Christmas at the Cathedral

The Choral Art Society
Robert Russell, music director
presents
Christmas at the Cathedral
featuring
The Choral Art Singers
Portland Brass Quintet • Dan Moore, organist
Cathedral of the Immaculate Conception, Portland, Maine
Saturday, December 5, 2015, noon & 8 pm
Sunday, December 6, 2015, 2:30 & 7:30 pm
Angelus ad virginem
13th c. Latin carol
Verbum caro factum est
14th c. Latin carol
Personent hodie voces puerulae (from Piae Cantiones, 1582) arr. Hoggard/Russell
In dulci jubilo
Michael Praetorius
(1571–1621)
Verleih uns Frieden gnädiglich Felix Mendelssohn
(1809–1847)
Portland Brass Quintet
Rejoice and be Merry
Tautum Ergo
Gloucestshire Wassail
All arranged by Richard Price
Betty Rines and Tucker Barney, trumpet; John Boden, horn;
Mark Manduca, trombone; Jobey Wilson, tuba
From Messiah
George Frideric Handel
Overture
(1685-1759)
And the glory of the Lord
For unto us a child is born
Hallelujah
INTERMISSION
Intrada
Alfred Reed
(1921–2005)
Welcome all wonders
Richard Dirksen
(1921–2003)
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Ave verum
Karl Jenkins
b. 1944
Sarah Bailey, soprano & Andrea Graichen, mezzo-soprano
Christmas Day
Portland Brass Quintet
God Rest Ye Merry Gentlemen
O Little Town of Bethlehem
We Wish you a Merry Christmas
Gustav Holst
(1874–1934)
All arranged by Jack Gale
Hark! the herald-angels sing
Felix Mendelssohn
We invite all to sing with us the first and third stanzas
(please refer to program notes, page 11)
He Never Failed Me Yet
Robert Ray
b. 1946
Aileen Andrews, contralto
We Wish You a Merry Christmas (English traditional)
arr. Arthur Warrell
Silent Night
Franz Gruber
(1787–1863)
Soloists:
Caroline Koelker and Heidi Seitz, sopranos (Saturday noon)
Molly Harmon and Heidi Seitz, sopranos (Saturday evening)
Ginny Pomeroy, mezzo-soprano and Molly Harmon, soprano (Sunday afternoon)
Donna Smith, contralto and Molly Harmon, soprano (Sunday evening)
Special thanks to Harmon’s & Barton’s Flowers for the poinsettias
Save the Date!
April 27, 2016
Prelude to Spring Song
A Bird's-Eye View of The Choral Art Society
More information to come, visit our website at www.choralart.org
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We are pleased to support The Choral Art Society
and their mission to advance the art of choral singing
through performance, collaboration, and outreach.
www.gorhamsavingsbank.com
Member FDIC
Equal Housing Lender
Ray Cornils
Portland’s Municipal Organist
Kotzschmar
Festival Brass
Parish Ringers
Oratorio Chorale
Emily Isaacson, Director
Tickets
$41, $35, $20
Reserved Seating
www.porttix.com
207-842-0800
Merrill Auditorium
20 Myrtle Street, Portland, ME
For More Info
www.foko.org
Find us on Facebook!
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Program Notes by Linda Russell
Angelus ad virginem
13th c. Latin carol
Popular since medieval times, this cheerful carol tells the story of the Annunciation. It was probably
Franciscan in origin and brought to Britain by French friars in the thirteenth century. Originally it had
twenty-seven verses, each starting with a consecutive letter of the alphabet. Chaucer mentions it in his
Miller's tale when the scholar Nicholas sings it, accompanied by his psaltery.
Angelus ad virginem
Subintrans in conclave.
Virginis formidinum
Demulcens inquit "Ave.
Ave regina virginum,
Coeliteraeque dominum
Concipies
Et paries
Intacta,
Salutem hominum.
Tu porta coeli facta
Medella criminum.
The angel came to the virgin
in her chamber,
dispelling the fears of
the virgin, and said: “Hail!
Hail, queen of virgins;
the Lord of earth and heaven
you will conceive
and bear,
chaste,
the salvation of men;
you have been made the gates of heaven,
the cleanser of crimes.”
“Quomodo conciperem,
quae virum non cognovi?
Qualiter infringerem,
quae firma mente vovi?”
“Spiritus sancti gratia
Perficiet haec omnia;
Ne timaes,
sed gaudeas,
secura,
quod castimonia
Manebit in te pura
Dei potentia.”
“How shall I conceive
when I have known no man?
And how shall I break
what I have vowed with a firm mind?”
“The Holy Spirit by grace
will accomplish all these things;
do not be afraid,
but rejoice,
safe
because your chastity
shall remain untouched within you
by the power of God.”
Ad haec virgo nobilis
Respondens inquit ei;
“Ancilla sum humilis
Omnipotentis Dei.
Tibi coelesti nuntio,
Tanta secreti conscio,
Consentiens
Et cupiens
Videre
factum quod audio,
Parata sum parere
Dei consilio.”
To this the noble virgin
replied and said to him:
“I am the humble handmaiden
of almighty God.
With you, the heavenly messenger,
I agree, and with so great
a mystery,
And wish
to see
accomplished what I hear;
I am ready to obey
the will of God.”
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Angelus disparuit
Etstatim puellaris
Uterus intumuit
Vi partus salutaris.
Qui, circumdatus utero
Novem mensium numero,
Hinc Exiit
Et iniit
Conflictum,
Affigens humero
Crucem, qua dedit ictum
Hosti mortifero.
The angel disappeared,
and at once the girl’s
womb swelled up
by the power of the birth of Salvation.
He, having been contained in the womb
for nine months,
came out from it
and entered
the conflict,
taking on his shoulder
the Cross, by which he gave
the blow to the mortal enemy.
Eia Mater Domini,
Quae pacem reddidisti
Angelis et homini,
Cum Christum genuisti;
Tuem exora filium
Ut se nobis propitium
Exhibeat,
Et deleat
Peccata;
Praestans auxilium
Vita frui beta
Post hoc exsilium.
Accordingly, mother of the Lord,
you who brought back peace
to the angels and to man,
when you bore Christ;
beseech your son
that he might show mercy
upon us,
and blot out
our sins:
and that he might help us
to enjoy a blessed life
after this time of exile.
Verbum caro factum est 14th c. Latin Carol
Found in the fourteenth-century Aosta manuscript, the text of this Latin carol comes from John 1:14
and was used as the final responsory of Christmas Matins.
The Word is made flesh by the
Verbum caro factum est de
Virgin Mary.
virgine Maria.
Dies est leticie,
Nam natus est hodie
Filius de virgine,
De virgine Maria!
This is a joyful day,
for today a Son
is born of a virgin,
of the Virgin Mary.
Ovos omnes, psallite!
Pace facta credite,
Angelo nunciante,
De Virgine Maria!
Sing praises, everyone;
believe that peace has come,
through the message of an angel,
by the Virgin Mary.
Lux venit de Lumine
In intacta Virgine;
Noë! Noë! Dicite
De Virgine Maria!
The Light within a pure virgin
comes from the Light;
sing Nowell! Nowell!
for the Virgin Mary.
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Portam clausam graditus,
Qui alcio geritur:
Deus homo nascitur
De virgine Maria.
