Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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