Festival Orchestra & Chorus

Transcription

1 Festival Orchestra & Chorus Dominick DiOrio, Conductor Juan Carlos Zamudio, Assistant Conductor Adagio for Strings / Agnus Dei (1938/1967)... Samuel Barber ( ) Short Pause Mass in C Minor, K.427 ( The Great )... Wolfgang Amadeus Mozart ( ) Kyrie Gloria Gloria Laudamus Te Program Supplement Please use with your Summer Music Festival Program Book Martha Eason, Soprano Jacquelyn Matava, Mezzo-Soprano Gratias Domine Qui tollis Quoniam Jesu Christe Cum sancto spiritu Credo Credo Et incarnatus est Elizabeth Toy, Soprano Katelyn Lee, Soprano Elizabeth Toy, Soprano Natalie Weinberg, Soprano Charles Lyon Stewart, Tenor Gyehyun Jung, Soprano Sanctus Benedictus $15 general / $8 student Festival Pass IU Jacobs School of Music Christine Buras, Soprano Katelyn Lee, Soprano Bor Liang Lin, Tenor Keith Schwartz, Baritone Auer Concert Hall Tuesday Evening July Twenty-Third Eight O Clock Forty-Fifth Program of the Season

2 Tonight s performance is being live-broadcast by WFIU and Indiana Public Media, and hosted by WFIU Music Director David Wood and Jacobs School of Music Dean Emeritus Charles Webb. Samuel Barber ( ) Adagio for Strings (1938) Agnus Dei (1967) Although not a child prodigy in the sense of a Mozart or Mendelssohn, Samuel Barber began composing in his youth. His abundant musicality received nurture from his aunt, the famous contralto Louise Homer, who taught the boy to sing at a tender age. A note to his mother written in his tenth year proved to be prophetic: I was meant to be a composer and will be I m sure. Don t ask me to forget this unpleasant thing and go play football please. In his teens, he served as a church organist, which was followed by study at the Curtis Institute in Philadelphia. He continued voice studies with the baritone Emilio de Gogorza, and also managed to secure instruction in piano and conducting. By adulthood he had already found his composer s voice, a neo-romantic style he never forsook even when adopting techniques from more modern schools of composition. In 1936, Barber composed his String Quartet, Op. 11. The following year, in response to a request from famed conductor Arturo Toscanini for music to be performed at the Salzburg Festival, the 27-year-old composer submitted two pieces: the Essay No. 1 for Orchestra and a string orchestra arrangement of the Adagio from the above-mentioned quartet. Toscanini was slow to acknowledge receipt of the scores and returned them without comment. Understandably, Barber was hurt and more than a bit miffed. Toscanini, however, had been impressed by both works, and fully intended to perform them. The Adagio received its premiere in New York City in a broadcast performance that reached a far larger audience than would have been possible in a concert setting. The Adagio is laid out in arch form. The basic flowing and elegiac main theme slowly moves through the different string instruments, beginning with the violins before a downward shift into the viola s realm. The work s expansive central section entrusts the theme to the cellos, then builds to a powerful fortissimo climax in the high regions of the string ensemble s range, followed immediately by dead silence which greatly intensifies the dramatic impact of the climax. A series of wrenchingly sad chords provides a transition to the final section where the opening theme is heard. The affecting conclusion uses the first five notes of the melody, holding the final note over a moment of silence followed by an accompanying figure that ebbs away to nothingness. The Adagio has served to commemorate tragic occasions ever since, including the funerals of Franklin Delano Roosevelt, Prince Rainier of Monaco, as well as the ceremony at the site of the World Trade Center following the catastrophic events of September 11, It has appeared in several movies, e.g., Platoon and The Elephant Man. In 1967, Barber created an eight-part choral work Agnus Dei ( Lamb of God ) from the Adagio, in which form it has become a staple of the modern choral repertory Steven Lowe

