Upcoming Concert Program NotesSeptember 6 , 2008 The History of Music via a Tour of the WorldThis evening’s program takes the listener on a guided tour of the world, visiting key periods of history of music. Each era is represented by a selection from western civilization, familiar in style and sound, which is then paired with work from another region of the globe. We begin in with chant, or plainsong, and include both the 12th and the 15th centuries, demonstrating the developments made during this large period in history. Introit – Another Mass of a Confessor Not a Bishop An Introit would have occurred much like an opening hymn, with sacred but not mass text. It would have been led by a cantor, with participant responses. A different Introit was used for each of the many celebrated days in the calendar.
Justus ut palma florebit: The just man will flourish like the palm tree: sicut cedrus Libani like a cedar of Lebanon multiplicabitur will he be multiplied, in domo Domini, planted in the house of the Lord in atriis domus Dei nostri. in the halls of the house of our God. Alleluia. Alleluia. Bonum est confiteri It is good to acknowledge Domino the Lord et psalere nomini tuo, and to sing to your name, Altissime. Most High. Gloria Patri et Filio Glory be to the Father, and the Son, et Spiritui Sancto. and the Holy Spirit, Sicut erat in principio as it was in the beginning, et nunc is now, et semper et and ever shall be, in secula seculorum. world without end. Amen. Amen.
Kyrie - Feasts of the Blessed Virgin The Kyrie is the first section of the Ordinary of the Mass following the Intriot. This Kyrie dates from the 12th century, is taken from the Feasts of the Blessed Virgin, and includes a schola, or small group of voices, which is answered by the complete choir. Kyrie, eleison. Lord, have mercy. Christe, eleison. Christ, have mercy. Kyrie, eleison. Lord, have mercy.
Gloria – Misse de Angelis The Gloria follows the Kyrie in the Ordinary of the Mass, and is a joyous declaration of praise to God. This Gloria is from the Misse de Angelis (Mass of the Angels) and dates from the 15th century.
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As part of the earliest period in music history, we have chosen repertoire from Japan. Although Japan clearly had a vigorous musical tradition before the advent of Chinese and Korean influence in the sixth century, it is very difficult to pinpoint dates. Japanese culture categorizes music not by time period but by geographical origin and function – court, military, dance, or common folk music. The genre of Japanese music is vast and rich in variety. The pieces selected for this evening represent ancient folk songs, which have evolved through the centuries. Instrumentation is a major factor in Japanese music. The most common instrument forms were four-stringed, cylindrical wind, seashell horn, and percussion. Arrangements have been created for tonight’s performance to allow modern instruments to imitate the sounds that original instrumentation would have produced.
Kiso-bushi A folk song of Kiso from Nagano Prefecture's southwestern region, Kiso-Bushi is the most famous of the many folk songs originating from that area. In Kiso-Fukushima Town and its neighboring areas, this song is used at the Bon festival dances, held on August 13-16 each year. What do they have in common, Mt. Ontake in Kiso and the middleman leader of the 3-man team running the raft of Japanese cypress logs in the Kiso River ? It is cold even in summer up in the mountain, and so cool down here, too!
Dragonfly Dragonfly is a very popular children’s song, and has been arranged many, many times. This version has a distinct 20th century harmonization underneath the traditional and very beautiful original folk tune.
Dragonflies as red as sunset Back when I was young. In twilight skies, there on her back I'd ride When the day was done. Mountain fields in late November - Long ago it seems. Mulberry trees and treasures we would gather. Was it only just a dream? Just fifteen she went away one day, Married then so young, Like a sister lost, I loved and missed her. Letters never seemed to come. Dragonflies as red as sunset Back when I was young. Now in my eyes, when I see dragonflies, Tears are always sure to come.
