Alicia N. Brozovich, conductor
Josh Wilson, collaborative pianist
Lydia Reifsnyder, graduate assistant conductor
Jilin Dong, graduate assistant
Nick Gatto, oboe
Jody Rajesh, violin I
Alex Covelli, violin II
Arvin Gopal, viola
Mayumi Grasso, cello
Josh Wilson, harpsichord
April 22, 2023 at 7:30pm
Rider University
2083 Lawrenceville Road
Lawrenceville, N.J.
Rise Up, My Love, My Fair One*
Lydia Reifsnyder, conductor
Five Hebrew Love Songs
I. Temuná (A Picture)
II. Kalá kallá (Light Bride)
Nidhi Advani, tambourine
James Healey Willan (1880-1968)
Eric Whitacre (b. 1970)
III. Laróv (Mostly)
IV. Ézye shéleg! (What Snow!)
Sela McMullen, speaker
Nidhi Advani, mezzo soprano
Payton Tharp, soprano
V. Rakút (Tenderness)
Sela McMullen, soprano
Alyssa Lester, mezzo soprano
Gloria in D Major, RV 589
I. Gloria in excelsis Deo
II. Et in terra pax
III. Laudamus te
Sarah Vawdrey, soprano
Sarah Adams, soprano
Antonio Vivaldi (1678-1741)
IV. Gratias agimus tibi
V. Propter magnam gloria
VI. Domine Deus
Alex Farah, soprano
VII. Domine, Fili unigenite*
VIII. Domine Deus, Agnus Dei*
Diego Dominguez, countertenor
IX. Qui tollis peccata mundi*
X. Qui sedes ad dexteram Patris*
Katie Blowitski, mezzo soprano
XI. Quoniam tu solus sanctus
XII. Cum Sancto Spiritu
*Conducted by Lydia Reifsnyder in partial fulfillment of degree requirements for a master of music in choral conducting.
Rise Up, My Love, My Fair One
Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers appear upon the earth; the time of the singing of the birds is come; arise, my love, my fair one, and come away.
(James) Healey WillanJames Healey Willan was born in 1880 in the southern portion of London. In his younger years, he showed a particular interest in music, studying piano as early as age four. He joined St Saviours Choir School at age eight. He would later move to Toronto in 1913 where he would live the rest of his days teaching and lecturing at the University of Toronto, and being the organist-choirmaster at the St Mary Magdalene Anglican Church.
The text comes from Song of Solomon, a collection of poems describing the romantic and physical intimacy between two people. It was published as part of a Three Liturgical Motets set. The piece is written as being in “free-rhythm” and allows for more flexibility in its verbal expression. The text speaks of someone talking to the one they love most about how the transition from winter into spring is near; the rain has subsided, the flowers are blooming, and the birds are about to come back from their trip down south. It creates a warmth to the piece, the feeling of a thawing heart or a gentle hug comes to mind. The swells of volume from the vocal line make the text come alive, really emphasizing the conversational-like feeling of the text. It is both bold yet soft.
– Program note by Lydia Reifsnyder, graduate assistant conductor
Five Hebrew Love Songs
I. Temuná (A Picture)
Temuná belibí charuntá; Nodédet beyn ór uveyn ófel: Min dmamá shekazó et guféch kach otá, Usaréch al pańa’ich kach nófel.
Ii. Kalá Kallá (Light Bride)
Kalá kallá
Kulá shelí, U’ve kalút Tishákhílí!
III. Laróv (Mostly)
“Laróv,” amár gag la’shama’im, “Hamerchák shebeynéynu hu ad; Ach lifnéy zman alu lechán shna’im, Uveynéynu nishár sentiméter echad”
IV.
Ézye shéleg!
Kmo chalomót ktaníim
Noflím mehashamá im.