3 Wolfgang Amadeus Mozart ( ) Mass in C Minor, K.427 (1783) For some listeners, Mozart s unfinished Mass in C Minor is the only significant choral work composed between Bach s B minor Mass and Beethoven s Missa Solemnis. To be so categorical about it, however, is to ignore not only Mozart s similarly unfinished Requiem but also Haydn s Creation and the sublime stream of masses he produced in the aftermath of his London symphonies. The reputation of Mozart s K.427, often referred to as the Great Mass, is nevertheless understandable. It is a work of conspicuous power and beauty, in which choruses some dark-toned and solemn, others forthright and vigorous mingle with sumptuous solo arias and ensembles of ornate, operatic radiance. Its Bachian grandeur of scale, even as a torso lasting less than an hour, speaks for itself. Written in gratitude not so much to God as to his young wife Constanze after the birth of their first child, the C Minor Mass occupies a very personal place in Mozart s output. Tradition has it that the first performance took place in the lovely Peterskirche in his native Salzburg a year after his marriage, with Constanze herself as first soprano soloist. By that time (1783) he was resident in Vienna, and the trip to his old home was a difficult one. His father and sister, meeting Constanze for the first time, failed to appreciate her. Baby Raimund, left behind in Vienna, died in their absence. Only the Mass, or the portions of it ready for performance, was a success. In a filmed study of the composer, the Mozart authority Robbins Landon once memorably evoked the music s biographical background. While the camera depicted the countryside through which the Mozarts journeyed, the trudging opening of the Kyrie suddenly stole into the soundtrack, its gloomy progress intensified by chorus, baleful wind tone and pounding drums. From these sombre strains, the soprano prayer emerged like a ray of hope. Though the musical effect of this passage has often been described as inappropriately operatic, it must have seemed wholly appropriate to Mozart, whose church music is often profoundly theatrical. Thereafter the Gloria opens with a swing, its shouts of joy shot through with Handelian hallelujahs (Mozart s arrangement of Messiah followed six years later). The Laudamus Te is a charming, ornate soprano aria, the Domine Deus a soprano duet, the Quoniam a trio for two sopranos and tenor, and the Et Incarnatus Est an exquisitely lilting, intricate, taxing ensemble for soprano, flute, oboe, and bassoon. But though the sound of opera may seem to be everywhere, the choral interjections are another matter, as the strangely disturbing Gratias and the great minor-key sweep of the Qui Tollis, with its inspired shift to the major at the end, amply confirm. Why, as a composer who completed many Masses, did Mozart leave his C Minor masterpiece without an Agnus Dei, to name one glaring omission? In the case of the valedictory Requiem, at least, we know the answer. But until someone discovers the truth, all we can say of the Great Mass is that something happened at the time of writing it which stopped the music in its tracks Conrad Wilson

4 KYRIE Kyrie eleison. Christe eleison. Kyrie eleison. GLORIA Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens, Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi miserere nobis, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Dominus, quoniam tu solus Sanctus, tu solus Altissimus. Jesu Christe, Cum Sancto Spiritu in gloria Dei Patris, Amen. CREDO Credo in unum Deum, Patrem omni-potentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum, con substantialem Patri, per quem omnia facta sunt, qui propter nos homines et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est. KYRIE Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us. GLORIA Glory be to God on high, and on earth peace, goodwill towards men. We praise Thee, we bless Thee, we worship Thee, we glorify Thee. We give thanks to Thee for Thy great glory. O Lord God, heavenly King, God the Father Almighty, O Lord, the only begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy on us, receive our prayer. Thou that sittest at the right hand of the Father, have mercy on us. For Thou only art the Lord, Thou only art holy, Thou only art most high. Jesus Christ, with the Holy Ghost, in the Glory of the Father, Amen. CREDO I believe in one God, the Father Almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds. God of God, light of light, True God of True God, begotten not made, being of one substance with the Father, by whom all things were made. Who for us men, and for our salvation, came down from heaven. And was made incarnate by the Holy Ghost of the Virgin Mary, and was made Man.

