baroque around the world - oakland choral...

With Orchestra & Soloists

Noah Horn, Artistic Director

Scott Walters, Associate Conductor

Presents

Baroque Around the World

Featuring works by Gabrieli (Italy), Charpentier (France),

Araujo (Peru), Zelenka (Bohemia), Arañés (Spain),

J. S. Bach (Germany), and Handel (England)

Sunday, November 19, 2017 3:00 PM

St. James Episcopal Church

355 W. Maple Rd.

Birmingham, MI 48009

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Welcome to the first concert of the Oakland Choral Society’s 2017-2018

season, under the baton of our artistic director and conductor, Noah

Horn. We are pleased that several of Dr. Horn’s choral students at

Wayne State University are singing with us this season.

Our program offers a variety of works from the Baroque era, c1600-1750.

In the Baroque, four-part melody structures and syncopated phrases

were important aspects of many musical compositions, including choral

works, with three of the parts in four-count rhythm and the fourth voice

adding a syncopated eighth or sixteenth note series. While the Baroque

style began in Europe, it was exported to the Americas, primarily by

Spanish colonists, where the music commingled with the traditions of

the indigenous peoples and African slaves, creating dance rhythms that

helped form the basis of European musical forms such as the chaconne.

One example of the chaconne is the piece by Juan Arañés: Un sarao de la

chacona (A la vida bona). You can also hear these influences in Juan de

Araujo’s Los coflades de la estleya, with its use of African rhythms.

For our next concert in April 2018, we will present Gabriel Fauré’s

Requiem and Morten Lauridsen’s Lux Aeterna. More details are available

on our website, oaklandchoralsociety.org.

After today’s concert, we would appreciate receiving your review and

comments. Please go to our website and proceed to the “Contact Us”

tab. We welcome your input.

Thank you, audience and supporters, for your patronage.

Hope you enjoy the concert!

Mark Bartnik President, Oakland Choral Society

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Oakland Choral Society

Noah Horn, Artistic Director & Conductor

Scott Walters, Associate Conductor

Shari Fiore, Rehearsal Pianist

Soprano

Ann Bayleran

Mary F. Bennett

Barbara Burnham

Gisele Carrera

Kate Connolly

Wei Du

Mary Dunn

Linda Freeze

Cleo Hamilton

Laurie Harris

Vera Hurchik

Linda Isbell

Elizabeth Kanasty

Lisa Keinert

Marlene Knaus *

Janilla Lee

Mary Sue Livingston

Olga S. Meyer

Luanne M. Offer

Jane Ozolins

Lynn Pember

Candace Pierce-

Winters

Kathleen Ransome

Kathleen Rogers

Reiko Saito

Nancy Smith

Anne Tomiak

Sandra Toms

Bonnie Topper-

Bricker

Catherine Waring

Jennifer Yan

Alto

Sachiko An

Serafina Belletini

Christine Brown

Sandra Collins

Nora Conn

Mary E. Creager

Ellen Dempsey

Bette Duprey

Karen Eldred *

Barbara Fairbrother

Anita DeMarco Goor

Deborah Hoover

Marissa McConnell

Susan McDonald

Linda Morrison

Bea Sandweiss

Marjie Scott

Marilyn Sicklesteel

Mary Weinhold

Allison Weinmann

* Section Leader

Tenor

Mark Bartnik

David E. Crawford

Chad Creager #

Benjamin Findlan √

Cindy Oberg

Gloria Rhodes

Harold Silk

Pierce Ward

Larry Wolf *

Paul Yu

Bass

Glen Battjes #

Clarence Bennett #

Ed Conn

Michael Dempsey

Marilyn Duguid

David Field

Karl Geisler

Daniel Harris

Timothy Higle

Rick Johnston

Bud Kilgore

Chris Owens

Ward Randol

Craig Sieferd *

Josiah Tazelaar

Willem Tazelaar

√ Assistant Conductor

# Stage Manager

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Noah Horn, Oakland Choral Society’s

Artistic Director and Conductor, heads the

choral program at Wayne State University,

where he conducts three choirs, supervises

the master's program in choral conducting,

and teaches ear training. He also serves as

artistic director of Audivi, a professional

vocal ensemble with an extensive repertory.

On weekends he directs the music program at

Grosse Pointe Woods Presbyterian Church.

