SONGS OF LOVE, FATE AND FORTUNE Oct 30, '22 program

MESSAGE FROM THE ARTISTIC DIRECTOR AND THE EXECUTIVE DIRECTOR

Welcome to our first choral concert of the 2022-2023 season!

Musica Viva NY has become known for bold, adventurous programming that features exciting contemporary music, women composers, and commissions, as well as beloved works from the classical music canon. Both pieces on today’s program fall into that last category.

Orff’s Carmina Burana is one of the most widely recognizable pieces of music on Earth. It’s riveting and earthy, mystical and dramatic and we can’t wait to fill the magnificent space of All Soul’s sanctuary with the glorious opening sounds of “O Fortuna”!

Today’s performance is scored for choir, two pianos and percussion, and we are so fortunate to collaborate with two outstanding pianists and great friends of Musica Viva NY, Margaret Kampmeier and Nelson Padgett, as well as the GRAMMY Award® nominees Sandbox Percussion. It is also our particular pleasure to present The Allen-Stevenson School Select Chorus, led by their music director and former MVNY singer, Michelle Demko.

We paired Orff’s piece with Brahms’ Liebeslieder Walzer. Both compositions explore deep emotions in different ways. While Orff’s approach is theatrical and primeval, resulting in a thrilling and intoxicating experience, Brahms’ waltzes are passionate and sensual, full of joy and pain framed by the dance rhythms that will make you want to forget about everything and just sway in your seat. Our hope is that this concert will be an immersive, energetic and joyous experience!

The next choral concert in the Musica Viva NY 2022-23 series takes place on March 12. However, before that, on Saturday, February 4, we’re going to be putting on a cabaret here at All Souls where you’ll have a chance to see our singers in a very different light. Those of you who came to our cabaret in December 2019 will remember what fun it was - and now we’re coming back to the cabaret! We will be sending out more information in early December but in the meantime we hope you’ll save the date!

Thank you for coming and we hope that you will enjoy the concer t!

—Alejandro Hernandez-Valdez, Artistic Director —Jasna Vasi ć , Executive Director

Sunday,

SONGS OF LOVE, FATE AND FORTUNE Brahms and Orff

Musica Viva NY choir

The Allen-Stevenson School Select Chorus (Michelle Demko, director) Sandbox Percussion

Nelson Padgett and Margaret Kampmeier, pianists Alejandro Hernandez-Valdez, conductor

PROGRAM

Johannes Brahms (1833-1897) .............. Liebeslieder Walzer Op. 52

Mädchen

Am Gesteine rauscht die Flut

Intermission

Carl Orff (1895-1982)

Carmina Burana

Fortuna Imperatrix Mundi (Fortune, Empress of the World)

O Fortuna

Fortune plango vulnera

Primo vere (In Springtime)

Veris leta facies (No strings and only a small chorus)

Omnia sol temperat

Ecce gratum

dem anger (On the Lawn)

Tanz

Floret silva nobilis (Small and large choruses)

Chramer, gip die varwe mir (Small and large choruses) [German]

Reie [German]

Were diu werlt alle min [German]

In Taberna (In the Tavern)

Estuans interius

Olim lacus colueram (No violins used)

Ego sum abbas (Only percussion and brass with chorus)

In taberna quando sumus

Cour d’amours (The Court of Love)

Amor volat undique (Boys chorus with soprano)

Dies, nox et omnia

Stetit puella

Circa mea pectora

Si puer cum puellula

Veni, veni, venias (Double chorus with two pianos and six percussionists)

In truitina

Tempus est iocundum (Two pianos, percussion and all vocalists except tenor)

Dulcissime

et Helena (Blanziflor and Helena)

Ave formosissima (Three glockenspiels with independent parts)

Fortuna Imperatrix Mundi (Fortune, Empress of the World)

O Fortuna (Fortune, Empress of the World)

hope you will join us for a reception after the concert.

ABOUT THE PROGRAM SONGS OF LOVE, FATE AND FORTUNE

Large-scale works present an opportunity for both composer and performer to delve past superficial portrayals of happiness and sadness to access something far more complex and life-like. By representing themes like love, fate, and fortune on the broad canvas of their multimovement works, German composers Johannes Brahms and Carl Orff reveal the nuances of the human condition through their musical brushstrokes.

Johannes Brahms (1833–1897) has come to be understood as a “master of allusion,” as described by musicologist Charles Rosen. The Romanticera composer studied and emulated the music of many of the earlier “Greats,” including Handel, Mozart, and most notably J.S. Bach. Openly acknowledging his inspiration from relatively traditional music placed Brahms in opposition to a new progressive movement termed “The New German School,” with Wagner and Liszt as its preeminent members. This stylistic battle referred to as the “War of the Romantics” consumed the European music scene for the second half of the nineteenth century; ultimately, composers on both sides found their place in the Western art music canon.

Ironically, Brahms’s celebration of traditional styles and forms in his Romantic language resulted in unique, arguably “progressive” pieces like Liebeslieder Walzer, or “Love Song Waltzes” (1869). This collection of eighteen short pieces pushes the concept of triple meter to its limit and frequently beyond a conventional waltz. The first movement tempo marking indicates that Brahms was influenced by a traditional folk dance called a Ländler (meaning “rural”). Also in triple time and intended as a partner dance, Ländler differ from the weightless waltz in their slower tempo and rhythmic hopping and stomping. The composer varies the many iterations of triple meter with complex rhythmic devices and the use of a vibrant four-handed accompaniment, sometimes obfuscating meter entirely.

For his texts, Brahms selected passages from Georg Friedrich Daumer’s 1855 Polydora: ein weltpoetisches Liederbuch (“Polydora: a Songbook of World Poetry”). The poems are based on various Eastern European folk texts and explore the many facets of love. Here it is tempting to connect the poetry directly with Brahms’s disappointing love life, but the ubiquity of setting love poems to music cautions against that direct interpretation. That being said, Brahms likely drew inspiration from several of his romantic failures, including his famous and long-lasting affection for Clara Schumann.

ABOUT THE PROGRAM SONGS OF LOVE, FATE AND FORTUNE

It is important to add that an arrangement of this work solely for piano four hands (no sung text) appeared in 1874, suggesting that Brahms did not consider the Daumer poetry as an inextricable element of his work. This act of separating text from music reifies Brahms’s place in opposition to the programmatic tendencies of The New German School, which considered a musical piece conceived with text as a whole, singular unit.

The cover design of the first edition of the Liebeslieder Walzer highlights an uncommon editorial direction: “Pianoforte in vier händen” in large decorative font and, below it, “(und Gesang ad libitum)” in significantly smaller plain font. This is not the more common musical “ad libitum”—a freedom of rhythm or style—but rather an indication that the voice parts may be sung by whatever ensemble is available: anything from four soloists to a full SATB choir. This editorial designation refers to the practical nature of the pieces: Brahms likely intended them to be sung in the parlor rather than on the professional stage. Indeed, they were so well received by the general public that Brahms published the Neue Liebeslieder (“New Love Songs”) in 1875.