During the Baroque period, harmony grew in complexity, and was considered both vertically and horizontally on the written page. What each individual line did continued to be important, but it also created harmony driven by the depth of all lines, instrumental and vocal, sounding together. O Praise the Lord with One Consent G.F. Handel O Praise the Lord with One Consent is taken from the ninth Chandos Anthem by G.F. Handel, composed for the Duke of Chandos. The Chandos Anthems were his first written on a large scale in this specifically English class of church music. The ninth anthem is the only one of the eleven Chandos Anthems that does not begin with an instrumental overture. Instead, Handel opted to extend the instrumental beginning of this very familiar hymn, and introduce the chorus as part of the ensemble, one-third of the way through the movement. The tune is familiar today as “O God, Our Help in Ages Past” O praise the Lord with one consent, And magnify his name. Let all the servants of the Lord his worthy praise proclaim. Exsulatate iusti in Domino J.G. de Padilla Exploration of Baroque music takes us to Latin America, specifically Mexico, or as it was known in this time period, “New Spain”. Juan Gutiérrez de Padilla built the most advanced music program in the New World, and upon his death, the church held his music in archives. Only recently has this unique and glorious repertoire become available. Recordings are few, but the Los Angeles Chamber Singers have championed Padilla’s works, making his artistry available commercially. Stylistically, Padilla’s hallmarks include demonstrating mood changes by varying rhythmic speed, rapid harmonic change as frequently as every beat, providing dissonance through the use of a single note being sustained beyond the chord or in anticipation of the next, and with unexpected meter changes.
Exsultate iusti Rejoice you righteous ones in Domino, in the Lord: Rectos decet It is fitting for the upright to collaudátio praise together. Confitemini Domino in cithara; Praise the Lord with the harp; In psalterio decem cordarum With the psaltery of ten strings psallite illi. sing to him. Cantate ei canticum novum; Sing to him a new song; Bene psallite ei Play sweetly to him in vociferatione. with a loud voice. Quia rectum est verbum Domini, For the word of the Lord is right, Et omnia opera eius in fide. And all his works are faithful. Diligit misericordiam et iudicium; He loves what is right and just; Misericordia Domini The earth is full plena est terra. of the mercy of the Lord. Verbo Domini By the word of the Lord caeli firmati sunt; the heavens were made; Et spiritu oris eius And by the breath of his mouth omnis virtus eorum. all his host.
Ave Regina Caelorum Ave, regina caelorum. Hail, queen of heaven. Ave, Domina Angelorum. Hail, mistress of the angels. Salve, radi;, salve, porta, Hail, holy root; hail, gateway, Ex qua mundo lux est orta. From whom came light for the world. Gaude Virgo gloriosa Rejoice, glorious Virgin, Super omnes speciosa. Beautiful above all others. Vale, o valde decora, Hail and farewell, most gracious one, Et pro nobis Christum exora. And plead with Christ for us.
The Classical period in music includes compositions roughly between 1750 and 1830. Tonal definition became clearer, and the development of the symphony and concerto forms significant. Precision and consistency are key elements of sound during this time. Requiem Recordare / Confutatis / Lacrymosa W.A. Mozart No performance highlighting the history of music would be complete without Mozart. His undisputed genius provided instrumental and choral music with order, clarity and balance. Emphasis on formal beauty did not, however, preclude expression. The Requiem has an interesting history, having been incomplete upon Mozart’s early death. Even with others’ contributions to the finished product, the intensity of emotion as he intended continues to affect today’s audiences.
Agoro Yede African Folk Song It is simply not possible to truly represent the many cultures and people of the continent of Africa, and as with Japanese music, it is extremely difficult to pinpoint dates with respect to particular repertoire. Agoro Yede (literally “to play is beautiful”) is built on a very old and traditional children’s nursery rhyme, “classical” in that it is common and known by many generations. In the Ashanti subregion of Ghana, the Ahinta (Hide and Seek), Mpe Wa (Pass the Stone) and various chirping games are still perennial favorites among children. The ending of the song is a profound Ashanti saying: the little bird, perched on a nearby tree would rather see us (humans) playing with one another. The song is a game song with a deeper meaning: a call for people to commune, help and trust one another, working for the common good - a timeless and therefore classical sentiment. Bra ma’e nia gro Come, let’s play. Bra o Kofi e. Come home, Kofi. Osra Moa po’e fita fita. The moon is out and bright. Agroo ben po na yebedi. What games we should play today. Ahinta yede, yebedi, We’ll play Hide and Seek, Osi mue: Game of Circle: Mename sii mu kane ampa. “I’m the first to get in the circle.” Mpe wa’e yede, Yebebo. We’ll play the “Pass the Stone” game. Gyia’e na mpe wa’e yede. Get it from me and pass it on. Anomaa ketew A little bird Osi dua so’e: perched on a tree, beckons: Bra ma’e nia gro! “Come and let’s play!”