Dr. Horn holds degrees in conducting and organ from Yale University

and Oberlin College. In the past he has served as interim director of

choral activities at Western Michigan University, artistic director of The

Madison Chorale, conductor of the Wesleyan University Orchestra, and

director of the professional choirs at Christ Church, New Haven. As a

professional tenor, he has sung with Conspirare, Yale Choral Artists,

Yale Schola Cantorum, sounding light, and several other nationally-

recruited ensembles, with which he has recorded albums for Naxos and

Delos. As an organist he has given recitals across the United States and

in Germany. His compositions have recently received several premieres

in Michigan and Illinois. Venturing over to reality television, he

appeared in the final rounds of America’s Got Talent 2013 with Three

Penny Chorus and Orchestra. A native of Davenport, Iowa, he now

resides in Detroit.

Shari Fiore, Rehearsal Pianist, graduated

from Oakland University with a Master of

Music degree in organ performance and

sacred music and a Bachelor of Arts degree in

piano. She studied piano with the late Joyce

Adelson and organ with D. Frederic

DeHaven. In her extensive career, Ms. Fiore

has been accompanist and assistant director

for the Rackham Symphony Choir and has

performed with the DeHaven Chorale. She

has also performed major organ works and accompanied choral

performances in cathedrals throughout Europe. Ms. Fiore currently

teaches at the Detroit School of Arts and is the organist at First

Presbyterian Church of Farmington Hills.

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William Scott Walters, Associate Conductor,

enjoys a multifaceted career as a conductor,

singer, and educator. He studied conducting

with Jerry Blackstone in the University of

Michigan's Master of Music conducting

program, and studied privately with Robert

Spano, Harry Bicket, and Kenneth Kiesler.

While at Michigan, Mr. Walters has served as

conductor of the Orpheus Singers, assistant

conductor of the Residential College Singers,

Arts Chorale, and assistant conductor of the University and Chamber

Choirs. He has also served as assistant conductor for the Atlanta

Symphony Orchestra's 2013 performance of Bach's B Minor Mass, and

provided music direction for the Ann Arbor Opera Guild's 2013

American premiere performance and recording of von Suppe's Light

Cavalry. Mr. Walters has been a conducting fellow for Sarteano Chamber

Workshop in Italy, and Conductors Retreat at Medomak in Maine. A

versatile performer, Walters has appeared as a soloist and section

member of the UMS Choral Union and Atlanta Symphony Orchestra

Chorus, as well as singing backup for Barry Manilow. He was sought out

regularly for vocal lessons and coaching in the metro-Atlanta area before

returning to Ann Arbor. Walters studied voice performance with

Carmen Pelton and Valerie Walters. Before commencing graduate

studies, Mr. Walters served as director of choral music and taught drama

at Pepperell High School in Rome, GA. Originally from Kennesaw, GA,

he earned his Bachelor’s degree in music education from Kennesaw State

University, where he studied conducting with Leslie Blackwell.

Oakland Choral Society Officers and Board of Directors

Mark Bartnik – President, Rick Johnston – Vice-President

Lisa Keinert–Recording Secretary, Karl Geisler – Treasurer

Anita DeMarco Goor – Corresponding Secretary

Sandra Collins, Ed Conn, Nora Conn, Marilyn Duguid, Marilyn

Sicklesteel, Harold Silk, Pierce Ward, Edwin Washington

Artistic Director and Conductor – Noah Horn

Associate Conductor – Scott Walters

Rehearsal Pianist – Shari Fiore

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November 19, 2017

Baroque Around the World

Program

Italy Giovanni Gabrieli: In ecclesiis (c1605)

France Marc-Antoine Charpentier:

In Nativitatem DNJC canticum H414 (1684)

Peru Juan de Araujo: Los coflades de la estleya (c1680)

Bohemia Jan Dismas Zelenka: Miserere ZWV 57 (1738)

Intermission

Spain Juan Arañés: Un sarao de la chacona (1624)

(Chacona: A la vida bona)

Germany Johann Sebastian Bach:

Christ lag in Todes Banden BWV 4 (1707)

England George Frideric Handel:

Hallelujah Chorus, from Messiah (1741)

Soloists Victoria Fraser, soprano (VF)

Arianne Abela, soprano (AA)

Lara Alami, mezzo-soprano (LA)

Brian White, tenor (BW)

Michael Hawes, bass (MH)

Kate Connolly, soprano (KC)

Serafina Belletini, mezzo-soprano (SB)

(Initials will be used in the program text to

designate solos)

Orchestra Mary Riccardi, Violin 1

Phoebe Gelzer-Govatos, Violin 2

Debra Lonergan, Cello

Jeffrey Noonan, Theorbo

Kiri Tollaksen, Cornetto

Glenn Burdette, Harpsichord

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Giovanni Gabrieli – In ecclesiis

Giovanni Gabrieli (c1555–1612) was a prominent Venetian composer and

an important musical figure in the transition from the late Renaissance to

the early Baroque. One of his early teachers was his uncle, Andrea

Gabrieli, the organist at St. Mark’s Cathedral. His uncle also provided

connections to teachers in Germany, most notably Orlando di Lasso.

