Dr. Stephen J. Mulder, Artistic Director presents
The 2016-2017 Season
The mission of Griffin Choral Arts is to enrich our community through the performance of outstanding choral music from all traditions; ennoble our audiences with choral programs that elevate, educate, and entertain; excel in performance by welcoming challenge, discovery, and diversity; and enthusiastically support and promote the performing arts in the Griffin region.
www.griffinchoralarts.org
Follow us on Facebook!
In October 2007, 46 auditioned singers performed the first Griffin Choral Arts concert, Flowers and Frost, in the Griffin First United Methodist Church sanctuary. Since that time, GCA has performed nearly 40 concert projects, collaborating with professional musicians and organizations such as the Carroll Symphony Orchestra, Tara Winds, the Vega String Quartet, the Kazanetti String Quartet, the Russian chamber choir LYRA, the Griffin Ballet Theatre, Monroe Crossing bluegrass band, the Atlanta Percussion trio, composer Paul Basler, Celtic fiddler Jamie Laval, and instrumentalists from the Atlanta Opera Orchestra. GCA has performed with area school choirs, the Southern Crescent Chorale, and the Clayton State University Chorale. STANDING OVATION! As we celebrate our Tenth Anniversary Season, we have put aside our themed concerts and focus on the music—the best choral music—and present favorites from the past nine seasons paired with works we have not yet performed. WELL DONE! We open the season in the same sanctuary venue as that first concert to present Faure’s stunning Requiem. In addition, the Chamber Choir will present a set of Lauridsen “Rose Songs” that we performed for that very first concert in 2007. CHEERS! In December we revisit the Pinkham Christmas Cantata (Season 2) and for the first time present Benjamin Britten’s Ceremony of Carols. The Christmas concert is presented twice, Thursday night at Griffin First Baptist Church and again on Sunday afternoon at Griffin First United Methodist Church. The GCA Children’s Chorus makes their first appearance on Sunday afternoon, performing alone and with the adult choir. BRAVO! In March 2017, we collaborate with the Clayton State University Chorale at the Griffin Auditorium to present Haydn’s Mass in Time of War (Season 1) and also smaller “new” works by Mozart. ENCORE! We conclude the Standing Ovation season with a concert at Gordon State College featuring Carmina Burana by Carl Orff accompanied by two pianos and percussion ensemble. Founding accompanist Seth Davis will be our special guest, and the Chamber Choir will present works by Brahms. It seems like just yesterday I was sitting in my office with Jan Whalen laying out the plans for our new regional community chorus. With the tremendous support of this community and dedicated Board members, it has been an amazing ten years of wonderful concerts and magnificent choral music. Here’s to many more years of the same!
Stephen J. Mulder Artistic Director Griffin Choral Arts
Dr. Stephen J. Mulder
Cathy Willis
Conductor
Accompanist
March 16, 2017 The Griffin Auditorium
featuring The Clayton State University Chorale Dr. Michael Fuchs, Conductor
Our 2017 Masterworks concert includes shorter works by Mozart and Haydn’s brilliant MASS IN TIME OF WAR (Paukenmesse). We are joined on the stage by the Clayton State University Chorale, under the direction of Dr. Michael Fuchs. The Chorale will present a relatively new work: David Lang’s the little match girl passion. This is a remarkable cantata based on the story by Hans Christian Anderson (who also gave us stories such as The Ugly Duckling, The Emperor’s New Clothes, and The Little Mermaid). It has been a great experience collaborating with this fine ensemble as well as our professional orchestra players.