While Brahms is often remembered for his “absolute” music, Carl Orff (1895–1982) preferred the drama of programmatic music and musical drama itself, including genres like the cantata, opera, the orchestral play, and instrumental music for straight plays. As the first part of a musical triptych, his Carmina Burana premiered in Frankfurt on the June 8, 1937 and subsequently saw several successful German performances during World War II.

As a composer living in Germany under the Third Reich, Orff was required to join his colleagues (those that did not flee) in the Reichsmusikkammer (“Reich Chamber of Music”). Despite a postwar psychological evaluation determining he was “not a subscriber to Nazi doctrine,” the extent of Orff’s relationship the Nazi regime is still contested. In any case, the composer believed this to be his first work of consequence, and it certainly found immense popularity beyond Germany despite its political circumstances; today it is generally understood to be without an underlying message.

In the composer’s words, Carmina Burana was first created as a “scenic cantata” involving various artforms—staging, dance, and visual design—intended to accompany the music. The piece’s original subtitle demonstrates its variety: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Secular Songs for Singers and Choruses to Be Sung With Instruments and Magic Images”).

ABOUT THE PROGRAM SONGS OF LOVE, FATE AND FORTUNE

The original production was substantial, with two SATB choirs, boys’ choir, soloists, and a large orchestra including a diverse range of percussion instruments. It is now most commonly performed as a typical cantata, with neither set nor staging, and several accessible versions have been created for limited instrumentation and smaller ensembles, such as the 1956 version meticulously arranged by Orff’s student, Wilhelm Killmayer (performed today).

Orff selected the text for his cantata from the eponymous manuscript from the eleventh, twelfth, and thirteenth centuries, which was discovered in a Bavarian monastery in 1803. Filled with satire, eroticism, and vice, the 254 poems in the original manuscript are not what one might expect from Middle Ages literature. Orff selected twenty-four of the original Carmina Burana poems, most of them in Latin but featuring Middle High German (mostly in movements 6–10, “Uf dem anger”), and even Old French (movement 16, “Dies, nox et omnia”).

The bookended placement of the famous “O Fortuna” symbolizes the Wheel of Fortune, a common image found in hundreds of manuscripts from the later Middle Ages, including the original Carmina Burana. The image usually depicts the goddess Fortune spinning a wheel with various mortal circumstances attached, demonstrating the uncontrollable nature of fate. The address to Fortune at the beginning of the piece also relates to Orff’s interest in older musical styles, especially those of the sixteenth and seventeenth centuries. It was during this time that operas often included prologues featuring deities, such as Fortune, Love, and Virtue, with a vested interest in the main drama. In the case of Carmina Burana, Fortune’s temperamentality is central to the cantata’s mortal musings.

With its evocative melodies and largely syllabic text setting, Carmina Burana’s music, while considered modern in its time, demonstrates aspects of various styles ranging from Gregorian chant (e.g. the phrasing and modal nature of the movement “Veris leta facies”) to German folk song (e.g. the dance-like rhythms throughout the section “Uf dem anger”). It is interesting to note that several dozen poems in the Carmina Burana manuscript were accompanied by an early form of musical notation, but there is no evidence that Orff used this as inspiration for his own settings. However, Orff succeeds in capturing the timelessness and urgency of these centuries-old texts for contemporary audiences in his eclectic masterwork.

—Evangeline Athanasiou

MEET THE ARTISTS

Founded in 1977, Musica Viva NY is a chamber choir of thirty professionals and highly skilled volunteers, based in Manhattan’s historic All Souls Church. Its mission is to bring world-class music to a widening community through its annual concert series, community engagement programs, and an ambitious artistic vision. Under the baton of Alejandro Hernandez-Valdez since 2015, Musica Viva NY has been praised by The New York Times as an “excellent chorus.” Musica Viva NY has toured in France (2004), Germany (2006) and Italy (2012).

Esteemed conductor and pianist Dr. Alejandro HernandezValdez is Artistic Director of Musica Viva NY and Director of Music at the historic Unitarian Church of All Souls in Manhattan. He is also Artistic Director and co-founder of the New Orchestra of Washington, and Artistic Director of the Victoria Bach Festival. He has earned accolades from The Washington Post as a conductor “with the incisive clarity of someone born to the idiom,” as well as praise from The New York Times for leading “a stirring performance” of Brahms’ Ein deutsches Requiem. At a concert commemorating the 100th Anniversary of the WWI Armistice (featuring the world premiere of Joseph Turrin’s cantata, And Crimson Roses Once Again Be Fair) Oberon’s Grove wrote: “Maestro Alejandro Hernandez-Valdez drew rich, warm sounds from the musicians” in “a beautiful and deeply moving program.” He is featured in El mundo en las manos/Creadores mexicanos en el extranjero (The World in Their Hands/Creative Mexicans Abroad), a book by the Mexican Ministry of Foreign Affairs honoring Mexican nationals who are leading figures in diverse artistic fields. He is the recipient of a 2016 Shenandoah Conservatory Alumni of Excellence Award for his exemplary contribution to his profession, national level of prominence, and exceptional integrity.

A passionate advocate of new music, Hernandez-Valdez has commissioned and premiered works by Joan Tower, Arturo Márquez, Joseph Turrin, Gilda Lyons, Seymour Bernstein, Viet Cuong, Juan Pablo Contreras, Elena Ruehr, Ramzi Aburedwan, Jorge Vidales, Mokale Koapeng, Trent Johnson, Javier Farias, Andrés Levell, Zachary Wadsworth, Martin Spruijt, Joel Friedman, and other notable composers.

Hernandez-Valdez’s guest conducting engagements include appearances at The Kennedy Center in Washington, D.C., Lincoln Center in New York City, and the historic Degollado Theatre in Guadalajara, Mexico, where he has directed the Jalisco Philharmonic. He resides in New York City.

Mark Rehnstrom, baritone, is thrilled to be returning to Music Viva NY to sing the baritone solo in Carmina Burana Mark made his Carnegie Hall debut singing the bass solos in Handel’s Messiah with Musica Sacra. He has sung the solos in Beethoven’s 9th Symphony with the San Francisco Symphony, the Detroit Symphony, the Nashville Symphony and the Vermont Symphony.

MEET THE ARTISTS

He sang the role of Demetrius in Mussorgsky’s Boris Godunov with the Milwaukee Symphony, the role of Froh in Wagner’s Das Rheingold with the Arizona Opera and the Dallas Opera. Most memorably, he performed the role of Lennie in Carlisle Floyd’s opera, Of Mice and Men, with the Cleveland Opera. He has appeared in Australia, Italy and the United States playing the role of the Evil Astrologer in New York’s Ensemble for Early Music’s production of Daniel and the Lions. Mark made his Broadway debut as a member of the on-stage chorus in Coram Boy.

Mark appears frequently with many of the major professional choruses in the New York City area. He is also an avid song composer.