After his return from Germany, Giovanni served as principal organist at

St. Mark’s until his uncle’s death in 1586, at which time he assumed the

position of principal composer, a position he held until his death.

Gabrieli’s work at St. Mark’s, with its tradition of musical excellence,

made him one of the most noted composers in Europe. His influential

volume, Sacrae symphoniae (1597), brought composers from all over

Europe to Venice to study with him, including Heinrich Schütz and

Hans Leo Hassler, who helped bring early Baroque music to Germany.

Gabrieli composed in many forms but he preferred sacred vocal and

instrumental music, particularly that which maximized sonority. Among

the innovations credited to Gabrieli are the use of dynamics, the use of

specifically notated instrumentation, and the use of massive groups of

instruments or voices arrayed in multiple and spatially separated

groups. The motet, In ecclesiis, based on Psalm 26:12, showcases his

polychoral techniques, such as sections solely for instruments, called

“sinfonia,” small sections for soloists accompanied simply by a basso

continuo, and close dialogue between choirs and soloists forming rondo

patterns in the motet.

(LA) In ecclesiis benedicite Domino.

Alleluja.

(MH) In omni loco dominationis benedic

anima mea Dominum. Alleluja.

(BW/MH) In Deo salutari meo et gloria

mea. Deus auxilium meum et spes mea

in Deo est. Alleluja.

(VF/BW) Deus noster, te invocamus, te

laudamus, te adoramus. Libera nos,

vivifica nos. Alleluja.

(VF/LA/BW/MH) Deus, adjutor noster in

aeternum. Alleluja.

Bless the Lord in the congregation.

Alleluia.

In every region of his power, may my

soul bless the Lord. Alleluia.

In God is my salvation and my glory.

The Lord is my aid, and my hope is in

God. Alleluia.

Our God, we call upon you, we praise

you, we adore you. Liberate us,

revive us. Alleluia.

God, our Helper forever.

Alleluia.

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Marc-Antoine Charpentier – In Nativitatem D(omini)

N(ostri) J(esu) C(hriste) Canticum H 414

Marc-Antoine Charpentier (1643–1704), born in or near Paris, was an

exceptionally prolific and versatile composer, producing works of the

highest quality in many genres including Psalm settings, hymns, motets,

operas, and masses. He studied in Rome with the Italian composer,

Giacomo Carrisimi, who introduced him to the oratorio form. Upon his

return to Paris, Charpentier was the house composer for the Duchesse de

Guise for about seventeen years. From 1687 to 1698, he served as music

master for the Church of Saint-Louis and in 1698 he became music

master of children at Sainte-Chappelle, remaining there until his death.

In Nativitatem DNJC is a dramatic motet or oratorio, but Charpentier

preferred to call it a canticum, the Latin term for oratorio. He composed

more than 30 oratorios with six related to the Nativity. This canticum has

been described as the “Little Christmas Oratorio” and includes a narrator

(l’Historien) who tells the story and introduces the other characters in

the drama.

Praeludium Prelude

Récit de l’Historien (KC/SB)

Frigidae noctis umbra totum orbem

tegebat, et immersi jacebant omnes in

somno profundo. Pastores autem

Judeæ vigilabant super gregem suum.

Et ecce angelus Domini stetit juxta eos.

Et claritas Dei circum fulsit eos.

Timuerunt autem pastores timore

magno. Et dixit illis Angelus:

The Historian’s Tale

The shadow of the cold night covered

all the earth, and plunged all into a

profound sleep. The shepherds of

Judea were watching over their flocks.

And lo, an angel of the Lord stood by

them. And the glory of the Lord shone

about them. The shepherds were

greatly afraid. And the angel said to

them:

Air de Angelus (AA)

Nolite timere, pastores. Ecce enim

annuntio vobis gaudium magnum

quod erit omni populo: quia natus est

hodie Salvator vester in civitate David;

et hoc erit vobis signum: invenietis

infantem pannis involutum et

reclinatum in præsepio. Ite, pastores,

et adorate illum.

Air of the Angel

Fear not, shepherds. For lo, I bring

news of great joy which shall be to all

people: for today your Savior is born

in the city of David; and this will be a

sign to you: you will find the baby

wrapped in swaddling clothes and

lying in a manger. Go, shepherds, and

adore him.

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Choer de Pastores

Surgamus, festinemus, properemus,

eamus usque Bethleem.

Ibi videbimus puerum qui natus est

nobis.



