D E P A R T M E N T O F M U S I C P R E S E N T S T H E

D . K E R N H O L O M A N , C O N D U C T O R

Sunday, 20 November 2005

Sunday, 4 December 2005

Jackson Hall, Mondavi Center

Friday, 9 December 2005

Davis Community Church

8 pm

J E F F R E Y T H O M A S , C O N D U C T O R

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Please deactivate cell phones, pagers, and wrist-watches. Please remain seated during the music, since distractions will be audible on the archive recording.

Photography and audio and video recording are strictly prohibited during the performance.

P R O G R A M

Candide Overture Leonard Bernstein (1918–90)

Bassoon Concerto in B b Major, K. 191 Wolfgang Amadeus Mozart (1756–91)

David Rehman, bassoon

INTERMISSION

Symphony No. 3 in E b Major, op. 55 (“Eroica”) Ludwig van BeethovenAllegro con brio (1770–1827)Marcia funebre: Adagio assaiScherzo: Allegro vivaceFinale: Allegro molto

S U N D A Y , N O V E M B E R 2 0 , 2 0 0 58 P M , J A C K S O N H A L L , M O N D A V I C E N T E R

U C D A V I S S Y M P H O N Y O R C H E S T R AD. Kern Holoman, conductor

T A B L E O F C O N T E N T S

November 20 Program .................2UCDSO Roster .............................5UCDSO Endowed Seats .................6UCDSO Endowment ......................7December 4 Program ...................8Chorus Roster ............................18Chorus Endowment ....................19December 9 Program ................. 20Chamber Singers Roster ..............21

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David Rehman has been principal bassoonist of the UC Davis Symphony Orchestra since the 2002–03 season and has studied with David Granger since 2002. As a member of the UCDSO, Rehman had the particular honor of performing in last season’s collaboration with the Martha Graham Dance Company. In spring 2002, he conducted the UC Davis Concert Band in Tiny Pebbles, an original piece he composed in high school. He is also deeply involved in ArtsBridge, a campus outreach organization that brings music and other arts disciplines to public schools in the Yolo County area and beyond.

Rehman attended high school in the Marshall Islands, where he lived for ten years. Now in his senior year at UC Davis, he is double majoring in music and biological sciences. After graduating, he plans to pursue medical school, possibly going into pediatric care or the research of neuropathic disorders. In his free time, Rehman enjoys playing pool, salsa dancing, and traveling.

A B O U T T H E A R T I S T

N O T E S

Bernstein: Candide Overture

For piccolo, flutes I-II, oboes I-II, Eb

clarinet, clarinets I-II, bass clarinet, bassoons I-II, contrabassoon; horns I-IV, trumpets I-II, trombones I-III, tuba; timpani, snare drum, tenor drum, bass drum, cymbals, triangle, glockenspiel, xylophone; harp; strings

Composed 1955–56 in New York

First performed with the operetta 1 December 1956 at the Martin Beck Theatre, New York, Samuel Krachmalnick conducting; first performed as a concert overture 26 January 1957 by the New York Philharmonic, Bernstein conducting

Published by G. Schirmer (New York, 1957)

Duration about 4 minutes

Voltaire’s satire Candide (1759) tells of the misadventures of a naive young optimist, hoodwinked by one Dr. Pangloss into believing that “this is the best of all possible worlds.” Having mastered this

lesson, poor Candide is beset by war, the Inquisition, the Lisbon earthquake, black plague, enslavement, a shipwreck, and sharks. Undaunted, he and his beloved Cunegonde agree at the end to “cultivate their garden” (in Voltaire’s words), or, as Bernstein’s librettists have it, “We’ll do the best we know: we’ll build our house, and chop our wood, and make our garden grow.”

The episodes of the operetta sprawl from continent to continent, disaster falling on the heels of disaster, in a marvel of modern theatrics. Bernstein’s score has survived nearly as many vicissitudes as the title character: cuts, recomposings, rescorings, and retextings all designed to accommodate the tastes and sometimes whims of successive directors and audiences. Although it has never enjoyed the immense pop-ularity of West Side Story, Candide has its share of memorable songs and, in each of its versions, a healthy dose of literary and musical genius.

The overture is a potpourri of tunes and passages from the show, though not all of these survived the revi-sions for the 1973–74 production. The splashy fanfare and much of the rest of the rollicking first section allude to the wedding of Candide and Cunegonde and its interruption by war in Westphalia. The lyric second theme is from the duet of the lovers, “Oh, Happy We,” where the joys of horticulture and tend-ing livestock become their ultimate goal. It then appears that the work is sonata-like, and both sections recur in order in a kind of recapitulation of the first half. The love song winds down, and there is a bar of silence. The Rossini-style crescendo and dashing coda over an insistent pulse of bass and percussion is from the conclusion of Cunegonde’s jewel song, “Glitter and Be Gay.” A reprise of the themes rounds the overture off, with, at the very end, the wink of a sparkling eye.

Mozart: Bassoon Concerto, K. 191

For bassoon solo; oboes I-II, horns I-II; strings

Composed 1774 in Salzburg; lost manuscript inscribed “Salzburg, 4 June 1774.” Details of fi rst performance unknown.

Published Offenbach: J. A. André, 1805. Inexpensive score: Wolfgang Amadeus Mozart: Concerti for Wind Instruments in Full Score (New York: Instruments in Full Score (New York: InstrumentsDover, 1986)

Duration about 20 minutes

The passage of two centuries has found little to challenge the supremacy of Mozart’s concertos in the repertoire for solo wind instruments: fl ute, oboe, clarinet, bassoon, and horn. He wrote them,

mostly, to amuse the soloists—noble dilettantes on the one hand and his instrumentalist friends on the other—and their invited guests. As a result their outlook is typically unperturbed, their scale smallish. The sequence of movements is conventional: a concerto-sonata fi rst movement with orchestral ritornello, an Andante, and a rondo. The usual orchestration is for strings with pairs of oboes and horns, but without clarinets, trumpets, and timpani—the “light” orchestra of the time. All are in major keys.

Mozart composed his Bassoon Concerto in June 1774, when he was 18, possibly at the request of the aris-tocratic amateur Baron von Dürnitz. The solo part percolates, in the fi rst movement, through an expansive main theme and a second subject of typical bassoon passagework that takes care to descend now and then to the instrument’s lowest notes. (Despite its ungainly appearance and unholy association with irritable grandfathers, the bassoon is a remarkably agile instrument.) The Andante may well remind you of “Porgi amor,” the Countess’s aria at the beginning of act II of The Marriage of Figaro, which it precedes by many years; the third movement is a rondo in the minuet style, with the solo part beginning in courtly triplet arpeggiations and then becoming markedly faster and more intricate. Throughout Mozart revels in the bassoon’s ability to bounce with ease over intervals wider than an octave: Vivaldi did this, too, with sev-eral dozen concertos for solo bassoon, but in Mozart we fi nd, even as early as 1774, the ideals of Viennese sonata form controlling the compositional process.

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N O T E S

Beethoven: Symphony No. 3 in EBeethoven: Symphony No. 3 Beethoven: Symphony No. 3

Major, op. 55 (“Eroica”)

For flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-III, trumpets I-II; timpani; strings

Composed 1803 in and around Vienna; dedicated to Prince Franz Joseph von Lobkowitz, a patron of Beethoven

First performed 7 April 1805, at an Academy Concert of the violinist Franz Clement at the Theater an der Wien, Vienna, Beethoven, conducting

Published by the Contor delle arti e d’industria (Vienna, 1806; parts only). Inexpensive score: Ludwig van Inexpensive score: Ludwig van Inexpensive score:Beethoven: First, Second and Third Symphonies in Full Orchestral Score(New York: Dover, 1976)

Duration about 55 minutes

Its duration alone—nearly twice the length of Mozart’s “Jupiter” Symphony (with which we opened the 2004–05 season)—would earn the “Eroica” a prominent spot in the history of ideas. That combined with Beethoven’s keen sense of the implications pent up in his themes, the daring harmonic practices, the novel movement structures, and the extramusical connection with Napoleon and his legend, make the impact of the “Eroica” virtually unmatched in the literature. Beethoven went on to cultivate, notably in the Fifth and Ninth Symphonies, many of the notions he first proffered in the “Eroica,” but nowhere is their shock value so great as here at the very beginning of the Romantic century. Each of the four movements had its own particular influence on the symphonic repertoire to come.

The landmarks of the first movement are the “extra” theme in the development—one not directly implied by the exposition—and the moment at the end of that section when the French horn, pianissimo, foreshadows the recapitulation an instant before it is unleashed. With its panoramic development and extended coda, the movement takes on proportions appropriate to its heroic intent. What seem passing details when they are first heard get “composed out” in the fullness of time: the foreboding C # you hear at the end of the very first theme (in cellos) occasions an episode in the recapitulation (D b). And so on, as the movement gets bigger and bigger.

The Marcia funebre, in its evocation of a passing funeral cortege, served the Romantics as a persuasive model of musical space and imagery. At first, it seems little more than a gloomy dead march with an affirmative second strain, rebounding triplets in the strings suggesting the tattoo of muffled drums. (Beethoven is known to have had French military marches in mind.) But then there are interjections of sterner stuff, and all sorts of digressions, as though the witness were perplexed by exactly what the hero’s life has stood for. In the trio are mighty fanfares from the brass and drums. But it is the dissolution of all this into fragments that left the Romantics trembling, where Berlioz (for example) saw “shreds of the lugubrious melody, alone, naked, broken, crushed,” the wind instruments “shouting a cry, a last farewell of the warriors to their companion at arms.” We don’t often write about music that way anymore, but his observations make good sense.