In the 19th century, emotional and picturesque expression became the top consideration in music, and Romanticism was the antithesis of the formal and structural priorities of Classical music. Harmonies became more dense, and with the use of chromaticisms and more frequent dissonance, larger instrumental and vocal ensembles became the vehicles by which these thick and intense sounds were produced.
Lux Aeterna/Nimrod Variations E. Elgar Edward Elgar composed Variations on an Original Theme (Nimrod) in 1899, his first major orchestral work. In his words, “I have sketched a set of Variations on an original theme. The Variations have amused me because I’ve labeled them with the nicknames of my particular friends…that is to say I’ve written the variations each one to represent the mood of the “party” (the person)…and have written what I think they would have written ….if they were asses enough to compose.” The work was dedicated “To my friends pictured within”. Although there are fourteen variations on the ‘original theme’, this ‘enigma theme’ is actually never heard.
Lux Aeterna is a choral arrangement of Nimrod, by John Cameron . It retains Elgar’s rich orchestral piece with use of an eight-part arrangement. This evening, Calliope will perform a combination of both the orchestral and vocal versions, capturing Elgar’s combination of nobility and spirituality. Lux aeterna luceat perpetua Let light eternal shine on them, Domine: Cum sanctis tuis O Lord, with thy saints in aeternam, forever, Quia pius es for thou art merciful. Requiem aeternam dona eis. Rest eternal grant them Lux aeterna Requiem. Light eternal, rest. Alfred Hill spent his life residing in New Zealand, with brief periods in Australia, his place of birth. Music from this part of the world was generally slower in development than in Europe, as a result of its geographic isolation. Hill was educated in Leipzig, and brought backlate Romantic Music traditions. Inspired by Australian aborigine Maori music and legends, Hill used a melody reputed to have arrived in New Zealand with a Rarotongan chief, which became the principal theme of his cantata “Hinemoa”. This evening, Calliope performs The Sacred Mountain and Hinemoa’s Song, an Epic of New Zealand. Hinemoa’s Song (from Hinemoa) A. Hill When the tired winds are sleeping in the west, And the great eath, worn with weeping, sinks to rest, To my breast the thoughts come thronging from above, And my bosom throbs with longing for my love! Lo! The flaxblades, as they quiver By the river giove me greeting, Still the same dear name repeating-- Tutanekai! I love but thee! He loves not me! As I wander by the lake in Reverie, Vauguely night’s sweet voices waken unto me! By a sudden nightwind lonely softly stirred, Raupo whispers only one sweet word! And the toi, as he sways his dainty graces gently bending, Sighs the same dear name unending, Tutanekai! I love but thee! He loves not me!
