WELCOME TO MUSICA VIVA NY’S THIRD CONCERT OF OUR 2023-24 SEASON!
Re-imagining, reconstructing, or repurposing pieces of music has been a pretty common practice amongst a number of composers from the past and the present. On their “Abbey Road” album The Beatles decided to include a song, Because, that John Lennon wrote after listening to Yoko Ono play the first movement of Beethoven’s Moonlight Sonata. This idea of finding inspiration in a piece of music and re-imagining forms the genesis of this particular program.
In tonight’s concert Musica Viva NY shares several of these “reimagined” works. You will find more detail in the program notes later in the program. Unusually, the notes are written not in the order of performance, but chronologically by composition, so as best to explain the linkages between the pieces.
We are delighted to be continuing our tradition of commissioning living American composers by performing the world premiere of a composition by Trevor Weston.
Turning to other areas of our activity, we are very pleased to report that we had a successful recording session featuring the Musica Viva NY choir and orchestra, and Frederica von Stade, in early December, comprising three commissions by Musica Viva NY from Joe Turrin, Gilda Lyons and Richard Einhorn. We expect the recording to be released in the fall of 2024. You can find more details about our recording project on our site at www.musicaviva.org
We continue our great Community Engagement work in ten New York Public Library branches in Harlem and the Bronx, and three New York City public schools, reaching close to 800 students and families. You will find some brief information about our work in this program and there’s more on our site.
Finally, on January 23 we had a wonderful evening of Lieder to support Musica Viva NY at The Century Association hosted by David and Susan Rockefeller and we are so grateful to all those who came and supported our organization.
As always, thank you for coming this evening and thank you for supporting Musica Viva NY.
Alejandro Hernandez-Valdez, Artistic Director Jasna Vasić, Executive DirectorSunday, March 3, 2024 at 5pm
All Souls NYC
BECAUSE
Beethoven, Bach, Fauré, Gounod and The Beatles
Alejandro Hernandez-Valdez, Artistic Director, Conductor, and Pianist
Trent Johnson, Assistant Music Director and Organist Musica Viva NY choir
Anna Aistova, soprano
Erinn Sensenig, soprano Paul Whelan, bass
J.S. Bach (1685-1750) ....................... Prelude No 1 in C major, BWV 846
Charles Gounod (1818-1893) Introït et Kyrie, and Pie Jesu, from Requiem in C major
Beethoven (1770-1827) Adagio sostenuto from Piano Sonata no. 14 in C sharp minor “Quasi una fantasia,” Op. 27, No. 2 (the “Moonlight” sonata)
Charles Gounod
Ave Maria (Meditation after the first piano prelude by J. S. Bach)
Anna Aistova, soprano
Fauré (1845-1924) ..................................................... Pavane
INTERMISSION
John Lennon (1940-1980)/Paul McCartney (1942-) .................. Because (arr. Shawn Bartels)
Katie McCreary, soprano
Shawn Bartels, glockenspiel
Beethoven/Gottlob Benedict Bierey (1772-1840), Kyrie (after the Adagio from the “Moonlight” sonata)
Trevor Weston (1967-) ............................................. Love Takes commission by Musica Viva NY, world premiere
Fauré ........................................................ Requiem, Op. 48
Erinn Sensenig, soprano and Paul Whelan, bass
We hope you will join us for a reception downstairs after the concert.
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). Musica Viva NY regularly commissions and premieres new American music and is committed to performing the work of living American composers, women composers and composers of color, including works that are socially conscious and address social, racial or environmental issues. Since 2014, Musica Viva NY has commissioned and performed works by Bora Yoon, Seymour Bernstein, Elena Ruehr, Joseph Turrin, Alexandra T Bryant, Gilda Lyons, Richard Einhorn, Steve Reich, Frank Ticheli, Morten Lauridsen, Florence Price, Frank Ferko, Lori Laitman, Trent Johnson, George Walker, Joel Thompson, Missy Mazzoli, Randall Thompson and Jesse Montgomery, among others.
“Musica Viva NY is a treasured institution that makes living in New York a joy.” – Front Row Center
Esteemed conductor and pianist Dr. Alejandro Hernandez-Valdez 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
MEET THE ARTISTS
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.
