Handel society of Dartmouth CollegeRobert Duff, conductor

Fire and Ice

with special guests

sally pinkas pianoelizabeth keusch soprano erma gattie Mellinger mezzo-soprano paul shikany tenor David arnold baritoneHanover Chamber orchestra

hoPkinS centerpresents

saturday, May 19, 2007 • 8 pmSpauldingAuditorium•DartmouthCollege

ThisperformanceismadepossibleinpartbygeneroussupportfromtheFriendsoftheHandelSocietyFund;theHandelSocietyFoundationofNewHampshire;theGordonRussell1955Fund;andtheGiftofGretchen’77andRobert’76Wetzel.

The Handel Society of Dartmouth College 1807-2007 ByHeywoodAlexanderwithDavidRobinson

Thisrecentlypublishedhistory,completewitharchivalrecordings,isavailableforpurchaseinthelobbyatintermissionandatthepost-concertreceptionattheTopoftheHop.

Proceeds support Handel Society.

Fire and IceByLouiseClearfielda

Fire and IceisnotjustthenameofAndreaClearfield’scantatacommissionedfortheBicentennial,it’salsothenameofawatercolorcreatedfortheoccasionbythecomposer’smother,artistLouiseClearfield.Signedreproductionsoftheartworkwillbeavailablefor

purchaseattheTopoftheHopaftertonight’sperformance.

Proceeds support the newly established Handel Society Commissioning Fund, which will underwrite future commissions.

Handel Society’s Bicentennial Commemoratives

C e l e b r at i n g 200 years 1 8 0 7 - 2 0 0 7

HANDEL SOCIETYOF DA RTMOU T H COLLEGE

Celebration for the Season November 28, 2006 • 7 pm

with special guests Carla Chrisfield, soprano

Catherine Hedberg, mezzo-sopranoRay Bauwens, tenor

Mark Andrew Cleveland, bassand the Hanover Chamber Orchestra

A Salute To Choral Arts Within The Ivy League

March 3, 2007 • 7 pm with special guest

Yale Camerata Dr. Marguerite Brooks, conductor

World Premiere Fire and Ice

May 19, 2007 • 8 pm A choral cantata for orchestra, chorus

and soloists, based on the poetry of Robert Frost, commissioned from composer Andrea Clearfield

Beethoven’s Choral Fantasy Brahms’ Nänie

Handel’s Messiah November 28 & 29, 2007 • 8 pm

with special guest conductor Helmuth Rilling,music director, Bachakademie Stuttgart

and artistic director, Oregon Bach Festival

Nänie, op. 82 Johannes Brahms (1833-1897)

Choral fantasy, op. 80 Ludwig van Beethoven (1770-1827)

SallyPinkaspiano

ElizabethKeuschsoprano ErmaGattieMellingermezzo-soprano SueNeighbormezzo-soprano PaulShikanytenor BrandonZeiglerGRtenor DavidArnoldbaritone

presentation of the first annual Melinda o’neal award

• INTERMISSION •

fire and ice andrea Clearfield (b. 1960)I. To The Thawing WindII. October, Fragmentary Blue, Going for WaterIII. The Demiurge’s Laugh, Fire and Ice, StarsIV. Pan With Us

ElizabethKeuschsoprano DavidArnoldbaritone

ThiscommissionismadepossiblewithgeneroussupportfromGretchen’77andRobert’76Wetzel,theHandelSocietyFoundationofNewHampshire,theDartmouthCollegeOfficeoftheProvost,andtheHopkinsCenterfortheArts.

The composer wishes to express her gratitude to Yaddo, The Virginia Center for the Creative Arts, The Blue Mountain Center

and the Kimmel Harding Nelson Center for the Arts.

Program

Nänie, op. 82, Johannes BrahmsJohannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He composed Nänie in 1881, and the first performance took place in Zürich on December 6 that year. The score calls for four-part mixed chorus and an orchestra con-sisting of flutes, oboes, clarinets, bassoons and horns in pairs, three trombones, timpani, harp (doubled, if possible) and strings.

Nänie, Op. 82 (from the Greek word nenia, or“songoflamentation”),isoneoftheleastknownofBrahms’smajorworks,andoneofthemostexqui-sitelybeautiful in itsbalanceandrepose.Schiller’spoem,alamentthat“EvenBeautymustdie,”wasanideal choice of text for a piece to memorialize thecomposer’s friend, the painter Anselm Feuerbach.Brahmsmayhavefirst encountered thepoem inasettingbyHermannGoetz,whichhappenedtohavebeenperformedinViennainFebruary1880,withinamonthofFeuerbach’sdeath.Hedidnotchoosethetextimmediately,however.InJuly1880hewrotehisfriendElisabetvonHerzogenberg,assuringherthathewas“quitewillingtowritemotetsoranythingelseforchorus(Iamheartilysickofeverythingelse!)”—buttheproblemwasfindingatextthatcouldinspirehismusical imagination.“TheyarenotheathenishenoughformeintheBible.IhaveboughttheKoranbutcanfindnothingthereeither.”Elisabet’ssugges-tionthathelookthroughthePsalmsagainborenofruit.Instead,herememberedSchiller’spoem,filledwithitsclassicalGreekreferences—aperfect“hea-thenish”poem,especiallyasamemorial toFeuer-bach,whosefavoritesubjectsweredrawnfromclas-sicalmythology.

In any case, Brahms completed his setting in thesummerof1881.Itisoneofhismostexquisitecre-ations,yetisperformedsurprisinglyrarely.Amusi-calsettingofatextthatlamentsthetransitoryna-tureofallthings,life,love,beautyandheroicglorymighthaveturnedoutprofoundlygloomy—butitis

not.Brahmsmakesitsereneandaccepting,quiteinthespiritofSchiller’spoemandthegentlefatalismofGreekantiquity.

Schiller’s poem is cast in Greek hexameters—longlinesthatBrahmsfoundchallengingtoset.Theyin-spiredhimtocreatealong-breathedflowingmelodyin6/4firstheardintheoboe,thenformingtheba-sisofagentlecanoninthevoices,soaring,hoveringandintertwiningfromparttopart.Atthementionof Achilles’ mother, Thetis, rising from the sea tolament thedeathofher son, themusicmoves toabrightandsereneFsharpMajorandamorehomo-phonic texture. The final two lines round out themusical shapewitha return to thehomekeyofDMajorandtheopeningmaterial.BrahmschoosestopassratherquicklyoverSchiller’sfinalline,“FortheCommongodowntoOrcusunsung,”andtodrawoutandemphasizethepenultimateline,“Tobeevenasongoflamentationinthemouthofthebelovedissplendid.”

