Allen, Rachael

Galván, Janet

Haywood, Jennifer

Ithaca College Women\u27s Chorale

English

Ithaca College

Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-28-1999 Concert: Ithaca College Women's Chorale Ithaca College Women's Chorale Janet Galván Jennifer Haywood Rachael Allen Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs  Part of the Music Commons Recommended Citation Ithaca College Women's Chorale; Galván, Janet; Haywood, Jennifer; and Allen, Rachael, "Concert: Ithaca College Women's Chorale" (1999). All Concert & Recital Programs. 7041. https://digitalcommons.ithaca.edu/music_programs/7041 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. i ·.:; '::;-,:--... . 1, :.. l·~tt/~\!:_-.< <_ .. _ ·_ J._ .. - : . · Jv1iss11 -Bt,evis in C .. '!-" ... ' •: :~t\ . I<fjrfe MaryLynnSindoni, soprano. ·· Lauren Urban, oboe, Jessica Julin, soprano · Teresa D'.AJnl<:o, soprano L11uren DragE?n, soprano La'!lren Urban, opoe . INTERMISSION Pavel Chesnokov Imant Ran:iinsh Herbstlied • Felix. Mendelssohn Ave Maria Ave Maria· My Heart's Friend How Can I Keep·From ~inging v ·Cantan . . . Francis Poulenc · David MacIntyre . Imant Raminsh· Michael ·. Levi Francisco Nunez John Lufburrow ·~dJeffRappold, trwnpets . Todd Pray, alto Si,t?(Oph<>ne . Joe Tubiol<>,J~n<>rlifl,?C9Ph.one . . . . . .. · . Gl'a!;~YµIll/pia1w . Dave Boisvert;•. AI\thorty O~lcl1'l'es!:!, 'I'im Collins, a,nd Sloane.Treatfpercussion · · .·Nicholas Wehr, douple l>ass Las Amarillas . . Ford Hall ~tui1tp,;ium Wednesday, April.~_~; 1999 · 8:15 p~m. ·· · Stephen Hatifeld . -1 _ I_ PROGRAM NOTES . f Svete tiliiy (Gladsome Light) Pavel Chesnokov (1877-1944) is· the •.• most pro!ific co1npo.ser associated_ with the Moscow Synodal S.chool. : liis' compositional output includes over 500 choral works, over 400 of Which ar~ sacred. His choral writing is characterized by a variety of .. t(:?xtures, from austere unisons to sumptuous eight:-voice polyphony, and colorful4armoriy. · Approximately one-third of his sacred works are - . chant-bas,ed. Relatively early in his musical car.eer Chesnokov served .-as -instru9tor of choral music at several girls' secondary schools. Finding : a' dearth: of quality choral music written for women's voices, he .. ; composeq. his Opus 9, a series of 30 sacred works drawn from the Divine • ' ~iturgy, ~11-Night Vigil, and Lenten services of the Orthodox Church. JAese wqrks do not use pre-existing chant melodies although many of ... the melo,dies are chant-like. "Gladsome Light" is one of the most . \ ~cierit.ofhymns stil.l in use today. ' .·\'11ranslation: . I.. . . . . . Gladsome _Light of the holy glory of the Immortal One-the Heavenly Father, holy and blessed-.· q Jesus Christ! Now that we have come to the setting _ ofthe sun, and behold the_ light of eve~g, we praise tJ;le Fa.~her/Son, and Holy Spirit, God. . _ Tihou art worthy at every moment to be praised in - • nymns by reve.rent voices. ! q Son of God, Thou art the_ Giver of Life; therefore a 11 : ,. , : ~e world ~lorifies Thee. · _ UIVi~~~atpi'ris in C was conuajssione4 in 1989 by Henry Lec_k. Mr. til/~~Pmi~~I t~s cllos~~ for hi~ wonderfu.l sens~ of color, text~r~, mel~dic :3r~.~i;it.QW-/i~d hannoruc:ipovement. The opening movement 1s inc minor •• #ilh'.tli¢lscending triad becoming a comers tone in the work. The same : ~~m,e, i-~N,rris at the end of tlle m~s creating a balanced iµ1ity. The ,: .