Shawn Bartels, Tenor, has been a soloist with Musica Viva NY since 1996. Roles include Almaviva (Il Barbiere di Siviglia), Nanki-Poo (Mikado), Vain Man/Snake (Little Prince), Quint (Turn of the Screw), Ottavio (Don Giovanni) and Nicolas in Britten’s Saint Nicolas. Mr. Bartels sang Uriel (Creation) with Robert Shaw, in Jonathan Miller’s staging of Bach’s St. Matthew Passion and as a soloist at Carnegie Hall. Shawn has appeared with the Victoria Bach Festival, the Society of Musical Arts and the New Orchestra of Washington. He received his BM in Vocal Performance from the University of Northern Colorado and his MM in Vocal Performance from FSU. Shawn is a member of the guitar-pop band Portraiture.

Soprano Emily Donato, born and based in New York City, most recently appeared as the soprano soloist in Bach’s B Minor Mass with Voices of Ascension. In 2021, she was awarded first prize in the Lyndon-Woodside Oratorio Competition held at Riverside Church in NYC. Ms. Donato has performed as a soloist with Maestros Masaaki Suzuki, Simon Carrington, David Hill, and Nicholas McGegan. Emily is an alumna of the Grammy award winning Brooklyn Youth Chorus, holds her Bachelor of Arts in Music from Bard College, and her Master’s in Music from the Yale School of Music.

Madalyn Luna is a Mexican-American mezzo-soprano from Chicago, Illinois. Heralded as having a “distinctive, caramel-colored” voice by Opera News, Ms. Luna has been recognized for her work in contemporary opera and early music. This is her second year with Musica Viva NY and the All Souls Choir, and she has served as an alto soloist in Vivaldi’s Gloria, Bach’s Magnificat, excerpts from Mahler’s Resurrection Symphony, and Rachmaninoff’s All Night Vigil

This season, she will premiere with the choir at Co-Cathedral of St. Joseph’s in Brooklyn, NY for featured events and concerts. She resides in the city with her wife and two dogs.

MEET THE ARTISTS

Nathan Siler is a performer and composer who lives and works in New York City. In addition to singing as a soloist for Musica Viva NY, Composer’s Choir (New Haven, CT), Five Lines, and All Souls Church, he frequently performs as a chorister at Carnegie Hall with the Bard Festival Chorale and at Lincoln Center with the Concert Chorale of New York. When not singing, Nathan keeps a busy schedule as a music producer, recording engineer, and videographer. He is the chief architect of the NYC post-punk-prog band Portraiture.

The Allen-Stevenson School specializes in K-8 education for boys. Started in 1990, The Allen-Stevenson School Choruses, conducted by Michelle Demko, quickly established themselves alongside the Allen-Stevenson Orchestras as a special testimony to Allen-Stevenson’s dedication to the arts. The choruses have performed a varied repertory from classical pieces such as Benjamin Britten’s “This Little Babe” from A Ceremony of Carols to works such as the African Zulu song, “Siyahamba.” In addition to the school’s Winter Concert in January and Spring Concert in May, the choruses have given performances around New York City and at venues out of town, including the Kennedy Center and the White House. Accomplishments include a performance of Benjamin Britten’s St. Nicolas Cantata with Musica Viva NY (which was favorably reviewed in The New York Times ) and Carl Orff’s Carmina Burana with the Oratorio Society of New York at Carnegie Hall. The Allen-Stevenson choruses have also participated in the tree lighting ceremonies at Lincoln Center. Tonight’s Select Chorus comprises members from Allen-Stevenson’s various choruses.

Michelle Demko, a conductor and flutist, is head of the Music Department at The Allen-Stevenson School, where she conducts the Third/Fourth, Fifth/Sixth and Seventh/Eighth Grade choruses and is musical director of the highly acclaimed annual Gilbert & Sullivan production and Boys, Broadway & Beyond. Ms. Demko holds an M.M. from Northwestern University. She is an active Suzuki teacher, has performed with various chamber ensembles in the northeastern U.S., sings in the Threshold Choir, and is a member of the NYC Orff Chapter.

Described as “exhilarating” (The New York Times) and “utterly mesmerizing” (The Guardian), GRAMMY® nominated ensemble Sandbox Percussion brings out the best in composers through their unwavering dedication to artistry in contemporary chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning.

MEET THE ARTISTS

Sandbox Percussion’s 2021 album Seven Pillars was nominated for two GRAMMY® awards — Best Chamber Music/Small Ensemble Performance and Best Contemporary Classical Composition. Sandbox Percussion will perform Seven Pillars over 15 times in the 2022-23 season, with sold-out stops throughout the United States and Europe. In October, Sandbox Percussion will perform the work live with the LA Dance Project and choreographer Benjamin Millepied at the Théatre du Chatelet in Paris.

Sandbox Percussion endorses Pearl/Adams musical instruments, Zildjian cymbals, Vic Firth sticks and mallets, Remo drumheads, and Black Swamp accessories.

Nelson Padgett enjoys a multifaceted career as a soloist and collaborator. He has appeared with the Houston, National, and North Carolina Symphonies, and his many awards include a silver medal at the William Kapell International Competition and a Beethoven Fellowship from the American Pianists Association. A former student of Leon Fleisher, he has toured the world with the Philip Glass Ensemble for over thirty years. Specializing in collaboration with string players, he has given recitals with renowned violinists such as Pamela Frank and Elmar Oliveira, and has been an official pianist at the Meadowmount School of Music, the International Violin Competition of Indianapolis, and the Cooper International Violin Competition. A native of North Carolina, Mr. Padgett has lived in New York City since 1987, and spends most of his time playing with string students at Juilliard and New York University.

Margaret Kampmeier enjoys a varied career as soloist, collaborative pianist, and educator. Equally fluent in classical and contemporary repertoire, she has concertized and recorded extensively. She has performed with the St. Petersburg Chamber Philharmonic, New York Philharmonic Ensembles, Kronos Quartet, and Mirror Visions Ensemble. As orchestral keyboardist, she performs regularly with the Orchestra of St. Luke’s, and has subbed in the New York Philharmonic, American Composers Orchestra, and Mostly Mozart Festival Orchestra. She co-founded New Millennium Ensemble, a new music sextet that won the 1995 Naumburg chamber award. She has performed and recorded hundreds of new works, and can be heard on the Albany, Centaur, CRI, Koch, Nonesuch, and Bridge labels.

Ms. Kampmeier teaches piano and chamber music at Princeton University and has been Chair of Manhattan School of Music’s Contemporary PerformanceProgram since 2014. Ms. Kampmeier is deeply grateful for the shared wisdom of her mentors, Barry Snyder, Jan Degaetani, Julius Levine, and Gilbert Kalish.

LIEBESLIEDER WALZER

1. Rede, Mädchen, allzu liebes Rede, Mädchen, allzu liebes, Das mir in die Brust, die kühle, Hat geschleudert mit dem Blicke Diese wilden Glutgefühle!