Ibi laudabimus et adorabimus Deum

sub forma peccatoris velatum. Quid

moramur, quid cunctamur, O pastores

inertes?



Chorus of Shepherds

Let us rise up, let us hurry,

let us hasten, and go to Bethlehem.

There shall we see the child that is

born for us.



There shall we praise and adore God

hidden under the form of a sinner.

Why delay, why linger, O idle

shepherds?



Marche de Pastores

Récit de l’Historien (MH)

Euntes autem pastores pervenerunt ad

locum ubi Jesus natus erat, et intrantes

domum, invenerunt Mariam et Joseph

et puerum involutum pannis et

reclinatum in præcipio. Et procidentes

adoraverunt eum, inculto sed devoto

carmine dicentes:

Air d’un Pastor et Choer

(BW) Salve puerule, salve tenellule,

O nate parvule quam bonus es.

Tu cælum deseris, tu mundo nasceris,

nobis te'ut miseris assimiles.

(LA) O summa bonitas, Excelsa deitas

Vilis humanitas fit hodie.

Æternus nascitur, immensus capitur

et rei tegitur sub specie.

(VF) Virgo puerpera, beata viscera

Dei cum opera dent filium.

Gaude, flos virginum, gaude, spes

hominum, fons lavans criminum

proluvium.

March of the Shepherds

The Historian’s Tale

So the shepherds came with haste to

the place where Jesus was born, and

entering the house they found Mary

and Joseph and the boy wrapped in

swaddling clothes and lying in a

manger. And they bowed down and

adored him with artless but devoted

songs, saying:

Air of the Shepherd and Chorus

Hail, little child, hail, tender babe,

O tiny child how good you are. You

leave heaven, you are born in the

world, making yourself like us, poor

wretches.

O highest goodness, lofty Godhead

that today becomes poor humanity.

The Eternal is born, the boundless

circumcised, and hid in worldly garb.

Virgin mother, your blessed womb,

through God gives birth to a son.

Rejoice, flower of virgins, rejoice, hope

of mankind, fount that washes away

the stain of sins.

Latin translation: Kelly Braxton and Keith Anderson

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Juan de Araujo – Los coflades de la estleya

Juan de Araujo (1646–1712) was born in Spain but traveled to Peru at an

early age with his father. He served as choirmaster for a time at the Lima

Cathedral but most of his professional life was spent at the Cathedral of

La Plata (present-day Sucre), Bolivia. Araujo composed prolifically.

While his output of sacred music in Latin is relatively small, there is an

abundance of villancicos that incorporate the dialects and rhythms of the

ethnically diverse Latin American populations and employ systemic

syncopation in 6/8 time to provide unexpected rhythmic drive, as in Los

coflades de la estleya. This piece, subtitled Black Song for the Birth of Our

Lord, uses the musical language of the streets to present the story of the

Wise Men following the star to Bethlehem, using contemporary

characters and imagery familiar to Latin Americans of the time.

(VF/AA) Los coflades de la estleya

vamo turus a Beléya

y velemo azio la beya

con Siolo en lo poltal:

¡Vamo, vamo curendo ayá!

Oylemo un viyansico

que lo compondlá Flacico

ziendo gayta su focico,

y luego, lo cantalá

Blasico, Pellico, Zuanico y Tomá

y lo estliviyo dilá:

Gulumbé, gulumbé, gulumbá,

Guaché, moleniyo de Safalá.

Bamo abel que traen de Angola a ziolo

y a ziola, Baltasale con Melchola y mi

plimo Gasipar.

¡Vamo, vamo curendo ayá!



Fellow brothers of the Star

let us go to Bethlehem

and we shall see our beautiful Lady

with our Lord in the manger:

Let’s go, let’s run there!

We shall hear a carol

that Francisco will compose

piping in his little voice,

then Blasico will sing it with Perico,

Juanico and Tomás

and the chorus will go:


Poor children, black children from

Safala.

Let us go and see what they have

brought from Angola for Our Lord and

Our Lady, Balthasar and Melchoir and

my cousin Caspar.

Let’s go, Let’s run there!



Safala.

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Vamo siguiendo la estleya eya

lo negliyo coltezano vamo

pus lo reye con tesuro turo

de calmino los tres ban. ayá

Blasico, Pellico, Zuanico, y Tomá,

¡Eya! ¡Vamo turu ayá!



Vamos turus los Neglios plimos

pues nos yeba nostla estleya beya

que sin tantuz neglos folmen noche

mucha luz en lo poltal ablá

Blasico, Pellico, Zuanico y Tomá,

plimo neglo, bueye ablá.


Guache, moleniyo de Safala.