V. Rakút (Tenderness)
Hu hayá malé rakút; Hi haytá kasha
Vechól káma shenistá lehishaér kach, Pashút, uvlí sibá tová, Lakách otá el toch atzmó, Veheníach Bamakóm hachí rach.
A picture is engraved in my heart; Moving between light and darkness: A sort of silence envelopes your body, And your hair falls upon your face just so.
Light bride
She is all mine, And lightly She will kiss me!
“Mostly,” said the roof to the sky, “the distance between you and I is endlessness;
But a while ago two came up here, And only one centimeter was left between us.”
What snow! Like little dreams Falling from the sky.
He was full of tenderness; She was very hard. And as much as she tried to stay thus, Simply, and with no good reason, He took her into himself, And set her down In the softest, softest place.
Born in Nevada in 1970, Eric Whitacre studied piano intermittently as a child and joined a junior high marching band under band leader Jim Burnett. He studied composition with Ukrainian composer Virko Baley and choral conducting with David Weiller in University of Nevada, where he completed his bachelor's degree in 1995.
After this, he went on to earn his master's degree in Composition at the Juilliard School, where he studied with John Corigliano and David Diamond.
Whitacre's pieces are sometimes aleatoric and indeterminate, as well as unusual score instructions involving, in some cases, hand actions or props. Whitacre's style, similar to Morten Lauridsen's, has also been characterized as "neo-impressionistic".
Five Hebrew Love Songs is a suite consisting of five short pieces with different tempo and style. It is inspired by a trip to Switzerland – each song is a “postcard,” capturing lush, romantic moments in their full depth. The songs are dedicated to Jerusalemborn Hila Plitmann (b. 1973)– poet of the evocative text, and the composer's wife. The suite is scored for SATB chorus with either string quartet accompaniment or piano and violin.
– Program note by Jilin Dong, graduate assistant
Gloria in D Major, RV 589 Antonio Vivaldi
I. Gloria in excelsis Deo.
II. Et in terra pax hominbus bonae voluntatis.
III. Laudamus Te Benedicimus Te Adoramus Te Glorificamus Te.
IV. Gratias agmius tibi
V. Propter magnam gloriam tuam.
VI. Domine Deus, Rex celestis, Deus Pater omnipotens.
VII. Domine Fili unigenite Jesu Christe.
VIII. Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata.
Domine Fili
Rex celestis
Domine Fili unigenite qui tollis peccata mundi, miserere nobis.
I. Glory to God in the highest.
II. And peace on earth to all men of good will.
III. We praise you We bless you We adore you We glorify you.
IV. We thank you
V. For your great glory.
VI. Lord God, King of the heavens, God almighty Father.
VII. Lord begotten son Jesus Christ.
VIII. Lord God, Lamb of God, Son of the Father, take all of our sins. Lord Son
King of the heavens
Lord begotten son take all of our sins from the world, have mercy on us.
IX. Qui tollis peccata mundi, suscipe deprecationem nostram.
X. Qui sedes ad dexteram patris, miserere nobis.
XI. Quoniam tu solus sanctus, tu solus Dominus, tu solus Altissimus Jesu Christe.
IX. Take all of our sins from the world, receive our prayers.
X. You who are seated at the right of the Father have mercy on us.
XI. Because you are holy, you are God, you are Highest, Jesus Christ.
XII. Cum Sancto Spiritu in gloria Dei Patris, Amen.
XII. With Holy Spirit, in the glory of God Father, Amen.
Antonio Vivaldi was born in 1678 in Venice, Italy, and is known for his contributions to the late-Baroque style of instrumental music. He wrote his earliest compositions, including “Gloria, RV 589,” while acting as the violin master at the Ospedale della Pietà, a music school/convent that he would keep ties with for his whole career.
Vivaldi had written three Gloria settings, though “Gloria, RV 589” is the most popular of them. The exact composition date for RV 589 is unclear, but it is speculated that it was written sometime in 1715. It was relatively unknown to the general public until an Italian composer from the 1930’s named Alfredo Casella performed it as part of a week-long celebration of Vivaldi’s work. The work can be performed with an SATB choir with only Piano, but can also include a small string orchestra.
