UNIVERSITY CHORAL ENSEMBLES Sunday I February 14, 2020 I 7:30 pm Faye Spanos Concert Hall UNIVERSITY CHORUS PACIFIC SINGERS Dr. Yejee Choi | director Conductors: Bhakti Chan, Qijun Ran, James Scott Collaborative Pianists: Leo Chang, Monica Swope, Hyejun Lee
79th Performance I 2019–20 Academic Year I Conservatory of Music I University of the Pacific
CONCERT PROGRAM I FEBRUARY 14, 2020 I 7:30 PM Mass No.2, D. 167
Franz Schubert (1797-1898)
I. Kyrie II. Gloria
Nicole Ikeda ‘22, soprano; Joshua Porter ‘21, baritone Bhakti Chan ‘18 and James Scott ‘22, conductors Monica Swope, piano
Symphony of Psalms
Igor Stravinsky (1882 -1971) Qijun Ran ‘21, conductor Hyejun Lee ‘22 and Leo Chang ‘21, piano
PACIFIC CHORAL ENSEMBLES The Pacific Choral Ensembles have had a long and distinguished tradition as the first a cappella choir in the West, established in 1916 at University of the Pacific. The ensembles are a rich and vital component of the Conservatory’s and Pacific’s life. They are a platform for the fundamentals of ensemble collaboration, musicianship, and musicality, providing an opportunity to learn a myriad of styles and genres while singing together. The membership is by audition at the beginning of each semester, and it is open to all Pacific students of any major. Like us on Facebook @ UOPchoirs Hear us and subscribe to our YouTube channel under “UOP Choirs - University of the Pacific” For information on joining our choral program, contact Dr. Yejee Choi at ychoi@pacific.edu Find out about our upcoming events at go.Pacific.edu/MusicEvents
PACIFIC SINGERS The Pacific Singers are a select mixed-voice chamber choir that collaborates with the University Chorus each semester for two choral concerts. Other collaborations include with the University Symphony Orchestra and the Stockton Symphony in the performance of major choral and orchestral works. As a touring ensemble, Pacific Singers made a successful concert tour to Santa Cruz and Aptos area giving six performances and collaborating with various high school and community college choirs in November 2018. A few of the repertoire highlights include Duruflé’s Requiem, Op. 9; Brahms’ Liebeslieder Waltzer, Op. 52; Faure’s Requiem, Op. 48; Bach’s Cantata BWV 150; Beethoven’s Mass in C, Op. 86, Symphony No. 9, and Choral Fantasy, Op. 80. The ensemble is also dedicated to performing the 20th century and contemporary choral compositions. Throughout the academic year, the ensemble performs at major University events such as University of the Pacific’s commencement ceremony, the Holiday Roar Luncheon, and at Regent’s dinner parties. Mara Baldwin Mateus Barioni Riley Brearton Diego Bustamante Joshua Cabardo Hailey Cating Bhakti Chan•# Cameron Costa Ceara Costa Elyse Coty• Rose Dickson
Filo Ebid Rachel Ferreira Brylan Finley Nicole Ikeda Brandon Jones Isabella Martinez Davis Mahoney Jasmine Melendez †††# Vivian Meng Dion Nickelson# Kadri Nizam# ††† Pacific Choirs President † Ensemble President § Ensemble Vice President • Section Leaders # Choral Teaching Assistants
Emily Osborne Joshua Porter†# Taylor Rose Jakob Sandmeier James Scott# Jordan Somers Lily Tumbale• Ryan Vang Lauren Woomer
UNIVERSITY CHORUS University Chorus is a large mixed chorus open to all students at Pacific by audition. In the academic year 2019/2020, the ensemble collaborated with Pacific Singers, Stockton Symphony Orchestra, Pacific Percussion Ensemble, and University Symphony Orchestra performing major choral-orchestral works as well as a cappella works from diverse epochs and cultures. Holden Adams Nicole Allen Gabrielle Baluyot Elizabeth Bocks Riley Brearton Brian Bui Caroline Burke-Baker Gabby Campitelli Wyatt Cannon Carina Carey Andrew Carlson• Celeste Carranza Leo Chang Miguel Corona Sandoval Amanda Davis Jenna Deibert • * Susan Estrada † Brooke Farrar John Fox Simone Gamble Arturo Garcia
Olivia Gideon Noah Gonzales Efren Gonzales Carranza Rebecca Growcott Abby Hernandez Maddie Horton Zhengkang Huang Domenic Jimenez Raquel Johnson Stephanie Jones Lee Kaj Krystle Kong Joseph Kruse Florence PoYan Lam Stephen Lambert Brianna Lee Charles Aaron Leonard Daniel Liu Marcus Loya Joseph Min Michelle Miracle † Ensemble President § Ensemble Vice President • Section Leaders * Choral Teacher Assistants # Executive Board
