Pacific Choral Concert Sunday I Februrary 13, 2021 Faye Spanos Concert Hall
I 2:30 pm
University Chorus and Pacific Singers Marguerite L. Brooks, Artist in Residence and Guest Conductor Ricardo “Ric” Campero & Paul Kimball, Conductors
38th Performance I 2021–22 Academic Year I Conservatory of Music I University of the Pacific
CONCERT PROGRAM I FEBRUARY 13, 2022 I 2:30 PM I. Ad manus from Membra Jesu Nostri (copied 1680)
Dietrich Buxtehude
Sonata
(1637 - 1707)
Tutti Aria Ritornello Aria Ritornello Trio Ritornello Tutti Pacific Singers Nikki Ikeda, Soprano; Mara Baldwin, soprano; Mia Janosik, alto; Joshua Cabardo, tenor; Mateus Barioni, bass; Liam Shaughnessy, violin; Elizabeth Aquino, violin; Hasina Torres, cello; Patricia Grimm, continuo Marguerite L. Brooks, conductor To the Hands (2016)
Caroline Shaw
I. Prelude
(b. 1982)
II. in medio/in the middle III. Her beacon hand beckons IV. ever, ever, ever, V. Litany of the Displaced VI. i will hold you Pacific Singers Liam Shaughnessy, violin; Elizabeth Aquino, violin; Abby Van De Water, viola; Hasina Torres, cello, Logan Adams, Double Bass Maguerite L. Brooks, conductor
CONCERT PROGRAM I FEBRUARY 13, 2022 I 7:30 PM The Road Home (2014) Stephen Paulus (1949 - 2014) Pacific Singers Jordan Bell Souza, soprano Ricardo “Ric” Campero, conductor
II. Jim Papoulis
We are the Voices (2014)
(b. 1961) University Chorus Monica Adams, piano; Jonathan Herbers, djembe Paul Kimball, conductor
III.
When Thunder Comes
Mari Esabel Valverde (b. 1987)
Pacific Singers and University Chorus Monica Adams, piano; Jonathan Latta, Samatha Sanchez, Jonathan Herbers, percussion Marguerite L. Brooks, conductor
PACIFIC SINGERS Sopranos Mara Baldwin Rose Dickson Juliette Frediere Mia Janosik Ria Patel Susan Perez Jordan Bell Souza Jordan Yang Altos Alexis Bondoc Hailey Cating Brylan Finley Elaine Hanley Rebecca Mahon Lily Tumbale
Tenors Riley Brearton Joshua Cabardo Filo Ebid Leo Hearl Michael Megenney Basses Mateus Barioni Dion Nickelson Joshua Porter Ryan Vang
UNIVERSITY CHORUS Sopranos Gabby Baluyot Eli Bocks Kyra Comstock Renee Alexandria Jaena Judy Kim Jiho Sarah Lee Isabella Martinez Samantha Perrego Alexis Rabago Olivhea Ross Sydney Zucco Altos Miranda Albertoni Ainsley Berryhill Gabby Campitelli Krys Checo Mary Denney Lilia Gracia Simone Gamble Leah Hernandez Krystle Kong Maggie Juarez Hyejun Lee Grace Liaw Stella Mahnke Andie Reposa Alexandria Lou Watson Jordan Wier
Tenors Glenn Adcock Jermaine Donatiuh Campos Robert Escobar Ka Nam Matthew Hui Domenic Jimenez Edgard Gonzales Matthew Miramontes Nick Rider James Scott Basses Logan Adams Victor Alcaraz Peter Altamura Henry Bao Robin Bisho Wyatt Cannon Chin-Jui Chang Andy Chen Gavin Downing Marco Galvan Joshua Guterez Jude Markel Christopher Penn Michael Robertson Iker Rodriguez Frühauf Jake Scallon Cole Torquemada Kasey West
TRANSLATIONS AND NOTES Dietrich Buxtehude: Ad manus from Membura Jesu nostri 1. Sonata 2. Tutti, Quid sunt plagae istae in medio manuum tuarum? (Zecharia13:6)
What are these wounds in the middle of your hands?
