02/24/2023, Maria Clark, Soprano

MUSIC AT EMORY

This concert is presented by the Schwartz Center for Performing Arts.

404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information

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Ushers

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Accessibility

The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits

Cover and Program Design: Lisa Baron | Cover Photo: Mark Teague

Acknowledgment

This season, the Schwartz Center is celebrating 20 years of world-class performances and wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.

Program

Malinconia, ninfa gentile Vincenzo Bellini Almen se non poss’io (1801–1835) Per pietà, bell’idol mio

Message to Your Son D.J. Sparr

I. So Much, The Pressure (b. 1975) II. Inside Your Hand III. Turn Up

In Her Voice

Paula Grissom-Broughton

I. Resonant Strains (Girlhood) (b. 1974)

II. Your Response Bloomed (Adolescence) Poetry by Sharan Strange III. Hear My Voice (Womanhood)

Amaya Starks, guest poetry recitalist Second-year student, Spelman College Theater performance art major/music minor

—Intermisson—

Songs of Love and Justice Adolphus Hailstork

1. Justice (b. 1941) 2. Difficulties Words by Martin Luther King Jr. 3. Decisions 4. Love

Selected Spirituals Maria Thompson Corley Glory, Glory Hallelujah (b. 1966)

I Want Jesus to Walk With Me

Crossing Jordan: (Three spirituals for voice, piano, and cello)

I. His Name So Sweet II. Deep River III. Wade in the Water

Texts and Translations

Malinconia, ninfa gentile Melancholy Gentle Nymph

Malinconia, ninfa gentile, Melancholy, gentle nymph, La vita mia consacro a te; I devote my life to you. I tuoi piaceri chi tiene a vile, One who despises your pleasures Ai piacer veri nato non è. Is not born to true pleasures Fonti e colline chiesi agli Dei; I asked the gods for fountains and hills; M’udiro alfine, pago io vivrò, They heard me at last; I live satisfied Né mai quel fonte co’ desir miei, Even though, with my desires, I never

Né mai quel monte trapasserò. Go beyond that fountain and mountain. Né mai trapasserò, no, no, mai. Not ever shall I cross—No, no never.

— Ippolito Pindemonte, poet

Almen se non poss’io At Least if I Am Not Able

Almen se non poss’io At least if I am not able Seguir l’amato bene, To follow my dear beloved Affetti del cor mio, Affections of my heart Seguitelo per me. follow him for me. Già sempre a lui vicino Love already keeps you forever Raccolti amor vi tiene gathered close to him E insolito cammino and this is no unaccustomed Questo per voi non è. pathway for you— No, per voi non è. no, not for you.

—Pietro Metastasio, poet

Per pietà, bell’idol mio Have Mercy, My Beloved

Per pietà, bell’idol mio, Have mercy, my beloved, non mi dir ch’io And do not tell me sono ingrato; that I am ungrateful; infelice e sventurato unhappy and unfortunate abbastanza il Ciel mi fa. Enough has heaven made me. Se fedele a te son io, That I am faithful to you, se mi struggo That I burn under the gaze ai tuoi bei lumi, of your beautiful eyes sallo amor, lo sanno i Numi Knows Cupid, the gods il mio core, il tuo lo sa. My heart, your heart.

—Pietro Metastasio, poet

Message to Your Son

1. So Much, the Pressure

The pressure, the pressure to conform. So much the pressure, so much the pressure to conform. The pressure, the pressure to comply. So much the pressure, so much the pressure to comply. The pressure, the pressure as enormous as can be. So much the pressure so much the pressure. Ask yourself “Is this pressure really me?”

2. Inside Your Hand

Greetings young men, this is principal Kafele. Take a look at that fist right here. This Joe Louis fist which represents the power of clenched hands but let’s go beyond the outside of the closed fist. Let’s go inside your hand young men, everything you need is in your hand. The resources, intelligence, and drive you need is in your hands. Everything you need is in your hand. All the direction, motivation, and inspiration you have is in your hands. All the empowerment you want is in your hands.