Choral Fantasy, op. 80, Ludwig van BeethovenLudwig van Beethoven was baptized in Bonn, Ger-many, on December 17, 1770, and died in Vienna on March 27, 1827. He composed the Choral Fantasy late in 1808 to serve as the grand finale to his benefit con-cert at the Theater-an-der-Wien; the composer him-self was the piano soloist in the first performance on December 22 that year. The Fantasy is scored for solo piano, six vocal soloists (two sopranos, alto, two ten-ors and bass), mixed chorus, and an orchestra includ-ing two each of flutes, oboes, clarinets , bassoons, two horns, two trumpets, timpani and strings.

Afterhavingcontributedbothascomposerandper-former to a series of charity concerts in 1807 and1808,BeethovenreceivedpermissiontousetheThe-ater-an-der-Wien foraconcert forhisownbenefit(that is,one inwhichhewouldreceiveanyprofitsthatmightaccrue)onDecember22,1808.Hechosethisopportunitytorevealtotheworldsomeofhis

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majornewcompositionsinaprogramthatconsistedentirelyofhisownworksintheirfirstperformances.AmongthenewworksweresuchmajorpiecesastheFourth Piano Concerto (for which Beethoven him-self was to be the soloist), and the Fifth and Sixth Symphonies, aswellas theconcertariaAh! perfido andseveralmovementsfromtheMass in C, Op. 86 (whichhadtobeadvertisedas“hymnsinthechurchstyle” because the censor did not allow liturgicalmusictobeperformedintheaters).Thatlistofpiec-eswouldseemtobeenoughtoexhaustanaudience(not to mention an orchestra), especially when allof the works were utterly unfamiliar, difficult andperformedwithfartoolittlerehearsal.

But Beethoven decided that it wasn’t enough; hewanted a closing piece. He felt (with considerablejustification)that itwouldnotbefairtoeithertheworkor theaudience toput theFifth Symphonyattheendofsuchalongprogram,althoughitwouldmake a rousing conclusion, because people wouldsimplybetootiredtopaymuchattentiontoit.SoheputtheFifthatthebeginningofthesecondhalf(thePastoral Symphonyopenedtheevening)andquicklycomposed a work designed specifically as a con-cert-closer,employingallof the forces thathehadgatheredfortheevent(chorus,orchestraandpianosoloist), arranged in a variation form designed formaximumvarietyofcolorandfor“easylistening.”Hewentbacktoasong,Gegenliebe(WoO118),thathehadcomposedmorethanadozenyearsprevious-ly,orderedanewtextwritteninahurrybythepoetChristophKuffner,andsettowork.

Thepiecewasfinishedtoolateforacarefulrehears-al.Inanycase,Beethovenandtheorchestra,whichwasapick-upgroupconsistingofaheterogeneousmixture of professionals and reasonably advancedamateurs, had already had such a falling-out dur-ingrehearsalsthattheorchestrawouldnotconsenttopracticewithBeethovenintheroom—hehadtolisten fromananteroomat thebackof the theater

andcommunicatehiscriticismstotheconcertmas-ter.Whenthetimecamefortheperformance,justabouteverythingthatcouldpossiblygowrongdid.Theconcertranfourhours in length, thehallwasunheated and bitterly cold, and the soprano hadalreadyruined theariaoutofnervousness.To topit all off, the Choral Fantasy fell apart during theperformance(apparentlythroughsomemistakeincountingbytheorchestra)andBeethovenstoppedtheperformancetobeginitagain.Thefinancialout-comeoftheeveningisunknown,butitcertainlyhada psychological effectonhim: he neverplayed thepianoinpublicagain.

The overall structure of the Choral Fantasy is asboldas it isunusual:on theprincipleofgraduallyincreasing the number of performers, Beethovenbeginswithanimprovisatoryintroductionforsolopiano, the finest written example that we have ofwhat his own keyboard improvisations must havebeenlike.Thentheorchestralbassesentersoftlyinamarchrhythm,inauguratingadialoguewiththekeyboardsoloisthintingatthetunetocome.Finallythe pianist presents the melody which will be thebasisfortheremainingvariations,andthefinaleisfullyunderway.

One of the most striking things about the tune isthe way it hovers around the third degree of thescale(mi),movingawayfromitandthenreturningin smooth stepwise lines. Much the same descrip-tioncanbegivenof themainthemefor thefinaleoftheNinth Symphony.Indeed,theChoral FantasyissometimesdescribedasakindofdryrunfortheNinth, thoughthatmightyworkwasstillsomefif-teenyearsaway.Still,atleastthenotionofvariationtreatmentofasimple,almosthymn-likemelodyinthe orchestra, followed by the unexpected appear-anceofvoices,canbetracedtothiswork.

Butofcourse,thefinaleoftheNinth isthepower-fulculminationofanenormoussymphonicedifice;

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theChoral Fantasydoesnotpretendtosuchimpres-sive architectural power, yet it certainly providedBeethoven with a closing number that is at oncelivelyandcolorful,naivelycheerfulandoriginalinform.

Fire and Ice, andrea ClearfieldAndrea Clearfield was born in Philadelphia on August 29, 1960, and lives in Philadelphia. The cantata Fire and Ice was commissioned by the Handel Society of Dartmouth College, directed by Dr. Robert Duff, on the occasion of its bicentennial anniversary, 2007. This is the first performance. The score calls for soprano and baritone soloists, mixed chorus and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, three trumpets, three trombones, percussion for two players, timpani, harp, piano/celesta and strings.

When Handel Society conductor Robert Duff waslooking ahead to the 200th anniversary of thefounding of the ensemble, he invited a number ofcomposerstoproposeaworkthatwouldbeappro-priatefortheevent.ThecomposerchosentoreceivethebicentennialcommissionwasAndreaClearfield,who researched prominent Dartmouth alumni forideasand,uponlearningthatRobertFrostwasoneofthecollege’sdistinguishedsons,proposedacan-tatathatwouldbeacycleofhispoems.