3. Aria. Salve Jesu, pastor bone fatigatus in agone,
Hail, Jesus, Good Shepherd,
qui per lignum es distractus
stretched out on the wooden cross
et ad lignum es compactus
and nailed to the wood
expansis sanctis manibus.
with your holy hands outstretched.
Manus sanctae, vos amplector
Sacred hands I embrace you
et gemendo condelector,
and mourning delight,
grates ago plagis tantis,
thanks I give for wounds so great,
clavis duris, guttis sanctis,
for hard nails,for holy drops
dans lacrimas cum osculis.
giving tears with kisses.
In cruore tuo lotum
Washed in your blood
me commendo tibi totum,
I commend myself entirely to you,
tuae sanctae manus istae
may your holy hands
me defendant, Jesu Christe,
defend me, Jesus Christ,
extremis in periculis.
in my final hour of need.
exhausted by your final agony,
(Arnulf von Löwen) 4. Tutti. Quid sunt plagae istae in medio manuum tuarum?
What are these wounds in the middle of your hands?
TRANSLATIONS AND NOTES By 1680, Dietrich Buxtehude had composed Membra Jesu nostri patientis sanctissima (The most holy limbs of our suffering Jesus), a cycle of seven cantatas contemplating Christ on the cross, specifically the feet, knees, hands, side, chest, heart and face. The librettist combined Biblical texts, most from the Hebrew Scriptures, with excerpts from the 13th century poem Salvi mundi salutare of Arnulf von Löwen.
Caroline Shaw: To the Hands
In 2016, Caroline Shaw wrote the secular To the hands as part of a project undertaken by the professional vocal ensemble The Crossing, who commissioned seven new pieces, each a response to one of the Buxtehude cantatas. Shaw’s assignment was Ad manus. She has taken the image of hands and used it as a lens to explore individual and communal response to pain. In the words of the composer: How does one respond to an image of another person’s pain? And how does one respond to the music of another artist who is trying to ask the same question? To the Hands begins and ends with strains of Buxtehude’s own Ad manus, with small harmonic and melodic references woven occasionally throughout. The division of the piece into six parts reflects the partitioning of Membra, and I continued the tradition of blending old texts with new. The first movement acts as a prelude and turns the opening tune of Ad manus into a wordless, plainchant melody. The second movement fragments Buxtehude’s setting of the central question “Quid sunt plagae istae” (what are these wounds in the middle of your hands) and settles finally on an inversion of the question, so that we reflect “What are these wounds in the middle of our hands?” We notice what may have been done to us, but we also question what we have done and what has been our role in the wounds we see before us. The text in the third movement is a riff on Emma Lazarus’ sonnet The New Colossus, famous for its engraving at the base of the Statue of Liberty. The poem’s lines “Give me your tired, your poor/ your huddled masses yearning to breathe free” and its reference to the statue’s “beacon -hand” present a very different image of a hand – one that is open, beckoning and strong. No wounds are found there – only comfort. While the third movement operates in broad strokes, the fourth zooms in close, so that we see the intimate scene of an old woman in her house, maybe setting the table for dinner alone. Who is she, where has she been, whose lives have left her? She has left empty chairs for many Elijahs, and the text asks “Where are they now?”. The simple image melts into a meditation on the words “in caverna” found in Buxtehude’s fourth section, Ad latus. In the fifth movement the harmony is passed from one stringed instrument to another, overlapping only briefly, while numerical figures are spoken by the choir. These are global figures of internationally displaced persons, in their own countries, sourced from the Internal Displacement Monitoring Centre (IDMC) data reported in May 2015 (accessed on 03/20/2016 at www.internal-displacement.ord. Sometimes data is the cruelest and most honest poetry. [The numbers begin at 224 and grow rapidly to 7,600,000] The sixth and final movement unfolds the words in caverna into the tumbling and comforting promise of “ever ever” – “ever ever will I hold you, ever ever will I enfold you.” They could be the words of Christ, or of a parent or friend or lover or community or even of a nation.