“Gloria, RV 589” perfectly balances its tone across movements, switching between joyous and bouncy to somber and desperate. Vivaldi uses the feeling of tension and release throughout the entire work, leaning into dissonant chords and tritones before resolving them harmonically. There are a few movements that act as small duos, such as Mvt. 4’s “Gratias agnimus tibi” short but slow build up launching into Mvt. 5’s “Propter magnam gloriam,” which has a bouncier quality. This large work also features a variety of solos and duets, though no two are alike. For example, Mvt. 3’s “Laudamus Te” is a duet between two treble voices where they intermingle with each other, even sharing the same melodic line at points. Mvt. 8’s “Domine Deus, Agnus Dei,” however, features a mezzo/countertenor solo that has a call and response relationship with the choir; the soloist calls out to God while the choir sings about wanting to be rid of their sins. Clocking in at around 30 minutes, this work gives a choir a familiar sound while also throwing in challenging concepts, and is absolutely fantastic to see fully come together.
– Program note by Lydia Reifsnyder, graduate assistant conductor
Founded in 1949, the Westminster Chapel Choir takes its name from Westminster’s rich history of leadership in the field of sacred music. The ensemble has evolved over the years, and today its repertoire includes both sacred and secular works. Composed of students in their first year of study at Westminster Choir College, this ensemble is a defining choral experience that remains with Westminster alumni throughout their lives. Recent seasons have included performances of Mozart’s Coronation Mass with the Greater Princeton Youth Orchestra and Stravinsky’s Symphony of Psalms with the Westminster Conservatory Youth Chorale, as well as concerts in Newtown, Pa. and Wilton, Conn. In addition to on-campus performances throughout the year, the Westminster Chapel Choir has toured extensively along the eastern United States with great success.
The Westminster Chapel Choir has also performed with many symphony orchestras, including the Trenton Symphony Orchestra (N.J.), the York Symphony (Pa.) and the Queens Symphony (N.Y.). At the request of Leopold Stokowski, the ensemble premiered Universal Prayer by Polish composer Adrezej Panufnik. It was heard by millions when it sang for the annual televised Christmas Tree Lighting Ceremony at Rockefeller Center. Previous performances have also included participation in Princeton University’s “Opera and Society” Conference, where it was the featured chorus for the conference and a chapel service honoring the centennial of world-renowned organist and teacher Alexander McCurdy, Jr.
The ensemble has also been honored to give several world premiere performances of works by Pulitzer Prize-winning composer Lewis Spratlan, Stefan Young, Ronald Hemmel and Philip Orr.
For over 15 years, Alicia N. Brozovich has founded, cultivated, and developed numerous ensembles and music programs both domestically and abroad. Her current endeavors include serving as conductor of Westminster Chapel Choir and Westminster Schola Cantorum, conductor of the Westminster Community Chorus; assistant conductor for Urban Playground Chamber
Orchestra in New York City; and working with world-class musicians as Director of Cultural Initiatives for Jacobs Music Company.
Her professional Trenton-based chamber ensemble, The LOTUS Project, the Capital City's only fully-professional classical choral ensemble, presented its first performance January 2022 at Trinity Cathedral in Trenton and is already growing as an artistic fixture in the city. The ensemble's focus on concerts in non-traditional spaces is gaining traction as a leading performing organization in the area.
As an advocate for community and child development through the arts, Ms. Brozovich has served as Director of Development for Trenton Children's Chorus; on faculty with Cornerstone Music Studios in Millstone, NJ; and Conducting Fellow with the Continuo Arts Foundation in Summit, NJ. She has supported local orchestras as Outreach Coordinator for New Jersey Capital Philharmonic, and as part of a task force to merge the local children's chorus and orchestra into one umbrella organization.