Beethoven calls his third movement a scherzo, and with it pretty well sets the precedent for replacing the old-fashioned minuet and trio of the eighteenth century with a movement of much faster triple meter, wherein the composer plays clever games with the listener’s perception of downbeat and phrase grouping. It’s by no means Beethoven’s first scherzo, and he learned the term and some of its concepts from Haydn; nevertheless this movement is the one that sent minuets packing for good. Note, at the beginning of the second strain, how the composer throws in an extra quarter note here and there, so that for a while you’re not quite sure how the phrases fall out. The horn calls of the trio, too, set a precedent for movements of this sort.

In the finale, a theme and its variations bloom from the bass progression stated by the strings in unison pizzicato just after the opening spasm. It takes two more variations before a true melody is heard (in the woodwinds, a theme Beethoven had used three times before), and soon afterward it becomes clear that he is really more interested in the fugal possibilities of his progression and with the three loud exclamation points that seem to be there for the purpose of making you pay attention.

One of Beethoven’s early biographers first told the story of seeing a manuscript on the master’s worktable titled “Buonaparte”; on hearing the news that Napoleon had proclaimed himself emperor, the composer tore the page in half and threw it on the floor. “Is he, too,” Beethoven is said to have remarked, “nothing but an ordinary human being?” What is certain is that Beethoven for a time saw cash value in dedicating the work to Napoleon. On the title page of the autograph manuscript score, the words “intitulata Bonaparte” are simply scratched out, and the subtitle “Eroica” appeared with the published parts in 1806. —DKH

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For UC Davis Department of Music Productions: Ulla McDaniel, production manager; Heather Mullen, assistant public events manager;

Joshua Paterson, assistant production manager; Sara Raffo, graphic designer;Eimi Stokes, assistant to Prof. Holoman

U C D A V I S S Y M P H O N Y O R C H E S T R A2 0 0 5 – 2 0 0 6

D. Kern Holoman, conductor*Fawzi Haimor, assistant conductor

Zoe Kemmerling, manager

Violin*Cynthia Bates, concertmaster*Cindi Yorita, associate

concertmaster John AbdallahZoe Berna*Clairelee Leiser Bulkley Mike ChoiJamie ClineJoan Crow Raymond GaoAngela HernandezNicole Makram*Raphael Moore Claire PelletinVanessa Rashbrook*Judy RiggsKatrina Soo Hoo

Violin II*Kristen Jones, principal*Shari Gueffroy, associate principal Davood AboudardaAngelo AriasChristina ChengFawzi HaimorChadwick HuangSharon InkelasBarry Kersting Jenny KimAmelia LancasterPaul LevyHyun Jung LimEileen Mols Leslie PeacockLorena Rincon

* = Holder of endowed seat

Viola *Holly Harrison, co-principal *Kim Uwate, co-principal Zoe KemmerlingWilliam Chang Jr.James ChitwoodJason HabermanTao HeChelsea JohnsonMelissa LyansMelody MundyMichael ReidChristine Tsai

Cello*Courtney Castaneda, principal Christopher AllenKyle GreenmanJulie HochmanSusan Lamb CookJudy McCall*Eldridge MooresTomo MoriTobias MuenchAdam SapinEimi StokesMary Yang

Bass*Jack O’Reilly, principal Greg BruckerThomas DerthickParsa KamaliAzusa MurataEric Price

Flute *Susan Monticello, principal Amy KuoCaitlin RoddyMarguerite Wilson

Oboe*Mary King, principalLuis de la TorreAllicia FiebigJuliet Shih

Clarinet*Alicia Bruce, co-principal *Eric Chow, co-principal Andrea CheukKelly DeweesMolly Laughlin

Bassoon*David Rehman, principalMaryll Goldsmith, contrabassonSarah Thrasher

Harp *Constance Koo, principalBrittany Iverson

Horn *Jonathan Anderson, co-principal *Beverly Wilcox, co-principal Flaviu DuncaRyan IsmailSarah Meyerpeter

Trumpet*Nick Antipa, principalPaul Marenco

Trombone*Rebecca Brover, principal*Edward Liu*Jenny Mun*Robert Thomas

Tuba *Portia Njoku

Percussion*Jesse Davis, principalGeorge Kennedy*Derek KwanMegan Shieh

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U C D A V I S S Y M P H O N Y O R C H E S T R A E N D O W E D S E A T S

Cynthia Bates Cynthia Bates concertmaster Cynthia Bates concertmaster Cynthia Bates concertmasterpresented by Debra Horney, M.D.

Cindi Yorita Damian Ting associate concertmaster Damian Ting associate concertmaster Damian Ting associate concertmasterpresented by Damian Siu Ming Ting

Clairelee Leiser Bulkley Clairelee Leiser Bulkley violin I presented by Clairelee Leiser Bulkley and Ralph E. Bulkley

Raphael S. Moore Raphael S. Moore violin I presented by Jolanta Moore in memory of Raphael’s grandmother, Dr. Irena AnnaHenner

Judy Riggs Ralph and Judy Riggs violin I presented by Ralph and Judy Riggs

Kristen Jones Fawzi S. Haimor principal violin II presented by Barbara K. Jackson

Shari Benard-Gueffroy Shari Benard-Gueffroy assistant principal violin II presented by Shari Benard-Gueffroy

Holly Harrison / Kim UwateJocelyn Morris principal viola Jocelyn Morris principal viola Jocelyn Morris principal violapresented by James and Jocelyn Morris

Courtney Castaneda Herman Phaff principal cello presented by Herman and Diane Phaff

Eldridge Moores Eldridge Moores cello presented by Eldridge and Judith Moores

Jack O'Reilly Barbara K. Jackson principal bass presented by Barbara K. Jackson

Susan Monticello principal flute presented by Beverly “Babs” Sandeen and Marty Swingle

Mary KingWilson and Kathryn Smith principal oboepresented by Wilson and Kathryn Smith

Alicia Bruce / Eric Chow W. Jeffery Alfriend D.V.M. principal clarinetpresented by Vicki Gumm and Kling Family Foundation

David Rehman Kling Family Foundation principal bassoonpresented by Vicki Gumm and Kling Family Foundation

Jonathan Anderson / Beverly Wilcox Kristin N. Simpson and David R. Simpson principal French horn presented by Richard and Gayle Simpson

Nick Antipa Andrew Mollner principal trumpetpresented by Joseph Dean Mollner and Andrew Mollner

Rebecca A. Brover Rebecca A. Brover principal trombone presented by Rebecca A. Brover

Edward Liu / Jenny Mun Michael J. Malone trombone presented by Brian McCurdy and Carol Anne Muncaster

Robert Thomas Brian McCurdy bass trombone presented by Barbara K. Jackson

Portia NjokuRobert B. Rucker tuba Robert B. Rucker tuba Robert B. Rucker tubapresented by Robert and Margaret Rucker

Constance Koo Calvin B. Arnason principal harppresented by Benjamin and Lynette Hart

Jesse Davis Friedman family principal percussion presented by Marvin and Susan Friedman

Derek Kwan Matteson orchestral piano presented by Gary and Jane Matteson

Fawzi Haimor Barbara K. Jackson assistant conductorpresented by Barbara K. Jackson

The conductor's podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman.

Endowed seats are made possible by gifts of $10,000 or more.

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U C D A V I S S Y M P H O N Y E N D O W M E N T2 0 0 4 – 2 0 0 6

J O I N T H E U C D S Y M P H O N Y E N D O W M E N T

The UCD Symphony Endowment was established by members and friends in 1992 with the goal of assuring the orchestra’s access to fi rst-rate teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel.

The Endowed Seats program, established by UCDSO member Rebecca Brover in 2000 on the occasion of the new millennium, recognizes gifts of $10,000 and more by naming individual seats in the orchestra in perpetuity. As of the 2005-06 season, some 25 seats were so named.

Support the future of the UCDSO by becoming a member of the UCD Symphony Endowment. Gifts are recognized in the donor list published with each concert program; members of the Endowment receive a newsletter and various other forms of recognition. For further information on donor opportunities, visit our web site at ucdso.ucdavis.edu or call Debbie Wilson, 530-757-5784.

Mitzi S. AguirrePriscilla AlexanderW. Jeffrey Alfriend, D.V.M. **David M. Ashkenaze, M.D. *Robert and Joan Ball *Cynthia Bates *Matthew and Shari

Benard-Gueffroy **Robert BiggsOscar and Shula BlumenthalRobert and Hilary Brover **Rebecca A. Brover **Gregory A. BruckerClairelee Leiser and Ralph E.