Frost’spoetryisanaturalformusic.It iscompact,linguisticallyspareandstraightforward,filledwithimages (especially of nature) that composers havealways delighted in depicting in music, and pro-foundly layered with meanings that can resonatedeeply,boththroughthewordsthemselvesandtheirmusical setting. The critic Leonard B. Meyer oncewrote an essay about Mozart’s music in which hedescribedits“grammaticalsimplicityandrelationalrichness.”Frostseemstoworkthesameway.Onthe

surfaceitisNewEnglandhomespun;butitsimme-diacyconcealsmanylayersofsignificance.

AndreaClearfieldhasspentmostofherlifeinandaround Philadelphia, where she has studied (atMuhlenberg College in nearby Allentown, at theUniversityoftheArts,whereshereceivedhermas-ter’sdegreeinpianoandatTempleUniversity,wheresheearnedaD.M.A.incompositionasastudentofMauriceWright),buthermusichasbeenperformedwidelyallovertheUnitedStatesandinEuropeandJapan.Her largeandgrowing listofworks includepieces that range from solo or chamber works forinstruments and sometimes voice, choral works,orchestral compositions to full-scale cantatas andoratorios.Herlongexperiencewithchoralmusic—startingasanaccompanisttoherschoolchorusinfourth grade and extending to the composition oftheoratoriosWomen of Valor (2000)andThe Golem Psalms(2006)—makeheranobviouschoicetocom-poseaworkforthe200thanniversaryofAmerica’soldesttown/gownchoralorganization.

Sinceshewantedtocreateasenseofplacewiththisscore, Clearfield visited the sites of Robert Frost’shomestogetafeelingforthelifethatproducedsomany famous and much-loved poems—to see, forexample,theactualstonewallthatisthesubjectof“MendingWall”(eventhoughthatparticularpoemplaysnoroleinhercantata).Shealsofoundaspecif-icmusicalinspirationontheDartmouthcampusintheformoftheBakerTowercarillon,whichprovidesa “thematic glue” in the form of the four separatephrasesofthemelodythatsignalsthehours,eachofwhichisusedtosuggestsomeofthemusicalmate-rialofoneofthefourmovementsinthecantata.

Allofthis—plusmuchreadingofFrost’spoems—waspartofthepre-compositionalprocessthatises-sentialforanyvocalwork:establishingthetextthatistobesettomusic.TheaimwastocelebrateFrostand the Handel Society. Inevitably, too, given the

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Program noteS continueDnature of Frost’s poems, the cantata evokes manyelementsofNewEnglandweather.Clearfieldchoseherpoemscarefullyandshapedthemintofoursec-tions,whichbecametheseparatemovementsofthecantatainsuchawayastoembodyuniversalthemesinastructuralarch.Theoutermovementsareset-tings of a single poem; the two inner movementseachsetagroupofthreepoems.

The first and last movements have to do with art,and the creativeprocess.To the Thawing Wind, inthefirstmovement,depictsclearlythespringwindsthatthawthefrozenworldofwinter,openingituptonewpossibilities—hereconceivedas freeing thepoet, theartist tonewcreation.One thematicele-ment, theopeningphraseof theDartmouthcaril-lon,isadescendingmajorscalewhichbecomesthefalling rain figure that dies away at the end of themovement.

The second movement contains three poems—October, Fragmentary BlueandGoing for Water,eachofwhichemphasizes the ephemeralnatureof timein human experience. In this second movement,ClearfieldbuildsmuchoftheharmoniclanguageontheintervalsoffourthsandfifthsthatareprominentinthesecondphraseoftheDartmouthcarillon.Oc-tobercallsuponnaturetoslowtheinevitableprocessof change, of the autumnal shifts that have alwayssymbolizedthebrieftransitofhumanlife.(ThefullDartmouthcarillonappears,withtwelvestrokesofthehour,inthechimes,whenthepoetspeaksofnoonandtheslowchangeofautumn:“Atnoonreleasean-otherleaf.”)Fragmentary Blueisthebriefscherzointhissection,evokingwonderatthepowerofmomen-taryflashesofblue,whichisspreadoutintheskybutappearsonlyfleetinglyintheworldbelow.AndthesimpleflowinglineofGoing for Water (thecomposer

directsthechorustosingit“likeafolksong”)depictsalateautumnstrolltoabrookthatisstillrunning,thoughthemovementendswithshimmeringantici-pationofthefrosttocome.

The third movement embodies the struggle of thehuman spirit through the confrontation of oppo-sites.Theharmoniclanguageisedgier,coloredbyamajorseventhinthethirdphraseoftheDartmouthcarillon.Thethreepoemsthatmakeupthemove-ment are The Demiurge’s Laugh, Fire and Ice andStars.Thefirstoftheseisawildlyenergeticoutburstofanimal spirits inadialecticbetweenman/God/demon,allapparentlysymbolizedbytheburgeon-inglife-forceofaNewEnglandspring. Fire and Ice,themostfamouspoemchosenforthecantata,dealswith man against himself, against his frequentlyviolentemotions.Thesettingbuildstoanexplosiveoutburstthattransitionssuddenly,inStars,towhatthecomposercalls“adispassionateplace”inwhicheachchoral line singswordlessly (with the syllable“oh”)onagentlyundulatingturnfigureevokingtheimpassivityofnature, including the stars thatdis-tantlyobserveoursometimescrazedbehavior.

ThefinalmovementisasettingofFrost’sPan With Us, which, to Andrea Clearfield, “questions whattheartofthefutureshouldbe.”AfragmentofthefourthcarillonphraseevokesPanintheorchestralintroduction,andthemelodyatthechoralentrancebegins with the final notes of the carillon phrase,singing of the mythical Pan, who appears only tolearnthathispowershavefadedwiththemillenniaandthatit istimetoseekanewsongtoplay.Thisideaspreadsthroughtheentireensemble,andallsetupakindofdancesongtoasktheeternalquestionofart,“Whatshouldheplay?”

Steven Ledbetter © 2007

textS anD tranSlationSNänie, op. 80Poetry by Friedrich SchillerAuchdasSchönemußsterben!DasMenschenundGötterbezwinget,nichtdieeherneBrustrührtesdesstygischenZeus.EinmalnurerweichtedieLiebedenSchattenbeherrscher,undanderSchwellenoch,streng,rieferzurückseinGeschenk.

