Download Conductor`s Concert GLORIA by Antonio Vivaldi featuring the

CONDUCTOR’S CONCERT
GLORIA
BY
ANTONIO VIVALDI
featuring the
Binghamton University String Orchestra
Binghamton University Chamber Chorus
Wednesday, May 5, 2010
8:00 p.m.
Anderson Center Chamber Hall
PROGRAM
I.Gloria in Excelsis
Gloria in excelsis deo
Glory to God in the highest
Conducted by Jieun Jang
II.Et in Terra Paxr
Et in terra pax hominibus bonae voluntatis And on earth peace to people of good will.
Conducted by Adam Hess
III.Laudamus Te
Laudamus te, benedicimus te, adoramus te, glorificamus te.
We praise thee, we bless thee, We worship thee, we glorify thee.
Conducted by Briana Sakamoto
Samantha Banton, soprano
Raquel Rozner, soprano
IV.Gratias Agimus Tib
Gratias agimus tibi We thank thee
Conducted by Ya Tzu Chen
V.Propter Magnam Gloriam
Propter magnam gloriam tuam,. For Thy great glory,
Conducted by Ya Tzu Chen
VI.Domine Deus
Domine Deus, rex coelestis, Deus pater omnipotens Lord God, Heavenly King, Almighty God and Father,
Conducted by Laura MacAvoy
Raquel Rozner, soprano
VII.Domine Fili Unigenite
Domine fili unigenite Jesu Christe, Lord Jesus Christ the only-begotten Son
Conducted by Molly Adams-Toomey
VIII.Domine Deus, Agnus Dei
Domine Deus,agnus Dei, Filius patris, Lord God, Lamb of God, Son of the Father,
Conducted by Shane Thorn
Cabiria Jacobsen, mezzo soprano
IX.Qui Tollis
Qui tollis peccata mundi, Suscipe deprecationem nostram
Thou who takest away the sins of the world, Hear our prayer.
Conducted by Krystiana Resto
X.Qui Sedes ad Dexteram
Qui sedes ad dexteram patris, Miserere nobis.
Who sittest on the right hand of the Father, Have pity upon us.
Conducted by Krystiana Resto
Cabiria Jacobsen, mezzo soprano
XI.Quoniam tu Solus Sanctus
Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus,Jesu Christe,
For thou alone art holy, Thou alone art the Lord, Thou alone art the Highest, Jesus Christ,
Conducted by Jennifer Easley
XII.Com Sancto Spiritu
Cum sancto spiritu, in gloria Dei patris, Amen.
With the Holy Spirit, in the glory of God the Father,
Amen.
Conducted by Tahnee Fallis
PROGRAM NOTES
Though Antonio Vivaldi was one of the most influential composers of his
generation, he died a poor pauper and his music was neglected for many years
after his death. He was gradually “rediscovered” amidst a surge of Bach
scholarship, Bach having been a great admirer of Vivaldi’s work. Vivaldi did
not entirely receive due credit for his great contribution to the western canon
until the mid 20th century. The Gloria (RV 589) was almost entirely lost, and
due to the lag between its composition and popular revival, it is difficult to find
a definitive edition of the work. For a large part of his life the composer lived
comfortably, employed by the Pio Ospedali della Pietà in Venice, one of four
all-girls quasi orphanage-conservatories of its kind. Vivaldi acted as teacher,
violin virtuoso, composer and priest, his red hair earning him the nickname “il
Prete Rosso,” the Red Priest. Because Vivaldi was writing primarily for his
students at the Ospedali, some scholars have gone so far as to theorize that,
originally, Gloria may have been performed without men, the tenor and bass
parts sung by low-voiced females or transposed, a fascinating notion, however
incredible it may be. Vivaldi’s fondness for the violin and his roots in the
Corelli model are evident in the kind of melodic interest in the violin part and
the structure we see in movements such as Gloria in excelsis Deo the rousing
opening movement. Et in terra pax hominibus is a radical change of gears with
its slow ebb and flow of evocative chromaticism. Such stylistic contrasts appear
throughout Gloria. Laudamus te celebrates especially the female voice,
alternating between imitative declamations of sparsely yet vibrantly
accompanied soloists and fuller orchestral ritornelli. Following this, Gratias
agimus tibi, creates a striking effect, being entirely homophonic and highly
sustained. It acts as a partner to the next movement, the percussive Propter
magnam gloriam, which develops its opening melody in expanding segments, in
a similar manner to that of the third movement, though it is a much shorter
episode. Domine Deus features singer, oboe obbligato and continuo in the
softest of the twelve movements, functioning like a delicately transparent
interlude between the first and second half of the piece. Domine Fili Unigente
brings back a similarly full-bodied texture as that of the opening movement, and
very much bears Vivaldi’s stamp in its use of the strings, imitation and rhythmic
energy. Domine Deus, Agnus Dei, in solemn contrast to the preceding
movement, starts with entrances of entirely solitary human and instrumental
voices into silence, slowly joined by continuo. Then choral echoes interject into
this texture, looming and growing throughout the movement. This segues
seamlessly into the entirely choral Qui tollis peccata mundi, which seems to
flesh out the fragmented choral statements introduced in Domine Deus. Qui
sedes ad dexteram features the last vocal solo of the piece, a humble yet urgent
request for “mercy” before the ultimate exaltation of the last movements.