3. Turn Up

You see behind me. I’m in the gym today. I gotta work today. I gotta get myself in shape today because I put so much energy and effort into my craft, into my work, into my training. So I’m here today. I gotta get myself in shape, I gotta keep myself in shape, I gotta get myself in shape, I gotta keep myself in shape, so I can do this work. So I got to turn up. Turn up what I’m saying to you. Turn up what I’m saying to you, young man. You gotta turn up. Turn up on your goals, gotta turn up. Turn up on your plan. Gotta turn up, turn up on your purpose, your mission, your vision. You got to live it. You got to walk it. You got to write it. You can’t just talk it. So if you’re here, let’s turn up so we can go here. And if you’re here, let’s turn up so we can go here!

—For Maria Clark • Lyrics by D. J. Sparr based on videos by Barutu K. Kafele

In Her Voice

1. Resonant Strains (Girlhood)

Always their voices drawing her— the syncopation of refrains (I do declare . . . No! You don’t say . . . ) phrases drifting down to sprinkle thirsting girlhood (What you say?)— Disdain or praise, perfect pitched motherwit, their tutelage soaked up like milk . . . Resonant strains of laughter or what they sealed into snuffed tones of pain . . . All of it stashed—sacred—inside—

The strongest pull, she feels it even now . . .

A cadenced code among sisters, the savored rumor sing-songed (Now let me tell it . . .)—the well deep plumbed, pump primed, they’d take their time to be unguarded (Unh, unh, I know that’s right!) within the circle, play-ring, their woman space shaped round by talk, easy or fraught, where this daughter embraced their crackling shouts and hummed assents (Yes, Lord . . .) — enthralled by mother tongues.

2. Your Response Bloomed (Adolescence)

You lived under the eaves of that kitchen table, didn’t you? Catching every word, every breath . . . Finding refuge in us, as from our voices’ call your response bloomed. Now look at you— no longer a child, it’s true—though always your mama’s baby—and womanish . . . (But, hey, we were too!)

You’ve gorged on talk about women told to lie in the beds they’ve made— the joys and the sorrows of it—and men whose province is pain although they’ve improvised life as best they could. You’ve unfolded and stood, making choices that say less about who shaped you than how you’ve tuned yourself and honed your song— with more yet to be. You’re on the other side of puberty, running the last lap of the race out of girlhood— and your legs are strong! So welcome to young womanhood!

3. Hear My Voice (Womanhood)

The trees have changed again— green to saffron to copper brown. I am like those trees, their leaves soon drop but their branches staunchly stretch and sing when strummed by winds until they become full again

and return to sighing by spring.

Like all trees, flinging their leaves, releasing parts of themselves for the promise of renewal . . . reckless with faith.

And I am like the table, born of trees, enclosed by a circle of women— mothers and aunties whose arms rest on its smooth plane while their talk circulates, all restless stir and restoration.

And I am also like the child it harbors, enclosed by sturdy legs and voices, their chorus bound up in me.

Black girl still running free inside my black woman self, I’ve become the gift my ancestors gave themselves. Framed by their strong bodies— my canopy of trees— I’ve fingered trouble and sorrow, while holding tight to joy, sheltered like the tenderest nest among their branches . . . their counsel drawing away harm from me, their wisdom unfolding around me, their faith finding its level in me. Black woman free and with love bound up in my bones, now I am those foremothers renewed, whose leaves I gathered, whose stories and prayers took root in me. This daughter of sweet clay cravings, of houses fragrant with rice, pepper, and mint, ringing with speech quick and salted or slow and soothing . . . In the fullness of living buoyant being, hear me in the sighing and the praising. In the hum of this world, hear my voice vibrating, my own tuning in its every sound.

—Sharan Strange, poet (abridged version for sung parts)

Songs of Love and Justice

1. Justice

When evil men plot, Good men must plan. When evil men burn and bomb, Good men must build and bind. When evil men shout ugly words of hatred Good men must commit themselves to the glories of love.

When evil men would seek to perpetuate an unjust status quo, Good men must seek to bring into being a real order of justice, An order of justice. Justice!

2. Difficulties

It is difficult to like some people. Like is sentimental. It is difficult to like someone bombing your home, It is difficult to like somebody threat’ning your children!