Bulkley **Walter and Marija Bunter *Ray and Mary Cabral *Robert and Lynn CampbellDon and Dolores Chakerian *Terry and Marybeth CookElizabeth CorbettRichard Cramer and Martha

Dickman *Allan and Joan Crow *Martha Dickman *Jonathan and Mickey ElkusRon FisherTyler T Fong *Marvin and Susan Friedman **Edwin and Sevgi FriedrichAnne Gray *Vicki Gumm and Kling Family

Foundation **Prof. and Mrs. Said Haimor *Benjamin and Lynette Hart **Lorena Herrig *Virginia and Bill HinshawBarbara D. Hoermann

Prof. and Mrs. D. Kern Holoman **

Debra A. Horney, M.D. **Brian and Louanne Horsfi eld *Ilia Howard *Margaret E. Hoyt *Dr. and Mrs. Daniel R. Hrdy *Sharon InkelasBarbara K. Jackson **Bob and Cathy KerrProf. Joseph E. Kiskis, Jr. *Family of Norman Lamb *Dr. Richard Levine *Melissa Lyans and Andreas J.

Albrecht, Ph.D.*Natalie and Malcolm MacKenzie*Douglas W. Macpherson and

Glayol Sabha, M.D. *Marjorie March *J. A. MartinGary and Jane Matteson **Katherine Mawdsley and William

F. McCoy *Scott and Caroline Mayfi eldGreg and Judy McCall *Brian McCurdy and Carol Anne

Muncaster **Don and Lou McNary *Albert J. and Helen McNeil *Sharon Menke, Esq.John and Norma MeyerJoseph Dean Mollner **Andrew Mollner **Eileen and Ole Mols *George MooreJolanta Moore **Raphael S. and Netania Moore *Eldridge and Judith Moores **Craig Morphis and Roy Spicer

James and Jocelyn Morris **Mary Ann Morris *Ken T. Murai *Russell and Alice OlsonPaul and Linda Parsons *Herman and Dianne Phaff **Marjorie Phillips and Robert RiceJim and Nancy PollockAnn PrestonEugene and Elizabeth Renkin *Ralph and Judy Riggs **Susanne Rockwell and Brian SwayDr. and Mrs. Lawrence T. RollinsJerome and Sylvia Rosen *Robert and Margaret Rucker **Tracey RudnickBeverly “Babs” Sandeen and Marty

Swingle **E. N. Sassenrath *Neil and Caroline Schore *Prof. and Mrs. Calvin Schwabe *Barbara L. SheldonEllen Sherman *Richard and Gayle Simpson **Wilson and Kathryn Smith **Lois Spafford *Sherman and Hannah SteinDr. and Mrs. Roydon SteinkeThomas Sturges *Richard Swift *Alice Tackett *Steven D. Tallman *Damian Siu Ming Ting **Roseanna F. TorrettoRosalie and Larry Vanderhoef *Elizabeth VarnhagenShipley and Dick Walters *Marya Welch *John W. Wrzesien

Arthur Andersen LLP Foundation*

Bank of America FoundationOffi ce of the Provost **Prudential FoundationUCD Symphony Orchestra

1992–93, 1993–94 **Weyerhaeuser Co. Foundation

In honor ofRandolph Hunt by Benjamin and

Lynette Hart*Jerome and Sylvia Rosen*

In memoriamRonald J. AlexanderRobert M. CelloElizabeth ElkusCarl FlowersVerna Fournes Le MaitreDr. Irena Anna HennerKatherine H. HolomanNorman E. LambMichelle MantayJohn MouberMel OlsonHerman PhaffKeith RiddickDorothy J. ShielyWilliam E. ValenteBodil Wennberg

* = $1,000 or more; ** = $10,000 or more

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S U N D A Y , D E C E M B E R 4 , 2 0 0 58 P M , J A C K S O N H A L L , M O N D A V I C E N T E R

U N I V E R S I T Y C H O R U SJeffrey Thomas, conductor

U C D A V I S S Y M P H O N Y O R C H E S T R AD. Kern Holoman, conductor

P R O G R A M

Chichester Psalms Leonard BernsteinI. Psalm 108, vs. 2 (1918–90) Psalm 100, entireII. Psalm 23, entire Psalm 2, vs. 1–4III. Psalm 131, entire Psalm 133, vs. 1

Jacob Wilson, soprano

Gilliam Watson, soprano - Julia Lazzara, altoMichael Steele, tenor - Matthew Stevenson, bass

A Christmas Festival Leroy Anderson (1908–75)

INTERMISSION

Saint Nicolas, op. 42, A Cantata Benjamin BrittenIntroduction (1913–76)The Birth of Nicolas Words by Eric CrozierNicolas devotes himself to God (1914–94)He Journeys to PalestineNicolas comes to Myra and is Chosen BishopNicolas from PrisonNicolas and the Pickled BoysHis Piety and Marvellous worksThe Death of Nicolas

Saint Nicolas: Steven TharpPickled Boys (Timothy, Mark, and John): Jacob Wilson, Matte Cornell, Henry Nelson

Gallery Choir: Pacific Boychoir, Kevin Fox, directorMarilyn Swan and Tien Hsieh, piano

David Deffner, organMichael Anderson, violinKatherine Heusner, violinSusan Lamb Cook, celloThomas Derthick, bass

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Whether performing Bach or Rorem, Wagner or Donizetti, Steven Tharp convinces critics and audiences alike that the work at hand is his specialty. Tharp has appeared with most of the major U. S. orchestras, including the Chicago Symphony (under Solti and Barenboim); the New York Philharmonic (Masur); and the Cleveland Orchestra (von Dohnanyi); as well as the Royal Philharmonic and Hong Kong Philharmonic. His repertoire ranges from the great baroque and classical liturgical masterpieces to contemporary works. He has performed over forty operatic roles including the major tenor parts of Mozart and Handel. Highlights of season 2004–05 included recitals at the Trinity Church in New York and Currier Museum of Art in New Hampshire, Monteverdi’s Madrigals and Messiah with the American Bach Soloists, Israel in Egypt with the Music of Baroque, and his debut with the Nationale Reisopera as Sospiro in Florian Leopold Gassmann’s L’Opera Seria.

The Pacific Boychoir has toured throughout the United States and to Australia, New Zealand, Germany, Austria, Italy, the Czech Republic, and France. The Pacific Boychoir made its San Francisco Symphony debut in September 2002 in Mahler’s Symphony No. 3 (and is heard with the SFS on the Grammy-winning recording of that work conducted by Michael Tilson Thomas). The PBA comes to Davies this season for Orff’s Carmina Burana, Mahler’s Symphony No. 8, and Liszt’s Dante Symphony. They sing often at Grace Cathedral and with the Pacific Collegium, and make regular appearances to sing the National Anthem for such sports teams as the Giants, A’s, Raiders, Warriors, and Stanford basketball. The PBA’s self-produced concerts this year include the popular holiday concerts, performing and recording American spirituals, and the first-ever concerts and recording of Bach masses by any American boys choir. Additionally, they will appear with the American Bach Soloists in May 2006 in four performances of Bach’s St Matthew Passion.

Based in Oakland, the Pacific Boychoir Academy was founded in 1998 and today comprises more than 120 boys in five choirs, aged 5–18. In the fall of 2004, the PBA opened a day school, becoming the only choir school in the western United States. The choir school, a member of the East Bay Independent Schools Association, combines academics with 2–3 hours of music instruction daily.

Kevin Fox, founding director of the Pacific Boychoir Academy, holds a degree in music from Wesleyan University, where he received the Lipsky Prize for outstanding scholarship in choral studies. He studied music at Oxford University and choral conducting at Westminster Choir College in Princeton. Fox has served as Proctor for the American Boychoir, and has sung with the choirs of Trinity Church New Haven and Trinity Church Princeton. Fox sings with the American Bach Soloists, Pacific Collegium, and the Grace Cathedral Choir in San Francisco, where he also served as Interim Assistant Choirmaster. He has been on over 30 tours with boys choirs to almost all 50 states and to numerous foreign countries.

Bernstein: Chichester Psalms

The composer and his associates write: “Every summer the Cathedral of Chichester, in Sussex, England, joins choral forces with its neighbors, Winchester and Salisbury to produce a music festival. (Chichester has a great musical tradition, going back to its famed organist-composer of the early 17th century, Thomas Weelkes.) For its 1965 Festival, Leonard Bernstein was commissioned to write these Psalms, which were completed on May 7, 1965. The world premiere took place on July 15, 1965, in Philharmonic Hall, New York, with the composer conducting the New York Philharmonic, with the Camerata Singers, Abraham Kaplan, conductor, and with John Bogart, alto. The first performance of the original version, as conceived by Mr. Bernstein for all-male choir, was heard on July 31, 1965, at Chichester.”

The scoring is for chorus with boy soprano, trumpets, trombones, percussion, harps, and strings; the work lasts for about 20 minutes. A musical motto B b – F – E b – Ab – B b dominates the work, heard in the opening bars of the work and again at the very end.