Quoniam tu solus sanctus is a brief reprise of the music of Gloria in excelsis
Deo, a return to the invigorating opening motive, the fast octave leap. Finally,
the triumphant Cum Sancto Spiritu draws upon many elements of the rest of the
piece, imitation, quick modal fluctuations, textural changes, including a striking
disappearance of the orchestral “floor” beneath the chorus, and so forth. (It
would seem that Vivaldi adapted this final movement from an older Ruggieri
composition on the same text, and used it in another mass after Gloria, a not
uncommon practice in his oeuvre.) The connections between movements across
the work, such as from the first to penultimate, or from Gratias agimus tibi to
Qui tollis peccata mundi, contribute to the dramatic arch and sense of unity
about a world of textures and emotions contained within this half hour of music.
Tonight’s performance is the culminating project for the students of MUS 428,
Conducting II. For two semesters, the members of the class have worked to gain
a fundamental understanding of conducting mechanics, the study and
interpretation of a score and the manner in which one communicates a musical
vision to and through an ensemble. Additionally, the students were responsible
for the logistics of this concert, in a practical study of the conductor’s nonmusical responsibilities. Each specializing in different instruments and musical
genres, and pursuing a variety of degrees in addition to music, we’ve learned a
great deal from each other’s perspectives. We hope you will enjoy our
collectively eclectic approach to the Vivaldi Gloria.
Sources:
Michael Talbot. Tenors and Basses at the Venetian "Ospedali.” Acta Musicologica, Vol. 66, Fasc. 2,
pp. 123-138. International Musicological Society.
http://www.jstor.org/stable/932767
J. Peter Burkholder. A History of Western Music, 7 th edition. New York: W.W. Norton and
Company, 2006.
Michael Talbot. Vivaldi, Antonio. Grove Music Online. Oxford Music Online. 28 Apr. 2010
http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120
ABOUT THE PERFORMERS
Molly Adams-Toomey is a Junior majoring in Music and minoring in Theater.
She is a member of the Women's Chorus, studies voice under Timothy Lefebvre
and piano under Michael Salmirs, and is a member of Mu Phi Epsilon. She has
written and performed the music for the Binghamton University Theater
Department's spring production of Henry V, as well as writing and arranging the
music for the Studio production of White Liars.
Ya Tzu Chen is a Music major from Taiwan studying for her Masters in Piano
with Michael Salmirs. In Taiwan, she studied piano with Hsin-I Chen. She
received her Bachelor’s degree in Physics from National Taiwan Normal
University.
Jennifer Easley is currently enrolled in her final semester at Binghamton
University, pursuing a Master of Music in Choral Conducting. She earned a
Bachelor of Music in Music Education with a concentration in voice from
Gordon College. She is a full-time music teacher at Binghamton High School,
where she gives classes in piano, guitar and special-education general music.
Ms. Easley is very interested in teaching music overseas and will be traveling to
Thailand this coming July. She and her husband, Timothy, reside in Windsor
with their two lovely daughters, Naomi (2 1/2) and Sophia (1).
Tahnee Fallis is a first year Choral Conducting graduate student at Binghamton
University. Earlier in the semester she led the women's chorus in a concert
comprised of music from East Asia and will continue to conduct many choruses
in the coming year in Binghamton. Miss Fallis graduated in 2009 from The
College of St. Rose in Albany with a bachelor's degree in Music Education and
hopes to continue on to get her doctorate to teach music in a college setting.
Adam Hess is a Senior Electrical Engineering and Music major. Next year
Adam will receive a Masters in Electrical Engineering with a specialization in
Communication Systems and Signal Processing. After this he plans to work on a
PhD in either composition, musicology or choral conducting. In his free time,
Adam is an active member of ΜΦΕ spreading love, kindness and sincerity
through philanthropic activities through the power of music.
Jieun Jang is a Junior Music major from South Korea. At Binghamton
University, she is studying piano with Michael Salmirs. She has performed with
university ensembles such as University Symphony Orchestra and Wind
Symphony. Recently she performed with the University Symphony Orchestra as
a solo pianist, and she also held a junior recital in April.