Let us follow the star Come on!

we black courtiers Let’s go!

since the Three Kings All of us!

are coming with treasure. That way!

Blasico, Perico, Juanico and Tomás

Come on! Let’s all go there!



Safala.

Let’s go, all the black children, my

cousins!

since our Star is leading us, beautiful!

even though we’re all as black as night

on the manger, plenty of light there’ll be.

Blasico, Perico, Juanico, and Tomás,

Black cousins, there will be oxen.



Safala.

Translation by Jules Whicker, University of Birmingham

Jan Dismas Zelenka – Miserere ZWV 57

Jan Zelenka (1679-1745) was born in Bohemia, which was part of the

present-day Czech Republic. Not much is known of his early years but it

is likely that he received his music training from his father, a

schoolmaster and organist. From 1710 until his death in 1745, he held

positions at the Dresden Hofkapelle, the court orchestra, first as a double

bass player and later as church-music composer. Except for a few years

in Vienna to further his studies, he remained in Dresden, where he

composed works for the Catholic church service, including masses,

vespers, litanies, and other liturgical services.

The Miserere in C minor, a setting of the 50th Psalm, was completed in

1738 and was most likely intended for use with the Holy Week liturgy. It

is comprised of six movements with the complete psalm text sung in the

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second movement with lively rhythms that are anchored by the basses

repeating the text, Miserere mei, Deus, throughout the movement. The

third movement, Gloria Patri I, is sung by a solo soprano and provides a

pleasing contrast to the rest of the piece. Movements four and five

complete the doxology, the expression of praise to God, and the final

movement reprises the opening one.

Miserere I

Miserere, miserere mei,

Deus; miserere.

Miserere II

Miserere mei, Deus, secundum

magnam misericordiam tuam.

Miserere mei, Deus.

Et secundum multitudinem

miserationum tuarum, dele, dele

iniquitatem meam.

Amplius lava, lava me ab iniquitate

mea: et a peccato meo munda, munda

me.

Quoniam iniquitatem meam ego

cognosco: et peccatum meum contra

me est semper, contra me est semper.

Tibi soli peccavi, et malum coram te

feci: ut justificeris in sermonibus tuis,

et vincas, et vincas cum judicaris.

Ecce enim, in iniquitatibus conceptus

sum. Et in peccatis meis concepit me

mater mea.

Ecce enim, veritatem dilexisti. Ecce

enim: incerta et occulta sapientiæ tuæ

manifestasti mihi.

Have mercy, have mercy on me,

O God; have mercy.

Have mercy on me, O God; your

mercy is so great.

O God, have mercy on me.

And through the vastness of your

mercies, take away, take my sins away

from me.

Wash me all over, wash away from me

all my sins: cleanse me from all my

wrongs; wash, wash me.

For I know my iniquities: and my sins

are always before me, always before

me.

Against you alone have I sinned, and

done evil in your sight: your sentence

upon me is justified, and blameless,

blameless is your judgment against me.

Behold, I was born, I was conceived in

sin. It was in sin that my mother

conceived me.

Behold, you want inward truth in us.

Look then: teach me, in the depths of

my heart teach me your wisdom.

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Asperges me hyssopo, et mundabor: et

super nivem dealbabor.

Auditui meo dabis gaudium, dabis

gaudium et lætitiam, et exsultabunt

ossa humiliata.

Averte faciem tuam a peccatis meis et

omnes iniquitates meas dele.

Cor mundum crea in me, Deus: et

spiritum rectum innova, innova in

visceribus meis et spiritum sanctum

tuum.

Ne projicias me a facie tua, ne auferas

a me salutaris tui: et spiritu principali

confirma me.

Redde mihi laetitiam: et spiritu

principali confirma me.

Docebo iniquos vias tuas: et impii ad te

convertentur, ad te convertentur,

convertentur.

Libera me de sanguinibus, Deus. Deus

salutis meae: et exultabit lingua mea

justitiam tuam, exultabit justitiam

tuam.

Domine, labia mea aperies: et os meum

annuntiabit laudem tuam.

Quoniam si voluisses sacrificium

dedissem utique.

Holocaustis non delectaberis.

Miserere mei, Deus.

Sacrificium Deo spiritus contribulatus:

cor contritum, et humiliatum, Deus,

non despicies.

Purge me with hyssop, and I will be

clean: I will be whiter than snow.

Fill me with gladness, with gladness

and joy, and let the bones which you

have crushed rejoice.

Hide your face from my sins and blot

out all my iniquities.

Create in me a clean heart, O God: and

renew a steadfast spirit within me,

renew me within with your Holy

Spirit.

Do not cast me away from your face,

do not take your salvation away from

me: strengthen me with your holy

spirit.

