The University of St. Michaels College in the University of Toronto

Charpentier, Te Deum in D and other music

for the Feast of St. Michael

Michaelmas Eve Monday, September 28, 2015

7:30 p.m. St. Basils Church

DONATIONS COLLECTED AT TONIGHTS CONCERT WILL BE USED FOR THE ASSISTANCE OF REFUGEES.

ON THEIR BEHALF, THANK YOU FOR YOUR GENEROSITY.

PROGRAM

Te Deum Anonymous plainchant (4th century?)

Sperantis gaudia (from Florilegium primum, 1695) Georg Muffat (16531704) 1. Ouverture 2. Ballet 3. Bourree 4. Rondeau 5. Gavotte 6. Menuets

Rejoice in the Lord alway (The Bell Anthem), Z. 49 Henry Purcell (165995)

Wilt thou forgive that sin (Hymn to God the Father) Pelham Humfrey (164774) Hallie Fishel, Soprano

Te Deum in D, H. 146 Marc-Antoine Charpentier (16431704) 1. Prelude 2. Te Deum laudamus Graham Robinson 3. Te aeternum Patrem Hallie Fishel, Rebecca Claborn, Christina Labriola, Chris Jskelinen 4. Pleni sunt caeli 5. Te per orbem terrarium Rebecca Claborn, Christopher Jskelinen, Graham Robinson 6. Tu, devicto mortis aculeo Graham Robinson 7. Te ergo quaesumus Hallie Fishel 8. Aeterna fac cum sanctis tuis 9. Dignare, Domine Hallie Fishel, Graham Robinson 10. Fiat misericordia tua Hallie Fishel, Rebecca Claborn, Graham Robinson 11. In te, Domine, speravi

Please do not use flash photography during the performance; please silence all mobile devices. Thank you.

TEXTS AND TRANSLATIONS Te Deum (The text is identical for both settings; the numbering corresponds to the sections of Charpentiers setting) 2. O God, we praise thee: we acknowledge thee to

be the Lord. 3. Everlasting Father, all the earth doth worship

thee. To thee all the angels, the heavens and all the powers, all the cherubim and seraphim, unceasingly proclaim: Holy, holy, holy, Lord God of hosts!

4. Heaven and earth are full of the majesty of thy glory. The glorious choir of the apostles, the wonderful company of prophets, the white-robed army of martyrs, praise thee.

5. Throughout the world earth, the holy Church doth acknowledge thee: Father of infinite majesty, thy true and only Son who is to be adored, and the Holy Spirit, the Comforter. Christ, thou art the king of glory! Thou art the everlasting Son of the Father. Thou, having taken it upon thyself to deliver humanity, didst not disdain the Virgin's womb.

6. Having overcome the sting of death thou hast opened to believers the kingdom of heaven. Thou sittest at the right hand of God, in the glory of the Father. We believe that thou shalt come to be our judge.

7. We beseech thee, therefore, to help thy servants whom thou hast redeemed with thy precious blood.

8. Make them to be numbered with thy saints in everlasting glory. Save thy people, O Lord, and bless thine inheritance! Govern them, and raise them up forever. Every day we thank thee and we praise thy name forever and ever.

9. Lord, deign to keep us from sin this day. Have mercy on us, O Lord, have mercy on us.

10. Let thy mercy, O Lord, be upon us, for we have hoped in thee.

11. Lord, in thee I have hoped; let me never be put to shame.

Rejoice in the Lord alway

Rejoice in the Lord alway, and again I say rejoice. Let your moderation be known unto all men; the Lord is at hand. Be careful for nothing, but in everything by prayer and supplication with thanksgiving let your requests be made known unto God; and the peace of God which passeth all understanding shall keep your hearts and minds through Jesus Christ our Lord. Rejoice in the Lord alway, and again I say rejoice.

Philippians 4: 4-7

Wilt thou forgive that sin

Wilt thou forgive that sin where I begun, Which is my sin though it were done before? Wilt thou forgive those sins, through which I run, And do run still, though still I do deplore? When thou hast done, thou hast not done, For I have more. Wilt thou forgive that sin by which Ive won Others to sin? And made my sin their door? Wilt thou forgive that sin which I did shun A year or two: but wallowd in, a score? When thou hast done, thou hast not done, For I have more. I have a sin of fear, that when Ive spun My last thread, I shall perish on the shore; But swear by thy self, that at my death thy Son shall shine as he shines now, and heretofore; And having done that, thou hast done, I fear no more.

John Donne (15721631)

N EASTER NIGHT 387, Ambrose bishop of Milan, baptized the 32-year old Augustine,

celebrated scholar and professor of rhetoric. A long-standing legend has it that as Augustine came

up from the water, Ambrose exclaimed in an outburst of enthusiasm, Te Deum laudamus! (O

God, thee do we praise), whereupon Augustine, likewise inspired by the awe of the moment, replied, Te

Dominum confitemur! (We acclaim thee to be the Lord). And so these two great wordsmiths continued,

alternately improvising the entire hymn. (For centuries, when singing the Te Deum, members of the

Augustinian Order customarily genuflected on one knee at Te Dominum confitemuracknowledging the

first verse intoned by their saintly founder.)