He proceeds through the closed gate,
he who is born from on high;
God is born a man
by the Virgin Mary.
Fatur a pastoribus,
Dum natus est parvulus,
Rex potens fortissimus,
De Virgine Maria.
It is told by the shepherds
that a little Child is born,
a great and mighty King is born
of the Virgin Mary.
O Jesu, quem credimus,
Da salute omnibus
Super in celestibus
De Virgine Maria!
O Jesu, in whom we believe,
grant us all salvation
among those who dwell above in heaven,
through the Virgin Mary.
Personent hodie voces puerulae (from Piae Cantiones, 1582) arr. Hoggard/Russell
Both the tune and text for our processional are found in Piae Cantiones, a collection of anonymous Latin
school and religious songs compiled by a Finnish student in 1582. The songs spread to Sweden, where
they were still sung in schools in the 1700s. They remained popular in Finland through much of the
nineteenth century.
Personent hodie voces puerulae,
laudantes iucunde qui nobis est natus,
summo Deo datus, et de Virgineo ventre
procreatus.
Let youthful voices resound today
praising joyously Him who is born to us,
given of God on high and born of the
Virgin’s womb.
In mundo nascitur, pannis involvitur
praesepi ponitur stabulo brutorum,
Rector supernorum,
perdidit spolia princeps infernorum.
He is born on earth, is wrapped in cloths,
is placed in a manger, in the animals’ stable.
Ruler of heaven,
prince of hell, he has done away with sin.
Magi tres venerunt, munera offerunt,
parvulum inquirunt, stellulam sequendo,
ipsum adorando,
aurum, thus, et myrrham ei offerendo.
Wise men three have come; they offer gifts,
they seek a babe by following a star,
to worship him,
to offer him gold, frankincense and myrrh.
Omnes clericuli, pariter pueri,
cantent ut angeli:
advenisti mundo, laudes tibi fundo.
ideo Gloria in excelsis Deo.
Let all priests and young men alike
sing as did the angels:
You have come to earth.
Glory to God in the highest.
In dulci jubilo
Michael Praetorius
The original melody, found in a 1570 German publication, is called “a very ancient song (uraltes Lied)
for Christmas Eve.” In parts of Germany where people retain old customs, the song is used as a
Christmas Eve processional. Lutheran composer Michael Praetorius’s setting of In dulci jubilo for
voices and four-part brass choir is included in his nine-volume Musae Sioniae which contains 1,244
chorale settings. Praetorius’s setting of In dulci jubilo is a lilting dance in 3/4 meter; the text is in two
languages—Latin and German.
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In sweet rejoicing,
now sing and be glad!
Our hearts' joy
lies in the manger;
And it shines like the sun
You are the alpha and omega!
In dulci jubilo,
Nun singet und seid froh!
Unsers Herzens Wonne
Leit in praesepio;
Und leuchtet wie die Sonne
Alpha es et O!
Verleih uns Frieden gnädiglich
Felix Mendelssohn
Felix Mendelssohn, grandson of the Jewish philosopher Moses Mendelssohn and son of an art-loving
banker, grew up in a wealthy and intellectual home. His excellence in a number of roles—pianist,
conductor, educator, organizer of musical events—brought him an adoring public, but also created a
public career that taxed his energies and contributed to an early death. The text for this hymn is a
translation by Martin Luther of the Latin Da Pacem Domine. Mendelssohn set only one verse of the
original hymn, with different combinations of voices in a lyrical, contemplative style, which reflects the
peaceful text.
Mercifully grant us peace,
Lord God, during our life on earth;
There is indeed no other,
Who could fight for us
Than you, our God, alone.
Verleih uns Frieden gnädiglich,
Herr Gott, zu unser'n Zeiten,
Es ist doch ja kein andrer nicht,
Der für uns könnte streiten,
Denn du, unser Gott alleine.
From Messiah - George Frideric Handel, arr. Travis Ramsey
Overture
And the glory of the Lord
For unto us a child is born
Hallelujah
(1685-1759)
George Frideric Handel’s oratorio Messiah premiered in 1741 and has become a musical landmark in
the English-speaking world. Travis Ramsey graduated from the University of Southern Maine School
of Music in 2003 and earned his Master of Music in Music Education from Boston University in
2011. He is also the founder of Kenmore Studios, a music publishing business. In 2007 The Choral
Art Society commissioned Ramsey to create a brass quintet arrangement of several movements from
Messiah.
And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the
Lord hath spoken it. Isaiah 40:5
For unto us a Child is born, unto us a Son is given, and the government
shall be upon His shoulder;
and his name shall be called Wonderful,
Counsellor, the Mighty God, the Everlasting Father, the
Prince of Peace.
Isaiah 9:6
Hallelujah! For the Lord God Omnipotent reigneth.
The kingdom of this world
is become the kingdom of our Lord,
and of His Christ.
And He shall reign for ever and ever. King of kings, and Lord
of lords. Hallelujah!
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Intrada
Alfred Reed
Alfred Reed, a prolific and frequently performed composer, was born in New York, and served in the
Army Air Force Band during World War II, followed by study at Juilliard. A longtime faculty member
at the University of Miami, he had composition commissions at the time of his death that would have
taken him to the age of 115!
Welcome all wonders
Richard Dirksen
American musician and composer Richard Wayne Dirksen was organist and choirmaster of the
Washington National Cathedral from 1977-1988. From 1969 until his retirement in 1991 he was the
cathedral’s precentor with oversight of all worship services. Dirksen composed extensively, mostly
choral and organ works. He composed the fanfare-like Welcome all wonders for chorus, organ, and brass
for an NBC Christmas Day telecast live from the Cathedral in 1975.
Welcome all wonders in one sight!
Eternity shut in a span.
Summer in winter, day in night,
Heaven in earth, and God in man.
Ave verum
Karl Jenkins
Welsh composer Karl Jenkins, whose father was a church organist, studied classical music in Wales and
England, but in his early musical career he composed advertising jingles and performed in jazz and
rock bands. More classical compositions date from 1995 and later. His Ave Verum is a gently rocking
setting of the fourteenth-century Eucharistic hymn composed for bass-baritone Bryn Terfel. An
optional second voice part by Jenkins creates a “hauntingly beautiful duet.”
Ave verum corpus
Natum de Maria Virgine.
Vere passum, immolatum
In cruce pro homine.
Cujus latus perforatum
Fluxit aqua et sanguine.
Esto nobis praegustatum
Mortis in examine.
Jesu dulcis! Jesu pie,
Fili Mariae.
Amen.
Hail, true body,
Born of the Virgin Mary,
Truly suffered, sacrificed
On the cross for mankind.
Whose pierced side
Flowed with water and blood.
Be for us a foretaste
In the trial of death.
Sweet Jesus! Blessed Jesus,
Son of Mary.
Amen.
Join Us for Our Winter Sing-Along!
Handel's Messiah Sing-Along
Monday, December 14, 2015 at 7:30pm
Annual Food drive for Project FEED
Woodfords Congregational Church Sanctuary, Portland, ME
$5 at the Door, Students Free
And Save the Date for our Summer Sing-Along: June 20, 2016!