NichtstilltAphroditedemschönenKnabendieWunde,dieindenzierlichenLeibgrausamderEbergeritzt.NichterrettetdengöttlichenHelddieunsterblicheMutter,wenner,amskäischenThorfallend,seinSchicksalerfüllt.

AbersiesteigtausdemMeermitallenTöchterndesNereus,unddieKlagehebtanumdenverherrlichtenSohn.Siehe,daweinendieGötter,esweinendieGöttinenalle,daßdasSchönevergeht,daßdasVolkommenestirbt.

AucheinKlagliedzuseinimMundderGeliebtenistherrlich,denndasGemeinegehtklangloszumOrkushinab.

EvenBeautymustdie!Thatwhichovercomesmenandgods,doesnottouchthebreastofStygianZeus.Onlyoncedidlovesoftentherulerofshadows,andthen,attheverythreshold,hesternlycalledbackhisgift.

Aphroditecouldnotstaunchthewoundofthebeautifulyouthwhichtheboarsavagelyrippedinhisdelicatebody.Norcouldtheimmortalmothersavethegodlikehero,whenhe,fallingattheScaeangate,fulfilledhisdestiny.

ButsheascendsfromtheseawithallthedaughtersofNereus,andraisesthelamentforherglorifiedson.Behold,thegodsweep,andallthegoddesses,too,thatBeautymustpassaway,thatthePerfectmustdie.

Eventobeasongoflamentationinthemouthofthebelovedissplendid,ForthatwhichiscommongoesdowntoOrcusunsung.

textS anD tranSlationS continueDChoral fantasy, op. 80Poetry by Christoph KuffnerSchmeichelndholdundlieblichklingenunsresLebensHarmonien,unddemSchönheitssinnentschwingenBlumensich,dieewigblüh’n.Fried’undFreudegleitenfreundlichwiederWellenWechselspiel;wassichdrängterauhundfeindlich,ordnetsichzuHochgefühl.

WennderTöneZauberwaltenunddesWortesWeihespricht,mußsichHerrlichesgestalten,NachtundStürmewerdenLicht.Äuss’reRuhe,inn’reWonneherrschenfürdenGlücklichen.DochderKünsteFrühlingssonneläßtausbeidenLichtentstehn.

Großes,dasinsHerzgedrungen,blühtdannneuundschönempor,hat,einGeistsichaufgeschwungen,halltihmstetseinGeisterchor.Nehmtdennhin,ihrschönenSeelen,frohdieGabenschönerKunst.WennsichLieb’undKraftvermählen,lohntdenMenschenGöttergunst.

Beguiling,graciousandlovelysoundourlife’sharmonies,andawarenessofbeautybegetsflowerswhichbloometernally.Peaceandjoymoveinconcordliketherhythmofwaves;alltheharshandhostiletumultisresolvedintodelight.

Whenthemagicalsoundholdssway,consecratedbytheword,beautymustemerge,nightandtempestturntolight.Outerpeaceandinnerblissreignfortheluckyone.Yetthespringsunshineoftheartsdrawslightfromboth.

Thegreatnesswhichpermeatestheheartbloomsagainwithfreshbeauty,whenthespiritexalts,aspiritchorusreverberatesforever.Receivethen,allnoblesouls,withjoythegiftsofhighart.Whenloveandpowerunite,thengod’sfavorrewardsmankind.

textS anD tranSlationS continueDfire and icePoetry by Robert Frost

I.

To the Thawing WindComewithrain,OloudSouthwester!Bringthesinger,bringthenester;Givetheburiedfloweradream;Makethesettledsnowbanksteam;Findthebrownbeneaththewhite;Butwhate’eryoudotonight,Bathemywindow,makeitflow,Meltitastheicesgo;MelttheglassandleavethesticksLikeahermit’scrucifix;Burstintomynarrowstall;Swingthepictureonthewall;Runtherattlingpageso’er;Scatterpoemsonthefloor;Turnthepoetoutofdoor.

II.

OctoberOhushedOctobermorningmild,Thyleaveshaveripenedtothefall;Tomorrow’swind,ifitbewild,Shouldwastethemall.Thecrowsabovetheforestcall;Tomorrowtheymayformandgo.OhushedOctobermorningmild,Beginthehoursofthisdayslow.Makethedayseemtouslessbrief.Heartsnotaversetobeingbeguiled,Beguileusinthewayyouknow.Releaseoneleafatbreakofday;Atnoonreleaseanotherleaf;Onefromourtrees,onefaraway.Retardthesunwithgentlemist;Enchantthelandwithamethyst.Slow,slow!

Forthegrapes’sake,iftheywereall,Whoseleavesalreadyareburntwithfrost,Whoseclusteredfruitmustelsebelost—Forthegrapes’sakealongthewall.

Fragmentary BlueWhymakesomuchoffragmentaryblueInhereandthereabird,orbutterfly,Orflower,orwearing-stone,oropeneye,Whenheavenpresentsinsheetsthesolidhue?

Sinceearthisearth,perhaps,notheaven(asyet)—Thoughsomesavantsmakeearthincludethesky;Andbluesofaraboveuscomessohigh,Itonlygivesourwishforblueawhet.

Going for WaterThewellwasdrybesidethedoor,AndsowewentwithpailandcanAcrossthefieldsbehindthehouseToseekthebrookifstillitran;

Notlothtohaveexcusetogo,Becausetheautumnevewasfair(Thoughchill),becausethefieldswereours,Andbythebrookourwoodswerethere.

WeranasiftomeetthemoonThatslowlydawnedbehindthetrees,Thebarrenboughswithouttheleaves,Withoutthebirds,withoutthebreeze.

Butoncewithinthewood,wepausedLikegnomesthathidusfromthemoon,ReadytoruntohidingnewWithlaughterwhenshefoundussoon.

EachlaidonotherastayinghandTolistenerewedaredtolook,AndinthehushwejoinedtomakeWeheard,weknewweheardthebrook.

Anoteasfromasingleplace,AslendertinklingfallthatmadeNowdropsthatfloatedonthepoolLikepearls,andnowasilverblade.

III.