Restore to me the joy of your salvation:

and uphold me with a willing spirit.

Then I will teach the wicked your

ways: and they will come back to you,

they will come back, back to you.

Free me from death, O God. O God of

my salvation: and my tongue shall sing

aloud of your justice, shall sing of your

deliverance.

O Lord, open thou my lips: and my

mouth shall show forth thy praise.

If you wished for sacrifice, I would

surely offer it.

But you delight not in burnt offerings.

Have mercy on me, O God.

My sacrifice to God is a broken spirit: a

contrite and humble heart, O God, you

will not despise.

14

In bona voluntate tua Sion: benigne

fac, Domine, ut aedificentur muri

Jerusalem.

Miserere mei, Deus.

Tunc acceptabis sacrificium justitiae:

oblationes, et holocausta, Deus. Tunc

imponent super altare tuum vitulos.

Gloria Patri I (VF)

Gloria Patri, Patri, et Filio, et Spiritui

Sancto, Spiritui Sancto, et Spiritui, et

Spiritui Sancto.

Gloria Patri II

Gloria Patri, Patri, et Filio, et Spiritui,

et Spiritui Sancto.

Sicut Erat

Sicut erat in principio, et nunc,

et semper, et in saecula saeculorum.

Amen. Miserere mei, Deus.

Miserere III

Miserere, miserere, miserere mei,

Deus, miserere.

In your good will toward Zion: be

merciful, Lord, rebuild the walls of

Jerusalem.

Have mercy on me, O God.

Then you will delight in just sacrifices:

in offerings, and burnt offerings, O

God. Then will bulls be offered on

your altar.

Glory be to the Father, to the Father,

and to the Son, and to the Holy Ghost,

the Holy Ghost, the Holy, the Holy

Ghost.

Glory be to the Father, to the Father,

and to the Son, and to the Holy, and to

the Holy Ghost.

As it was in the beginning is now, and

ever shall be, world without end.

Amen. Have mercy on me, O God.

Have mercy, mercy, mercy on me, O

God, have mercy.

Translation by Olivia Holmes

Juan Arañés – Un sarao de la chacona

(also known as Chacona: A la vida bona)

Juan Arañés (c1580-1649) was a Spanish composer, active briefly in Italy.

A la vida bona was the first chacona for voices by a Spanish composer to

appear in print. Writers from the time (such as Cervantes) indicate that

the chacona, a lively dance in triple time, was associated with servants,

slaves, and Amerindians. It was often condemned for its suggestive

rhythms and mocking texts, and was said to have been invented by the

devil. A la vida bona celebrates life and pleasure.

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Un sarao de la chacona

se hizo el mes de las rosas,

hubo millares de cosas

y la fama lo pregona.

A la vida, vidita bona

vida vámanos a chacona.

(AA/LA/BW/MH)

Porque se casó Almadán

se hizo un bravo sarao,

dançaron hijas de Anao

con los nietos de Milán.

Un suegro de Don Beltrán

y una cuñada de Orfeo

comemçaron un guineo

y acabólo una amaçona


(MH) Salió la çabala garda

con la mujer del encenque

y de Zamora el palenque

con la pastora Lisarda.

La mezquina doña Albarda

trepó con pasta a Gonzalo

y un ciego dió con un palo

tras de la braga lindona


(LA) Porque se casó Almadán…(repeat)

One evening in the month of roses

a dancing party was held,

it afforded a thousand pleasures

and was famed both far and wide.

Here’s to the good, sweet life,

my sweet, let’s dance the chaconne.

When Almadan was wed

a grand old party was thrown,

the daughters of Aneus danced

with the grandsons of Milan.

The father-in-law of Bertran

and Orpheus’s sister-in-law

began a Guinea dance

and was finished by an Amazon

and was famed both far and wide

The plump shepherdess went out

with the wife of the puny man

and of Zamora the pregnant one

with Lizzy the shepherdess.

The stingy Doña Albarda

stumbles with the splendid Gonzalo

and a blind man with a stick

goes for the pretty knickers,

and was famed both far and wide.

Johann Sebastian Bach

Christ lag in Todes Banden BWV 4

Johann Sebastian Bach (1685-1750) was born in Eisenach, Germany, to a

family of musicians. Orphaned by the age of ten, he first lived with an

older brother, who was an organist, and then continued his musical

education at St. Michael’s church school in Lüneburg, where he was

exposed to the German choral tradition and French orchestral music.

Before the age of twenty, Bach was employed as a church organist, and

within a few years he began composing sacred vocal and choral music.