PROGRAM GRIFFIN CHORAL ARTS
Ave Verum Corpus.................................................................................................Wolfgang Amadeus Mozart (1756-1791) Laudate Dominum........................................................................................................................... Wolfgang Amadeus Mozart (from Vesperae solennes de confessore, K. 339) Allie Bankston, soprano
CLAYTON STATE CHORALE the little match girl passion........................................................................................................................ David Lang (b. 1957) 1. come, daughter 2. it was terribly cold 3. dearest heart 4. in an old apron 5. penance and remorse 6. lights were shining 7. patience, patience! 8. ah! perhaps 9. have mercy, my God 10. she lighted another match 11. from the sixth hour 12. she again rubbed a match 13. when it is time for me to go 14. in the dawn of morning 15. we sit and cry
INTERMISSION COMBINED CHOIRS
Valerie Gill, soprano Jonathan Pilkington, tenor
Holly McCarren, mezzo Stephen Ozcomert, bass
Mass in Time of War (Paukenmesse)......................................................................................Joseph Haydn (1732-1809) Kyrie Gloria Credo Sanctus Agnus Dei
SINGERS
The Reverend Marty Watts Assistant Conductor
James Allen Christopher Davis Justin Evans Art Hammond Joshua Smith David Stivers
ALTO
Cynthia Armstrong Allie Bankston Peggy Carroll Debby Daniel-Bryant Kate Evans Valerie Gill Curran Golightly Jean Gregory Sally Hartman Sylvia Hollums Linda Jones Diane Mostiler Gina Puckett Edith Ray Kimbra Stenson Tracy Threlkeld Patsy VanHoy
BASS
TENOR
SOPRANO
Section Leaders indicated in BOLD. Susan Bartholomew Millie Beverly Erin Brooks Jackie Clark Jennifer Durham Gay Fortson Amy Huffer Margie King Eunice Kuiper Katrina Lazenby Gwen Milner Nancy Mobley Patti Morrow Susie Whatley Olivia White
George Brown Richard Chewning Danny Clark Ross Iddings Carey Jones Brandon Kreismanis Bill Pasch Michael Puckett Bruce Reid Ken VanHoy
CLAYTON STATE UNIVERSITY CHORALE SOPRANO
Olivia Bradley Isis Davis Katelyn Daws Bailey Harvil Chasity Jenkins Shayla Jones Savannah Lee Amanda Lockridge Quenecia Roberts
ALTO
Amber Berry Joy Diaz Ashe Griffin Kevineesia Holmes Eowyn Hoppe-Cook Keanna Houston Kat Justice Daylet Reyes Kaitlyn Thomas Yonika Thompson
TENOR
Keith Brown Keddrick Clark Antonio Fernandez Kenyon MacDonald Evan Pettigrew Ruben Saint-Hilaire
BASS
Brian Adams Jehl’n Bentley Michael Gentile Jeremiah Goodwin Daniel Rampersad Alexander Vandekerckhove Erron White
ORCHESTRA VIOLIN I
Jessica Robinson Stinson, Concert Master
Andy Zabinski Jason Economides
VIOLIN II
CELLO
CLARINET
BASS
BASSOON
David Lloyd Alexandra Rice Haines Lyn DeRamus
Kathryn Koch Jonathan Wright William Myers
FLUTE
VIOLA
Diana Dunn Owens Allen Barbee
Joe Lester Samantha Lester Sam Lee
Sarah Ambrose
OBOE
Staci Culbreth Greg Collins John Grove Debbie Grove
TRUMPET
Paul Poovey Ryan Moser
TIMPANI
Jeff Kershner
CLAYTON STATE CHORALE As the premier vocal ensemble at Clayton State, the Chorale is an auditioned ensemble comprised primarily of Performing Arts Majors with concentrations in Music and Music Education. This en-
semble provides intensive and thorough per-professional training for the next generation of vocal performers, music educators, and choral enthusiasts. Last season featured the Chorale performing
at the annual Harvest Home in downtown Atlanta and a performance of the Mozart Requiem. This year, the Chorale will be featured at several concerts at Spivey Hall as well as a performances of
the Pulitzer Prize winning composition, the little match girl by David Lang. The rigorous rehearsal
and performance schedule of the Chorale requires the utmost commitment and dedication from its members.
DR. MICHAEL FUCHS Michael Fuchs has enjoyed an active career as a conductor,
educator, and singer. He is the Director of Choral Activities at Clayton State University in Morrow, GA where he con-
ducts the Chorale, the Clayton State Community Chorus, and teaches courses in conducting, choral methods, aural
skills, and music history. He is also the Director of Music
Ministries at Druid Hills Presbyterian Church. He graduated with a doctoral degree in choral con-
ducting from the University of Cincinnati College-Conservatory of Music where he conducted the University of Cincinnati Women’s Chorus and was Co-Director of the Collegium Vocale. Choirs
under his direction have performed across the United States and internationally while receiving numerous honors and awards. He has prepared choruses for performances with Joe Miller, An-
nunziata Tomaro, Mark Gibson, and Joseph Flummerfelt. Previous positions include Artistic Di-
rector of Music, the premier chamber choir of Dayton, Ohio, Founder and Artistic Director of the Westminster Bach Consort, and the Graduate Assistant Conductor for the Westminster Choir. Dr.
Fuchs has held public school teaching positions in Fairfax County, Virginia and church music positions in Ohio, North Dakota, Virginia, New Jersey, and Georgia. Dr. Fuchs holds additional degrees
from Westminster Choir College in Princeton, New Jersey, and Concordia College in Moorhead, Minnesota.
TEXTS & TRANSLATIONS Mozart, Ave verum corpus (K. 618) Ave verum corpus,
Hail, true Body,
Natum de Maria virgine,
born of the Virgin Mary,
Vere passum immolatum
who having truly suffered,
In cruce pro homine,
was sacrificed on the cross for mankind,
Cujus latus perforatum
whose pierced side
Unda fluxit et sanguine,
flowed with [water and] blood:
Esto nobis praegustatum
May it be for us a foretaste [of the feast to come]
In mortis examine.
in the trial of death.
Mozart, Laudate Dominum (K. 339v) Solo: Laudate Dominum omnes gentes:
Praise the Lord, all nations:
Laudate Dominum omnes populi,
Praise the Lord, all peoples,
Quoniam confirmata est super nos
Because the Lord’s mercy on us is confirmed:
misericordia ejus:
And the truth of the Lord remains forever.
et veritas Domini manet in aeternam.