It is so difficult, so difficult to like some people difficult to like some people. Like is sentimental.

It is difficult to like someone bombing your home, It is difficult to like somebody threat’ning your children! It is so difficult so difficult, to like some people.

But Jesus says: “Love them” But Jesus says: “Love, love them,” For love is greater than like.

3. Decisions

Ev’ry man must decide

Whether he will walk in the light.

Ev’ry man must decide Whether he will walk, walk in the light Of creative altruism or the darkness of destructive selfishness. This is the judgement. Life’s most persistent and urgent question. What are you doing? What you are doing for others?

Ev’ry man must decide. What are you doing?

4. Love

Love is the only force Love is the only force capable of transforming an enemy into a friend. Love, love, love.

Glory, Glory Hallelujah

Glory, glory! Hallelujah!

When I lay my burden down. Glory, glory! Hallelujah!

When I lay my burden.

I’ll be restin’ from my labor, When I lay my burden down. I’ll be restin’ from my labor when I lay my burden. I’ll be marchin’ in that kingdom,

when I lay my burden down. I’ll be marchin’ in that kingdom When I lay my burden down. (Refrain)

—Martin Luther King Jr.

I Want Jesus to Walk With Me

We must walk this lonesome valley

We must walk it by ourselves.

Oh, nobody else can walk it for us. We must walk it by ourselves.

I want Jesus to walk with me

I want Jesus to walk with me

All along my pilgrim journey

Lord I want Jesus to walk with me

In my trials, Lord, walk with me

In my trials, Lord, walk with me

When my head is bowed in sorrow

Lord, I want Jesus to walk with me

When I’m in trouble, Lord walk with me!

When my heart is almost breaking. Lord, I want Jesus to walk with me. Lord, I want Jesus to walk with me.

I. His Name So Sweet

I jes’ come from the fountain, I’m jes’ from the fountain, Lord, Jes’ come from de fountain

His name so sweet.

Oh brother, do you love Jesus?

Yes, yes, I do love my Jesus. Brother, do you love Jesus? His name so sweet.

Oh sister, do you love Jesus? Yes, yes, I do love my Jesus. Sister, do you love Jesus?

His name so sweet

Oh sinner, do you love Jesus?

Yes, yes, I do love my Jesus. Sinner, do you love Jesus?

His name so sweet. Ah! (refrain)

Crossing Jordan: (Three spirituals for voice, piano, and cello)

II. Deep River

Deep river. My home is over Jordan. Deep river, Lord.

I want to cross over into campground. Deep river. my home is over Jordan. Deep river, Lord, I want to cross over into campground. Oh, don’t you want to go, To that Gospel feast; That Promised Land, Where all is peace?

Oh, deep river, Lord, I want to cross over into campground. (refrain)

III. Wade in the Water

Wade in the water Wade in the water, children, Wade in the water God’s a-gonna trouble the water

See that host all dressed in white Well the leader looks like an Israelite See that host all dressed in red God’s a-gonna trouble the water It looks like the band that Moses led

Wade in the water Wade in the water, children, Wade in the water

Look over yonder, what do you see?

The Holy Ghost a-coming on me God’s a-gonna trouble the water

If you don’t believe I’ve been redeemed Just follow me down to the Jordan’s stream. (refrain)

Performer Biographies

With a voice judges described as “dazzling” and “richly expressive,” soprano Maria Clark performed on the stage of Carnegie Hall as First Prize Winner of the 2008 Barry Alexander International Vocal Competition. “One seldom finds a voice capable of such beauty across a variety of idioms,” said Cosmo Buono, executive director. “A voice this much at home in opera, lieder, and spirituals is very rare. She is truly, both artistically and vocally, a triumph.”

Clark’s career has grown since 2005 when she landed a position with the Atlanta Opera and appeared with the ensemble of Atlanta Opera in its 2005 production of Carmen; participated in Atlanta Opera and Opera Comique’s 2008 collaborative production of Porgy & Bess; and toured in France, Spain, and Luxembourg performing as the Strawberry Woman. Clark’s impressive rendition of the role earned her the cover of Bess in the Atlanta Opera’s main stage production of Porgy & Bess in 2011.

