheandherhusband,Marco,currentlyresideinSaltLakeCityandaretheproudparentsoftheirsons,ElliotandTheodore.

PROGRAMNOTES The Requiem, or Mass for the Dead, is many centuries old, but the setting by Maurice Duruflé (1902-1986) is the first since the Renaissance to be based primarily on the original Gregorian chants from the Catholic liturgy. In many movements, he quotes the chant verbatim, supporting and commenting on the ancient modal melodies with twentieth century harmonies and orchestral colors. It is one of the undisputed masterpieces of 20th century choral-orchestral music. Unlike some other settings (notably, Verdi’s and Mozart’s) Duruflé’s omits the Dies irae, which details the terrors of Final Judgment. There is drama in his setting, to be sure, and some of the “fear and trembling” many of us feel when faced with the reality of death—whatever our belief system. But the edge is softened, the overall tone more consonant with a Latter-day Saint worldview. The first performance took place November 2, 1947, on All Souls Day—when faithful Catholics pray for the souls of the deceased in Purgatory, awaiting redemption. Our performance, appropriately, is at the same season, though on Nov. 1, All-Saints Day—the day commemorating those who have already achieved, through penitence, their place in heaven. While Latter-day Saints and Catholics may not see eye to eye on every question, we share a belief in life after death, the reality of the Resurrection, and the idea that death for the faithful is a passage from mortality to a state of rest, peace, and love.

BYU-IDAHODEPARTMENTOFMUSICPRESENTS

SYMPHONYORCHESTRACOLLEGIATESINGERS&

CONCERTCHOIR

SergeiProkofiev1891–1953

FEATURINGDEMAREECLAYSONBROWN,MEZZO-SOPRANO

NOVEMBER1,2019,7:30PM

BARRUSCONCERTHALL

The first performance took place November 2, 1947, on All Souls Day—when faithful Catholics pray for the souls of the deceased in Purgatory, awaiting redemption. Our performance, appropriately, is at the same season, though on Nov. 1, All-Saints Day—the day commemorating those who have already achieved, through penitence, their place in heaven. While Latter-day Saints and Catholics may not see eye to eye on every question, we share a belief in life after death, the reality of the Resurrection, and the idea that death for the faithful is a passage from mortality to a state of rest, peace, and love. In another sense, our performance is well timed (though we wish it could be otherwise). Our friend and colleague, percussion faculty Dr. David Taylor, passed away early this semester after a years-long battle with breast cancer. We miss our colleague and friend, and dedicate this performance—on All Saints Day—to him and to his family. Its sweet message of hope, peace, and faith seems appropriate to the memory of this man, whose spirit was so obviously refined and sweetened by illness.

Dr.Kempton Composer Sergei Prokofiev left his homeland in 1918, slightly ahead of the Russian revolution. With New York and later Paris as his base, he gained a highly successful reputation. By the late 1930s, there was great interest in having such an international star return to Russia, with promises of new commissions and freedom to tour internationally. However, when Prokofiev returned permanently to Moscow in 1936, he found great difficulty navigating the political climate. The Great Purge of 1936-1938 affected his music, with many of his works rejected. He feared disfavor, prison and even execution if his music was considered counter to the accepted ideology. The Soviet Union’s entry into World War II diminished this internal pressure, and Prokofiev found himself again popular as a valuable propaganda tool. He even received the Stalin Prize for his Piano Sonata No. 7. Therefore, the premiere of his Symphony No. 5 was highly anticipated. Composed in 1944 as the tides of war shifted toward victory, Prokofiev described the work: “I regard the Fifth Symphony as the culmination of a long period in my creative life… I conceived of it as glorifying the grandeur of the human spirit . . . praising the free and happy man—his strength, his generosity, and the purity of his soul.” The anticipation of the first performance was bolstered by the knowledge that the Red Army’s troops were embarking on their triumphant march into Germany. Prokofiev took his place on the podium. The audience fell silent and at the moment he raised his baton, salvos of artillery thundered, signifying the troops' success. He waited and began the work only after the cannons stopped. The symphony enjoyed huge success due to its uplifting spirit coupled with wartime patriotism. It received similar excitement in the United States. Just weeks after its 1945 premiere with the Boston Symphony, Prokofiev’s picture appeared on the cover of Time magazine with conductor Sergei Koussevitzky’s assessment: “The greatest musical event in many, many years. The greatest since Brahms and Tchaikovsky! It is magnificent! It is yesterday, it is today, it is tomorrow."

Dr. Tueller