Willst du nicht dein Herz erweichen, Willst du, eine Überfromme, Rasten ohne traute Wonne, Oder willst du, daß ich komme?

Rasten ohne traute Wonne, Nicht so bitter will ich büßen.

Komme nur, du schwarzes Auge, Komme, wenn die Sterne grüßen!

2. Am Gesteine rauscht die Flut Am Gesteine rauscht die Flut Heftig angetrieben;

Wer da nicht zu seufzen weiß, Lernt es unterm Lieben.

3. O die Frauen, o die Frauen O die Frauen, o die Frauen, Wie sie Wonne tauen!

Wäre lang ein Mönch geworden, Wären nicht die Frauen!

4. Wie des Abends schöne Röte

Wie des Abends schöne Röte Möcht ich arme Dirne glühn, Einem, Einem zu gefallen, Sonder Ende Wonne sprühn.

5. Die grüne Hopfenranke

Die grüne Hopfenranke

Sie schlängelt auf der Erde hin.

Die junge, schöne Dirne, So traurig ist ihr Sinn!

Du höre, grüne Ranke!

Was hebst du dich nicht himmelwärts?

Du höre, schöne Dirne!

Was ist so schwer dein Herz?

Wie höbe sich die Ranke

Der keine Stütze Kraft verleiht?

Wie wäre die Dirne fröhlich, Wenn ihr der Liebste weit?

1. Tell me, my sweetest girl

Tell me, my sweetest girl, who with your glances have kindled in my cool breast these wild, passionate feelings! Will you not relent, will you, with an excess of virtue, live without love’s rapture, or do you wish me to come to you?

To live without love’s rapture, is a bitter fate I would not suffer. Come, then, with your dark eyes, come, when the stars beckon!

2. The wildly lashed waves

The wildly lashed waves dash against the rocks; whoever has not learnt to sigh will learn it when he loves.

3. O women, o women

O women, o women, how they delight the heart!

I should have long since turned monk, were it not for women!

4. Like a lovely sunset

Like a lovely sunset

I, a humble girl, would glow, and find favour with one alone, radiating endless rapture.

5. The green tendrils of the vine

The green tendrils of the vine creep low along the ground.

How gloomy, too, the lovely young girl looks! Why, green tendrils! Why do you not stretch up to the sky?

Why, lovely girl! Why is your heart so heavy? How can the vine grow tall without support?

How can the girl be joyful, when her lover’s far away?

LIEBESLIEDER WALZER

6. Ein kleiner, hübscher Vogel

Ein kleiner, hübscher Vogel nahm den Flug

Zum Garten hin, da gab es Obst genug. Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte nicht, ich täte so wie der. Leimruten-Arglist lauert an dem Ort; Der arme Vogel konnte nicht mehr fort.

Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte doch, ich täte nicht wie der.

Der Vogel kam in eine schöne Hand, Da tat es ihm, dem Glücklichen, nicht and. Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte nicht, ich täte doch wie der.

7. Wohl schön bewandt war es

Wohl schön bewandt

War es vorehe Mit meinem Leben, Mit meiner Liebe!

Durch eine Wand, Ja, durch zehn Wände, Erkannte mich

Des Freundes Sehe.

Doch jetzo, wehe, Wenn ich dem Kalten Auch noch so dicht, Vorm Auge stehe, Es merkts sein Auge, Sein Herze nicht.

8. Wenn so lind dein Auge mir

Wenn so lind dein Aug mir

Und so lieblich schauet –Jede letzte Trübe fliehet, Welche mich umgrauet.

Dieser Liebe schöne Glut, Laß sie nicht verstieben!

Nimmer wird, wie ich, so true Dich ein andrer lieben.

9. Am Donaustrande

Am Donaustrande, da steht ein Haus, Da schaut ein rosiges Mädchen aus. Das Mädchen, es ist wohl gut gehegt, Zehn eiserne Riegel sind vor die Türe gelegt.

Zehn eiserne Riegel – das ist ein Spaß!

Die spreng ich, als wären sie nur von Glas.

6. A pretty little bird

A pretty little bird flew off

into a garden full of fruit.

Were I a pretty little bird, I’d not hesitate, I’d do the same. But treacherous lime-twigs lay in wait; the poor bird could not fly away. Were I a pretty little bird, I’d hesitate, not do the same. The bird alighted on a fair hand, the lucky thing wanted nothing more. Were I pretty little bird, I’d not hesitate, I’d do the same.

7. All seemed rosy

All seemed rosy at one time with my life, with my love!

Through a wall, through ten walls, my lover’s gaze would reach me. But now, alas, I stand in front of his cool gaze, neither his eyes, nor his heart, takes note of me.

8. When you gaze at me so tenderly When you gaze at me so tenderly and so full of love –all the gloom that assails me fades away. Oh, do not let this love’s sweet ardour vanish! No one will love you as truly as I.

9. On the Danube’s shore

On the Danube’s shore there stands a house, from its windows a rosy girl looks out. The girl is excellently guarded, ten bolts are fixed to her door.

Ten bolts of iron – a mere trifle! I’ll break them down, as though they were glass.

LIEBESLIEDER WALZER

10. O wie sanft die Quelle

O wie sanft die Quelle sich Durch die Wiese windet!

O wie schön, wenn Liebe sich, Zu der Liebe findet!

11. Nein, es ist nicht auszukommen Nein, es ist nicht auszukommen Mit den Leuten;

Alles wißen so giftig Auszudeuten.

Bin ich heiter, hegen soll ich Lose Triebe;

Bin ich still, so heißts, ich ware Irr, aus Liebe.

12. Schlosser auf, und mache Schlösser

Schloßer auf, und mache Schlößer, Schlößer ohne Zahl!

Denn die bösen Mäuler will ich Schließen allzumal.

13. Vögelein durchrauscht die Luft Vögelein durchrauscht die Luft, Sucht nach einem Aste;

Und das Herz ein Herz begehrts, Wo es selig raste.

14. Sieh, wie ist die Welle klar Sieh, wie ist die Welle klar, Blickt der Mond hernieder!

Die du meine Liebe bist, Liebe du mich wieder.

15. Nachtigall, sie singt so schön Nachtigall, sie singt so schön, Wenn die Sterne funkeln –Liebe mich, geliebtes Herz, Küße mich im Dunkeln!

16. Ein dunkeler Schacht ist Liebe Ein dunkeler Schacht ist Liebe, Ein gar zu gefährlicher Bronnen; Da fiel ich hinein, ich Armer, Kann weder hören, noch sehn. Nur denken an meine Wonnen, Nur stöhnen in meinen Wehn.

10. Ah, how gently the stream Ah, how gently the stream meanders through the meadow! Ah, how sweet, when love finds itself requited!

11. No, it is not possible No, it is not possible to put up with these people; they interpret everything so spitefully. If I’m happy, they say I harbour lewd desires; if I’m quiet, they say I’m madly in love.