Sean Mitchell Julia Murillo Whitney Perry Qijun Ran •§# Madelene Raneses Nick Rider Braydon Ross James Scott •# Marissa Staffero Rachel Ticas Cole Torquemada Zé Vance Maggie Walley• Liz Wong Trinitie Wood Curtiss Wright Nuoyan Yin Christina Yu Enhao Zhang Tianjun Zheng
DIRECTOR Dr. Yejee Choi joined the faculty at University of the Pacific’s Conservatory of Music in fall 2016 as the Director of Choral Studies. Dr. Choi completed her Doctor of Musical Arts in Choral Music at the University of Southern California Thornton School of Music. While at USC, she taught Choral Conducting I, USC Oriana Women’s Choir, and served as the Assistant Conductor of USC Concert Choir. Her Master of Music degree in Choral Conducting is from University of Minnesota, where she served as Co-Director and Assistant Conductor of the University Singers, UM Women’s Chorus, and UM Campus Singers. Originally from South Korea, Dr. Choi studied English Literature at Yonsei University and composition at the Korean National University of Art, one of the most prestigious music conservatories in Seoul, South Korea. Besides voice, conducting, and composition, Dr. Choi received a rigorous training in piano and organ and performed with various instrumental chamber music ensembles. Dr. Choi has performed and conducted in various venues in South Korea, Japan, China, New Zealand, Australia, and across the United States. She has participated in master classes and workshops led by Simon Halsey, Marin Alsop, and David Hill, as well as enjoying opportunities to perform under the baton of Helmuth Rilling, James Conlon, and Grant Gershon. Her teachers include J.W. Park, Kathy Salzman Romey, Lillian Tan, Jo-Michael Scheibe, Nick Strimple, Cristian Grases, Tram Sparks, Morten Lauridsen, and Adam Knight Gilbert. Dr. Choi is the Co-Founder, Assistant Conductor, and Composer in Residence of J.W. Summer Festival Chorale, the semi-professional choir of 93 members in Seoul, South Korea. A compassionate advocate of community engagement through music, Dr. Choi is also the founding board member of the Music Belongs to Everyone! series, a youth outreach program through choral music, affiliated with J.W. Chorale, South Korea. Recently, she held the similar position as the Choral Director of Esperanza Azteca Youth Orchestra & Choir in Los Angeles, where she was responsible for developing the curriculum and personnel of the 90-voice youth choir. A member of American Choral Directors Association and International Federation of Choral Music, Dr. Choi maintains an active career as a guest conductor and clinician.
STUDENT CONDUCTORS Bhakti Chan ‘18 graduated magna cum laude from University of the Pacific’s Conservatory in 2018 with a bachelor’s degree in Music Performance con Piano. While at Pacific, she studied piano with professors Frank Wiens and Dr. Sonia Leong. She currently teaches private piano lessons at Sayla Academy of Music in Lodi, as well as at the Pacific Community Music School. Bhakti sings in the Pacific Singers, which is Pacific’s professional chamber choir. She also continues to study conducting with Dr. Yejee Choi. James Scott ‘22 is a sophomore Music Education major at University of the Pacific. He studies saxophone under professor Ricardo Martinez and conducting under Dr. Yejee Choi. James has traveled to New York City’s Carnegie Hall to perform with Pacific’s Symphonic Wind Ensemble. He is a singer in both Pacific choirs, a staff member of La Honda Music Camp in Santa Cruz and a brother of Pacific’s chapter of Phi Mu Alpha Sinfonia. Originally a saxophone student at Pacific, James has enjoyed being involved in Pacific’s choral program for its exceptional quality of music-making and family atmosphere. He also works as a choral TA under Dr. Yejee Choi. Qijun “Randy” Ran ‘21 was born and raised in Nanning, China, before coming to the U.S. in 2007. Randy started piano at the age of 11 and sang in classical and jazz choirs under the direction of Mel Suguitan while attending Cesar Chavez high school. He also attended San Joaquin Delta College where his choral skills were further honed by the late Germán Aguilar. Randy is currently pursuing a bachelor’s degree in Music Education at University of the Pacific. He studies piano with professor Frank Wiens, conducting with Dr. Yejee Choi, and voice with professor Daniel Ebbers.