Whatever the truth of this story, the Te Deum does seem to have been composed around this time. In the

earliest sources it is associated with Easter and ceremonies of baptism. From there, it came to be used for

many an occasion of joyful thanksgiving, ecclesiastical and civilroyal births, military victories, the

canonization of saints, the election of popes. The earliest known musical notations of the chant date from the

12th century; the setting with which we open tonights concert is heir to those early medieval sources. Large-

scale settings appeared during the baroque period with works by

Lully, Lalande, Purcell, and Handel. Charpentiers setting in D,

H.146, is one of four he made. It dates from the end of his life and

was composed either for the Jesuits or for La Sainte-Chapelle where

he was Master of Music. Royal celebration is suggested in the use

trumpet and timpani, not only in the celebrated Prelude, but also to

create moments of especial drama, as at the text, Iudex crederis

esse venturus (We believe that thou shalt come to be our judge).

The much-travelled Georg Muffat played a key role in integrating Italian and French musical styles into

Austro-German music. His two-volume Florilegium (1685, 1696) is particularly indebted to the tutoring he

received in Paris from Lully as a teenager. Muffat delighted in the rhythmic subtleties of French dance music.

He provides precise details about bowing technique, tempo, and the playing of musical embellishments,

designed to ensure that the rhythmic vitality of the music is preserved throughout.

Purcells anthem Rejoice in the Lord always dates from the early 1680s, a period during which he wrote

many anthems for voices with strings for use in the Chapel Royal. The strings are prominent throughout,

from the opening prelude with its glorious imitation of pealing bells which very soon gave the anthem its

nickname.

Pelham Humfrey lived fast and died young. According to Samuel Pepys, he was an absolute monsieur as full

of form and confidence and vanity; he disparages everybodys skill but his own. Humfrey was sent abroad to

study (around the same time Muffat was studying with Lully). He was also paid regularly out of secret service

funds for as yet unidentified spying activities. His setting of John Donnes introspective poem provides a

counterpoint to the mood of collective exuberance in tonights concert; the individual creature stands before

the creator and muses on sin and doubt, mercy and forgiveness. Humfreys music gives poignant expression

to a fragile but genuine hope.

O

THE MUSICIANS IN ORDINARY ORCHESTRA

Violin Chris Verrette Michelle Odorico Rezan Onen-Lapointe Viola Steve Marvin Eleanor Verrette Charlene Yeh Violoncello Laura Jones Felix Deak

Flute Alison Melville Roseen Giles Oboe Marco Cera Daniel Brielmaier Bassoon Sebastien Malette

Organ Borys Medicky Theorbo John Edwards Trumpet Norm Engel Timpani Ed Reifel

ST MICHAELS SCHOLA CANTORUM

Soprano

Kara Dymond

Hallie Fishel*

Catherine Hamilton

Sarah Hamilton

Barbara North

Emily Sherlock

Mikhai-Louise Vasile

Hope Aletheia Waterman

Rehearsal Pianist

Mekhriban Mamedova

Assistant Director Christina Labriola

Alto Irene Chan Rebecca Claborn* Cindy Dymond Gaby Escribano Irene Gaspar Christina Labriola* Mekhriban Mamedova Annemarie Sherlock Ann Marie Tedesco Kathryn Zaleski-Cox

Tenor Christopher Jskelinen* Reid Locklin Antonio Manco Michael Pirri Hugo Tang Bass Eric Charron Scott Hoornaert Paul McGrath Graham Robinson* Lucian Vasile * = soloists

The Musicians In Ordinary Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves

to the performance of early solo song and vocal chamber music. Soprano Hallie Fishel and lutenist John Edwards have been described as winning performers of winning music. A fixture on the Toronto early music scene for over ten years, in 2012 MIO became Ensemble in Residence at St Michaels College in the University of

Toronto. MIO have concertized across North America, and have performed to scholarly and general audiences, lecturing regularly at universities and museums, for the Shakespeare Society of America, the Renaissance Society of America, Canadian Society for Renaissance Studies, Grinnell College, the Kingston Opera Guild, and the Bata Shoe Museum, and the Universities of Alberta, Toronto, California at San Diego, Syracuse, Trent, and York. They have been Ensemble in Residence at Lafayette College, Easton, Pennsylvania. Christopher Verrette has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performers Certificate from Indiana