This is Bernstein’s first major work after his despairing Kaddish Symphony (No. 3) of 1963. His compositional life had by this time grown tortured indeed: he longed to be taken seriously as a serious composer but had neither the time to do it well nor the inclination to adopt the serialism that was at the root of the best composition of his time and place. His sabbatical from conducting the New York Philharmonic amounted to a struggle with the twelve-tone system, and the Chichester Psalms represent its abandonment in favor of the lyrical, tonal idiom that had come so naturally to him from the beginning. What is splendid here is the selection of some of the most beautiful texts in all literature (both the 23rd and 100th Psalms, complete, for instance), the simple elegance of the formal strategies (note the subduing of raging nations by a return of the 23rd Psalm), the palette of colors Bernstein achieves from his smallish aggregation. Enjoy, too, the prevailing meters in 5 and 7, especially with the billowing, gently ecstatic 7/4s at the end: “Behold how pleasant it is to dwell together in unity.” —DKH

Anderson: A Christmas Festival

The son of Swedish immigrants, Leroy Anderson was born in Cambridge, Massachusetts, in 1908. He studied composition at Harvard University under Walter Piston and Georges Enesco, directed the Harvard University Band from 1931–35, and served as arranger and orchestrator for the Boston Pops. He enjoyed increased fame and celebrity beginning in 1945 with The Syncopated Clock. By the 1950s he was conducting his own orchestras in popular recordings that included Blue Tango, Plink, Plank, Plunk!, and Belle of the Ball. His arrangements and compositions often included unusual percussion effects. A mechanical typewriter can be heard in The Typewriter, and sandpaper is used in Sandpaper Ballet to imitate the sounds of soft-shoe dancers. A Christmas Festival, written for the Boston Pops in 1950, is one of his most celebrated works, as is Sleigh Ride, which was actually composed during a July heat wave, and likewise uses some especially festive percussion instruments. —JT

N O T E S

A B O U T T H E A R T I S T S

Jacob Wilson

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N O T E S

Britten: Saint Nicolas

Although Benjamin Britten does not rank among the “three Bs” (Bach, Beethoven, and Brahms still maintain their titles), his extraordinarily pro-lific output of works, particularly in the genres of opera, art song, oratorio, and church music, rank him among the most productive and important composers of Western music. Additionally, he composed at least 12 works that either feature children among the participants, or were written quite specifically for their enjoyment. Saint Nicolas, a cantata about the life of the patron saint of children, seamen, voyagers, and scholars, and utilizing a text by Eric Crozier (1914–94), is one of those works. Originally composed for the combined forces of several boys’ and girls’ schools, it marvel-ously captures both the innocence and reverence with which the memories of St. Nicolas’ life and deeds are upheld.

Almost countless stories and legends have been told over the centuries about the deeds of Nicolas, although few facts can be certain. We do know that he was born during the third century in Patara, a village in Asia Minor, in what is now Turkey. He was born of wealthy parents, who died of the plague while he was still young. Observing the teachings of his faith, he gave all his wealth to charity, to assist the needy, the sick, and the suffering, and went in pilgrimage to the Holy Land. Legend tells us that on his return voyage to the city of Myra, his ship was in great peril as a mighty storm threatened to wreak vast destruction. Nicolas’ prayers were answered, and the lives of the terrified sailors were spared. Then, in Myra, he was chosen Bishop while still a young man. Under the Roman Emperor Diocletian, he was exiled and imprisoned, but after his release he attended the First Ecumenical Council of Niceaea in AD 325. He died on December 6, AD 343. Within just a century of his death, he was vener-ated as a saint, and December 6 has become a widely celebrated feast day, at least in Europe. (In America, in 1809, Washington Irving published his satirical Knickerbocker’s History of New York, which greatly influenced the portrayal of Saint Nicolas in Clement Clarke Moore’s enormously popular poem “A Visit from St. Nicholas,” which is now known as “The Night before Christmas,” and in which the saint was transformed into the jolly and elfin character who would soon be known as Santa Claus.)

More than 400 churches were dedicated to Saint Nicolas in England alone, contributing to a total of more than 2000 worldwide, including at least 300 in Belgium, and 34 in the city of Rome. His benevolence as patron saint—as a result of the rich legacy of legend and folklore that surrounds his life—has been extended to a wider circle, including bankers, pawn-brokers, orphans, laborers, travelers, merchants, judges, paupers, marriage-able maidens, students, victims of judicial mistakes, captives, perfumers, thieves, and murderers: he is the protector of all in trouble or need.

Britten’s 1948 cantata—scored for multiple choirs, piano duet, organ, strings, percussion, and tenor soloist—chronicles several of the saint’s most celebrated life events. The first movement is an entreaty to Nicolas by the performers, who ask him to strip off his glory and speak to them. He responds, “Across the tremendous bridge of sixteen hundred years, I come to stand in worship with you as I stood among my faithful congregation long ago.” The second movement charmingly portrays the birth of Nicolas. Representing school children, the sopranos and altos tell couplet stories of his first years, and of the young Nicolas’ determination that “God be glorified!” After six episodes, the young boy is transformed into the man, in a delightful reassignment of vocal solos. In the third movement, which features the tenor soloist exclusively, Nicolas speaks of his experiences following the death of his parents. In “the wider world of man” he found decay, hopelessness, faithlessness, and poverty, which made him angry and heartsick. In verse that reminds us of the great metaphysical poets Dunne and Herbert, he finds “sweet humility, and Love was satisfied.” Nicolas’ journey to Palestine is recounted in the music of the fourth movement, in which we hear the seeds for a similar but tremendously expanded scene in Billy Budd (1951). Here, Nicolas predicts a storm, but the ship’s crew ignore his concerns. As the winds and waves begin to overtake the ship, the cries of the sailors are interspersed with descriptions of the “angry roar” of lightning, thunder, and tempests. Nicolas prays again, and following one of the most poignant and self-accusing lines of the libretto (“We pray from fear and from necessity at death, in sickness or private loss”), calm is miraculously restored, leaving Nicolas awake on the deck, alone and weeping. Nicolas receives the bishop’s mitre and robe in the fifth move-ment, a grand scene in which, following a Haydnesque fugue, the audience is called to serve as well, joining the stage forces in the singing of a familiar hymn, based on the 100thment, a grand scene in which, following a Haydnesque fugue, the audience is called to serve as well, joining the stage forces in the singing of a

thment, a grand scene in which, following a Haydnesque fugue, the audience is called to serve as well, joining the stage forces in the singing of a

Psalm. The sixth movement again features the tenor alone, as he sings of the persecution of the church under Roman rule.

The next movement proves Britten’s impeccable sense of theatricality and pathos. Nicolas’ role as patron saint of children, scholars, and travelers is summarized here, in the French version of the story of an innkeeper who robbed and murdered three theological students, storing their remains in a pickling tub. In France, the story was modified to describe three small children, lost and than captured by an evil butcher. In Crozier’s setting, all variations seem successfully conflated, as we are told of travelers along a wintry road (including Nicolas) who are seeking food. They overhear the voices of women calling for their missing sons Timothy, Mark, and John. When the travelers reach an inn and order food, Nicolas warns them not to eat (“O do not taste! O do not feed on sin!”), for the meat they have been served is the flesh of the three boys who have been murdered and pickled in salt. Nicolas restores them to life, and in perhaps the most touching moment of the work, the three pickled boys enter the stage singing “Alleluia!”

The penultimate movement is sung by the choirs alone, as they recall the kindness, courage, and gentle guidance of Nicolas, keeping “his memory alive in legends that our children and their children’s children treasure still.” Nicolas’ death is depicted in the final movement, which grippingly couples Nicolas’ final prayers with a setting of the traditional Nunc dimittis text. As Nicolas’ life fades away, the intonations of faith sung by the chorus grow stronger and stronger. The two forces cross in their intensities, yielding to one final scintillating display of orchestration, until the organ alone intones what will be the denouement of the work: all forces, including the audience, join in singing “God moves in a mysterious way his wonders to perform.” Theatrical, satisfying, and deeply moving, Britten closes with a message of gracious universality. —JT

11

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12

T E X T S

CHICHESTER PSALMS

I: Psalm 108, verse 2

Urah, hanevel, v’chinor!A-irah shahar!

Awake, psaltery and harp!I will rouse the dawn!

Psalm 100, entire Hariu l’Adonai kol haarets.Iv’du et Adonai b’simha.Bo-u l’fanav bir’nanah.D’u ki Adonai Hu Elohim.Hu asanu, v’lo anahnu.Amo v’tson mar’ito.Bo-u sh’arav b’todah,Hatseirotav bit’hilah,Hodu lo, bar’chu sh’mo.Ki tov Adonai, l’olam has’do,V’ad dor vador emunato.

Make a joyful noise unto the Lord all ye lands.Serve the Lord with gladness.Come before his presence with singing.Know ye that the Lord, He is God.It is He that hath made us, and not we ourselves.We are His people and the sheep of His pasture.Enter into His gates with thanksgiving,And into His courts with praise.Be thankful unto Him, and bless His name.For the Lord is good, His mercy is everlasting.And His truth endureth to all generations.

II:Psalm 23, entire

Adonai ro-i, lo ehsar.Bin’ot deshe yarbitseini,Al mei m’nuhot y’nahaleini,Naf’shi y’shovev,Yan’heini b’ma’aglei tsedek,L’ma’an sh’mo.Gam ki eilechB’gei tsalmavet,Lo ira ra,Ki Atah imadi.Shiv’t’cha umishan’techaHemah y’nahamuni.Ta’aroch l’fanai shulchanNeged tsor’raiDishanta vashemen roshiCosi r’vayah.Ach tov vahesedYird’funi kol y’mei hayaiV’shav’ti b’veit AdonaiL’orech yamim.