5 SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis. BENEDICTUS Benedictus, qui venit in nomine Domini. Osanna in excelsis. SANCTUS Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. BENEDICTUS Blessed is He that cometh in the name of the Lord. Hosanna in the highest. Artist Biographies For Mr. DiOrio s biography, please consult your Summer Music Festival program book. Christine Buras, soprano, is completing her Master of Music in Early Music Voice at the Jacobs School of Music, where she studies with Mary Ann Hart. Recently heard as soprano soloist in J. S. Bach s Magnificat with the Indianapolis Symphonic Choir, her solo oratorio experience also includes Bach s St. John Passion, St. Matthew Passion, Christmas Oratorio, and several cantatas; Haydn s Die Schöpfung and Kleine Orgelmesse; Handel s Messiah, Dixit Dominus, and Judas Maccabaeus; Rossini s Petite Messe Solennelle; Schubert s Mass in G; the world premiere of Robert Kyr s Journey of Journeys; Mozart s Requiem; and Arvo Pärt s Passio. Buras has also sung in several operatic scenes in workshops directed by Patricia Stiles and Heidi Grant Murphy. At IU, she has sung with the Pro Arte Singers and the Contemporary Vocal Ensemble, and was featured as a soloist with both ensembles. She began her musical training as a chorister at the National Cathedral in Washington, D.C., and in 2010, received her bachelor s degree in music history and theory from the University of Chicago. She wrote her honors thesis on the seventeenth-century Danish composer Mogens Pedersøn, focusing on his years working in London and his subsequent publication of sacred music, Pratum Spirituale, in This research was supported by two grants from the University of Chicago in summer 2009, prior to which, Buras had spent the year studying at King s College London. She is thrilled to be moving back to London in August 2013 to pursue a master s degree in vocal performance at the Royal Academy of Music. Martha Eason, soprano, is a first-year master s student at the Indiana University s Jacob School of Music. Her recent credits include Handel s Xerxes as Atalanta with IU Opera Theater, Mozart s Die Zauberflöte as the Second Spirit with Ash Lawn Opera, and Offenbach s Orfée aux Enfers with University of Virginia Opera Viva. Eason has performed as a featured soloist with the Charlottesville and University Symphony Orchestra. In 2011, she received her bachelor s degree in music and arts administration from the University of Virginia, graduating with highest distinction from the McIntire Department of Music s Distinguished Majors Program. Eason is a student of Costanza Cuccaro. Soprano Gyehyun Jung, from South Korea, is a recent graduate of the Jacobs School of Music, where she studied voice under the direction of Patricia Wise. Jung received both her bachelor s and master s degrees in voice performance. She graduated summa cum laude from Seoul National University. During her master s studies, she performed as a soprano soloist in Mozart s Vesperae solennes de confessore and Schubert s Mass in G Major with the Symphonic Choir and the Symphony Orchestra. She was selected as a soloist for Dominick DiOrio s a cantata concerto A Dome of Many Coloured Glass with the Contemporary Vocal Ensemble. Jung has performed the roles of Gilda from Rigoletto, Zerbinetta from Ariadne auf dem Naxos, Königin der Nacht from Die Zauberflöte, Constance from Dialogues of the Carmelites, and Marie from La fille du regiment in IU Opera Workshop productions under the direction of Carol Vaness.