The Demiurge’s Laugh Itwasfarinthesamenessofthewood;IwasrunningwithjoyontheDemon’strail,ThoughIknewwhatIhuntedwasnotruegod.ItwasjustasthelightwasbeginningtofailThatIsuddenlyheard—allIneededtohear:Ithaslastedmemanyandmanyayear.

Thesoundwasbehindmeinsteadofbefore,Asleepysound,butmockinghalf,Asonewhoutterlycouldn’tcare.TheDemonarosefromhiswallowtolaugh,Brushingthedirtfromhiseyeashewent;AndwellIknewwhattheDemonmeant.

Ishallnotforgethowhislaughrangout.Ifeltasafooltohavebeensocaught,AndcheckedmystepstomakepretenseItwassomethingamongtheleavesIsought(Thoughdoubtfulwhetherhestayedtosee).ThereafterIsatmeagainstatree.

Fire and IceSomesaytheworldwillendinfire,Somesayinice.FromwhatI’vetastedofdesireIholdwiththosewhofavorfire.Butifithadtoperishtwice,IthinkIknowenoughofhateTosaythatfordestructioniceIsalsogreatAndwouldsuffice.

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StarsHowcountlesslytheycongregateO’erourtumultuoussnow,WhichflowsinshapesastallastreesWhenwintrywindsdoblow!—

Asifwithkeennessforourfate,OurfalteringfewstepsonTowhiterest,andaplaceofrestInvisibleatdawn,—Andyetwithneitherlovenorhate,Thosestarslikesomesnow-whiteMinerva’ssnow-whitemarbleeyesWithoutthegiftofsight.

IV.

Pan With Us Pancameoutofthewoodsoneday—Hisskinandhishairandhiseyesweregray,Thegrayofthemossofwallswerethey—AndstoodinthesunandlookedhisfillAtwoodedvalleyandwoodedhill.

Hestoodinthezephyr,pipesinhand,Onaheightofnakedpastureland;InallthecountryhedidcommandHesawnosmokeandhesawnoroof.Thatwaswell!andhestampedahoof.

Hisheartknewpeace,fornonecamehereTothisleanfeedingsaveonceayearSomeonetosaltthehalf-wildsteer,OrhomespunchildrenwithclickingpailsWhoseesolittletheytellnotales.

Hetossedhispipes,toohardtoteachAnew-worldsong,faroutofreach,Forasylvansignthatthebluejay’sscreechAndthewhimperofhawksbesidethesun

textS anD tranSlationS continueDWeremusicenoughforhim,forone.Timeswerechangedfromwhattheywere:SuchpipeskeptlessofpowertostirThefruitedboughofthejuniperAndthefragilebluetsclusteredthereThanthemerestaimlessbreathofair.

Theywerepipesofpaganmirth,Andtheworldhadfoundnewtermsofworth.Helaidhimdownonthesun-burnedearthAndraveledaflowerandlookedaway.Play?Play?—Whatshouldheplay?

about the artiStSHanDeL soCietY of DartMoUtH CoLLege is theoldest student, faculty, staffandcommunityorganizationintheUnitedStatesdevotedtotheper-formanceofchoral-orchestralmajorworks.TheSo-cietywasfoundedin1807byDartmouthfacultyandstudentsto“promotethecauseoftrueandgenuinesacred music.” Led by John Hubbard, DartmouthProfessorofMathematicsandPhilosophy,theSoci-etysoughttoadvancetheworksofBaroquemastersthroughperformance.Membersof theSocietybe-lievedthegrandchorusesofGeorgFridericHandelexemplifiedtheirgoalsandthusadoptedhisnamefortheirgroup.Sinceitsinception,theHandelSoci-etyhasgrownconsiderablyinsizeandinitsscopeofprogramming.Todaywith85membersdrawnfromtheDartmouthstudentbody,facultyandstaff,andtheUpperValleycommunity,theSocietyperformsthreeconcertsayearofmajorworksbotholdandnew.

For more information about the Handel Society,includinghow toaudition for itor support it, call603.646.3414orvisitourwebsite,handelsociety.org.

Dr. robert Duff conductor is the director of theHandel Society of Dartmouth College and theDartmouthChamberSingersandteachescoursesinmusictheoryintheMusicDepartment.

Before coming to Dartmouth in 2004, Dr. Duffserved on the faculties of Pomona College, Clare-mont Graduate University and Mount St. Mary’s

College,andastheDirectorofMusicfortheRomanCatholicArchdioceseofLosAngeles,wherehedi-rectedthemusicprogramsfornearly300parishes.He holds degrees in conducting, piano and voicefrom the University of Massachusetts at Amherst,Temple University and the University of SouthernCalifornia,whereheearnedadoctorateofmusicalartsin2000.

Anactivecommissionerofnewmusic,RobertDuffhasgivenseveralworldpremieresofworksforbothorchestralandchoralforces.Hehasbeenappointedby Governor John Lynch as Councilor to the NewHampshire Council on the Arts, and he sits onthe executive board of the Eastern Division of theAmericanChoralDirectorsAssociation.

David arnold baritone has appeared as principalsoloistwithSeijiOzawaandtheBostonSymphony,SirGeorgSoltiandtheChicagoSymphony,LeonardBernsteininaworldpremiereofDavidDiamond’sNinth Symphony for Baritone and OrchestraatCarn-egie Hall, Roger Norrington and the St. Luke’sChamberOrchestraandalsowiththeorchestrasofPhiladelphia,SanFrancisco,Baltimore,Detroit,St.Louis, Atlanta, Houston, Pittsburgh, Amsterdamand The Israel Philharmonic. In May 2003 at theKennedy Center in Washington, D.C., he sang thepremiereofJamesGrant’sSuch Was the War, A Cho-ral Symphony for Baritone, Chorus and Orchestra, thebaritonesolosofwhichwerewrittenforMr.Arnold.In2004,Mr.Arnoldsteppedinonthreedays’notice

to singademandingrole in theworldpremiereofGaian Variations with the Brooklyn PhilharmonicinAveryFisherHallatLincolnCenterinNewYork.