Laura MacAvoy is a Bachelor of Music in Vocal Performance student,
currently finishing her junior year. Originally from Saratoga Springs NY, Ms.
MacAvoy has been performing musically since the age of six. At Binghamton
University, she has sung with the University Chorus, Women's Chorus, TriCities Opera Chorus and in solo performances. She studies with Mary Burgess.
Michael Mechmann is a Senior Music major studying composition. He is a
member of the Harpur Chorale, and has played in the Theater Orchestra for
Binghamton University musical productions.
Krystiana Resto is a Senior Music Major from Poughkeepsie, New York. She
is currently a member and President of the Harpur Chorale, and has also sung in
the University Chorus. She is the President of Mu Phi Epsilon Professional
Music Fraternity, which was founded at Binghamton in the Fall of 2008. In
addition, Krystiana is the Musical Director of the University's only all-female a
cappella group, the Harpur Harpeggios.
Briana Sakamoto is a Senior Music major pursuing a Bachelor of Music degree
in vocal performance. She is a member of the Tri Cities Opera chorus and this
season covered the roles of Barbarina in "Le nozze di Figaro" and Gianetta in
"L'elisir d'amore." She is also a BU Scholar.
Shane Thorn is a Junior majoring in Music composition, which he has studied
with Paul Goldstaub and Christopher Loy. He plays in the University Orchestra,
and has studied viola, voice and piano, in addition to singing in the independent
Canterbury Choir. He also organizes and directs the Avant-garde Troupe, a
small group of artists, actors and musicians who engage in partly-improvised
performance art events in public areas.
Mezzo-soprano Cabiria Jacobsen recently performed the roles of Cherubino in
Mozart's Le nozze di Figaro, Hansel in Humperdink's Hansel and Gretel, and La
Ciesca in Puccini's Gianni Schicchi, all with Tri-Cities Opera. Other credits
include Idamante (Idomeneo/OperaHub); Annina (Der Rosenkavalier/Lowell
House Opera); and Mauyra (Riders to the Sea/Northwestern University Opera
Theater). She received her B.M. in Voice and her B.A. in Drama (Literature
and Criticism) from Northwestern University.
Raquel Rozner is currently a freshman at Binghamton University, where she
studies biochemistry and music. Raquel has studied voice extensively for seven
years and has been involved with many summer programs and vocal
opportunities since entering high school. Raquel was chosen to sing in the 2007
and 2008 New York All-State Mixed Chorus, in which she was the soprano
soloist in 2008. She was also chosen to sing in the 2009 All-Eastern Honors
Mixed Chorus. Raquel has accumulated many vocal honors and awards, but she
is most proud to have been accepted into the 2008 Boston University
Tanglewood Institute Young Artists Vocal Program in which she studied with
Phyllis Hoffman and attended a master class with Renee Fleming.
Soprano Samantha Banton is a Junior majoring in Music. She has recently
appeared in the Music Department Mid-day Concert series and the Composition
Seminar composer's concert.
BINGHAMTON UNIVERSITY
STRING ORCHESTRA
Violins
Chantal Berendsen
Alex Spadaro
Elan Ashendorf
Elizabeth Magowan
Lifan Hsu
Fanny Chu
Elana Streim
Edwin-Nikko Kabigting
Jin Park
Allison Jaekle
Gozda Yildiz
Violas
Victoria Brown
Erica Koslowsky
Max Pekarskiy
Cellos
Ben Peak
Taylor Reitmeier
Meaghan Petix
Basses
Rachel Casey
Sam Smith
Clarinets
Heather Worden
Timothy Perry
Basso-continuo
Chai-Kyou Mallinson
BINGHAMTON UNIVERSITY
CHAMBER CHORUS
Soprano
Jennifer Easley
Cathie Makowka
Sioux Petrow
Kelly Pueschel
Megan L. Roppolo
Ligita Roznere
Christine Ryder
Susan Sarzynski
Siobhan Sculley
Faith Vis
Jennifer Walsh
Lois Wilston
Alto
Kathryn Baine
Lois Bare
Maria Luisa Cook
Michelle Doherty
Tahnee Fallis
Jean Fenzel
Diane A. Ferraccioli
Sylvia Horowitz
Grace Houghton
Cheryl Jacobson
Pat Labzentis
Ethel Molessa
Anna Nicholas
Joyce Printz
Constanze Schönermark
Jane Shear
Danielle Sisson
Susan Szczotka
Tenor
Martin Bidney
Kevin Doherty
H.B. King
Dennis Leipold
Sherry Williamson
Bass
Eric Bare
Ronald Beauchamp
Bruce Borton
Carl Bugaiski
Emanuele Delucchi
Joseph E. Nelson
Edward Orosz
David Schriber