In 2012, Clark was honored to make her debut with FOSBO-Fundación Orquesta Sinfónica de Bogotá Colombia and she also performed with the Ludwig and Dekalb symphonies. In 2015, she appeared with the North Carolina Opera as Odessa Clay in Approaching Ali. In 2022, Clark performed the role of Miriam from Nathaniel Dett’s The Ordering of Moses with the New England Repertory Orchestra. She also premiered the soprano solo role in Robert Hooker’s Without Regard to Sex, Race, or Color. Also in spring 2022, Clark collaborated with composer and pianist Maria Thompson Corley, to release a CD of contemporary African American spirituals, titled Soul Sanctuary. Additionally, this summer, Clark performed on the 96-Hour Opera Project produced by Atlanta Opera. In the opera, Gone With That Wind by Marcus Norris and Adamma Ibo, Clark gave a winning performance in her role as Vera.

Clark serves on the boards of directors for RespirOpera, the Georgia Opera Initiative as vice president, and the Irene Harrower Opera Program at Georgia State University. In 2019 she joined the faculty of Spelman College as director of vocal studies while continuing as an artist affiliate for the Emory vocal program. Clark has a BM degree from Manhattan School of Music and a MM degree from Georgia State University.

Trey Clegg is one of the country’s bright talents in the triple fields of accompanying, organ performance, and choral conducting. He is active in the United States and Europe as a guest conductor, recitalist, accompanist, baritone soloist, vocal coach, and freelance artist. His conducting

and playing are widely recognized for their clarity, excitement, and expressiveness. The American Organist writes, “Demonstrating precision and a superabundance of energy, it was obvious this young man would go very far.” In December 2003, Clegg made his European debut as a solo concert organist in a series of recitals throughout Germany, the culmination of which included a featured recital at the world-famous Schlosskirche in Wittenberg, where Martin Luther began the Protestant Reformation in the 16th century. He has performed eight different solo concert tours as concert organist on three continents and has toured extensively as piano accompanist for professional opera singers. Clegg’s solo organ performances have been heard on National Public Radio and his four recordings are in international circulation.

In 2016, Clegg founded the Trey Clegg Singers and Chamber Singers, the first multicultural chorus in the Southeast. The group has appeared at prestigious performing arts festivals including the Spoleto Festival and the Highlands-Cashiers Chamber Music Festival.

Clegg is an instructor of music at Spelman College, a position he has held since 2006. He is also on staff at the historic First Congregational Church of Atlanta as organist and director of choirs, and in his 20th season singing with the Atlanta Symphony Orchestra choruses.

Hailed by the Atlanta Journal Constitution as a cellist with “warmth and panache in solo flight,” Ismail Akbar has music degrees from Oberlin Conservatory of Music and Mercer University. Akbar, born in Atlanta, has performed as soloist and chamber musician throughout Panama, the Bahamas, Russia, and Italy. He has also performed as soloist with the North Georgia Chamber Symphony, Georgia Tech Symphony Orchestra, Aiken Civic Orchestra, and the Georgia College Orchestra.

Akbar has performed live on NPR’s From the Top and won the concerto competition at the University of South Carolina with the first movement of the Dvořák Cello Concerto. As a graduate of the Talent Development Program, Akbar performed with the Atlanta Symphony Orchestra under the direction of Robert Spano playing the Boccherini Cello Concerto.

Currently serving as professor of cello and chamber music at Morehouse College, Clayton State University, Spelman College, and Clark Atlanta University, Akbar has also held the position of faculty cello instructor at Laurel Ridge Music Festival in Helen, Georgia for 12 years. As cello teaching artist of the Atlanta Music Project, he is a passionate advocate for social change through musical excellence.

Music at Emory

Music at Emory brings together students, faculty, and world-class artists to create an exciting and innovative season of performances, lectures, workshops, and master classes. With more than 150 events each year across multiple Emory venues, audiences experience a wide variety of musical offerings.

We hope you enjoy sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world. 404.727.5050 music.emory.edu