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Christmas Day
Gustav Holst
English composer Gustav Holst studied at the Royal College of Music. The music of Grieg, Wagner,
Richard Strauss, and Vaughan Williams influenced Holst’s early style; however, the combined influence of Ravel, Hindu spiritualism and English folk tunes freed him to forge his own path. Holst
composed Christmas Day for his students at Morley College. “After conventional settings of Good
Christian men, rejoice and God rest ye merry, gentlemen, Holst takes the unusual step of presenting
Come, ye lofty, come, ye lowly and The first Nowell simultaneously. The music drifts away to the same
gentle alto line that began, giving the impression of a group of neighborhood carolers who, having
passed by, bid a warm farewell for the season.” (Gary D. Cannon)
See, in Mary’s arms reposing,
Christ by highest heav’n adored;
Come, your circle round him closing,
Pious hearts that love the Lord.
1. Good Christian men, rejoice
With heart, and soul, and voice;
Give ye heed to what we say:
News! News!
Jesus Christ is born today:
Ox and ass before him bow,
And he is in the manger now.
Christ is born today!
6. The first Nowell the angels did say,
Was to certain poor shepherds in fields as they lay;
In fields where they lay keeping their sheep,
On a cold winter’s night that was so deep.
Nowell, Nowell, Nowell,
Born is the King of Israel.
2. God rest you merry, gentlemen,
Let nothing you dismay,
Remember Christ our Saviour
Was born on Christmas day,
To save us all from woe and sin,
When we were gone astray.
O tidings of comfort and joy.
7. Come, ye poor, no pomp of station
Robes the child your hearts adore:
He, the Lord of all salvation,
Shares your want, is weak and poor:
Oxen, round about behold them;
Rafters naked, cold and bare,
See the shepherds, God has told them
That the Prince of Life lies there.
3. In Bethlehem, in Jewry,
This blessed Babe was born,
And laid within a manger,
Upon that holy morn;
The which his mother, Mary,
Did nothing take in scorn.
O tidings of comfort and joy.
8. Come, ye children, blithe and merry,
This one child your model make;
Christmas holly, leaf and berry,
All be prized for his dear sake;
Come, ye gentle hearts, and tender,
Come, ye spirits, keen and bold;
All in all your homage render,
Weak and mighty, young and old.
4. Good Christian men, rejoice
With heart, and soul, and voice;
Now ye hear of endless bliss:
Joy! Joy!
Jesus Christ was born for this!
He hath oped the heav’nly door,
And man is blessed evermore.
Christ was born for this!
9. High above a star is shining,
And the Wisemen haste from far:
Come, glad hearts, and spirits pining:
For you all has risen the star.
Let us bring our poor oblations,
Thanks and love and faith and praise:
Come, ye people, come, ye nations,
All in all draw nigh to gaze.
5. Come, ye lofty, come, ye lowly,
Let your songs of gladness ring;
In a stable lies the Holy,
In a manger rests the King;
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11. Good Christian men, rejoice
With heart, and soul, and voice;
Now ye need not fear the grave:
Peace! Peace!
Jesus Christ was born to save!
Calls you one, and calls you all,
To gain his everlasting hall:
Christ was born to save!
10. Now to the Lord sing praises,
All you within this place,
And with true love and brotherhood
Each other now embrace;
This holy tide of Christmas
All others doth deface.
O tidings of comfort and joy.
Hark! the herald-angels sing Felix Mendelssohn
The words to this familiar Christmas carol, written by Charles Wesley (1707-1788), appeared in
Hymns and Sacred Poems in 1739. The original opening line, “Hark! how all the welkin rings,”
became the current familiar wording. Felix Mendelssohn composed the tune as part of Festgesang
(1840), a cantata honoring printer Johann Gutenberg and commemorating the invention of the printing press. William Cummings put text and tune together.
The audience is invited to sing the first and third stanzas
1. Hark! The herald-angels sing,
"Glory to the newborn King;"
Peace on earth and mercy mild,
God and sinners reconciled;
Joyful all ye nations rise,
Join the triumph of the skies,
With th’angelic host proclaim,
"Christ is born in Bethlehem."
Hark! The herald angels sing,
"Glory to the newborn King!"
3. Hail the heav'n-born Prince of Peace!
Hail the Son of Righteousness!
Light and life to all He brings
Ris'n with healing in His wings;
Mild He lays His glory by
Born that man no more may die,
Born to raise the sons of earth,
Born to give them second birth.
Hark! The herald angels sing
"Glory to the newborn King!"
2. Christ, by highest heav'n adored,
Christ, the everlasting Lord;
Late in time behold him come
Offspring of a virgin's womb:
Veiled in flesh the God-head see,
Hail th'incarnate Deity!
Pleased as man with man to dwell,
Jesus, our Emmanuel.
Hark! the herald-angels sing,
"Glory to the newborn King."
He Never Failed Me Yet
Robert Ray
Composer and conductor Robert Ray is in demand as an adjudicator, clinician, and guest conductor.
For many years he lead the St. Louis Symphony and Chorus in A Gospel Christmas concert. With its
driving rhythms He Never Failed Me Yet is a powerful gospel song which depicts the trust people have in
God by recounting miracles from the Old Testament.
He is my God and I’ll serve Him,
No matter what the test.
Trust and never doubt,
Jesus will surely bring you out,
He never failed me yet.
I will sing of God’s mercy,
Every day, every hour, He gives me power.
I will sing and give thanks to Thee
For all the dangers, toils and snares
That He has brought me out.
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Didn’t my God deliver Moses from King Pharaoh?
And didn’t He cool the fiery furnace
For Shadrach, Meshach, and Abednego?
When I think of what my God can do,
He delivered Daniel,
I know He will deliver you.
Trust and never doubt,
Jesus will surely bring you out,
He never failed me yet.
I know God is able to deliver in time of storm.
And I know that He’ll keep you
Safe from all earthly harm.
One day when my weary soul is at rest,
I’m going home to be forever blessed.
Trust and never doubt,
Jesus will surely bring you out,
He never failed me yet.
We Wish You a Merry Christmas (English traditional)
arr. Arthur Warrell
We Wish You a Merry Christmas is a sixteenth-century carol from the West Country of England. Groups
of traveling carolers entertained for pay or food, perhaps singing this song.
Silent Night
Franz Gruber
On Christmas Eve, 1818 the Austrian organist Franz Gruber composed his one
published work, the music for the poem Stille Nacht by the local curate, Josef Mohr. The church organ
was out of commission due to recent flooding, so Gruber and Mohr first performed the carol with
guitar accompaniment.
Linda Russell, an active member of Maine Music Teachers Association and an independent piano teacher, lives in
Portland with her longtime spouse.
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december 16 at 7:30PM
merrill auditorium
december 12 & 13 at 2PM
Westbrook performing
arts center
The Victorian
Nutcracker
517 Forest Avenue Suite #2 Portland, ME, 04101
portlandballet.org
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207-772-9671
THE MAGAZINE
Robert Russell,
music director
Dr. Robert Russell
cannot remember a
time when he did not
sing. The Baptist
tradition in Roanoke,
Virginia during his
formative
years
offered
singing
instruction in choirs for children as early as
first grade. Bob started piano lessons in
second grade, and the combination of those
lessons plus the numerous opportunities to
perform in church as a singer, pianist and
conductor laid the groundwork for a career as
a musician.
with Friends of the Kotzschmar Organ,
Southern Maine Symphony Orchestra, USM
Wind Ensemble, Musica de Filia and many
other regional organization stand out.