Chorus: Gloria Patri, et Filio, et Spiritu Sancto,
Glory to the Father, and the Son, and the Holy Spirit.
Sicut erat in principio, Et nunc, et sem-
As it was in the beginning, is now, and will be
per, et in saecula saeculorum. Amen.
always, world without end. Amen.
David Lang, the little match girl passion 1. come, daughter Come, daughter Help me, daughter Help me cry Look, Daughter Where, daughter What, daughter Who, daughter Why, daughter Guiltless daughter Patient daughter Gone
2. it was terribly cold It was terribly cold and nearly dark on the last evening of the old year, and the snow was falling fast. In the cold and the darkness, a poor little girl, with bare head and naked feet, roamed through the streets. It is true she had on a pair of slippers when she left home, but they were not of much use. They were very large, so large, indeed, that they had belonged to her mother, and the poor little creature had lost them in running across the street to avoid two carriages that were rolling along at a terrible rate. One of the slippers she could not find, and a boy seized upon the other and ran away with it, saying that he could use it as a cradle, when he had children of his own. So the little girl went on with her little naked feet, which were quite red and blue with the cold. So the little girl went on. So the little girl went on.
3. dearest Heart Dearest heart Dearest heart What did you do that was so wrong? What was so wrong? Dearest heart Dearest heart Why is your sentence so hard?
4. in an old apron In an old apron she carried a number of matches, and she had a bundle of them in her hands. No one had bought anything of her the whole day, nor had any one given her even a penny. Shivering with cold and hunger, she crept along; poor little child, she looked the picture of misery. The snowflakes fell on her long, fair hair, which hung in curls on her shoulders, but she regarded them not.
5. penance and remorse Penance and remorse Tear my sinful heart in two My teardrops May they fall like rain down upon your poor face May they fall down like rain My teardrops Here, daughter, here I am I should be bound as you were bound All that I deserve is What you have endured Penance and remorse Tear my sinful heart in two My penance My remorse My penance
6. lights were shining Lights were shining from every window, and there was a savory smell of roast goose, for it was New-year’s eve—yes, she remembered that. In a corner, between two houses, one of which projected beyond the other, she sank down and huddled herself together. She had drawn her little feet under her, but she could not keep off the cold; and she dared not go home, for she had sold no matches, and could not take home even a penny of money. Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the roof to cover them, through which the wind howled, although the largest holes had been stopped up with straw and rags. Her little hands were almost frozen with the cold. Her little hands were almost frozen with the cold.
7. patience, patience! Patience. Patience!
8. qh! perhaps Ah! perhaps a burning match might be some good, if she could draw it from the bundle and strike it against the wall, just to warm her fingers. She drew one out—“scratch!” how it sputtered as it burnt! It gave a warm, bright light, like a little candle, as she held her hand over it. It was really a wonderful light. It seemed to the little girl that she was sitting by a large iron stove, with polished brass feet and a brass ornament. How the fire burned! And seemed so beautifully warm that the child stretched out her feet as if to warm them, when, lo! The flame of the match went out, the stove vanished, and she had only the remains of the half-burnt match in her hand. She rubbed another match on the wall. It burst into a flame, and where its light fell upon the wall it became as transparent as a veil, and she could see into the room. The table was covered with a snowy white table-cloth, on which stood a splendid dinner service, and a steaming roast goose, stuffed with apples and dried plums. And what was still more wonderful, the goose jumped down from the dish and waddled across the floor, with a knife and fork in its breast, to the little girl. Then the match went out, and there remained nothing but the thick, damp, cold wall behind her.
9. have mercy, my God Have mercy, my God. Look here, my God. See my tears fall. See my tears fall. Have mercy, my God. Have mercy. My eyes are crying. My heart is crying, my God. See my tears fall. See my tears fall, my God!
10. she lighted another match She lighted another match, and then she found herself sitting under a beautiful Christmas-tree. It was larger and more beautifully decorated than the one which she had seen through the glass door at the rich merchant’s. Thousands of tapers were burning upon the green branches, and colored pictures, like those she had seen in the show-windows, looked down upon it all. The little one stretched out her hand towards them, and the match went out. The Christmas lights rose higher and higher, till they looked to her like stars in the sky. Then she saw a star fall, leaving behind it a bright streak of fire. “Some one is dying,” thought the little girl, for her old grandmother, the only one who had ever loved her, and who was now dead, had told her that when a star falls, a soul was going up to God.
11. from the sixth hour From the sixth hour there was darkness over all the land until the ninth hour. And at the ninth hour she cried out: Eli, Eli.