Mr. Arnold has sung leading roles with the Met-ropolitan Opera, the English National Opera, TheOpera Company of Boston, New York City Op-era, L’Opera de Montreal, L’Opera de Quebec andhas performed leading baritone roles with Berlin’sfamed Komische Oper. Also abroad, Mr. Arnoldhas appeared with the Spoleto and Holland Festi-vals, the Concertgebouw Orchestra, the SingaporeSymphonyandhastouredAustriaandYugoslaviainconcert.Inthesummerof2004,heperformedtwoconcertsinAmericanmusicattheConcertHallinBeijing’sForbiddenCityandservedasvoiceprofes-sorintheBeijingFestivalandSchoolofMusic.

HehasrecordedMendelssohn’sWalpurgisnacht,JohnHarbison’soperaFull Moon in March,Zaimont’sThe Magic World,Mozart’sRequiem(Levincompletion),Haydn’sLord Nelson Mass,Mendelssohn’sElijahandSchoenberg’sGurrelieder.

David Arnold’s awards include the New York CityOpera Gold Debut Award, as well as honors fromtheSullivanandShoshanaFoundationandacareergrantfromtheNationalOperaInstitute.

andrea Clearfield composerhashadhermusicforinstrumentalandvocalsoloists,mixedchamberen-sembles,chorus,orchestraanddanceperformedbynoted artists internationally. She has received nu-merousgrantsandawardsfromorganizationssuchasASCAP,theLeewayFoundation,theNationalEn-dowmentfortheArts,theAmericanMusicCenter,theAmericanComposersForum,theIndependenceFoundation, thePennsylvaniaCouncilontheArtsand the International Alliance for Women in Mu-sic.Shehasbeen in residenceatYaddo(where shewas awarded the Aaron Copland Residency for anAmerican Composer), the MacDowell Colony, the

UcrossFoundation,BlueMountainCenter,VirginiaCenter for the Creative Arts, Ragdale Foundation,the Millay Colony and the Tyrone Guthrie CenterandwasawardedaresidencyattheHeleneWurlitzerFoundationthissummerinTaos.

Her hour-long cantata on breast cancer, The Long Bright,commissionedbyDavidWolman,whoalsowrote the libretto, was premiered at the KimmelCenter in 2004 with soprano Hila Plitmann, theTemple University Music Prep Children’s ChorusandOrchestra2001.HeroratorioonthewomenoftheBible,Women of Valor,waspremieredatRoyceHall in Los Angeles in 2000, and portions of theworkwerebroadcastnationallyonNPR’sAll Things Considered.Hercantata,The Golem Psalms,totextsbyEllenFrankel, commissionedandpremieredbytheMendelssohnClubwithbaritoneSanfordSylvanandtheChamberOrchestraofPhiladelphia,haditsworld premiere in 2006 in Philadelphia. Recentlyher violin concerto Romanza was commissionedandpremieredbyOrchestra2001withsoloistGlo-riaJusten.Sonic Circuitsforcelloandfilmwithin-teractive technology, commissioned by ChamberMusicNow,premieresMay19,2007attheAnnen-berg Center, Philadelphia, and a new work for theDebussyTrio,theLosAngelesMasterChoraleandorganistCherryRhoadespremieresatDisneyHallinLosAngelesin2008.

A native of Philadelphia, Dr. Clearfield receiveda Doctor of Musical Arts in Composition fromTempleUniversity,whereshestudiedwithMauriceWright, an MM in Piano from The PhiladelphiaCollegeofthePerformingArts(nowTheUniversityoftheArts)asastudentofSusanStarr,andaBAinMusicfromMuhlenbergCollege,whereshestudiedwithhermentor,MargaretGarwood.SheservesonthecompositionandinterartsfacultyatTheUniver-sityoftheArtsandisthepianistintheRelâcheEn-sembleforContemporaryMusic.Astrongbelieverincreatingcommunitythroughmusic,Clearfieldis

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also the host and founder of the Philadelphia SA-LONConcertSerieswhich features contemporary,classical, jazz, electronic and world music and isnowcelebratingits20thyear.

elizabeth keusch soprano is rapidly emerging as“an artist to watch.” She has performed recentlywiththeLosAngelesPhilharmonicandcomposer/conductor Thomas Ades and with Helmuth Rill-ingoftheOregonBachFestivalandInternationaleBachakademieStuttgart.ThesopranogavetheworldpremiereofMatthiasPintscher’sL’espace dernierinherdebutwithOpéraNationaldeParisinJanuary2005.During2006-07shemakesherdebutwiththeNationalArtsCentreOrchestrainOliverKnussen’sSongs for Sueunderthecomposer’sdirection,collab-oratesagainwithHelmuthRillingandtheInterna-tionalBachakademieStuttgartasMerabinHandel’sSaulandsingsunderNormanScribnerandtheDCChoralArtsSociety inPoulenc’sStabat Mater andAmyBeach’s Canticle to the Sun.AppearanceswiththeFloridaOrchestrainSchubert’sMass No. 6un-derStephanSanderlingand theXalapaSymphonywithHaydn’sJahreszeitenunderCarlosMiguelPri-etoroundouttheseason.

Widelyrecognizedforherremarkablemusicianship,Ms.Keuschisanavidchampionofchambermusicand new music. In 2006 she toured Portugal withthe Ensemble Contrapunctus performing Schoen-berg’sPierrot LunaireandShostokovich’sSeven Block Songs.KeuschhashadsuccessivecollaborationsonLosAngelesPhilharmonic’sGreenUmbrellaSeriesandwithBostonMusicaVivaandtheKammeren-sembleNeueMusikBerlin. In2005shedebutedatthe Lincoln Center Chamber Music Society in Al-iceTullyHallwiththePacificaQuartetinOsvaldoGolijov’sTenebreandHow Slow the Wind.

Elizabeth Keusch holds a Master of Music degreefromtheNewEnglandConservatory,whereshewasnamedthe2001PresidentialScholarfortheConser-

vatory.SheresidesinWorcester,Massachusetts.

erma gatie Mellinger mezzo-soprano and vocal coachhasbeenaprincipalartistwithmanyoperacompanies across the United States, including theClevelandOpera,theFloridaGrandOpera,theDal-lasOpera,theSarasotaOpera,theChautauquaOp-era, the Fresno International Grand Opera, OperaNorth,thePittsburghOperaTheaterandtheShreve-port Opera. Her roles, in over 30 operas includeCherubinoinLe Nozze di Figaro,DorabellainCosì fan tutte, DonnaElvirainDon Giovanni,Idamantein Idomeneo, Empress Ottavia in L’incoronazione di Poppea, Nicklausse in Les contes d’Hoffmann, PreziosillainLa Forza del Destino,PrinceOrlofskyinDie Fledermaus, PrinceCharminginCendrillon, MarthainFaust,TisbeinLa CenerentolaandBertain Il barbiere di Siviglia.