16

Christ lag in Todes Banden is Bach’s first cantata for Easter, written in the

style of a chorale cantata, in which both text and music are based on a

hymn. Bach used Martin Luther’s hymn of the same name, and the

movements of the cantata correspond to the stanzas of the hymn, which

focuses on the struggle between Life and Death. Unlike Bach’s later

cantatas, all movements here are in the same key. The seven stanzas are

treated as chorale variations in each movement, with the melody present

as a cantus firmus. All stanzas end with the word Halleluja.

Sinfonia

Verse 1 – Chorus Christ lag in Todes Banden

für unsre Sünd gegeben,

er ist wieder erstanden

und hat uns bracht das Leben.

Des wir sollen fröhlich sein,

Gott loben und ihm dankbar sein

und singen halleluja,

Halleluja!

Verse 2 – Duet: VF & LA Den Tod niemand zwingen kunnt

bei allen Menschenkindern;

das macht' alles unsre Sünd,

kein Unschuld war zu finden.

Davon kam der Tod so bald

und nahm über uns Gewalt,

hielt uns in seinem Reich gefangen.

Halleluja!

Verse 3 – Solo: BW Jesus Christus, Gottes Sohn,

an unsre Statt ist kommen

und hat die Sünde weggetan,

damit dem Tod genommen

all sein Recht und sein Gewalt;

da bleibet nichts denn Tods Gestalt,

den Stachel hat er verloren.

Halleluja!

Symphony (Introduction)

Christ lay in death's bonds

handed over for our sins,

he is risen again

and has brought us life

For this we should be joyful,

praise God and be thankful to him

and sing alleluia,

Alleluia!

Nobody could overcome death

among all the children of mankind;

our sin was the cause of all this,

no innocence was to be found.

Therefore death came so quickly

and seized power over us.

held us captive in his kingdom.

Alleluia!

Jesus Christ, God's son,

has come to our place

and has put aside our sins,

and in this way from death has taken

all his rights and his power;

here remains nothing but death's

outward form, it has lost its sting.

Alleluia!

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Verse 4 – Chorus Es war ein wunderlicher Krieg,

da Tod und Leben rungen;

das Leben behielt den Sieg,

es hat den Tod verschlungen.

Die Schrift hat verkündigt das,

wie ein Tod den andern fraß,

ein Spott aus dem Tod ist worden.

Halleluja!

Verse 5 – Solo: MH Hier ist das rechte Osterlamm,

davon Gott hat geboten,

das ist hoch an des Kreuzes Stamm

in heißer Lieb gebraten.

Das Blut zeichnet unser Tür,

das hält der Glaub dem Tode für,

der Würger kann uns nicht mehr

schaden.

Halleluja!

Verse 6 – Duet: VF & BW So feiren wir das hohe Fest

mit Herzensfreud und Wonne,

das uns der Herr erscheinen läßt.

Er ist selber die Sonne,

der durch seiner Gnaden Glanz

erleuchtet unsre Herzen ganz,

der Sünden Nacht ist verschwunden.

Halleluja!

Verse 7 – Chorus Wir essen und leben wohl

in rechten Osterfladen;

der alte Sauerteig nicht soll

sein bei dem Wort der Gnaden.

Christus will die Koste sein

und speisen die Seel allein,

der Glaub will keins andern leben.

Halleluja!

It was a strange battle

where death and life struggled;

life won the victory,

it has swallowed up death

Scripture has proclaimed

how one death ate the other,

death has become a mockery.

Alleluia!

Here is the true Easter lamb

that God has offered

which high on the trunk of the cross

is roasted in burning love.

His blood marks our doors,

which faith holds in front of death,

the strangler can harm us no more.

Alleluia!

Thus we celebrate the high feast

with joy in our hearts and delight,

that the Lord lets shine for us.

He is himself the sun

who through the brilliance of his grace

enlightens our hearts completely,

the night of sin has disappeared.

Alleluia!

We eat and live well

on the right Easter cakes;

the old sour-dough should not

be with the word grace.

Christ will be our food

and alone feed the soul,

faith will live in no other way.

Alleluia

English Translation by Francis Browne (January 2005)

18

George Frideric Handel

Hallelujah Chorus, from Messiah

George Frideric Handel (1685-1759) was born in Halle, Saxony. He

showed an early gift for music and studied with the organist of the

parish church, Friedrich Zachow. Handel may have started composing

church music as early as the age of nine. In 1712, after four years in Italy,

he moved to England and quickly became a favorite of the royal court.

When the popularity of his Italian-style operas began to wane, Handel

started writing oratorios. Although he composed several on biblical

themes, Messiah is the only one based on the New Testament, and the

only one he titled “A Sacred Oratorio.”