University. He contributed to the development of early music in the American Midwest, as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle, and viola damore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyners Dream. Praised for her mellifluous yet clear singing (James Young, Music in Victoria), mezzo-soprano Rebecca Claborn has performed with a wide array of ensembles and conductors throughout North America. A graduate of the University of New Hampshire and the University of Alberta, Rebecca also studied at the University of Toronto, the Victoria Conservatory of Music, the Tafelmusik Baroque Summer Institute, and the Franz Schubert Institut in Austria. She has been a featured soloist with Edmontons Richard Eaton Singers, the Alberta Baroque

Ensemble, the Victoria Baroque Players, the Ottawa Bach Choir, the Victoria Choral Society, the University of New Hampshire Concert Choir, the Pacific Baroque Orchestra, and the Theatre of Early Music, appearing on their recent releases on the Analekta label: The Hearts Refuge (2014) and The Vale of Tears (2015). Christina Labriola is an alto, pianist, and choral conductor, ever interested in the intersection of music and spirituality. She earned a B.Mus. in piano at the Faculty of Music, U of T, and Master of Sacred Music in choral conducting from Emmanuel College, and is currently a doctoral student at Regis College in the Toronto School of Theology. She has sung and worked with a number of choral ensembles, including the MacMillan Singers (2006-2010), and U of T Women's Chorus as Assistant Conductor (20122013). Involved in church music ministry, Christina serves as music director at the Newman Centre at U of T and at St. Peters Catholic Church in Toronto. She plans to continue in the world of academia along with a varied musical career as church musician, conductor, teacher, choral singer, accompanist and performer. Christopher Jskelinen is a tenor, violinist, and recording engineer, originally from Sault Ste Marie, Ontario. He has been a member of the Kammermusik String Quartette, the St. James Singers, the Evestrum World Music Ensemble, the Goulais River Rats, and was also a TTC busker for two years. The Sault Symphony Orchestra has featured Chris as a soloist, both as a vocalist and a violinist. He was a choir lead with the Church of St. Timothy from 2004-2011, and a member of The Nathaniel Dett Chorale since 2004 and sings at the Anglican Cathedral of St. James. Graham Robinson is a bass-baritone hailing from Vancouver Island, British Columbia. Receiving his Bachelors of Music in Voice at the University of Victoria, Graham was a much sought after soloist during his time in B.C.

Now based in Toronto, he has been featured with the Elmer Iseler Singers, Tafelmusik, La Chapelle de Qubec, the Elora Festival Singers, the Nathaniel Dett Chorale as well as many others. Graham is a devoted supporter and patron of aesthetics who strongly believes that creativity will take us anywhere we want to go. Putting ones soul into any discipline is art. It is in those times one learns to fly. When not making music Graham further extends his passion for the arts community through film and videography. St Michaels Schola Cantorum is an auditioned ensemble drawn from staff, faculty, alumni/ae, students, and friends of USMC, and members of St Basils parish choir. We sing three concerts per year, at Michaelmas, and

during Advent, and Lent. Michael OConnor is the founding Director of St Michaels Schola Cantorum. He teaches in the college programs at St Michaels and also directs the St Mikes Singing Club. His academic

scholarship and practical music-making overlap in the theory and practice of liturgical music.

UPCOMING CONCERTS

Lassus, Prophetiae Sibyllarum 8 p.m., Friday October 30, 2015, Pre-concert lecture at 7:30 p.m. The Musicians In Ordinary Madden Auditorium, Carr Hall, St. Michaels College, 100 St. Joseph Street Orlando Lassuss weird and wonderful music for four voices sets texts written in the voice of Graeco-Roman prophetesses of the birth of the Messiah; with lute Fantasias by Lassuss contemporary Melchior Neusidler.

Hallie Fishel and John Edwards are joined by Christopher Jskelinen, Ben Kim and Sean Nix. Pre-concert lecture by Michael OConnor. Tickets $30, $20 students and seniors available at the door.

Handel, Foundling Hospital Anthem 7:30 p.m., Monday, December 8, 2015 St. Michaels Schola Cantorum & The Musicians In Ordinary Orchestra St Basils Church, 50 St. Joseph Street at Bay Handels Foundling Hospital Anthem (Blessed are they that considereth the poor), composed as a fund-raiser for a London orphanage, is a fitting way to launch the Year of Mercy as called for by Pope Francis. For this piece Handel drew on some of his earlier works most notably Messiah from which he borrowed the Hallelujah Chorus. Performed by The Musicians In Ordinary Orchestra led by Christopher Verrette, with St. Michaels Schola Cantorum and soloists directed by Michael OConnor. Admission free, donations welcome.

We would like to extend our sincere thanks to the following:

Mike Schreiner for lute construction and maintenance Thomas Linken for the use of the chamber organ Alexandra Guerson for the MIO website design

Fr Chris Valka CSB for the use of St Basils Church this evening

www.musiciansinordinary.ca musiciansinordinary.blogspot.com

We hope you enjoy the program this evening.

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