Hailed for her “rich, vibrant, creamy voice,” Ms.GattieMellingerisalsoathomeontheconcertandrecitalstage.Shehasappearedassoloistwithmanymajor orchestras, including the Fort Wayne Phil-harmonic, the Monterey Symphony, the RochesterPhilharmonicOrchestra,theFloridaSymphonyOr-chestra, the Westfield Symphony, the New Hamp-shire Philharmonic Orchestra and the VermontSymphony Orchestra. She has given solo recitalssponsored by the Buffalo Opera, the AdirondackEnsemble, ChamberWorks at Dartmouth CollegeandClassicopia.

Ms. Gattie Mellinger graduated first in her classfrom Northwestern University, where she receivedherBachelorofMusicDegreeinVocalPerformance.She earned her Master of Music Degree from theEastman School of Music, where she also receivedhonors in performance and teaching. She is a fre-quentguestartistontheDartmouthcampus,per-forming regularly with the Handel Society, theChamber Singers, the Wind Symphony and theDartmouth Symphony Orchestra. Ms. Gattie Mel-

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lingerbeganteachingvoiceatDartmouthin1996.

sally pinkas pianist-in-residence of the HopkinsCenteratDartmouthCollege,pursuesanactiveper-formingcareerasbothasoloistandachambermusi-cian.AmonghercreditsaresolorecitalsatLondon’sWigmoreHall,VillaSerbelloni(Bellagio)andVillaAurelia(Rome)inItaly,IsraelRadio“Etnachta”Se-riesinJerusalem,ThePhillipsCollectioninWash-ington,D.C.,andJordanHallinBoston.Ms.Pinkashas participated in summer festivals at Marlboro,Tanglewood, Aspen, Kfar Blum (Israel), Lucerne(Switzerland),RoccadiMezzo(Italy)andPontlevoy(France). She has appeared as the concerto soloistwiththeBostonPops,AspenPhilharmonia,JupiterSymphonyand theTallahasseeSymphonyOrches-tra,amongothers.

Anavidchambermusician,Ms.Pinkashascollabo-ratedwithCuartetoLatinoamericano, theCiompi,LeontovychandLydianStringQuartets,theAdaskinTrioandflutistFenwickSmith.Since1992shehasalsobeenactiveaspartoftheHirsch-PinkasPianoDuo,withherhusband,EvanHirsch.Thetwohaveperformed throughout theU.S.aswellas inNige-ria,Israel,ItalyandRussia.In2003-2004theymadetheirfirstappearancesinBulgariaandFrance,andmostrecentlytheyperformedandtaughtinBeijingandXian,China.TheDuohascommissioned,pre-mieredandrecordedmajorworksbyGeorgeRoch-berg,DanielPinkham,ThomasOboeLeeandPeterChildfortheGasparoandArsislabels.

Ms. Pinkas’ extensive repertoire ranges from thetraditionaltothecontemporary,andincludesmanyworks written for her. In 1996 she was awarded aHowardFellowshipbyBrownUniversityfora2-CDrecording of George Rochberg’s solo piano works,which was later released by Gasparo. Other solodiscography includes Debussy’s Twelve Etudes and Estampes (Centaur), Bread and Roses: Piano works by Christian Wolff (Mode) and Fauré’s Thirteen

Nocturnes (MusicaOmnia),whichwasnamedoneof 2002’s best CDs by Richard Dyer of the Boston Globe. Her 3-CD recording of Philippe Gaubert’sComplete Chamber Works for Flute and Piano (withFenwick Smith) was recently released by Naxos.CurrentprojectsincludeFauré’stwoPiano Quartets(withtheAdaskinTrio)andasoloSchumanndisc.

BornandraisedinIsraelandeducatedintheU.S.,SallyPinkasholdsperformancedegreesfromIndi-anaUniversityandtheNewEnglandConservatoryofMusic,andaPh.D. inCompositionandTheoryfromBrandeisUniversity.HermajorteacherswereRussellSherman,GeorgeSebok,LuiseVosgerchianand Genia Bar-Niv (piano), Sergiu Natra (compo-sition) and Robert Koff (chamber music). A dedi-cated teacher, she serves as Professor of Piano atDartmouth’s Music Department and is an Artist-teacherattheLongySchoolofMusicinCambridge,Massachusetts. paul shikany tenor is aversatileperformerwhosetalents have afforded him opportunities rangingfrom baroque opera through musical theater andmodern composition. He recently appeared as Pe-drilloinDie Entführung aus dem SerailwiththeOp-era Company of Brooklyn and took on numerouscharacterrolesinOperaPacific’sproductionofCan-dide. Other recent opera roles have included LéoninPasatieri’sSignor DelusoandAliinarecordingofSpohr’sZemire und Azor.

Heisanenthusiasticinterpreteroforatorioandsa-cred music; his repertoire includes Bach’s St. John PassionandSt. Matthew Passion,Handel’sMessiah, Haydn’s Die Schöpfung, Mendelssohn’s Elijah andMozart’s Requiem. He has performed a wide vari-etyof recital repertoireand isparticularly fondofsong cycles, including Schubert’s Winterreise andDie schöne Müllerin, Schumann’s Dichterliebe andLiederkreis Op. 39,Beethoven’sAn die ferne Geliebte, Poulenc’sTel jour telle nuit,Faure’sLa bonne chanson

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andBritten’sWinter Words.

Mr.Shikanyisafrequentcollaboratorwithinstru-mental ensembles in the presentation of chambermusic.Performanceshave includedStravinsky’s In memoriam Dylan Thomas, the world premiere ofErik Lindsey’s Vaivén, Britten’s Canticles and Ser-enade for Tenor, Horn, and Strings and theMonte-

verdichamberoperaIl combattimento di Tancredi et Clorinda.

A native of Danville, California, Paul Shikany at-tended the University of Southern California andthe Manhattan School of Music. He and his wife,soprano Anne Shikany, have a one-year-old son,Isaiah,andresideinNewYorkCity.