12. Locksmith, come, make me padlocks Locksmith, come, make me padlocks, padlocks without number! So that once and for all I can shut their malicious mouths.

13. A little bird flies through the skies A little bird flies through the skies, searching for a branch; thus does one heart seek another, where it might rest in bliss.

14. See how clear the waves are See how clear the waves are, when the moon shines down! You, my dearest love, love me in return.

15. The nightingale sings so sweetly The nightingale sings so sweetly, when the stars are sparkling –Love me, dear heart, kiss me in the dark!

16. Love is a dark pit Love is a dark pit, an all too dangerous well; I tumbled in, alas, can neither hear nor see, can only recall my rapture, and only bemoan my grief.

LIEBESLIEDER WALZER

17. Nicht wandle, mein Licht

Nicht wandle, mein Licht, dort außen Im Flurbereich!

Die Füße würden dir, die zarten, Zu naß, zu weich.

All überströmt sind die Wege, Die Stege dir, So überreichlich tränte dorten Das Auge mir.

18. Es bedet das Gesträuche

Es bebet das Gesträuche, Gestreift hat es im Fluge Ein Vöglein.

In gleicher Art erbebet, Die Seele mir erschüttert Von Liebe, Lust und Leide, Gedenkt sie dein.

17. Do not wander, my love Do not wander, my love, out there in the fields!

The ground would be too wet for your tender feet.

The paths and tracks are all flooded out there, so abundantly have my eyes been weeping.

18. The foliage trembles

The foliage trembles, where a bird in flight has brushed against it. And so my soul trembles too, shuddering with love, desire and pain, whenever it thinks of you.

Save the dates for the rest of Musica Viva NY’s 2022-2023 season

All concerts will be performed on Sundays at 5pm at All Souls

March 12, 2023

THE SORROW AND THE BEAUTY: Pärt, Lang, Burhans, and Whitacre

David Lang, The Little Match Girl Passion

Arvo Pärt, Spiegel im Spiegel

Caleb Burhans,, Super Flumina Babylonis

Eric Whitacre, Cloudburst

May 21, 2023

LUX AETERNA: Schubert, Einhorn, Lauridsen and others

Jessie Montgomery, Starburst

Judith Bingham, The Darkness Is No Darkness

Franz Schubert, Mass No. 2 in G Major, D. 167

Richard Einhorn, commission by Musica Viva NY on the theme of “Light”

Morten Lauridsen, Lux Aeterna

You can find full details on our website at www.musicaviva.org

CARMINA BURANA

FORTUNA IMPERATRIX MUNDI (FORTUNE EMPRESS OF THE WORLD)

1. O Fortuna (O Fortune)

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

O Fortune, Like the moon

You are changeable, ever waxing and waning.

Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.

Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back to your villainy.

Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!

2. Fortune plango vulnera (I bemoan the wounds of Fortune)

Fortunae plango vulnera  stillantibus ocellis,  quod sua mihi munera  subtrahit rebellis.  verum est, quod legitur  fronte capillata,  sed plerumque sequitur  Occasio calvata.

In Fortunae solio  sederam elatus,  prosperitatis vario flore coronatus;  quicquid enim florui  felix et beatus  nunc a summo corrui  gloria privatus.

Fortunae rota volvitur;  descendo minoratus;  alter in altum tollitur;  nimis exaltatus  rex sedet in vertice  caveat ruinam!  nam sub axe legimus  Hecubam reginam.

PRIMO VERE (SPRING)

I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald.

On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory.

The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up sits the king at the summit –let him fear ruin! for under the axis is written Queen Hecuba.

3. Veris Leta Facies (The Merry Face Of Spring)

Veris laeta facies  mundo propinquatur.  Hiemalis acies  victa iam fugatur.  in vestitu vario Flora principatur,  nemorum dulcisono  quae cantu celebratur. Ah!

Florae fusus gremio  Phoebus novo more  risum dat, hoc vario  iam stipatae flore.  Zephyrus nectareo  spirans it odore.  certatim pro bravio  curramus in amore. Ah!

The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!

Lying in Flora’s lap Phoebus once more smiles, now covered in many-colored flowers, Zephyr breathes nectarscented breezes. Let us rush to compete for love’s prize. Ah!

Cytharizat cantico  dulcis Philomena.  flore rident vario  prata iam serena.  salit coetus avium  silvae per amoena.  chorus promit virginum  iam gaudia millena. Ah!

CARMINA BURANA

In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah.

4. Omnia Sol Temperat (The Sun Warms Everything)

Omnia Sol temperat  purus et subtilis;  novo mundo reserat  facies Aprilis,  ad amorem properat  animus herilis,  et iocundis imperat  deus puerilis.

Rerum tanta novitas  in sollemni Vere  et Veris auctoritas  jubet nos gaudere;  vias praebet solitas;  et in tuo Vere  fides est et probitas  tuum retinere.

Ama me fideliter!  fidem meam nota;  de corde totaliter  et ex mente tota  sum praesentialiter  absens in remota.  Quisquis amat taliter,  volvitur in rota.

The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.

All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Love me faithfully! See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away. Whoever loves this much turns on the wheel.

CARMINA BURANA

5. Ecce Gratum (Behold, The Pleasant Spring)

Ecce gratum  et optatum

Ver reducit gaudia.  purpuratum  floret pratum.  Sol serenat omnia.  iam iam cedant tristia!  Estas redit,  nunc recedit  Hiemis saevitia. Ah!

Iam liquescit  et decrescit  grando, nix et cetera.  bruma fugit,  et iam sugit  Ver Aestatis ubera.  Illi mens est misera,  qui nec vivit,  nec lascivit  sub Aestatis dextera. Ah!

Gloriantur  et laetantur  in melle dulcedinis  qui conantur,  ut utantur  praemio Cupidinis.  simus iussu Cypridis  gloriantes et laetantes  pares esse Paridis. Ah!

6. Tanz (Dance)

Instrumental

Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything. Sadness is now at an end! Summer returns, now withdraw the rigors of winter. Ah!

Now melts and disappears ice, snow, and the rest, winter flees, and now spring sucks at summer’s breast: A wretched soul is he who does not live or lust under summer’s rule. Ah! They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; At Venus’ command let us glory and rejoice in being Paris’ equals. Ah!

UF DEM ANGER (ON THE GREEN)

CARMINA BURANA

7. Floret Silva Nobilis (The Noble Woods)

Floret silva nobilis  floribus et foliis.

Ubi est antiquus meus amicus? Ah! hinc equitavit.  eia, quis me amabit? Ah!

Floret silva undique.  Nach mime gesellen ist mir we.

Gruonet der walt allenthalben,  wa ist min geselle also lange?  Der ist geriten hinnen.  O wi, wer sol mich minnen? Ah!

The noble woods are burgeoning with flowers and leaves.

Where is the lover I knew? Ah! He has ridden off! Oh! Who will love me? Ah!