20th and 21st Centuries As a result of development in new media and technologies, such as the radio, television, the internet, and more recently, Podcasts, music in the 20th and 21st centuries has become global. Our ability to record and distribute concerts has given rise to wider exposure of all genres of music. At the beginning of the 20th century, composers continued to expand on the changes of the 19th century, but quickly introduced new compositional styles, such as twelve-tone, minimalism, serialism, Impressionism, and jazz. Littlemore Tractus A. Pärt Arvo Pärt set Littlemore Tractus in 2001, for the bicentenary of the birth of its writer, John Henry Newman. Born in 1935, Pärt is often associated with minimalist styling. He studied plainsong/chant and twelve-tone composition until the Soviet government strongly opposed his work. He went on to compose with “tintinnabuli”- simple harmonies, reminiscent of ringing bells, using straightforward and steady rhythm. This is apparent in Littlemore Tractus, which Pärt himself described as “like light through a prism.” May He support us all the day long, till the shades lengthen, and the evening comes, and the busy world is hushed, and the fever of life is over, and our work is done! Then in his mercy may He give us a safe lodging, and a holy rest, and peace in the last. My One and Only Love G. Wood Published in 1952, this popular song was written by Guy Wood, lyrics by Robert Mellin Mr. Wood came to the United States in the 1930s from England, and worked in production at Hollywood Studios, and later as a saxophone player, leading a dance band in New York. My One and Only Love was first recorded by Frank Sinatra. A popular version was presented on the 1963 classic jazz album with John Coltrane and Johnny Hartman. Sonata for Two Clarinets B. Safran It is an honor and pleasure to present a 21st century composition by one of Calliope’s own members this evening! In Ben’s own words: Sonata for Two Clarinets, which I composed during the spring of 2007, in many ways follows the traditional classical sonata form. There is an exposition, comprised of two "key areas," which is played through twice, followed by a development and then a recapitulation. However, each "key area" is based on a "tone row," the central aspect of twelve-tone music. Introduced in the twentieth century by the composer Arnold Schoenberg, a tone row consists of each of the twelve pitches in a chromatic scale (A, A#, B, C, C#, ...etc.) placed in a specific order. In strict twelve tone music, the order cannot be broken, which is to say, you will not hear one pitch twice until you have heard every other pitch. However, like most composers who have used this technique, including Schoenberg himself, I use these patterns freely. In the case of this particular work, this creates a piece that contains elements of both "neo-classical" and "contemporary" music.
Summertime and Medley from Porgy and Bess G. Gershwin Based on DuBose Heyward’s novel Porgy, Porgy and Bess deals with African American life in the fictitious Catfish Row in Charleston, South Caroline in the early 1930s, and was first performed in 1935. The opera was inspired by the James Island Gullah community in Charleston, which Gershwin felt had preserved African musical traditions. Gershwin originally conceived of it as an “American folk opera”, and combined European orchestral techniques with American jazz and folk idioms. Audiences can identify New York jazz, jubilees, blues, work songs, spirituals, Jewish liturgical melodies, as well as traditional arias and recitatives in the music. Porgy and Bess is well known as a controversial work. Commissioned by the Metropolitan Opera to write a distinctly American grand opera, Gershwin chose the Porgy libretto, but realized that production would present formidable problems. He wanted it performed by an all black cast, but the Met’s doors were closed to African American performers. He refused to present it in blackface. After three years, Gershwin declined the Met’s generous offer in order to write the opera he imagined. The premiere performance at the Colonial Theatre in Boston drew a fifteen-minute ovation, and as author Robert Rushmore points out, “To the eternal credit of the city of Boston, the audience and critics were not confused by this strange new kind of folk opera and recognized its greatness.” As the Civil Rights Movement made great strides in advancing freedoms and equality for African Americans, presenting Catfish Row as impoverished, drug-ridden, promiscuous and violent was upsetting for many. Performers such as Sydney Portier refused to participate. Others, such as Leontyne Price and Maya Angelou, saw active participation in the production as an opportunity to further the rights of African Americans. In December of 1955, the all-black opera company became the first American theatre company to perform in Russia since the Bolshevik revolution. The director, in a pre-curtain speech, assured the audience that Porgy and Bess was set in the past, and did not reflect present life. In spite of concern by many, the entranced audiences in Leningrad did not feel there was an issue, and came excited to hear the performance and black singers singing opera. Popularity and controversy around the work rose and fell during the 1960s and 70s. Fifty years after its premiere, James Levine presented Porgy and Bess at the Metropolitan Opera House, saying, “a great American opera should be in the repertory of a great American opera house.” In spite of the stereotypes and contradictions, Porgy carries with it universal themes of community and belonging, and aspiring to make the world a better place. Calliope presents selections from Porgy and Bess this evening as a glorious ruby in the crown of American music.
Sources for program notes include: www.neh.gov/news/humanities/1997-11/porgy.html www.fasindy.org/Education/Romantic.html www.abd.online.anu.edu.au/biogs/A090299b.htm www.wikopedia www.wsu.edu www.naxos.com Kenney, Michael. The Concise Oxford Dictionary of Music, Third Edition. Oxford University Press: Oxford England, 1985.
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