COLLABORATIVE PIANISTS Monica Swope ‘91 holds a Bachelor of Music in Vocal Music Performance from University of the Pacific, where she studied piano with professor Frank Wiens, voice with professors William Whitesides, George Buckbee and John DeHaan, and conducting with Dr. William Dehning and Dr. Robert Halseth. Ms. Swope has performed with the Stockton Symphony Orchestra and sang the roles of Eliza Doolittle in My Fair Lady, Cherubino in Le Nozze di Figaro, Old Maid in Old Maid and the Thief, and has served as Musical Director at Pacific for Pajama Game (Fallon House), Paint Your Wagon (Fallon House), You’re a Good Man Charlie Brown, Apple Tree, Falsettoland, Assassins, and 1940’s Radio Hour. Ms. Swope has been a music director for various community theaters in productions such as Oliver, La Cage aux Folles, Babes in Arms, Footloose, Beauty and the Beast, The Full Monty and Godspell. In 2004, Ms. Swope participated in the summer SongFest program which included coaching with Martin Katz, Graham Johnson, D’Anna Fortunato, John Hall, Judith Kellock and John Harbison, and performing in multiple recitals. At the Conservatory, Ms. Swope has worked as a collaborative pianist since 1995. She currently serves as a collaborative pianist for vocal students and the University Chorus, and is the organist for the Conservatory’s commencement ceremony. Leo Yi Chang ‘21 was born in 1996 in Taipei, Taiwan. He started to play piano at the age of five. Starting in 2015, he studied piano performance with En Wang at National Taiwan Normal University for two years. In 2017, he moved to Pasadena, CA, to study under Dr. Phillip Young. He has performed in numerous master classes and was taught by such artists as András Schiff and Dang Thai Son. Chang has won the National Piano Competition in Taiwan, and was a finalist in Taipei International Piano Competition. He currently studies under Dr. Sonia Leong at University of the Pacific. Jun Lee ‘22 is a Music Performance con Piano major at University of the Pacific’s Conservatory of Music. She currently studies with Dr. Sonia Leong. Lee has been studying piano since she was five. Prior to college, she studied with Dr. Paul Mihaly and was a member of MUSE Ensemble. Jun has participated in many piano competitions. She was a prize winner of Inaugural Pittsburgh International Piano Competition.
PROGRAM NOTES Mass No. 2, D. 167 Schubert was only 18 when he wrote the Mass in G Major for a parish church in Liechtental in 1815. Schubert had begun singing in the choir at the church as a young boy and it was there where the Mass in G was first performed. All movements of the mass (Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei) follow the organization of the Roman Catholic Ordinary of Mass, and Schubert alternates between G Major and D Major from movement to movement. This most popular Schubert mass is typically performed with orchestra, although its original score intended for an organ part as well. Today, the choir will be accompanied by piano in place of an orchestra. The Kyrie begins with a warm and lyrical choir entrance, which then leads into its middle section, Christe, sung by a soprano solo in the key of A minor, suggesting a darker and more pleading tone. We then return to the warmth of the choral Kyrie section once more. Beginning in D Major, the Gloria movement is exultant, once again beginning with the choir. Listen for exchanges between the sopranos/altos and tenors/basses, and large dynamic contrasts in changes of text. In the middle section, a soprano and bass solos take turns singing Domine Deus (“O Lord God”) and Agnus Dei (“Lamb of God”), followed by softer pleading from the choir with miserere nobis (“have mercy on us”). Once again the jubilant choir returns and holds up until the end of the movement. - by Bhakti Chan and James Scott Symphony of Psalms Symphony of Psalms was composed in 1930 as the first of ten commissions by the Boston Symphony Orchestra for its ambitious 50-year anniversary celebration to collaborate with some of the finest composers in the world at the time.1 Stravinsky was asked to compose something “popular.” He fulfilled this request through a different interpretation, rather than composing a symphony “adapting to the understanding of the people,’’ he instead composed a “popular” symphony in the sense of “something universally admired.”2 Although he accepted the commission, Stravinsky has always had a complicated relationship with Serge Koussevitzky, his publisher, who was also the conductor of the Boston Symphony Orchestra. While Koussevitzky loved Stravinsky’s music, Stravinsky only loved Koussevitzky’s money, not his conducting.3 Stravinsky is known for his antipathy for music that was overly expressive or sentimental. Therefore, he disapproved of the way Serge Koussevitzky conducted because “he emoted too much.”4