12. she again rubbed a match She again rubbed a match on the wall, and the light shone round her; in the brightness stood her old grandmother, clear and shining, yet mild and loving in her appearance. “Grandmother,” cried the little one, “O take me with you; I know you will go away when the match burns out; you will vanish like the warm stove, the roast goose, and the large, glorious Christmas-tree.” And she made haste to light the whole bundle of matches, for she wished to keep her grandmother there. And the matches glowed with a light that was brighter than the noon-day, and her grandmother had never appeared so large or so beautiful. She took the little girl in her arms, and they both flew upwards in brightness and joy far above the earth, where there was neither cold nor hunger nor pain, for they were with God.
13. when it is time for me to go When it is time for me to go Don’t go from me When it is time for me to leave Don’t leave me When it is time for me to die Stay with me When I am most scared Stay with me
14. in the dawn of morning In the dawn of morning there lay the little one, with pale cheeks and smiling mouth, leaning against the wall; she had been frozen to death on the last evening of the year; and the New-year’s sun rose and shone upon a little corpse! The child still sat, in the stiffness of death, holding the matches in her hand, one bundle of which was burnt. “She tried to warm herself,” said some. No one imagined what beautiful things she had seen, nor into what glory she had entered with her grandmother, on New-year’s day.
15. we sit and cry We sit and cry And call to you Rest soft, daughter, rest soft Where is your grave, daughter? Where is your tomb? Where is your resting place? Rest soft, daughter, rest soft Rest Rest Rest Rest
soft soft soft soft
You closed your eyes. I closed my eyes. Rest soft.
Text by David Lang, after H. C. Andersen, H. P. Paull, Picander, and St. Matthew. Used by permission of G. Schirmer, Inc.
Haydn, Mass in Time of War (K. 618) Kyrie (Chorus and SATB Soloists) Kyrie eleison.
Lord, have mercy.
Christe eleison.
Christ, have mercy.
Kyrie eleison.
Lord, have mercy.
Gloria (Chorus and SATB Soloists) Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, Adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.
Glory to God in the highest, And peace on earth to people of good will. We praise You, we bless You, We worship You, we glorify You. We give You thanks for Your great glory. Lord God, King of Heaven, God the Father Almighty. Lord only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father.
Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, Suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.
You who take away the sin of the world, Have mercy on us. You who take away the sin of the world, Hear our prayer. You who sit at the right hand of the Father, have mercy on us.
Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris, Amen.
For You alone are holy, You alone are Lord, You alone are the Most High, Jesus Christ. With the Holy Spirit in the glory of God the Father, Amen.
Credo (Chorus and SATB Soloists) Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.
I believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen. And in one Lord Jesus Christ, the only Son of God, eternally begotten of the Father, God from God, light from light, true God from true God, begotten, not made, of one being with the Father; through Him all things were made. For us and for our salvation He came down from heaven.
Et incarnatus est de Spiritu Sancto, ex Maria virgine; et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.
And became incarnate from the Virgin Mary by the power of the Holy Spirit, and was made man. For us He was crucified under Pontius Pilate, suffered death and was buried.
Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur, et conglorificatur, qui locutus est per Prophetas.
And rose again on the third day in accordance with the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and will come again in glory to judge the living and the dead, whose reign will have no end. And [I believe] in the Holy Spirit, the Lord, the giver of Life, who proceeds from the Father and the Son; with the Father and the Son is worshipped and glorified. and who has spoken through the prophets.
Et unam sanctam catholicam et apostolicam Eccelsiam. Confiteor unum baptisma in remissionem peccatorum, et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.
And [I believe] in one holy catholic and apostolic Church; acknowledge one baptism for the forgiveness of sins; and look for the resurrection of the dead, and the life of the world to come. Amen.
Santus (Chorus) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory, Hosanna in the highest.
Benedictus (Chorus and SATB soloists) Benedictus qui venit in nomine Domini. Osanna in excelsis.
Blessed is He who comes in the name of the Lord, Hosanna in the highest.
Agnus Dei (Chorus and SATB soloists) Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, grant us peace.
PROGRAM NOTES Welcome to the third concert in this milestone, tenth-anniversary season of Griffin Choral Arts. Building upon the first two concerts’ celebratory titles--Well Done! and Cheers!—all involved in presenting these Masterworks by Mozart, Haydn, and Lang are hopeful of earning the Bravo! of tonight’s title. In addition to welcoming our orchestra and guest soloists we happily greet the Clayton State University Chorale, directed by Dr. Michael Fuchs, in a fruitful collaboration that began with Dr. Fuchs’ consultation on the March 2015 presentation of the Mozart Requiem and continued with his inviting the GCA Chamber Choir to join with the Clayton State Community Chorus in presenting a concert at Spivey Hall in November 2016, in a festival observing the 400th anniversary of the death of William Shakespeare. As with previous concerts in this tenth-anniversary season, tonight’s program includes works reprising prior performances important to GCA’s history, including masterworks by Mozart and Haydn: the Mozart Laudate Dominum was first sung by GCA in October 2010 and Haydn’s Mass in Time of War, returning from the very first Masterworks concert given in March 2008. But this homage to music history makes it even more important that our CSU friends introduce all of us to a contemporary candidate for masterwork status, as a reminder that (in the words of the motto of the American Composers Forum) “All music was once new.”