His work as music educator—at USM, as
guest musician for festival choruses, and as
clinician with individual high school
choruses—has been deeply satisfying. In
retirement Bob will reside in Portland, living
and traveling with his wife Linda, a pianist
and author of numerous program notes for
his choral concerts. He will continue as music
director The Choral Art Society and
welcomes invitations to work with your choir.
Dan
Moore,
accompanist
Mr. Moore has been
the accompanist for
The Choral Art
Society since 2001.
Dan plays full-time at
the Mount Washington Hotel. He also does a
wide variety of freelance work in many different
musical styles. When not earning a living
playing the piano, Dan likes to bust his knuckles
disassembling old rust bucket vehicles in order
to let out the evil spirits. He has studied music
with Russell Hayton, Phillip Steinhouse, Geno
Haggerty, and Clarence Snyder, among others.
Dan currently lives in North Bridgton with his
wife Nan Beury, along with four cats, more
chickens, and even more bees.
At Wake Forest University Bob sampled
music, math, and physics before choosing
religion as a major. At the University of North
Carolina he studied with Dr. Lara Hoggard,
an associate of Fred Waring and one of the
pioneers in choral singing in America. Further
graduate study at the University of Colorado
with Dr. Lynn Whitten in choral literature
and performance and Dr. Barbara Doscher in
vocal pedagogy prepared him for a career as
a choral conductor and teacher of choralvocal pedagogy.
Bob came to Portland in 1979 as professor of
music at the University of Southern Maine
and music director of The Choral Art Society.
He concluded a 36-year tenure at USM in
2015 and was named professor emeritus. His
time in Portland has been rich, the highlights
many. CAS has presented numerous concerts
with orchestra, many under the auspices of
the Portland Symphony Orchestra.
Portland Brass Quintet is one of the
area's most versatile chamber music
ensembles. Critically acclaimed for its high
quality performances and wide-ranging
repertoire, the group presents concerts in a
relaxed, personable style, making the quintet
an ideal choice for newcomers to chamber
music. The quintet is committed to Maine's
young people, offering innovative and diverse
educational programs for all ages.
Notable performances include Verdi’s
Requiem, Mahler’s Symphony No. 2, Bach’s Mass
in B Minor, Bach’s Passion According to St. John,
Mendelssohn’s Elijah, and the Brahms Requiem
several times, including a riveting performance
in 1991 with distinguished guest conductor
Robert Shaw. Several collaborative concerts
with Portland Ballet, including a dynamic
Carmina Burana in 2003, as well as concerts
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Merrill Auditorium
Robert Moody, conductor
Norman Huynh, assistant conductor
Magic of Christmas Chorus
CIRQUE de la
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Choral Art Singers
Robert Russell, music director; Dan Moore, accompanist
Sopranos
Dawn Anderson
Maria Anderson
Sarah Bailey
Nancy Etnier
Susan Frank
Anne Grady
Heather Guilfoyle
Molly Harmon
Judith Harrison
Caroline Koelker
Marilee Pillsbury
Heidi Seitz
Bryn Sewell
Allie Taylor
Joyce Walworth
GenieWheelwright
Altos
Tenors
Aileen Andrews
Christy Comeau-Pierce
Ann Elderkin
Andrea Graichen
Tracy Hawkins
Pam Jackson
Ginny Pomeroy
Donna Smith
Barbara Sutcliffe
Fran Wilson
Stuart Bailey
Gordon Gayer
Peter Gray
Bradford Longfellow
Patrick Martin
Joseph Seale
Jonathan Smith
Simon Smith
David White
Basses
Peter Blackwell
Jim Bucknam
Mac Davis
David Emery
Robert Goettel
Marshall Green
Mark Johnson
Lars Loren
Nate Menifield
Peter Plumb
Justin Roux
Richard Sullivan
Richard van Bergen
Board of Directors
Barbara Kapp, President
David Nicklas, Treasurer
Elizabeth Serrage, Secretary
Peter Plumb, Clerk
Melissa Rodrigue
Heidi Seitz
Richard Sullivan
Richard van Bergen
Sam Wilson
Michael Boyd
Christy Comeau-Pierce
Melissa Duffy
Andrea Graichen
Marshall Green
Mark Johnson
Carolyn Paulin
Staff
Robert Russell, Music Director
Kathleen Grammer, Executive Director
Andrew Cavacco, Administrative Assistant
Gail Knowles, Personnel Manager
Thank you to our Business Partners
Support from the community
has been a critical component
of the Choral Art Society’s success
throughout our 44--year history as a
nonprofit organization.
We extend our
deep thanks to our 2015-2016 CAS
Season Partners in the Arts.
16
The Choral Art Society Donors
Thank you to all who contribute to the Choral Art Society! This list includes gifts to the annual
campaign received between November 11, 2014 and November 11, 2015. Please notify us of any
errors or omissions by calling 207-828-0043, or email info@choralart.org.
DIRECTOR’S CIRCLE
The Director’s Circle has been established to honor contributions of $1,000 or more.
MAESTRO ($2,500-$4,999)
Mr. & Mrs. Frederick Sheehan
David and Deborah Nicklas
Peter and Pam Plumb
Linda and Robert Russell
Richard and Louise Sullivan
Richard and Elsa van Bergen
Samuel and Frances Wilson
Rita Zanichkowsky
IMPRESARIO ($1,000-$2,499)
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Melissa Duffy
Marshall Green
Barbara Kapp
Virtuoso ($500-999)
Allen Avenue Unitarian Universalist Church
Peter and Pat Bagg
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James Bucknam and Ann Elderkin
Dana and Andrea Graichen
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Joan M. Ross
Joseph Seale and A. Merrill Henderson
Brad and Heidi Seitz
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Jane and Alexander Stevens
Soloist ($250-499)
Michael Boyd
Jennifer Friedman
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Johann and Linda Gouws
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Kenneth and Mary Nelson
Dr. Charles and Eugenia O'Brien
John and Karen O'Brien
Juergen and Joan Renger
Richard and Joan Rogers
Anne Russell
Doris S. Stockly
WEX
Breda and David White
Mr. and Mrs. Ferdinand L. Wyckoff, Jr.
Chorister ($100-249)
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Madge Baker
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Andre Chasse
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Susan B. and Howard Dana
Harold and Ann Ertman
Phyllis and Joseph Gaschott
Gordon K. Gayer and Elaine Falender
Robert and Tish Goettel
Kathleen Grammer
Barbara and John Graustein
Gary Harmon
Alison D. Hildreth
William S. Holt
Mark Johnson
Peter Johnson
Brigitte and Hal Kingsbury
Sterling Kozlowski
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Lars Loren
Dr. Chris Lutes
Abigail Manny
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Don Murray
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Nancy and Lloyd Porter
Sally Rand
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Ann Staples Waldron
Robert and Julia Walkling
Joyce Walworth
Genie and Nat Wheelwright
Barbara M. White
Margaret H. Wise
Anne Woodbury
Koch
Judy Harrison
Davis and Jane Hartwell
Anita B. Jones
George O. Jones, Jr.
