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Vocal Colorson Love and Life Arizona State University Symphonic ChoraleGregory Gentry, conductor

Table of Contents

Mountain View Presbyterian Church | Las Vegas, NVFebruary 28

Nightingale Concert Hall | Reno, NVFebruary 29

American Choral Directors Association Western Division Conference | Reno, NV

March 1, 2012

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Table of Contents

Program Notes

Texts & Translations

Biographies

Program

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ProgramDnes Hristos(Today Christ Comes to be Baptized)Vasilly Titov (ca. 1650–1715)Musica Russica, MRSM Ti-DH______________________________________________________________________________

Selig sind die Toten, SWV 391Heinrich Schütz (1585–1672)Choral Public Domain Library, #04790______________________________________________________________________________

O Love, Be Fed With Apples While You May Morten Lauridsen (b. 1943)OPUS Music, 3-15______________________________________________________________________________

Distance can’t keep us two apartChen Yi (b. 1953)Commissioned by American ChoralDirectors Association Endowment in memory of Raymond W. Brock______________________________________________________________________________

“Soir d’été” from Trois ChansonsBretonnes Henk Badings (1907–1987)Annie Bank, bad 4 C______________________________________________________________________________

All the Things You AreRoy Ringwald, arr. (1910–1995)Music by Jerome Kern / Words byOscar Hammerstein IIShawnee, GA-103

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Program NotesDnes Hristos(Today Christ Comes to be Baptized) Vasilly Titov (ca. 1650–1715)

The text of Dnes Hristos is based on a poetic liturgical verse (sticheron) from the Orthodox feast of the Lord’s Baptism (Theophany or Epiphany, celebrated on January 6 [January 19, Old Style]), which describes Christ’s meeting with St. John the Baptist at the Jordan River. As often occurs in sacred concertos, the composer did not follow the liturgical text (the verse after “Now and ever…” at Lauds) precisely, but incorporated some additional dramatic elements and dialogue from the Psalms and the Gospel accounts of Christ’s baptism: e.g., Matthew 3:13–17.

The form of the vocal concerto falls into three parts which are based on the main sections of the text: Part I (mm. 1-27), Part II (mm. 28-66) and Part III (mm. 67-128). Each section has its own imagery and is a direct musical reflection of the text. In Part I, which can be viewed as introductory, Titov uses polyphonic imitation to depict the motion of St. John the

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Baptist’s hand. Part II describes the reactions—of both celestial and earthly elements—of Part I through imitative polyphony, the use of repetitive pitches in various voices to illustrate a feeling of trembling, and the majestic rhetorical question from Psalm 113 in the three bass parts. In Part III, a delicate texture of solo voices relates the words of Christ, after which the mood of the concerto shifts to triple meter (symbolic of the Holy Trinity: the Father, Son, and Holy Spirit) with God’s proclamation.

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Selig sind die Toten (Blessed are the Dead), SWV 391 Heinrich Schütz (1585-1672)

Heinrich Schütz, a master of 17th-century church music, is regarded by many scholars to be the first German musician of European standing. His religious output, while embodying the styles and genres found in Lutheran vocal music of the early Baroque, often incorporates the Venetian polychoral concertato style. Schütz traveled to Italy twice during his lifetime and studied in Venice with both Giovanni Gabrieli and Claudio Monteverdi. Gabrieli was so enthralled with the young Schütz that he bequeathed him his signet ring, a symbol that he considered him one of his most devoted students.

Schütz chose the words for this piece from Revelation 14:13, which may be familiar as they also appear in the closing movement of the Brahms Requiem.

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O Love, Be Fed With Apples While You May Morten Lauridsen (b. 1943) Contemporary composer Morten Lauridsen is a familiar name to choral aficionados, with many of his pieces occupying a permanent place in the standard vocal repertoire, including O Magnum Mysterium, Dirait-on (from Les Chansons des Roses) and O Nata Lux (from Lux Aeterna). However, this lesser-known “O Love, Be Fed With Apples While You May”—dedicated to San Francisco Symphony Chorus director Vance George, and accompanist Mark Shapiro—is a delightfully different side to Lauridsen’s catalogue of choral compositions.

For more than thirty years Dr. Lauridsen has been professor of composition at the University of Southern California Thornton School of Music, and held the position composer-in-residence of the Los Angeles Master Chorale from 1994-2001.

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Distance can’t keep us two apart Chen Yi (b. 1953)

This piece is the latest work in the Raymond R. Brock Memorial Choral Composition Series, for which composer Chen Yi was commissioned for the 2012 conferences. She has shared that “When I received the invitation from Tim Sharp, the Executive Director of ACDA, to write the piece, I was deeply touched by what the ACDA has done in the past half century, to deliver universal love, to unite people from different backgrounds, and to develop our cultural tradition in the society through choral singing. I selected two lines from a poem by a Chinese poet Wang Bo in Tang Dynasty as the text of my piece: ‘If I have a friend who knows my heart, Distance can’t keep us two apart.’ These lines have been popularly used among Chinese people to share their friendship, love, trust and encouragement. I was deeply inspired and encouraged by ACDA’s vision towards the 21st century in improving our education and communication for the new world through our music making and creation. I hope that my music could serve as a bridge, to improve understanding between people from all cultures.”