The woods are burgeoning all over, I am pining for my lover.

The woods are turning green all over why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!

8. Chramer, Gip Die Varwe Mir (Shopkeeper, Give Me Color)

Chramer, gip die varwe mir  die min wengel roete,  dam it ich die jungen man  an ir dank der minnenliebe noete.  Seht mich an, jungen man!  Lat mich iu gevallen!

Minnet, tugentliche man,  minnechliche frouwen!

Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will Look at me, young men! Let me please you!

Minne tuot iu hoch gemuot  unde lat iuch in hohen eren schouwen.  Seht mich an, jungen man!  Lat mich iu gevallen!

Wol die, werlt, das du bist  also freudenriche!

Ich wil dir sin undertan  durch din liebe immer sicherliche.  Seht mich an, jungen man!  Lat mich iu gevallen!

Good men, love women worthy of love! Love ennobles your spirit and gives you honor. Look at me, young men! Let me please you!

Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, young men! Let me please you!

CARMINA BURANA

9. Reie (Round Dance)

Swaz hie gat umbe (Those who go round and round)

Swaz hie gat umbe,  daz sint allez megede,  die wellent an man  allen disen sumer gan. Ah! Sla!

Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!

Chume, chum, geselle min! (Come, come, my love!)

Chume, chum, geselle min,  ih enbite harte din,  ih enbite harte din,  chume, chum, geselle min.

Suozer rosenvarwer munt,  chum unde mache mich gesunt,  chum unde mache mich gesunt,  suozer rosenvarwer munt.

Come, come, my love, I long for you, I long for you. Come, come, my love,

Swaz hie gat umbe (Those who go round and round)

Swaz hie gat umbe,  daz sint allez megede,  die wellent an man  allen disen sumer gan. Ah! Sla!

Sweet rose-red lips, come and make me better, come and make me better, Sweet rose-red lips. Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!

10. Were Diu Werlt Alle Min (If All The World Were Mine)

Were diu werlt alle min  von dem mere unze an den Rin,  des wolt ih mih darben  daz diu chunegin von Engellant  lege an minen armen. Hei!

Were all the world mine from the sea to the Rhine, I would do without it if the queen of England would lie in my arms. Hey!

CARMINA BURANA

IN TABERNA (IN THE TAVERN) 11. Estuans Interius (Burning Inside)

Estuans interius ira vehementi  in amaritudine  loquor meae menti;  factus de materia,  cinis elementi,  similis sum folio,  de quo ludunt venti.

Cum sit enim proprium  viro sapienti  supra petram ponere  sedem fundamenti,  stultus ego comparor  fluvio labenti  sub eodem tramite  numquam permanenti.

Feror ego veluti  sine nauta navis,  ut per vias aeris  vaga fertur avis;  non me tenent vincula,  non me tenet clavis;  quaero mihi similes,  et adiungor pravis.

Mihi cordis gravitas  res videtur gravis;  iocus est amabilis  dulciorque favis;  quicquid Venus imperat,  labor est suavis,  quae numquam in cordibus  habitat ignavis.

Via lata gradior  more iuventutis,  implicor et vitiis  immemor virtutis,  voluptatis avidus  magis quam salutis,  mortuus in anima  curam gero cutis.

Burning inside with violent anger, bitterly

I speak my heart: created from matter, of the ashes of the elements, I am like a leaf played with by the winds.

If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.

I am carried along like a ship without a steersman, and in the paths of the air a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.

The heaviness of my heart seems a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart.

I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.

CARMINA BURANA

12. Olim Lacus Colueram (Once I Lived On Lakes)

Olim lacus colueram,  olim pulcher exstiteram,  dum cygnus ego fueram.

Miser, miser!  modo niger  et ustus fortiter!

Girat, regirat garcifer;  me rogus urit fortiter;  propinat me nunc dapifer.

Miser, miser!  modo niger  et ustus fortiter!

Nunc in scutella iaceo,  et volitare nequeo;  dentes frendentes video.

Miser, miser!  modo niger  et ustus fortiter!

Once I lived on lakes, once I looked beautiful when I was a swan.

Misery me! Now black and roasting fiercely!

The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up.

Misery me! Now black and roasting fiercely!

Now I lie on a plate, and cannot fly anymore, I see bared teeth:

Misery me! Now black and roasting fiercely!

13. Ego Sum Abbas (I Am The Abbot)

Ego sum abbas Cucaniensis  et consilium meum est cum bibulis,  et in secta Decii voluntas mea est,  et qui mane me quaesierit in taberna  post vesperam nudus egredietur,  et sic denudatus veste clamabit:

Wafna, wafna! quid fecisti, Sors turpissima?  nostrae vitae gaudia  abstulisti omnia!  Haha!

I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius, and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out:

Woe! Woe! what have you done, vilest Fate? The joys of my life you have taken all away! Haha!

CARMINA BURANA

14. In Taberna Quando Sumus (When We Are In The Tavern)

In taberna quando sumus,  non curamus quid sit humus,  sed ad ludum properamus,  cui semper insudamus.  Quid agatur in taberna  ubi nummus est pincerna,  hoc est opus ut quaeratur;  si quid loquar, audiatur.

Quidam ludunt, quidam bibunt,  quidam indiscrete vivunt.  sed in ludo qui morantur,  ex his quidam denudantur,  quidam ibi vestiuntur,  quidam saccis induuntur;  ibi nullus timet mortem,  sed pro Baccho mittunt sortem.

Primo pro nummata vini;  ex hac bibunt libertini;  semel bibunt pro captivis,  post haec bibunt ter pro vivis,  quater pro Christianis cunctis,  quinquies pro fidelibus defunctis,  sexies pro sororibus vanis,  septies pro militibus silvanis.

Octies pro fratribus perversis,  nonies pro monachis dispersis,  decies pro navigantibus,  undecies pro discordantibus,  duodecies pro paenitentibus,  tredecies pro iter agentibus.  Tam pro papa quam pro rege  bibunt omnes sine lege.

Bibit hera, bibit herus,  bibit miles, bibit clerus,  bibit ille, bibit illa,  bibit servus cum ancilla,  bibit velox, bibit piger,  bibit albus, bibit niger,  bibit constans, bibit vagus,  bibit rudis, bibit magus.

When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, What happens in the tavern, where money is host, you may well ask, and hear what I say.

Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but in the name of Bacchus, they throw the dice.

First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood.

Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint.

The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man, drinks.

CARMINA BURANA

Bibit pauper et egrotus,  bibit exul et ignotus,  bibit puer, bibit canus,  bibit praesul et decanus,  bibit soror, bibit frater,  bibit anus, bibit mater,  bibit ista, bibit ille,  bibunt centum, bibunt mille.

Parum sescentae nummatae  durant cum immoderate  bibunt omnes sine meta,  quamvis bibant mente laeta;  sic nos rodunt omnes gentes,  et sic erimus egentes.  qui nos rodunt confundantur  et cum iustis non scribantur.