The Lord is my shepherd, I shall not want.He maketh me to lie down in green pastures,He leadeth me beside the still waters,He restoreth my soul,He leadeth me in the paths of righteousness,For His name’s sake.Yea, though I walkThrough the valley of the shadow of death,I will fear no evil,For Thou art with me.Thy rod and Thy staffThey comfort me.Thou preparest a table before meIn the presence of mine enemies,Thou annointest my head with oil,My cup runneth over.Surely goodness and mercyShall follow me all the days of my life,And I will dwell in the house of the LordForever.

Psalm 2, verses 1-4

Lamah rag’shu goyimUl’umim yeh’gu rik?Yit’yats’vu malchei erets,V’roznim nos’du yahadAl Adonai v’al m’shiho.N’natkah et mos’roteimo,V’nashlichah mimenu avoteimo.Yoshev bashamayimYis’hak, AdonaiYil’ag lamo!

Why do the nations rage,And the people imagine a vain thingThe kings of the earth set themselves,And the rulers take counsel togetherAgainst the Lord and against His annointed.Saying, let us break their bonds asunder,And cast away their cords from us.He that sitteth in the heavensShall laugh, and the LordShall have them in derision!

III:Psalm 131, entire

Adonai, Adonai,Lo gavah libi,V’lo ramu einai,V’lo hilachtiBig’dolot uv’niflaotMimeni.Im lo shivitiV’domam’ti,Naf’shi k’gamul alei imo,Kagamul alai naf’shi.Yahel Yis’rael el AdonaiMe’atah v’ad olam.

Lord, Lord,My heart is not haughty,Nor mine eyes lofty,Neither do I exercise myselfIn great matters or in thingsToo wonderful for me.Surely I have calmedAnd quieted myself,As a child that is weaned of his mother,My soul is even as a weaned child.Let Israel hope in the LordFrom henceforth and forever.

Psalm 133, verse 1 Hineh mah tov,Umah nayim,Shevet ahimGam yahad.

Behold how good,And how pleasant it is,For brethren to dwellTogether in unity.

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T E X T S

A CHRISTMAS FESTIVALAudience invited to sing parts in boldface.

CHORUS:Joy to the World, the Lord is come!Let earth receive her King;Let every heart prepare Him room,And Heaven and nature sing,And Heaven and nature sing,And Heaven, and Heaven, and nature sing.

ORCHESTRA:Deck the halls...God rest you merry gentlemen...Good King Wenceslas...

CHORUS:Hark! The herald angels singGlory to the newborn King;

AUDIENCE & CHORUS:Peace on earth and mercy mild, God and sinners reconciled:Joyful all ye nations rise,Join the triumph of the skies,With th’angelic host proclaim,Christ is born in Bethlehem. Hark! The herald angels sing Glory to the newborn King.

CHORUS:Silent night, Holy night,All is calm, All is bright;Round yon virgin Mother and Child.Holy infant so tender and mild,Sleep in heavenly peace.

CHORUS:Dashing through the snow, in a one horse open sleighO’er the fields we go, laughing all the wayBells on bob tails ring, making spirits brightWhat fun it is to ride and sing a sleighing song tonight

AUDIENCE ONLY:Jingle bells, jingle bells, jingle all the wayOh, what fun it is to ride, in a one horse open sleighJingle bells, jingle bells, jingle all the wayOh, what fun it is to ride in a one horse open sleigh

CHORUS ONLY:Jingle bells, jingle bells, jingle all the wayOh, what fun it is to ride, in a one horse open sleighJingle bells, jingle bells, jingle all the wayOh, what fun it is to ride in a one horse open sleigh

AUDIENCE AND CHORUS:O come, all ye faithful,Joyful and triumphant,O come ye, O come ye to Bethlehem;Come and behold himBorn the King of Angels: O come let us adore him, Christ the Lord!

SAINT NICOLAS(text by Eric Crozier)

1. IntroductionCHORUS:Our eyes are blinded by the holiness you bearThe bishop’s robe, the mitre and the cross of goldobscure the simple man within the SaintStrip off your glory, Nicolas, Nicolas, and speak!

NICOLAS:Across the tremendous bridge of sixteen hundred yearsI come to stand in worship with you as I stoodamong my faithful congregation long agoAll who knelt beside me then are goneTheir name is dust, their tombs are grass and clayyet still their shining seed of faith survives in you!It weathers time, it springs again in you!With you it stands like forest oakor withers with the grasses underfootPreserve the living faith for which your fathers fought!For faith was won by centuries of sacrificeand many martyrs died that you might worship God

CHORUS:Help us, Lord, to find the hidden roadthat leads from love to greater lovefrom faith to greater faithStrengthen us, O Lord!Screw up our strength to serve Thee with simplicity

2. The Birth of NicolasCHORUS:Nicolas was born in answer to prayerand leaping from his mother’s womb he cried:

NICOLAS:God be glorified!

CHORUS:Swaddling-bands and crib awaited him therebut Nicolas clapped both his hands and cried:

NICOLAS:God be glorified!

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T E X T S

CHORUS:Innocent and joyful, naked and fairhe came in pride on earth to abide

NICOLAS:God be glorified!

CHORUS:Water rippled Welcome in the bath-tub by his sidehe dived in open-eyed, he swam, he cried:

NICOLAS:God be glorified!

CHORUS:When he went to church at Christmastidehe climbed up to the font to be baptised

NICOLAS:God be glorified!

CHORUS:Pilgrims came to kneel and pray by his sidehe grew in grace, his name was sanctified

NICOLAS:God be glorified!

CHORUS:Nicolas grew in innocence and prideHis glory spread in rainbow round the countryside“Nicolas will be a Saint!” the neighbours cried

NICOLAS:God be glorified!

3. Nicolas devotes himself to GodNICOLAS:My parents died all too soonI left the tranquil beauty of their homeand knew the wider world of manPoor Man! I found him solitary, racked by doubt:born, bred, doomed to diein everlasting fear of everlasting death:the foolish toy of time, the darling of decay -hopeless, faithless, defying GodHeartsick, in hope to mask the twisted face of povertyI sold my lands to feed the poorI gave my goods to charity but love demanded moreHeartsick, I cast awayall things that could distract my mindfrom full devotion to His willI thrust my happiness behind but love desired more stillHeartsick, I called on Godto purge my angry soulto be my only master, friend and guideI begged for sweet humility and love was satisfied

4. He Journeys to PalestineCHORUS:Nicolas sailed for Palestineacross the sunlit seas

The South West wind blew soft and fairseagulls hovered through the airand spices scented the breeze

Everyone felt that land was near:all dangers now were past:except for one who knelt in prayerfingers clasped and head quite barealone by mizzen-mast

The sailors jeered at Nicolaswho paid them no regarduntil the hour of sunset cameand up he stood and stopped their gameof staking coins on cards

Nicolas spoke and prophesieda tempest far aheadThe sailors scorned such words of fearsince sky and stars shone bright and clearso “Nonsense!” they all said

Darkness was soon on top of thembut still the South wind blewThe captain went below to sleepand left the helmsman there to keephis course with one of the crew

Nicolas swore he’d punish themfor mocking at the LordThe wind arose, the thunder roaredlightning split the waves that pouredin wild cascades on board

Waterspouts rose in majestyuntil the ship was tossedabaft, aback, astern, abeamlit by the lightning’s livid gleamand all aboard cried, “Lost!”

Lightning hisses through the nightblinding sight with living light!Ah! “Spare us!” - “Man the pumps!”“Axes!” - “Save us, Savior!”

Winds and tempests howl their cryof battle through the raging sky!Ah! “Spare us!” - “Lifeboats!”“Lower away!” - “Save us, Savior!”

Waves repeat their angry roarFall and Spring again once more!Ah! “Let her run before the wind!”“Shorten sail!” - “Reef her!” “Heave her to!”

Thunder rends the sky asunderwith its savage shouts of wonder!Ah! “Pray to God. Kneel and pray!”Lightning, thunder, tempest, oceanpraise their God with voice and motion

Nicolas waited patientlytill they were on their knees

15

T E X T S

then down he knelt in thankfulnessbegging God their ship to blessand make the storm to cease

NICOLAS:“O God! We are all weak, sinful, foolish menWe pray from fear and from necessity at deathin sickness or private lossWithout the prick of fear our consciencesleeps, forgetful of Thy grace

Help us, O God, to see more clearlyTame our stubborn heartsTeach us to ask for less and offer more gratitude to TheePity our simplicityfor we are truly pitiable in Thy sightAmen”

The winds and waves lay down to restthe sky was clear and calmThe ship sailed onward without harmand all creation sang a psalmof loving thankfulness

Beneath the stars the sailors sleptexhausted by their fear, while Iknelt down for love of God on highand saw his angels in the skysmile down at me, and wept

5. Nicolas comes to Myra and is Chosen BishopCHORUS:Come Stranger sent from God!Come, man of God!Stand foremost in our churchand serve this diocese as Bishop Nicolasour shield, our strength, our peace!

NICOLAS:I, Nicolas, Bishop of Myra and its dioceseshall with the unfailing grace of Goddefend his faithful servantscomfort the widow and fatherlessand fulfill his will for this most blessed churchAmen

CHORUS:Place the mitre on your head to show your mastery of men!AmenTake the golden robe that covers you with Christ’s authority!AmenWear the fine dalmatic woven with the cross of faithAmenBear the crozier as a staff and comfort to your flock!AmenSet the ring upon your handin sacramental sign of wedlock with thy God!AmenServe the faith and spurn his enemies!