~~~ff!;f.fflf'-BA fo~:. The Gloria ~s writt.en,-for do~ple choir with a ;:w.,19-91~! Sf,Ction providing a contrasting plaintive c mµ1or melody. The \k &1c;ryel)i.~4i cqncludes with a fugue in A .. flat major. The Sanc~s offers a ~?.p.tras_t fith the gentle swaying of parallel triads. · ',. - :·:;. . I '•·•-:. ,,; _, - " I. - --. ;: Bqm. .i,n_ Venspils, Latvia; Imant Ram.insh emigrated to Canada at an · ~arlyage!and studied at the Royal Conservatory of Toronto, University -_ • gf :Toron~o; Aka.demie Mozarteum, Salzburg; the University -of British Columbi~; and the University qf Victoria. His music is tonal and · r<>mantic~ and he -has received many commissions and performances · 'Woddwi~e; He was the founding conductor of the New Caledonia .1 Chamber Orch~stra (now the Princ:e Geqrge Sy.mpJ:umy) and the Youth _·symphony Orchestra of the Ok.magail, alll<>ng oQlers. . . . . ·. : .· ~- . Herbstlied ~aswritt~n in 1844 ona texfby lSJ~g¢m~. If.was written· . as a vocal duet. While .. ··••M~~,q~~~Phni"'a~tr~ine11doufllyprolific in his . Wl"itingfo~the yoice,theyocal duets-.a.r,e ,:ai!i~r.0,bscure il!ld among the _.mqstlqy~lY. compo.sitiqns py Men~~lssofut. Jptllis ·comparison _of -the qllickpassingofaii~~t<>winte,: t<>the. qllis¥.PassirlgofJove, youth, and life, Mendelssohn's_ ability to express JJ;i.~ emotiqnal content of the texf is' heard. Jn addition, his gr,eat JechA1c~r-skilL and creative imaginationwas delllonstrated in this duet "'Pich is very weU sµited to choral performance._ Gro.ut stated that M;ep!ielssohn and Brahms were the two compqsers ofthe R<>mailticperiqd who knew best how-to write idiomatically for chorus. Both composers wrote 111any works for female voices. Translation: Ah, how soon the dance fades away Spring cl'langes·into winter . Ah, how SClQn all the merriment transforms into the moµniing ohilenc:e.: · So.on the la.st gr,eenis gone. . All of them. wa11t fo. }eave for h<>mt!, · Joy c:hanges to lqnging pain. · Thoughts_ oflove_ sweet as the spring· and quickly blown away. . _ _ One thing, only one that will- never •\\'aver. That is longingwhich never goes away. ·_ · . . . Ave 1',j:aria By ~he time Francis·PolJlen.c.begallt,he cpmposition of his opera Dialogues of.Jhe Carmelites .in 19§3,·ll~·had alr,eady writt¢A dqzfmS ofmelo~lies. three s_qng cyc:les; t.he 1it~es> of the Black Virgin; a M~ss in G, a vast sett.ing of~e ~tcwat J>.fa~pf text Je>r soprano solo, m~ed che>rus; andJarge o.rcbef!tra; ancl llis {e>urlvlotetsfor Times of Peniten¢e. · In short, he was a skillful aAc:l .exp~rie~ced composer who knew how to use voices exp~rtly. · The scenario of the Dfalogu~s stein~. fro.Pl a. sl.)p~f story by Gernµ-dvon 1 e . Fort enHtled JJie . Letzte a11J ·_Schaf Jot. (f:.A~t-l the Scaffolc:l). · This, .. 0 gru~.o.m~Iittle tale recoµnts the fate9ftN{te·~1r C~pnelite nµns who, . during .. the Fre11ch·Revolu(ion,wer~·:c:p11q$m~tp clecapit~tio11 at the ·guUloUpe·· for their• refusal··_ to_ disban4 the~.~ ;cpµv~t• at Comp~~e; · ___ The stor,ywils supsequEintly suppose.d.toha,vel>,~e.ritreilted-in· .. afihn_ version, and B.emanos•(1888-1948)wrote the ·s,cree11pl~y entitledDialogues des Carmelites · shortlv before -· his · death~ ··_.· · Thou2:h the film never \[~;-· •·.