Ave Verum Corpus Ave Verum Corpus is one of most beloved and frequently performed choral works composed by Wolfgang Amadeus Mozart (1756-1791). Mozart composed this motet in the summer of 1791, the last year of his life. His wife Constanze, who was ill and pregnant, was recovering in the spa town of Baden, just outside Vienna. During a visit to see her, Mozart wrote this masterpiece and dedicated it to the music director of the Baden parish church, Anton Stoll, who had often looked after Constanze. Mozart composed specifically for the limited resources of the Baden church, calling for only chorus, strings, and organ. Although this famous motet is modest in size and scope, Mozart uses the complete depth of his mature compositional abilities to craft an exquisite piece full of beauty, classical balance, and spiritual intensity.
Laudate Dominum Mozart’s setting of Laudate Dominum (Psalm 117) contains arguably the most beautiful and lyrical melody Mozart wrote throughout his short life. This movement is excerpted from a larger work, the Vesperae solennes de confessore K339, a work intended to be performed at vespers, a daily prayer service held at sunset featuring the singing of several psalms. Mozart composed the Vesperae solennes de confessore when he was twenty-four years old, and it was the last sacred piece of music he wrote for Salzburg and its archbishop, Hieronymus Colleredo. The Laudate Dominum begins with a string introduction, followed by a soprano solo that displays Mozart’s unparalleled ability as a vocal and operatic composer. The chorus takes over for the doxology before the soprano rejoins the ensemble for the final “amen.”
the little match girl passion Written by Los-Angeles- born but now New-York- City-based composer David Lang in 2007, the little match girl passion won the 2008 Pulitzer Prize for music composition. Originally written for four solo singers but later arranged for small chorus, Lang’s innovative mass has quickly become one of the most performed major choral works written in the past decade.
Lang’s inspiration for the little match girl passion comes from two primary sources. The first is the original story of “The Little Match Girl” by the Danish author Hans Christian Andersen. Lang writes, “The original is ostensibly for children, and it has that shocking combination of danger and morality that many famous children’s stories do. A poor young girl, whose father beats her, tries unsuccessfully to sell matches on the street, is ignored, and freezes to death. Through it all she somehow retains her Christian purity of spirit, but it is not a pretty story.” Lang is drawn to this story primarily due to the juxtaposition of horror/beauty and suffering/hope that is found throughout Andersen’s text. The other source of inspiration is the St. Matthew Passion, BWV 244, by Johann Sebastian Bach. A passion in Christian tradition is the story of the suffering and death of Jesus. Composers throughout music history have set that story and the accompanying gospel texts to music, of which Bach’s St. Matthew Passion is arguably the most famous and powerful. In his St. Matthew Passion, Bach uses several different compositional elements, including choruses, chorales, and arias, with the purpose of commenting upon and drawing the audience into the story, or, as Lang writes, “placing us in the middle of the action.” While choosing to tell the story of the little match girl in the form of a Bach passion, Lang wrote the libretto himself, after texts by H.C. Andersen, H.P. Paull (the first translator of The Little Match Girl into English), Picander (the librettist for Bach’s St. Matthew Passion), and the Gospel writer St. Matthew. The opening chorus invites the audience into the story with the words “come, daughter,” a direct reference to the opening chorus of Bach’s St. Matthew Passion. The following movements alternate between a musical setting of Hans Christian Andersen’s “The Little Match Girl” and responses to the story. The narrative movements utilize complex and overlapping rhythms that propel the story forward in a pace that is sometimes frantic and at other times subdued. The responses feature various musical textures ranging from static homophonic chords to repeated melodic and rhythmic patterns, producing a period of uncomfortable meditation. These responses help guide the audience through a range of emotions, including shock, sorrow, despair, and remorse. Through it all, David Lang’s uncompromising and emotionally direct musical style provides intensity to this story that is at once both wonderful and horrifying. Lang writes, “The word ‘passion’ comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus – rather the suffering of the Little Match Girl has been substituted for Jesus’, (I hope) elevating her sorrow to a higher plane.”
Missa in tempore belli (Mass in Time of War) Franz Joseph Haydn (1732-1809) spent the vast majority of his life employed as Kapellmeister by the wealthy Esterházy family. After more than thirty years of loyal service, Haydn enjoyed a privileged position of semi-retirement. He was considered to be the greatest living composer in Europe and was offered the comforts of one with such fame. After 1795, the only major requirement placed upon Haydn by the Esterházy family was the composition of a new mass each year for the name-day celebration of Princess Maria Hermienegild Esterházy. To this end, Haydn composed six masses, each of them a unique masterpiece of the choral-orchestral repertoire.
Missa in tempore belli (Mass in Time of War) was written in the fall of 1796 and first performed on December 26 of the same year. The title, Missa in tempore belli, was applied by Haydn himself and represented the pervasive fear of French invasion throughout Austria. Napoleon had just defeated the Austrian armies in Italy and seemed destined to invade the Austrian homeland.
