University of Washington

2004-2005 School of Music

COt-\PAC.l
Presents 1) I SC
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IForgotten Peop les - Enduring Stories I I'L~(

with the

CHAMBER. SINGERS
Geoffrey Boers, conductor

and the

UNIVERS I~.'~{! CHORi\LE

Steven Zopfi, conductor
Linda Gingrich, assistant conductor

December 1, 2004 7:30PM Meany Theater

This past September, Guntis Smidchens, of the University of Washington's esteemed Baltic

Studies program and I traveled to the Baltic States as a part of a joint research project. During

that trip we had the opportunity to take a side venture to the Livonian coast to a community

which has the last full blooded Livonian on the earth. This once large and proud culture has

dwindled, through wars and exile, to a mere few dozen speakers. It was a profound experience

to stand in the midst of a people on the brink of extinction. Tonight' s perfonnance, Forgotten

Peoples-Enduring Stories, features music of cultures and traditions that are becoming lost to our

modem and increasingly global village. We will sing in many languages, and present songs

from many continents and centuries, and will even create our own melodies. In some cases we

will sing folk music and tell stories of a people or community that no longer exists. In other

cases the languages that we sing is only spoken by a handful of people. Yet their music remains

as a testament to our enduring desire to sing together and share our stories in community. We

strongly urge you to read along the texts and notes that explain these stories that we present We

hope you enjoy tonight's performance of Forgotten Peoples-Enduring Stories.

- Geoffrey Boers
 u,-&7-=FP- l'-j, 1-50
UNIVERISTY CHORALE

Steven Zopfi, conductor

Linda Gingrich, assistant conductor

CD Lom VI1~f> I /3oe..rs

{ .•.. , THREE SACRED SONGS
. '. . . ~
:;, SING TO THE L ORD ...................../':...........................................
S-=r ... TRAD. AMERICAN (arr. Parker)

7 ' I

~
fI. .... • DEAL GENTLY WITH THY SERVANTS ........ ....=?! .. .~ ..................................... ........... Trad. American
.::}- CANTATE DOMINO .......... .................2-: 12­
.... .................................. HANS LEOHASSLER (1564-1612)

TWO CHRISTMAS SONGS

~HILD OF PEACE ......... .. .........~.~ .?:9............................................ JEFFREY VAN (arr. Gingrich)

l§J IL EST NE LE DN IN ENFAN ..... .......... ~. ~ ... ~... .. ............................. FRENCH CAROL (arr. Gingrich)

r7l. Aaron Buckner, percussion

t;Q WI-1iI W\..eI"..T 5- , Zop-h
[1 ZIGUENERLEBEN, OP. 29, NO. 3 .............~ .;..?k........................... RoBERT SCHUMANN (1810-1856)

I1J I BEUEVE THIS IS JESUS ............... .l::?.i....................................................... Spiritual (arr. Moore)

I~ "GLORIA"
~ 2-..~...0 ........................
FR 0 M MISSA K ENYA .. .. ........... S ....... ................................ PAUL
BASLER
Aaron Buckner, percussion

CHAMBER SINGERS

ill' CovI1 w~ fTS , LX-l'€

D -,
(s

Geoffrey Boers, 2Jnductor

tl-J NAIMAN SHARAG (EIGHT CHESTNUT HORSES) ..........l-j'

t==7l Z

... ~ ......... ......... ............ SE ENKHBAYAR (b. 1956)

F ORGOTTEN PEOPLES and other selections ..... .. .. .. ...................................... VEUO TORMIS (b. 1930)