6 Soprano Katelyn Lee is a native of Springfield, Mo., currently pursuing a Doctor of Music in Voice Performance at the Jacobs School of Music. She received her Bachelor of Music degree from University of Cincinnati College-Conservatory of Music, where she performed the roles of Queen of the Night in Mozart s Die Zauberflöte, Fire in Ravel s L enfant et les sortileges, and Diana in Offenbach s Orpheus in the Underworld. With IU Opera Theater, Lee performed her second Queen of the Night, as well as Sister Genevieve in Puccini s Suor Angelica. Other credits include the role of Thi Mau in the 2011 world premiere of composer P. Q. Phan s opera, The Tale of Lady Thi Kinh, and Cunegonde in Bernstein s Candide. She performed the role of Frog Juror at Opera Theatre of Saint Louis as a Gerdine Young Artist for the 2012 season. Most recently at IU, Lee performed the role of Romilda in Handel s Xerxes. She will perform the role of Countess in Mozart s Le Nozze di Figaro this coming fall. Lee has been a soloist in choral works such as Monteverdi s Vespro della Beata Vergine 1610 and Handel s Dixit Dominus and Judas Maccabeus with the Indianapolis Baroque Orchestra. She currently holds an associate instructor of voice position at Jacobs and is a student of Costanza Cuccaro. Bor Liang Lin started his formal vocal training at the age of 17 with renowned soprano Margret Yim. Under her guidance, he had great successes in both the Hong Kong Schools Music Festival and the Hong Kong Youth Singing Festival. He continued to study voice with distinguished tenor William Hite at the University of Massachusetts, Amherst. In 2009, Lin won the concerto competition and was awarded a performance of selected scenes from Donizetti s L elisir d amore under the baton of Maestro Lanfranco Marcelletti. During his undergraduate studies, Lin had performed several operatic roles, including Léon from Signor Deluso, Alfred from Die Fledermaus, and Nemorino from L elisir d amore. After graduation, he began to pursue his Master in Vocal Performance degree at Indiana University, receiving both an Artistic Excellence Fellowship and a Barbara and David Jacobs Fellowship. Outside of school, Lin participated in a few established summer programs, including the Lyric Academy, Professional Advantage, Songfest, and the Orfeo Music Festival. He was awarded substantial scholarships to attend the latter two programs. In 2011, he placed second in the undergraduate division of the University Competition hosted by Classical Singer. Praised by The New York Times as a moving performer, mezzo-soprano Jacquelyn Matava is currently finishing her doctoral studies in voice at the IU Jacobs School of Music, where she studies with Mary Ann Hart. A native of Farmington, Conn., she received her B.A. cum laude from Vassar College, with majors in both music and economics, and her M.M. from the Jacobs School. She spent the 2011 and 2012 summers as a vocal fellow at the Tanglewood Music Center, where she collaborated with Dawn Upshaw and Stephanie Blythe. In the 2013 Metropolitan Opera National Council Auditions, she won the New Orleans district and was a finalist in the Gulf Coast Regional. In October 2013, she will sing the role of Charlotte in Massenet s Werther with IU Opera Theater. Other credits with IU Opera include the title role in Massenet s Cendrillon, Nancy in Britten s Albert Herring, Marthe in Gounod s Faust, and Cecilia March in Adamo s Little Women. An avid performer of choral repertoire, Matava has been heard as a soloist in performances of Duruflé s Requiem, Handel s Messiah Mozart s Requiem, and, most recently, Bach s Mass in B Minor with the Bloomington Chamber Singers. She will be seen during the 2013 Summer Music Festival at the Jacobs School of Music as a soloist in Mozart s Great Mass in C Minor and Second Witch in Purcell s Dido and Aeneas. Keith Schwartz, baritone, is a native of the Washington, D.C., area. He is currently pursuing a Master of Music in Voice at the Indiana University Jacobs School of Music as a student of Timothy Noble. This past year with IU Opera Theater, he was seen as Horemhab in Akhnaten and as a member of the ensemble in The Merry Widow. Schwartz earned his Bachelor of Music degree from the University of Delaware, where he performed the title role in Don Giovanni and Count Almaviva in Le Nozze di Figaro with the University of Delaware Opera Theatre. In the summer of 2011, he was selected as a member of the Studio Giovanni program with Cincinnati College Conservatory of Music s summer program in Spoleto, Italy.