The Kyrie begins with a slow introduction establishing C major as the dominant tonality of the entire piece. The chorus enters with a unison fanfare, whose militaristic quality is obscured by a piano dynamic and lyrical instrumental writing. The opening quickly becomes ominous and ends with trumpets, timpani, and the choir once again singing in unison, although this time in a menacing C minor. The brightness of C major quickly returns as the soprano soloist delivers the main theme of the movement, and the ominous beginning quickly fades into the past.
The Gloria opens with a similar fanfare as the Kyrie. This movement exemplifies much of Haydn’s compositional brilliance: seamless integration of soloists and chorus, polyphonic complexity juxtaposed with beautiful and simple melodies, and unending harmonic creativity. The Gloria is divided into three sections. After the opening vivace, Haydn writes a captivating and lyrical adagio duet for solo cello and the bass soloist. The concluding allegro returns with another fanfare and concludes with a complex polyphonic “Amen.”
Composers of masses have long struggled with setting the lengthy Credo text in a musically satisfying and timely manner. In this mass, Haydn uses a compositional
technique known as “telescoping.” Each voice part sings a different text at the same time. The result may lack in textual clarity, but it is quite charming and allows Haydn to move through a great deal of textrelatively quickly. The Credo is broken up much like the Gloria. After the opening allegro, the incarnation and crucifixion of Christ are presented in a slow adagio in the key of C minor. C major once again bursts through with the exclamation “et resurrexit,” and the movement propels itself to its end with a final fugue. The Sanctus begins with a lyrical violin melody before being joined by the alto soloist and full chorus. The “time of war” is felt briefly in the middle of this movement, but it is quickly displaced by a more traditional and joyful “hosanna” refrain. Haydn moves away noticeably from compositional norms in the Benedictus. While this movement is traditionally set with indulgent and lyrical vocal lines, Haydn instead creates an atmosphere of anxiety and nervousness with an opening C minor tonality and short phrase lengths, especially in the lower three solo voices. This movement concludes in C major with a reprise of the “hosanna” refrain. It is in the final movement that we feel most strongly the apprehension surrounding the imminent Napoleonic invasion. Although beginning in a warm and peaceful F major, we soon hear the ominous role of the timpani and a harmonic turn once again to C minor. Haydn is known to have said that the timpani should sound as though it is the enemy at the gates. It is from the ingenious use of the timpani in this section that the Missa in tempori belli received its nickname Paukenmesse. (Pauken is the German word for timpani.) The final section of the mass returns to C major for the text “dona nobis pacem” (grant us peace). Although joyful and exuberant, there is an unmistakable element of militaristic fanfare. Haydn transforms the prayer for peace into a final vision of victory, peace, and jubilation.
Program notes by Dr. Michael Fuchs, Director of Choral Activities, Clayton State University, Morrow, Georgia. GCA expresses deep gratitude to Dr. Fuchs for this contribution.
Your Charitable Legacy Include Griffin Choral Arts in Your Will or Trust
A gift in your will makes sense if:
• You want to help ensure that Griffin Choral Arts’ future remains strong
• Long-term planning is more important to you than an immediate income tax deduction
• You want to make a donation that doesn’t affect your current cash flow
Griffin Choral Arts is a 501 (c)(3) organization.
www.griffinchoralarts.org
BOARD OF DIRECTORS 2016-2017 Kay Wideman, President
Helen Grayson, Vice President Elaine Hazleton Bolton, Secretary Lou Baldwin Bill Bryant LuBowen Cloud Mary Flynn Betsy Harris
Janie H. Clark, Treasurer Margie King Katrina Lazenby Stephen J. Mulder (at large) Lin Thompson Toni Turner Lee Whitley
Griffin Choral Arts is a 501 (c)(3) non-profit organization. We appreciate our contributors and those who have purchased advertisements. As we continue to plan concerts of great choral orchestral repertoire, we hope we can count on your continued support.
PATRON INFORMATION TICKETS
Tickets for all Griffin Choral Arts concerts are $15 (general admission). For advance tickets, visit one of our ticket outlets:
Artistic Flowers Safehouse Coffee Roasters 610 W. Solomon St. 109 S. Hill St. Griffin Griffin
Goggans Florist 21 Market St Barnesville
A Novel Experience Griffin First United Methodist Church 426 Thomaston St 1401 Maple Drive Zebulon Griffin You may reserve tickets online by visiting our website, www.griffinchoralarts.org. For more information about our programs or ticket availability, please call 1-888-SING1-88 or email tickets@griffinchoralarts.org.
AUDITION & SINGER INFORMATION
Auditions are usually scheduled in the off-season (June-August), but can be arranged at any time during the year. Auditions include singing a familiar song unaccompanied, tonal memory, sightreading, and scale exercises to determine range (about 10 minutes). Membership is open to those 16 and older. Annual dues (collected in September) are $40 and help cover the cost of music and other expenses. Griffin Choral Arts rehearses each Monday evening, September through May, from 7:00 to 9:30 PM in the choir room of Griffin First United Methodist Church. Singers must attend at least 80% of rehearsals to perform with Griffin Choral Arts.