PROGRAM NOTES Due to Koussevitzky’s sickness, Symphony of Psalms was premiered in Brussels by the Société Philharmonique de Bruxelles on December 13, 1930, under the direction of Ernest Ansermet. The Boston Symphony Orchestra performed the work six days later.5 Similar to The Rite of Spring and many of Stravinsky’s famous works, the Symphony of Psalms employs the octatonic scale which alternates between half-steps and whole-steps. The texts are drawn from Psalm 39, 40, and 150. Stravinsky stated, “It is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.”6 Movement I The symphony begins with the E-minor block-chord known as the “psalm chord” that recurs throughout the introduction, followed by the flowing ostinato of arpeggiated octatonic scale. Stravinsky noted this arpeggio as “the root idea of the whole symphony,” a four-note-sequence of “two minor 3rds joined by a major 3rd.”7 The altos enter after 40 measures of intro in a stern lament shortly before other sections of the choir join in desperate cries. The movement remains largely unsentimental until the chorus cries out “O spare me, before I go hence, and be no more” toward the end. Movement II Based on the same 4-note arpeggiated octatonic line from Movement I, Movement II continues on the theme that offers little spiritual comfort. After a long instrumental fugue, which Stravinsky felt later in his life was “altogether too obvious, too regular and too long,”8 moments of depiction and structural power shine through as the voice parts build on top of one another in the fugue section and come together in a massive and shocking fortissimo of a seemingly different chapter as psalmist presents the altar to the Lord. Although it might not be “sentimental,” it is without a doubt, expressive. Movement III The finale offers two wildly different musical ideas: first, the slow, static and timeless “Alleluia, Laudate Dominum” which is heard at the opening and conclusion; contrasting the fast and fiery passages starting at measure 24. A quotation of the slow section can be heard briefly giving respite to the listener before the section is resumed. Inspired by “a vision of Elijah’s chariot climbing the heavens,”9 the allegro was the first to be composed of the whole symphony and it calls back to the 4-note sequence of “two minor 3rds joined by a major 3rd” arpeggiated octatonic theme. Listen for Stravinsky’s use of triplets to describe the horses and chariot. This movement is the most original in the symphony and it showcases that Stravinsky’s vision of praising God takes in desperation and savagery.
PROGRAM NOTES Stravinsky once wrote that “Psalms are poems of exaltation but also of anger and judgment and even of curses.”10 The Symphony of Psalms was written in a time of great tension between the two world wars. Although he often tries to distance his emotions from his music, moments of great passion and emotion often find their way to our ears, such as the “Alleluia” line in the middle of Movement III, which seemingly comes out of nowhere as though it was frozen in time, like a soldier dreaming about coming home while laying in a World War II bunker just before a battle that will likely end his life. Stravinsky would eventually transition from neoclassical to another style of composing which he has famously done as frequently as changing countries from Russia to France to America.11 Nonetheless, The Symphony of Psalms stands as a “snapshot in time of one of its century’s most dynamic, mercurial musicians, a composer who lived through the seismic changes of the 20th-century and the upheavals of his own personal life; a man who built a sanctuary in sound with modern architecture and timeless faith.”12 - by Qijun Ran Franz Schubert was born in Austria in 1797. A child of a highly musical family, he quickly became an excellent singer, composer and multi-instrumentalist. He enrolled in a prestigious Austrian university to sing in the choir, but his voice broke beyond repair and his dreams of becoming a great singer died. Schubert proved to be extremely resilient after this disaster, composing a large number of works. In particular, he pioneered the genre of German lieder, a type of song in which a soloist sings poetry over piano accompaniment. Although Schubert wrote operas, string quartets and symphonies, he is especially known to be one of the most prolific composers of German lieder. This is even more impressive considering he died of an illness in 1828 at the young age of 31. His works were forward-thinking that many music historians credit him with bridging the gap between the classical and romantic periods. Schubert’s works are still performed in many concert halls today.
PROGRAM NOTES
1
Grundmann, Anya. Symphony of Psalms, NPR, 24 Dec. 2000.
Stravinsky, Igor & Craft, Robert. Dialogues, University of California Press Berkeley and Los Angeles, p. 44, 1982.
2
3
Grundmann, Anya. Symphony of Psalms, NPR, 24 Dec. 2000.
Yuzefovich, Victor & Kostalevsky Marina. Chronicle of a Non-Friendship: Letters of Stravinsky and Koussevitzky, p. 751, 2002.
4
White, Eric Walter. Stravinsky: The Composer and His Works. University of California Press - Berkeley and Los Angeles, p. 218, 1966.
5
White, Eric Walter. Stravinsky: The Composer and His Works. University of California Press - Berkeley and Los Angeles, p. 324, 1966.
6
Stravinsky, Igor & Craft, Robert. Dialogues, University of California Press Berkeley and Los Angeles, p. 45, 1982.
7
White, Eric Walter. Stravinsky: The Composer and His Works. University of California Press - Berkeley and Los Angeles, p. 218, 1966.