rnTAMME RAlUJA (OAK-FEUER) .................. No.4 of the cycle Karjala saatus (Karelian Destiny), ~ ~
part six from the series Unustatudrahvad (Forgotten Peoples)
ffi H J.LULAUL [KEHTOLAULUj (A LULLABY) ... No. 5 of the cycle Karjala saatus (K arelian Destiny), (£). W
part six from the series Unustatud rahvad (Forgotten Peoples)
BJ RONTVSKA (TANTSULAUL) 1 [RONTYSHKA (A D ANCE SONG) IJ ......... No. 1 of the cycle Ingerimaa 4 ,'O'i>
ohtud (Ingrian Evenings), part four from the series Unustatud rahvad (Forgotten Peoples)
l]J VAGISI MEHELE (FORCED TO GET MARRIED) ..... No. 12 of the cycle Vespa r ajad (Vespian Paths), 2-:01
part five from the series Unustatud rahvad (Forgotten Peoples)
1}) TUUL KONNUMAA KORAL (WIND OVER THE BARRENS) ............. No.5 of the cycle Sugismaastikud l; 0 +­
(Autumn Landscapes), part three from the series Looduspildid (Nature Pictures)
~J JAAN/LA UL (ST. JOHN'S SONG) .................................................... No.7 of the cycle Jaanilau/ud, r; '; ()0
part five from the series Eesti Kalendrilaulud (Estonian Calendar Songs)

WPAST LIFE MEWDIES .......... ..........<o. :,o..~................................................................ SARAH HOPKINS

w~ .................................................................................:................................ S'lACE'l GIBBS

lQJ 0
Q :)';..........
How BEAUTIFUL, THIS FINELY WOVEN EARTH ........... ..... 2 0 ...................... ..... GREG JASPERSE

NOTES AND TRANSLATIONS:

University Cborale

The end of the eighteenth century and early nineteenth century witnessed a flowering of small communal
religious sects in America. Many of these groups, especially the Moravian and Shaker Societies, gave
birth to a rich musical tradition. The first two works on tonight's program are from this Early American
tradition. The first piece, Sing to the Lord, is a setting of a hymn by Isaac Watts, arranged by Alice
Parker. The rugged rhythms and sturdy construction of the tune, "Dunlap's Creek" lend this piece the
vital ity of a revival hymn. Deal Gently With They Servant 's Lord, is a folk hymn in the tradition of
"Amazing Grace" and "Swing Chariot." The tuneful constructions and easy melodies of these songs
betray the origins in the folk music of their time.
Cantate Domino is not a story about forgotten peoples. Rather it is from the enduring story of the
early Church. The text is taken from one of the most ancient musical forms that dates back to King
David, the psalm. The setting of Psalm 95 is by Hans Leo Hassler, one of the leading German composers
and theorists at the beginning of the seventeenth century.
The lively French folk carol II est ne Ie divin enfant summons villagers to pull out oboes and bagpipes
and revel in the Christ Child's coming. The basses and tenor whine a reedy drone in kindred spirit as the
women sing the melody.
The somewhat nomadic and mysterious ways of bands of gypsies have long fascinated mainstream
society. During the nineteenth century this fascination lead many composers, including Robert Schu­
mann, Johannes Brahms and Franz Liszt to compose works that employed or imitated gypsy music. Rob­
ert Schumann's delightful Zigeunerleben, Gp. 29, No.3 is a vivid depiction of a night in the woods with a
gypsy band.
Choral arrangements of African American spirituals have found a ready home on the concert stage
since their introduction by the Fish Jubilee Singers in 1871. This recent arrangement of I Believe This is
Jesus by Undine Smith Moore features the syncopated rhythms and call and response structure that origi­
nated in African communal singing and drumming. The African-American Spiritual is an enduring musi­
cal genre that remains a testament to the will and spirit of a people who lifted their voices in song no
matter the circumstances. And finally, Gloria fr[;: '~ Hissa Keny a fuses East African choral traditions w·th
western musical style in an infectious, rhythmic outpouring ofjoy.

CHAMBER SrNGERS

NIAMAN SHARAG
Inner Mongloian composer Se Enkhbayar grew up, as the son of a herdsman, learning the rustic songs
of rural Mongolia. Many Mongolian songs praise their close relationship with horses, who is their partner
in work, war, and play. The Eight Chestnut Horses belonged in the 13 th century, to Chinggis Khan, and
have become a national symbol for love of language and culture. The rhythms are indigenous and
certainly create a vivid picture.

The sun shaped manes fly as wings, the moon shaped tails wave behind.
These chestnut horses shook the world and created history.
Their golden hooves beat the soil, their voices awoke Asia, making known their might,
Earning much fame-my chestnut horses.