VOLUNTEERS
A community chorus requires volunteer support to succeed. If you are not a singer but would still like to help with day-to-day tasks such as preparing mailings, ushering, putting up posters, helping to sort and organize music, or archiving newspaper clippings and other scrapbook items, please contact us (1-888-SING1-88) and let us know. We will find a place for you!
CONCERT ETIQUETTE
Please turn off all cell phones and other electronic devices before the performance begins. The use of any recording equipment or photography is strictly prohibited. Latecomers are asked to remain in the back of the venue until a break in the music before moving to a seat. Your cooperation will make for a more enjoyable experience for everyone.
Elaine Hazleton Bolton Tom & Helen Grayson
Alice & Andrew Blake
Walter & Paula Jones
Nancy B. Blake
Kay McWatters
Terry Killingsworth & Suzi McIntyre In honor of June G. Killingsworth Don & Vera Lawn
Randy & LuBowen Cloud
($1000-$2499)
Earl & Patti Morrow
SPONSOR
($2500+)
Dr. Gayle Goodin In honor & memory of my “queridisima” wife, Nora Goodin
($500-$999)
PATRON
BENEFACTOR
SUPPORTERS
W. F. Ingram Family Foundation Doug & Katrina Lazenby Joe McKaughan Jim & Linda Westbury
Dr. William & the Reverend Katherine Pasch
Juanda & Ron Ponsell Elaine Krugman & Bruce Cook In honor of Steve Mulder John & Nancy Scroggs Charles & Jean Dukes Dundee Community Association Mary G. Flynn Griffin Rotary Club
Bart & Cherry Searcy Jan & Tony Sharp Mr. Lin Thompson The Utility Club of Griffin Drs. Brad & Kay Wideman
($250-$499)
ORATORIO
Bruce & Susan Bartholomew In honor of Bill & Mary Bartholomew
Margie King
Robert & Teresa Betkowski
Timothy & Victoria Knighton
Benton Bowen Mr. & Mrs. William F. Bryant Mr. & Mrs. Ivey Burson Nan Carley Joe & Patti Cramer Mr. & Mrs. Joe Edwards Galloway & Lyndall, LLP Melanie C. Gilmer In memory of Mitch Gilmer Gary & Jean Gregory In honor of Morgan, Slade, Will, & Owen Charles & Sarah Gunter
Patricia Kinnett
Angie Mankin Anne & Taylor Manley Ms. Carole Anne Marshall Mr. & Mrs. William McBroom Carol McCormack In honor of Emory Gail & Ken McDaniel In honor of Elaine Bolton Anne McMichael In memory of David Phelps Dr. & Mrs. Med Roach Mr. & Mrs. Robert Scroggins
Mr. & Mrs. Arthur H. Hammond
Jan & Tony Sharp In memory of Sam Garrett
Frank & Carolyn Harris
Elbert Solomon
Harold & Gloria Henderson
Jerry & Toni Turner
Betty C. Hewitt In memory of Cham Hewitt Sid & Jackkie Jennette In memory of Mary Helen
Jerry & Mary Walker The Whalen Law Firm Zack & Susie Whatley Lee Whitley Charles & Sherryl Wynn
($100-$249)
CANTATA
Alltogether Unique Clothing & Accessories In memory of Rebecca Walker Allyne H. Baird Hollis & Millie Bankston Mrs. Dee Bartosiewicz Mr. & Mrs. W.C. Bartholomew In memory of Robert L. Curry Elaine Bell
Tom & Helen Grayson In memory of Marilyn Brown Betsy Harris In honor of Joe McKaughan Preston Hawkins Connie A. Kendrick In honor of Sylvia Hollums Donna C. Krepps Corey & Caroline Letson
Susie Brigden
Jim & Katie Lewis
Derek & Valerie Brinkman
Ginny Mobley
John & Carole Carlisle
Jacqueline Niven In memory of Hugh Niven
Barry & Janie Clark In memory of Micki Wallace
Ron & Joyce Oetting Randy & Belinda Shaw
Ana Corsa
Betsy & Valdon Smith
Bea Crowder
Frank Thomas In honor of Angie Claridy Mankin
Olin Dobbs Sanders East, Susan Frady, & Maria Pressley Alice & Jeff Empie Mr. & Mrs. James Fivian Keith & Gay Fortson
Clint & Leigh Waltz Gloria & C.E. (Chubby) Williams Gloria & C.E. (Chubby) Williams In honor of Drs. Kenney & Heather Williams Potter
(up to $99)
OCTAVO
Best Cleaners
Edith D. Lindsey
Conner Westbury Funeral Home
Lucy Miyagawa
Mary Elizabeth Esco In memory of Mr. & Mrs. W.T. Richards, Jr.