TRANSLATIONS AND NOTES Caroline Shaw: To the Hands
V. Litany of the Displaced From Shaw’s notes: The choir speaks global figures of internal displacement, I. Prelude (wordless) sourced from the Internal Displacement Monitoring Centre (http://www.interII. Quid sunt plagae istae in medio mannal-displacement.org/global-figures). uum tuarum? What are these wounds in the middle of your hands? The numbers spoken are the numbers of internally displaced persons by country, What are these wounds in the middle of in ascending order. These are people, our hands? some of whom may have legal refugee III. Her beacon hand beckons: status, who have been displaced within Give their own country due to armed congive to me those yearning to breathe free flict, situations of generalized violence, tempest-tossed they cannot see or violations of human rights, and what lies beyond the olive tree natural disaster. whose branch was lost amid the pleas for mercy, mercy Give VI. I will hold you give to me will love you your tired fighters fleeing flying from the ever ever will I hold you from the ever ever will I enfold you from in medio manuum tuarum (in the those yearning to breath free those yearning to breath middle of your hands) I will be your refuge We will be your refuge. The Road Home: Stephen Paulus [Shaw’s response to “The New Colossus” Tell me where is the road I can call my of Emma Lazarus, inscribed on the Statue own, of Liberty.] that I left, that I lost, so long ago? all these years I have wandered, O when IV. Ever ever ever will I know In the window sills or there’s a way, there’s a road that will lead The beveled edges Of the aging window frames that hold me home. Old photographs Hands folded After wind, after rain, when the dark is Folded done, Gently in her lap As I wake from a dream in the gold of Ever ever day, In the crevices of Through the air there’s a calling from far The never-ending efforts of away, The grandmother’s tendons tending There’s a voice I can hear that will lead To her bread and empty chairs Left for Elijahs me home. Where are they now In caverna Rise up, follow me, come away is the In caverna In the clefts of the rock, in call, the hollow of the cliff [taken from the Buxtehude movement entitled “Ad latus”, With love in your heart as the only song; from the Song of Songs.] There is no such beauty as where you belong, Rise up, follow me, I will lead me home. (Michael Dennis Browne) Text by Caroline Shaw except where noted
TRANSLATIONS AND NOTES We are the Voices: Jim Papoulis
Commissioned by the Cincinnati Children’s Chorus, Jim Papoulis has composed a powerful piece with the message that the opinions of young people are vital and should be heard!
When Thunder Comes: Mari Esabel Valverde
The poor and dispossessed take up the drums For civil rights – freedoms to think and speak, Petition, pray and vote. When thunder comes The civil righteous are finished being meek.
Why Sylvia Mendez bet against long odds, How Harvey Milk turned hatred on its head, celebration of American civil rights heroes: Why Helen Zia railed against tin gods, Sylvia Méndez, who challenged California’s How Freedom Summer’s soldiers faced justice system in a fight for racial desegregathe dread tion of schools; Helen Zia, Chinese-American Are tales of thunder that I hope to tell lesbian feminist author, journalist, Fulbright From my thin bag of verse for you to Scholar, and activist for peace; Harvey Milk, hear the first openly gay elected official in Califor- In miniature, like ringing a small bell, nia’s history, remembered as a vocal gay rights And know a million bells can drown out advocate; and Freedom Summer’s “soldiers”, fear. who risked their lives in their movement to For history was mute witness when such enfranchise black voters in the Mississippi of crimes the 1960’s. Discolored and discredited out times. Take up the drums Calling attention to our history’s systemic think and speak erasure of the stories of marginalized human When thunder comes the civil righteous being, the text presents a powerful model for are finished being meek. patriotism. The drums [originally intended to be taiko], a figurative representation of a (J. Patrick Lewis) grass roots revolution, provide thunder, and the singing relays the message that, once unified, our individual voices can come together and “drown out fear”. In their own words, Mari Esabel Valverde calls When Thunder Comes a:
CONDUCTOR BIOS Marguerite L. Brooks served for thirty-five years as chair of the conducting program at the Yale School of Music and director of choral music at the Yale Institute of Sacred Music. As founding conductor of the Yale Camerata, one of Yale’s first campus/city arts collaborations, Brooks led hundreds of musical performances featuring some of the most innovative and wide-ranging programming in the field. She has long been a champion of new music by composers of a diverse array of gender, ethnic, and racial backgrounds. The Camerata and its chamber chorus have performed music from the middle ages to the present day, and the catalogue of composers ranges from Albinoni to Argento, from Palestrina to Pärt – along with Julia Wolfe, David Lang, Tawnie Olson, Aaron Jay Kernis, Caroline Shaw, Robert Kyr, Reena Esmail, and many more. Brooks’s former students occupy positions of musical leadership at major churches and cathedrals around the world and in leading academic institutions. Among her students are the founding conductors of the Grammy-winning choirs Conspirare and Roomful of Teeth, and Grammy-nominated Seraphic Fire. Brooks has been active as a guest conductor, teacher, and clinician. She was a juror for the Eric Ericson conducting competition in Sweden, and has conducted, given master classes, taught, and adjudicated in North and South America, Europe, and Asia. She holds degrees from Mount Holyoke College and Temple University, and has served on the faculties of Smith and Amherst Colleges and the State University of New York at Stony Brook.