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ManythanksareextendedtotheBoardofDirectorsoftheHandelSocietyandthenumerousmembers-at-largeof

theorganization,communityandstudent,fortheirfineworkonbehalfoftheHandelSociety.

WethanktheFriendsoftheHandelSociety(DartmouthCollegealumni,pastandpresentcommunityHandel

SocietymembersandregionalaudiencesupportersoftheHandelSociety)andtheHandelSocietyFoundationof

NewHampshireforfinancialsupportoftheHandelSociety’sconcertseason.

Inaddition,weofferourwarmestthankstoHilaryPridgenofTheTrumbullHouseBed&Breakfastforproviding

accommodationsforguestsoloists.TheTrumbullBed&Breakfast,40EtnaRoad,Hanover,NH03755;

phone603.643.2370ortoll-free800.651.5141;web:www.trumbullhouse.com.

WealsothankthemanymembersoftheHandelSocietyandHanoverChamberOrchestraforhousingour

out-of-townorchestralplayers.

IfyouwouldlikemoreinformationabouttheFriendsoftheHandelSocietyortheHandelSocietyFoundationof

NewHampshire,pleasevisitourtableatthepost-concertreceptionorsendarequest,withyournameandaddress,to:

acknowleDgementS

friends of the Handel society of Dartmouth College6187HopkinsCenterDartmouthCollegeHanover,NH03755-3599handelsociety@dartmouth.edu

Handel society foundation of new HampshireP.O.Box716Hanover,NH03755hsfnh@valley.net

hanDel Society of Dartmouth collegeDr.RobertDuffconductor

DanielWeisercollaborative pianistErmaGattieMellingervocal coachJohannaEvans’10student manager

sopranoEugeniaBraasch

CatherineA.BueGRKarenEndicott*

MarieGoubaMardyHigh

LindaM.HooverElissaJones

BarbKline-Schoder*EmilyKoepsell’09IsabelMcCarthy*ElaineMcIntyre

ShellyParkerMaryQuinton-BarryRebeccaRotelloGRElizabethSensenig*

CaroleStashwickDeniseB.SteeleGR

JoanStepenskeAntoniaSyson

GretchenTworkMeghanWendland’08

ClaireWiley’09

altoCarolBarr

AndréaN.BrownEmilyBryant

RobertHoweJamieKing*

StephenR.LangleyJoelLazar

JeffreyParsonnetDavidRobinson

StanleyJ.StysGR’97*DavidThron

TerenceWilson’08BrandonZeiglerGR*

BassPaulBelaski

WilliamBraaschCharlesFaulknerII

CharlieFreemanJulianFung’09

TerryW.MartinDanielMeerson*

ThomasNoelDavidM.PierceMarvinRogers

ThomasT.Wang’07BenjaminWilliams*

TomWillisRickerWinsor

*Member, Handel Society Board of Directors

KatharineChristieJoanneCoburnJaneConklinJoanCooke*

JohannaEvans’10*LindaL.FowlerAnnaGado’90CallyGilbertDebbyHall

KristiMedillBethanyMills’10

SueNeighbor*RosemaryOrgrenKathyParsonnet

JudyPondBonnieRobinson

MargaretRobinson*NancySerrellCoonley*

JacquelineSmithElizabethA.Terry’07

AlisonB.Willis

tenorBrendanAnderson’09

AlanJ.BergeronMichaelCukanScotDrysdale

DouglasG.Harp

ˇ

hanover chamber orcheStra1st Violin

JohnLindsey,concertmasterMarlaRathbun

BettyClendenningAnnCooper

JulieBakerGoldbergLinoTanaka

2nd Violin

BozenaO’Brien,principalScottKnopf

DavettaFariaJessicaHelie

GiannaMessierAlexRomanul

Viola

MarilynJohnson,principalDavidAuerbach

RodgerEllsworthRussellWilsonElizabethReidClaudeRichter

Cello

LindaGalvan,principalTimRoberts

JohnBumsteadPerriZimmerman

BassAndyWilson,principal

DanielGorn

fluteBertaFrank,principal

HeidiBaxter(flute/piccolo)

oboeMargaretHerlehy,principal

AnnGreenawalt(oboe/English horn)

ClarinetChesterBrezniak,principal

RebeccaLeonard(clarinet/bass clarinet)

BassoonRachaelElliott,principal

SallyMerriman(bassoon/contrabasoon)

HornGeorgeSullivan,principal

JenniferLarsenDavidRufinoNinaMiller

trumpetVincentMonaco,principal

CharlesGasqueJimBoccia

tromboneNicholasOrovich,principal

JamesBennetJohnMead

timpaniDovSchiller

percussionDouglasPerkins,principal

NathanDavis

pianoDanielWeiser

HarpMarilindaGarcia

D A RT M O UTHRECYCLES

R

If you do not wish to keep your playbill, please discard it in the recycling bin provided in the lobby. Thank you.

Assistive Listening Devices available in the lobby.

Please turn off your cell phone inside the theater.

Hopkins Center ManageMent staff

Jeffrey H. James Director

AssociateDirector/GeneralManagerMarga rahmann DirectorofMarketingMary Bashaw BusinessandAdministrativeOfficerJay Cary DirectorofHopkinsCenterFilmBill pence DirectorofProgrammingMargaret Lawrence DirectorofStudentPerformanceProgramsJoshua price kol

Sally PinkaS, PianoAnelegantanddiverserecitalofbothclassicandcontemporarymusic.

tuesday, May 29 • 7 pm • spaulding auditorium $18•Dartmouthstudents$5•18&under$14

Dartmouth SymPhony orcheStraGershwin’sCuban Overture,Bernstein’ssymphonicdancesfromWest Side StoryandLalo’sSymphonie Espagnole in D minor,withguestviolinistTerezaStanislav.

saturday, May 26 • 8 pm • spaulding auditorium$20•Dartmouthstudents$3

Pre-performance discussion with Anthony Princiotti, 7 pm, Faulkner Recital Hall

Dartmouth chamber SingerSSpring FeverBuoyantprogramcelebratingtherenewaloflifeinspringtime.

friday, May 25 • 8 pm • rollins Chapel $16•Dartmouthstudents$3•Allotherstudents$6•Generaladmission

coming eventS

For tickets or information call the Box Office at 603.646.2422 or visit hop.dartmouth.edu