Gregory Gentry and

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the Arizona State University Symphonic Chorale are honored that they have been selected to perform this Raymond R. Brock Memorial Choral Composition at the Western Division Conference. Please note that this work will be performed at each of the seven ACDA divisional conferences this spring. As ACDA National President Tim Sharp has stated, we are “honored that a composer of Chen Yi’s artistry and stature would share such remarkable talent with our members through this new composition.”

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“Soir d’été” from Trois ChansonsBretonnes Henk Badings (1907–1987) In Trois Chansons Bretonnes, Dutch composer Henk Badings presents three contrasting poems by French-born poetic songwriter Theodore Botrel (1868-1925). Unrelated to the other two poems in the set, “Summer Evening” is a coquettish dialogue perhaps between a boy and girl, which playfully moves from the hillside, to the open plain, to the oak trees in the woods, to the hay stacks on the farm. The urgency of the piece creates the hope of fulfillment, so as not to delay the charms of love accompanied by the inviting sounds of nature. The piece ends as the lovers escape to an exquisite hour of joy and pleasure, on a beautiful summer night.

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All the Things You Are Roy Ringwald, arr. (1910–1995)

The importance of the legacy of Fred Waring (1900–1984) and The Pennsylvanians can be summarized in this statement by Howard Hanson: “Fred Waring revolutionized the art of choral singing in America.”

Roy Ringwald was one of several arrangers credited for defining the Fred Waring sound. Ringwald wrote: “One day in 1939 Fred phoned me at my apartment to say there was a ticket at the box office for a show called Very Warm for May by Jerome Kern and to go hear Bob Shaw’s sister, Hollace, sing “All the Things You Are.” I immediately made an arrangement of the song—Kern heard it and was ecstatic! That pleased me because he had the reputation of being very hard on arrangers and their ‘ways’ with his songs.” This Kern/Hammerstein musical theatre collaboration—Very Warm for May—was only 4 years before lyricist and librettist Oscar Hammerstein teamed up with Richard Rodgers to begin his own legacy, the Rodgers & Hammerstein legacy, with Oklahoma! (1943).

Virginia Waring, in her role as President

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of Shawnee Press, Inc. after her husband passed away in 1984, made it a goal to publish early choral arrangements as originally conceived, in the 1930s and 1940s, for Fred Waring. And while those arrangers created the choral textures on the page, Virginia Waring has no doubt they would all agree “that they were trying to create sounds which they felt Fred had already heard in his imagination.”

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Texts & TranslationsDnes Hristos(Today Christ Comes to be Baptized)

Today Christ comes to the Jordan to be baptizedtoday John touches the head of the Master.The Heavenly hosts tremble in amazementAs they behold the most glorious mystery.The sea looked, and fled; Jordan, turned back.What ails you, O sea, that you fled,And you, O Jordan, that you turned back?We heard Jesus say to John:“Baptize me, John.”And a voice from heaven was heard, saying:“This is my beloved Son.Listen to him!”

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Selig sind die Toten, SWV 391Selig sind die Toten,Die in dem Herren sterbenVon nun an.Ja, der Geist spricht:Sie ruhen von ihrer Arbeit,Und ihre Werke folgen ihnen nach.

“Blessed are the dead”Blessed are the deadWho die in the LordFrom now on.”Yea, the Spirit speaks:“They rest from their labor,And their works follow after them.”

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O Love, be fed with apples while you may (Sick Love)By Robert Graves

O Love, be fed with apples while you may,And feel the sun and go in royal array,A smiling innocent on the heavenly causeway,

Though in what listening horror for the cryThat soars in outer blackness dismally,The dumb blind beast, the paranoiac fury:

Be warm, enjoy the season, lift your head,Exquisite in the pulse of tainted blood,That shivering glory not to be despised.

Take your delight in momentariness,Walk between dark and dark—a shining spaceWith the grave’s narrowness, though not its peace.

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Distance can’t keep us two apartBy Wang Bo

If I have a friend who knows my heart(Yo wei)Distance can’t keep us two apart(Yo)

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“Soir d’été” Lison, ma câline, Quittons la colline Car le jour décline Au rouge horizon.

Avant qu’il ne meure Profitons de l’heure: A notre demeure Viens t’en, ma Lison!