Brooks was cited by the Yale School of Music for cultural leadership in music, given its Gustave Stoeckel Award for Excellence in Teaching, and has received alumni awards for distinguished work in her field from both Mount Holyoke College and Temple University. Presented with a Lifetime Achievement Award by the Connecticut chapter of the American Choral Directors Association in 2016 and by Choral Arts New England in 2019, Brooks is proud to have been honored as a Woman in History by the Barnard School. In 2020 Brooks received the Helen Kemp Award for Lifetime Commitment to Excellence in Choral Music from the Eastern Division of ACDA. The National Collegiate Choral Organization, of which Brooks is a charter member and an honorary life member, celebrated her retirement in 2020 by initiating the Marguerite L. Brooks Commissioning Fund for New Choral Music.
CONDUCTOR BIOS Ricardo “Ric” Campero received his Bachelor’s of Music in Music Education from the University of the Pacific Conservatory of Music in 1979. Mr. Campero taught instrumental and choral programs at Ceres High School for 25 years, then decided to apply his talents at the elementary level where he was successful at increasing music participation and further encouraging enrollment in the junior high school and high school music programs. Mr. Campero retired from Ceres Unified School District in 2018 after 38 years. Mr. Campero served as assistant director for The Stockton Chorale and Master Chorale and currently serves the Stockton community through music as director of The Stockton Singers, in affiliation with The Stockton Chorale, and director of the Central United Methodist Church Chancel Choir. Mr. Campero is in demand as a choral singer and soloist, as well as a clinician. He will be conducting the San Joaquin and Stanislaus County Jr. High School Honor Choirs in Spring 2022.
Paul Kimball is an active musician in Stockton. He is a graduate from UOP in Music Education, and has a Master’s degree from Holy Names University in the Kodaly Method. He was a French Horn player with the Stockton Symphony for 27 years in which he has guest conducted and soloed as a vocalist and horn player. He has conducted and prepared the voices for hundreds of performances of local musicals, and is the conductor and artistic director of the Zion Chamber Orchestra. Many UOP Conservatory faculty have played and soloed with this group. He is in his 34th year in the Lincoln Unified School District where he has taught Orchestra, Choir, Piano and Classroom Music. He is an Eagle Scout, loves hiking and is the Current Mr. San Joaquin. In 2018 he and his wife, Dr. Dominee Muller-Kimball were presented with the Star Award by the Stockton Arts Commission. He is the author of Sight Singing Magic and We are all Human Beings/An Adoptee Ponders.
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UPCOMING CONSERVATORY EVENTS Feb. 14 | 3:30pm Conservatory Concert Hour Faye Spanos Concert Hall Mar. 14 | 7:30pm Conservatory Honors Recital Faye Spanos Concert Hall
Feb. 19 | 7:30pm Henry and Carol Zeiter Piano Competition Recital Hall Feb. 27 | 2:30pm FOCM: Winds of Frisson Faye Spanos Concert Hall
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