Trent Johnson is an organist, composer, pianist and conductor. He is the Organist and Assistant Director of Music of All Souls NYC in New York City and is the Music Director of the Oratorio Singers of Westfield, New Jersey. An active organ recitalist, Mr. Johnson has performed recitals in many of the major churches, concert halls and cathedrals in the United States, Europe and Asia. Some notable recital venues in New York have included the Riverside Church, St. Thomas’ Church 5th Avenue, St. Patrick’s Cathedral, the Fifth Avenue Presbyterian Church, and the Brick Presbyterian Church. He is an organist at Radio City Music Hall in NYC, where he plays the “Mighty Wurlitzer” organ for the Christmas Spectacular Show. As a composer, Mr. Johnson has written numerous works for chorus and orchestra, including cantatas and oratorios, concertos, chamber music, organ music, and a full length opera, entitled, “Kenyatta”, which was premiered at the NJPAC in Newark, New Jersey in 2017.
Soprano Anna Aistova’s musical journey began at age six, focusing on piano earning Voice degrees from the San Francisco Conservatory of Music and a Master’s in Opera from the Mannes School of Music. She collaborated with Mariinsky and Mikhailovsky theaters, performed solo with the Folk Orchestra of Saint Petersburg, and portrayed notable roles like Josephine in The Comedy on The Bridge, La Feè in Cendrillon, and Norina in Don Pasquale. Recent highlights include being Soprano Solo in Mahler’s 4th Symphony and leading as Calisto in La Calisto with the Mannes Opera. Debuting with the New Rochelle Opera in 2023, she played Adele in Die Fledermaus This season Anna became an SAS Performing Arts Competition finalist and won Second Prize in the John Alexander National Competition in February 2024. Anna is dedicating her performance of Gounod’s Ave Maria this evening to the memory of Alexei Navalny, and all those who fight for democracy around the globe.
MEET THE ARTISTS
Currently based in Brooklyn, NY, soprano and voice teacher Erinn Sensenig is a passionate performer of early music and the music of living composers, both as professional choir member and soloist. She was most recently seen as History Teacher in Paul’s Case and as a soprano soloist in Handel’s Messiah with Ad Astra Music Festival. Erinn has recently been seen as choir member and soloist with the choirs of The Cathedral Church of Saint John the Divine, Fifth Avenue Presbyterian Church, Temple Emanu-El, All Souls, Ember Ensemble, Musica Viva NY, New York Virtuoso Singers, and the American Symphony Orchestra. When living in Texas, Erinn performed with professional ensembles including Victoria Bach Festival and Orpheus Chamber Singers. She was a founding member of Verdigris Ensemble, a Dallas choir focused on multidisciplinary performance. Erinn is a choir soloist and Artistic Operations Manager at All Souls in Manhattan. Erinn received a degree in Music Education from Westminster Choir College. She owns Noisemaker Studios, where she teaches private voice students ages 12 and up.
New Zealand bass Paul Whelan’s international career spans debuts at the Metropolitan Opera, Royal Opera Covent Garden, Paris Opera, Bolshoi Opera, Netherlands Opera, English National Opera, and Opera Australia. Recent roles include: Daland, Der Fliegende Hollander (Hawaii, New Zealand); Raimondo, Lucia (ENO); Seneca, L’Incoronazione di Poppea (Lille, Dijon); Banco, Macbeth (Opera North); Figaro, Nozze di Figaro (Scottish Opera); Giorgio, I Puritani (Boston Lyric Opera); Don Giovanni (title role) (Opera Australia, NZ Opera, Lithuania and Prague); Commendatore, Don Giovanni (Garsington Festival), Collatinus, The Rape of Lucretia (Opera Norway), Ramfis, Aida (Opera Australia), Claggart, Billy Budd (Glyndebourne Festival). He has worked with conductors such as: Sir Simon Rattle, Kent Nagano, Valery Gergiev, Gary Bertini, David Zinmani, Sir Colin Davis, and Sir Charles Mackerras. Recordings include A Midsummer Night’s Dream with LSO (Phillips) and L’Incoronazione di Poppea (Virgin Classics). Paul is a winner of the Cardiff Singer of the world Lieder prize and pursues a busy concert career.
ABOUT THE PROGRAM
The following note is organized chronologically to better trace the program’s through line of adaptation. Please find our program composers and selections in bold below.