Dans la paix immense Du soir qui commence Monte la romance Des petits grillons,

Et la plane rase Que Phébus embrasse, Savoure l’extase Des derniers rayons

Des voix enjôleuses Sortent des yeuses: Ce sont des berceuses, Des petits oiseaux.

Summer EveningLison, my pet,Let us leave the hill,For day dies awayAt the red horizon.

Before it dies away,Let us seize the hour:Come thither, my Lison,To our home!

In the vast peace Of the emerging eveningBuilds the love songOf the tiny crickets,

And the open plain,Embraced by PhoebusSavors the ecstasyOf the final rays.

Coaxing voicesEmerge from the oaks,They are lullabies,Tiny birds.

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Et sa porte close, La fermière Rose, Chante même chose Entre deux berceaux!

C’est l’heure très pure, Ou dans la ramure Passe le murmure Du grand vent calmé.

L’heure langoureuse, L’heure ou l’amoureuse Se suspend, heureuse Au bras de l’Aimé;

C’est l’heure touchante, Où tous nous enchante, Où la cloche chante L’Angelus au loin,

Et c’est l’heure grise, Où la douce brise S’imprègne et se grise

And behind her closed doorThe farmer’s wife RoseSings the same thingBetween two cradles!

It is the hour of great purity, When through the branches The murmur of the Great, becalmed wind passes

The languid hour,The hour when the belovedRests lightly, content,In arms of her Lover.

It is the poignant hour,When everything delights us, When the bell singsThe distant Angelus

And it is the grey hour,When the gentle breeze Is heavy and intoxicated

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De l’odeur du foin;

C’est l’heure où tout aime, Ou, las du blasphème Le mechant, lui même, Est un peu meilleur:

Le cœur se dépouille De tout se que souille, L’ame s’agenouille Devant le Seigneur!

Lison, me petite, Prions le bien vite Pour qu’on ne se quitte De l’éternité

Et qu’il nous convie A fuir cette vie A l’heure ravie D’un beau soir d’été.

With the aroma of hay;

It is the hour when everything loves,When, weary of cursing,Even bad peopleImprove a bit.

The heart rids itself ofAll corruption;The soul kneelsBefore the Lord!

Lison, my darling,Let us ask for it without delay, So that we do not banish ourselvesFrom eternity,

And so that he might invite us To escape this lifeAt the ravishing hourOn a beautiful summer’s eve.

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All the things you areTime and again I’ve longed for adventure,Something to make my heart beat the faster.What did I long for? I never really knew.Finding your love I’ve found my adventure,Touching your hand, my heart beats the faster,All that I want in all of this world is you.

You are the promised kiss of springtimeThat makes the lonely winter seem long.You are the breathless hush of eveningThat trembles on the brink of a lovely song.

You are the angel glow that lights a star,The dearest things I know are what you are.Some day my happy arms will hold you,And some day I’ll know that moment divine,When all the things you are, are mine!

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Biographies

Gregory Gentry, Director of Choral PerformanceArizona State University – School of MusicGregory Gentry (D.M.A., M.M. University of Missouri-Kansas City Conservatory of Music; B.M.E. University of Denver) is the Director of Choral

Performance at the Arizona State University School of Music, where he administers the graduate and undergraduate choral conducting programs.

He conducts the Symphonic Chorale, teaches graduate conducting, literature and score study, and oversees nine choral ensembles. During the 2011-2012 academic year, under Dr. Gentry’s artistic direction, ASU Symphonic Chorale is performing at the National Collegiate Choral Organization national conference (November 2011) in Fort Collins, and the American Choral Directors Association Western Division conference (March 2012) in Reno.

In his capacity as

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Chorus Master with the Phoenix Symphony, Dr. Gentry continues to prepare the Phoenix Symphony Chorus in a wide range of performance repertoire, including Puccini’s Messa di Gloria (2012), the North American premiere of In Principio by Arvo Pärt (2011), On the Transmigration of Souls (a collaboration involving the Arizona State University choirs and the Western Illinois University choirs) and Nixon in China (2009) by John Adams, the world premiere of Mark Grey’s Enemy Slayer: A Navajo Oratorio (2008, [Naxos 2009]) with an English/Navajo libretto by Laura Tohe, and the Arizona premiere of Golijov’s Ainadamar in collaboration with Dawn Upshaw and Kelley O’Connor (2008). In February 2009 Gentry made his Phoenix Symphony conducting debut to sold-out audiences with Stravinsky’s Symphony of Psalms. Arizona Republic music critic Richard Nilsen has stated that under Gentry’s leadership, the Phoenix Symphony Chorus has become one of the gems of Phoenix’s cultural scene.