The horses that run ahead of time, encouraging my will and soul, they cover any distance,
Drink the clearest of waters, share all my joy and sorrow ...

These chestnut horses are like a treasure to us, a gift of nature.

Like peaceful song that sounds everywhere, the Mongolian horse is worshipped by my nation. It is the
source of my encouragement, the flame of my insight and learning. It is the energy we need for progress,
and the might that leads us to prosper.

Let us call it the will to reach high spheres and the key to open wise myths.
 When he heard where his sonny had gone, the son born of lowly parents.

A Puss is coming towards my baby.

The Puss he jumped onto the swing to rock my baby to sleep.

The Death he hit the girl and the baby, With his heavy washing-beetle.

I am rocking my little baby to sleep in the meadows ofTuonela.

There are high chambers at Tuonela, there are big houses at Manala.

There my baby will have fun, the little one will play about.

My little one will grow crops, my little one will harrow the soil,

A willow tree will grow on its beard, a spruce will take root on its eyebrows,

An alder will take root on its chin, a birch will strike root on its shoulders,

The black soil will be its rug, the coffin boards will be its roof.

There will lie the son of the scorned, the son born of lowly parents.

RONTUSKA (TANTSULAUL) I Text and melody from an Ingerrnanland-Finnish traditional song

This is how the song always begins, and so it does today,
Liilee and lailee, Allalee and lailee
My sweetheart sings himself and lets me do it too
Although I sing here for the first time,
I hope I don't displease you in even the smallest way
Although I'm no tunemaker, I can go on singing,
I never insult anyone in my songs. What shall I sing? Where is my music?
When walking on the village lane, I must've dropped my music book
Here I sing, here I warble, accompanying myself at the zither,
With the songs and the laughter, all the troubles I overcome.
If there were more singers like me, Two or three would do,
Then the village boys could well sell their concertinas.
I sing and I make merry, I am far from moping.
This girl is no moper, She's still young and gay.

VA."GISI MEHELE Text and melody from a Vespian traditional song

Mother, dear mother, You do care for me,
Look, dear mother, Along the field they're driving, Let them drive, let them drive,
Don't weep, my dearest one, I'll never give you away
Look, dear mother, They're driving behind the stable now,
Look, dear mother, They're already in the yard. Let them be, let them be,
Don't weep my dearest one, I'll never give you away
Look, dear mother, they're entering the chamber now. Let them enter, let them enter
Look, dear mother, They're sitting at the table now. Let them sit, let them sit
Look, dear mother, They're asking me to get ready. Get ready, my daughter, get ready.
Look, dear mother, See, we're already going. Go, go, you go
Don' t weep, my dearest one, I'll never give you away

TUUL KONNUMAA KOHAL Poems by Viivi Luik

Wind over the barrens, Corpse-like, yellowish over the barrens
Road bending, rattling laughter. Some lifeless trees
Rattling laughter, Rattling, rattling

JAANILAUL Text and melody traditional, from Hargla parish

Come out, come out, look at .Iaani, laani, lanni
Has that lanni, bushy hair, then barley will grow intricately
Oats will grow so angularly, .Iaan came crossing croplands
Walked along the golden barrens, Brought along abundant fortune
For the herd he brought good fortune,Milk in buckets, deeply laden
Hefty hundred weights of butter, Rye in lapfuls he did haul
Oats a plenty hoisted, .Iaanika
 Like the brilliance of the East, so are the eight chestnut horses.

FORGOTTEN PEOPLES AND OTHER MUSIC

The Estonian Composer Leaureate Veljo Tormis, is one of the most beloved fi gures in the entire Baltic
region. His music flourished during the Soviet era, a time of severe repression. The singing tradition in
the Baltic region is prolific, their entire cultural history is encoded in song. Tonnis' life work has been to
strengthen cultural awareness of the many historic cultures that make up modem Estonia. The songs
presented tonight are a representation of a few of his hundreds of arrangements and compositions.