7 Tenor Charles Lyon Stewart, a Washington, D.C., native, recently made his IU Opera Theater debut in the role of Njegus in The Merry Widow. He has previously appeared in the chorus of the world premiere of Bernard Rands Vincent, as well as La Bohème. Stewart is currently pursuing a B.M. in the studio of Scharmal Schrock. Soprano Elizabeth Toy is in her first year of doctoral studies at the Jacobs School of Music, where she completed her master s degree. She performed the title role in The Merry Widow and Catherine in Bolcom s A View from the Bridge, and created the role of Sien in the world premiere of Bernard Rand s Vincent with Indiana University Opera Theater. Toy received her Bachelor of Music degree from Michigan State University, where she performed several roles with Michigan State Opera Theatre, including Rosalba in Daniel Catan s Florencia en el Amazonas (university premiere), Cunegonde in Candide, Susanna in Le Nozze di Figaro, and the title roles in Susannah and Romeo et Juliette. She has appeared as soloist in the Jackson Symphony s Pops series, in Handel s Dixit Dominus with the Lansing Symphony, and in New Music Concerts with the Contemporary Vocal Ensemble at Indiana University. She is the most recent winner of the Lexington Bach Choir Audrey Rooney Vocal Competition. Soprano Natalie Weinberg is a senior studying with Patricia Stiles. She will complete her Bachelor of Music degree in the spring of 2014 with a minor in Italian. Originally from New York, Weinberg has called Atlanta home for the past six years. She was recently seen in the chorus of IU Opera Theater s production of Akhnaten. She also sang in the choruses of La Bohème and Der Rosenkavalier. This summer, she will be featured in scenes as Susanna in Le Nozze di Figaro and Madame Herz in Der Schauspieldirektor with Indiana University s Summer Opera Workshop. Juan Carlos Zamudio, violinist and conductor, is a native of Durango, México. He is currently pursuing a Doctor of Music in Choral Conducting degree at the Jacobs School of Music, where he is also an associate instructor for the Choral Department, as well as the associate conductor for the Pro Arte Singers. He received his double major Master in Music in Choral Conducting and Baroque Violin degree from Indiana University and his Bachelor of Arts Magna Cum Laude from the Universidad de las Americas Puebla (UDLAP) in Mexico. In 2005, he joined the Tibor Varga Conservatory in Sion, Switzerland, where he studied with the renowned violinist Francesco De Angelis. He was later awarded a Fulbright Scholarship, as well as the Fondo Nacional para la Cultura y las Artes scholarship from the Mexican government to continue his musical education in the United States. He has studied violin with Manfredo Kraemer, Stanley Ritchie, and Federico Agostini, and has studied conducting with Robert Porco, William Jon Grey, and Richard Tang Yuk.In 2012, he was assistant chorus master for IU s production of Mozart s Don Giovanni, under the mentorship of Walter Huff. Zamudio has sung and played in numerous ensembles in Mexico, Switzerland, and the United States, including UDLAP s chamber choir, UDLAP Chamber Orchestra, Tibor Varga Orchestra, Choir Novantiqua of Sion, Tango Sensations, Instrumenta Baroque Orchestra, Harvard Baroque Chamber Orchestra, Harvard-Radcliffe Collegium Musicum, IUB s Baroque Orchestra, and the Pro Arte Singers.

8 Summer Festival Chorus Dominick DiOrio, Conductor Juan Carlos Zamudio, Assistant Conductor Alice Baldwin & Christopher Lynch, Accompanists Soprano Gloria Bangiola Christine Buras Martha Eason Gyehyun Jung Chere Ko Katelyn Lee Cecilia Ratna Janessa Reames Elizabeth Toy Natalie Weinberg Mezzo-Soprano/Alto Alice Baldwin Yunsun Choi Meghan Folkerts Dasol Kim Jaeeun Kim Mirim Kim Jacquelyn Matava Madolynn Pessin Anna Prokop Priscilla Weaver Yeji Yoon Tenor Travis Bloom Malcolm Cooper Mason Copeland Bor Liang Lin Christopher Lynch Christopher Prestia James Reynolds Charles Lyon Stewart Robert Stubbs Jeremy Woodard Bass Kyle Black Paul DiGiulio Juan Hernandez William Huyler Matthew Middleton Julian Morris William Paget Bruno Sandes Keith Schwartz John Stender Juan Carlos Zamudio Violin I Dechopol Kowintaweewat Pablo Muñoz Clara Vázquez Jinty McTavish Violin II Hyewon Yang Nathan Chia Hee Yeon Kim Hisham Bravo Viola Jonathan Gertner Colin Wheatley Lee Anderson Cello Sonja Kraus Remi Carlon Kamyron Williams Festival Orchestra Bass Dorian Jackman Per Björkling Flute Jiyoun Hur Oboe Jennifer Kirby Jeremy Curtis Bassoon Cayla Bellamy Ariel Detwiler Horn Clinton Webb Burke Anderson Trumpet Patrick Hunninghake Geoffrey Wood Trombone Logan Chopyk Alexander Strong Karen Mari, Bass Timpani Alana Wiesing Continuo Christopher Lynch Orchestra Manager Paul Hauer Yu-Chen Hsu, Ass t. Orchestra Set-Up Yu-Chen Hsu Laurent Grillet Librarian Mariel Stauff