Gail and Daniel Knowles
Don and Hilda Nicoll
Carolyn Paulin and Paul Vermel
Cay Alexion Peirce
Anne M. Powell
Marguerite Prentice
Stan Scott
Robert Stoddard
Carolyn Thomas
John Todd
Meg Wheeler
Aficionado ($10-99)
Joanna Baker
Dolores L. Bergeron
Marsha R. Bingler
Peter Blackwell
Peter Bowman
Eleanore B. Carver
Jean M.B. Chapman
John Cunningham
David Emery
Sara Foster and Georgia Memorial Gifts
John W. Philbrick Sr.
Margaret Philbrick
Foundation and
Organization Gifts
Choral Arts New England
Maine Humanities Council
Margaret E. Burnham Charitable Trust
Please accept our apologies
for any errors or omissions.
Thank you to TEBO Marketing and Design for their work on our website
and ArtsPeople for our ticketing platform
17
Cathedral of the Immaculate Conception
Bishop David Bacon of Brooklyn, New York
priest and bishop in the United States. Born in
initiated plans for a Cathedral when he was
Georgia, he was the son of an Irish immigrant
assigned to the Diocese of Portland as its first
father and his African slave-born wife. Ordained as
bishop in 1855. At the time, the diocese
Portland's bishop in 1875, Healy served
included all of New Hampshire as well as
this diocese until his death in 1900. The
Maine. The Cathedral was designed in
3,336 pipe organ was built in 1869 by the
Gothic Revival style by Irish immigrant
prestigious Henry Erben Company of
Patrick Charles Keely, a prolific and
New York. It is Maine’s second largest
prominent architect of Catholic churches
organ after the renowned Kotzschmar
in the United States in the mid-to-late
organ, located in Portland’s Merrill
1800s. Construction was interrupted in
Auditorium. Installed in 1930, the
1860 by the Civil War. The chapel
Stations of the Cross scenes portray
was finished and Cathedral walls
the passion and death of Christ.
almost completed when the “Great
Each contains 6000 pieces, hand
Fire of Portland” swept through on
crafted in Venetian glass mosaics.
July 4, 1866. Quickly rebuilt, the
The altars are made of exquisite
Cathedral was dedicated on
marble. Statues are located below
September 8, 1869. Gothic
the clerestory windows. Saint
photo credit: Stephen Fazio
architectural elements include the
Patrick and Saint Basil, center, are
vaulted construction, tall asymmetrical bell towers,
the two minor patron saints of the Cathedral.
the centrally located main entrance under a
Surrounding them on each side are four angels
stained-glass rose window, and the lancet-shaped
and 10 of the 12 apostles. The baptismal font was
windows. The stained glass windows are made of
designed in 1921 by the eminent Italian artisan,
Munich glass by the prestigious Franz Meyer
A.P. Nardine. The dome above is carved from one
Studios. The vestibule’s Millennium Foyer contains
piece of marble, and the Risen Christ atop it was
the display case of Bishop James Healy’s personal
inspired by one in Italy created by Michelangelo.
articles. Healy was the first African-American
Save the Date!
April 27, 2016
Prelude to Spring Song
A Bird's-Eye View of The Choral Art Society
More information to come, visit our website at www.choralart.org
18
The Choral Art Society
Robert Russell, music director
presents
An Epiphany Celebration
featuring
The Choral Art Camerata
Williston-Immanuel United Church, Portland, Maine
Sunday January 3, 2016, 2:30 pm
O magnum mysterium
Tomás Luis de Victoria
(1548–1611)
Deutsches Magnificat
Heinrich Schütz
(1585–1672)
Alma Redemptoris Mater
Johannes Ockeghem
(1410–1497)
Tota pulchra es, Maria
Ola Gjeilo
b. 1978
Ave Maria
Javier Busto
b. 1949
Magnificat—“The Advent”
Elisabeth Marshall, soprano
James Kallembach
INTERMISSION
Adam lay ibounden
Hubert Bird
b. 1939
Joseph, lieber Joseph mein
Seth Calvisius
(1556–1615)
Es ist ein Ros entsprungen German Christmas Carol
Molly Harmon, soprano
A Spotless Rose
Paul Mealor
b. 1975
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Five Carols
Sing we the Virgin Mary
John Jacob Niles
(1892–1980)
Sarah Bailey, soprano and Patrick Martin, tenor
Lullay, my liking
Gustav Holst
(1874–1934)
Nate Menifield, baritone—Dawn Anderson, mezzo-soprano
Ginny Pomeroy, alto —Stuart Bailey, tenor
Puer nobis nascitur (Unto us is born a Son)
arr. by Keyte and Parrott
I wonder as I wander
John Adams, bass-baritone
Appalachian Carol
All my heart this night rejoices
Premiere performance
Winner 2015 New England Carol Contest
Jonathan David
b. 1965
Esto les Digo
Molly Harmon, soprano
Kinley Lange
b. 1950
Save the Date!
April 27, 2016
Prelude to Spring Song
A Bird's-Eye View of The Choral Art Society
More information to come, visit our website at www.choralart.org
20
The arts
enrich all
our lives.
A community is more than a collection of homes and
businesses. It’s also the institutions that improve our lives
through art, music, dance, and theater. KeyBank supports
a wide range of arts organizations, because we know that
a vibrant cultural scene is vital to bringing the people of our
communities closer through their shared appreciation of the
diverse talents they provide. That’s why KeyBank is a proud
sponsor of The Choral Arts Society’s Christmas at the Cathedral.
KeyBank helps people and businesses thrive. Learn more.
Visit your local branch.
Key.com is federally registered service mark of KeyCorp. ©2015 KeyCorp.
KeyBank is a Member FDIC. 51332
21
key.com
Program Notes by Linda Russell
O magnum mysterium
Tomás Luis de Victoria
Tomás Luis de Victoria delete dates if included on program page, the most noted Spanish composer of
the Renaissance, began his musical career as a choirboy at the Cathedral in Avila. While studying for the
priesthood in Rome, it is possible that he studied with Palestrina, whom he succeeded as musical director
of the Collegium Romanum in 1571. He wrote exclusively sacred compositions: approximately 60
motets and 20 masses. Most of his masses are “imitation” or “parody” compositions based on a preexisting polyphonic work, usually a motet. Victoria based the Missa O magnum mysterium (1592) on his
motet setting (1572) of this Christmas responsory. “Its haunting beauty and mystic awe over Christ’s birth
have appealed to generation after generation of singers.” (Collins)
O magnum mysterium, et admirable
sacramentum,
Ut animalia viderent Dominum natum,
Jacentem in praesepio!
O beata Virgo, cujus viscera meruerunt portare
Dominum Jesum Christum. Alleluia!
O great mystery and wondrous
sacrament,
That animals should see the Lord born
And lying in a manger!
O blessed virgin, whose womb was worthy to bear
The Lord Jesus Christ. Alleluia!
Deutsches Magnificat, Meine Seele erhebt den Herren, SWV 494
Heinrich Schütz
On his deathbed, the great Venetian master, Giovanni Gabrieli, gave his signet ring to his favorite protégé, the young Heinrich Schütz delete dates if included on program page. This gesture marked the start
of Schütz's long successful career. Heralded in his time by musicians as Northern Europe's greatest
composer, and prized by royalty as the finest of court musicians, his music is rarely heard or performed
today. The music of Schütz represents the stylistic transition between the polyphony of the Renaissance
and the stile moderno of the early Baroque.