Messiah was written during a bleak time in Handel’s life, when he was

beset by financial troubles and poor health. Despite these problems, he

was so inspired by Charles Jennens’ libretto for Messiah that he wrote the

music in just 24 days. When Handel himself conducted the first

performance in Dublin on April 13, 1742, it was a huge success, and the

work has continued to be much in demand to this day. Handel

conducted his last performance of Messiah just eight days before his

death in London in 1759.

Hallelujah: for the Lord God omnipotent reigneth.

The kingdom of this world is become the kingdom

of our Lord and of his Christ;

and he shall reign for ever and ever.

King of Kings and Lord of Lords. Hallelujah!

Revelations 19:6; 11:15; 19:16

OCS 2017-2018 Season Continues

Sunday, April 22, 2018

Lux Aeterna by Morten Lauridsen

&

Requiem, Op. 48 by Gabriel Fauré

Details at www.oaklandchoralsociety.org

http://www.oaklandchoralsociety.org/

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2017 – 2018 Season Supporters

Oakland Choral Society is a 501(c) 3 organization.

Donations are tax-deductible. Thanks to all of you!

We are extremely grateful for your generosity and support!

SPONSORS ($500 - $999) Richard Johnston

PATRONS ($100 - $249) Mary and Chad Creager

Anita DeMarco Goor

Jane and Andis Ozolins

Gloria Rhodes

Nancy and John Smith

Sandra Toms

BENEFACTORS ($250 - $499) Les and Bonnie Bricker

David Szymborski and

Marilyn Sicklesteel

FRIENDS (up to $100) Sachiko An

Wei Du

Karen Eldred

Cynthia Oberg

Luanne Offer

Bea Sandweiss

HONORARIUMS AND MEMORIALS In honor of Karen McGrath by Joan Barnard

In honor of Karen Mayer by Polly and Bill McGrath

In memory of Paul John from Mom

Acknowledgments The music that we are privileged to bring to you would not be possible

without the efforts of our members, the board, the support of our

families and friends, and the involvement of the community. We would

especially like to thank the following:

Birmingham Unitarian Church: Rev. Patricia Shelden, Rev. Daniel

Budd, Kym Worth

St. James Episcopal Church, Birmingham: Rev. Joshua A. Hoover,

Glenn Burdette, Quenten Matthews

Program and Publicity: Mary Creager, Anita Goor, Luanne Offer, Gloria

Rhodes, Marilyn Sicklesteel

Tickets & Concert Support: Glen Battjes, Chad Creager, Joan & Janet

Geisler, Luanne Offer, Sandra Pinchback, Edwin Washington

Website: Mark Bartnik, Pierce Ward

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Corporate Programs that Support OCS

Kroger Community Rewards, Luanne Offer, Coordinator. Oakland Choral

Society is enrolled in Kroger Community Rewards. Through this program,

Kroger makes donations to your designated nonprofit organization based on

your spending as a registered Kroger Plus Card customer. There is no cost to

you, the customer. To participate, go to www.kroger.com. Our organization

number is 96419.

AmazonSmile, Mark Bartnik, Coordinator. Amazon will donate 0.5% of

your purchases to the nonprofit organization you designate through your

Amazon account. Follow the directions on the Amazon website and select

Oakland Choral Society as your designated nonprofit organization. When

making purchases, you must log into Amazon through

https://smile.amazon.com using the same login and password as your

existing account.

Please encourage your family and friends to designate Oakland Choral

Society for these corporate programs. We appreciate your participation and

support. Thank you.

Do you or someone you know like to sing classical choral music?

Then consider joining Oakland Choral Society (OCS).

The story of OCS began in 1963, when Oakland University first offered a

course for a community chorus. In early 2003, the university discontinued

the course. A group of those singers then formed a separate, independent

chorus, OCS, under the baton of D. Frederic DeHaven. While the conductor

of OCS has changed since then, many of the original singers still remain.

The OCS mission is to provide educational enrichment for Oakland County

and metropolitan Detroit communities; to expand and enhance cultural

experiences through dedication to the highest possible musical performance

standards by presentation of significant classical and contemporary choral

works; and to expose the listener to the finest choral literature in order to

foster an appreciation of composers and singing. Our activities are made

possible through ticket sales, choir membership dues, and the generosity of

individuals and businesses.

We welcome those who read music, have some singing experience, and love

singing classical choral music. No audition required. Please join us!

http://www.kroger.com/

https://smile.amazon.com/

24

PO Box 214064 Auburn Hills, MI 48321-4064

(248) 391-0184

For information on membership, rehearsal schedule, and

upcoming performances, please visit our website at

www.oaklandchoralsociety.org

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