The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this woman drinks, that man drinks, a hundred drink, a thousand drink.

Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably. However much the cheerfully drink we are the ones whom everyone scolds, and thus we are destitute.

May those who slander us be cursed and may their names not be written in the book of the righteous.

COUR D’AMOURS (THE COURT OF LOVE)

15. Amor Volat Undique (Cupid Flies Everywhere)

Amor volat undique,  captus est libidine.  iuvenes, iuvenculae,  coniunguntur merito.  siqua sine socio,  caret omni gaudio;  tenet noctis infima  sub intimo  cordis in custodia; fit res amarissima.

Cupid flies everywhere seized by desire. Young men and women are rightly coupled.

The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart: it is a most bitter fate.

COME (BACK) TO THE CABARET!

It’s been a few years, and the people up on the chancel are excited to show you something a little less . . . choral.

Save the date - Saturday Feb 4 at 7pm

CARMINA BURANA

16. Dies, Nox Et Omnia (Day, Night, And Everything)

Dies, nox, et omnia  mihi sunt contraria;  virginum colloquia  me fay planszer,  oy suvenz suspirer,  plu me fay temer.

O sodales, ludite,  vos qui scitis dicite,  mihi maesto parcite,  grand ey dolur,  attamen consulite  per voster honur.

Tua pulchra facies,  me fay planszer milies,  pectus habens glacies,  a ramender statim vivus fierem per un baser.

17. Stetit Puella (A Girl Stood)

Stetit puella  rufa tunica;  si quis eam tetigit,  tunica crepuit.  Eia!

Stetit puella,  tamquam rosula;  facie splenduit,  os eius floruit.  Eia!

Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.

O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.

Your beautiful face, makes me weep a thousand times, your heart is of ice. As a cure, I would be revived by a kiss.

A girl stood in a red tunic; if anyone touched it, the tunic restled. Eia!

A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia!

CARMINA BURANA

18. Circa Mea Pectora (In My Heart)

Circa mea pectora  multa sunt suspiria  de tua pulchritudine,  quae me laedunt misere. Ah!

Mandaliet, mandaliet,  min geselle  chumet niet.

Tui lucent oculi  sicut solis radii,  sicut splendor fulguris  lucem donat tenebris. Ah!

Mandaliet, mandaliet,  min geselle  chumet niet.

Vellet Deus, vellent dii,  quod mente proposui,  ut eius virginea  reserassem vincula. Ah!

Mandaliet, mandaliet,  min geselle  chumet niet.

In my heart there are many sighs for your beauty, which wound me sorely. Ah!

Mandaliet, mandaliet, my lover does not come.

Your eyes shine like the rays of the sun, like the flashing of lightening which brightens the darkness. Ah!

Mandaliet, mandaliet, my lover does not come.

May God grant, may the gods grant what I have in my mind that I may loose the chains of her virginity, Ah!

Mandaliet, mandaliet, my lover does not come.

19. Sie Puer Cum Puellula (If A Boy With A Girl)

Si puer cum puellula  moraretur in cellula,  felix coniunctio.  Amore succrescente,  pariter e medio  propulso procul taedio,  fit ludus ineffabilis  membris, lacertis, labiis.

If a boy with a girl tarries in a little room, happy is their coupling. Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips.

CARMINA BURANA

20. Veni, Veni, Venias (Come, Come, O Come)

Veni, veni, venias,  ne me mori facias,  hyrca, hyrce, nazara;  trilirivos!

Pulchra tibi facies,  oculorum acies,  capillorum series;  o quam clara species!  Rosa rubicundior,  lilio candidior,  omnibus formosior;  semper in te glorior!

Come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos!

Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature! Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!

21. In Trutina (In The Balance)

In trutina mentis dubia  fluctuant contraria  lascivus amor et pudicitia.  Sed eligo quod video,  collum iugo praebeo;  ad iugum tamen suave transeo.

22. Tempus Est Iocundum (This Is The Joyful Time)

Tempus est iocundum,  o virgines,  modo congaudete  vos iuvenes!

Oh! Oh! Oh! totus floreo!

Iam amore virginali totus ardeo!  Novus, novus amor est, quo pereo!

Mea me comfortat  promissio,  mea me deportat negatio.

Oh! Oh! Oh! totus floreo!

Iam amore virginali totus ardeo!  Novus, novus amor est, quo pereo!

In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke. This is the joyful time, O maidens, rejoice with them, young men!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love! New, new love is what I am dying of!

I am heartened by my promise, I am downcast by my refusal.

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love! New, new love is what I am dying of!

CARMINA BURANA

Tempore brumali  vir patiens,  animo vernali  lasciviens.

Oh! Oh! Oh! totus floreo!

Iam amore virginali totus ardeo!  Novus, novus amor est, quo pereo!

Mea mecum ludit  virginitas,  mea me detrudit  simplicitas.

Oh! Oh! Oh! totus floreo! Iam amore virginali totus ardeo!  Novus, novus amor est, quo pereo!

Veni, domicella,  cum gaudio;  veni, veni, pulchra,  iam pereo!

Oh! Oh! Oh! totus floreo!

Iam amore virginali totus ardeo!  Novus, novus amor est, quo pereo!

23. Dulcissime (Sweetest One)

Dulcissime! Ah! Totam tibi subdo me!

In the winter man is patient, the breath of spring makes him lust.

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love! New, new love is what I am dying of!

My virginity makes me frisky, my simplicity holds me back.

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love! New, new love is what I am dying of!

Come, my mistress, with joy, come, come, my pretty, I am dying!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love! New, new love is what I am dying of! Sweetest one! Ah!

I give myself to you totally!

BLANZIFLOR ET HELENA (BLANZIFLOR AND HELENA)

24. Ave Formosissima (Hail, Most Beautiful One)

Ave formosissima,  gemma pretiosa,  ave, decus virginum,  virgo gloriosa,  ave, mundi luminar,  ave, mundi rosa,  Blanziflor et Helena,  Venus generosa.

Hail, most beautiful one, precious jewel, Hail, pride among virgins, glorious virgin, Hail, light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus!

CARMINA BURANA

FORTUNA IMPERATRIX MUNDI (FORTUNE EMPRESS OF THE WORLD) 25. O Fortuna (O Fortune)

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

O Fortune, Like the moon You are changeable, ever waxing and waning. Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.

Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back to your villainy.

Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!