Schütz composed six settings of the Magnificat, five in German and one in Latin; only three German
settings and the Latin setting survive. Mary sings this song during her visit to Elizabeth as recorded in
Luke 1:39-56. Schütz composed the Deutsches Magnificat in 1671, shortly before his death. He returned
to the earlier double choir, antiphonal style of Gabrieli and the Venetian school.
This comparative austerity was a direct consequence of the Thirty Years War, the devastating effects of
which were still being acutely felt more than twenty years after its cessation. In such times of hardship,
excessive musical extravagance would have been inappropriate, and in any case the financial and human
resources were simply no longer available. (Bawden)
My soul doth magnify the Lord:
and my spirit hath rejoiced in God my Saviour.
For he hath regarded the lowliness of his hand
maiden.
For behold, from henceforth: all generations shall call me blessed.
He hath showed strength with his arm:
He hath scattered the proud in the imagination
of their hearts.
He hath put down the mighty from their seat:
and hath exalted the humble and the lowly.
Meine Seele erhebt den Herren,
Und mein Geist freuet sich Gottes, meines Heilandes.
Denn er hat die Niedrigkeit seiner Magd angesehen.
Siehe, von nun an werden mich selig preisen alle Kindeskind.
Denn er hat grosse Ding’ an mir getan,
Der da mächtig ist und des Name heilig ist.
Er übet Gewalt mit seinem Arm
Und zerstreut, die hoffärtig sind in ihres Herzens Sinn.
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He hath filled the hungry with good things:
and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel:
as he promised to our forefathers, Abraham and his seed, for ever.
Glory be to the Father, and to the Son, and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be, world without end. Amen.
Er stösset die Gewaltigen vom Stuhl
Und erhöhet die Niedrigen.
Die Hungerigen füllet er mit Gütern,
Und lässet die Reichen leer.
Er denket der Barmherzigkeit Und hilft seinem Diener Israel auf,
Wie er gered’t hat zu unsern Vätern, Abraham und seinem Samenin ewiglich.
Ehre sei dem Vater und dem Sohn und auch dem Heiligen Geiste,
Wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.
Alma Redemptoris Mater
Johannes Ockeghem
Considered the most famous composer of the late fifteenth-century Franco-Flemish School, Johannes
Ockeghem was also renowned as a singer, choirmaster, and teacher; his most famous student was Josquin
des Prez. Ockeghem was not a prolific composer and some of his compositions are lost. He composed
twelve masses, a Credo sine nomine, ten motets, and twenty-one chansons.
Alma Redemptoris Mater is a four-voice motet based on an eleventh-century Marian antiphon, a responsory
sung during Advent. John Ehrlich states that Alma Redemptoris Mater shows “Ockeghem’s characteristic
and groundbreaking expansion of the range of voice parts, especially the bass. What one remembers
most, though, is this composer’s wonderful gift for melodic expression, with each voice part a beautiful
melody of its own.”
Alma Redemptoris Mater, quae pervia caeli porta manes,
et stella maris, succurre cadenti surgere qui curat populo.
Tu quae genuisti, natura mirante, tuum sanctum Genitorem,
Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere.
Loving Mother of the Redeemer, who remains the gate by which we mortals enter heaven,
and star of the sea, help your fallen people who strive to rise.
You who gave birth, amazing nature, to your sacred Creator,
Virgin prior and following, taking from the mouth of Gabriel that Hail, have mercy on our sins.
Tota pulchra es, Maria
Ola Gjeilo
Norwegian composer Ola Gjeilo delete date if included on program page moved to the United States in
2001 to begin composition studies at Juilliard. He especially enjoys composing for choir, orchestra and
symphonic winds, and the piano. Tota pulchra es, Maria consists of three contrasting sections, all on the
beautiful Maria text, each section with its own style.
Tota pulchra es, Maria,
et macula originalis non est in te.
Vestimentum tuum candidum quasi nix, et facies tua sicut sol.
Tu gloria Jerusalem, tu laetitia Israel, tu honorificentia populi nostri, Maria.
You are all beautiful, Mary,
and the original stain [of sin] is not in you.
Your clothing is white as snow, and your face is like the sun.
You are the glory of Jerusalem, you are the joy of Israel, you give honor to our people, Mary.
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Ave Maria
Javier Busto
Basque composer Javier Busto delete date if included on program page graduated university as a medical doctor, but he is a self-taught musician who is internationally known as a composer and choral conductor. In 1995 he founded a women's choir, Kanta Cantemus Korua. His choirs have won first place
awards in France, Italy, Austria and Germany.
Hail Mary, full of grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death. Amen.
Ave Maria, gratia plena, Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Magnificat “The Advent”
James Kallembach
James Kallembach holds a doctorate of music degree in choral conducting from Indiana University and
is currently Director of Choral Activities at the University of Chicago. He chose two texts for his composition: The Advent, a poem by Alice Christina Thompson, set for soprano soloist above a choral setting
of the familiar Gregorian Magnificat text. The University of Southern Maine Chamber Singers premiered the Magnificat in 2014.
No sudden thing of glory and fear
Was the Lord's coming; but the dear
Slow Nature's days followed each other
To form the Saviour from his Mother
one of the children of the year.
The earth, the rain, received the trust,
The sun and dews, to frame the Just.
He drew his daily life from these.
According to his own decrees
Who makes man from the fertile dust.
Sweet summer and the winter wild,
These brought him forth, the Undefiled.
The happy Springs renewed again
His daily bread, the growing grain,
The food and raiment of the Child.
My soul doth magnify the Lord and my spirit hath rejoiced in God my Saviour.
For he hath regarded the lowliness of his handmaiden.
For behold, from henceforth all generations shall call me blessed.
For he that is mighty hath magnified me and holy is his Name.
And his mercy is on them that fear him throughout all generations.
He hath shewed strength with his arm; he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat and hath exalted the humble and meek.
He hath filled the hungry with good things and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel
As he promised to our forefathers, Abraham and his seed forever.
Glory be to the Father, and to the Son, and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be, world without end. Amen.
24
Adam lay ibounden
Hubert Bird
Composer, conductor, and tenor soloist Hubert Bird if included on program page was on the faculty of
the Music Department of Keene State College from 1967-1997. Adam lay ybounden is a fifteenth-century
English text of unknown authorship, perhaps sung by a wandering minstrel.
Adam lay ybounden,
Bounden in a bond;
Four thousand winter,
Thought he not too long.
Ne had the apple také been,
The apple také been,
Ne hadde never our Lady,
Abeen heav'ne queen.
And all was for apple,
An apple that he took.
As clerkes finden,
Written in their book.
Blessed be the time
That apple také was.
Therefore we moun singen.
Deo gratias!
Joseph, lieber Joseph mein
Seth Calvisius
From 1594 until his death German music theorist, composer, and teacher Seth Calvisius was Cantor of
the St. Thomaskirke in Leipzig (J.S. Bach’s post in the eighteenth century). The text and music of Joseph,
lieber Joseph mein appear in manuscripts as early as the fourteenth century, possibly originating as a folk
song. It was often used in musical dramatizations of the Christmas story in many German churches.
