Ithaca College Choir

Ithaca College Madrigal Singers

Wolter, James

English

Ithaca College

Ithaca CollegeDigital Commons @ ICAll Concert & Recital Programs Concert & Recital Programs4-7-2018Graduate Conducting Recital: James Wolter,graduate conductorJames WolterIthaca College Madrigal SingersIthaca College ChoirFollow this and additional works at: https://digitalcommons.ithaca.edu/music_programsPart of the Music CommonsThis Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted forinclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC.Recommended CitationWolter, James; Ithaca College Madrigal Singers; and Ithaca College Choir, "Graduate Conducting Recital: James Wolter, graduateconductor" (2018). All Concert & Recital Programs. 3635.https://digitalcommons.ithaca.edu/music_programs/3635Graduate Conducting RecitalJames Wolter, graduate conductorIthaca College Madrigal SingersIthaca College ChoirFord HallSaturday, April 7th, 20188:15 pmOf Death and FaithIthaca College Madrigal SingersKomm, du süße Todesstunde, BWV 161 Johann Sebastian Bach(1685-1750)I.   Alto aria - Komm, du süßeTodesstundeII.  Tenor recititativo - Welt, deine Lust ist LastIII. Tenor aria - Mein VerlangenIV. Alto recitativo - Der Schluß ist schon gemachtV.  Chorus - Wenn es meines Gottes WilleVI. Chorale - Der Leib zwar in der ErdenNicole Wills and Raul Dominguez, soloistsIthaca College ChoirSixty-Seventh Psalm Charles Ives(1876-1954)Ave Maria, Op. 23, No. 2 Felix Mendelssohn(1809-1847)Jacob Kerzner, Juliana Child, Allison Fay, Laura Stedge, McKinnyDanger-James, Matthew Coveney, Matthew Moody, and Kevin Harris, soloistsMaria Rabbia, organCraig Mehler, celloEmani Barber, bassLeron, Leron Sinta arr. Saunder Choi(b. 1988)This recital is in fulfillment of the degree M.M. in Choral Conducting.James Wolter is from the conducting studio of Janet Galván.Of Death and FaithThe program is built around Bach Cantata 161, Komm, du süße Todesstunde(Come, sweet hour of death). As the title suggests, this work centering ondeath does not look upon the end as something to be feared. Other worksemerged that dealt with our limited existence on earth in ways beyond thewailing and gnashing of teeth. Perhaps by viewing the human conditionthrough different perspectives, life becomes even more precious andresplendent through an acceptence of our mortality.Komm, du süße TodesstundeThe text comes from Salomon Franck, the Weimar court poet during the sametime when Bach worked as Konzertmeister at the ducal court. Though thework was composed in 1716 for the 16th Sunday after Trinity, Bach reusedthe composition at the Thomaskirche in Leipzig where slight variations weremade due to the availability of performing forces. While the vast majority ofrecordings adhere to the Weimar edition, this performance utilizes knownLeipzig practices in an edition prepared specifically for this recital. One of the main differences pertains to the use of sopranos during theopening alto aria. Originally, Bach had only the organ play the chorale melodyin the background. With the soprano forces of the Thomerchor in Leipzig, thevoice was added to the movement. Aurally, a listener can effortlessly hearthe tune alongside the alto's contrapuntal interplay with the melody. Thoughstructurally it remains the same, the audience, or in Bach's day thecongregation, can also more readily appreciate the bookend structure of thework being based directly on the chorale. Bach clearly had an affinity for thisfamous chorale tune, "O Haupt voll Blut und Wunden" (O sacred head, nowwounded) as he also set it five different times in his monumental work, St.Matthew Passion.   As mentioned above, the work does not tremble before death; instead eachmovement fully embraces the afterlife. This directly stems from the strongLutheran belief in redemption by faith alone. With such steadfast conviction,each section of the text yearns for the participant to be reunited with Jesus.The text reading for that particular Sunday included Ephesians 3:13–21 andLuke 7:11-17. The former asks for faith where the latter deals with thedeceased son from Nain of an unnamed mother. In this passage, Jesus raisesthe son to living, and in view from early 18th century Lutheran theology, thissymbolizes how death reunites a believer with Christ. Beyond expounding the main reading, other biblical references abound. Inthe first movement, the alto soloist exclaims "Da mein Geist Honig speist, ausdes Löwen Munde" (there my spirit dines on honey from the lion's mouth).This alludes to the story about Samson in Judges when he killed a lion with hisbare hands in defense, left the carcass only to return and find a beehive inthe lion's mouth. From this, he gathered the honey and gave it to his family. The following tenor recitative throws worldly desires aside. He claims thatsugar to him is like poison, and plucked roses yield thorns without number!Through this suffering, the tenor declares his wish to depart from this worldas the cello ends the secco recit with an elaboration of a descending C-minorarpeggio. The ensuing tenor aria then clarifies that the longing is to be withChrist. The