To find out about ways to support Musica Viva NY through employer matching, volunteering, and monthly giving, please contact our Executive Director at jasna@musicaviva.org

Soprano

Beth Clancy

Emily Donato Mary Esbjornson

Brittany Hewitt Katie McCreary Emily Mikesell

Erinn Sensenig Laura Villanueva Reldalee Wagner

Kate Wolfe Sarah Worthington Alto Holly Drew Rodolfo Girón

Heather Jones Kate Katigbak Madalyn Luna Dinah Nissen Devony Smith

MUSICA VIVA NY CHOIR

Tenor Shawn Bartels Doug Purcell Noah Radcliffe Erik Rasmussen Erik Resurreccion Nathan Siler

Bass

James Dargan Nick Hay

Blake Jennings Matthew Mueller Harold Norris Christopher Rothko Paul Whelan Augustus Young

THE ALLEN-STEVENSON SCHOOL SELECT CHORUS

Hal Azaria

Ian Bernstein

Finn Baker

Marcelo Burgete Ghabriel

Matthew Chung Weston Daroca Alexander Diefenbach

Cassius Evans-Thompson

Michael Ganitsky

Henry Goodman Jackson Hong William Kournetas

Aaron Lee

Niccolo Lee-Suk Andreas Loucopoulos Christian Loucopoulos

Gavin Markowicz Hugh McAuliffe Lachlan McAuliffe Jayden Nandi David Negrin George Novotny Heaton Perles Oliver Pines Lukas Rizos Kabir Seth Vikram Seth Henry Willis Jonah Wilson Joseph Wallace Austin Westreich

MUSICA VIVA NY

Our Team

Alejandro Hernandez-Valdez

Conductor and Artistic Director

Trent Johnson

Assistant Director of Music Jasna Vasić Executive Director Ray Henninger Operations and Production Manager

Dinah Nissen, Esq. Marketing Director

Barbara de Bellis Librarian Nathan Siler Digital Marketing Consultant

Julie Brannan President

Bill Bechman Vice President Winnie Olsen Secretary

Board of Directors

Lisa O’Brien, Esq. Treasurer

Constance Beavon Shu-Wie Chen Melanie Niemiec Dinah Nissen, Esq.

Advisory Board

Harold Norris Kate Phillips

David Rockefeller, Jr. Thomas Simpson

Seymour Bernstein Laurel Blossom

Renée Fleming

Galen Guengerich Susan Jolles

Walter Klauss Artistic Director Emeritus

Jean-Louis Petit Bruce Saylor

Follow us on Facebook, Instagram and Youtube for photos, videos, and more facebook.com/musicavivany @musicavivany youtube.com/musicavivany

MUSICA VIVA NY PATRON SUPPORT LEVELS FOR OUR 2022-23 SEASON

Become a Patron of Musica Viva NY today! We need your generous contributions to support the outstanding concerts and outreach programming of the Musica Viva NY choir and instrumentalists. There is a level for every budget, and you will enjoy special benefits as a measure of our thanks. Your contribution can be made as a one-time gift, or on a recurring basis.

PATRON LEVELS

APPASSIONATO

$10,000 and above

•

Up to four Musica Viva NY soloists will perform at your private event in the NYC area

•

Invitation to a dinner featuring a special performance by the Artistic Director

• Invitation to special Patron reception

• Six complimentary season subscriptions

• Reserved seating

CON FUOCO

$5,000 to $9,999

•

A Musica Viva NY soloist will perform at your private event in the NYC area

CON BRIO

$3,000 to $4,999

•

Invitation to a dinner featuring a special performance by the Artistic Director

• Invitation to special Patron reception

• Three complimentary season subscriptions

• Reserved seating

RISOLUTO $1,000 to $2,999

•

Invitation to special Patron reception

• Three complimentary season subscriptions

• Reserved seating

ESPRESSIVO

•

Invitation to a dinner featuring a special performance by the Artistic Director

• Invitation to special Patron reception

• Five complimentary season subscriptions

• Reserved seating

$500 to $999

•

Invitation to special Patron reception

•

Two complimentary season subscriptions

• Preferred seating

CANTABILE

$150 - $499

•

Invitation to special Patron reception

• Preferred seating

DOLCE

$25-$149

•

Acknowledgment in program at all levels

MUSICA VIVA NY PATRONS 2022-23

We are deeply grateful to our Patrons listed below for their support of our 2022-2023 season. Thank you for joining us! Your support for our outstanding Musica Viva NY artists, our high-caliber, innovative choral and chamber music performances, and our community engagement is vital and essential.

Corporate and Foundation Support

The Heart & Soul Charitable Fund

New York City Department of Cultural Affairs

The Rea Charitable Fund

Appassionato $10,000 and above

Melanie & David Niemiec

Susan & David Rockefeller, Jr.

Con Fuoco $5,000 to $9,999

Don & Georgia Gogel

Jennifer Shotwell

Con Brio $3,000 to $4,999

Shu-Wie Chen

Lois Gaeta, in Memory of David Remember Baker

Pamela Healey

Gunleif Jacobsen and Thomas

Simpson Charitable Fund

Dinah Nissen & Elizabeth Apelles

Fritz Reuter

Madonna K. Starr

Brenda Walker & Peter Swords Susan Witter

Risoluto $1,000 - $2,999

Constance Beavon

Bill Bechman & Tom Garlock

Tom & Heli Blum Julie Brannan

Heidi and Nicholas DuBois Galen Guengerich & Holly Atkinson

Elizabeth Harvey Lena Kaplan Carri Lyon

Margaret T. MacCary

Ricardo Mestres Jr. and & Patricia T. Hayot Harold Norris & Kell Julliard Winnie Olsen Laura Pedersen

Espressivo $500 - $999

Lynne and Richard Allen Barbara de Bellis, in memory of Greta Minsky Miles Chapin Dixie Goss and Dan Cryer

Mary Gundermann Rose Marie Morse

Kate Phillips

Karen Steele Deborah Taylor Ned Whitney & Martha Howell

Klaus and Aracy Winter One anonymous donor Cantabile $150 - $499

Anne Brewer Heather Campbell Mary Geissman

MUSICA VIVA NY PATRONS 2022-23

Dana Ivey

Steven Lane Rev. Dick Leonard Millie & John Liebmann Partha Nandi Marilyn Reagan Katherine Redd Claire Richard Alison Tung Stacy Westreich One anonymous donor

Dolce $25 - $149 Millicent Essandoh-Bergwerk Elaine Jurumbo William Kouretas Nathalie Moore Ellen and John Shapiro Sarah Woods Two anonymous donors

This list reflects gifts received from June 1, 2022 to Oct 18, 2022.

SPONSOR MUSICA VIVA NY

There are many opportunities to play a role in bringing Musica Viva NY ’s season to life as a sponsor, including:

• Underwrite a concert

• Underwrite a recording

• Underwrite a tour

• Underwrite the appearance of a guest artist

Naming opportunities are available for sponsors.

Contact Jasna Vasić, Executive Director at jasna@musicaviva.org .

Musica Viva NY is extremely grateful for the following help with its 2022-23 season from:

All Souls NYC (www.AllSoulsNYC.org) for Musica Viva NY’s meeting, rehearsal, performance, and reception spaces as well as for the facilities and events staff who help make all productions run smoothly

Heart & Soul Fund, Inc. for its longtime support of our outreach programming

MVNY’s Community Engagement is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Steinway & Sons for providing a piano

Musica Viva NY

York, NY 10075 212 794 3646 info@musicaviva.org

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