TAMME RAIUJA Text and melody from Karelian traditional songs

The sisters, they went over the bridges. The brothers, they went in the boats.
They went to cut the grass, to take the hay on the seashore.
The grass was cut, the hay was raked, hundreds of haystacks were piled up.
Thousands of haycocks were heaped up.
A gust of wind blew from Lake Tuulos, a gust of wind blew over Aunus.
A gale swept over the land. It blew the hay into the fire,
The south wind took the ashes, the north wind took the residue.
I took some residue to wash the boy's hair, to wash the eyes of the lucky-born.
Some of the lye was left, where shall I pour it out?
Onto the clear ridge of the waves, onto the open sea,
Into the roar of the three seas, into the gloomy depths.
There an oak tree might rise, an oak tree with its crown swaying,
On each branch a little apple, in each apple a golden ball,
A little cuckoo in that ball, whenever the cuckoo calls,
Some copper is spilt, into a golden cup, into a copper chest.
We need a man to fell the oak, to cut down the crown swaying.
There is no man to fell the oak among the young of this generation,
Among the people still growing.
A black man will rise from the sea, a little hit hetter than death,
M ore beautiful than the lost. He will know how to fell the oak,
To cut down the crown swaying, Tilting the crown to the south,
Tilting the trunk to the north.

HALL/LAUL Text and melody from Karelian traditional songs

Hush, Alli(Harlequin duck), hush little birdie
Come, 0 Lord, i nto the cradle, Come, 0 Lord, into the cradle,
Onto the little baby's pillow, into the little one's clothes.
Virgin Mary, dear mother, Our Lady merciful,
Rock, my little honey baby. Hush! And go to sleep, my baby,
Under the permission of the trees, the earth, and all the mansions.
Aa, hush-a-by, now is the time for Angel to come,
Into the little baby's cradle, into the little baby's crib.
Aa, aa, in the clearing, flowers, they grow in the clearing,
My little baby picks the flowers, for its own pleasure.
The little bird's stomach is full; the large bird's stomach is slim.
A little bird with a little beak takes good care of my little baby.
Aa hush-a-by aa, you have now a resting place.
In the chambers of death, in the halls of the All-Father
The little baby is feeling fine, the little baby has a good sleep.
Inside the golden cradle, inside the silken rugs.
The fox is weeping, in despair, grieving at the foot of the bills:
"Where have you gone, my poor sonny, Where are you whom [ have borne?"
A fairy of the woods he gives the answer:
"He has become fur for the men ofTurku (a Finnish city), he is a salesman' s
furniture, a man's long sleeves.
The fox then stopped despairing, stopped grieving at the foot of the hills,
P AST LIFE MELODIES
This work, written in 1991, is a series of "melodies" that reflect the rural and mystical culture of
Australian Aboriginals. Hopkins spent eight years in residence in Darwin, in the north of Australia,
where she was immersed and influenced by aboriginal art and music. The timbre of the second melody is
clearly reminiscent of the digeridoo. The final " melody" is entirely improvisational and employs
harmonic overtone singing used, in the words of the composer, "to weave and dart like golden threads
above the earthly drone of the main body of the choir."

WITNESS
Stacy Gibbs is a rising star as a composer of spirituals. The traditional spiritual on tonight's program is
representative of "educational songs" used to help pass on important bible stories from generation to
generation. So we offer this work tonight with a two fold purpose: to tell the continuing story of the
American Salve people as well as to continue to tell the ancient stories in an aural tradition as millennia of
generations have before us.

OH How BEAUTIFUL, THIS FINELY WOVEN EARTH

Chicago based composer Greg Jasperse is a well-known jazz singer, pianist and performer. Moved by the
tragedy of September 11 th, 2001, Jasperse commissioned a close friend to compose a poem focusing on
the healing of the world community. This important text is set with stirring jazz harmonies and emotional
shadings.