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16

T E X T S

6. Nicolas from PrisonNICOLAS:Persecution sprang upon our churchand stilled its voiceEight barren years it stifled under Roman rule:And I lay boundcondemned to celebrate my lonely sacrament with prison breadwhile wolves ran loose among my flock. - O man!The world is set for you as for a king!Paradise is yours in lovelinessThe stars shine down for youfor you the angels singyet you prefer your wildernessYou hug the rack of selfembrace the lash of sinpour your treasures out to bribe distressYou build your temples fair without and foul within:You cultivate your wildernessYet Christ is yours, yours!For you he lived and diedGod in mercy gave his Sonto bless you all, to bring you lifeand Him you crucifiedto desecrate your wildernessTurn, turn away from sin! Ah!Bow down your hard and stubborn hearts!Confess, confess yourselves to Him in penitenceand humbly vow your lives to Him, to holiness

7. Nicolas and the Pickled BoysCHORUS:Famine tracks us down the laneshunger holds our horses’ reinswinter heaps the roads with snowO we have far to go!

Starving beggars howl their crysnarl to see us spurring bytimes are bad and travel slowO we have far to go!

We mourn our boys, our missing ones!We sorrow for three little ones!Timothy, Mark and John are gone, are gone!Landlord, take this piece of gold!Bring us food before the coldmakes our pangs of hunger growO we have far to go!

Day by day we seek to findsome trace of them but oh! Unkind!Timothy, Mark and John are gone, are gone!

Let us share this dish of meatCome, my friends, sit down and eat!Join us, Bishop, for we knowthat you have far to go!Mary meek and Mother mildwho lost thy Jesus as a childour Timothy, Mark and John are gone, are gone!

Come, your Grace, don’t eat so slow!Take some meat!

NICOLAS:O do not taste! O do not feed on sin!But haste to save three souls in need!

The mothers’ cry is sad and weakwithin these walls they liewhom mothers sadly seek

Timothy, Mark and Johnput your fleshly garments on!Come from dark oblivion! Come!

CHORUS:See! Three boys spring back to lifewho, slaughtered by the butcher’s knifelay salted down!And entering, hand in hand they stand and sing“Alleluia” to their King!

8. His Piety and Marvellous worksCHORUS:For forty years our Nicolasour prince of men, our shepherdand our gentle guide walked by our side

We turned to him at birth and deathin time of famine and distressin all our grief to bring relief

He led us from the valleysto the pleasant hills of graceHe fought to fold us in from mortal sinO! He was prodigal of love!A spendthrift in devotion to us alland blessed as he caressedWe keep his memory alivein legends that our childrenand their children’s children treasure stillA captive at the heathen courtwept sorely all alone“O Nicolas is here, my son!And he will bring you home!”“Fill, fill my sack with corn!” he said“We die from lack of food!”And from that single sack he feda hungry multitudeThree daughters of a noblemanwere doomed to shameful sintill our good Bishop ransomed themby throwing purses inThe gates were barred, the black flag flewthree men knelt by the blockBut Nicolas burst in like flameand stayed the axe’s shock“O help us, good Nicolas!Our ship is full of foam!”He walked across the waves to themand led them safely homeHe sat among the bishopswho were summoned to Nicaea:then rising with the wrath of Godboxed Arius’s ear!

17

T E X T S

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He threatened Constantine the Greatwith bell and book and ban:till Constantine confessed his sinslike any common man

Let the legends that we tellpraise him, with our prayers as well

We keep his memory alivein legends that our childrenand their children’s children treasure still

9. The Death of NicolasNICOLAS:Death, I hear thy summons and I comein haste, for my short life is doneAnd o! my soul is faint with lovefor Him who waits for me above

Lord, I come to life, to final birthI leave the misery of earthfor light, by Thy eternal gracewhere I shall greet Thee face to face

Christ, receive my soul with tendernessfor in my last of life I blessThy name who lived and died for meand dying, dying yield my soul to Thee.

CHORUS:Lord, now lettest Thou Thy servantdepart in peace, according to Thy wordFor mine eyes have seen Thy salvationwhich Thou hast preparedbefore the face of all peopleto be a light to lighten the gentilesand to be the glory of Thy people Israel

Glory be to the Fatherand to the Son and to the Holy GhostAs it was in the beginningis now and ever shall be world without endAmen

God moves in a mysterious wayHis wonders to performHe plants His footsteps in the seaand rides upon the storm

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P A C I F I C B O Y C H O I R

Kevin Fox, director

Soprano IHillary AaronsonChiaWin ChangCourtney Coffi nLiz DrakeMarjorie HalloranSarah HeppMarisa LiaoYun Lian LuoSara MarosticaBrittney McClainElizabeth ParksMaria (Christina) PingolMiriam RockeDiane SotoKarina SummersIsabel ToShipley WaltersGillian WatsonKelley WayCynthia Weller

Soprano IIAthena BergenKimberly BlahnikAmanda BoardmanCarrie HarrellHeidi KendrickShannon KoAiry Krich-BrintonAmanda McDermottJennifer McEwenAileen NicholsJoanna PabstAlissa SteinerRebecca WendlandtJane WongJennifer Yee

Alto IKelly AguirreNatalia BlackburnKatherine ConleyAshley CooperLaura CrowderElexia EstradaApril FerreEugenia GinAmanda GlinzakJulia GrieserAlison KootstraJulia KulmannJulia LazzaraClarissa LockZeina MaaloufLinnea NasmanPatricia PeacockSusanna PeeplesCarrie RockeAllegra SilbersteinErin TennerJulia UdellCourtney Wu

Alto IIJackie BerliantMiriam CampionStephanie ChristianaAva ChurchillSusan GarbiniSally GrayMary HerbertJoo KoonzMai KozaiSandra Lee Joy LiChristelle MateoJohanna (Josie) NevittBria NybergKathleen (Bo-Mie) PaeGalya RazBonnie Tsung

Tenor ILaureen JensonReynold (Brad) KernRichard KulmannNewman LeungSpencer LittleChris NeffJacob RitterJerry SchimkeSuzanne Vert

Tenor IIVincent BacayMario CuaresmaBilly CunhaI-Rei (Eric) HuangMichael SteeleLloyd Waldo

Bass INick BaltazarIan BentonPaul CorujoStephen FaselDavid FriedmanKamran HassanJames HutchinsonAlex KloehnMichael LazzaraBen RosenJason RothJeffrey WagnerRichard Walters

Bass IIJohn Berg Clyde BowmanTom DotanKenneth EngBryan GibsonJonathan HueyNathaniel LeachmanEric SeyfarthMatthew Stevenson

U N I V E R S I T Y C H O R U S

Jeffrey Thomas, conductorFawzi Haimor, assistant conductor

Devin AnglinDerek BuckwalterMatt BridgesMax BurnhamTrevor CarpenterMatte Cornell

Collin DavisRaphael FalkKerry GoettlichTim GreenGarrett HenzeTimothy Hunt

Josh JacobsTerrence JegarajAndrew KaryMack KaryAdam KutnyMalcolm Lane

Henry NelsonAaron PangGus Robinson-EngAndrés VélezJacob WilsonJonathan Wilson

For UC Davis Symphony Orchestra roster, please see page 5.

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John R. Berg, Ph. D. and Anne M. BergKathleen CadyBarbara P. and Kenneth D. CelliDonna M. Di GraziaLeland and Susan FaustAnn & Gordon Getty FoundationJohn Tracy Grose and Beth Baker-GroseProf. and Mrs. D. Kern HolomanJames and Patricia HutchinsonIBM International Foundation, LLPBarbara K. Jackson

Joan and Russell JonesMr. and Mrs. Norman JonesProf. Joseph E. Kiskis, Jr.Julia and Richard KulmannElizabeth Langland and Jerry JahnLeslie and Dana LeongGary and Jane MattesonHugh and Deborah McDevittAlbert and Helen McNeilCindy and Dennis McNeil

Patricia K. Moore and Chester G. Moore, Jr., Ph.D.

Mary Ann Morris, Ph.D.Jeffrey and Janice PettitSteven RosenauMr. and Mrs. Roy ShakedPatricia L. ShepherdSteven TallmanJeffrey ThomasLarry and Rosalie VanderhoefEd and Eleanor Witter

A N N U A L D O N O R S

Mitzi S. AguirreMitzi S. AguirrePriscilla AlexanderMartha AmorochoRenee ArmstrongAuburn SymphonyRenee BodieClyde and Ruth BowmanLynn L. Campbell

and Robert N. Campbell, Ph.D.Hugh C. and Susan B. ConwellMartha DickmanDotty DixonDavid and Annmarie HellerJames H. HillmanBetty and Robin HoustonDonald Johnson and Elizabeth Miller

Winston and Katy KoWinston and Katy KoKirk KolodjiAiry Krich-BrintonDr. Katherine T. LandschulzLeslie and Dana LeongMalcolm MacKenzieMaria MangeSusan MannMarjorie MarchMatthew McGibneyJeffrey MihalyMartha MorganJonathan and Jessie NewhallRebecca NewlandNaomi NewmanGrant and Grace Noda

John and Elizabeth OwensJohn and Elizabeth OwensMike and Carlene OzonoffPatricia PeacockAnn PrestonGerry ProdyWarren G. RobertsDavid and Carrie RockeJerry and Sylvia RosenWilliam and Linda SchmidtCarl SeymourKevin ShellooeG. William Skinner and Susan MannBarry SmithSteven and Patricia WaldoShipley and Dick WaltersRebecca and Jansen Wendlandt

U C D A V I S C H O R U S E N D O W M E N T

A N I N V I T A T I O N T O J O I N

There will always be fi nancial challenges to any arts program that strives to meet the needs and demands of its students. At UC Davis, our chal-lenges are even greater now that new standards of excellence have been achieved and continue to rise. The UC Davis Chorus Endowment was established to raise much needed funds in order to provide exciting and memorable tours for our students, enhancements to our annual concert seasons, voice lessons for talented individuals, or even bare-bones necessities like choral music, accompanists, or concert equipment. Your support will ensure that our programs can continue to inspire, teach, and mold the artistic and aesthetic temperaments of young choral singers. Please join us through your commitment to our future.