• -~:t' ilr ~,,,):fr matertalized, . Albert Oeguin, the executor of the Bernanos estate, ' .. ·pul:>lisl"led the texts in< 1949. . ~ubsequently, Guido · Valcarenghi · .· co1llllµSsioi1ed Poulenc llfofp good f~ to write this work for the ···•· publishing house ofRicordi. (London: Gc.mancz, 1991, no. 239) •,· i ·.· . . ' )n the I op~ra, the aristocratic Marquis de la Force sends his daughter, . Blanc~; to the convent in order to shelter her from· the dangers of the ,revol~tiort. In the second act, it becomes apparent that the convent is one o~ the targets of the revolutionaries: The Father Confessor informs .the nvn5 that he has been forbidden from contiI)uing his priestly · minis~des in the convent. As he leaves, the revolutionary soldiers · 'i'PP~af at the convent door. In act three, the convent has been ~ansaqked. Blanche has fled to herJather's protection, but the Mother .. Superior comes to remind Blanche ofhe.r responsibilities. As· the opera dra.w~. to its inexorable conclusion, the nuns.are shown ascending the platfopn for execution~ · \.. !. ;, : flouieh.c, himself a devout Catholic, was deeply immersed in the score {;: m::f.Af ; f?, ~~logues. . He co~ent~d to. a frien~ concemin? the . work: ti/E,itm:ff;9.:9¥~~.usly, pe9ple won't fJ.nd it .ex,actly am~smg, but I thmk and hope •. ··;··.·.J •·.·:.; . .. ',':·:··.f:th.;,<~~.·.·.•.wi} . .11 be deeply moved." (Ibid., No. 238) . . . ;'\' ••<•tfJ · ! l · · · Notes by Mark Radice \.••• f(HJ] ,:·1: · • ;; .{/;Ji;I?a,Y;i4! Macln~re's Ave Maria was conuniss~oned by the professio~al r;: ;,r;/• M'Cl:tJl~'s (:?nsen1ble, Elektra for the 35th anniversary of the · Canadian ,:{·'i;,)v1W?iJ;ce,ntre. When MacIntyre was asked to write the piece for ;: r jEle~f~~/ it came at a propiHou~ titne in that he was deep .~ research al J:'i ,:a new opera he was planning about paranormal spmtual events ' ioc~ing iJ,1 war-tom Bosnia Hercegovi,na. There was at that ti.me a i' !storyltold about a small village where children and young adults were . runnipg daily out into the hills to,''see the Virgin Mary." Re.searchers · · supposedly c~e to the village. to investigate and found that this daily ·. visit~tion. was very real to many of the villagers · and eventually some ; of th¥ researchers:daimed they· also saw the vision. >: •,, ',-. f. . : . . . . ·, •.:11aclhtyre was parti.culady struck by the celebratory nature of the '\visit~tioris ,and the necessity·. of CQnnecl:ing with the . feminine maternal : hatu~ec:>f.the Divine; The effectiveness of the piece comes through the . ·c ·re1l'\a,tkable. portrayal of. anticipatiqn, .joy, an~.eventual realization. ' ' . ,:This Js accomplished ,through the repeated. II Ave· Maria" ostinato as: i t . · ) conti{lues to increase with intensity· cl!ld. speed throughout lhe •colllposition: The piece en!is rather abruptly.· One can speculate that .· }r>'~rh~ps ·the vision is suddenly gone. · My Heart's Friend is an interpretation of a Native American text comparing lhe beauty of the womandescrib~<:l. to.JJatuie. Cantanis a da_nce~like -piece using trad.iti?J:\a.l 1\fro-Caribbean sounds and .rhyth,ms. Tl,e text CQilles fron,,. a cljHc:lren's l:>ook e>f poetry, Columpio de_ lima a sol (Pe11diilµm fro.