The structure of the “Prelude and Fugue” was not J. S. Bach’s invention, but his influential Well-Tempered Clavier (c. 1722) featured the form in all 24 major and minor keys; the very first of these is Prelude No. 1 in C Major Like many prolific composers, Bach borrowed from his earlier collection Klavierbüchlein (c. 1720) to create the piece we hear today. The flowing of broken chords together with Bach’s curious exploration of the home key creates an atmosphere of joyful contemplation. And, while it may be the earliest piece on the program, the timelessness of the Baroque composer’s Prelude in C Major echoes in the compositions that follow. We know that Ludwig van Beethoven was intimately familiar with Bach’s Prelude in C Major because a German music journal reported that he played the entire Well-Tempered Clavier skillfully in 1783 when he was still only a boy. The first movement of Beethoven’s Piano Sonata No. 14 in C-sharp Minor (1801), or the Moonlight Sonata, may indeed sound like the distantly cast shadow of Bach’s Prelude. Beethoven’s chosen subtitle, quasi una fantasia (almost like a fantasia), points to the improvisatory nature of the arpeggiated chords, the singular and intense mood, and the overwhelming sense of awe throughout the movement. The composer dedicated this work to his seventeen-year-old student, Countess Julie Guicciardi—someone whom he claimed to love dearly for a time. The beloved “Giulietta” would soon go on to marry a much younger man and the legend of the composer’s unfulfilled romantic life lingers in the haunting Moonlight Sonata
Early Romantic composer Gottlob Benedict Bierey was Beethoven’s contemporary and visited Vienna often, likely mingling with Beethoven’s acquaintances. His familiarity with Beethoven’s work is demonstrated in his Kyrie, a sacred choral version of the first movement of the Moonlight Sonata. Although originally orchestrated and transposed to C minor, Bierey’s Kyrie was later arranged by Andreas Gräsle for choir and organ and changed back to the original C-sharp minor key, as presented on this program.
Although remembered today primarily for his operas, French composer Charles Gounod held a deep reverence for famously religious composers like Bach, producing an incredible amount of sacred music in his own lifetime. In 1853, Gounod took inspiration from the German composer and crafted a complementary vocal melody to be sung with his Prelude. Although first written in French, his Ave Maria was eventually published with Latin text in 1859. Forty years later, Gounod was motivated by the devastating loss of his four-year-old grandson to write his Requiem in C Major (1893). Similarly to Mozart’s famously final Requiem in D Minor, the aging Gounod’s last major project was only lacking its final touches upon his own death. While Gounod worked primarily on a version for full
ABOUT THE PROGRAM
orchestra, his pupil Henri Busser adapted the work into various iterations, including a version for choir and organ, whose Introït et Kyrie and Pie Jesu are part of this program.
After a lifetime of experience composing theatrical works, Gounod knew how to set a scene in the opening of his Requiem. This is no grand affair, however. Nor does it feature the terrific depiction of death and judgment like the earlier Requiems of Mozart and Verdi. The brevity of the organ’s opening chromatic sighs enact an intimate musical death. Upon the angelic entrance of the treble voices, we are lifted into the warmth of the work’s home key and come to find rest with their final “Kyrie eleison.” The Pie Jesu has many distinct voices that cry out, reflecting the ubiquity of loss and grief; their rising chromaticism presents the text as a burdened request, “Pious Lord Jesus, give them rest, give them eternal rest.”
On the occasion of the first anniversary of Gounod’s death (1894), the younger Gabriel Fauré directed a concert made up exclusively of vocal music at the late composer’s request. Although considered members of two distinct generations of composers, Gounod and Fauré were wellacquainted and respected one another’s work. This is most evident in Fauré’s elaboration on Gounod’s elegantly melodic style and his shared penchant for vocal music—readily on display today. A few years before Fauré led Gounod’s service, he embarked on a project that began with a simple piece for solo piano and evolved to include orchestra, chorus, and choreography. His Pavane in F-sharp Minor (1888) draws upon the stateliness of the eponymous slow processional dance popular in Europe during the sixteenth century. The Symbolist poet Robert de Montesquiou wrote the text after hearing Fauré’s music. The poem’s distinct voices lament the pitfalls of love with exclamations that seem resigned even upon their emergence into the weightlessness of the music. The poet’s cousin and Fauré’s patron, Countess Élisabeth Greffulhe, was also the dedicatee of this piece who facilitated the first choreographed performance of the Pavane for an elite Parisian garden party in 1891.
Amid the growing popularity of the Pavane, Fauré began writing his Requiem in D Minor. Although his motivation is not well-documented, a considerable circumstance was the death of both of his parents within the three years leading up to its first performance in 1888. The composer made the structural choice to omit most of the wordy Dies irae and append the burial text In paradisum. Duruflé found this structure appealing for his own Requiem sixty years later. And, unlike Gounod’s use of the chromatic scale throughout his Requiem, Fauré’s melodic patterns have a fluctuating intervallic motion most prominently on display in the often-excerpted Pie Jesu. Requiem in D Minor eventually existed in three distinct versions with progressively larger soloist, choral, and orchestral forces: the first was performed in 1888, the second in 1893, and the third was published in 1901. Fauré, it seems, was not opposed to its adaptation to meet the specifications of the performance venue; the version with full orchestra was performed at his own funeral in 1924.