As a leader in choral music throughout the western United States, Dr. Gentry is currently president of the Arizona state chapter of the American Choral Directors Association, and founding director of Southwest Liederkranz. He is an active member

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of Chorus America, National Association for Music Education, National Collegiate Choral Organization, College Music Society, and is the faculty advisor to ASU’s student chapter of the American Choral Directors Association._______________________________

Chen Yi, Lorena Searcy Cravens/ Millsap/ Missouri Distinguished Professor of CompositionUniversity of Missouri-Kansas City Conservatory of Music and Dance

Raymond R. Brock Memorial Choral Composition (2011–2012)

As a prolific composer who blends Chinese and Western traditions, transcending cultural and musical boundaries, Dr. Chen Yi was born in 1953 in Guangzhou, China. She is the Distinguished Professor at the Conservatory of the University of Missouri-Kansas City, and the recipient of the prestigious Charles Ives Living Award from the American Academy of Arts and Letters. Her music is published by Theodore Presser Company, commissioned and performed world-wide by such ensembles as the Cleveland Orchestra, the New York

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Philharmonic, the BBC Symphony, the Singapore Symphony and the Sachsische Staatskapelle Dresden, recorded on Bis, New Albion, New World, Teldec (with a Grammy Award sung by Chanticleer), Telarc, Angle, Nimbus, Albany, Quartz, Naxos, Koch & China Record Co. among others.

Chen Yi has received bachelor and master degrees in music composition (1983 and 1986) from the Central Conservatory of Music in Beijing, China, and Doctor of Musical Arts degree (1993) from Columbia University in the City of New York. Major composition teachers have been Professors Wu Zu-qiang, Chou Wen-chung and Mario Davidovsky. She has been elected to the American Academy of Arts & Sciences in 2005, and appointed the Changjiang Scholar Professor at the CCOM by the China Ministry of Education in 2006. _______________________________

ASU Symphonic Chorale As the première choral ensemble at the Arizona State University School of Music, the Symphonic Chorale is primarily comprised of highly select music majors (graduate and undergraduate) where singers are chosen on the basis of a rigorous audition.

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Under the artistic direction of Gregory Gentry, performance repertoire consists of music from each of the major style periods ranging from a capella to instrumentally accompanied literature. With collaborations that have included performances

(“On the Transmigration of Souls” by John Adams - 2009) with the Phoenix Symphony and awards from the Consulate General of Mexico (Tito’s Say by James DeMars - 2010), recent years have also offered choral ensembles and individual students opportunities to work with Ola Gjeilo (2011), Jaakko Mäntyjärvi (2010), Jean Belmont (2010), Eph Ehly (2010), Morten Lauridsen (2008), Kirke Mechem (2006), and Gunther Schuller (2005). Recent performance tours include Mass by Igor Stravinsky at the

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National Collegiate Choral Organization Conference (Fort Collins, CO – 2011), a collaborative performance of Orff’s Carmina Burana with the Lamont Symphony (Denver, CO – 2011), and the American Choral Directors Association Western Division Conference (Tucson, AZ – 2010), as well as Mendelssohn’s Elijah, Bloch’s Sacred Service, Mahler’s Symphony No. 2 and Prokofiev’s Alexander Nevsky.

The ASU School of Music is located on the Tempe campus of Arizona State University in the Phoenix metropolitan area.

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PersonnelSopranoNina Cole Ashley Conway Margeaux Fox Natalie De Jesus Ryanne Hammerl Julia Israel Katherine Martin Kira Rugen Carolyn Rynex Joyce Yin

AltoAmy BaileyAnnalise BelnapCharissa ChiaravallotiLiz DingessKerry GingerKelsey GrossHelenahoilan IpGrace KimWendy McWilliamsJinhee ShinDanielle Yarbough

TenorEric BrandhorstJustin CarpenterJosef CurtisEthan DePuyWilliam GortonRobert HeydeVassilios MakavosNathan RichardThomas StrawserJerron Jorgensen

BassDevin BaradAndrew BriggsStefan GordonJosh HillmannVernon HuffSam KreidenweisAndrew KustTaylor PhilipsJason Spencer

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ASU Choral ProgramThe Arizona State University School of Music choral program—under the leadership of Dr. Gregory Gentry, Director of Choral Performance—follows a long tradition of making great music and honors the legacy of Dr. Douglas R. McEwen.

The ASU choral ensembles are open to students of all academic majors, university wide. There are currently eight different choral ensembles that specialize in everything from early music to vocal jazz, symphonic to men’s and women’s choral music, as well as a large community component.

The Doctor of Musical Arts degree in choral conducting is an academic performance degree, and available for graduate students upon application through the ASU Graduate School. In addition to various requirements and additional protocol, auditions are generally scheduled once a year, and consist of a live conducting audition, an interview, and an orientation by current doctoral students.

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For more information see: http://music.asu.edu/choirs/

PLEASE NOTE: Program notes compiled and contextualizedby Anna Wheeler Gentry.

Professional services on program writing—contact information: anna.gentry@asu.edu

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