climax of the aria arrives after an extended melisma repeating thephrase "dennoch gleich den Engeln prangen" (to be resplendent like theangels). Bach uses both forms of recitativo in this cantata as the alto gets a fullaccompagnato (using strings, flutes, and continuo) compared to the tenorsecco recit (using only continuo). While the tenor observes all the suffering onearth, the alto seemingly taunts death: "So brich herein, du froher Todestag,So schlage doch, du letzter Stundenschlag!" (So break forth, you cheerydeath-day, so strike, you last hour!). At the invitation, the strings begin tostrike their strings with pizzicati in an almost taunting manner. The next movement sets the full chorus for the first time. Unlike many of hisother vocal works, Bach uses the chorus in a primary homophonic setting; nofugues or extended melismas are found. The opening melodic material is aninversion of the opening alto aria. The ending chorale succintly summarizesthe theological message of the previous movements utilizing viscerallanguage of worms consuming the body. More pleasant imagery soon followswith the description of the transfigured soul shining like the sun. The choraleends with a question: if the afterlife is filled with such bliss, what harm candeath do to me?I. Alto aria with soprano choraleCome, you sweet hour of death,there my spirit dines on honeyfrom the lion's mouth     Heartily do I long for a blessed end     because here I am surrounded with affliction and miseryMake my departure sweet,Tarry not, last light,so that I can kiss my Savior.     I have desire to depart from this evil world,     I long for heavenly bliss; O Jesus, come quickly! II. Tenor recitativoWorld, your desire is an encumbrance,your sugar to me is hated like a poison,your light of joy is my comet,and where one plucks your roses,are thorns immeasurable to my soul's torment.The pale death is my dawnwith which rises the sun of glory and heavenly delight.Thus truly I sigh from the depth of my heart only for the last hour of death.I have desire to soon graze with Christ.I have desire to leave this world. III. Tenor ariaMy longing is to embrace the Saviorand to be with Christ soon.Though I shall be brokeninto mortal ash and earth through death,the soul's pure radiancewill be resplendent like the angels. IV. Alto recitativoThe end is already done,World, goodnight!And I can only take consolationto die in Jesus's arms.He is my gentle sleep.The cool grave will cover me with rosesuntil Jesus will raise me,until He leads His sheep to the sweet heavenly pasturethat death will not divorce me from Him,So breakforth, you cheery death-day,so strike, you last hour! V. ChorusIf it is my God's will,I wish the even todaythe burden of the body would occupy the earth,and the spirit, the body's guest,clothe itself with immortalityin the sweet joy of heaven.Jesus, come and take me away!This is my last word. VI. ChoraleIndeed, the body will be consumedby worms in the earth.Yet it shall be resurrectedbeautifully transfigured through Christ,Will shine like the sun,and live without afflictionIn heavenly joy and bliss.What harm then can death do to me?Sixty-Seventh PsalmCharles Ives grew up with a father who would constantly test his son'sthinking. This included having young Charles sing a familiar song in one keywhile his dad played accompaniment on the piano in a different key. It thusfollows that Ives's own compositions experimented with bi-tonality. In hismemos, he writes, "And also, if you can play a tune in one key, why can't afeller, if he feels like, play one in two keys?" In his lifetime, choirs wouldstruggle with the acquisition of notes, so although he desired it completely acappella, an organ would often assist in performance.This reasoning soon applied to choirs. In this Psalm setting, the sopranos andaltos sing in C-major while the tenors and basses sound in G-minor. To anaudience in the twenty-first century, the resulting sonorities at timesresemble tone-clusters made popular by choral composers of the last fewdecades. Other times, the clashes between the two keys become quitedissonant. A middle section begins with an ascending F-major chord with thesopranos and altos in canon at the octave; however the vocal lines slowlydiverge to get back to the original bi-tonality. The work ends with a chant-like incantation. The Psalm's text praises Godwhile asking for mercy and blessing. Though death is not mentionedexplicitly, noting God's righteous judgement surely indicates a faithful pleafor salvation during the end times. Ave MariaAfter Ives, a clear, tonally conventional Mendelssohn motet is used to cleansethe aural palette. A self-proclaimed Classicist, Mendelssohn wrote withelements of the Romantic Era (long sweeping lines, lush harmonies), butremained in classical form. In this motet, the middle section starting "Sancta Maria" harkens back ahundred years to Bach fugues, a style which Mendelssohn intimately knew.Indeed, one year before publishing this work at the youthful age of twenty,Mendelssohn conducted the entirety of Bach's St. Matthew Passion. This iscredited for bringing a fervor