STEVEN ZOPFI is Acting Assistant Professor at the University of Washington and serves as the Artistic
Director and Conductor of the Portland Symphonic Choir, the official chorus of the Oregon Symphony
Orchestra. Zopfi, a native of New Jersey, attended the Hartt School of Music and the University of
California at Irvine, and earned a Doctor of Musical Arts degree from the University of Colorado. He has
taught on the facu lties of Penn State University and the University of Puget Sound and has served as
Vermont State President of the American Choral Directors Association. Active as a conductor, scholar,
church musician, and educator, Zopfi is the founder ad past Artistic Director of The Foundling Hospital
Singers of Hartford, CT and the Boulder Schola Cantorum of Boulder, CO. He also maintains a busy
schedule as a clinician, adjudicator and guest conductor.

As a performer, Zopfi has sung for Robert Shaw and Sir David Wilcocks and has performed with the
Prague Philharmonic, The Colorado Symphony, and the New Jersey Symphony. Choirs under his
direction have appeared at the Cathedral of St. John the Divine and the Waldorf-Astoria in New York and
at various state and regional conventions. His scholarly interests include late twentieth-century American
motet composition and the instrumentation of the basso continuo of early seventeenth-century vocal
music . Active as an editor of early music, Zopfi is also a passionate advocate for new music, and he has
commissioned and conducted the world premieres of Edwin Lawrence's A Child 's Bestiary and Timothy
Melbinger's You. His music reviews have been published in The Choral Journal. Zopfi has taught at both
the junior high and high school levels in Vermont and New York, and has served as President of the
Southern Vermont Music Educators Association and on the executive board of the Vermont Music
Educators Association. He currently serves as Chair of the Youth and Student Activities Committee for
the Washington Choral Directors Association.
 UNIVERSITY CHORALE

Steven Zopfi, conductor

Linda Gingrich, assistant conductor

Courtney Smith, president

Steven Flett, vice president

Jenna Boule, publicity chair

* Section Leader

SOPRANO I
SOPRANO II

Claire Cordner
*Rachel Beltran

Kendall Gourky-Paterson
Aimee Bertheau

Kellie Iranon
Jenna Boule

Linnell Pitt
Margaret Gordon

Rachel Stone
Allison Harmon Huxtable

Vanessa Williams
K athryn Morgan

ALTO I ALTO II

Patra Alatsis Erica Bergmann

. Michelle Blair Carmen Bleything

Jane Bush Alice Drury

Sarah Golderkranz Sarah Murray

Sarra Sharif Brittnee Norwood

Naomi Smith *Charlotte Reese

Hannah Wong Courtney Smith

TENOR I
TENOR II

Angelo Altavas
Kohin Chia

Justin Beal
*Steven Flett

Ethan Lorimor
Daniel Harris

Pradeep Shenoy
D aniel Triller

BAssI
BAss Il

Brenton Agena
Spencer Bliven

Michael Carson
John Butler

Andrew Jacobson
Enrique Dinio

*Gabriel Swart
Thomas Noh

Doug Wynkoop
Zach Spencer

 CHAMBER SINGERS

Geoffrey Boers, conductor

SOPRANO I
SOPRANO II

Laura Cervinsky
Tess Altiveros

Ailisa Dannenmiller
Maggie Godwin

Maria Mannisto
Susan Jones

Ellen Pepin
Heather MacLaughlin Garbes

Amy Marsh

ALTO I
ALTO II

Yunji Chang
Lorraine Burdick

Rashelle Coyle
Anne Chappell

Ester Kim
Linda Gingrich

Rachel LaFond-Widmer
Markdavin Obenza

Jessica Martin
Leah Stettler

Stacy Timke

TENOR I
TENOR II

Adam Burdick
Ben French

Tom Cohen
Sean ICMo Manes

Ian Kirk
Chris Stagg

Gary Panek
James Schieder

BAssI
BASS II

Jason Anderson
Nick Huffman

Robert Bigley
Jon Jenkins

Rob Conley
Beob Kim

Lum Chee Hoo

Jeremy Matheis

Philip Tschopp
Jonathan Silvia

Heath Thompson

Acknowledgements: Special thanks to the TA's for the fall quarter: Adam Burdick, Linda
Gingrich, Beob Kim and Heather MacLaughlin Garbes for their help in organizing and planning
and to Maria Mannisto for her assistance in translations and pronunciation.