Calvisius chose a combination of German and Latin words for his six-voice version of the carol.
Joseph lieber, Joseph mein,
Hilf mir wiegen mein Kindelein.
Schlafe, liebes Kindelein.
Eia, eia, eia!
Joseph, my dear Joseph,
Help me rock my little child.
Sleep now, my darling child.
Hey, hey, hey!
Sunt impleta quae praedixit Gabriel.
Eia, eia, eia!
It is as was foretold by Gabriel.
Hey, hey, hey!
Virgo Deum genuit,
Quod divina voluit clementia.
The Virgin has given birth to God
As He wished in His divine mercy.
Es ist ein Ros entsprungen
German Christmas Carol
Es ist ein Ros entsprungen is a Christmas carol and Marian hymn of German origin. The text is an anonymous sixteenth-century poem, the most familiar tune first appeared in 1599, and German composer
Michael Praetorius composed the familiar harmonization in 1609. Catherine Winkworth translated the
first two verses of the hymn as A Spotless Rose.
A rose has sprung up,
from a tender root,
as the old ones sang to us,
its lineage was from Jesse
and it has brought forth a floweret
in the middle of the cold winter,
well at half the night.
Es ist ein Ros entsprungen,
aus einer Wurzel zart,
wie uns die Alten sungen,
von Jesse war die Art
und hat ein Blümlein bracht
mitten im kalten Winter,
wohl zu der halben Nacht.
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A Spotless Rose
Paul Mealor
Welsh composer Paul Mealor delete date if included on program page has taught at the University of
Aberdeen since 2003. Performance of Ubi Caritas at the wedding of Prince William and Catherine
Middleton in April, 2011 catapulted him to international attention. A Spotless Rose is the fourth madrigal
in his set Now Sleeps the Crimson Petal. Mealor uses rich, dense chords to convey the image of Jesus’
birth.
The Rose which I am singing,
Whereof Isaiah said,
Is from its sweet root springing
In Mary, purest Maid;
Through God’s great love and might
The Blessed Babe she bare us
Amid the cold, cold winter
And the dark midnight.
A Spotless Rose is growing,
Sprung from a tender root,
Of ancient seers’ foreshowing,
Of Jesse promised fruit;
Its fairest bud unfolds to light
Amid the cold, cold winter
And the dark midnight.
Now sleeps the crimson petal. Amen.
Five Carols
Sing we the Virgin Mary
John Jacob Niles
Niles collected this carol in Kentucky in 1933 and published it in 1948. The New Oxford Book of Carols
states: “If true, this would appear to be a near-miraculous survival of the fifteenth-century English carol
text I Sing of a Maiden That Is Makeless.”
Sing we the Virgin Mary,
Sing we that matchless one;
See how the angels attended her
When she birthed God's own Son.
When Jesus was a-borning
To earth came heaven down,
To lie upon a manger
Away in Bethlem’s town.
So silently came our Jesus
Unto his sweet Mary,
As dew in April falleth
On flower so tenderly.
Ah, blessed Maiden Mother,
Beknown to prophecy:
Now Jesus is a-borned
And all men knoweth thee.
Lullay, my liking
Gustav Holst
English composer Gustav Holst, best-known for his composition The Planets, studied music at the Royal
College of Music in London. He wrote a considerable amount of accompanied and unaccompanied
choral music, including Lullay, my liking a Christmas partsong.
That Eternal Lord is he
that made alle thing;
Of alle lordes he is Lord,
Of every king he's King.
Refrain
Lullay, my liking,
my dear son, my sweeting;
Lullay, my dear heart,
mine own dear darling.
There was mickle melody
at that Childes birth:
Though the songsters were heavenly
they made mickle mirth.
I saw a fair maiden
sitten and sing:
She lulled a little child,
a sweete lording.
26
Pray we now to that Child
As to His Mother dear
God grant them all his blessing
that now maken cheer!
Angels bright they sang that night
and saiden to that Child:
“Blessed be thou and so be she
that is so meek and mild!”
Puer nobis nascitur (Unto us is born a Son)
arranged by Keyte and Parrott
The familiar fourteenth-century German Christmas carol Puer nobis nascitur was first published in the
1582 Finnish songbook Piae Cantiones. Robert Cummings notes, “Its text speaks of the birth of
Christ and of his mission on Earth. The melody is glorious in its triumphant character and ecstatic
devotional sense...a radiant hymn of strong appeal, brighter and more colorful than most of the
chants emerging from and before the fourteenth century.”
Puer nobis nascitur
Rector angelorum
In hoc mundo pascitur
Dominus Dominorum.
Unto us is born a son,
Ruler of the Angels
The Lord of Lords
Is nurtured in this world.
In presepe ponitur
Sub feno asinorum
Cognoverunt Dominum
Christum Regem Celorum.
He is placed in a manger
Where asses feed
They recognized the Lord Christ,
King of Heaven.
Qui natus ex Maria
Die hodierna
Perduc nos cum gracia
Ad gaudia superna.
You who were born of Mary
On this day
Lead us joyfully
To the highest joys.
O et O et O et O
Benedicamus Domino
O and O and O and O
Let us bless the Lord.
A et A et A et A
Deo dicamus gracias.
A and A and A and A
Thanks be to God.
I wonder as I wander (Appalachian carol)
arr. Carl Rütti
The Christmas folk hymn, I Wonder as I Wander, was composed by American folklorist and singer John
Jacob Niles (1892-1980) from a song fragment he collected in 1933. An American composer, singer, and
collector of traditional music, Niles is called the “Dean of American Balladeers” and greatly influenced
the American folk music revival of the 1950s and 1960s.
I wonder as I wander out under the sky
How Jesus, the Saviour, did come for to die
For poor ornery people like you and like I;
I wonder as I wander out under the sky.
When Mary birthed Jesus, 'twas in a cow's stall
With wise men and farmers and shepherds and all.
But high from God's heaven a star's light did fall,
And the promise of ages it then did recall.
27
If Jesus had wanted for any wee thing:
A star in the sky or a bird on the wing;
Or all of God's angels in heaven to sing,
He surely could have had it, 'cause he was the King!
All my heart this night rejoices
Jonathan David
Paul Gerhardt (1607-1676) who ranks next to Martin Luther as the most gifted hymn writer of the
Lutheran Church, wrote the hymn text Fröhlich soll mein herze springen. In the mid-nineteenth century
Catherine Winkworth translated many German hymns. American composer Jonathan David composed
the “gently dancing” arrangement of All my heart this night rejoices sung by The Choral Art Society Camerata
in this premiere performance, as we recognize Mr. David as the winner of the 2015 New England Carol
Contest, sponsored by CAS.
All my heart this night rejoices,
As I hear, far and near, sweetest angel voices;
“Christ is born,” their choirs are singing,
Till the air, everywhere, now with joy is ringing.
Hark! a voice from yonder manger,
Soft and sweet, does entreat, “Flee from woe and danger;
Brethren, come; from all that grieves you
You are freed; all you need I will surely give you.”
Come then, let us hasten yonder;
Here let all, great and small, kneel in awe and wonder.