The Founder’s Club recognizes those generous founding benefactors who contributed $1,000 or more during the Endowment’s fi rst year, and its members receive permanent recognition in all Chorus programs. All subsequent donors are acknowledged annually.

F O U N D E R ’ S C L U B M E M B E R S

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F R I D A Y , D E C E M B E R 9 , 2 0 0 58 P M , D A V I S C O M M U N I T Y C H U R C H

U C D A V I S C H A M B E R S I N G E R SJeffrey Thomas, conductor

P R O G R A M

In Nativitatem Domini Nostri Jesu Christi Canticum / Song of the Birth of our Lord Jesus Christ Praeludium / Prelude Récit de l’historien / Recitative of Evangelist

Heidi Gerard, soprano ILisa Sueyres, soprano II

[Air of the Angel]Lisa Sueyres, soprano

Chorus of ShepherdsMarche / March[Recitative of Evangelist]

Christopher Bennett, baritone[Air of a Shepherd]

Sara Marostica, sopranoPeter Ludden, tenorAlicia Flor, soprano

PAUSE

Judicium Salomonis / The Judgment of Solomon

Historicus 1us (First Narrator) Christopher Bennett, bassTres e populi (Three of the People) Amanda Ou, alto Peter Ludden, tenor Nicolas Moore-Karppinen, bassSalomon (Solomon) Kevin Gibbs, tenorHistoricus 2us (Second Narrator) Peter Ludden, tenorDeus (God) Paul Corujo, bassVera Mater (True Mother) Gillian Watson, sopranoFalsa Mater (False Mother) Meghan Eberhardt, altoPopulus (The People) Chorus

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G U E S T A R T I S T S

Kevin Gibbs, tenorJudith Linsenberg & Vicki Boeckman, recorders

Michael Sand & Andrew Fouts, violinsDaria D’Andrea, viola

Jake Charkey, violoncelloSteven Lehning, contrabass

Phebe Craig, organ

A B O U T T H E S O L O I S T

Kevin Gibbs (tenor) recently made his fifth solo appearance with the San Francisco Symphony in Haydn’sHarmoniemesse. He has received critical acclaim for his recent appearance with the California Symphony in the world premiere of Kevin Beaver’s Songs from the Discovery and Beethoven’s Ninth Symphony. A frequent oratorio soloist, he has performed with Cantabile Choral Guild (formerly Baroque Choral Guild) in Bach’s Mass in B Minor, Rachmaninoff’s All-Night Vigil, and Rautuvaara’s Vigilia. In other recent appearances, Gibbs has performed with the early music ensemble Apollo’s Fire in Bach’s St. John Passion and with the Berkeley Symphony in Haydn’s Harmoniemesse. In addition to solo engagements, Gibbs is an experienced choral musician. He performs this season with many of the Bay Area’s most recognized arts organizations, including the San Francisco Opera Chorus, the San Francisco Symphony Chorus, the Philharmonia Baroque Chorale, and the American Bach Soloists.

U C D A V I S C H A M B E R S I N G E R S

Jeffrey Thomas, conductor

SopranoAlicia FlorHeidi GerardMarjorie HalloranSarah HeppSara MarosticaLisa SueyresIsabel ToGillian Watson

AltoPriti DaveMeghan EberhardtJulia LazzaraJoy LiJulie LujanoJohanna (Josie) NevittEleni NikitasSusanna PeeplesJamie RomnesIsabel Wei

TenorAdam CobbPeter LuddenChris NeffAmanda OuJacob Ritter

BassChristopher BennettPaul CorujoTom DotanAaron DriverStephen FaselNicolas Moore-KarppinenMohammed (Yahya) RouhaniAugustus (Gus) Walsh

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In Nativitatem Domini Nostri Jesu Christi Canticum / Song of the Birth of Our Lord Jesus Christ

RecitativeThe shade of the icy night covered all the earth and plunged everyone into a deep sleep. And the shepherds of Judea kept watch over their flocks. And, lo, an angel of the Lord came and stood beside them, and the glory of the Lord shone about them. Overcome were the shepherds with great fear; but then the angel said to them:

AirFear not, shepherds. For, behold now, I bring good tidings of joy, which shall be to all people. For today in the city of David a Savior unto you is born. And to you shall this be the sign: Ye shall find the babe all wrapped in swaddling clothes and lying within a manger. Quickly go ye, shepherds, and there adore Him.

ChorusArise now, let us hasten to go unto Bethlehem. There shall we see the Child who is born to us. There shall we offer praise and there adore Him, God now in the form of a sinner lowly disguised. Why linger, why tarry? O shepherds, so drowsy?

RecitativeAnon these humble shepherds did arrive at the place wherein the Child had been born. And when they were come into the house, they saw

Mary and Joseph, and the Child wrapped in swaddling clothes and lying in a manger. And kneeling there, they sang of their adoration in artless but devoted song of praise, saying:

Air and ChorusO little boy, o tender one, o poor little newborn baby, save that which is good! You left your heavenly home; you were born on earth in order to take upon yourself our wretchedness.

O highest Goodness, o most high God, today you were made a lowly human being; you who existed from everlasting, and who are the great Ruler whose watchful eye protects earthly rulers.

Born of a Virgin’s blessed womb, by an act of God you were given to be Her Son. All praise to the Flower of the Virgin, all praise to the hope of humankind, the fountain whose flowing water cleanses our sin.

Judicium Salomonis / The Judgment of SolomonJudicium Salomonis / The Judgment of SolomonJudicium Salomonis

[Prelude]Prima Pars / Part One

First Narrator The kingdom of Israel was established in the hand of Solomon, and the Lord God of his father was with him. And Solomon spoke unto all his people, to the commanders of his people, and to the judges; and he went with all the congregation to the heights of Gibeon, there to sacri-

Marc-Antoine Charpentier

The exact date of Marc-Antoine Charpentier’s birth in Paris is lost to us, but it probably was around 1640, give or take a decade. While still a youth he spent several years in Rome, studying with Carissimi, a composer best remembered today as the inventor of the oratorio. Charpentier brought back from Italy not only a fine sense of dramatic church music, but also a keen appreciation for the ability of music to depict intense emo-tions, particularly through the introduction of chromaticism. These characteristics, when blended with Charpentier’s native French taste for suave melody, dense, dissonant harmonies and a lively instrumental palette, produced a remarkable and distinctive musical language. The richness of his style did not go unnoticed by his contemporaries, whether for good (“Ninths and tritones glittered under his hands”) or for ill (“Such mournful chords grate on our ears”), but was a clear expression of his philosophy: “Diversity is the soul of music.”

After his return from Italy, Charpentier seems to have plunged headlong into Parisian musical life, in which he was enormously successful, even without ever holding an official post at court. Around 1670 he began a fruitful collaboration with Molière, composing for the theatrical troupe that became (in 1680) the Comédie Française. He was employed during the 1680s by the Duchess of Guise, one of the most benevolent patrons of music in France. All the while, he steadily built his reputation as composer of church music, receiving commissions from a wide range of ecclesias-tical establishments. For unknown reasons, Charpentier gravitated towards the Jesuits, composing occasional works for a number of their colleges, and finally being named to the post of maître de musique for the principal Jesuit church in Paris, St. Louis. The church is still there (now called St. Paul-St. Louis), next to the St-Paul Métro stop in the Marais. The pinnacle of Charpentier’s career came in 1698, when he was appointed maître de musique of the Sainte-Chapelle. It is difficult to imagine now, when that exquisite building is embedded within a warren of offices which contain the bureaucracy of the French judicial system, but in those days the Sainte-Chapelle was the chapel of the royal palace on the Île de la Cité; only the director of music at the royal chapel at Versailles ranked higher. Here he remained until his death in 1704.

In Nativitatem D[omini] N[ostri] J[esu] C[hristi] Canticum is a motet or cantata based on a text from Luke 2:8-16. It is a typical pastorale, fea-turing a prelude depicting the calm of the night before the shepherds are told of the birth of Jesus. In a scene that reminds us of other settings (by Bach and Handel), the angel comes to the shepherds and (predictably) sings an aria. The shepherds then sing a rousing 6-part chorus as they pre-pare to make their journey to the crib. But the work’s most touching moment is the final movement. The evangelist (this time a baritone; in the initial scene two sopranos) warns us that we are about to hear an “artless” but heartfelt song of adoration. It is hardly artless.