8
Service, Tom. Symphony guide: Stravinsky’s Symphony of Psalms, The Guardian, 21 Jan. 2014
9
Stravinsky, Igor & Craft, Robert. Dialogues, University of California Press Berkeley and Los Angeles, p. 44, 1982. 10
Bernstein, Leonard. Young People’s Concerts Scripts: Happy Birthday, Igor Stravinsky pencil on yellow legal pad paper. Manuscript/Mixed Material. https:// www.loc.gov/item/lbypc.0201/. 11
12
Grundmann, Anya. Symphony of Psalms, NPR, 24 Dec. 2000
TEXT AND TRANSLATIONS Mass No.2, , D. 167 Kyrie Lord, have mercy. Christ, have mercy. Lord, have mercy.
Kyrie eleison. Christe eleison. Kyrie eleison
Gloria 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. Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, [Suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.] Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, [Jesu Christe.] Cum Sancto Spiritu in gloria Dei Patris, Amen.
Glory to God in the highest, And peace on earth to men 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. 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.] 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.
Agnus Dei 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.
TEXT AND TRANSLATIONS Symphony of Psalms 1. (Psalm 38, verses 13 and 14) Exaudi orationem meam, Domine, et deprecationem meam. Auribus percipe lacrimas meas. Ne sileas, ne sileas.
Hear my prayer, O Lord, and with Thine ears consider my calling: hold not Thy peace at my tears.
Quoniam advena ego sum apud te et peregrinus, sicut omnes patres mei.
For I am a stranger with Thee: and a sojourner, as all my fathers were.
Remitte mihi, prius quam abeam et amplius non ero.
O spare me a little that I may recover my strength: before I go hence and be no more seen.
2. (Psalm 39, verses 2, 3 and 4) Expectans expectavi Dominum, et intendit mihi.
I waited patiently for the Lord: and He inclined unto me, and heard my calling.
Et exaudivit preces meas; et eduxit me de lacu miseriae, et de luto faecis.
He brought me also out of the horrible pit, out of the mire and clay:
Et statuit super petram pedes meos: et direxit gressus meos.
and set my feet upon the rock, and ordered my goings.
Et immisit in os meum canticum novum, carmen Deo nostro. Videbunt multi, videbunt et timebunt: et sperabunt in Domino.
And He hath put a new song in my mouth: even a thanksgiving unto our God. Many shall see it and fear: and shall put their trust in the Lord.
TEXT AND TRANSLATIONS Symphony of Psalms 3. (Psalm 150) Alleluia. Laudate Dominum in sanctis Ejus. Laudate Eum in firmamentovirtutis Ejus. Laudate Dominum. Laudate Eum in virtutibus Ejus Laudate Eum secundum multitudinem magnitudinis Ejus. Laudate Eum in sono tubae. Laudate Eum. Alleluia. Laudate Dominum. Laudate Eum. Laudate Eum in timpano et choro, Laudate Eum in cordis et organo; Laudate Eum in cymbalis bene jubilationibus. Laudate Eum, omnis spiritus. Laudate Dominum. Alleluia.
Alleluia. O praise God in His holiness: praise Him in the firmament of His power. Praise Him in His noble acts: praise Him according to His excellent greatness. Praise Him in the sound of the trumpet: praise Him upon the lute and harp. Praise Him upon the strings and pipe. Praise Him upon the well-tuned cymbals. Let everything that hath breath praise the Lord. Alleluia.
SUPPORT OUR STUDENTS AND PROGRAMS Every gift to the Conservatory from an alumnus, parent or friend makes an impact on our students. Our students rely on your generosity to enable them to experience a superior education. Please, contact Briana Bacon, Assistant Dean for Development, at 209.946.7441 to make a gift today. You may also send a check payable to University of the Pacific: University of the Pacific Conservatory of Music Attn: Briana Bacon 3601 Pacific Avenue Stockton, CA 95211
UPCOMING CONSERVATORY EVENTS Feb. 16 I 2:30 pm Seraph Brass Quintet Faye Spanos Concert Hall
Feb. 24 I 7:30 pm Conservatory Honors Recital Recital Hall
Feb. 16 I 5:30 pm Master Class with Seraph Brass Quintet Recital Hall
Feb. 26 I 7:30 pm Pacific Jazz Ensemble Faye Spanos Concert Hall
Feb. 19 I 7:30 pm University Concert Band and Symphonic Wind Ensemble Faye Spanos Concert Hall
Feb. 29 I 7:30 pm University Symphony Orchestra Faye Spanos Concert Hall
go.Pacific.edu/MusicEvents
Pacific.edu/Conservatory