Love Him who with love is yearning;
Hail the star that from far bright with hope is burning.
You who pine in weary sadness,
Weep no more, for the door now is found of gladness.
Cling to Him for He will guide you
Where no cross, pain or loss, can again betide you.
You, dear Lord, with heed I'll cherish;
Live to you, and with you, dying, shall not perish;
But shall dwell with you forever,
Far on high, in the joy that can alter never.
Lully, lully, lu.
Esto les digo (San Mateo 18:19-20)
Kinley Lange
Kinley Lange, composer, arranger and clinician, began his musical studies with his mother and received
his undergraduate and master's degrees from the University of Hawaii and doctorate in composition and
choral conducting at the University of Texas at Austin. Lange comments, “Making music with and for
other people is the finest kind of community—an intimacy that makes us more than we are individually,
connects us to each other in powerful ways and illuminates before us the path to feeling and passion.” Esto
les digo is a simple homophonic setting of Matthew 18:19-20.
Esto les digo,
si dos de ustedes se ponen,
28
se ponen en acuerdo aquí en,
en la tierra para pedir,
pedir algo en oración,
mi padre que está en el cielo, se lo dará.
Porque donde dos o tres se reúnen en mi nombre,
allí estoy yo,
en medio de ellos.
This I say to you,
if two of you are put,
are put in accord here in,
in the earth to ask,
to ask anything in prayer,
my Father which is in heaven,
will give it to you.
Because where two or three are gathered in my name,
there am I,
in the midst of them.
Linda Russell, an active member of Maine Music Teachers Association and an independent piano teacher, lives in
Portland with her longtime spouse.
“In its beginnings, music was merely chamber music, meant to be
listened to in a small space by a small audience.”
- Gustav Mahler
Jennifer Elowitch
Artistic Director
pcmf.org
29
Choral Art Camerata
Robert Russell, music director
Sopranos
Dawn Anderson
Sarah Bailey
Molly Harmon
Heidi Seitz
Altos
Andrea Graichen
Ginny Pomeroy
Barbara Sutcliffe
Tenors
Stuart Bailey
Patrick Martin
Jesse Wakeman
Basses
John D. Adams
Jim Bucknam
Trevor Lavenbein
Nate Menifield
Robert Stoddard
Elisabeth Marshall has
been praised by OPERA
NEWS for her “radiant
soprano”
in
James
Kallembach’s Four Romantic
Songs on the Brooklyn Art
Song Society’s studio album
New Voices (Roven Records, 2015). In demand
as a concert soloist, Ms. Marshall made her
Chicago Symphony Center debut in Messiah
(Apollo Chorus), has performed Bach’s
Mattëuspassion under Helmuth Rilling at the
Oregon Bach Festival, Beethoven’s Choral
Fantasia with CBE Raymond Leppard
(Indianapolis Symphony), and Mozart’s Requiem
at Rochester Cathedral (England). Equally at
home on the opera stage, she has been hailed for
her “precision” and “technical skill” as the
Queen of the Night in Mozart’s The Magic Flute
in London, and has also been seen as Rosalinde
in Die Fledermaus, Elisetta in Il matrimonio segreto,
and Rosabella in The Most Happy Fella. Ms.
Marshall has sung professionally with the
Wexford Festival Opera, the London
Philharmonia Chorus, and Carmel and Oregon
Bach Festivals, and under many conductors
including Leonard Slatkin, Constantine
Kitsopoulos, and Bruno Weil. A Fulbright grant
recipient to the Hochschule für Musik und
Theater in Leipzig, Germany, Ms. Marshall
holds advanced degrees from Indiana University,
where she studied with Carol Vaness, and
currently serves on the voice faculty at the
University of Southern Maine School of Music.
Jonathan David was
born in 1965 in New
Haven, CT, and raised
in New York City. He
currently lives in
Chapel Hill, NC.
Most recently, David’s All My Heart This Night
Rejoices is the winning work in the 2nd Annual
New England Carol Contest, sponsored by the
Choral Arts Society (Portland, ME). In February,
2015, his treble work, Tears, Apples and Stones, was
featured in an installation by Zsuzsanna Ardo at
Westminster Palace in London. He is currently
working on Sederunt for the Depauw University
Chamber Singers, which will premiere the work
in Indiana in January, 2016, before touring it in
France.
David has been commissioned by the New York
Treble Singers, Duke University, Marble
Collegiate Church, the Manhattan Wind
Ensemble, soprano Amy Bartram, and baritone
Daniel Neer, among others.
David has served as Composer-in-Residence for
The Greenwich Village Singers, Music Director
for the chamber chorus, Howl!, and was a
founding member of the pioneering new music
chorus, C4, the Choral Composer/Conductor
Collective. He serves on the judging panel for
the Annual ASCAP/Deems Taylor Awards.
From 2005-2011 he was the Classical Editor for
the internet music service, Napster. Jonathan’s
music is published by Oxford University Press
and See-A-Dot Music, and is also available
through his website, www.jonathandavidmusic.
com
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Williston-Immanuel United Church
St. John the Baptist, and the Four Evangelists.
Sanborn’s other work includes the windows
above the great altar of Washington’s National
Cathedral, and the windows of the Bapst Art
Library and John J. Burns Library at Boston
College. With one exception, the sanctuary’s
clerestory windows and the windows on the
main level are the work of the Charles J.
Connick Associates of Boston. Connick
Associates windows are composed of very small
pieces of glass stained or colored in the making,
the design being brought out in the glass itself,
and the painter’s brush employed only for the
delineation of faces, clothing or other parts not
easily made in sections. In addition to depictions
of Saints Peter and Paul, the Women of the
Bible, Christ with the Children, and a window
dedicated to the Prophets of the Old Testament,
the clerestory windows are ecumenical in both
design and spirit. The Great Christian Musicians
Window, for example, features Johann Sebastian
Bach, George Frederic Handel, Felix
Mendelssohn, Isaac Watts, Giovanni Pierluigi
da Palestrina, and Charles Wesley.
Dedicated during Easter
Week 1928 as the new
church home of Immanuel
Baptist
Church,
the
Portland Press Herald
described the building as
photo credit: Doug Cruger
“...a perfect example of the
later English Gothic architecture…built of
Weymouth seam-face granite, with stone
trimmings and heavy buttresses at the front of
the building and leading into a most attractive
narthex.” The architect, Edward Leander
Higgins, was already well-established in Maine
as a designer of churches in the modified
English Gothic style. The windows are of
special interest to students of stained glass
design and construction. The work of noted
young stained glass artist Harry Wright
Goodhue is seen in the restored Rose Window
(1928), which depicts the Twelve Apostles
surrounded by the Dove of Peace. The Great
North Window, also installed in 1928, is the
work of Edward Earl Sanborn. Its central panel
depicts the Risen Christ surrounded by Moses,
Save the Date!
April 27, 2016
Prelude to Spring Song
A Bird's-Eye View of The Choral Art Society
More information to come, visit our website at www.choralart.org
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proud sponsor of
Choral Art Society’s
New England
Carol Contest
Dana F. Graichen, M.D.
(207) 324-3380
wwww.associatedeyecare.net
Associated Eye Care
272 Cottage Street, Sanford
65 Portland Road, Kennebunk
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