Charpentier’s studies with Carissimi and his experience writing for the theater were put to good use in his Judicium Salomonis (“The Judgment of Solomon”). This is one of the few works of Charpentier to come down to us with a date: “for the red mass in the Palace in 1702.” The Messe Rouge was an annual event celebrating the convocation of Parlement, a body whose function was judicial, rather than legislative. Its members con-sisted of provincial judges, who wore scarlet robes; hence the ceremony’s name. The story of Judicium Salomonis is admirably suited to the occasion. After a lengthy introductory First Part, the oratorio gets down to business: the re-telling of the episode of the infant who is the subject of a dispute between two women. Wise King Solomon sees through the False Mother’s subterfuge and pronounces judgment, flushing out the truth. Innocence is protected, wickedness is punished. In case the assembled jurists didn’t get the point, the final chorus addressed them directly, even commenting on their wardrobe: “And all Israel heard of the judgment which the king had judged; and they feared the king and wondered, seeing in him the wisdom of God. Likewise, ye empurpled leaders,...rejoice...For the Lord shall raise up thy justice as a light, and thy judgment shall shine forth as the noonday.” —Jeffrey Thomas & Victor Gavenda

T E X T S

P R O G R A M N O T E S

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fice victims in burnt offerings to the Lord.

Chorus [Narrator] Then the whole congregation rejoiced when they pledged their vows willingly, for they offered them to God with their whole heart. The priests with trumpets and the Levites with instruments of music sang praises. And the sons of Sion sang with them, saying:

Chorus [People] O give thanks unto the Lord, for he is gracious, for his mercy endureth forever.

Let Israel now confess that he is gracious, for his mercy endureth for-ever.

Let the house of Aaron now confess that he is gracious, for his mercy endureth forever.

Three of the People And likewise the king rejoiced greatly, and falling prostrate on the ground he adored God. Then, looking on high, hand stretched forth to heaven, he said joyfully:

Solomon Blessed art thou, O Lord God of Israel, and highly to be praised. But who am I, and what my people, that we are able to offer thee such an abundance of victims? For all things are thine, and we offer to thee nothing that thy hand has not given us. Yet I know also, my God, that thou triest the heart and hast pleasure in uprightness; wherefore in the uprightness of my heart I have willingly offered to thee the things that are thine. And I have seen thy people, which are here, likewise offer to thee with great joy the things that are thine.

Chorus [Narrator] Therefore as they were all rejoicing together, with trumpets and harps resounding, with cymbals and instruments of music sounding, with voices dropping from the heights to the depths and rising from the depths to the heights, far and wide was heard the sound of praising, singing, and saying:

Chorus [People] O give thanks unto the Lord, for he is gracious, for his mercy endureth forever.

Let Israel now confess that he is gracious, for his mercy endureth for-ever.

Let the house of Aaron now confess that he is gracious, for his mercy endureth forever.

Seconde Partie / Part Two[Prelude]

Second Narrator And the following night God appeared to him in a dream, saying:

God Ask of me, Solomon, what you wish I should give thee.

Solomon O Lord God, thou hast made thy servant king. But I am a little child and know not how to go out or come in; yet have I been established as king in the midst of thy people which thou hast chosen, a great people that cannot be numbered nor counted for multitude. Give therefore to me, thy servant, wisdom and knowledge, to judge thy people and to dis-tinguish between good and evil. For who would be able to rule worthily this thy people that is so great unless thou enlightenest him, O Lord my God?

God Because thou hast not asked for thyself long life, nor riches, nor the

lives of thine enemies, but hast asked for wisdom and knowledge for a discerning power of judgment: behold, I have done to thee according to thy words and have given thee a wise and understanding heart, inso-much that there was none like thee before thee, neither after thee shall any arise like unto thee. And I have also given thee, what thou hast not asked, both riches and glory, insomuch that there was none like thee before thee, neither after thee shall any arise like unto thee. And if thou wilt walk before me as walked my servant David your father, then will I add long and many days to thee beyond many days.

Chorus [Narrator] And when morning was come Solomon awoke and understood that it was a dream. And when from the heights of Gibeon he returned to Jerusalem, he stood before the ark of the covenant of the Lord and offered up burnt offerings, and prepared peace offerings, and made a sumptuous feast for all his following. And as he was eating and drinking joyfully with them, there came to the king two women, of whom one spoke thus:

True Mother Pardon, my lord: I and this woman were dwelling in one house, and I was delivered of a child with her in the house; and the third day after I was delivered, this woman was delivered also, and we were together, and there was no other with us in the house. And this woman’s son died in the night because she overlaid it; but she arose in the silence of midnight and took my son from beside me and laid him in her bosom, and her own son, which was dead, she laid in my bosom. And when I rose in the morning to suckle my child, behold, he was dead; but when I had considered him carefully, I realized he was not my son.

False Mother It is not so as thou sayest: thy son is dead, but mine liveth.

True Mother It is not so as thou sayest: my son liveth, but thine is dead.

Solomon This one sayeth, “My son liveth, but thine is dead”; and the other answereth, “Thy son is dead, but mine liveth.”

False Mother It is not so as she sayest: her son is dead, but mine liveth.

True Mother It is not so as she sayest: my son liveth, but hers is dead.

Solomon Bring unto me a sword: divide the living child in two parts and give half to the one and half to the other.

True Mother Ah, my lord king, I beg thee, give her the living child and slay him not. Not mine but hers let him be.

False Mother Neither mine nor thine let him be, but divide him.

Solomon Give her the living child; she that hath shed such tears, she that so feared for the child hath shown herself to be the mother.

Chorus [Narrator] And all Israel heard of the judgment which the king had judged; and they feared the king and wondered, seeing in him the wisdom of God.

Likewise, ye empurpled leaders, to whom has been given from on high equal and consistent power of judgment to accord to each person his due, rejoice, ye defenders of widows and guardians of orphans; rejoice and exult in the Lord. For the Lord shall raise up thy justice as a light, and thy judgment shall shine forth as the noonday.

T E X T S

SUN, DECEMBER 4, 8 PM JACKSON HALL, MONDAVI CENTER

University Chorus, Jeffrey Thomas, conductor, with the UC Davis Symphony Orchestra, D. Kern Holoman, conductor, and the Pacifi c Boychoir. Bernstein: Chichester Psalms; Britten: Saint Nicolas, op. 42, with Steven Tharp, tenor. [$14/11/8 A; $7/5.50/4 S & C]

TUE, DECEMBER 6, 8 PM STUDIO THEATRE, MONDAVI CENTER

Empyrean Ensemble: Crackerjack Virtuosity. Yu-Hui Chang and Laurie San Martin, co-directors. A showcase of the Empyrean players’ dazzling craft with works by George Benjamin, David Lang, Theo Loevendie, Peter Lieberson, and Jonathan Harvey. Pre-concert talk: Demystifying the Music, 7 pm. [$16 A; $8 S & C]

WED, DECEMBER 7, 7 PM JACKSON HALL, MONDAVI CENTER

University Concert Band, Peter Nowlen, interim director, with the Vacaville High School and Will C. Wood High School Wind Ensembles. Seasons and Celebrations: works by Strauss, Bach, Tchaikovsky, and others, plus a joint performance by all three ensembles of Alfred Reed’s Russian Christmas Music. [$12/9/6 A; $6/4.50/3 S & C]

FRI, DECEMBER 9, 8 PM DAVIS COMMUNITY CHURCH, 412 C STREET, DAVIS

University Chamber Singers, Jeffrey Thomas, conductor, with an instrumental ensemble and Kevin Gibbs, tenor. Motets and oratorios by Marc-Antoine Charpentier. [Suggested donation at door only, $10 A; $5 S & C]

SAT, DECEMBER 10, 7 PM FREEBORN HALL, UC DAVIS

UC Davis Gospel Choir, Calvin Lymos, director. [$12 A; $6 S & C]

SUN, JANUARY 22, 8 PM STUDIO THEATRE, MONDAVI CENTER

Empyrean Ensemble: Culture Shock! Yu-Hui Chang and Laurie San Martin, co-directors. Works of cultural signifi cance by international composers, including Toru Takemitsu, Tan Dun, Tamar Diesendruck, Pablo Ortiz, and Fernando Benadon. Pre-concert talk: Demystifying the Music, 7 pm. [$16 A; $8 S & C]

SUN, FEBRUARY 12, 8 PM JACKSON HALL, MONDAVI CENTER

UC Davis Symphony Orchestra, D. Kern Holoman, conductor. Vaughan Williams: Fantasia on a Theme by Thomas Tallis; Webern: Symphony, op. 21; Elgar: Cello Concerto, op. 85, with Susan Lamb Cook. [$14/11/8 A; $7/5.50/4 S & C]

SUN, MARCH 5, 8 PM JACKSON HALL, MONDAVI CENTER

University Chorus & Chamber Singers, Jeffrey Thomas, conductor. Durufl é: Requiem, with works by Bruckner, Fauré, Messiaen, and Poulenc, with David Deffner, organ. [$14/11/8 A; $7/5.50/4 S & C]

music

INFORMATION: 530.752.0948

TICKETS: 530.754.2787 WEB: music.ucdavis.edu

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