µ1 th¢·:tvI<.lqI\ tothe Sun) by Pura Vasquez. A native of New York; C::ity, Ft~cisco Nunez has been awarc:led. -the· Yotlllg VirtµosoJ !nter11a!iona.L~omposition Grant and _ a Certificate of Recogn_ition from-_ New _ York City's Mayor Rudolf Guiliani; He is the founder ~d artistic director of the YoungJ'eople's Chorus of New York City and a frequent clinician at professional music conferences and universities. . . . . Las Amarillas is in lhe southem·Mexican style the huapango. One of the · disti.nguishing characteristics_ of th¢ sty:le is the "floating downbeat" which can be felt most dearly i,t'\ tile alto part. Many times througl\e>l.lHhe compositie>n, a major do\\'nbea.t is .. a rest forJhe altos while~he.pulse. that n~turallyJallsinllie ~idgle- of the l?ar is nudged aside by another rest'. The resulting e(fect if !.hat of a rhythm -whose downl?eat keeps vanisllirlg at just the pointpUl' ea~s wol.llc:l e~ped the primary• emphasis __ tc:> fall .. -.-Because of the 11floating -dow11beat," the · huapa.ngo combines the single-minded drive e>fan ostinato with a sens.e of nimble-footed elasticity. In this piece; the>composer has' ·suggested that the meaning of the words is not as important as the sound. of the words. · Translation: _ The yenow birds fly from the cactus. No longer wiU the _-cardjnals·-sing happily _ to the song. Because the trees on the hillsid~ ha.ve not cpme back to · life -the bi.rds will either sll)g()r 91Jsh their nest. Ye>u are small i\lld bealltiful a.!ld llove yoµjust the way you · are. ,, You a.re like a· little ·•rps¢· f~om the coast of Guerrero. Everybody has -their own: farewell, but 7 there's llQne like this on!?, Fo\11' times five is twenty, three times -seven is twenty-one; - · ,trwv .· .· . l'fHACA C9Ll/~9E WO¥EN'S CHORALE · . . . . Jc111efGalva.11,·ccm.4uFtor .· JenniferHc1ywopcl,gfclduat~·.assi~tant . . ·. · · .· Rc1cliaelAllen, st~.d~nt conductor . ··,Atnanda C&1pQne,:· Stephanie Kane, Emily Rider; · i Miltyun Yum,. acco1Upanists . l::. ·, .. , . S~pranol Sa[ah Bartolome . Sl\aron Costianes ia~r.en·Dragan I,<rf~ten Robinson /:;'!;-;:··•. · ·.·l·.· :) ~or1?ranol-II .... ·· jf A : r. · Tiwl'es.a An<.iersen ';1; , :.: · ; · . l,-If1ther Barmore :gi,:):\,! \.. ;~,:· '.~ia• Biffer ,itl " j 'J' '\ l • l ·I ,;;,:i:·::;i',"', · Chrastina ,::[b.1iikt:i\;.Al~yson •.·.Clark !I 1l~\{1t~•r~;:, . :,t,fii!'i>J :Mf!iganJohnson · .. ~·fy: 'EI~zabeth.Kar~m ... :;;; ,:.if;'.; ·fy!i~heUeLorenz · · ,,-,·.:1, :•:.-,.. . 1· . · · n ·/. , . Saprina Martin ',: C))ristine Pratt ,. . I A:i}gela Ramacci• S<?pia Rqddguez · M~i:garet Schniepp · M~ry'"Lynn Sindoili · .. El~zabeth Ulm~r . · BdraYoon ' ' ' /· ·. I · · . 7 Sopra,no II . Teresa D' Amico A4nee Davis Elfaabeth Gerbi · :LaMreh Quigl~y · · · · · B~~h Scalcmge ·. o . · .• Brftta,ny Sa\Ydon CJ:irtstine. Stevens · Sopr,mo II - Alto I An,.ancla Capone Elizabeth.·· Fallesen Jessica Julin ·. Ourie MacDonald · Elizabeth Sullivan Allison Yeager Alto I Nicole Asel Michele·· George Lauren Pokroy Emily R,ider Alto I-II . Me.redith · Allen Amanda Blamble · Rosemarie Flores Elizabeth Getlik · Steph;1nie Kane Jeanette Kolb Tiffany R<c1hrig Deana Saada Rebecca Sach Heather Tryon . .Alt~ II Rachael Allen · . Emily Berg · Aime~ Pollard .... Sarah/PechµHs . · JenniferPertgen Amy Sanchez Elisa · Sciscfoli Jeanine Yako 

Concert: Ithaca College Women\u27s Chorale

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Concert: Ithaca College Women\u27s Chorale

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