and adulation of Bach from amateur andprofessional musicians alike. Another Baroque trait is found in the scoring ofcontinuo with the choir. All but the bass line of the organ is  dropped whenthe choir enters; however, as with Ives, in case the choir could not hold pitch,the organ would assist. The opening minor third sung by the tenor uses just the third and fifth of themain key, A-major. It is not until the choir enters that the key center is clearlyestablished. The soloist and chorus then alternate the expansive phrases. Themiddle section uses the relative minor. While the basses and tenors continuethe text, the sopranos and altos keep repeating the faithful plea, "ora pronobis" (pray for us). A fugue then emerges followed by the opening minorthird statement in the tenor soloist. This serves as a bridge back to theopening. This time the lines are brilliantly infused with soloists from all voiceparts injecting "ora pro nobis" reminiscent of the previous section. This well-known prayer is beloved by many Catholics. Central to the heart ofthe prayer is "Holy Mary, pray for us sinners, now and at the hour of death."The supplicant acknowledges the presence of mortality. In this setting,Mendelssohn omits one line of the prayer - "et benedictus fructus ventris tui,Jesus" (and blessed is the fruit of thy womb, Jesus).   Hail Mary, full of GraceThe Lord is with youBlessed are You among womenHoly Mary, mother of GodPray for us sinnersNow and at the hour of our death. Amen.Leron, Leron SintaThis popular Filipino folk song has a playful, rhythmic nature. By alternatingmeasures where the text and meter align (the main text emphasis resides onstrong beats) and where the text emphasis lies on an offbeat, the piece hasan innate syncopated quality. Choi composes an opening rhythmic figure thatexploits this characteristic. Being primary a children's song, the words are open to various meanings andare often silly. One meaning asserts that when the boy falls from the treepicking fruit, he dies and the girl shrugs the notion away and looks foranother boyfriend. Other interpretations claim “have to search for another” isthe climber’s realization about trying to find another route to reach the fruit. The tenors and basses interrupt this story with a call to wake up. Perhapsnone of the trials described in the previous verse happened; however themortal danger of a breaking branch remains. Faith and courage is needed tostep out and grab the fruit! Another unexpected plot twist occurs when thegirl describes the ideal man. Although starting with the fearless male heroarchetype, the image suddenly gets turned upside down when the "enemy" isrevealed to be a plate of noodles on the table! Many thanks to Mimi Melegrito for pronunciation assistance as well as sharingher personal connections to the work! Leron, Leron my dearblossoms of the papaya tree,with a bamboo basket,he'd gather some fruits.But when he reached the top (of the tree),the branch broke.Oh, what a trick of fate,[I] have to search for another!Wake up, neneng*let's pick some tamarind fruits.Take the bamboo basketsto put the ripe ones in.Upon reaching the top (of the tree)the branches swayed heavily.Hold on tight, neneng,As you might fall.The one I will loveis a fearless man.He has seven gunsand nine knives.The journey he will takeis the distance of a table.A plate of noodlesis his foe!*neneng refers to a girlBach Instrumental EnsembleViolin I  Viola  Organ Shelby Dems Michelle Metty Jean Radice Emilie Benigno Jacob ShurHenry Smith Cello Flute  Craig MehlerViolin II  Kristina ShantonPeter Nowak Nicole Murray Bass Daniel McCaffrey Emani BarberGabriella StoutIthaca College Madrigal SingersSoprano TenorJuliana Child Raul DominguezAllison Fay Will FazzinaImogen Mills Shaun RimkunasMadeleine Parkes Grant WheelerLaura StedgeBassAlto Ethan BarrCatherine Barr Caleb BatesNicole Rivera-Díaz Logan MednickLeah Sperber David ShaneJessica VoutsinasNicole WillsIthaca College ChoirSoprano I Tenor I  Lucrezia Ceccarelli Seamus BuxtonMagdalyn Chauby Daniel CarneyJuliana Child Frankie DiLelloJamila Drecker-Waxman Brendan DuffyAllison Fay Will FazzinaImogen Mills Jacob KerznerErin O'Rourke Adam Tarpey Grant WheelerSoprano IID'Laney Bowry Tenor II   Annie Brady Matthew CoveneyHannah Cayem Raul DominguezMolly Ferguson Joshua DykesJulia Gershkoff Lucas HickmanMegan Jones Max KeislingSarah Kieran Benjamin MonacelliSage StoakleyAquiala Walden Baritone  Nicholas DuffinAlto I    Matthew MoodyVirginia Douglas Anthony PilcherEmily O'Connor Marshall PokrentowskiBergen Price Samuel SauerLeah Sperber Josiah Spellman, Jr.Laura Stedge Andrew SpragueJessica Voutsinas Michael WhiteNicole Wills Bass   Alto II  Luke ArmentroutCatherine Barr Cameron CostelloMcKinny Danger-James Ethan FisherEmily Dimitriou Johnathan FulcherHannah Martin Sean GattaNicole Rivera-Díaz Kevin HarrisMichelle Shaubi Logan MednickAbby Sullivan

Graduate Conducting Recital: James Wolter, graduate conductor

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Graduate Conducting Recital: James Wolter, graduate conductor

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