Also a professional vocalist, Ms. Brozovich has appeared as a soloist on televised EWTN broadcasts from the Cathedral Basilica of Saints Peter and Paul in Philadelphia; at the Spoleto Festival USA in Charleston, SC; on tour with Westminster Choir; at the 11th International World Symposium on Choral Music in Barcelona, Spain; and with Westminster Kantorei on the award-winning recording Lumina. She currently performs with the Philadelphia Symphonic Choir, New York Philharmonic Chorus, and Theoria chamber ensemble.
Ms. Brozovich is a National Semi-Finalist for the American Prize in Conducting and published as a contributor in Teaching Music Through Performance in Choirs: Volume IV (GIA: 2017). She holds degrees from Westminster Choir College of Rider University and Benedictine College in Atchison, KS. She currently resides in Trenton, NJ, with her musician husband, Colton Martin, and two sons.
Alicia N. Brozovich, conductor
Josh Wilson, collaborative pianist
Lydia Reifsnyder, graduate assistant conductor
Jilin Dong, graduate assistant
SOPRANO
Elizabeth Berger, Baltimore, MD
Sarah Febonio, Flemington, NJ
Sela McMullen, Towson, MD
Payton Tharp, Pennington, NJ
Sarah Vawdrey, Teaneck, NJ
ALTO
Sarah Adams, Cherry Hill, NJ
Nidhi Advani, Columbus, NJ
Katie Blowitski, Southampton, PA
Alex Farah, Northvale, NJ
Jiayun Gao, Shanghai, China
Alyssa Lester, Monroe Township, NJ
Naomi Sestack, Translivania, Romania
TENOR
Kevin Catalon, Fords, NJ
Diego Dominguez, El Paso, TX
Samuel Messenger, Bellmawr, NJ
Daniel Piver, East Hampton, NJ
BASS
Zyheim Bell, Fort Myers, FL
Jacob Everett, Otisfield, ME
Sean Haugh, Point Pleasant, NJ
Alastair Stewart, Pointe Claire, Quebec
Located in Lawrenceville, New Jersey, Rider University is a private co-educational, student-centered university that emphasizes purposeful connections between academic study and real-world learning experience. Rider prepares graduates to thrive professionally, to be lifelong independent learners, and to be responsible citizens who embrace diversity, support the common good, and contribute meaningfully to the changing world in which they live and work.
The College of Arts and Sciences is dedicated to educating students for engaged citizenship, career success, and personal growth in a diverse and complex world. The college cultivates intellectual reflection, artistic creativity, and academic maturity by promoting both broad academic inquiry and in-depth disciplinary study, while nurturing effective and ethical applications of transferable critical skills. The College consists of four schools: the School of Humanities and Social Sciences, the School of Communication, Media, and Performing Arts, the School of Science, Technology, and Mathematics, and Westminster Choir College.
Culturally vibrant and historically rich, Westminster Choir College has a legacy of preparing students for thriving careers as well-rounded performers and musical leaders on concert stages, in schools, universities, and churches, and in professional and community organizations worldwide. Renowned for its tradition of choral excellence, the college is home to internationally recognized ensembles, including the Westminster Symphonic Choir, which has performed and recorded with virtually all of the major orchestras and conductors of our time. In addition to its choral legacy, Westminster is known as a center for excellence in musical pedagogy and performance.
WESTMINSTER JUBILEE SINGERS: REMEMBERING
April 23 at 7:30 p.m.
Rider University – Gill Chapel
KISS ME, KATE
April 28 at 7:30 p.m.
April 29 at 2:00 p.m. & 7:30 p.m.
April 30 at 2:00 p.m.
Rider University – Bart Luedeke Center Theater
WESTMINSTER CONCERT BELL CHOIR: DESPITE THE STORM
Saturday April 29 at 4:00 p.m.
Rider University – Gill Chapel