Mr. & Mrs. Dick Morrow
Mr. & Mrs. Howell Fowler, Jr.
Peggy Raiteri In honor of Louise Jones
Dave & Sandy Graves In memory of Elaine Goebert Gail & Don Hawbaker Carol Gatlin Jimmerson Sudy Leavy & Champ Vance In memory of Jim Vance
Michiko Otaki
Ben & Ellen Thurston In honor of Shirley Hardy Jo Yancey In memory of Kenneth Yancey
THANK YOU TO OUR
SILVER: Caraustar / Mr. Alvin Goldstein / Pratt Industries Simon Miller Sales / Vision Web Press
2016 SPONSORS
BRONZE: Northwestern Mutual Insurance The Rotary Club of Griffin
HONOR ROLL: BB&T Insurance Services, Inc. / Dixie Pulp & Paper / Edward Jones Financial - P. McEwen, P. Michel, A. Dunham, B. Clanton Murnane Specialties / International Paper / Joe Piper, Inc. / RayPress / Williams, Benator & Libby SUPPORTERS: Applied Products / Athens Paper / Beloit Box Board / Blake Properties / C.H. Robinson Company /Ceramco, Inc. / J. & C. Grinding / Luminite Products / New Creation Labels & Packaging / Paper Alliance /Southern Label Company / Mr. Stuart Ogletree / Talladega Castings & Machine Company / Wikoff Color Corp.
Private Music Instruction Sanctuary Choir
Instrumental Ensemble
Choirs for Children
Handbell Choir
The Music Ministry at First Baptist seeks to engage everyone in using musical talents in the worship of God. Ensembles for all ages provide opportunities for music-making, fellowship, and worship leadership. Our Celebration Worship, in a warm traditional style, meets weekly on Sundays at 11:00 am in our beautiful sanctuary and features our Music Ministry ensembles, an engaging message, and energetic congregational singing.
www.fbcgriffin.org 770-227-5517
KindermusikÂŽ and More!
www.griffinschoolforthearts.org 770-227-5517
Now is the time for a fiscal checkup No more excuses for not knowing how your finances and investments line up with your life goals and retirement expectations. Call today for a free consultation, and we’ll explore strategies designed to help you protect yourself and develop an investment strategy for today, tomorrow, and into the future. The Worrell Investment Team of Wells Fargo Advisors Ed Worrell , CFP® Managing Director – Branch Manager 122 W College St Griffin, GA 30224 Direct: (770) 227-1445 ed.worrell@wellsfargoadvisors.com www.home.wellsfargoadvisors.com/ed.worrell
Investment and Insurance Products: u NOT FDIC Insured u NO Bank Guarantee u MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. © 2013 Wells Fargo Advisors, LLC. All rights reserved.
74021-v5 A1661
Eric Worrell , CRPC® First Vice President - Investment Officer 122 W College St Griffin, GA 30224 Direct: (770) 227-1445 eric.worrell@wellsfargoadvisors.com https://home.wellsfargoadvisors.com/worrell
0815-01787
We’re in the business of changing lives.
Now offering courses in the following areas: ALLIED HEALTH BUSINESS TECHNOLOGY COMPUTER INFORMATION SYSTEMS FILM & TV PRODUCTION PERSONAL SERVICES PUBLIC SAFETY TECHNICAL/INDUSTRIAL
www.sctech.edu Equal Opportunity Institution
A Unit of the Technical College System of Georgia
Prioritize Your Peace of Mind For some, it’s protecting what they have. For others, it’s planning for the future. For many people it’s both. No matter where you’re starting from, I can help you build for your financial future with a customized tangible plan. Call me today to find out how. Byron Brock Griffin
770-229-4125 Byron.Brock@ countryfinancial.com
Auto, Home, and Commercial policies issued by COUNTRY Mutual Insurance Company®, COUNTRY Casualty Insurance Company®, or COUNTRY Preferred Insurance Company®. Life insurance policies issued by COUNTRY Life Insurance Company® and COUNTRY Investors Life Assurance Company®. 0815-129 All issuing companies located in Bloomington, IL. Fixed Annuities issued by COUNTRY Investors Life Assurance Company®, Bloomington, IL.
Proud Supporter of Griffin Choral Arts Visit us online at www.HamiltonStateBank.com Member FDIC
beCk, oWen & murrAy is A full-serviCe lAW firm prACtiCing in most AreAs of Civil lAW
Attorneys JAmes r. fortune, Jr. WilliAm m. dAllAs iii stephAnie W. WindhAm sAmuel A. murrAy, Jr. ChArles d. Jones JAniCe m. WAllACe Joel purser one griffin Center suite 600 ∙ 100 south hill st. griffin, gA 30223 770-227-4000 offiCe 770-229-8524 fAx WWW.beCkoWen.Com
MUSIC
IS FOOD FOR THE SOU L.
www.accessunited.com
PROUD SUPPORTER OF THE SENSATIONAL GRIFFIN CHORAL ARTS PROGRAM.